Anselm’s Cur Deus Homo, part 5
Anselm’s stress on the aesthetic and artistic dimensions of the doctrines of the Incarnation and Atonement is fitting for a further reason, which is that, as Boso goes on to indicate, much of the case against these doctrines turns on a similarly aesthetic objection to them. In Boso’s words, “The unbelievers who scoff at our simplicity raise against us the following objection: that we dishonor and affront God when we maintain that He descended in to the womb of a woman, that He was born of a woman, that He grew, being nourished by milk and food for human beings, and—not to mention many other things which seem to be unsuitable for God (multa alia taceam quae deo non uidentur conuenire)—that He experienced weariness, hunger, thirst, scourging, and (in the midst of thieves) crucifixion and death” (ch. 3). Anselm’s response to Boso’s aesthetic objection to the Incarnation, however, is to posit an even more insistent counter-aesthetic, as he ticks off a litany of ways in which the salvation accomplished through the Incarnation and Atonement of Christ perfectly corresponds to the story of humankind’s original rebellion and fall. As Anselm protests, “We do not at all dishonor or affront God,” but instead praise him for his manifest mercy, goodness, love, and grace in saving us in a manner so “appropriate” (convenienter) and “proper” (oportebat), and concludes that what we have here is “manifest a certain inexpressible beauty (inenarrabilem pulchritudinem) in our redemption’s having been accomplished in this manner.” Fundamentally at issue in the Cur Deus Homo, in other words, is two conflicting and irreconcilable theological aesthetics or visions of what is and what is not fitting for God to do.