PROP. XXXVI. The intellectual love of the mind towards God is that very love of God whereby God loves himself, not in so far as he is infinite, but in so far as he can be explained through the essence of the human mind regarded under the form of eternity; in other words, the intellectual love of the mind towards God is part of the infinite love wherewith God loves himself.
PROP. XL. In proportion as each thing possesses more of perfection, so is it more active, and less passive; and, vice versa, in proportion as it is more active, so is it more perfect.
Proof.—In proportion as each thing is more perfect, it possesses more of reality (II, Def. vi.), and, consequently (III.iii. and note), it is to that extent more active and less passive. This demonstration may be reversed, and thus prove that, in proportion as a thing is more active, so is it more perfect. Q.E.D.
Corollary.—Hence it follows that the part of the mind which endures, be it great or small, is more perfect than the rest. For the eternal part of the 614 Notes to Page 39 mind (V. xxiii. xxix.) is the understanding, through which alone we are said to act (III.iii.); the part which we have shown to perish is the imagination (V.xxxi.), through which only we are said to be passive (III.iii. and general Def. of the emotions); therefore, the former, be it great or small, is more perfect than the latter. Q.E.D.
Note.—Such are the doctrines which I had purposed to set forth concern- ing the mind, in so far as it is regarded without relation to the body; whence, as also from I.xxi. and other places, it is plain that our mind, in so far as it understands, is an eternal mode of thinking, which is determined by an- other eternal mode of thinking, and this other by a third, and so on to infin- ity; so that all taken together at once constitute the eternal and infinite intellect of God.
WITH WHAT MUST THE SCIENCE BEGIN?
It is only in recent times that thinkers have become aware of the difficulty of finding a beginning in philosophy, and the reason for this difficulty and the possibility of resolving it has been much discussed. What philosophy begins with must be either mediated or immediate, and it is easy to show that it can be neither the one nor the other; thus either way of beginning is re- futed.
But if no presupposition is to be made and the beginning itself is taken im- mediately, then its only determination is that it is to be the beginning of logic, of thought as such. All that is present is simply the resolve, which can also be regarded as arbitrary, that we propose to consider thought as such. Thus the beginning must be an absolute, or what is synonymous here, an abstract beginning; and so it may not presuppose anything, must not be mediated by anything nor have a ground; rather it is to be itself the ground of the en- tire science. Consequently, it must be purely and simply an immediacy, or rather merely immediacy itself.
If it were not this pure indeterminateness, if it were determinate, it would have been taken as something mediated, something already carried a stage further: what is determinate implies an other to a first. Therefore, it lies in the very nature of a beginning that it must be being and nothing else. To enter into philosophy, therefore, calls for no other preparations, no further re- flections or points of connection.
But the determination of being so far adopted for the beginning could also be omitted, so that the only demand would be that a pure beginning be made. In that case, we have nothing but the beginning itself, and it remains to be seen what this is...As yet there is nothing and there is to become something. The beginning is no pure nothing, but a nothing from which something is to proceed; Notes to Pages 40-48 615 therefore being, too, is already contained in the beginning. The beginning, therefore, contains both, being and nothing, is the unity of being and noth- ing; or is non-being which is at the same time being, and being which is at the same time non-being.
118. See Christian F. Sintenis, Stunden fiir die Ewigkeit gelebt (Berlin: 1791- 92); Timer levede for Evigheden (Copenhagen: 1795).
119. With reference to the following paragraph, see Supplement, p. 529 (Pap. Ill B 179:64).
120. A series of row houses built by Christian IV early in the eighteenth century as quarters for families of men in the Royal Navy. In 1817, an orphan- age in the area was destroyed by fire.
121. See Virgil, Aeneid, VI, 424-29; Virgils Eneide, I-II, t:. Johan H. Schon- heyder (Copenhagen: 1812), I, p. 274; Virgil, I-II, tr. H. Rushton Fairclough (Loeb, New York: Putnam, 1918-20), I, pp. 535-37: “The warder buried in sleep, Aeneas wins the entrance, and swiftly leaves the bank of that stream whence none return. At once are heard voices and wailing sore—the souls of infants weeping, whom, on the very threshold of the sweet life they shared not, torn from the breast, the black day swept off and plunged in bitter death.”
