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Fear and Trembling by Sören Kierkegaard


Sören Kierkegaard is one of the towering Christian existential thinkers of the mid-nineteenth century. While his literary style was experimental, his writings call for Christian morality; a defense of faith and religion. Among his many books are Training in Christianity, Sickness Unto Death, and Fear and Trembling. Translated by Walter Lowrie. Published by Princeton University Press, 1941. This material was prepared for Religion Online by Ted and Winnie Brock.


Chapter 5: Problem Three: Was Abraham Ethically Defensible in Keeping Silent About His Purpose?


The ethical as such is the universal, again, as the universal it is the manifest, the revealed. The individual regarded as he is immediately, that is, as a physical and psychical being, is the hidden, the concealed. So his ethical task is to develop out of this concealment and to reveal himself in the universal. Hence whenever he wills to remain in concealment he sins and lies in temptation (Anfechtung), out of which he can come only by revealing himself.

With this we are back again at the same point. If there is not a concealment which has its ground in the fact that the individual as the individual is higher than the universal, then Abrahamís conduct is indefensible, for he paid no heed to the intermediate ethical determinants. If on the other hand there is such a concealment, we are in the presence of the paradox which cannot be mediated inasmuch as it rests upon the consideration that the individual is higher than the universal, and it is the universal precisely which is mediation. The Hegelian philosophy holds that there is no justified concealment, no justified incommensurability. So it is self-consistent when it requires revelation, but it is not warranted in regarding Abraham as the father of faith and in talking about faith. For faith is not the first immediacy but a subsequent immediacy. The first immediacy is the aesthetical, and about this the Hegelian philosophy may be in the right. But faith is not the aesthetical -- or else faith has never existed because it has always existed.

It will be best to regard the whole matter from a purely aesthetical point of view, and with that intent to embark upon an aesthetic deliberation, to which I beg the reader to abandon himself completely for the moment, while I, to contribute my share, will modify my presentation in conformity with the subject. The category I would consider a little more closely is the interesting, a category which especially in our age (precisely because our age lives in discrimine rerum) has acquired great importance, for it is properly the category of the turning-point. Therefore we, after having loved this category pro virili, should not scorn it as some do because we have outgrown it, but neither should we be too greedy to attain it. for certain it is that to be interesting or to have an interesting life is not a task for industrial art but a fateful privilege, which like every privilege in the world of spirit is bought only by deep pain. Thus, for example, Socrates was the most interesting man that ever lived, his life the most interesting that has been recorded, but this existence was allotted to him by the Deity, and in so far as he himself had to acquire it he was not unacquainted with trouble and pain. To take such a life in vain does not be seem a man who takes life seriously, and yet it is not rare to see in our age examples of such an endeavor. Moreover the interesting is a border-category, a boundary between aesthetics and ethics. For this reason our deliberation must constantly glance over into the field of ethics, while in order to be able to acquire significance it must grasp the problem with aesthetic intensity and concupiscence. With such matters ethics seldom deals in our age. The reason is supposed to be that there is no appropriate place for it in the System. Then surely one might do it in a monograph, and moreover, if one would not do it prolixly, one might do it briefly and yet attain the same end -- if, that is to say, a man has the predicate in his power, for one or two predicates can betray a whole world. Might there not be some place in the System for a little word like the predicate?

In his immortal poetics (Chapter 11) Aristotle says, . I am of course concerned here only with the second factor, , recognition. Where there can be question of a recognition there is implied eo so a previous concealment. So just as recognition is the relieving, the relaxing factor in the dramatic life, so is concealment the factor of tension. What Aristotle has to say in the same chapter about the merits of tragedy which arc variously appraised in proportion as and impinge upon one another, and also what he says about the "individual" and the "double recognition," I cannot take into consideration here, although by its inwardness and quiet concentration what he says is peculiarly tempting to one who is weary of the superficial omniscience of encyclopedic scholars. A more general observation may be appropriate here. In Greek tragedy concealment (and consequently recognition) is an epic survival grounded in the first instance upon a fate in which the dramatic action disappears from view and from which tragedy derives its obscure and enigmatic origin. Hence it is that the effect produced by a Greek tragedy is like the Impression of a marble statue which lacks the power of the eye. Greek tragedy is blind. Hence a Certain abstraction is necessary in order to appreciate it properly. A son murders his father, but only afterwards does he learn that it was his father. A sister wants to sacrifice her brother, but at the decisive moment she learns who he is. This dramatic motive is not so apt to interest our reflective age. Modern drama has given up fate, has emancipated itself dramatically, sees with its eyes, scrutinizes itself, resolves fate in its dramatic consciousness. Concealment and revelation are in this case the heroís free act for which he is responsible.

