Athenagoras by David Rankin

By David Rankin

Athenagoras of Athens was once a Christian philosopher of the second one century who engaged with modern philosophical inspiration within the issues of the divine, and the connection of that divine to the fabric global. whereas basically a Christian apologist, Athenagoras offers doctrines of God, of the Holy Trinity, and of alternative theological concerns which in actual fact facts an engagement with Greek philosophical notion which fits past the only linguistic and embraces the inspiration of God as real being. Athenagoras is a Church Father who has no longer been given nice consciousness in twentieth century and early twenty first century scholarship.This publication explores Athenagoras' indisputable position within the improvement of Christian concept at the divine, at the Trinity, at the human individual, and at the resurrection. His paintings presents an incredible hyperlink among the mid moment century and the paintings of Justin and that of the 3rd century Christian theologians of the East.

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H e also introduces here the notion of a particular providential oversight, given to the angels by G od, and the notion of a universal and general providence, reserved for G od himself. From chapter 25 to chapter 27, Athenagoras argues that ‘fallen’ angels busy themselves with air and earth and are no longer able to rise to the super-celestial realms. 6 – are now the demons who wander about the earth. Athenagoras repeats his earlier assertion that the prince of matter acts in a manner opposed to G od’s goodness; then he quotes E uripides in support of this idea.

G rant maintains that the treatise is ‘only partly’ directed against pagans,77 which implies that it is in part addressed to other Christians. 78 It is, he says, an ‘intramural debate’. 79 Pouderon offers (in my view) the most comprehensive and well argued overview of this matter and I am happy largely to summarize his arguments here. 14). Indeed Athenagoras’ argument in favour of G od having the capacity to effect a resurrection of the dead may well be intended as a direct challenge to Celsus’ claim that such an action is not only contrary to nature but impossible.

3). In chapter 13 Athenagoras begins his refutatio, his attack on the beliefs of his immediate opponents. 1). 2). It is from observation of the wonders of G od’s creation that one can gauge something of his greatness. 3). In chapter 15 he returns to his primary theme of distinguishing between G od and matter – equating the former with being, the uncreated and the intelligible, and the latter with non-being, the created and the perceptible – and employs the images of the potter and the clay to make his point.

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