Abstract

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.4 (2002) 599-617 [Access article in PDF] Thinking Geometrically in Pierre-Daniel Huet's Demonstratio evangelica (1679) April G. Shelford Sometime after 1679, Pierre-Daniel Huet (1630-1721) indulged an author's vanity by comparing his Demonstratio evangelica with works whose authors are far better known today. He recorded his judgments on a scrap of paper. 1First, he contrasted the Demonstratio to Antoine Arnauld's Les nouveaux élémens de géometrie (1664). While Arnauld had assumed that all the principles of geometry were true and all geometrical demonstrations certain, and had considered religious questions not amenable to methodical demonstration, Huet noted, "I made clear the contrary by proving religion through a methodical sequence of propositions similar to those one finds in geometry." For Arnauld religious belief fell into the class of things better proven through a series of mutually reinforcing propositions than through proofs modeled on geometry; Huet had actually accomplished the latter. Arnauld did not require geometric proofs in religious works; Huet wrote the Demonstratio "to satisfy those who do." Indeed, Arnauld forbade such proofs, "but I permitted them... and I proposed something to satisfy those who do [demand them]."Huet then considered Blaise Pascal's Pensées (1670). Pascal had also rejected demonstration in proving religious truths, Huet noted, opting instead for "moral proofs, which are directed more to the heart than to the mind. In other words he desired to work harder at moving and disposing the heart than at convincing and persuading the intellect." Apparently, "M. Pascal did not believe that one could prove the truth of the Christian religion by geometric proofs; much less that he had any hope of doing so." [End Page 599]Huet's jottings precisely situate the Demonstratio evangelica (1679)between the claims of Cartesian rationalism and Pascal's fideism and religion of the heart, inviting us to take another look at an imperfectly understood work. Scholarly treatment of the Demonstratio has generally been cursory or partial because it has been considered less for its own merits than for how it fits into larger research agendas. 2 Some scholars have offered important insights but either do not develop them or do not consider the Demonstratio in a sufficiently broad context. 3 A consensus on the Demonstratio's general thrust thus masks puzzling questions. Everyone acknowledges, for example, that Huet's apologetic responded to Baruch Spinoza's Tractatus theologico-politicus (1670). Like other Christian apologists, he had to maintain "the Mosaic authorship" that was "the supposed guarantee of the truth of the text," 4 devoting "long chapters to the authenticity of the books of the Old Testament." 5 Yet Huet began the Demonstratio with an assault on geometrical knowledge and an epistemological discussion—an odd place to begin refuting the Tractatus. 6 Why? The question deserves a good answer, as Huet was a scholar of international reputation, and his contemporaries judged the Demonstratio an important work. 7More important for us, the evolution of the Demonstratio superbly reflects a vanished intellectual world and scholarly culture and in fact records change [End Page 600] in that world over four decades. Its genesis was the rash promise of a young man inspired by the possibilities of geometry and aspiring to recognition in the Republic of Letters, but before fulfilling that promise Huet developed a lively interest in such diverse fields as biblical criticism and natural philosophy, and he would apply the insights gained there in his apologetic. 8 A central question confronting Huet and his contemporaries was how to achieve certainty in matters religious, historical, and scientific. 9 The Demonstratio reveals Huet's conclusion that certainty in all three was profoundly interrelated. Finally, he composed the Demonstratio during the 1670s, having grasped with much alarm the consequences of the spread of Cartesianism. Thus, the Demonstratio is an intellectual biography not just of the author but of an era.Of course, Huet had to contend with Spinoza's challenge to Mosaic authorship, which fatally undermined the historical certainty of the Bible, but he also wrote...