point or, it may be, enunciating a general truth. There are six parts conse- quently of every tragedy, as a whole (that is) of such or such quality, viz. a Fable or Plot, Characters, Diction, Thought, Spectacle, and Melody; two of them arising from the means, one from the manner, and three from the objects of the dramatic imitation; and there is nothing else besides these six. Of these, its formative elements, then, not a few of the dramatists have made due use, as every play, one may say, admits of Spectacle, Character, Fable, Diction, Melody, and Thought.
The most important of the six is the combination of the incidents of the story. Tragedy is essentially an imitation not of persons but of action and life, of happiness and misery. All human happiness or misery takes the form of action; the end for which we live is a certain kind of activity, not a qual- ity. Character gives us qualities, but it is in our actions—what we do—that we are happy or the reverse. In a play accordingly they do not act in order to portray the Characters; they include the Characters for the sake of the ac- tion. So that it is the action in it, i.e. its Fable or Plot, that is the end and purpose of the tragedy; and the end is everywhere the chief thing. Besides this, a tragedy is impossible without action, but there may be one without Character.
6. With reference to the remainder of the paragraph, see Supplement, p. 540 (Pap. III B 130).
7. See II Samuel 24:1-10; [ Chronicles 21:1-8.
8. Political clubs and other associations in Athens at the close of the fifth century B.C.
9. See Cicero, On Divination, H, 24; On the Nature of the Gods, I, xxvi, 71; M. Tullii Ciceronis opera omnia, I-IV and index, ed. Johann August Ernesti (Halle: 1756-57; ASKB 1224-29), IV, pp. 491, 678; Cicero De natura deorum, Academica, tr. H. Rackham (Loeb, New York: Putnam, 1933), p. 69; Cicero De senectute, De amicitia, De divinatione, tr. William Armistead Falconer (Loeb, Cambridge: Harvard University Press, 1953), p. 429: ‘ “But indeed, that was quite a clever remark which Cato made many years ago: ‘I wonder,’ said he, ‘that a soothsayer doesn’t laugh when he sees another soothsayer.’ For how many things predicted by them really come true?’ ”’ See also Either/Or, Il, KW IV (SV II 286).
10. In the Copenhagen newspaper Berlingske Tidende, March 22, 1839, there was a report of a proposal somewhat along this line made by Louis Adolphe Thiers, French historian and statesman, who became prime minister and foreign minister in March of 1840, after a period of absence from the two posts because of disagreements with the king.
11. See note 5 above.
12. Cf. Hegel, Aesthetik, III, Werke, X>, pp. 562-64; J.A., XIV, pp. 562-64; Philosophy of Fine Art, IV, pp. 330-32: Tragedy, in the nobility which distinguishes it in its ancient plastic form, is limited to the partial point of view that for its exclusive and essential basis it only enforces as effective the ethically substantive content and its neces- 626 Notes to Pages 143-44 sary laws; and, on the other hand, leaves the individual and subjective self- penetration of the dramatic characters essentially unevolved; while comedy on its part, to complete what we may regard as the reversed side of such plastic construction, exhibits to us the personal caprice of soul-life in the un- fettered abandonment of its topsy-turvydom and ultimate dissolution.
Modern tragedy accepts in its own province from the first the principle of subjectivity or self-assertion. It makes, therefore, the personal intimacy of character—the character, that is, which is no purely individual and vital em- bodiment of ethical forces in the classic sense—its peculiar object and con- tent. It, moreover, makes, in a type of concurrence that is adapted to this end, human actions come into collision through the instrumentality of the external accident of circumstances in the way that a contingency ofa similar character is also decisive in its effect on the consequence, or appears to be so decisive.
See also Pap. III C 34, reading notes on Hegel’s Aesthetik.
