Abstract

A long tradition of criticism, which has its roots in the Romantic era, admires Pascal as a dark, a tortured writer, an incomparable representative of human misery, of the anguish of existence, of the abysses that threaten us all. It is commonly understood that he is a magnificently sinister writer. This perspective, well established today in most minds, in the honest man as well as in the student or teacher, reduces Pascal’s work to a poor apologetic manoeuvre and transforms his anthropology into a one-sided indictment, impressive by its very excesses, which we savour with a shudder. The present study aims: 1) to sketch a genealogy of this error of perspective, 2) to examine its dangers and measure its damage, to indicate why it is not acceptable, and 3) to propose some reflections on the place of the greatness of man in Pascalian anthropology. Three patterns of greatness can be identified in the Pensées: logical, paradoxical and phenomenological.