아우구스티누스의 작품인『인내론』의 친저성의 문제는 이미 오래 전 15세기에 에라스무스(Erasmus)에 의해 제기되었다. 구스타프 콩베(G. Combès)는『인내론』을 둘러싼 세 가지 문제점을 소개하고 이에 대해 반박하면서 친저성에는 아무런 문제가 없음을 밝혔다. 그러나 아고스티노 트라페(A. Trapé)가 제시한 “아우구스티누스의 눈으로 아우구스티누스를 읽어야 한다.”라는 방법론을 구현하는 실천 방법으로『인내론』의 친저성 문제를 부각시킨다. 친저성에 이의가 없는 다른 작품에서 발견되는 아우구스티누스의 고유한 내적 문체(아우구스티누스의 눈)로『인내론』을 새롭게 읽는다. 내적 문체로서 ‘기쁨’ 개념이 사용된다. 아우구스티누스에게 기쁨은 하느님 안에서는 분산되지 않고 오히려 하느님 안으로 응집되지만, 인간 안에서는 사라질 수 있다. 완전한 기쁨은 “당신의 모상대로 우리를 창조하신 삼위일체 하느님을 향유하는 것”에서 기인한다(『삼위일체론』I, 8, 18). 그러나 인간은 하느님의 향유를 외면하고 일시적인 것들에로 ‘확장할’(distensus) 수 있다는 한계를 갖는다(『고백록』XI, 29, 39). 이러한 인간의 한계는 교회 안의 형제들을 통해 극복될 수 있다. 교회 안에서 발견되는 기쁨은 삼중적인 차원(나-너-하느님)을 가지고 있는데, 이 기쁨은 우리(너와 나)가 하느님의 시선 아래에 있음을 항상 상기시키면서 ‘너’에게 열린 ‘나’를 요구한다. 아우구스티누스의 내적 문체를 형성하는 ‘기쁨’ 개념은 하느님에게서 출발하여 인간에게로 향하는 역동성을 가지고 있다. 『인내론』이 설명하는 ‘기쁨’ 개념에서 바로 이 역동성과 인간의 기쁨이 갖는 삼중적인 차원(나-형제들-하느님)이 발견된다. 따라서『인내론』은 아우구스티누스의 작품임을 확인할 수 있다. 또한『인내론』의 친저성을 확인하는 가운데 “아우구스티누스의 눈으로 아우구스티누스를 읽는다.”는 방법론이 어떻게 활용되는지 이해할 수 있다.

The question of the authenticity of St. Augustin's "The Patience" was raised by Erasmus in 15th century. G. Combès introduced three questions about this authenticity and showed his agreement to "The Patience." We can also insist "St. Augustin be read with Augustin's eyes," which was originally presented by A. Trapé, and suggester the authenticity of "The Patience" be used as a way to read St. Augustin with Augustin's eyes. We use one concept, the joy, represented in St. Augustin's internal literary style. Joy is not dispersed but condensed in God, but in man it may disappear. The perfect joy is caused by "the enjoyment of the Trinity God who created the world in his image and likeness," (『The Trinity』 1,8,18) But there is a limit that man tends to avert his eyes from the enjoyment of God and tries to catch the transient. (『The Confession』, XI, 29, 39) That limit can be overcome by the believers in the Church. The joy in the Church is triple-dimensional (I-you-God), and it reminds us of the fact that God always looks at us(you and I) and "I" am required to be open to "you." The joy represented in St. Augustin's internal literary style has dynamics which comes from God to man. The dynamics and man's joy which has triple-dimension (I-brothers-God) are found in the concept of "Joy" explained in "The Patience". Therefore "The Patience" can be authenticated as Augustin's work. While making sure of the authenticity of "The Patience," we can understand how the method that Augustin should be read with Augustin's eyes is carried out.

The question of the authenticity of St. Augustin's "The Patience" was raised by Erasmus in 15th century. G. Combès introduced three questions about this authenticity and showed his agreement to "The Patience." We can also insist "St. Augustin be read with Augustin's eyes," which was originally presented by A. Trapé, and suggester the authenticity of "The Patience" be used as a way to read St. Augustin with Augustin's eyes. We use one concept, the joy, represented in St. Augustin's internal literary style. Joy is not dispersed but condensed in God, but in man it may disappear. The perfect joy is caused by "the enjoyment of the Trinity God who created the world in his image and likeness," (『The Trinity』 1,8,18) But there is a limit that man tends to avert his eyes from the enjoyment of God and tries to catch the transient. (『The Confession』, XI, 29, 39) That limit can be overcome by the believers in the Church. The joy in the Church is triple-dimensional (I-you-God), and it reminds us of the fact that God always looks at us(you and I) and "I" am required to be open to "you." The joy represented in St. Augustin's internal literary style has dynamics which comes from God to man. The dynamics and man's joy which has triple-dimension (I-brothers-God) are found in the concept of "Joy" explained in "The Patience". Therefore "The Patience" can be authenticated as Augustin's work. While making sure of the authenticity of "The Patience," we can understand how the method that Augustin should be read with Augustin's eyes is carried out.

Augustin, patience, authenticity, joy, enjoy