Fill Out the Online Form
Begin your Journey of Knowledge and Faith
seal logo
Personal Information
1/2
Select Your Program of Interest
2/2
In 300 words or less, describe your Christian faith, including your conversion and current Christian walk, and ministry experience (if applicable)
300/words
In 300 words or less, describe reasons for your desire to study with the Alexandrian Institute and how this deepen your faith or equip you for Christian ministry
300/words
Upload your Letter of Intent
Uploading...
fileuploaded.jpg
Upload failed. Max size for files is 10 MB.
Upload your CV or Resume
Uploading...
fileuploaded.jpg
Upload failed. Max size for files is 10 MB.
Upload your list of references
Uploading...
fileuploaded.jpg
Upload failed. Max size for files is 10 MB.
Upload your list of references
Uploading...
fileuploaded.jpg
Upload failed. Max size for files is 10 MB.
Upload your list of references
Uploading...
fileuploaded.jpg
Upload failed. Max size for files is 10 MB.
Upload your list of references
Uploading...
fileuploaded.jpg
Upload failed. Max size for files is 10 MB.
Upload your list of references
Uploading...
fileuploaded.jpg
Upload failed. Max size for files is 10 MB.
Thank You for Taking
the First Step
Your interest has been received. We’re excited to walk with you on this journey of learning and spiritual growth. Our team will be in touch soon with the next steps.
Oops! Something went wrong while submitting the form.
Essays

Reading. Thinking. Confessing. Part 3.

Reading. Thinking. Confessing. Part 3.

About the Author

Gregory Parker, Jr. is Assistant Director of Postgraduate Research and Associate Dean of the Alexandrian Institute.

Reading. Thinking. Confessing. Part 3.

This is the third essay, in a three part series titled: “Reading, Thinking, Confessing”.‍

Reading. Thinking. Confessing. Part 3.
Reading. Thinking. Confessing. Part 3.

Confessing

In the first and second essay, I brought attention to Goethe’s Faust. The academic who exchanged his soul in an attempt to go beyond his own limitations. Jaroslav Pelikan depicts Faust as a seeker.1 He is a scholar who strives and strays. There is a lack of dependence upon God in his scholarship and in his life. His study has detached him from the truth and in Part I, Faust himself makes no confession of faith in God. Early in his engagement with Margarete, she asks Faust repeatedly if he believes in God. He deflects until her persistence insists upon itself. So he replies:

“Don’t misunderstand me, lovely girl. / Who dares name him, / Dares affirm him, / Dare says he believes? / Who feeling doubt, / Ventures to say right out, / I don’t believe? / The all-embracing, / All-sustaining, / Sustains and embraces / Himself and you and me. / Overhead the great sky arches, / Firm lies the earth beneath out feat, / And the friendly shining stars, don’t they / Mount aloft eternally? / Don’t my eyes, seeking your eyes, meet? / And all that is, doesn’t it weigh / On your mind and heart, / In eternal secrecy working, / Visibly, invisibly, about you?— / Fill heart with it to overflowing / In an ecstasy of blissful feeling / Which then call what you would; / Happiness! Heart! Love! Call it God!— / I know no name for it, nor look / For one. Feeling is all, / Names noise and smoke / Dimming the heavenly fire.”2

Faust’s description of God is thoroughly Romantic and pantheistic, and therefore just as much a statement of disbelief as it is a language game expressing the Infinite.3 What we do not have here is a confession of belief in the God of Christian orthodoxy. All of his reading and thinking has not led him to confession of God’s great glory, but to obfuscating who God is. The young maiden Margarete perceives this clearly:

“It sounds fine when it’s put your way, / But something’s wrong, there’s still a question; / The truth is, you are not a Christian.”4

Yet, Goethe, the author of Faust, envisioned that in the end Faust would be vindicated. This is primarily seen through the climactic final speech in Part II. Climactic, because it returns readers to the blood oath that Faust made with Mephistopheles in Part I: 

“A bet! I swear! / If ever I plead with the passing moment, / ‘Linger a while, you are so fair!’ / Then chain me up in close confinement, / Then serving me no more’s your care, / Then let the death bell toll my finish, / The unreluctantly I’ll perish, / The clock may stop, the hands fall off, / And time for me over with!”5

Which is mirrored in Part II: 

“Then, then, I might say to the passing moment, / ‘Linger awhile, you are so fair! / The footprints of my earthly passage cannot / Even after eons disappear.’ / Foreseeing such scenes of unmatched contentment, / I now enjoy the highest, supreme moment.”6