122. With reference to the remainder of the paragraph, see Supplement, p. 530 (Pap. II A 649; HI B 179:66).
123. With reference to the following paragraph, see Supplement, p. 530 (Pap. III B 179:67).
124. See Exodus 12:22-23.
126. With reference to the following paragraph, see Supplement, p. 531 (Pap. III B 179:70).
THE IMMEDIATE EROTIC STAGES 1. See Supplement, pp. 531-32 (Pap. IV A 222, 223).
2. See Adam Gottlob Oehlenschlager, Axel og Valborg (1808), Oehlenschla- gers Tragodier, 1-X (Copenhagen: 1841-44; ASKB 1601-05 [I-IX]), V, pp. 3- 111.
3. For continuation of this sentence, see Supplement, p. 532 (Pap. Ill B 172:1).
4. “Optimate”’ (aristocrat) is used here in conjunction with “optimism.”
5. Don Juan Tenorio was the fourteenth-century Spanish libertine who be- came a legendary figure and the leading character in dramas by Molina, Mo- ligre, Corneille, and Goldoni, in a ballet by Glick, and in an opera by Mozart. The Italian form “Don Giovanni” is used for the title and for the leading char- acter in Mozart’s opera. The opera libretto in Danish translation (text by Lo- renzo da Ponte, based on Moliére) by Laurids Kruse (Copenhagen: 1807) bears the title Don Juan.
616 Notes to Pages 49-56 6. With reference to the following sentence, see Supplement, p. 532 (Pap. IV A 224).
7. For example, Christian H. Weisse, System der Aesthetik von der Idee der Schénheit, I-It (Leipzig: 1830; ASKB 1379-80).
8. See, for example, G.W.F. Hegel, Vorlesungen iiber die Aesthetik, I, Georg Wilhelm Friedrich Hegel’s Werke. Vollstdndige Ausgabe, I-X VIII, ed. Philipp Marheineke et al. (Berlin: 1832-45; ASKB 549-65), X', pp. 99-101; Samtliche Werke. Jubildumsausgabe [J.A.], I-XXVI, ed. Hermann Glockner (Stuttgart: 1927-40), XII, pp. 115-17; The Philosophy of Fine Art, I-IV (tr. of V.A., 1 ed., 1835-38; Kierkegaard had this ed.), tr. F.P.B. Osmaston (London: Bell, 1920), I, pp. 103-05: (a) First, the origin of artistic creation proceeds from the Idea when, being itself still involved in defective definition and obscurity, or in vicious and untrue determinacy, it becomes embodied in the shapes of art. As indeter- minate it does not as yet possess in itself that individuality which the Ideal demands. Its abstract character and one-sidedness leaves its objective pre- sentment still defective and contingent. Consequently this first type of art is rather a mere search after plastic configuration than a power of genuine rep- resentation. The Idea has not as yet found the formative principle within it- self, and therefore still continues to be the mere effort and strain to find it. We may in general terms describe this form as the symbolic type of art...
(6) In the second type of art, which we propose to call “Classical,” the two- fold defect of symbolic art is annulled. Now the symbolic configuration is imperfect, because, first, the Idea here only enters into consciousness in ab- stract determinacy or indeterminateness: and, secondly, by reason of the fact that the coalescence of import with embodiment can only throughout remain defective, and in its turn also wholly abstract. The classical art-type solves both these difficulties. It is, in fact, the free and adequate embodiment of the Idea in the shape which, according to its notional concept, is uniquely appropriate to the Idea itself. The Idea is consequently able to unite in free and completely assonant concord with it. For this reason the classical type of art is the first to present us with the creation and vision of the complete Ideal, and to establish the same as realized fact.
9. The Battle of the Frogs and the Mice, a mock-epic attributed to Homer. Kierkegaard may have known of the work through conversations with Poul Martin Meller, his favorite university professor, who made a Danish transla- tion. See Efterladte Skrifter, I-VI (2 ed., Copenhagen: 1848), I, pp. 254-64. The piece is not included in 1 ed. (Copenhagen: 1839-43; ASKB 1574-76).
