This illuminating analysis of Jonathan Edwards' philosophical-theological-ethical program focuses on his concept of beauty as our central clue to the nature of reality and the life of God. Delattre shows that beauty not only provides Edwards with a model for the manner of divine governance but operates throughout his thought as both the goal and means of redemption. Essential to his understanding of the operation of beauty as the law of moral order is Edwards' aesthetic/affectional model of the self, which corresponds to his aesthetic articulation of the system of being and good. Thus the distinguishing mark of Edwards' theology--his elevation to centrality of both the primary beauty of being's cordial consent to being and the secondary beauty of harmony and proportion--is shown to be the key to his interpretation of the dynamics of the moral and spiritual life.

Examining the theological ethics of Jonathan Edwards, William Danaher Jr. shows that Edwards's doctrine of the Trinity both was foundational to Edwards's thought and is the necessary framework for understanding the theological and moral vision expressed in his writings. This Trinitarian interpretation identifies what distinctive contribution Edwards makes to contemporary Christian ethics, particularly concerning the nature of virtue, the will, sin, evil, and love. The Columbia Series in Reformed Theology represents a joint commitment by Columbia Theological Seminary and Westminster John Knox Press to provide theological resources from the Reformed tradition for the church today. This series examines theological and ethical issues that confront church and society in our own particular time and place.

This dissertation is a theological analysis of the trinitarian shape of Jonathan Edwards' aesthetics of beauty. The contributions of this dissertation lie chiefly in three areas. The primary aim of this study is to advance the burgeoning field of the study of Jonathan Edwards by elucidating his views of beauty. In so doing, I present him as a rich source for the theological engagement of beauty, which could serve not only the field of Edwards studies, but also that of theological aesthetics more broadly.

Like the great speculators Augustine, Aquinas, and Pascal, Jonathan Edwards treated religious ideas as problems not of dogma, but of life. His exploration of self-love disguised as "true virtue" is grounded in the hard facts of human behavior. More than a hell-fire preacher, more than a theologian, Edwards was a bold and independent philosopher. Nowhere is his force of mind more evident than in this book. He speaks as powerfully to us today as he did to the keenest minds of the eighteenth century.

Jonathan Edwards has long been accorded a place in the front rank of colonial American writers; his aesthetics are now recognized as the primary characteristic of his theology; and his writings are judged worthy of extended literary analysis. Oddly, perhaps, no attempt has been made to discover if in his aesthetics Edwards attributes a particular significance to art. The discussion to follow contends that art as an instance of what he termed secondary beauty can perform a vital religious function by enabling the saint to conceive, and subsequently receive or revive, the particular emotional sensation that constitutes the religious experience - which Edwards referred to as the sense of the heart. My purpose in what is to follow is not to survey and to analyze Edwards' writings as works of art but to probe his aesthetic theory in order to discern the import he assign to art.

This book is written to explore the qualities of a healthy, biblical faith. Much of Jonathan Edwards's work on the nature and inclination of our affections is obscured by difficult language and culturally distant descriptions. The same is true regarding his work describing the object of our affection. Granted, there has been a good deal of secondary work done unpacking these ideas, but very little of it is accessible for the average Christian reader. Our primary command is to love the Lord our God with all our hearts. In considering the nature of our affections and the ideas of beauty that engage them, this book is written to develop the most foundational dynamic of our faith. In other words, we will look at both our love (affection) and our God (beauty). Something is broken about us; why else would we find Netflix more entertaining than worship? This is actually good news, because it means there is something more to our faith than we have yet experienced. This book is written to begin the healing process by looking at a biblical view of a renewed heart and rightly ordered affections.

Jonathan Edwards on the Experience of Beauty relates Edwards' idea of beauty to his understanding of the psychology of religious experience. In his vocabulary of the language of beauty Edwards articulates a traditional understanding of beauty in the various relations that constitute primary and secondary beauty. All beauty, however, is ultimately founded on the beauty of God's Trinitarian being. Edwards' concept of the "sense of the heart," related to his psychology of religious experience, is articulated as an infusion of God's beauty. This experience results in a new perception and manifestation of holiness and beauty in the lives of the saints, both individually and corporately. True believers are to be "proportioned Christians," showing forth beauty in their affections. Edwards explicated this perspective in sermons, treatises--especially Religious Affections--and in a number of cases he presented, including the religious experiences of David Brainerd, Sarah Edwards, and his own awakening and conversion. In these cases, the language of beauty plays a prominent descriptive role. In summary, Jonathan Edwards on the Experience of Beauty shows the importance of Edwards' idea of beauty for his understanding of genuine religious experience. Edwards defines true or genuine religion as an experience of God's beauty that becomes manifested in the beauty of the affections. Further, in articulating that understanding, he utilized the vocabulary of his language of beauty. For Jonathan Edwards, beauty is the structure of genuine religious experience.