13. See, for example, Hegel, Grundlinien der Philosophie des Rechts, para. 124, Werke, VIII, p. 166; J.A., VII, p. 182; Hegel’s Philosophy of Right (tr. of G.R., ted., 1821; Kierkegaard had 2 ed., 1833), tr. T. M. Knox (London: Ox- ford University Press, 1967), p. 84: The right of the subject’s particularity, his right to be satisfied, or in other words the right of subjective freedom, is the pivot and centre of the differ- ence between antiquity and modern times. This right in its infinity is given expression in Christianity and it has become the universal effective principle of a new form of civilization. Amongst the primary shapes which this right assumes are love, romanticism, the quest for the eternal salvation of the in- dividual, &c.; next come moral convictions and conscience; and, finally, the other forms, some of which come into prominence in what follows as the principle of civil society and as moments in the constitution of the state, while others appear in the course of history, particularly the history of art, science, and philosophy.
14. See, for example, Aristotle, Poetics, 1452 b-1453 a; Bekker, II, pp. 1452- 53; Curtius, pp. 25-26; Works, XI: We assume that, for the finest form of Tragedy, the Plot must be not sim- ple but complex; and further, that it must imitate actions arousing fear and pity, since that is the distinctive function of this kind of imitation. It fol- lows, therefore, that there are three forms of Plot to be avoided. (1) A good man must not be seen passing from happiness to misery, or (2) a bad man from misery to happiness. The first situation is not fear-inspiring or pi- teous, but simply odious to us. The second is the most untragic that can be; it has not one of the requisites of Tragedy; it does not appeal either to the human feeling in us, or to our pity, or to our fears. Nor, on the other hand, should (3) an extremely bad man be seen falling from happiness into misery. Such a story may arouse the human feeling in us, but it will not move us to Notes to Pages 144-47 627 either pity or fear; pity is occasioned by undeserved misfortune, and fear by that of one like ourselves; so that there will be nothing either piteous or fear- inspiring in the situation. There remains, then, the intermediate kind of per- sonage, a man not preeminently virtuous and just, whose misfortune, how- ever, is brought upon him not by vice and depravity but by some error of judgement, of the number of those in the enjoyment of great reputation and prosperity; e.g. Oedipus, Thyestes, and the men of note of similar families. The perfect Plot, accordingly, must have a single, and not (as some tell us) a double issue; the change in the hero’s fortunes must be not from misery to happiness, but on the contrary from happiness to misery; and the cause of it must lie not in any depravity, but in some great error on his part; the man himself being either such as we have described, or better, not worse, than that.
15. Pelagius (?-420), opposed by Augustine, denied original sin and stressed the freedom of the individual, the individual’s capacity (unaided by divine grace) for achieving good, and his responsibility for his life.
16. Christian D. Grabbe, Don Juan und Faust (Frankfurt: 1829; ASKB 1670). See Supplement, p. 540 (Pap. II A 733).
17. See Matthew 16:26; Mark 8:36; Luke 9:25.
18. The word “‘sometimes”’ in this sentence is an example of the narrowed adverbial use of a term. The reference below to five cases indicates that the writer has Greek in mind primarily. Latin has six cases and Sanskrit eight.
19. The ancient Greeks.
20. See note 14 above.
21. See Hegel, Aesthetik, III, Werke, X>, pp. 531-32; J.A., XIV, pp. 531-32; Philosophy of Fine Art, IV, pp. 298-300: We are reminded of the famous dictum of Aristotle that the true effect of tragedy is to excite and purify fear and pity. By this statement Aristotle did not mean merely the concordant or discordant feeling with anybody’s pri- vate experience, a feeling simply of pleasure or the reverse, an attraction or a repulsion, that most superficial of all psychological states, which only in recent times theorists have sought to identify with the principle of assent or dissent as ordinarily expressed. For in a work of art the matter of exclusive importance should be the display of that which is conformable with the rea- son and truth of Spirit; and to discover the principle of this we have to direct our attention to wholly different points of view. And consequently we are not justified in restricting the application of this dictum of Aristotle merely to the emotion of fear and pity, but should relate it to the principle of the content, the appropriately artistic display of which ought to purify such feel- ings. Man may, on the one hand, entertain fear when confronted with that which is outside him and finite; but he may likewise shrink before the power of that which is the essential and absolute subsistency of social phe- nomena. That which mankind has therefore in truth to fear is not the exter- nal power and its oppression, but the ethical might which is self-defined in 628 Notes to Pages 147-51 its own free rationality, and partakes further of the eternal and inviolable, the power a man summons against his own being when he turns his back upon it. And just as fear may have two objectives, so also too compassion. The first is just the ordinary sensibility—in other words, a sympathy with the misfortunes and sufferings of another, and one which is experienced as something finite and negative. Your countrified cousin is ready enough with compassion of this order. The man of nobility and greatness, however, has no wish to be smothered with this sort of pity. For just to the extent that it is merely the nugatory aspect, the negative of misfortune which is as- serted, a real depreciation of misfortune is implied. True sympathy, on the contrary, is an accordant feeling with the ethical claim at the same time as- sociated with the sufferer—that is, with what is necessarily implied in his condition as affirmative and substantive...
