By Søren Kierkegaard, Howard V. Hong, Edna H. Hong
After figuring out to terminate his authorship with the pseudonymous Concluding Unscientific Postscript, Kierkegaard composed stories as a way of writing with out being an writer. Two Ages, the following awarded in a definitive English textual content, is concurrently a evaluate and a publication in its personal correct. In it, Kierkegaard reviews at the anonymously released Danish novel Two Ages, which contrasts the mentality of the age of the French Revolution with that of the next epoch of rationalism.
Kierkegaard commends the author's shrewdness, and his critique builds at the novel's view of the 2 generations. With prepared prophetic perception, Kierkegaard foresees the delivery of an impersonal cultural desert, within which the person will both be depersonalized or obliged to discover an life rooted in "equality earlier than God and equality with all men."
This version, like any within the sequence, comprises vast supplementary fabric, together with a ancient creation, entries from Kierkegaard's journals and papers, and the preface and end of the unique novel.
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Extra info for Kierkegaard's Writings, XIV: Two Ages: "The Age of Revolution" and the "Present Age" A Literary Review
Claudine is solitary and detached, without the sharing that congratulates as, for example, one congratulates a person who has found something by shouting: "Divs," and which frequently does reduce the love affair to about half. , the only one who suspects the love affair, is an inspired troubadour for the Frenchmen and Lusard. This is how the love affair progresses; the author has known how to plot the relationships to give the romantic element predominance. But something is still needed, something which the great poet 11 claims is part of all that is required to lure forth erotic love: the possibility of the lovers' meeting alone.
By frequently reading Flyveposten and these stories in that evasive setting, the younger ones have tried to identify with the enchantment the contemporaries must have felt. When later the stories came out year after year at Christmas time in such a beautiful way, their reception was no different from what it was in the beginning. Whatever objections there may be to commercializing such a fortuitous season and presumably for such a fortuitous reason as meeting the need for Christmas gifts, 36 as if Danish literature were nothing but gift-literature, A Story of Everyday Life has never appeared at Christmas in that manner; its own special significance was bound to preclude an outrageous misinterpretation, if its simple, modest appearance had not already precluded any misinterpretation, even a hasty one.
Here there is greater diversity and variety in the more complex situations. The tension of the development is maintained until the end, deceptively prolonged by Lusard's misunderstanding of the relation between Arnold and Mariane, ingeniously moved towards its resolution by an accidental occurrence that initiates Lusard into the lovers' secret, and finally is beautifully resolved by weaving in a situation that utilizes something the reader knows from Part 1; yet Lusard does not come forward as a deus ex machina with his costly wedding gift, although it was indeed his desire from the beginning.
Kierkegaard's Writings, XIV: Two Ages: "The Age of Revolution" and the "Present Age" A Literary Review by Søren Kierkegaard, Howard V. Hong, Edna H. Hong