Man and Sin by Piet Schoonenberg (1964) 2.2Q-1
[Another way to put that is:
‘Natural love (especially eros, the emphasis here) is an idol.
An idol is neither supernatural nor natural.]
06/6/16
06/3/16
Man and Sin by Piet Schoonenberg (1964) 2.2P-1
[Culture is the way that this takes place.
So what is the bottom line?
The concept of ‘natural attraction’, regarded from the point of view of human evolution, is not natural.
It does not encourage the male to be the female’s helper.
It does not provide a cultural motif through which the female anoints the male and puts him in charge.]
06/2/16
Man and Sin by Piet Schoonenberg (1964) 2.2P
Summary of text [comment] page 71
[A brief review of male-female pair bonding is in order.
The human male evolved to be the female’s helper.
This adaptation could not take place without assurance by the female of the male’s paternity of the children.
The female evolved a hard to fake behavior that provides this crucial assurance.
She put the male in charge of the family.]
06/1/16
Man and Sin by Piet Schoonenberg (1964) 2.2O-2
[On the one hand, the basis of ‘something’ (for love and self-destruction in the previous blog) can never be limited to feelings of attraction, arising from the so-called natural dispositions.
On the other hand, ‘feelings of attraction’ could be something that others call ‘the love arising from the natural dispositions’.
In sum, what others proclaim to be natural design3a substitute for ‘God’s creative design3a’.]
05/31/16
Man and Sin by Piet Schoonenberg (1964) 2.2O-1
Summary of text [comment] page 71
[With substitutions, I begin to approach, but do not arrive at, delineating a contrast between ‘grace’ and ‘nature’.
How about this scenario:
Paralleling grace is ‘a state of supernatural and natural love’.
Paralleling self-destruction is ‘a state of not supernatural and not natural love’.]
05/30/16
05/26/16
Man and Sin by Piet Schoonenberg (1964) 2.2M-3
[Paralleling self-destruction:
‘Something called ‘love’3V’ brings ‘I (imaging the lover) and the object of my love (imaging the ‘something I love’)2V’ into relation with ‘my potential for conscience, ‘what I love’, and self1V’.
Here, ‘the object of my love2V’ stands in for ‘myself (the one who I recognize on the basis of ‘something’)2V’.
How close is that to: ‘I’ must be ‘whoever my love says I am’?]
05/25/16
Man and Sin by Piet Schoonenberg (1964) 2.2M-2
[Paralleling grace:
‘Love or the Holy Spirit3V’ brings ‘I (imaging the Father) and the one I love (imaging the Son)2V’ into relation with ‘my potential for conscience, ‘what I love’ and self1V’.
Here, ‘the one I love2V’ stands in for ‘myself (the one who I recognize)2V’.
How close is that to: I can love the other as myself?]
05/24/16
Man and Sin by Piet Schoonenberg (1964) 2.2M-1
[The substitution of the word ‘love’ into the vertical axis produces different results for the cases of grace and self-destruction.]
05/23/16
Man and Sin by Piet Schoonenberg (1964) 2.2L
[Both grace and self-destruction pertain to recognition. They both reflect the nested form of ‘God Recognizing Himself’.
For the moment, let me stay with the example of ‘the opportunity to love2’ in ‘the tension between I recognize myself and human nature is to participate in divine nature’.
In this intersecting form (2.2F), the term ‘recognition1V’ encompasses I and myself.
The term ‘recognize3V’ may be called a design of God.
For grace:
‘Recognize or the Holy Spirit3V’ brings ‘I (imaging the Father) and myself (imaging the Son)2V’ into relation with ‘my potential of being an image of God1V’.
For self-destruction:
‘Recognizing ‘something’3V’ brings ‘I (the one who recognizes) and myself (the one who is recognized on the basis of ‘something’2V) into relation with ‘my potential to recognize myself as ‘something’1V’.]