Over and above mere fear and tragic sympathy we have therefore the feeling of reconciliation, which tragedy is vouched for in virtue of its vision of eternal justice, a justice which exercises a paramount force of absolute constringency on account of the relative claim of all merely contracted aims and passions; and it can do this for the reason that it is unable to tolerate the victorious issue and continuance in the truth of the objective world of such a conflict with and opposition to those ethical powers which are fundamen- tally and essentially concordant.
See also Pap. III C 34, reading notes on Hegel’s Aesthetik.
22. Hegel, Aesthetik, Ill, Werke, X3, p. 532; J.A., XIV, p. 532; Philosophy of Fine Art, p. 299.
24. With reference to the remainder of the paragraph, see Supplement, p. 540 (Pap. Ill B 124). ° 25. See Hebrews 10:31.
26. On the Danish Virkelighed and Realitet in Kierkegaard’s writings, see JP IH] 3651-55 and pp. 902-03.
27. With reference to the remainder of the sentence, see Supplement, p. 540 (Pap. III B 132:2).
28. Cf., for example, Anxiety, pp. 35-38, KW VIII (SV VI 306-09); “ ‘Guilty?’/‘Not Guilty?’ ” Stages, KW XI (SV VI 175-459).
29. A loan word from Greek, meaning equivocality, ambiguity; it is used only three times in Kierkegaard’s writings, all in Either/Or, I. See note 36 be- low.
30. See Exodus 20:5.
31. A tragedy also by Sophocles.
34. Philoctetes, 691-707; Sophoclis Tragoediae, I-Il, ed. C. H. Weise (Leipzig: 1841; ASKB 1201), Il, pp. 255-56; Sophokles’s Tragoedier, I-II, tr. Peder Grib Fibiger (Copenhagen: 1821-22), II, p. 288; The Complete Greek Tragedies, I-IV, Notes to Pages 151-55 629 ed. David Grene and Richmond Lattimore (Chicago: University of Chicago Press, 1959), HI, p. 427: He was lame, and no one came near him.
He suffered, and there were no neighbors for his sorrow with whom his cries would find answer, with whom he could lament the bloody plague that ate him up.
No one who would gather fallen leaves from the ground to quiet the raging, bleeding sore, running, in his maggot-rotten foot.
Here and there he crawled writhing always— suffering like a child without the nurse he loves— to what source of ease he could find when the heart-devouring suffering gave over.
35. See p. 115.
36. A loan word in Danish, meaning a sudden flashing (for example, the flashing of molten gold or silver), and used only once, here, in Kierkegaard’s authorship. See also Solvblink (silver flash), Irony, KW II (SV XIII 272); Stages, KW XI (SV VI61). “Officiality” and “anacoluthic”’ (pertaining to a changing from one grammatical construction to another without completing the for- mer) a few lines down are also loan words. The first is used only three times in the authorship (twice in Either/Or and once in Point of View) and the second only here. If the three words (and “amphiboly” on p. 127) seem odd in Eng- lish, they make the impression intended, for they are still more odd in Danish and in the entire authorship. They are in keeping with this periodic tour de force in the paragraph.
37. With reference to the remainder of the sentence, see Supplement, p. 541 (Pap. III B 83).
38. German verlieben sich in Danish form.
42. Labdakos was the grandfather and Jocasta the mother, and later the wife, of Oedipus.
44. The well-known Latin gloss on lines 621-22 of Antigone by Sophocles. See Complete Greek Tragedies, ll, p. 180: * ““The bad becomes the good to him a god would doom.’ ” 45. With reference to the following sentence, see Supplement, p. 542 (Pap. II B 132:3).
