Comparative Analysis on Nature and Grace in the Augustinian and Thomistic Schools

Introduction It is important to have a clear understanding of how a person can attain holiness in this lifetime. The Bible clearly states that human beings had fallen short of the glory of God and therefore, there is a tremendous amount of pain and suffering in this world. It is imperative to be liberated by the forces that lead to depravity and other social problems. A closer examination of the spiritual problem will point to the need to deal with nature and grace.Advertising We will write a custom essay sample on Comparative Analysis on Nature and Grace in the Augustinian and Thomistic Schools specifically for you for only $16.05 $11/page Learn More It is only through a clear understanding of nature and grace that human beings can benefit from the beauty and power of conversion. As a result, a person can gain freedom from the impact of sin. The person who experienced true conversion is also on the path to regeneration. This study will take a closer loo k into the theological underpinnings of the terms nature and grace and how it can affect the lives of people and pastoral principles underpinning the vision and mission of Catholic institutions. Augustine and Aquinas have similar and at the same time different views when it comes to nature and grace. Augustine had a more simplified understanding of grace. According to the supporters of the Augustinian view, the nature of man has been corrupted beyond recognition and repair. This is the byproduct of the original sin; through the action of one man named Adam, sin has entered the world. Therefore, Augustine said that without the grace of God it is impossible for a human being to obey and follow the commandments of God. Augustinian View Before going any further it is important to clarify the meaning of grace. According to one commentary, â€Å"At its heart, the term grace has a connection with the idea of a gift.†1 Grace is understood as some form of power, the power to accomplis h something that at previous occasions were difficult to achieve. According to Augustine, grace is a liberating force.2 The power of grace is seen in its ability to free human beings from the bondage of sin. Human nature is seen as an overwhelming power that forces a person to do something against his better judgment. Thus, there are those who argue that a sinner does not have the power to resist temptation because it is in his nature to sin. Although Augustine fully understood the struggle and desperation experienced by believers who wanted to follow the commandments of God and failed miserably, he also believed that through grace mankind could overcome the power of human nature. It is imperative to make clear that Augustine did not subscribe to the idea that grace can dominate free will. An important feature of the Augustinian school of though regarding nature and grace is that man has free will to choose and that God has given him that free will.3 Augustine’s brilliance ca n be seen in the way he resolved the problem.Advertising Looking for essay on religion theology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Augustine said that although God continues to honor free will, he has devised a way for man to break free from the debilitating power sin. Augustine said that by grace, God has given man the ability to understand why it is better to follow his commandments rather than to disobey them. God does not violate free will because if he did, by manipulating thoughts and emotions to free him from sin, then, God will violate other spiritual principles as well. If one will use this framework, then it can be argued that God is careful not to violate free will in order to preserve the ultimate goal of creation. The ultimate goal of creation was to create human beings who will develop a holy and intimate relationship with God. Thus, in the Ten Commandments, believers were commanded to love God with all their hear t, mind, soul and strength. Another important component of the Augustinian model is that grace is seen as the healer of human nature.4 The sinner is sin as someone who is sick. Augustine uses the illustration of a hospital wherein sick patients are treated. Augustine said that human nature is sick and just like the Samaritan who was left for dead by robbers on the wayside. In the same manner, beings accept their fate that they are going to die in sin, until they are rescued by grace. Augustine went on to say that those who actively seek help will receive healing. Augustine went on to clarify three different functions of grace and these are listed as follows: 1) prevenient grace; 2) operative grace; and 3) cooperative grace.5 Prevenient grace comes from a Latin term, which means to go ahead.6 In other words, grace is active in the lives of people even before conversion. Grace works in advance to prepare the human heart for conversion. Augustine said that operative grace refers to how God works in the lives of sinners prior to conversion. He said that the conversion of sinners can be completed without the assistance of