By Søren Kierkegaard

In Philosophical Fragments the pseudonymous writer Johannes Climacus explored the query: what's required so as to transcend Socratic recollection of everlasting principles already possessed through the learner? Written as an afterword to this paintings, Concluding Unscientific Postscript is on one point a philosophical jest, but on one other it really is Climacus's characterization of the subjective thinker's relation to the reality of Christianity. instantaneously ironic, funny, and polemical, this paintings takes at the "unscientific" kind of a mimical-pathetical-dialectical compilation of principles. while the circulation within the previous pseudonymous writings is clear of the classy, the stream in Postscript is clear of speculative proposal. Kierkegaard meant Postscript to be his concluding paintings as an writer. the following "second authorship" after The Corsair Affair made Postscript the turning element within the complete authorship. half one of many textual content quantity examines the reality of Christianity as an goal factor, half the subjective factor of what's concerned for the person in turning into a Christian, and the quantity ends with an addendum during which Kierkegaard recognizes and explains his relation to the pseudonymous authors and their writings. the second one quantity includes the scholarly equipment, together with a key to references and chosen entries from Kierkegaard's journals and papers.

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Additional resources for Concluding Unscientific Postscript to Philosophical Fragments, Volume 2 (Kierkegaard's Writings, Volume 12)

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The moment he has any opinion whatever, it is the absolute, the matchless, the only saving opinion. At times, because the train of thought is interrupted, the idea does not actually come into existence but becomes a theme for lyrical effusions in which the poetic is unmistakable, whether it is his description of the foul ignorance of the age, or his bright vistas into a matchless future, or naive amazement about himself, that now he has once again made a matchless discovery. Stirred by the idea, he does not become a thinker but becomes poetic in proportion to that apoplectic obscurity in which the stimulation resides.

63: 1-3: Changed from: § 1. An Expression of Gratitude to Lessing. by A Possible Learner. -Pap. - -Pap. 71: 15-19: ..... Lessing would step up; with an ambiguously admiring expression on his face, he would pat me on the shoulder and say: Daran haben sie Recht, wenn ich das gewusst hiitte, iell aber habe mir nie so etwas einfallen lassen [You are right in that, if only I had known, but nothing like that has ever occurred to me]- -Pap. 71: 15: -Pap. , 1845 . u~T]n~ [of many wiles] (the wily Lessing).

An absoluteness of this sort, which generally is rare, can be his lot, for it is not so rare that a genius has an adherent who caricatures him, but Grundtvig is his own caricature, so absolute is he. His =\bsoluteness changes into parody just as does his style, which requires only a careful reproduction, be it polemical, as • Note. As a rule, one draws [slutte] correct conclusions; yet empirically one can accidentally draw a wrong conclusion if a special event actually occurs and one is unaware of it.

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