46. Also the title of a French poem in Gustav Schwab, Buch der schénsten 630 Notes to Pages 155-64 Geschichten und Sagen, 1-H] (Stuttgart: 1836; ASKB 1429-30), I, p. 347. See Sup- plement, pp. 542-43 (Pap. II A 584).
47. Son of Queen Grimhild, wife of King Gjuke, and a troll. See Oldnor- diske Kempe-Historier, }-Ill, tr. C. C. Rafn (Copenhagen: 1821-26, ASKB 1993-95), II, pp. 242-44. See Supplement, p. 543 (Pap, II A 584).
48. With reference to the following six sentences, see Supplement, p. 543 (Pap. III B 129).
49. See Proverbs 25:11.
50. See Matthew 6:19-20; James 5:2-3.
51. With reference to the following five sentences, see Supplement, p. 543 (Pap. III B 126).
52. See Luke 1:34.
53. Weise, II, p. 44; Complete Greek Tragedies, Il, p. 188.
54. Sophokles Tragoedien, tr. Johann Christian Donner (Heidelberg: 1839), p. 186. See Pap. III C 35-36.
56. Not a quotation.
57. See notes 29 and 36 above.
59. With reference to the following two sentences, see Supplement, p. 544 (Pap. B 179:40).
60. Epaminondas (d. 362 B.c.), Greek general of Thebes. See Cornelius Nepos, ‘‘Epaminondas,”’ IX, 3; Cornelius Nepos, tr. John C. Rolfe (Loeb, to- gether with Lucius Annaeus Florus, New York: 1929), p. 547: Finally, when commander at Mantinea, in the heat of battle he charged the enemy too boldly. He was recognized by the Lacedaemonians, and since they believed that the death of that one man would ensure the safety of their country, they all directed their attack at him alone and kept on until, after great bloodshed and the loss of many men, they saw Epaminondas himself fall valiantly fighting, struck down by a lance hurled from afar. By his death the Boeotians were checked for a time, but they did not leave the field until they had completely defeated the enemy. But Epaminondas, realizing that he had received a mortal wound, and at the same time that if he drew out the head of the lance, which was separated from the shaft and fixed in his body, he would at once die, retained it until news came that the Boeotians were victorious. As soon as he heard that, he cried: “I have lived long enough, since I die unconquered.” Then he drew out the iron and at once breathed his last.
See Supplement, p. 544 (Pap. III B 179:40).
61. With reference to the following sentence, see Supplement, p. 544 (Pap. IH B 179-41).
62. Hercules was killed by the poisoned blood of the centaur Nessus after being slain by Hercules. See Paul Friedrich A. Nitsch, neues mythologisches Notes to Pages 164-81 631 Werterbuch, I-Il, rev. Friedrich Gotthilf Klopfer (Leipzig, Sorau: 1821; ASKB 1944-45), I, p. 842. 63. See Supplement, p. 544 (Pap. If B 132:5).
SILHOUETTES 3. Gotthold Ephraim Lessing, ‘Lied aus dem Spanischen,” G. E. Lessing’s sdmmtliche Schriften, |-X XXII (Berlin: 1825-28; ASKB 1747-62), XVH, p. 281 (ed. tr.). See Supplement, p. 544 (Pap. III A 200). The source of the first four lines has not been located.
5. Democritus (440-357? B.c.) and Leucippus (fl. 450 B.c.), Greek pre-So- cratic philosophers, held that all is atoms in motion (vortex) in a void. In this, they followed in part Anaxagoras (500-428 B.c.), who taught that the universe is qualitative particles in motion (vortex) and cosmic mind (nous), which ini- tiated the motion.
6. Lessing, Laokoon, oder, tiber die Grenzen Malerei und Poesie, Schriften, Il, pp. 121-397. Laocoén..., tr. W. A. Steel (Everyman, New York: Dutton, 1949), pp. 1-110. In this section, the terms “art,” ‘‘artist,” and “‘artistic’”’ are used, in conformity with Lessing’s distinction, for painting and sculpture.
