Either Or Soren Kierkegaard Quotes

I see it all perfectly; there are two possible situations — one can either do this or that. My honest opinion and my friendly advice is this: do it or do not do it — you will regret both.

In addition to my other numerous acquaintances, I have one more intimate confidant… My depression is the most faithful mistress I have known — no wonder, then, that I return the love.

A fire broke out backstage in a theatre. The clown came out to warn the public; they thought it was a joke and applauded. He repeated it; the acclaim was even greater. I think that's just how the world will come to an end: to general applause from wits who believe it's a joke.

To cheat oneself out of love is the most terrible deception; it is an eternal loss for which there is no reparation, either in time or in eternity.

What is a poet? An unhappy man who hides deep anguish in his heart, but whose lips are so formed that when the sigh and cry pass through them, it sounds like lovely music.... And people flock around the poet and say: 'Sing again soon' - that is, 'May new sufferings torment your soul but your lips be fashioned as before, for the cry would only frighten us, but the music, that is blissful.

Idleness, we are accustomed to say, is the root of all evil. To prevent this evil, work is recommended.... Idleness as such is by no means a root of evil; on the contrary, it is truly a divine life, if one is not bored....

What is existence for but to be laughed at if men in their twenties have already attained the utmost?

What is a poet? An unhappy man who hides deep anguish in his heart, but whose lips are so formed that when the sigh and cry pass through them, it sounds like lovely music.

When you are one of several, then you have lost your freedom; you cannot send for your traveling boots whenever you wish, you cannot move aimlessly about in the world. ~ Either/Or

A man who cannot seduce men cannot save them either.

I see it perfectly; there are two possible situations - once can either do this or that. My honest opinion and my friendly advice is this: do it or do not do it - you will regret both.

There are, as is known, insects that die in the moment of fertilization. So it is with all joy: life’s highest, most splendid moment of enjoyment is accompanied by death.

Only after living through all eternity and assuring myself that you were mine every instant, only then would I return to you and live with you through all eternity, and no doubt not have patience enough to be separated from you for an instant without longing, but assurance enough to sit calmly at your side.

Learning to know anxiety is an adventure which every man has to affront if he would not go to perdition either by not having known anxiety or by sinking under it.

How dreadful boredom is — how dreadfully boring; I know no stronger expression, no truer one, for like is recognized only by like… I lie prostrate, inert; the only thing I see is emptiness, the only thing I live on is emptiness, the only thing I move in is emptiness. I do not even suffer pain… Pain itself has lost its refreshment for me. If I were offered all the glories of the world or all the torments of the world, one would move me no more than the other; I would not turn over to the other side either to attain or to avoid. I am dying death. And what could divert me? Well, if I managed to see a faithfulness that withstood every ordeal, an enthusiasm that endured everything, a faith that moved mountains; if I were to become aware of an idea that joined the finite and the infinite.

A person who speaks like a book is exceedingly boring to listen to; sometimes, however, it is not inappropriate to talk in that way. For a book has the remarkable property that it can be interpreted any way you wish. If one talks like a book one’s conversation acquires this property too. I kept quite soberly to the usual formulas. She was surprised, as I’d expected; that can’t be denied. To describe to myself how she looked is difficult. She seemed multifaceted; yes just about like the still to be published but announced commentary to my book, a commentary capable of any interpretation. One word and she would have laughed at me; another and she would have been moved; still another and she would have shunned me; but no such word came to my lips. I remained solemnly unemotional and kept to the ritual.― ‘She had known me for such a short time’, dear God, it’s only on the strait path of engagement one meets such difficulties, not the primrose path of love.” ―from_Either/Or: A Fragment of Life_. Abridged, Translated and with an Introduction and Notes by Alastair Hannay, p. 312

Hegel is right when in his chapter on “The Good and the Conscience,” he characterizes man merely as the particular and regards this character as ‘’a moral form of the evil” which is to be annulled in the teleology of the moral, so that the individual who remains in this stage is either sinning or subjected to temptation (Anfechtung). On the other hand, he is wrong in talking of faith, wrong in not protesting loudly and clearly against the fact that Abraham enjoys honor and glory as the father of faith, whereas he ought to be prosecuted and convicted of murder.

For clarity's sake, and before going further with this account, I shall identify true aesthetic sorrow a little more closely. Sorrow has the opposite movement to that of pain. So long as one doesn't spoil things out of a misplaced mania for consistency―something I shall prevent also in another way―one may say: the more innocence, the deeper the sorrow. If you press this too far, you destroy the tragic. There is always an element of guilt left over, but it is never properly reflected in the subject; which is why in Greek tragedy the sorrow is so deep. In order to prevent misplaced consistency, I shall merely remark that exaggeration only succeeds in carrying the matter over into another sphere. The synthesis of absolute innocence and absolute guilt is not an aesthetic feature but a metaphysical one. This is the real reason why people have always been ashamed to call the life of Christ a tragedy; one feels instinctively that aesthetic categories do not exhaust the matter. It is clear in another way, too that Christ's life amounts to more than can be exhausted in aesthetic terms, namely from the fact that these terms neutralize themselves in this phenomenon, and are rendered irrelevant. Tragic action always contains an element of suffering, and tragic suffering an element of action; the aesthetic lies in the relativity. The identity of an absolute action and an absolute suffering is beyond the powers of aesthetics and belongs to metaphysics. This identity is exemplified in the life of Christ, for His suffering is absolute because the action is absolutely free, and His action is absolute suffering because it is absolute obedience. The element of guilt that is always left over is, accordingly, not subjectively reflected and this makes the sorrow deep. Tragic guilt is more than just subjective guilt, it is inherited guilt. But inherited guilt, like original sin, is a substantial category, and it is just this substantiality that makes the sorrow deeper. Sophocles' celebrated tragic trilogy, *Oedipus at Colonus*, *Oedipus Rex*, and *Antigone*, turns essentially on this authentic tragic interest. But inherited guilt contains the self-contradiction of being guilt yet not being guilt. The bond that makes the individual guilty is precisely piety, but the guilt which he thereby incurs has all possible aesthetic ambiguity. One might well conclude that the people who developed profound tragedy were the Jews. Thus, when they say of Jehova that he is a jealous God who visits the sins of the fathers on the children unto the third and fourth generations, or one hears those terrible imprecations in the Old Testament, one might feel tempted to look here for the material of tragedy. But Judaism is too ethically developed for this. Jehova's curses, terrible as they are, are nevertheless also righteous punishment. Such was not the case in Greece, there the wrath of the gods has no ethical, but aesthetic ambiguity" (Either/Or).