10. A term applied to the painting that qualified a painter for admission as a member of the Academy of Art.
11. See Acts 1:9.
13. The Danish sandselig means “‘sensate” (an elemental, purely neutral word meaning endowed with sensation, perceived or perceivable through the Notes to Pages 56-76 617 senses, “‘sens-ible’’), ‘‘sensuous”’ (pertaining to the senses, susceptible to influ- ences through the senses and imagination related to the senses), or ‘“‘sensual”’ (unduly indulgent to the appetites, carnal). Only the context can suggest which English term is to be used in the translation. John Milton coined the word “‘sensuous”’ as a neutral term meaning “‘perceivable through the senses” in contradistinction to “‘sensual” (see OED, “‘sensuous”’). With time, how- ever, the distinction has become blurred, and the two words are frequently, albeit erroneously, used synonymously.
14. The Danish Genialitet cannot, of course, be rendered as “‘geniality.”’ Neither can it be translated as “genius,” in the sense of an extraordinarily gifted individual. Here it means defining characteristic, particular qualifica- tion, or elemental originality.
15. Horace, Epistles, 1, 6, 45; Q. Horatii Flacci opera (Leipzig: 1828; ASKB 1248), p. 563; Horace Satires, Epistles and Ars Poetica, tr. H. Rushton Fairclough (Loeb, New York: Putnam, 1929), p. 289.
16. Cf. Hebrews 1:1.
17. An enclitic is a word that loses its accent in being attached to another word, as ‘“‘not”’ in “cannot.”
18. See Irony, KW II (SV XIIL 273, 292).
19. Eros and Psyche. See p. 31 and note 73.
20. Cf. Fragments, p. 72, KW VH (SV IV 235).
21. The elder Cato (234-149 B.c.) was accustomed to conclude his speeches in the Roman senate with ‘‘Ceterum [or Praeterea] censeo Carthaginem esse delen- dam [Furthermore I am of the opinion that Carthage must be destroyed].””
22. See Paul Friedrich A. Nitsch, neues mythologisches Wérterbuch, I-II, rev. Friedrich Gotthilf Klopfer (Leipzig, Sorau: 1821; ASKB 1944-45), I, p. 619; I], p. 143. Kierkegaard extends to Diana’s own birth the help she gave her mother, Latona, in the birth of her twin brother Apollo.
23. Henrich Steffens, Caricaturen des Heiligsten, I-II (Leipzig: 1819-21, ASKB 793-94), II, pp. 82-120. In the text, the spelling of the first word in the title is a Danish modification.
24. See Luke 19:40.
25. Achim von Arnim, Owen Tudor, Novellen, I-VI (Berlin: 1839-42; ASKB 1612-17), Il, p. 260 (ed. tr.).
26. Irische Elfenmarchen (Thomas Crofton Croker, Fairy Legends and Tradi- tions of the South of Ireland; London: 1825), tr. Grimm Brothers (Leipzig: 1826; ASKB 1423); Croker, ““The Young Piper,” Fairy Legends (London: 1906), pp. 43, 46-50. The portions cited are in “Der kleine Sackpfeifer,” a story about a little bagpipe player who bewitches the living and the inanimate with his play- ing.
27. With reference to the remainder of the chapter, see Supplement, pp. 533-36 (Pap. I C 125). See also JP 1 133 (Pap. II A 180).
28. Serious opera or grand opera, opera without spoken lines.
29. Cf. Virgil, Georgics, 1, 404; Virgil, I-I], tr. H. Rushton Fairclough (Loeb, New York: Putnam, 1920), I, pp. 108-09.
618 Notes to Pages 77-91 30. In Norse mythology, Thor was challenged to a drinking feat by Loki, who had arranged to have Thor’s drinking horn connected with the ocean. See, for example, Adam Oehlenschlager, Thors Reise til Jothunheim, IV, 34-40, V, 24-29, Nordiske Digte (Copenhagen: 1807; ASKB 1599), pp. 86-88.