Recognition and concealment are also present as an essential element in modern drama. To adduce examples of this would be too prolix. I am courteous enough to assume that everybody in our age, which is so aesthetically wanton, so potent and so enflamed that the act of conception comes as easy to it as to the partridge hen, which, according to Aristotleís affirmation, needs only to hear the voice of the cock or the sound of its flight overhead -- I assume that everyone, merely upon hearing the word "concealment" will be able to shake half a score of romances and comedies out of his sleeve. Wherefore I express myself briefly and so will throw out at once a general observation. In case one who plays hide and seek (and thereby introduces into the play the dramatic ferment) hides something nonsensical, we get a comedy; if on the other hand he stands in relation to the idea, he may come near being a tragic hero. I give here merely an example of the comic. A man rouges his face and wears a periwig. The same man is eager to try his fortune with the fair sex, he is perfectly sure of conquering by the aid of the rouge and the periwig which make him absolutely irresistible. He captures a girl and is at the acme of happiness. Now comes the gist of the matter: if he is able to admit this embellishment, he does not lose all of his infatuating power; when he reveals himself as a plain ordinary man, and bald at that, he does not thereby lose the loved one. -- Concealment is his free act, for which aesthetics also holds him responsible. This science is no friend of hypocrites, it abandons him to the mercy of laughter. This must suffice as a mere hint of what I mean -- the comical cannot be a subject of interest for this investigation.

The path I have to take carries out the investigation of concealment through aesthetics and ethics, for the point is to show the absolute difference between the aesthetic concealment and the paradox.

A couple of examples. A girl is secretly in love with a man, although they have not definitely avowed their love to one another. Her parents compel her to marry another (there may be moreover a consideration of filial piety which determines her), she obeys her parents, she conceals her love, and "no one will ever know what she suffers." -- A young man is able by a single word to get possession of the object of his longings and his restless dreams. This little word, however, will compromise, yea, perhaps (who knows?) bring to ruin a whole family, he resolves magnanimously to remain in his concealment, "the girl shall never get to know that he may perhaps become happy by giving his hand to another." What a pity that these two men, both of whom were concealed from their respective lovers, were also concealed from one another, otherwise a remarkable higher unity might have been brought about. -- Their concealment is a free act, for which they are responsible also to aesthetics. Aesthetics, however, is a courteous and sentimental science which knows of more expedients than a pawnbroker. So what does it do? It makes everything possible for the lovers. By the help of a chance the partners to the projected marriage get a hint of the magnanimous resolution of the other part, it comes to an explanation, they get one another and at the same time attain rank with real heroes. For in spite of the fact that they did not even get time to sleep over their resolution, aesthetics treats them nevertheless as if they had courageously fought for their resolution during many years. For aesthetics does not trouble itself greatly about time, whether in jest or seriousness time flies equally fast for it.

But ethics knows nothing about that chance or about that sentimentality, nor has it so speedy a concept of time. Thereby the matter receives a different aspect. It is no good arguing with ethics for it has pure categories. It does not appeal to experience, which of all ludicrous things is the most ludicrous, and which so far from making a man wise rather makes him mad if he knows nothing higher than this. Ethics has in its possession no chance, and so matters do not come to an explanation, it does not jest with dignities, it lays a prodigious responsibility upon the shoulders of the puny hero, it denounces as presumption his wanting to play providence by his actions, but it also denounces him for wanting to do it by his suffering. It bids a man believe in reality and have courage to fight against all the afflictions of reality, and still more against the bloodless sufferings he has assumed on his own responsibility. It warns against believing the calculations of the understanding, which are more perfidious than the oracles of ancient times. It warns against every untimely magnanimity. Let reality decide -- then is the time to show courage, but then ethics itself offers all possible assistance. If, however, there was something deeper which moved in these two, if there was seriousness to see the task, seriousness to commence it, then something will come of them; but ethics cannot help, it is offended, for they keep a secret from it, a secret they hold at their own peril.

