By Alister E. McGrath
Эта книга одного из самых известных современных христианских авторов исследует историю небес, от их происхождения в библейских письменах к самым новым представлениям о них.
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And how does it relate to the Christian idea of heaven? In the previous chapter, we reﬂected on the image of the city as a model for heaven. Yet models drawn from nature itself have their place in this discussion. The image of the garden brings together the natural and the cultural – the raw beauty of nature combined with the human desire to allow this beauty to be showcased, presented to its best advantage by framing it in a certain manner. For Henry David Thoreau, nature was “nobody’s garden” – a way of looking at the natural order that stressed its beauty, independent of human fabrication or engineering.
While Hildegard’s imagery is clearly derived from Revelation, she effortlessly melds familiar Gospel images with its fabric to yield a rich spiritual tapestry. Many writings of this period are saturated with the hope of heaven, often coupled with ambitious and occasionally highly experimental reﬂections on the urban geography of this celestial city – for example, as in Giacomo da Verona’s On the Celestial Jerusalem (1260), and the “Vision of Thurkil of Essex” (1206), which is probably the work of Ralph of 24 The City: The New Jerusalem Coggeshall.
Gerardesca clearly recognizes a hierarchy within this celestial paradise. Although she insists that all the saints are inhabitants of the New Jerusalem, her vision places saints of the ﬁrst rank, including the Virgin Mary, in the central city, and lesser saints in its outlying fortresses. The Pelerinage de Vie Humaine (“Pilgrimage of Human Life”), written by Guillaume de Deguileville in the period 1330–1, opens with the poet describing a vision of the New The City: The New Jerusalem 23 Jerusalem, which rapidly becomes the goal of his life.
A Brief History of Heaven by Alister E. McGrath