A curse of recent theology has been the cult of the virtuoso theologian, the creative mind who recasts the field, the Schleiermachers and Barths of the discipline, Promethean figures who blaze the path others are to follow. Much academic work in modern theology seems less the study of God or of the Christian message about God, and more the study of the creativity of great theologians.
When Pannenberg broke onto the scene in the 1960s, he was treated as the new candidate for these laurels, the latest thing from Germany, the land of giants. His program of a thoroughgoing interpretation of the Christian message under the rubrics of history and eschatology looked like another interpretive tour de force, another exercise in killing the Oedipal father (or fathers, in the form of Barth and Bultmann) so that the children are free to pursue their own projects. The actual shape of Pannenberg’s achievement has been somewhat different. The quasi-scholastic tone points at least to a different intent, a more humble subjection to the subject matter.
Joe Mangina just reminded of me this wonderful passage. Can the “virtuoso theologian” truly serve the Church? Perhaps not as such. Virtuosity may perhaps be one of those traits that has to be purged, either by the theologian himself or by his readers.