It is the unfolding form of the Redeemer, relayed in the sequential order of the various crucial scenes of his life, which constitutes the true centre or mid-point of divine revelation. The dialectic of disclosure and concealment in the appearing of the divine Glory was resolved in favour of its positive pole only with the Cross and Descent into Hell, as became clear in the Resurrection. However, Balthasar would be the first to admit that the aesthetics cannot lay out all the themes of Christian theology, or at any rate not lay them out with equal cogency and liveliness. Moreover, he shows that a theological aesthetics opens us of its own nature to a theological dramatics. A word of being which is eloquent of being's gloriousness calls for an answering word, a response.
Expressive form inaugurates a dialogue.
It requires from man an adjudication, which must necessarily take place in language. Such dialogue, or linguistic confrontation, is highly germane to drama. Secondly, to appreciate a form aright, to receive aright its message, depends in some way or other on our having appropriate dispositions. Without a basic readiness to receive what the form has to offer, a willingness to entertain its message, the dialogue between the eloquent appearing of being and human language is more than likely to be at cross-purposes. And for such willingness or readiness to be in place, some engagement on the part of human freedom is required.