By Søren Kierkegaard, Edna H. Hong, Howard V. Hong
Presented the following in a brand new translation, with a historic advent via the translators, Fear and Trembling and Repetition are the main poetic and private of Søren Kierkegaard's pseudonymous writings. released in 1843 and written less than the names Johannes de Silentio and Constantine Constantius, respectively, the books reveal Kierkegaard's transmutation of the private into the lyrically religious.
Each paintings makes use of as some extent of departure Kierkegaard's breaking of his engagement to Regine Olsen--his sacrifice of "that unmarried individual." From this starting Fear and Trembling turns into an exploration of the religion that transcends the moral, as in Abraham's willingness to sacrifice his son Isaac at God's command. This religion, which persists within the face of the absurd, is rewarded ultimately by means of the go back of all that the devoted one is prepared to sacrifice. Repetition discusses the main profound implications of cohesion of personhood and of identification inside swap, starting with the ironic tale of a tender poet who can't satisfy the moral claims of his engagement as a result attainable effects of his marriage. The poet eventually despairs of repetition (renewal) within the moral sphere, as does his consultant and good friend Constantius within the aesthetic sphere. The publication ends with Constantius' intimation of a 3rd form of repetition--in the non secular sphere.
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Additional info for Fear and trembling ; Repetition
Repetition and Fear and Trembling were to be a new either/or for Regine. Repetition presented one interpretation: the beloved was essentially the muse of the incipient young poet, and he could not fulfill the ethical claims of the engagement because of the probable consequences. “My love cannot find expression in a marriage. If I do that, she is crushed. Perhaps the possibility appeared tempting to her. I cannot help it; it was that to me also. ”24 Although he rejected Constantius’s plan for a deception (intended to clear the beloved out of the relationship just as “The Seducer’s Diary” was supposed to have done), he finally despaired of repetition in the ethical sphere, as did Constantius in the esthetic sphere.
55 The text of the manuscript, dated March 1, 1902, is printed in Hjalmar Helweg, Søren Kierkegaard (Copenhagen: 1933), pp. 385-92. The quoted portion is from p. 386 (ed. ). 56 P. 10. The same terminology is found in Karl Rosenkranz, Psychologie oder die Wissenschaft vom subjectiven Geist (Königsberg: 1837; ASKB 744), a work cited three times in The Concept of Anxiety. 57 Pp. 1, 11. 58 See Fragments, KW VII (SV IV 242), for use of the phrase. 59 See Supplement, p. 302 (Pap. IV B 117, p. 282). 60 See Supplement, pp.
XVIII. On pages 204, 205, especially, there is something on Aristotle’s teaching about actuality and possibility, and Lessing’s teaching concerning it. ”43 Numerous entries in the journals and papers44 may be summarized to indicate what Kierkegaard and the pseudonymous writers meant by “imaginary construction” [Experiment] and “imaginatively constructing” [experimenterende] and how these terms crystallize an epistemology and a philosophy of art involving Aristotle, Plato, and Lessing—and Kierkegaard, who at the last minute added the word to the subtitle of Repetition.