[Milton-L] De Doctrina Christiana

Mitchell M. Harris mitchell.harris at augie.edu
Fri Jan 9 15:48:39 EST 2009


On Jan 9, 2009, at 2:40 PM, Peter C. Herman wrote:

> Wasn't it Tertullian who famously asked: "What does Athens have to  
> do with Jerusalem?"
>
> Clearly, some people most certainly distinguished between the two.
>
> Peter C. Herman

Yes, Tertullian makes the famous comment in his De praescriptione  
haaereticorum, but it is in direct reference to the place of rhetoric  
within the preaching arts. And while he, Jerome, and Cyprian called  
for a plain style, it seems that Augustine, Ambrose, and Basil won out  
in the patristic debate (it is good for preachers to have formal  
training in grammar and rhetoric). What all eventually agreed upon,  
however, was that one didn't need Athens in order to understand  
Jerusalem--so even the uneducated could have immediate access to the  
reality of Christ through the Gospels without any formal training in  
grammar and rhetoric.

Best,
	Mitch

Mitchell M. Harris
Assistant Professor
Department of English
Augustana College
2001 S. Summit Ave.
Sioux Falls, SD 57197
(605) 274-4699
mitchell.harris at augie.edu

"Alack, when once our grace we have forgot,
Nothing goes right . . ."
				   - William Shakespeare
>
>
> At 12:34 PM 1/9/2009, you wrote:
>> Can you really distinguish between "classical" and "Christian" in  
>> most western Christian thinking prior to the Reformation?
>>
>> Jim R
>>
>> On Fri, Jan 9, 2009 at 3:30 PM, Michael Bryson <michael.bryson at csun.edu 
>>  > wrote:
>> Paradise Lost is also deeply "classical" in its "tone, reference,  
>> coloring" (if not theology, though I would argue even that point,  
>> given what I see as a profound Platonist/Neoplatonist element in  
>> the poem that aligns rather nicely with certain Greek Orthodox  
>> theological ideas--deification being merely one example off the top  
>> of my head; another would be the idea of the divine that abides  
>> within all things in what the Heyschast tradition refers to as the  
>> energies of God [essentially, the divine as manifested in  
>> creation]), but it is not therefore simply and reductively a  
>> "classical" poem (whatever that might mean).
>>
>>
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