So aesthetics required concealment and rewarded it, ethics required revelation and punished concealment.

At times, however, even aesthetics requires revelation. When the hero ensnared in the aesthetic illusion thinks by his silence to save another man, then it requires silence and rewards it. On the other hand, when the hero by his action intervenes disturbingly in another manís life, then it requires revelation. I am now on the subject of the tragic hero. I would consider for a moment Euripidesí Ephigenia in Aulis. Agamemnon must sacrifice Iphigenia. Now aesthetics requires silence of Agamemnon inasmuch as it would be unworthy of the hero to seek comfort from any other man, and out of solicitude for the women too he ought to conceal this from them as long as possible. On the other hand, the hero, precisely in order to be a hero, must be tried by dreadful temptations which the tears of Clytemnestra and Iphigenia provide for him. What does aesthetics do? It has an expedient, it has in readiness an old servant who reveals everything to Clytemnestra. Then all is as it should be.

Ethics, however, has at hand no chance and no old servant. The ethical idea contradicts itself as soon as it must be carried out in reality. Hence ethics requires revelation. The tragic hero displays his ethical courage precisely by the fact that it is he who, without being ensnared in any aesthetic illusion, himself announces to Iphigenia her fate. If the tragic hero does this, then he is the beloved son of ethics in whom it is well pleased. If he keeps silent, it may be because he thinks thereby to make it easier for others, but it may also be because thereby he makes it easier for himself. However, he knows that he is not influenced by this latter motive. If he keeps silent, he assumes as the individual a serious responsibility inasmuch as he ignores an argument which may come from without. As a tragic hero he cannot do this, for ethics loves him precisely because he expresses the universal. His heroic action demands courage, but it belongs to this courage that he shall shun no argumentation. Now it is certain that tears are a dreadful argumentum ad hominem, and doubtless there are those who are moved by nothing yet are touched by tears. In the play Ephigenia had leave to weep, really she ought to have been allowed like Jephthaís daughter two months for weeping, not in solitude but at her fatherís feet, allowed to employ her art "which is but tears," and to twine about his knees instead of presenting the olive branch of the suppliant.

Aesthetics required revelation but helped -itself out by a chance; ethics required revelation and found in the tragic hero its satisfaction.

In spite of the severity with which ethics requires revelation, it cannot be denied that secrecy and silence really make a man great precisely because they are characteristics of inwardness. When Amor leaves Psyche he says to her, "Thou shalt give birth to a child which will be a divine infant if thou dost keep silence, but a human being if thou dost reveal the secret." The tragic hero who is the favorite of ethics is the purely human, and him I can understand, and all he does is in the light of the revealed. If I go further, then I stumble upon the paradox, either the divine or the demoniac, for silence is both. Silence is the snare of the demon, and the more one keeps silent, the more terrifying the demon becomes; but silence is also the mutual understanding between the Deity and the individual.

Before going on to the story of Abraham, however, I would call before the curtain several poetic personages. By the power of dialectic I keep them upon tiptoe, and by wielding over them the scourge of despair I shall surely keep them from standing still, in order that in their dread they may reveal one thing and another. (These movements and attitudes might well be a subject for further aesthetic treatment. However, I leave it undecided to what extent faith and the whole life of faith might be a fit subject for such treatment. Only, because it is always a joy to me to thank him to whom I am indebted, I would thank Lessing for the one solitary hint of a Christian drama which is found in his Hamturg~ Drama~urgieAí He, however, fixed his glance upon the purely divine side of the Christian life (the consummated victory) and hence he had misgivings; perhaps he would have expressed a different judgment if he had paid more attention to the purely human side (theologia viatorum).Doubtless what he says is very brief, in part evasive, but since I am always glad to have the company of Lessing, I seize it at once. Lessing was not merely one of the most comprehensive minds Germany has had, he not only was possessed of rare exactitude in his learning (for which reason one can securely rely upon him and upon his autopsy without fear of being duped by inaccurate quotations which can be traced nowhere, by half-understood phrases which are drawn from untrustworthy compendiums, or to be disoriented by a foolish trumpeting of novelties which the ancients have expounded far better) but he possessed at the same time an exceedingly uncommon gift of explaining what he himself had understood. There he stopped. In our age people go further and explain more than they have understood.