Accordingly, after the Devil acquires the requisite line from Goethe’s mouth he dies. Eudo Mason, rightly asserts, how Goethe attempts to portray Faust in this final speech:

“The point is that Faust’s dying vision, humanly and ethically considered, embodies a magnanimous, altruistic programme motivated by high ideals and sense of the brotherhood of man, and that as such it shows Faust in the most favourable light.”7

In the end, Goethe intends to portray Faust as a genius, an “enlightened despot”,  in the ilk of Napoleon, Frederick the Great, and Peter the Great.8 The salvation of Faust then originates out of an entirely Enlightenment dressed story and worldview. But Faust is not the only one who experiences salvation in Goethe’s story. Margarete (who, albeit in a conflation of protestant and Catholic thought) provides a more identifiable Christian narrative than Faust’s life. 9

It is not Faust, but Margarete who offers us a model of confession. Throughout Part I, she is put forth as simul iustus et peccator (simultaneously sinner and justified). In our first introduction to her as a reader she is leaving confession.10 Mephistopheles even comments, “She is the soul of innocence/And has no reason, none at all/To visit the confessional. Her kind is too much for me.”11 Later we are told her nose is “forever in a prayerbook.”12 Mephistopheles even chides Faust for allowing Margarete to put  “the Doctor through his catechism.”13 To which Faust responds:

“Monster [that is Mephistopheles], lacking the least comprehension / How such a soul, so loving, pure, / Whose faith is all in all to her, / The sole means to obtain salvation, / Should be tormented by fear / The one she loves is damned forever!”14

Most importantly, after her private and public sins (uniting with Faust out of marriage, her part in the death of her brother, mother, and child) she confesses and places her dependence upon God:

“In your hands, our Father, oh save me!” / You angelic hosts, stand about me! /Draw up your ranks to protect me!”15

And it is after this that the heavens announce: “She shall be saved.” 16

This brings us to the central aim of this third essay, that of confessing. Confession commences, permeates, and is the proper end of the activity of faith seeking understanding. It is therefore the fitting end to reading and thinking. In this essay, I primarily consider confessing, as that activity, which is pregnant to faith seeking understanding. Pregnant, because faith seeking understanding must give birth to confession and is born out of the confessing individual.

On Confessing

The word confession or confessing has a plethora of meanings within protestant Christianity. It may describe the individual christians turning away from sin and toward God. As Wittgenstein once said, “A confession has to be a part of your new life.”17 In this sense, confession is a term that refers to repentance, an activity which the Christian is to be active in throughout their life.18 This is primarily the way I use confession above in reference to Faust.  

In another sense, confession may refer to those symbols and creeds that define what Christians believe both personally and collectively. In other words, a confession of faith, such as the Belgic Confession or the Westminster Confession of Faith. As John Webster put it:

“A creed or confessional formula is a public and binding indication of the gospel which is set before us in the scriptural witness, through which the church affirms its allegiance to God, repudiates falsehood by which the church is threatened, and assembles around the judgment and consolation of the gospel.”19

The word confession may also refer to the personal and corporate act of praise. In what follows, I use confessing chiefly in the third sense: the thankful, public voicing of faith in the God who has spoken. It is the necessary beginning and end of reading, and thinking. Beginning because faith seeking understanding begins in Augustine’s words with: “I believe so that I may understand.”20 The end of faith seeking understanding Bavinck portrays well, that just as the individual—made in the image of God— “absorbs the thoughts of God embedded in creation” and makes them his own, he must then, “express them again in his own words.”21 The ‘I believe’ is at the beginning and end of intellectual inquiry. The appropriation of truth into the mind of the Christian, becomes as it were a part of them, and is then taken up in the activity of confessing. In other words, thinking too must come to a head. In our case, it must return to its starting position or following the idea of Romans 11:36 it must return to God. “To him be the glory. Amen.”

Anselm and Confessing

In contrast to the two earlier essays, I want to appeal at this point not to Augustine (who clearly saw the importance in confession, considering the name of his autobiographical work Confessions and the resplendent praise of God that permeates every page of the work), but to Anselm’s Proslogion. Anselm’s starting and ending are similar, but not the same. It begins and ends with the “I believe” or the believer taking up the activity of faith. Faith permits him to begin the task of seeking understanding. This same faith, at the end—having argued God to be the supreme good—now confesses and expresses how good this good must be and expresses in the joy and love of this good.22

