Home > Work > Theo-Drama: Theological Dramatic Theory : The Last Act (Theo-Drama, #5)
1 " Thus it seems that the Cross of Christ, laden with every sinful refusal of man, must stand at the very last extremity of hell; indeed, it must stand beyond hell, where the Son is forsaken by the Father in a way that only he can know. "
― Hans Urs von Balthasar , Theo-Drama: Theological Dramatic Theory : The Last Act (Theo-Drama, #5)
2 " 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 "
3 " In principle this implies something else, something harder to grasp, namely, that his whole suffering—a suffering that goes to the utter limits—follows from and actually expresses his eternal, triune joy. "
4 " 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 "