In his Poetics Aristotle relates a story of a political disturbance at Delphi which was provoked by a question of marriage. The bridegroom, when the augurs foretell to him that a misfortune would follow his marriage, suddenly changes his plan at the decisive moment when he comes to fetch the bride -- he will not celebrate the wedding. I have no need of more. (According to Aristotle the historic catastrophe was as follows. To avenge themselves the family of the bride introduced a temple-vessel among his household goods, and he is sentenced as a temple-robber. This, however, is of no consequence, for the question is not whether the family is shrewd or stupid in its way of taking revenge. The family has an ideal significance only in so far as it is drawn into the dialectic of the hero. Besides it is fateful enough that he, when he would shun danger by not marrying, plunges into it, and also that his life comes into contact with the divine in a double way: first by the saying of the augurs, and then -by being condemned for sacrilege.) In Delphi this event hardly passed without tears; if a poet were to have adopted it as his theme, he might have dared to count very surely upon sympathy. Is it not dreadful that love, which in human life of-ten enough was cast into exile, is now deprived of the support of heaven? Is not the old proverb that "marriages are made in heaven" here put to shame? Usually it is all the afflictions and difficulties of the finite which like evil spirits separate the lovers, but love has heaven on its side, and therefore this holy alliance overcomes all enemies. In this case it is heaven itself which separates what heaven itself has joined together. And who would have guessed such a thing? The young bride least of all. Only a moment before she was sitting in her chamber in all her beauty, and the lovely maidens had conscientiously adorned her so that they could justify before all the world what they had done, so that they not merely derived joy from it but envy, yea, joy for the fact that it was not possible for them to become more envious, because it was not possible for her to become more beautiful. She sat alone in her chamber and was transformed from beauty unto beauty, for every means was employed that feminine art was capable of to adorn worthily the worthy. But there still was lacking something which the young maidens had not dreamed of: a veil finer, lighter and yet more impenetrable than that in which the young maidens had enveloped her, a bridal dress which no young maiden knew of or could help her to obtain yea, even the bride herself did not know how to obtain it. It was an invisible, a friendly power, taking pleasure in adorning a bride, which enveloped her in it without her knowledge; for she saw only how the bridegroom passed by and went up to the temple. She saw the door shut behind him, and she became even more calm and blissful, for she only knew that he now belonged to her more than ever. The door of the temple opened, he stepped out, but maidenly she cast down her eyes and therefore did not see that his countenance was troubled, but he saw that heaven was jealous of the brideís loveliness and of his good fortune. The door of the temple opened, and the young maidens saw the bridegroom step out, but they did not see that his countenance was troubled, they were busy fetching the bride. Then forth she stepped in all her maidenly modesty and yet like a queen surrounded by her maids of honor, who bowed before her as the young maiden always bows before a bride. Thus she stood at the head of her lovely band and waited -- it was only an instant, for the temple was near at hand -- and the bridegroom came . . .but he passed by her door.