31. Figaros Givtermaal eller den gale Dag. Syngestykke i fire Akter oversat til Musik af Mozart efter den italiensk Omarbeidelse af Beaumarchais’ franske Original, tr. Niels Thoroup Bruun (Copenhagen: 1817), I, 5, p. 21; Le Nozze di Figaro (The Marriage of Figaro), tr. Ruth and Thomas Martin (New York: G. Schirmer, 1951), I, 5, p. 67 (the Page’s lines are lacking).
32. From Leporello’s list of his master’s conquests, Don Juan. Opera i tvende Akter bearbeidet til Mozarts Musik, tr. Laurids Kruse (Copenhagen: 1807), I, 6, p. 23; Don Giovenni, tr. Ellen H. Bleiler (New York: Dover, 1964), I, 2, p. 102.
33. See Bruun, Figaro, Ill, 13, p. 109; Martin, Figaro, IV, 21, p. 351. Che- rubino, dressed as a girl, is kissed on the forehead by the countess, who there- fore knows about the ‘‘mark,”’ invisible to others.
34. Tryllefloiten. Oversat efter Schickanders Syngespil die Zauberflote og lagt un- der Mozarts Musik til samme, tr. Niels Thoroup Bruun (Copenhagen: 1816).
35. See note 102 below.
36. Julius Caesar’s summary report of the battle against King Pharanaces of Pontus at Zela in 47 B.c.
39. Probably an allusion to Johannes Carsten Hauch’s “‘Bjergpigen,” Lyriske Digte (Copenhagen: 1842), p. 164.
40. See note 34 above. Presumably the reference is to the second edition (1826), which does not bear the translator’s name, as does the first edition (1816).
41. Bruun, Tryllefleiten, II, 3, p. 59; The Magic Flute, tr. Judith A. Eckel- meyer (New York: Mellen Press, 1979), II, 3, p. 30.
43. Bruun, Tryllefloiten, II, 29, p. 107; Eckelmeyer, Magic Flute, Il, 29, p. 55.
44, See Heinrich Gustav Hotho, Vorstudien fiir Leben und Kunst (Stuttgart, Tubingen: 1835; ASKB 580), pp. 92-147.
45. The two Latin phrases traditionally referred to the two elements, the bread and the wine, in Holy Communion.
46. Deni den ganske Verden bekjendte Ertz-Sort-Kunstner og Trold-Karl Doctor Johan Faust, og Hans med Djevelen oprettede Forbund, Forundringsfulde Levnet og skrekkelige Endeligt (Copenhagen: n.d.; ASKB U35). See Supplement, p. 537 (Pap. 1 C 107); Pap. I C 107, pp. 278-92; XII, pp. 242-60. Kierkegaard’s marked copy is in the Kierkegaard Archives, Royal Library, Copenhagen.
47. E. M. Tribler, bookbinder, Holmensgade 114, Copenhagen, published many folk books between 1818 and 1839. See Supplement, p. 537 (Pap. IC 107).
Notes to Pages 91-105 619 48. Literally, ‘‘straw market,” in Kierkegaard’s time just outside the Co- penhagen city wall at Vesterport.
49. Part Two of Faust was first published in volume XII of Goethe’s Werke. Vollstandige Ausgabe letzter Hand, 1-LX (Stuttgart, Tiibingen: 1828-42; ASKB 1642-68 [I-LV]).
50. An allusion to the practice of omitting the actual publication date from some ballads and books and substituting ‘‘ Trykt i dette Aar [Printed this year].”
51. Gottfried August Birger, Lenore (1773), Biirgers Gedichte (Gotha, New York: 1828), pp. 48-57.
52. The current number in Leporello’s list of his master’s conquests. See Kruse, Don Juan, I, 6, p. 23; Bleiler, Don Giovanni, I, 2, p. 102.
53. Cf. Letters, Letter 21, p. 68, KW XXV.
54. The daughters of Thespius, founder of the city Thespia in Boeotia. See Nitsch, I, pp. 815-16; II, p. 586.
55. Possibly a reference to the poem Don Juan by George Gordon Byron, which he worked on intermittently until his death in 1824. Kierkegaard had Lord Byron’s sammtliche Werke. Nach den Anforderungen unserer Zeit neu tibersetzt von Mehreren, I-X (Stuttgart: 1839; ASKB 1868-70).
