Abstract
Abstract This Introduction rehearses many of the key themes in the book through an examination of rhythm in Augustine’s De musica and De trinitate. In particular, it draws attention to the way Augustine avoids using the term ‘harmony’ (despite the English translations) because his attention is to the ‘interval’ between the rhythms of the created order (which is an order of love) and the divine, Trinitarian rhythm. For Augustine, this difference and yet consonance, governs the nature of written theology and the eloquence to which it must aspire. It is an eloquence in which the Word resonates within human language. The Introduction ends reflecting upon the writing of eloquent and mimetic theologies today and the attempt at such a composition that will follow in the subsequent chapters.
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