But here I break off -- I am not a poet, I go about things only dialectically. It must be remembered first of all that it is at the decisive instant the hero gets this elucidation, so he is pure and blameless, has not light-mindedly tied himself to the fiancée. In the next place, he has a divine utterance for him, or rather against him, he is therefore not guided like those puny lovers by his own conceit. Moreover, it goes without saying that this utterance makes him just as unhappy as the bride, yea, a little more so, since he after all is the occasion of her unhappiness. It is true enough that the augurs only foretold a misfortune to him, but the question is whether this misfortune is not of such a sort that in injuring him it would also affect injuriously their conjugal happiness. What then is he to do? Shall he preserve silence and celebrate the wedding? -- with the thought that "perhaps the misfortune will not come at once, at any rate I have upheld love and have not feared to make myself unhappy. But keep silent I must, for otherwise even the short moment is wasted. This seems plausible, but it is not so by any means, for in doing this I have insulted the girl." He has in a way made the girl guilty by his silence, for in case she had known the truth she never would have consented to such a union. So in the hour of need she would not only have had to bear the misfortune but also her responsibility for his keeping silent and to feel a justified indignation that he had kept silent. Or (2) shall he keep silent and give up celebrating the wedding? In this case he must embroil himself in a mystification by which he reduces himself to naught in her eyes. Aesthetics would perhaps approve of this. The catastrophe might then be fashioned like that of the real story, except that at the last instant an explanation would be forthcoming -- however, that would be after it was all over, since aesthetically viewed it is a necessity to let him die.. .unless this science should see its way to annul the fateful prophecy. Still, by this behavior, magnanimous as he is, he implies an offense against the girl and against the reality of her love. Or (3) shall he speak? One of course must not forget that our hero is a little too poetical for us to suppose that to sign away his love might not have for him a significance very different from the result of an unsuccessful business speculation. If he speaks, the whole thing becomes a story of unhappy love in the style of Axel and Valborg. (Moreover, from this point one might conduct the dialectical movements in another direction. Heaven foretells a misfortune consequent upon his marriage, so in fact he might give up the wedding but not for this reason give up the girl, rather live with her in a romantic union which for the lovers would be more than satisfactory. This implies, however, an offense against the girl because in his love for her he does not express the universal. However, this would be a theme both for a poet and for an ethicist who would defend marriage. On the whole, if poetry were to pay attention to the religious and to the inwardness of personalities, it would find themes of far greater importance than those with which it now busies itself. In poetry one bears again and again this story: a man is bound to a girl whom he once loved -- or perhaps never sincerely loved, for now he has seen the girl who is the ideal. A man makes a mistake in life, it was in the right street but it was in the wrong house, for opposite, on the second floor, dwells the ideal -- this people think a theme for poetry. A lover has made a mistake, he saw his fiancée by lamplight and thought she had dark hair, but, lo, on closer inspection she is blonde -- but her sister, she is the ideal! This they think is a theme for poetry! My opinion is that every such man is a lout who may be intolerable enough in real life but ought instantly to be hissed off the stage when he would give himself airs in poetry. Only passion against passion provides a poetic collision, not the rumpus of these particulars within the same passion. When, for example, a girl when she had fallen in love convinces herself that all earthly love is a sin and prefers a heavenly, here is a poetic collision, and the girl is poetic, for her life is in the idea.) This is a pair which heaven itself separates. However, in the present case the separation is to be conceived somewhat differently since it results at the same time from the free act of the individual. What is so very difficult in the dialectic of this case is that the misfortune is to fall only upon him. So the two lovers do not find like Axel and Valborg a common expression for their suffering, inasmuch as heaven levels its decree equally against Axel and Valborg because they are equally near of kin to one another. If this were the case here, a way out would be thinkable. For since heaven does not employ any visible power to separate them but leaves this to them, it is thinkable that they might resolve between them to defy heaven and its misfortune too.

Ethics, however, will require him to speak. His heroism then is essentially to be found in the fact that he gives up aesthetic loftiness, which in this case, however, could not easily be thought to have any admixture of the vanity which consists in being hidden, for it must indeed be clear to him that he makes the girl unhappy. The reality of this heroism depends, however, upon the fact that he had had his opportunity [for a genuine love] and annulled it; for if such heroism could be acquired without this, we should have plenty of heroes in our age, in our age which has attained an unparalleled proficiency in forgery and does the highest things by leaping over the intermediate steps.