56. Repellerende is a Latin word in Danish form (present participle) meaning “incoherent,” “‘discrete,” “separate.” Momenter means “moments” in the temporal sense and “elements.”
57. See, for example, Vorstudien, pp. 109-10.
58. From Leporello’s list arta. See Kruse, Don Juan, I, 6, p. 23, which does not have lines directly corresponding to the Italian lines; Bleiler, Don Gio- vanni, p. 102.
59. See note 34 above.
60. Cf. Ephesians 6:11.
61. In Greek mythology, Nemesis was the goddess of vengeance.
62. Armuth, Reichthum und Busse der Grdfin Dolores, I-II (Berlin: 1810; ASKB 1621-22, 1840 ed.), HI, p. 21. See Supplement, p. 537 (Pap. II A 70).
63. This characterization is the main clue to “The Seducer’s Diary,” pp. 313-445.
64. See, for example, Fear and Trembling, pp. 82-83, KW VI (SV III 131); Postscript, KW XII (SV VII 221); JP II 2105-09 and p. 603; VII, p. 51.
67. Presumably an allusion to the old custom whereby the ruler had a right to the bride before the groom.
68. In Greek legend, Endymion, a young shepherd, was loved by Selene (the moon).
69. The Don Juan dramatization of Moliére (pseudonym of Jean Baptiste Poquelin, 1622-1673), Le festin de Pierre, was first presented in 1665. Before 1842, Kierkegaard had some of Moliére’s plays in Danish, including Don Juan, in J.B.P. Moliéres udvalgte Skuespil, tr. Knud Lyne Rahbek (Copenhagen: 1813; ASKB 1921).
620 Notes to Pages 105-13 70. Johann Karl August Musaus (1735-1787). Kierkegaard had his Volks- marchen der Deutschen, I-V (Vienna: 1815; ASKB 1434-38).
71. Johann Ludwig Tieck (1773-1853). Among various works by Tieck, Kierkegaard had Sdmmtliche Werke I-II (Paris: 1837; ASKB 1848-49).
72. Johan Ludvig Heiberg (1791-1860), the leading Danish writer, literary critic, dramatist, and Hegelian philosopher. His Don Juan, first presented in 1814, was published in Skuespil af J. L. Heiberg, 1-VIl (Copenhagen: 1833-41; ASKB 1553-59).
73. The Don Juan of the Danish poet, esthetician, and zoologist Johannes Carsten Hauch (1790-1872) was published in Gregorius den Syvende og Don Juan. To Dramaer (Copenhagen: 1829). See Supplement, p. 537 (Pap. III B 172:2).
74. The ballet Don Juan, based on Moliére and with music by Christoph Willibald Gliick (1714-1787), was first performed in Vienna in 1761.
75. See note 55 above.
76. The theme of the last part of volume I of Either/Or, ‘‘The Seducer’s Di- ary.
77. See Rahbek, Don Juan, IV, 3, pp. 231-37, the episode with the creditor Monsieur Dimanche; Don Juan, Six Prose Comedies of Moliére, tr. George Graveley (London: Oxford University Press, 1968), pp. 79-83. This scene is not included in Kruse’s version of the opera.
