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By Emanuel Swedenborg

This paintings comprises Swedenborg’s way to the “problem of evil”—that is, to the query of ways one is to reconcile the proposal of a loving God with the life of evil, worry, and agony. it's also anything of a self-help publication, exhibiting what the person must do with a view to switch inwardly. As part of its basic presentation of the motion of divine windfall, it contains a nuanced dialogue of freedom of the need and arguments opposed to conventional Christian notions: that a few everyone is predestined to hell and that it truly is attainable to be stored immediately.

The New Century version is a contemporary translation that includes the newest scholarship approximately Swedenborg and his times.
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"Written at a time of excessive philosophical and theological debate at the nature of God's governance of the realm, Swedenborg's Divine windfall is in lots of methods way more unique and thought-provoking than something produced through his contemporaries. George F. Dole's translation is very readable, and Gregory R. Johnson's authoritative creation not just explains Sweddenborg's frequently tough rules, yet locations them of their old context."
—Glenn A. Magee, Ph.D., writer, Hegel and the Hermetic

"Divine windfall is a demanding essay at the nature of human freedom, a forceful try to justify God's how one can humankind. . . . Dole's eloquent new translation . . . brings a huge and much-needed eighteenth-century treasure to a twenty-first-century world."

—Gary Lachman, writer, A mystery historical past of attention

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Sample text

And if all this seems too speculative, there is one concrete historical circumstance that may more securely link her condition as an anchoress with the liminal vernacularity of her theological and literary style. 36 Julian therefore enters her revelations from a deathbed on which she will not die. 37 And as the anchorhold is situated liturgically and symbolically between life and death, so also are Julian’s revelations situated theologically between time and eternity, between ecstatic vision and quotidian experience, between the uniqueness of her shewings themselves and the common responsibilities of her evencristen.

To imply any sort of disjunction between the mystical and the theological and therefore between the visionary and the mystical is, in Julian’s case, taxonomically unhelpful. If, therefore, Julian is a mystical theologian, this is simply because she is a theologian, a believing Christian constrained by the conflicts she experiences between the conjunctions that she must hold on to, that is, to both the unconditional sovereignty of the divine love and the undeniability of sin and evil in the world that love has created.

For that reason, then, neither is any subsequent reversal of the Cross’s violent defeat necessary, for it is precisely in that victory of sin over love that sin is defeated. In its victory over love sin defeats itself. Sin’s failure to engage perfect love in a contest on sin’s terms of violence and power is sin’s defeat, its power being exhausted by its very success. For killing is the best strategy that sin can come up with; it is sin’s last resort. The Resurrection, then, is the meaning of the Cross, the meaning that the vulnerability of love, its refusal of the sword, is stronger than sin’s power to kill.

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