But then why this sketch, since I get no further after all than the tragic hero? Well, because it is at least possible that it might throw light upon the paradox. Everything depends upon how this man stands related to the utterance of the augurs which is in one way or another decisive for his life. Is this utterance publici juris, or is it a privatissimum? The scene is laid in Greece, the utterance of the augur is intelligible to all. I do not mean merely that the ordinary man is able to understand its content lexically, but that the ordinary man can understand that an augur announces to the individual the decision of heaven. So the utterance of the augur is not intelligible only to the hero but to all, and no private relationship to the deity results from it. Do what he will, that which is foretold will come to pass, and neither by doing nor by leaving undone does he come into closer relationship with the deity, or become either the object of its grace or of its wrath. The result foretold is a thing which any ordinary man will be just as well able as the hero to understand, and there is no secret writing which is legible to the hero only. Inasmuch as he would speak, he can do so perfectly well, for he is able to make himself intelligible; inasmuch as he would keep silent, it is because by virtue of being the individual he would be higher than the universal, would delude himself with all sorts of fantastic notions about how she will soon forget the sorrow, etc. On the other hand, in case the will of heaven had not been announced to him by an augur, in case it had come to his knowledge in an entirely private way, in case it had put itself into an entirely private relationship with him, then we encounter the paradox (supposing there is such a thing -- for my reflection takes the form of a dilemma), then he could not speak, however much he might wish to. Then he did not compel himself to maintain silence but he suffered from the pain of it -- but this precisely was the assurance that he was justified. So the reason for his silence is not that he as the individual would place himself in an absolute relation to the universal, but that he as the individual was placed in an absolute relation to the absolute. In this then he would also be able to find repose (as well as I am able to figure it to myself), whereas his magnanimous silence would constantly have been disquieted by the requirements of the ethical. It is very much to be desired that aesthetics would for once essay to begin at the point where for so many years it has ended, with the illusory magnanimity. Once it were to do this it would work directly in the interest of the religious, for religion is the only power which can deliver the aesthetical out of its conflict with the ethical. Queen Elizabeth sacrificed to the State her love for Essex by signing his death-warrant. This was a heroic act, even if there was involved a little personal grievance for the fact that he had not sent her the ring. He had in fact sent it, as we know, but it was kept back by the malice of a lady of the court. Elizabeth received intelligence of this (so it is related, ni fallor), thereupon she sat for ten days with one finger in her mouth and bit it without saying a word, and thereupon she died. This would be a theme for a poet who knew how to wrench the mouth open -- without this condition it is at the most serviceable to a conductor of the ballet, with whom in our time the poet too often confuses himself.

I will follow this with a sketch which involves the demoniacal. The legend of Agnes and the Merman will serve my purpose. The merman is a seducer who shoots up from his hiding-place in the abyss, with wild lust grasps and breaks the innocent flower which stood in all ) its grace on the seashore and pensively inclined its head to listen to the howling of the ocean. This is what the poets hitherto have meant by it. Let us make an alteration. The merman was a seducer. He had called to Agnes, had by his smooth speech enticed from her the hidden sentiments, she has found in the merman what she sought, what she was gazing after down at the bottom of the sea. Agnes would like to follow him. The merman has lifted her up in his arms, Agnes twines about his neck, with her whole soul she trustingly abandons herself to the stronger one; he already stands upon the brink, he leans over the sea, about to plunge into it with his prey -- then Agnes looks at him once more, not timidly, not doubtingly, not proud of her good fortune, not intoxicated by pleasure, but with absolute faith in him, with absolute humility, like the lowly flower she conceived herself to be; by this look she entrusts to him with absolute confidence her whole fate -- and, behold, the sea roars no more, its voice is mute, natureís passion which is the mermanís strength leaves him in the lurch, a dead calm ensues -- and still Agnes continues to look at him thus. Then the merman collapses, he is not able to resist the power of innocence, his native element is unfaithful to him, he cannot seduce Agnes. He leads her back again, he explains to her that he only wanted to show her how beautiful the sea is when it is calm, and Agnes believes him. -- Then he turns back alone and the sea rages, but despair in the merman rages more wildly. He is able to seduce Agnes, he is able to seduce a hundred Agneses, he is able to infatuate every girl -- but Agnes has conquered, and the merman has lost her. Only as a prey can she become his, he cannot belong faithfully to any girl, for in fact he is only a merman. Here I have taken the liberty of making a little alteration(One might also treat this legend in another way. The merman does not want to seduce Agnes, although previously he had seduced many. He is no longer a merman, or, if one so will, he is a miserable merman who already has long been sitting on the floor of the sea and sorrowing. However, he knows (as the legend in fact teaches), that he can be delivered by the love of an innocent girl. But he has a bad conscience with respect to girls and does not dare to approach them. Then he sees Agnes. Already many a time when he was hidden in the reeds he had seen her walking on the shore. Her beauty, her quiet occupation with herself, fixes his attention upon her; but only sadness prevails in his soul, no wild desire stirs in it. And so when the merman mingles his sighs with the soughing of the reeds she turns her ear thither, and then stands still and falls to dreaming, more charming than any woman and yet beautiful as a liberating angel which inspires the merman with confidence. The merman plucks up courage, he approaches Agnes, he wins her love, he hopes for his deliverance. But Agnes was no quiet maiden, she was fond of the roar of the sea, and the sad sighing beside the inland lake pleased her only because then she seethed more strongly within. She would be off and away, she would rush wildly out into the infinite with the merman whom she loved -- so she incites the merman. She disdained his humility, now pride awakens. And the sea roars and the waves foam and the merman embraces Agnes and plunges with her into the deep. Never had he been so wild, never so full of desire, for he had hoped by this girl to find deliverance. He soon became tired of Agnes, yet no one ever found her corpse, for she became a merwoman who tempted men by her songs.) in the merman; substantially I have also altered Agnes a little, for in the legend Agnes is not entirely without fault -- and generally speaking it is nonsense and coquetry and an insult to the feminine sex to imagine a case of seduction where the girl is not the least bit to blame. In the legend Agnes is (to modernize my expression a little) a woman who craves "the interesting," and every such woman can always be sure that there is a merman in the offing, for with half an eye mermen discover the like of that and steer for it like a shark after its prey. It is therefore very stupid to suppose (or is it a rumor which a merman has spread abroad?) that the so-called culture protects a girl against seduction. No, existence is more righteous and fair: there is only one protection, and that is innocence.