78. See Supplement, p. 538 (Pap. IC 109).
79. See Rahbek, Don Juan, IV, 6, pp. 237-39; Graveley, Don Juan, pp. 83- 85.
80. See Rahbek, Don Juan, II, 3, pp. 202-05; Graveley, Don Juan, pp. 55-57.
81. The wide part of the channel between Amager and Sjelland at Copen- hagen is now called Kalveboderne.
82. Rahbek, Don Juan, II, 1, pp. 190-92; Graveley, Don Juan, pp. 46-47.
83. See Rahbek, Don Juan, I, 1, pp. 175-76; Graveley, Don Juan, p. 35.
85. In Heiberg’s version, Mr. Paaske corresponds to Monsieur Dimanche in Moliére.
86. In Hegel’s thought, reproduction is a level above the immediate, the sensate, the ability to have sensation. See, for example, Hegel, Encyclopadie der philosophischen Wissenschaften, Il, Die Naturphilosophie, para. 353, Zuzatz, Werke, VII', p. 559; J.A., IX, p. 585; Hegel’s Philosophy of Nature (tr. of E.P.W., Nicolin and Péggeler ed., 1959; Kierkegaard had 3 ed., 1841), tr. A. V. Miller (Oxford: Oxford University Press, 1970), p. 358: The simple identity of the universal subjectivity of the Notion with itself, the sentient creature—which in the sphere of spirit is the ego—is sensibility; if an other is brought into contact with it, it transforms this directly into itself. The particularity, which in sensibility is at first only ideally posited, receives its due in irritability, where the activity of the subject consists in repelling the other with which it is in relation. Irritability is also sensation, subjectivity, but in the form of relation. But whereas sensibility is only this Notes to Pages 114-21 621 negative relationship to other, reproduction is this infinite negativity of transforming what is outside me into myself, and myself into externality. Only then is universality real and not abstract—developed sensibility. Re- production passes through sensibility and irritability and absorbs them; it is thus derived, posited universality which, however, as self-producing, is at the same time concrete singularity. It is reproduction which is first the whole—the immediate unity-with-self in which the whole has at the same time entered into relationship with itself.
87. Rahbek, Don Juan, Il, 2, pp. 197-202; Graveley, Don Juan, pp. 51-55.
88. Rahbek, Don Juan, Il, 2, p. 198; Graveley, Don Juan, p. 52.
89. Rahbek, Don Juan, II, 4, pp. 206-11; Graveley, Don Juan, pp. 57-61.
90. In the temple in Jerusalem, alms, contributions, and the temple tax were presented not in gentile coinage but in Jewish coinage. See, for example, Matthew 21:12; Mark 11:15; John 2:14-15.
91. The Danish sette is used in the sense in which Fichte and Hegel use setzen: to posit. See, for example, Hegel, Wissenschaft der Logik, Werke, V, p. 16; J.A., V, p. 16; Science of Logic, pp. 584-85: In point of fact, the comprehension of an object consists in nothing else than that the ego makes it its own, pervades it and brings it into its own form, that is, into the universality that is immediately a determinateness, or a determi- nateness that is immediately universality. As intuited or even in ordinary conception, the object is still something external and alien. When it is com- prehended, the being-in-and-for-self which it possesses in intuition and pic- torial thought is transformed into a positedness, the I in thinking it pervades it. But it is only as it is in thought that the object is truly in and for itself, in intuition or ordinary conception it is only an Appearance. Thought sublates the immediacy with which the object at first confronts us and thus converts the object into a positedness; but this its positedness is its being-in-and-for-itself, or its objectivity.
92. See Kierkegaard’s letter to Emil Boesen, Letters, Letter 60, KW XXV.
93. See Irony, KWII (SV XIII 390).
94. See Kruse, Don Juan, HI, 20, pp. 123-26; Bleiler, Don Giovanni, II, 6, pp. 196-99.
95. See Jens Baggesen, “Kallundborgs Kronike,” Jens Baggesens danske Verker, I-XII (Copenhagen: 1827-32; ASKB 1509-20), I, p. 236 (ed. tr.): And no one, not any mother’s wight, Can slay with vengeance one who has died; Though the thief himself the dust must bite, All advantage was on his side.
See Irony, KW II (SV XIII 179).
622 Notes to Pages 122-30 98. With reference to the following three sentences, see Supplement, pp. 538-39 (Pap. I A 111).
99. Expectorere, a loan word literally meaning “‘to expectorate,” comes from the Latin ex + pectus (from + heart, breast). See Fear and Trembling, p. 27, KW VI (SV III 79); Repetition, p. 157, KW VI (SV III 196).
100. The Danish Mellemhverandre, literally, “between each other,” is not found in Ordbog over det danske Sprog. It is very rarely used in the Verker and Papirer, and the contexts seem to require a variety of translations. See, for ex- ample, Irony, KWII (SV XIII 232, 262, 362); Two Ages, p. 39, KW XIV (SV VIII 36); JP V 5659 (Pap. IV B 78).
