Alongside the Divine Comedy, St. Anselm’s Proslogion is my favorite piece of medieval writing, and it’s my favorite because it’s beautiful. That might surprise those who are only familiar with the text for the so-called “ontological argument,” the arguments of the second and third chapters that demonstrate not only that God exists but that He cannot be conceived not to exist. The argument is 100% correct and thus deeply frustrating to those who would like not to believe in God, thus often mocked and parodied and rarely actually contemplated,* but that’s not what I want to talk about. Instead, I want to try to describe at least a sliver of the sublimity of Anselm’s writing and to hint at why it ends with the joys of heaven.
The Proslogion starts with a sort of spiritual emptiness. No matter where we look, God does not appear. What’s more, study only leads us to the realization that God cannot in principle appear, cannot be understood, cannot be grasped. Yet He unquestionably is.
What to do in the face of this emptiness, sitting in our empty cell, staring at the blank wall and trying to hold the un-holdable? Starting from this absence of God, Anselm shows that all we need is one piece, a single understanding, and from the simple operation of our reason God emerges from the silence. His attributes become clear and finally we realize that the darkness is not darkness at all, but light. Light so bright that it shines dark, light so bright that we, our sight weakened by sin and crippled by ignorance, are blind. The highest realization is not catching sight of God, but the realization that it is God by which we see. We haven’t missed the forest for the trees, we’ve missed the light that envelops and pervades the leaves. The light which allows the forest to appear at all.
Constructed in this way, moments of the greatest spiritual dryness, of the utter absence of God, are transformed into the moments where God is closest. Our ignorance is transformed into knowledge, blindness into sight. That is the beauty of the Proslogion.
*see also: Pascal’s Wager
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