We will now bestow upon the merman a human consciousness and suppose that the fact of his being a merman indicates a human preexistence in the consequences of which his life is entangled. There is nothing to prevent him from becoming a hero, for the step he now takes is one of reconciliation. He is loved by Agnes, the seducer is contrite, he has bowed to the power of innocence, he can never seduce again. But at the same instant two powers are striving for possession of him: repentance; and Agnes and repentance. If repentance alone takes possession of him, then he is hidden; if Agnes and repentance take possession of him, then he is revealed.

Now in case repentance grips the merman and he remains concealed, he has clearly made Agnes unhappy, for Agnes loved him in all her innocence, she believed that at the instant when even to her he seemed changed, however well he hid it, he was telling the truth in saying that he only wanted to show her the beautiful calmness of the sea. However, with respect to passion the merman himself becomes still more unhappy, for he loved Agnes with a multiplicity of passions and had beside a new guilt to bear. The demoniacal element in repentance will now explain to him that this is precisely his punishment [for the faults of his preexistent state], and that the more it tortures him the better.

If he abandons himself to this demoniacal influence, he then perhaps makes still another attempt to save Agnes, in such a way as one can, in a certain sense, save a person by means of the evil. He knows that Agnes loves him. If he could wrest from Agnes this love, then in a way she is saved. But how? The merman has too much sense to depend upon the notion that an open-hearted confession would awaken her disgust. He will therefore try perhaps to incite in her all dark passions, will scorn her, mock her, hold up her love to ridicule, if possible he will stir up her pride. He will not spare himself any torment; for this is the profound contradiction in the demoniacal, and in a certain sense there dwells infinitely more good in a demoniac than in a trivial person. The more selfish Agnes is, the easier the deceit will prove for him (for it is only very inexperienced people who suppose that it is easy to deceive innocence; existence is very profound, and it is in fact the easiest thing for the shrewd to fool the shrewd) -- but all the more terrible will be the mermanís sufferings. The more cunningly his deceit is planned, the less will Agnes bashfully hide from him her sufferings; she will resort to every means, nor will they be without effect -- not to shake his resolution, I mean, but to torture him.