101. See Diogenes Laertius, Lives of Eminent Philosophers, 1, 33; Diogenis Laertii de vitis philosophorum, I-II (Leipzig: 1833; ASKB 1109), I, p. 15; Diogen Laértses filosofiske Historie, I-Il, tr. Borge Riisbrigh (Copenhagen: 1812; ASKB 1110-11), I, p. 14; Diogenes Laertius Lives of Eminent Philosophers, I-Il, tr. R. D. Hicks (Loeb, New York: Putnam, 1925), I, p. 35: “Hermippus in his Lives re- fers to Thales the story which is told by some of Socrates, namely, that he used to say there were three blessings for which he was grateful to Fortune: ‘first, that I was born a human being and not one of the brutes; next, that I was born a man and not a woman; thirdly, a Greek and not a barbarian.’ ” 102. The distinction between subject (being-for-itself) and substance (being-in-itself) is found in Hegel; see, for example, in Wissenschaft der Logik, II, Werke, V, pp. 8-9; J.A., V, pp. 8-9; Science of Logic, pp. 579-80: Active substance, through the act of positing itself as the opposite of itself, an act which is at the same time the sublating of its presupposed otherness, of passive substance, is manifested as cause or originative substantiality. Con- versely, through being acted on, posited being is manifested as posited, the negative as negative, and therefore passive substance as self-related negativ- ity, the cause meeting in this other simply and solely with its own self. Through this positing, then, the presupposed or implicit originativeness be- comes explicit or for itself, yet this being that is in and for itself is such only in so far as this positing is equally a sublating of what was presupposed; in other words, absolute substance has returned to itself and so become abso- lute, only out ofand in its positedness. Hence this reciprocity is the appearance that again sublates itself, the revelation that the illusory being of causality in which the cause appears as cause, is illusory being. This infinite reflection- into-self, namely, that being is in and for itself only in so far as it is posited, is the consummation of substance. But this consummation is no longer substance itself but something higher, the Notion, the subject. The transition of the rela- tion of substantiality takes place through its own immanent necessity and is nothing more than the manifestation of itself, that the Notion is its truth, and that freedom is the truth of necessity.
See also, for example, Anxiety, p. 409, KW VI (SV IV 408). 103. See Kruse, Don Juan, I, 1, p. 3; Bleiler, Don Giovanni, I, 1, pp. 85-86. At the end of the sentence, 2 ed. of SV (I, p. 127) has an interpolated passage Notes to Pages 130-39 623 from a draft of Either/Or, 1: “This is something that rarely occurs; here it is entirely in order and casts a new light on the structure of the overture. The overture seeks to stoop down to find a foothold in the theatrical actuality. We have already heard the Commendatore and Don Giovanni in the overture; after them, Leporello is the most important character. He cannot, however, be elevated into that battle in the regions of the atmosphere, and yet he belongs there more than anyone else.”
104. For continuation of the paragraph, see Supplement, p. 539 (Pap. II B 172:3).
106. See Kruse, Don Juan, I, 6, pp. 22-23; Bleiler, Don Giovanni, 1, 3, pp. 100-02.
107. Kruse, Don Juan, 1 6, p. 22; Bleiler, Don Giovanni, I, 3, p. 100. Cf. “A Cursory Observation Concerning a Detail in Don Giovanni,” The Corsair Af- fair, p. 30, KW XIII (SV XIII 449).
108. A character in Ludvig Holberg, Barselstuen, Den Danske Skue-Plads, \- VII (Copenhagen: 1788; ASKB 1566-67), II, n.p. See, for example, V, 6.
109. In the German text of the edition (not located) of Don Giovanni used by Kierkegaard, a portion of the list aria reads, according to the Danish edi- tors: ‘‘Tausend und zwei—nein, Tausend und drei; Sie sind auch dabei {Thou- sand and two—no, thousand and three; you are also included].”
110. See Kruse, Don Juan, II, 18, p. 120; Bleiler, Don Giovanni, II, 6, pp. 189-94, 111. See Kruse, Don Juan, 1, 15, pp. 49-50; Bleiler, Don Giovanni, I, 3, pp. 123-24.