7. See Lessing, Laokoon, Schriften, Il, I-IV, XV-XVIII, pp. 147-87, 265- 98; Everyman, pp. 14-24, 53-69.
8. According to tradition, Veronica dried the sweat on Christ’s face as he went to Golgotha, and the cloth retained his image. ‘Veronica’ means “true image.”
10. Watermark, such as is found in high-grade paper.
11. Proteus, a sea god who sought to escape foretelling the future by con- stantly changing form. See Homer, Odyssey, IV, 450-59; Homers Odyssee, tr. Christian Wilster (Copenhagen: 1837), p. 54; Homer The Odyssey, I-H, tr. A. T. Murray (Loeb, New York: Putnam, 1919), I, pp. 139-41.
12. Danish: randsage Nyrer (as in the Danish Bible); literally, ‘‘ransack the kidneys.” See I Corinthians 2:10; Revelation 2:23.
14. Johann Wolfgang v. Goethe, Clavigo, Goethe’s Werke. Vollstandige Aus- gabe letzter Hand, 1-LX (Stuttgart, Tiibingen: 1828-42; ASKB 1641-68 [I-LV]), X, pp. 49-124; Goethe’s Works, I-V, tr. Hjalmar H. Boyesen (Philadelphia: George Barrie, 1885), III, pp. 155-82.
15. See Homer, Odyssey, XI, 582-601; Wilster, pp. 162-63; Loeb, I, pp. 427-29, 632 Notes to Pages 183-200 19. Simonides. See Cicero, On the Nature of the Gods, I, xxi, 60; M. Tullii Ciceronis opera omnia, I-IV and index, ed. Johann August Ernesti (Halle: 1756- 57; ASKB 1224-29), IV, pp. 487-88; Cicero De natura deorum, Academica, tr. H. Rackham (Loeb, New York: Putnam, 1933), p. 59.
22. Cf. Genesis 8:11.
23. See Stages, KW XI (SV VI 253-54).
24. See Mozart, Don Juan, tr. Laurids Kruse (Copenhagen: 1807), I, 6, pp. 18, 20; Don Giovanni, tr. Ellen H. Bleiler (New York: Dover, 1964), I, 2, pp. 98-100.
25. Adam Gottlob Oehlenschlager, Aladdin, IV (the jinni of the lamp speaking to Noureddin), Poetiske Skrifter, I-I1 (Copenhagen: 1805; ASKB 1597-98), II, p. 275; Aladdin or the Wonderful Lamp, tr. Henry Meyer (Copen- hagen: Gyldendal, 1968), p. 171.
26. Danish: Taleverelse, literally, “speaking room” or “conversation room.” The English “‘parlor’’ comes from the French parler, ‘‘to speak.”
27. Kruse, Don Juan, I, 6, pp. 20-21.
28. Elvira carries a dagger in Kruse, Don Juan, I, 5, p. 18.
29. Virgil, Aeneid, VI, 469-74; Virgils Aeneide, tr. Johan Henrik Schonhey- der (Copenhagen: 1812), pp. 276-77; Virgil, I-II, tr. H. Rushton Fairclough (Loeb, New York: Putnam, 1920), I, p. 539.
30. See, for example, Hegel, Wissenschaft der Logik, Werke, IV, pp. 70-71; J.A., IV, pp. 548-49; Science of Logic, pp. 441-42: Therefore though ordinary thinking everywhere has contradiction for its content, it does not become aware of it, but remains an external reflection which passes from likeness to unlikeness, or from the negative relation to the reflection-into-self, of the distinct sides. It holds these two determina- tions over against one another and has in mind only them, but not their tran- sition, which is the essential point and which contains the contradiction. Intelligent reflection, to mention this here, consists, on the contrary, in grasping and asserting contradiction. Even though it does not express the Notion of things and their relationships and has for its material and content only the determinations of ordinary thinking, it does bring these into a re- lation that contains their contradiction and allows their Notion to show or shine through the contradiction. Thinking reason, however, sharpens, so to say, the blunt difference of diverse terms, the mere manifoldness of pictorial thinking, into essential difference, into opposition. Only when the manifold terms have been driven to the point of contradiction do they become active and lively towards one another, receiving in contradiction the negativity which is the indwelling pulsation of self-movement and spontaneous activ- ity [Lebendigkeit].
