Theology And The Drama Of History

How can theology think and talk about history? Building on the work of the major twentieth-century theologian Hans Urs von Balthasar as well as entering into sharp critical debate with him, this book sets out to examine the value and the potential of a 'theodramatic' conception of history. By engaging in dialogue not only with theologians and philosophers like von Balthasar, Hegel and Barth, but with poets and dramatists such as the Greek tragedians, Shakespeare and Gerard Manley Hopkins, the book makes its theological principles open and indebted to literary forms, and seeks to show how such a theology might be applied to a world intrinsically and thoroughly historical. By contrast with theologies that stand back from the contingencies of history and so fight shy of the uncertainties and openness of Christian existence, this book's theology is committed to taking seriously the God who works in time.

The mysteries of human selfhood and the religious dimensions of this problem, as affected by the Graeco-Hebraic components of western thought, and as affecting the attempts of the human self to build communities.

Shadow and Substance is the first book to present a sustained examination of the relationship between Eucharistic controversy and English drama across the Reformation divide. In this compelling interdisciplinary study, Jay Zysk contends that the Eucharist is not just a devotional object or doctrinal crux, it also shapes a way of thinking about physical embodiment and textual interpretation in theological and dramatic contexts. Regardless of one’s specific religious identity, to speak of the Eucharist during that time was to speak of dynamic interactions between body and sign. In crossing periodic boundaries and revising familiar historical narratives, Shadow and Substance challenges the idea that the Protestant Reformation brings about a decisive shift from the flesh to the word, the theological to the poetic, and the sacred to the secular. The book also adds to studies of English drama and Reformation history by providing an account of how Eucharistic discourse informs understandings of semiotic representation in broader cultural domains. This bold study offers fresh, imaginative readings of theology, sermons, devotional books, and dramatic texts from a range of historical, literary, and religious perspectives. Each of the book’s chapters creates a dialogue between different strands of Eucharistic theology and different varieties of English drama. Spanning England’s long reformation, these plays—some religious in subject matter, others far more secular—reimagine semiotic struggles that stem from the controversies over Christ’s body at a time when these very concepts were undergoing significant rethinking in both religious and literary contexts. Shadow and Substance will have a wide appeal, especially to those interested in medieval and early modern drama and performance, literary theory, Reformation history, and literature and religion.

Having presented his christology and mariology under the sign of the "Dramatis Personae" in volume three of Theo-Drama, von Balthasar now turns to the action of the divine drama itself. Here we find his soteriology, where time, freedom, history, power, sin, conflict are seen in the light of the Cross, the culmination of the action and passion of God and man. As Balthasar expresses it in the conclusion to his preface: here "we discern the unity of 'glory' and the 'dramatic'. God's glory, as it appears in the world--supremely in Christ--is not something static that could be observed by a neutral investigator. It manifests itself only through the personal involvement whereby God himself comes forth to do battle and is both victor and vanquished. If this glory is to come within our range at all, an analogous initiative is called for on our part. Revelation is a battlefield. Those who do battle on it can only be believers and theologians, provided they have equipped themselves with the whole armor of God (Eph 6:11)."

The third volume of Theo-Drama is considered the most central book of Fr. von Balthasar's entire theological project. Structrually it is the middle volume of the middle part of his theological trilogy: Glory of the Lord, Theo-Drama, and Theo-Logic. More significantly, it contains von Balthasar's synthetic treatment of the central mysteries of the Catholic Faith: Christ, Mary, the Church, man and the Trinity. The various elements of von Balthasar's theological reflection converge here, and here as nowhere else one can find the systematic elaboration of his Christology, Mariology, ecclesiology, anthropology and trinitarian doctrine. It is both a one-volume compendium of this theology and a key to his trilogy and other writings.

Man has always wrestled with the problem of finding meaning in history. It is not surprising that, as a Christian, von Balthasar finds the meaning of history in Christ, its Center and Lord. What may surprise-as it will surely stimulate-is the theological mastery with which von Balthasar traces the effects of Christ's lordship upon the daily life of the Christian. In this book we have one of the indispensable sources for understanding Balthasar's Catholic Christocentrism. Here we find elaboration of the striking statement that Jesus Christ is 'the Idea made concrete, personal, historical; universale concretum et personale'-which, put otherwise, means that Christ is the universally valid in the here and now. Characteristic of Balthasar, the book inspires as much spiritually as it informs theologically.

Man has long wrestled with the problem of finding meaning in history. It is not surprising that, as a Christian, Hans Urs von Balthasar finds the meaning of history in Christ, its center and Lord. What may surprise and stimulate us is the theological mastery with which von Balthasar traces the effects of Christ's lordship upon the daily life of the Christian. In this book we have one of the indispensable sources for understanding Balthasar's Catholic Christocentrism. Here we find elaboration of the striking statement that Jesus Christ is "the Idea made concrete, personal, historical: universale concretum et personale"?which means that Christ is the universally valid in the here and now. Characteristic of von Balthasar, the book inspires spiritually as much as it informs theologically. Von Balthasar follows Saint Irenaeus in viewing theology through the drama of history, and presents Jesus Christ as the norm by which all history?secular history as well as salvation history?ought to be interpreted. As God, Jesus is the universal norm for all humanity who stands outside of history; as man he became particular within history. By seeking to become one with him, our own history becomes meaningful, purposeful, and significant.

Robert McKelvey argues that John Bunyan wrote The Holy War as a warfare allegory symbolizing the salvation history of Scripture from a Calvinistic-covenantal perspective. In this cosmic drama of redemption, the "Histories That Mansoul, and her Wars Anatomize" include the individual-soteric-microcosmic level or ordo salutis unfolding analogous to the redemptive-historical-macrocosmic level or historia salutis. The eternal covenant of redemption provides the foundation for this history of salvation, which progresses from creation to the anticipation of consummation. This scheme finds its roots in the Puritan philosophy of "universal history" which sees all historical events serving God's redemptive purposes. The individual, through union with Christ founded on election, participates in the drama by inclusion within the trans-historical covenant of grace. As a depiction of cosmic war, The Holy War sets forth the enmity between the church and Antichrist, which is representative of the greater battle between Christ and the devil from Genesis to Revelation. As a pastoral guide to persecuted saints, Bunyan retrospectively rehearses the history of redemption to grant comfort. In addition, he prospectively reveals the consummation of redemption to encourage perseverance and instil eschatological hope. This thesis is substantiated contextually through Bunyan's life and writings, historiographically by surveying the history of Holy War interpretation, pre-textually by examining the introduction to the allegory, and textually by analyzing the allegory itself.