112. For an account of another banquet, see “In Vino Veritas,” Stages, KW XI (SV VI 13-83, especially 78-79).
113. For the dating of the chapter, see Supplement, p. 539 (Pap. III B 172:4).
THE TRAGIC IN ANCIENT DRAMA REFLECTED IN THE TRAGIC IN MODERN DRAMA 1. A coinage by Kierkegaard, which could also be rendered as the “Society of Buried Lives.” See p. 137; Supplement, p. 539 (Pap. II A 690; IV A 225).
2. See, for example, G.W.F. Hegel, Vorlesungen tiber die Aesthetik, III, Georg Wilhelm Friedrich Hegel’s Werke. Vollstandige Ausgabe, I-XVIII, ed. Philipp Marheineke et al. (Berlin: 1832-45; ASKB 549-65), X3, pp. 506-07; Sdmtliche Werke. Jubildumsausgabe [J.A.], I-XXVI, ed. Hermann Glockner (Stuttgart: 1927-40), XIV, pp. 506-07; The Philosophy of Fine Art (tr. of V.A., 1 ed., 1835- 38; Kierkegaard had this ed.), I-IV, tr. F.P.B. Osmaston (London: Bell, 1920), IV, p. 275: In the Epos play may be permitted to the breadth and variety of character, external conditions, occurrences and events; in the drama, on the contrary, the self-concentration of its principle is most asserted relatively to the par- 624 Notes to Pages 139-40 ticular collision and its conflict. It is thus that we recognize the truth of Ar- istotle’s dictum, that tragic action possesses two sources (aitia S00), opin- ion and character (Stévoug, xal G0), but what is most important is the end (téAoc), and individuals do not act in order to display diverse char- acters, but these latter are united with a common bond of imaginative con- ception to the former in the interest of the action.
See Pap. III C 34.
See Pap. III C 34.
3. See Aristotle, Poetics, 1449 b; Aristoteles graece, ed. Immanuel Bekker, I- II (Berlin: 1831; ASKB 1074-75), II, p. 1449; Aristoteles Dichtkunst, tr. Michael Conrad Curtius (Hanover: 1753; ASKB 1094), pp. 11-12; The Works of Aris- totle, I-XII, ed. J. A. Smith and W. D. Ross (Oxford: Oxford University Press, 1908-52), XI: Reserving hexameter poetry and Comedy for consideration hereafter, let us proceed now to the discussion of Tragedy; before doing so, however, we must gather up the definition resulting from what has been said. A tragedy, then, is the imitation of an action that is serious and also, as having magni- tude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a nar- rative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions. Here by ‘language with pleasurable accesso- ries’ | mean that with rhythm and harmony or song superadded; and by ‘the kinds separately’ I mean that some portions are worked out with verse only, and others in turn with song.
4. See, for example, G. E. Lessing, Hamburgische Dramaturgie, xxxvii- xxxix (1767), Gotthold Ephraim Lessing’s sammtliche Schriften, 1-X XXII (Berlin: 1825-28; ASKB 1747-62), XXIV, pp. 267-84; Hamburg Dramaturgy, tr. Helen Zimmern (New York: Dover, 1962), pp. 105-14.
5. See, for example, Aristotle, Poetics, 1449 b-1450 a; Bekker, IV, pp. 1449- 50; Curtius, pp. 12-13; Works, XI: As they act the stories, it follows that in the first place the Spectacle (or stage-appearance of the actors) must be some part of the whole; and in the second Melody and Diction, these two being the means of their imitation. Here by ‘Diction’ I mean merely this, the composition of the verses; and by ‘Melody’, what is too completely understood to require explanation. But further: the subject represented also is an action; and the action involves agents, who must necessarily have their distinctive qualities both of char- acter and thought, since it is from these that we ascribe certain qualities to their actions. There are in the natural order of things, therefore, two causes, Thought and Character, of their actions, and consequently of their success or failure in their lives. Now the action (that which was done) is represented in the play by the Fable or Plot. The Fable, in our present sense of the term, is simply this, the combination of the incidents, or things done in the story; whereas Character is what makes us ascribe certain moral qualities to the agents; and Thought is shown in all they say when proving a particular Notes to Pages 141-43 625