By Søren Kierkegaard, Howard V. Hong, Edna H. Hong
Søren Kierkegaard, the nineteenth-century Danish thinker rediscovered within the 20th century, is an incredible impact in modern philosophy, faith, and literature. He seemed Either/Or because the starting of his authorship, even if he had released previous works on Hans Christian Andersen and irony. The pseudonymous volumes of Either/Or are the writings of a tender guy (I) and of pass judgement on William (II). The ironical younger man's papers contain a suite of sardonic aphorisms; essays on Mozart, sleek drama, and tedium; and "The Seducer's Diary." The seeming miscellany is a reflective presentation of points of the "either," the esthetic view of life.
Part II is an older friend's "or," the moral lifetime of built-in, real personhood, elaborated in discussions of private turning into and of marriage. The solution of the "either/or" is left to the reader, for there isn't any half III until eventually the looks of levels on Life's means. The poetic-reflective creations of a grasp stylist and inventive impersonator, the 2 males write in particular methods acceptable to their respective positions.
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Extra resources for Either/Or, Part II (Kierkegaard's Writings, Volume 4)
Read the story of 舠Project X舡 in Atlas Shrugged. Volumes can be and have been written about the issue of freedom versus dictatorship, but, in essence, it comes down to a single question: do you consider it moral to treat men as sacrificial animals and to rule them by physical force? If, as a citizen of the freest country in the world, you do not know what this would actually mean舒We the Living will help you to know. Coming back to the opening remarks of this foreword, I want to account for the editorial changes which I have made in the text of this novel for its present reissue: the chief inadequacy of my literary means was grammatical舒a particular kind of uncertainty in the use of the English language, which reflected the transitional state of a mind thinking no longer in Russian, but not yet fully in English.
When the train pulled out, she was seen sitting on her bundles, the bewildered children clinging to her skirt, watching the train with a dull, hopeless stare. Across prairies and marshes, the long line of cars crawled wearily, a veil of smoke floating and melting into white puffs behind it. Soldiers huddled in groups on the sloping, slippery roofs. Some of them had harmonicas. They played and sang about the little apple. The song trailed and melted away with the smoke. A crowd awaited the train in Petrograd.
Coming back to the opening remarks of this foreword, I want to account for the editorial changes which I have made in the text of this novel for its present reissue: the chief inadequacy of my literary means was grammatical舒a particular kind of uncertainty in the use of the English language, which reflected the transitional state of a mind thinking no longer in Russian, but not yet fully in English. I have changed only the most awkward or confusing lapses of this kind. I have reworded the sentences and clarified their meaning, without changing their content.