In chapter one, Anselm desires that we awaken our soul to seek God through the self (i.e. in an Augustinian manner through the image of God), in humility and dependence upon God. Two petitions shape his prayer: (1) We cannot seek God unless he teaches us23 and (2) We cannot find God unless he reveals Himself.24 Having confessed that seeking and finding God depends on divine action (c. 1), Anselm now asks God to grant understanding of what faith already confesses, that God exists and is as faith believes Him to be (c.2). The famous argument (“that-than-which-nothing-greater-can-be-thought”) is undertaken in faith.25 Anselm posits by the fourth chapter, that faith seeking understanding recognizes that God necessarily exists and from this, the individual is able to conclude God as “that-than-which-nothing-greater-can-be-thought.”26 From chapter two to 14, Anselm’s argument traverses the divine attributes. Namely, that God is good (c.5), a spirit (c.6), omnipotent (c.7), merciful and just (c.8-11), simple (c.12), and eternal (c.13).

In chapter 14, Anselm returns explicitly to the theme of faith seeking understanding, asking: “Have you found, O my soul, what you were seeking?”27 With an affirmation of the divine attributes he reinforces for the reader the need for God’s grace in the task of seeking understanding. Desire, in particular, plays a key theme here. Our desire too must also be reformed; Anselm does not ask merely for intellectual clarity, but for purified longing.28 Faith seeks understanding not only to know better, but to love more truly. Understanding fulfills longing rather than ending it. Chapter 14 marks a turning point in the Proslogion. Faith finds what it seeks, yet what it finds awakens still deeper seeking.

The remainder of Proslogion then moves backwards and forwards in his argumentation. He returns in c.15 to the idea that God is “that-than-which-nothing-greater-can-be-thought” to amplify it. Not only is “that-than-which-nothing-greater-can-be-thought” but he is also “something-greater-than-that-which-can-be-thought.”29 Anselm presses into God’s incomprehensibility in c.16, his knowability in c.17 (through created things), his divine simplicity once more in c.18, his eternity in c.19-21, before asserting again God’s existence.  As the capstone to Anselm’s seeking we arrive in chapter 23 at an articulation of God as Triune. The Father eternally utters His Word, the Son, who is equal to Him and nothing other than what God is. From the mutual love of Father and Son proceeds the Holy Spirit, who is likewise equal and none other than God.  Therefore, the one necessary and perfect, indivisible divine essence is wholly Father, Son, and Holy Spirit.30

The final 3 chapters then orbit the great joy of knowing this God.

As Anselm asserts in c.24: “Now my soul, rouse and lift up your whole understanding and think as much as you can on what kind and how great this good is.”31 Faith seeking understanding becomes faith reveling in joy. Having found God as the supreme good, faith now contemplates how great that good must be—fuller than every created delight because all goods are effects of God’s goodness. United to God’s will, the blessed will receive every true good in Him and rejoice even more in God’s joy than in their own. Knowledge deepens love; love expands joy; joy exceeds every capacity to contain it. 

Accordingly, Anselm ends where he began, praying to know and love God more now, so that faith’s seeking may flower into perfect, overflowing joy.  As Anselm voices:

“Until then let my mind meditate on it, let my tongue speak of it, let my heart love it, let my mouth preach it. Let my soul hunger for it, let my flesh thirst for it, my whole being desire it, until I enter into the ‘joy of the Lord’ [Matt. 25:21], who is God, Three in One, ‘blessed forever. Amen’ [1 Rom. 1:25].”32

The task of faith seeking understanding, what I called earlier theological thinking, has one end—that of confessing and reveling in the glory of God.

The Benefits and Vulnerabilities inherent to Confessing

Throughout these three essays, Faust has acted as the antithesis of the Christian, particularly the theologian. He is one who reads and thinks, but in his reading and thinking strives to surpass his own limitations. In all his learnedness (particularly in Part I) he finds ways to avoid confessing who God is. Ultimately, Faust depicts for us the misery of striving. For Faust his reading and thinking lacks an end and beginning in confessing. 

We speak of who God is because God has spoken to us. All of theology rests on the simple principle of Deus dixit “God has spoken.” As Christians we mimic God’s speech with our speech.