31. Heraclitus (c. 500 B.c.) on the oracle at Delphi. See Ancilla to the Pre- Socratic Philosophers, tr. Kathleen Freeman (Oxford: Blackwell, 1948), Hera- Notes to Pages 201-20 633 cleitus, 93, p. 31: “The lord whose oracle is that at Delphi neither speaks nor conceals, but indicates.”
32. Cf. Psalm 92:12; Song of Solomon 5:15; Ezekiel 31:3.
33. A small Greek coin placed in the mouth of the corpse as payment to Charon, the Hades boatman, for the ferry ride across the River Styx to the realm of the dead.
34. With reference to the remainder of the paragraph, see Supplement, p. 545 (Pap. Ill A 116).; 35. Goethe, Faust, I, 3781-82, Werke, XII, p. 199; Faust, tr. Bayard Taylor (New York: Random House, 1950), p. 146. See JP V 5412, 5427 (Pap. ILA 557, 802).
37. See Faust, 1, 3413-68, Werke, II, pp. 60-61; Taylor, pp. 130-33.
39. See Wilhelm Meisters Lehrjahre, 1V, 13, Werke, XIX, p. 76; Works, IV, p. 197.
40. Cf. Matthew 25:35-36.
41. Cf., for example, Psalms 119:36, 141:4.
42. See Romans 9:10-21.
43. See Genesis 2:21-24.
44. Opelske literally means ‘‘to love forth.” See, for example, Eighteen Up- building Discourses, KW V (SV IV 99); Works of Love, KW XVI (SV IX 208).
45. “Den blaa Fugl’’ in Scandinavia; in France, “‘L’ Oiseau bleu,” in Marie Cathérine d’Aulnoy, Les Contes de Fées, I-IV (Paris: 1810), I, pp. 88-96. See JP V 5287 (Pap. II A 207).
46. For date of draft, see Supplement, p. 545 (Pap. III B 173:2).
THE UNHAPPIEST ONE 1. In Worcester Cathedral there is a tomb with the inscription Miserrimus [the most pitiable]. See Supplement, p. 545 (Pap. III A 40).
2. See JP HI 3271 (Pap, Il A 356).
3. Christian Henriksen Pram, Sterkodder, VII (Copenhagen: 1785), p. 142 (ed. tr.): “O friendly grave, in your shadow dwells peace, Your silent occu- pants knows not of sorrow.”
4. In The Eumenides (Furies) by Aeschylus, the murderer Orestes is pursued by the Furies until he finds asylum in the temple at Delphi.
5. The Latin segregati is a translation of the Greek &pweropévot, which means “separated,” “set apart,”’ “cut off,” “expelled” (for example, from the synagogue). Cf. Romans 1:1, where Paul applies the term to himself and his task.
6. See Matthew 22:14.
7. See, for example, Cicero, Cato the Elder on Old Age, XX, 75; M. Tullii Ciceronis opera omnia, I-IV and index, ed. Johann August Ernesti (Halle: 1756- 57; ASKB 1224-29), IV, p. 956; Cicero De senectute, De amicitia, De divinatione, 634 Notes to Pages 221-22 tr. William Armistead Falconer (Loeb, Cambridge: Harvard University Press, 1953), p. 87.
8. On Solon and Croesus, see Herodotus, History, I, 32, 34, 86; Die Geschi- chten des Herodotos, 1-II, tr. Friedrich Lange (Berlin: 1824; ASKB 1117), I, pp. 18-19, 20, 49-50; Herodotus, I-IV, tr. A. D. Godley (Loeb, New York: Put- nam, 1921-24), I, pp. 39, 41, 109-11: Thus then, Croesus, the whole of man is but chance. Now if [ am to speak of you, I say that I see you very rich and the king of many men. But I cannot yet answer your question, before I hear that you have ended your life well...Ifthen such a man besides all this shall also end his life well, then he is the man whom you seek, and is worthy to be called blest; but we must wait till he be dead, and call him not yet blest, but fortunate.
But after Solon’s departure, the divine anger fell heavily on Croesus: as I guess, because he supposed himself to be blest beyond all other men.