the human being. In other words, operative grace means that the work of conversion can be accomplished even without the help of man. At first glance it seems to conflict with other aspects of the Augustinian model. But it can be argued that the resolution to this conflict can be found if one will accept the premise that the work of conversion occurs in different stages. It can be said that at the initial phase of the conversion process, God does not require the permission of the sinner for God to do his work of healing the soul. However, as the work moves on to the next level it is imperative that the person is involved in the process.Advertising We will write a custom essay sample on Comparative Analysis on Nature and Grace in the Augustinian and Thomistic Schools specifically for you for only $16.05 $11/page Learn Mor e The last and final stage of the conversion process is regeneration. In this particular stage, God requires the participation of the person who experienced conversion. Thus, Augustine said that at this point, the other function of grace must be defined as cooperative grace. The collaboration produces spiritual growth. The person matures in a spiritual sense. Thomistic View It is impossible to have an accurate understanding of Aquinas’ view on nature and grace without mentioning the fact that this church father was greatly affected by the works of Aristotle. As a result Aquinas believes that man has the capability to use the mind as a tool to reach perfection. The same thing can be said about Augustine’s view with regards to regeneration because according to Augustine, God collaborates with the person in order to achieve spiritual regeneration. However, the main difference between Aquinas’ framework is that he believes, that it is in the nature of a converted man to please God.7 Aquinas clarified his assertion by pointing to Adam and he wrote: Adam in a state of perfect nature, could, by his natural power, do the good natural to him without the addition of any gratuitous gift. Now to love God above all things is natural to humanity and to every nature. Hence, in the state of perfect nature Adam referred the love of himself and of all other things to the love of God as to its end; and thus he loved God more than himself and above all things.8 One of the primary assertions of Aquinas was that grace does not destroy nature but perfects it.9 At first glance it seems that the Thomistic view of nature and grace echoes the same argument that can be found in the Augustinian framework. But upon closer examination, it will be revealed that there are significant differences. Augustine focused on the Original Sin. From this perspective nature is evil and continues to seek darkness rather than light. This view contrasts heavily with the theological a rgument of Aquinas. Aquinas continues to believe in the power of grace to bring people to the point of conversion. Aquinas agrees with Augustine with regards to the healing power of grace. But the major difference is that Augustine views grace as the ultimate cure. Aquinas on the other hand believes in the healing of the spirit in order for grace to take effect. In the Augustinian view, grace is so powerful that it can alter the perception of the human being especially with regards to depravity of the human nature. But the Thomistic view offers a another perspective with regards to the true effect of grace in the life of a person who seeks God. According to the Thomisitc view, â€Å"Grace does not primarily heal human will or desire; rather, it heals human nature.†10 Therefore, there is now the added capability plus the natural tendency to obey and pursue whatever it is that is linked to the nature of man.11Advertising Looking for essay on religion theology? Let's see if we can help you! Get your first paper with 15% OFF Learn More Aquinas did not contradict Augustine’s view with regards to the importance of grace when it comes to conversion and regeneration. Aquinas supports the various aspects of the Augustinian view on grace. But there is one aspect of the Augustinian framework that opposes a primary assertion of Aquinas and that is the free will. According to supporters of the Thomistic view, â€Å"If human acts of charity do not flow from and though flow from and though an immanent and infused virtue within a person, the virtue of charity, then, they will be the result of a natural virtue and will not surpass nature. These acts will not proceed at all from a principle or form immanent in the person, and in this case they will be neither voluntary nor meritorious acts; in fact, they will not be the acts of the person at all strictly speaking.