The vice that ought to be evident from Faust is that of self-exaltation. The temptation to confess the self as the greatest and supreme good and therefore to pursue ends that are immanent to the self. In his wake, in his engagement with the world, there is consistently the using of all things for his own purposes. Reading and thinking cannot be ends in themselves, but must lead us to the twofold love of God and neighbor. When one reads and thinks for the sake of one’s own self (as a self-decieved conception of garnering favor before God), one fails to understand the communal aspect to the Christian life. When study terminates in the self, confession becomes self-display; when study unfurls outward in love of God and neighbor it takes on an essentially communal flavor. (see Inst. Book III, c.6, §4) “a doctrine not of tongue but of life”)

I offer here an additional vice, that of ennui or loss of wonder. What Kelly Kapic calls “theological detachment.”33 It is instructive and lovely that Anselm’s whole work is an extended prayer. Our reading and thinking ought to lead us to confession of God’s greatness and intimacy with him. As Herman Bavinck put it:

“Their faith turns into wonder; knowledge terminates in adoration; and their confession becomes a song of praise and thanksgiving. Of this kind, too, is the knowledge of God theology aims for. It is not just a knowing, much less a comprehending; it is better and more glorious than that; it is the knowledge which is life, ‘eternal life’ (John 17:3).”34

One final consideration must be made and that is to return to Bavinck’s own diary from the first essay.35 Now that a fuller picture of Faust has been offered can a further suggestion be made for why Bavinck places this at the start of his university diary?  Seen in this light, Bavinck’s diary header names not only a vulnerability, but also a summons. Ex animo et corpore names the whole person body and soul, head and heart, who must be taken up into service to God. The addition of Faust’s line, “Everything transitory is symbolic only” then becomes a summons to read the world as a gift that points beyond itself to God. The theologian’s study then becomes an opportunity to read, think, and return to God in praise with the whole world declaring to him God’s glory.


Readers following my footnotes may note that I diverge from Bavinck’s similarly named essay “Reading, Thinking, Speaking” to arrive at “confessing.” Why Confessing? This is a Webster inspired move that I am adopting. However, I do not think it is out of line with Bavinck’s own argumentation. For example, Bavinck writes: “And so receiving God’s revelation, they cannot be silent; they become revealers themselves in their turn; God’s name shall be on their foreheads, [and he] shall shine in them and through them. God’s revelation makes us into revealers. And so it is in science and art. He who knows—truly, verily knows—cannot be silent; he must speak…Everyone has his own voice—angels, animals, men—they have their own voice, tune, mood. We have to speak the wonderful works of God, each in his own way. But the content is the same and the aim is the same. The content is the work, and the aim is the glory of God.” (Bavinck, “Reading, Thinking, Speaking,” 14-16). We confess with our mouths the magnalia Dei, to magnify his glory.


  1. 1. Pelikan, Faust the Theologian, 18-20.
  2. 2. Goethe, Faust, Part I, Scene XII, L: 3500-3527.
  3. 3. Goethe, Faust, Part I, Scene XII, L: 3531-3534:

    “I speak as all speak here below,
    All souls beneath bright heaven’s day,
    They use the language that they know,
    And I use mine. Why shouldn’t I?”
  4. 4. Goethe, Faust, Part I, Scene 12, L: 3535-3537.
  5. 5. Goethe, Faust, Part I, Scene 4, L: 1724-1732.
  6. 6. Goethe, Faust, Part II, Act 5, Scene 7, L: 11941-11946.
  7. 7. Eudo C. Mason, Goethe’s Faust: Its Genesis and Purport (Berkeley: University of California, 1967), 343.
  8. 8. Ritchie Robertson, “Goethe’s Faust II: The Redemption of an Enlightened Despot,” Publications of the English Goethe Society, Vol. 91, no.1 (2022): 43-57, 53.
  9. 9. Pelikan, Faust the Theologian, 110-113.
  10. 10. Goethe, Faust, Part I, Scene 7, L: 2669-2770: “Oh, her. She’s just been to confession/ To be absolved of her sins.”
  11. 11. Goethe, Faust, Part I, Scene 7, L: 2673-2676.
  12. 12. Goethe, Faust, Part I, Scene 9, L: 2868-2869.
  13. 13. Goethe, Faust, Part I, Scene 17, L: 3599-3600: “How she put the Doctor through his catechism,/From which he’ll have, I trust, much benefit.”
  14. 14. Goethe, Faust, Part I, Scene 17, L: 3606-3609.
  15. 15. Goethe, Faust, Part I, Scene 25, L: 4772-4774.
  16. 16. Goethe, Faust, Part I, Scene 25, L: 4776.
  17. 17. Ludwig Wittgenstein, Culture and Value, trans. Peter Winch (Chicago: University of Chicago Press, 1980), 18e.
  18. 18. Tom Greggs, Dogmatics Ecclesiology: The Priestly Catholicity of the Church (Grand Rapids, MI: Baker Academic, 2019), Vol. I, 374-375.
  19. 19. John Webster, “Confession and Confessions,” Toronto Journal of Theology 18, no. 1 (2002), 167-179, 171.
  20. 20. Augustine, “Sermon 43: On What is Written in Isaiah: Unless You Believe, You Shall Not Understand,” in The Works of Saint Augustine: Part III - Sermons; Vol. II: Sermons 20-50, trans. Edmund Hill, eds. John E. Rotelle (Brooklyn: New City Press, 1990), 238-243.
  21. 21. H. Bavinck, Magnalia Dei, trans. Gregory Parker Jr. and Cameron Clausing (Peabody: Hendrickson, 2026), 388 (Dutch pagination).
  22. 22. Anselm, “Proslogion,” cf. c.1, pg. 84-87; c.24-26, pg. 100-101.
  23. 23. Anselm, “Proslogion,” c.1, pg. 86: “Teach me to seek You, and reveal Yourself to me as I seek, because I can neither seek You if You do not teach me how, nor find You unless You reveal Yourself.”
  24. 24. Anselm, “Proslogion,” c.1, pg. 86-87: “Let me seek You in desiring You; let me desire You in seeking You; let me find You in loving You; let me love You in finding you.”
  25. 25. See also Lydia Schumacher, “The Lost Legacy of Anselm’s Argument: Re-Thinking the Purpose of Proofs for the Existence of God.” Modern Theology 27, no.1 (January 2011): 87-101.
  26. 26. Anselm, “Proslogion,” c.2, pg. 89.
  27. 27. Anselm, “Proslogion,” c.14, pg. 95.
  28. 28. Anselm, “Proslogion,” c.14, pg. 95.
  29. 29. Anselm, “Proslogion,” c.15, pg. 96.
  30. 30. Anselm, “Proslogion,” c.23, pg. 100.
  31. 31. Anselm, “Proslogion,” c.24, pg. 101.
  32. 32. Anselm, “Proslogion,” c.26, pg. 104.
  33. 33. Kelly Kapic, A Little Book for New Theologians: Why and How to Study Theology (Downers Grove: IVP Academic, 2012), 9.
  34. 34. H. Bavinck, Reformed Dogmatics, Vol. I, 621; see also, H. Bavinck, Magnalia Dei, 105 (Dutch pagination):

    “Therefore, the truth laid down in Scripture leads, on its own accord, everyone who believes and embraces it to a confession. Confession is the calling of all believers and also the impulse of their hearts. Whoever truly believes, with all his heart and soul, cannot do otherwise but confess (that is, bear witness to) the truth that has set him free and the hope of this truth that has been planted in his heart (Matt 10:32; Rom 10:9-10; 2 Cor 4:13; 1 Pet 3:15; 1 John 4:2-3).”
  35. 35. This Faust quote—“Everything transitory/ is symbolic only” (Alles Vergängliche ist nur ein Gleichnis)—also appears in the writing of Adriaan Steketee (1846-1913). Steketee was a professor in Kampen who Bavinck somewhat awkwardly replaced when he joined the faculty. However, among the faculty in Kampen Steketee had the most influence on Bavinck. Steketee identifies this as a “medieval quote” that was wrongly appropriated by the pantheism of Faust. Rather than the pantheism of Faust it is meant to point to the idea that “the natural exists for the sake of the spiritual.” [Dutch: Het natuurlijke is er om het geestelijke]. (See A. Steketee, Beschouwingen van Een Christen-Denker (Kampen: J.H. Kok, 1914), 79-80).

Public domain artwork used in this essay:
  1. Hero banner: Caspar David Friedrich, The Monk by the Sea, 1808–10, oil on canvas, Alte Nationalgalerie, Berlin.
  2. Body image 1: Ary Scheffer, Marguerite Leaving Church, 1838, oil on canvas, Detroit Institute of Arts.
  3. Body image 2: Eugène Delacroix, Marguerite at the Church, 1828, lithograph, Cleveland Museum of Art.
  4. Body image 3: Ary Scheffer, Margaret at the Fountain, 1858, oil on canvas, Wallace Collection, London.
  5. Body image 4: Albrecht Dürer, Praying Hands, 1508, pen and ink with white heightening on blue paper, Albertina, Vienna.
  6. Body image 5: Emanuel de Witte, Interior of the Oude Kerk at Delft during a Sermon, 1651, oil on canvas, Wallace Collection, London.
  7. Body image 6: Rembrandt van Rijn, Philosopher in Meditation, 1632, oil on panel, Louvre, Paris.

Resources
Article
Reading. Thinking. Confessing. Part 3.
Close-up of a hand typing on a laptop keyboard in dim lighting.