So the Persians took Sardis and made Croesus himself prisoner, he having reigned fourteen years and been besieged fourteen days, and, as the oracle foretold, brought his own great empire to an end. Having then taken him they led him to Cyrus. Cyrus had a great pyre built, on which he set Croe- sus, bound in chains, and twice seven Lydian boys beside him: either his in- tent was to sacrifice these first-fruits to some one of his gods, or he desired to fulfil a vow, or it may be that, learning that Croesus was a god-fearing man, he set him for this cause on the pyre, because he would fain know if any deity would save him from being burnt alive. It is related then that he did this; but Croesus, as he stood on the pyre, remembered even in his evil plight how divinely inspired was that saying of Solon, that no living man was blest. When this came to his mind, having till now spoken no word, he sighed deeply and groaned, and thrice uttered the name of Solon. Cyrus heard it, and bade his interpreters ask Croesus who was this on whom he called; they came near and asked him; Croesus at first would say nothing in answer, but presently, being compelled, he said, “It is one with whom I would have given much wealth that all sovereigns should hold converse.”’ This was a dark saying to them, and again they questioned him of the words which he spoke. As they were instant, and troubled him, he told them then how Solon, an Athenian, had first come, and how he had seen all his royal state and made light of it (saying thus and thus), and how all had happened to Croesus as Solon said, though he spoke with less regard to Croesus than to mankind in general and chiefly those who deemed themselves blest. While Croesus thus told his story, the pyre had already been kindled and the outer parts of it were burning. Then Cyrus, when he heard from the inter- preters what Croesus said, repented of his purpose.
9. G.W.F. Hegel, Phanomenologie des Geistes, Georg Wilhelm Friedrich Hegel’s Werke. Vollstandige Ausgabe, I-X VIII, ed. Philipp Marheineke et al. (Berlin: 1832-45; ASKB 549-65), Il, pp. 158-73; Sdmtliche Werke. Jubilaumsausgabe Notes to Pages 222-31 635 [J.A.], IEXXVI, ed. Hermann Glockner (Stuttgart: 1927-40), II, pp. 166-81, The Phenomenology of Mind (tr. primarily based on 3 ed. of P.G., 1841; Kier- kegaard had 2 ed., 1832), tr. J. B. Baillie (New York: Harper, 1967), pp. 251- 67.
10. Clemens Brentano, Die drei Niisse (Berlin, Kénigsberg: 1834).
11. Cf. Repetition, pp. 131-33, KW VI (SV III 173-75); Stages, KW X1 (SV VI 15-21).
12. For a consideration of actuality (Virkelighed) and reality (Realitet) in Kierkegaard’s journals and writings, see JP III 3651-55 and pp. 900-03.
13. Ancaeus, son of the sea god Neptune, was king of Samos. When told the prophecy that he would never taste wine in his own vineyard, he defiantly lifted a cup of wine to his lips, but upon hearing that a wild boar was near, he went hunting and was killed. See Paul Friedrich A. Nitsch, neues mythologisches Worterbuch, I-I1, rev. Friedrich Gotthilf Klopfer (Leipzig, Sorau: 1821; ASKB 1944-45), I, p. 194.
14. In Greek mythology, Leto (Roman Latona) was the daughter of the Ti- tans Coeus and Phoebe and mother of Zeus’s children Artemis (Roman Diana) and Apollo, before whose birth she was obliged to roam around the earth, pursued by Hera (Roman Juno). See Nitsch, Il, pp. 142-48.
15. In Greek mythology, a mythical people in the northernmost regions of the earth (dwellers beyond the North Wind).
17. Cf. Matthew 22:37; Mark 12:33; Luke 10:27.
18. In Greek mythology, a queen of Thebes, daughter of Tantalus, and wife of Amphion. Having boasted that she had twelve children and Leto (L. Latona) only two, she was slain by Leto’s children, Artemis and Apollo. Niobe was turned into a stone image (on Mt. Sipylos, named after one of her children) that wept continually. See Nitsch, H, pp. 326-30.
19. In Greek mythology and literature, Oedipus, as foretold, killed his fa- ther, Laius, and married his mother, Jocasta. Antigone, his daughter, followed him in his banishment and disgrace.