†12 It is therefore important to acknowledge the importance of free will.13 Conclusion This study attempted to understand the theological underpinnings o f the terms nature and grace and how it can affect the lives of people and pastoral principles underpinning the vision and mission of Catholic institutions. Augustine differs with Aquinas on aspect because he believed that grace creates a powerful effect on the person so that grace is seen as a liberating force that enables the person to do the will of God. Aquinas on the other hand believes in the power of grace, but in his view, once grace has taken its effect, it is up to the person to pursue a life of holiness. According to Aquinas this is possible because the converted person reverts back to the nature of man before the Original Sin has taken its course on human lives. This discussion is important for Catholics because it provides a framework that can be used for the regeneration of the human soul. If one will take the view of Augustine, the converted person is blessed with the liberating power of grace. If one will support the view of Aquinas, the converted person is given the assurance that he has what it takes to achieve holiness in this lifetime. Both Augustine and Aquinas support the idea that God does not violate free will. The only difference between the two is the way they value the human element. Augustine has little regard to the importance of the flesh. Aquinas on the other hand believes that although the flesh is sinful, God has provided a way to reach perfection and that is none other than grace. Bibliography Cessario, Romanus, Reinhard Hutter and Matthew Levering. Resourcement  Thomism: Sacred Doctrine, the Sacraments, and the Moral Life. New York: Catholic University Press, 2010. Cooper, Jennifer. Humanity in the Mystery of God. London: Continuum Publishing, 2009. Davies, Brian. The Thought of Thomas Aquinas.  Oxford: Oxford University Press, 1992. Haight, Roger. The Experience and Language of Grace. New Jersey: Paulist Press, 1979. McGrath, Alister. Christian Theology: An Introduction.  MA: Blackwell Publishing, 2011. Osborne, Kenan. Sacramental Guidelines: A Companion to the New Catechism for  Religious Educators. New Jersey: Paulist Press, 1995. Porter, Jean. Nature as Reason: A Thomistic Theory of the Natural Law. Cambridge: Wm. B. Eerdmans Publishing, 2005. Footnotes 1 Alister McGrath, Christian Theology: An Introduction (MA: Blackwell Publishing, 2011), 80. 2 Ibid. 3 Jean Porter, Nature as Reason: A Thomistic Theory of the Natural Law (Cambridge: Wm. B. Eerdmans Publishing, 2005), 384. 4 McGrath, 80. 5 Ibid. 6 Ibid. 7 Cessario Romanus et al., Resourcement Thomism: Sacred Doctrine, the Sacraments, and the Moral Life (New York: Catholic University Press, 2010), 94. 8 Brian Davies, The Thought of Thomas Aquinas (Oxford: Oxford University Press, 1992), 264. 9 Jennifer Cooper, Humanity in the Mystery of God (London: Continuum Publishing, 2009), 86. 10 Roger Haight, The Experience and Language of Grace (New Jersey: Paulist Press, 1979), 60. 11 Kenan Osborne, Sacramental Guidelines: A Companion to the New Catec hism for  Religious Educators (New Jersey: Paulist Press, 1995), 27. 12 Haight, 60. 13 Davies, 27. This essay on Comparative Analysis on Nature and Grace in the Augustinian and Thomistic Schools was written and submitted by user K1nsey to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Biography of Frederick Chopin Essays

Biography of Frederick Chopin Essays Biography of Frederick Chopin Paper Biography of Frederick Chopin Paper Biography of Frederick Chopin BY HRHaya1 Composer Style Report: Fredric Chopin French Revolution signified a time of great change, influencing not only the political and cultural atmospheres of France and Europe but human society as a whole. The message of liberty, equality and fraternity were spread worldwide setting the stage for free thinkers and encouraging men of action to pursue independent endeavors through the Age of Enlightenment. Resulting partially from the libertarian and egalitarian ideals of the French Revolution and Age of Enlightenment, the Romantic Movement aimed to revolt against the prescribed rules and rigidity of its classical predecessors. The Classical Period was, in fact, a short era, generally spanning the second half of the eighteenth century. Of the various composers of this age, there are only three who are very widely known: Mozart, Haydn and Beethoven. The Romantic Era, however, produced many more composers whose names and music are still familiar and popular today: Brahms, Tchaikovsky, Chopin and Mendelssohn to name a few. Seeking new freedoms by rebelling against traditional ideas about art and reativity, the Romantics ignored realism and instead drew inspiration from emotions, dreams and the imaginative. Romantic artists celebrated nature, patriotism, passion, and the mystical world. 2 Contemporary musicians, though swept up in romantic ideals, respected the composers of earlier generations, such as Back, Mozart, and especially Beethoven. They continued to write symphonies, concertos, sonatas, and operas, all forms that were popular with composers of the preceding Classical Era. They also adhered to the rules that these musical forms followed through maintenance of the rubrics of rhythm, melody, harmony, harmonic rogression, tuning and performance practices of the Classical period. 