I have so far profiled Clement here, and his major trilogy here. But in this third post on Clement of Alexandria, I would like to focus in on the first of those three major works. The Protrepticus.
This first work, split into twelve books, makes the case for the Christian faith. More specifically, Clement addresses a pagan audience, and presents them with Christ, the Divine Logos, the only true Saviour of humanity. The twelve books are divided into two groups of six. Books 1-6 form the argumentatio, where Clement considers the gods of ancient Greece and Rome. The likes of Zeus and Bacchus are exposed as daemonic falsehoods. Lies and demons used by the Evil One to corrupt humanity, and lead them to an immoral end.
In a stark contrast to the first half of the work, Clement turns to present the Christian Gospel in books 7-12, his refutatio. Refuting the claims of the pagan gods, Clement shows how Hebrew and Christian Scripture, and even the writings of the pagan world, point to one true God ruling over all. Clement then shows his readers Christ. The Divine Word made man. The coming, immortal Saviour of humanity.
The work sets the truth, hope and life of Christ against the immorality, falsehood and death of the pagan gods. As his appeal builds in the tenth book, Clement makes the comparison clear.
“It is the Lord of whom you are ashamed. He promises freedom, but you run away into slavery! He bestows salvation, but you sink down into death. He offers eternal life, but you await His punishment; you prefer the fire, which the Lord has prepared for the Devil and his messengers!”
Clement of Alexandria, Protrepticus, 10.
Christ offers freedom, salvation and life. Yet mankind so willingly embraces slavery, death and punishment. Clement’s appeal is salvific: repent and be saved! Turn from the lies of the world, embrace Christ alone! It is a wonderful cry, and a brilliant argument. Truth against lies, life against death, hope against despair.
A Reasoned Faith
In the Protrepticus, Clement confronts the unbeliever with this reasoned faith. As he presents his pagan readership with the Divine Logos of Christ, Clement seeks (1.2) to “let truth… point to salvation.” As the scholar David Rankin puts it (2005, 6) “[the Protrepticus] is purposed for exhorting conversion to the faith and directed towards pagans.” Clement is wanting to show his readers the truth of Christ, exposing the falsehoods of their own beliefs, and urging them to thus embrace a reasoned faith.
Faith in Christ is not the blind belief of the pagans. It is not the irrational faith of those who believe in the gods of Greece or Rome (gods Clement quite clearly believes – Book 3 – are dead!) No, faith in Christ, says Clement, is reasoned. It is dependant on truth, it is predicated on Christ’s work of salvation.
Challenging Culture with a Better Story
But Clement doesn’t just present his truth of Christ in a vacuum. He clearly holds is up to and against the gods of the ancient world. Clement opens his work with the music and myths of famous pagan minstrels. Amphion, Arion and Eunomus open the first book, before Clement brings on Orpheus, the most famous ancient Greek musician. All these men sing songs in praise of the gods of the ancient world, says Clement, but what does their music amount to?
“By their chants and enchantments they have held captive in the lowest slavery that truly noble freedom which belongs to those who are citizens under heaven…”
These musicians are part of a culture, a religious infrastructure, that enslaves humanity! Their very songs are part of the lies that doom Clement’s pagan readers. But, says Clement, there is more. He continues:
“… But far different is my minstrel, for He has come to bring to a speedy end the bitter slavery of the daemons that lord it over us!”
Clement’s minstrel is Christ. And the song He sings, the message He brings, is so much sweeter to hear. It is a message of hope, one of real life. Clement goes on throughout his work to engage with this song of the pagans. He uses the poetry, drama, philosophy and history of the Greeks and Romans to show his readers their gods. He uses their own words to expose the lies they believe. And then he points them to Christ. He tells them the story of their broken worldview, and then he gives them the better story of Christ.
It’s a wonderful rhetorical structure. Clement weaves in literature from across the ancient world to tell these two stories, and at the end of it, the only rational response is faith in Christ. The pagan gods are pathetic before the wonderful might of Christ. Clement’s greater Minstrel is the true God. Clement challenges the culture of the ancient world, he engages with it, and he leads his readers to look to Christ.
Because as Clement works through his exposé of the gods of ancient Greece and Rome, he highlights the sinfulness of his readers. Taken in by lies, they embrace the moral depravity and licentiousness of these daemonic gods. And their end is destruction.
But Clement brings Christ onstage to offer hope to a fallen and broken humanity. Christ has come to enact salvation for a lost humanity. Even the vilest offender is not too far gone. And so Clement closes his work with a simple appeal.
“But with you still rests the final act, namely this, to choose which is the more profitable, judgement or grace.”
The stories have been told. Reasoned and rational faith is the answer. So it is time to decide, a final question to a world that believes in dead gods, judgement or grace?
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