20. See Job 1:21. See Repetition, pp. 197-99, 204-13, KW VI (SV III 231-33, 238-46).
21. See Job 2:9-10.
22. For continuation of the sentence, see Supplement, p. 545 (Pap. III B 174:2).
23. See Deuteronomy 6:5; Matthew 22:27.
24. With reference to the following sentence, see Supplement, pp. 545-46 (Pap. IV A 227).
25. Cf. Ecclesiastes 1:1-11.
THE FIRST LOVE 1. Den forste Kjerlighed (hereafter K.), Johan Ludvig Heiberg’s translation of Augustin Eugéne Scribe’s Les Premiéres Amours ou Les Souvenirs d’enfance, 636 Notes to Pages 232-37 was first presented June 10, 1831, and was published with separate pagination as no. 45 in the Repertoire (hereafter R.) of the Royal Theater in 1832.
2. With reference to the following sentence, see Supplement, p. 546 (Pap. IIT B 40).
3. Johan Herman Wessel, Norwegian-Danish writer (1742-85), “Om en Jo- depige,’’ Samtlige Skrivter, I-II (Copenhagen: 1787), II, p. 130 (ed. tr.): You, god of all skalds, and judge of witticisms, Who are invoked so often, and who so rarely come...4. See, for example, Plato, Phaedo, 60 b-c; Platonis quae exstant opera, I-XI, ed. Friedrich Ast (Leipzig: 1819-32; ASKB 1144-54), I, pp. 478-81; Udvalgte Dialoger af Platon, 1-VIl, tr. Carl Johan Heise (Copenhagen: 1830-38, ASKB 1164-66, 1169 [I-VII]), 1, pp. 6-7; The Collected Dialogues of Plato, ed. Edith Hamilton and Huntington Cairns (Princeton: Princeton University Press, 1963), p. 43: 1963), p. 43: Socrates sat up on the bed and drew up his leg and massaged it, saying as he did so, What a queer thing it is, my friends, this sensation which is popu- larly called pleasure! It is remarkable how closely it is connected with its conventional opposite, pain. They will never come to a man both at once, but if you pursue one of them and catch it, you are nearly always compelled to have the other as well; they are like two bodies attached to the same head. I am sure that if Aesop had thought of it he would have made up a fable about them, something like this—God wanted to stop their continual quar- reling, and when he found that it was impossible, he fastened their heads together; so wherever one of them appears, the other is sure to follow after. That is exactly what seems to be happening to me. I had a pain in my leg from the fetter, and now I feel the pleasure coming that follows it.
6. See ‘Von dem Machandelboom,” Kinder- und Haus-Marchen Gesammelt durch die Briider Grimm, I-III (2 ed., Berlin, 1819-22; ASKB 1425-27), no. 47, I, p. 236; “The Juniper Tree,” The Complete Grimm’s Fairy Tales, tr. Margaret Hunt, rev. James Stern (New York: Pantheon, 1972), p. 226.
7. See, for example, Plato, Phaedo, 97 b-99 b; Opera, I, pp. 570-75; Heise, I, pp. 82-86; Dialogues, pp. 79-80.
8. Danish: Anledning, verb anlede, “to lead to.” The word itself has a very modest meaning, inasmuch as it only leads to something else.
9. See, for example, Aristotle on Empedocles, Metaphysics, 1000 b; Aristo- teles graece, I-II, ed. Immanuel Bekker (Berlin: 1831; ASKB 1074-75), II, p. 1000; The Works of Aristotle, I-XII, ed. J. A. Smith and W. D. Ross (Oxford: Oxford University Press, 1908-52), VIII: Hence it also follows on his theory that God most blessed is less wise than all others; for he does not know all the elements; for he has in him no strife, and knowledge is of the like by the like. ‘For by earth,’ he says, Notes to Pages 237-38 637 we see earth, by water water, By ether godlike ether, by fire wasting fire, Love by love, and strife by gloomy strife [Fragment 109].
A popular version would be “It takes a thief to know (to catch) a thief,” or “Tt takes one to know one.”
11. See II Corinthians 12:7; Eighteen Discourses, KW V (SV V 106-23).