3 Yet Romantic musicians yearned for new musical expression and sought to use richer harmonies and changing tempos. Emotional themes were very popular with an emphasis on feelings and expressive aspects of the music. The Romantic spirit often found inspiration in poetic texts, legends, and folk tales. The linking of words and music either programmatically or through such forms as the concert overture and incidental music is another distinguishing feature of Romantic music. 4 The possibilities for dramatic expressiveness in music were amplified by the erfection of the instrumental range and by the proliferation of specific instruments as the preferred means of composition and expression. Frederic Chopin propelled the Romantic Era to its fullest heights, significantly contributed to the rise of the piano as the ideal 19th-century instrument. Though he differs greatly from his Romantic contemporaries with music that is revered as some of the most technically demanding for the piano, he is known more for his nuance, his expressive depth and his ability to conjure up the melody of the human voice from the instruments keys. For such achievements and his superb blend of skill and artistry, Chopin was known as the Poet of the Piano. 5 Born in Zelazowa Wola, Poland, Chopin was a piano prodigy at an early age, playing his first concert at the age of 7 and publishing his first composition gaining him national recognition by the age ot 15 6 Chopin illustrates himselt as a true Romantic composer through is devotion to his homeland of Poland. Throughout the Romantic Period, music often took on a nationalistic purpose. Leaving Poland to perform across Europe, Chopin never lost his love and connection to his home ountry. He eventually settled in Paris but was forever marked by the sense of loss and national tragedy that overwhelmed Poland when Warsaw fell to the Russians in 1838. 7 As Chopin never returned to Poland after his departure at the age of 20, the composer retained a sense of mourning over his lost past and that very nostalgia is one of the key features of his music and all Romantic music. Chopins nationalistic ties to Romanticism can easily found in his musical creations. Throughout this lifetime, Chopin composed 15 polonaises and 58 mazurkas. Initially, these ompositions illustrate Chopins affinity for certain forms of expression due, in part, to his desire to retain clarity to structure. However, they also serve as an indication of two means by which Chopin expressed his links with his beloved homeland the Polonaise, a composition with a more martial, patriotic fervor and the Mazurka, a composition with a more intimate, melancholy longing. 8 The Mazurka, a composite of three distinct dance types rather than any single dance in particular gave Chopin a form in which to introduce many typically Polish harmonic, rhythmic, and melodic elements. Chopin elevated this folk dance to an art form yet managed to save the Mazurkas native charm and uniqueness. This evoked an exotic world, feeling and distinction to these compositions that epitomizes them as Romantic in character. Chopins music is iconic of the Romantic era. However, unlike his contemporaries, Chopin was not inspired at all by nature or poetry. His compositions were of a purer nature that was meant to be understood in purely musical terms without evoking literary or pictorial elements from the past. 10 Chopin broke from tradition and pioneer new musical ideas by the use of new harmonies, rhythms, and unusual yricism. The development of dissonance added tension and tragic emotion to his music. Several of these elements gave Chopins music a distinction, separating him as unique from his fellow artists. Chopin accelerated the genre of the nocturnes, invented by Irish composer John Field, to a whole new level. The Chopin nocturnes comprise of twenty-one short pieces for solo piano. Chopins nocturnes are considered the finest solo works for the piano. These nocturnes have had a major impact on music from Chopins lifetime and post-death. Chopins style influenced many succeeding composers such as Debussy nd Schoenberg. His romantic style influenced the remainder of the nineteenth century and extended well into the twentieth century. ll Even today, his works are still very popular pieces in Romantic music. Agnew, Signeli. Profile of Fredric Chopin: Poet of the Piano. PBS. PBS, n. d. Web. 11 July 2013. Aguilar, Jorge. Frederick Chopin: His Musical Styles. Frederick Chopin: His Musical Styles. University of Florida, 2003. Web. 11 July 2013. Alciatore, Robin. The Music of Fredric Chopin. Robin Alciatore. N. p. , n. d. Web. 11 July 2013. Christopher, Lau. Romanticism Music. Romanticism. Penn State University, n. d. web. 11 July 2013. Editors of Encyclopedia Britannica. Romanticism: Visual Arts. Encyclopedia Britannica Online. Encyclopedia Britannica, 17 Sept. 2009. Web. 11 July 2013. Libbey, Ted. The Life And Of Fredenc Chopin. NPR. NPR, 02 Mar. 2010. web. 11 July 2013. Malaspina, Ann. A Romantic Composer. Chopins World. New York: Rosen Central, Romantic Music Part Two. Romantic Music Part Two. N. p. , n. d. Web. 11 July 2013. Schmidt-Jones, Catherine. The Music of the Romantic Era. Connexions. Connexions, 18 Jan. 2013. web. 11 July 2013.