The following paper argues that Blaise Pascal, in spite of his famous opposition between the God of the Philosophers and the God of “Abraham, Isaac and Jacob” has significant affinities with the tradition of Renaissance Platonism and is in fact a Platonist in his overall outlook. This is shown in three ways. Firstly, it is argued that Pascal’s skeptical fideism has roots in the notion of faith developed in post-Plotinian neo-Platonism. Secondly, it is argued that Pascal makes considerable use of (...) the Platonic notion of an indefinite dyadic principle. Thirdly, it is argued that Pascal’s religious psychology gives a centrality to the body that brings it close to the theurgical standpoint of figures like Iamblichus. Pascal is then contrasted to figures like Cusanus and Pico in that a dyadic principle of opposition is more prominent in his work than a triadic logic of mediation. (shrink)

Pascal is well known to be an early modern disciple of Augustine, but it has not always been sufficiently emphasized that Pascal’s Augustinianism differs profoundly from its source in many ways. The following essay examines his re-ordering of Augustine’s psychology and its implications for philosophy and religion in the modern period. For Augustine, intellect and will are equal moments in the activity of mens, but Pascal is radically voluntarist. For him, the will’s relation to the good radically transcends intellect’s relation (...) to being. This moves Pascal to a position closer in some respects to neo-Platonism. It also prevents him from appropriating Augustine’s claim that the triadic human mens is a created analogue of the Trinity. Pascal drops Augustine’s teaching on this point, with profound consequences for his conception of humanity’s relation to God. (shrink)

In the Birth of Tragedy Friedrich Nietzsche hails Wagner and especially his opera Tristan and Isolde as the harbinger of a Dionysian rebirth in German music. It is notorious, however, that in later works such as The Case of Wagner and Contra Wagner Nietzsche turned against Wagner as an arch-ascetic whose late opera Parsifal represents a reversion to Christianity and its life denying spirit. This paper argues that Nietzsche's polemic is on the whole a distorted picture of Wagner and of (...) Parisfal especially. Nonetheless, it concedes that however wayward some of Nietzsche's specific criticisms might be, there is a genuine criticism contained in his polemic. Nietzsche is correct to sense a liberal Christian humanism at work in Parisfal that is, from his standpoint, unacceptable. (shrink)

William Blake’s prophetic works seem to present the reader with a puzzling contradiction. On the one hand Blake can be read as a prophet of sexual revolution with his attacks on puritanism and hypocritical chastity. On the other hand, in many passages he seems to express characteristically Platonic/Patristic skepticism concerning bodily experience. What is more he often portrays sexuality and indeed femininity as manipulative and cruel. Is there a coherent attitude to sexuality in Blake? This paper argues that Blake’s soteriology (...) strongly implies that the ‘return’ to unity with the divine pivots on the incarnation which Blake even insists is the product of natural sexuality. To this extent there is a place for the sexualized body in the economy of salvation. This economy links Blake to a larger Platonist and Christian Platonist tradition that understands salvation in terms of an exitus/reditus pattern. (shrink)

There is a story related concerning Bertrand Russell that makes what I hope is anelegant introduction to the following paper. It is said that as a young man LordRussell, while out for a walk, became, in the course of his meditations, perfectlyconvinced of the validity of the ontological argument for the existence of God.Alas, he did not have a notebook handy and by the time he returned to his studyto write down his discovery found that he had completely lost the (...) train of thoughtwhich had led to so remarkable a conclusion . In the followingpaper I will attempt nothing so grand as the retrieval of Russell‟s lost insight. Iwill however, be attempting a recuperation of another kind. To be brief, I will beasking what the ontological argument meant to its originator, Anselm ofCanterbury, as well as how it might be significant for contemporary discussionsconcerning the so-called “negative theology.” Here I refer in particular to theongoing debate between Jacques Derrida and Jean-Luc Marion to which, asMarion himself has recognized, Anselm‟s thought has a vital contribution tomake. (shrink)