Part I: Balthasar’s Biblical Hermeneutics

W.T. Dickens in his essay, “Balthasar’s Biblical Hermeneutics,” notes that according to Balthasar the vast majority of modern theologians and biblical scholars (both Roman Catholic and Protestant) had thrown theological aesthetics to the wayside and as a result a distorted view of Scripture prevailed (e.g., seeing the Bible as a principally a set of propositional truths). This is not to say that Balthasar believed that modern biblical scholarship as a whole was a completely unfruitful project. Rather, for Balthasar, a recovery of certain premodern hermeneutical conventions was needed to reintroduce a lost theologico-aesthetic sensibility to the biblical hermeneutical project and such conventions were not incompatible with the positive discoveries of modern biblical scholarship. These premodern hermeneutical practices include “viewing the Bible as a self-glossing, christologically focused story, the proper interpretation of which is enabled by the Holy Spirit and nourished by regular liturgical worship” (p. 175).

As mentioned above, one of the problems arising when theological aesthetics is discarded is a tendency to view the Bible as primarily a set a propositional truths. Such a view presupposes a kind of dualism between sign and referent in which the sign becomes disposable once that which is signified is affirmed; hence, the mediation of revelation is rendered somewhat superfluous (p. 175). By reintroducing the medieval view of the transcendentals in which beauty, goodness, and oneness are understood as mutually dependent aspects of created being, not only can the sign/referent dualism be overcome, but one also gains a more integrated view of the relation between nature and grace. As Dickens explains,

“in redeeming creation, God does not destroy it in order to create it anew, but surpassingly fulfils it. From this perspective, creation’s unity, truth, goodness, and beauty are seen to be perfected in the life, death, and Resurrection of Jesus Christ. Created being’s determinations are not identified with God; they are believed to participate in the divine beauty, truth, goodness, and unity.

When beauty is conceived as a transcendental attribute of being that participates in the glory of God, then the natural and historic forms it takes are regarded in significantly different ways from those followed by most modern theologians. Rather than merely pointing to or dissolving in a transcendent ground or depth, Balthasar claimed that beautiful forms embody and reveal this transcendence, while simultaneously veiling it (GL 1, 151). This is because they are indissolubly united with the transcendence they mediate. Although a form’s content transcends its mediation, it is available only in and through the form. It does not lie behind, above, or in front of it—regardless of whether those spatial metaphors are construed historically, morally, spiritually, or otherwise. Form and content, therefore, can be distinguished only provisionally. Breaking the bonds that unite a beautiful radiant form with its transcendent content destroys the one and renders the other inaccessible” (pp. 176-177).

Notes
Dickens’ essay is found in The Cambridge Companion to Hans Urs Von Balthasar. Eds by Edward T. Oakes, SJ and David Moss. (Cambridge: Cambridge University Press, 2004): 175-186.