The following is a working draft of the presentation I will be making at the American Academy of Religion Annual Meeting in the Open and Relational Theologies session on the topic, “A Wider View of Theodicy: The Place of Sufferers, Mourning, Love, and Lament in Theological and Philosophical Reasoning”:
“The Hegelian babble about the real being the true is therefore the same kind of confusion as when people assume that the words and actions of a poet’s dramatic characters are the poet’s own. We must, however, hold fast to the belief that when God—so to speak—decides to write a play, he does not do it simply in order to pass the time, as the pagans thought. No, no: indeed, the utterly serious point here is that loving and being loved is God’s passion. It is almost—infinite love!—as if he is bound to this passion, almost as if it were a weakness on his part; whereas in fact it is his strength, his almighty love: and in that respect his love is subject to no alteration of any kind. There is a staggering perversity in all the human categories that are applied to the God-man; for if we could speak in a completely human way about Christ we would have to say that the words “My God, my God, why have you forsaken me?” show a want of patience and a want of truth. Only if God says it, can it be true, i.e., even if the God-man says it. And since it is true, it is also truly the climax of pain. The relationship to God is evidently such a tremendous weight of blessedness that, once I have laid hold of it, it is absolute in the most absolute sense; by contrast, the worldly notion that my enemies are to be excluded from it would actually diminish this blessedness.”
The Journals of Soren Kierkegaard, quoted in the preface of Theo-Drama Vol. 5: The Last Act, Hans Urs von Balthasar
“If God’s nature, theologically speaking, shows itself to be absolute love by giving itself away and allowing others to be, for no other reason than that this (motiveless) giving is good and full of meaning — and hence is, quite simply, beautiful and glorious — the same must apply to [God’s] “making room” for [God’s] free creatures.” – Balthasar, Theo-Drama, Vol. II, 273
In this paper I’d like to propose that Hans Urs von Balthasar’s “theo-dramatic” account of divine and human freedom, on the one hand, and divine experience in humanity’s suffering, on the other hand, can shed light on God’s love for an open and relational understanding of the doctrine of God. For Christian love — both of God and of neighbor — has not only an open and relational quality, but it is also dramatic in that it is embedded in a history the oscillates between freedom and contingency.