So by help of the demoniacal the merman desires to be the individual who as the individual is higher than the universal. The demoniacal has the same characteristic as the divine inasmuch as the individual can enter Into an absolute relation to it. This is the analogy, the counterpart, to that paradox of which we are talking. It has therefore a certain resemblance which may deceive one. Thus the merman has apparently the proof that his silence is justified for the fact that by it he suffers all his pain. However, there is no doubt that he can talk. He can thus become a tragic hero, to my mind a grandiose tragic hero, if he talks. Few people will be able to comprehend wherein this grandiose quality consists. (Aesthetics sometimes treats a similar subject with its customary coquetry. The merman is saved by Agnes, and the whole thing ends in a happy marriage. A happy marriage Thatís easy enough. On the other hand, if ethics were to deliver the address at the wedding service, it would be quite another thing, I imagine. Aesthetics throws the cloak of love over the merman, and so everything is forgotten. It is also careless enough to suppose that at a wedding things go as they do at an auction where everything is sold in the state it is in when the hammer falls. All it cares for is that the lovers get one another, it doesnít trouble about the rest. If only it could see what happens afterwards -- but for that it has no time, it is at once in full swing with the business of clapping together a new pair of lovers. Aesthetics is the most faithless of all sciences. Everyone who has deeply loved it becomes in a certain sense unhappy, but he who has never loved it is and remains a pecus.) He will then be able to wrest from his mind every self-deceit about his being able to make Agnes happy by his trick, he will have courage, humanly speaking, to crush Agnes. Here I would make in conclusion only one psychological observation. The more selfishly Agnes has been developed, the more dazzling will the self-deception be, indeed it is not inconceivable that in reality it might come to pass that a merman by his demoniac shrewdness has, humanly speaking, not only saved an Agnes but brought something extraordinary out of her; for a demon knows how to torture powers Out of even the weakest person, and in his way he may have the best intentions toward a human being.

The merman stands at the dialectical turning-point. If he is delivered Out of the demoniacal into repentance there are two paths open to him. He may hold back, remain in his concealment, but not rely upon his shrewdness. He does not come as the individual into an absolute relationship with the demoniacal but finds repose in the counter-paradox that the deity will save Agnes. (So it is the Middle Ages would perform the movement, for according to its conception the merman is absolutely dedicated to the cloister.) Or else he may be saved along with Agnes. Now this is not to be understood to mean that by the love of Agnes for him he might be saved from being henceforth a deceiver (this is the aesthetic way of performing a rescue, which always goes around the main point, which is the continuity of the mermanís life); for so far as that goes he is already saved, he is saved inasmuch as he becomes revealed. Then he marries Agnes. But still he must have recourse to the paradox. For when the individual by his guilt has gone outside the universal he can return to it only by virtue of having come as the individual into an absolute relationship with the absolute. Here I will make an observation by which I say more than was said at any point in the foregoing discussion. (In the foregoing discussion I have intentionally refrained from any consideration of sin and its reality. The whole discussion points to Abraham, and him I can still approach by immediate categories -- in so far, that is to say, as I am able to understand him. As soon as sin makes its appearance ethics comes to grief precisely upon repentance; for repentance is the highest ethical expression, but precisely as such it is the deepest ethical self-contradiction.) Sin is not the first immediacy, sin is a later immediacy. By sin the individual is already higher (in the direction of the demoniacal paradox) than the universal, because it is a contradiction on the part of the universal to impose itself upon a man who lacks the conditio sine qua non. If philosophy among other vagaries were also to have the notion that it could occur to a man to act in accordance with its teaching, one might make out of that a queer comedy. An ethics which disregards sin is a perfectly idle science; but if it asserts sin, it is eo ipso well beyond itself. Philosophy teaches that the immediate must be annulled (aufgehoben). That is true enough; but what is not true in this is that sin is as a matter of course the immediate, for that is no more true than that faith as a matter of course is the immediate.

As long as I move in these spheres everything goes smoothly, but what is said here does not by any means explain Abraham; for it was not by sin Abraham became the individual, on the contrary, he was a righteous man, he is Godís elect. So the analogy to Abraham will not appear until after the individual has been brought to the point of being able to accomplish the universal, and then the paradox repeats itself.

The movements of the merman I can understand, whereas I cannot understand Abraham; for it is precisely through the paradox that the merman comes to the point of realizing the universal. For if he remains hidden and initiates himself into all the torments of repentance, then he becomes a demon and as such is brought to naught. If he remains concealed but judges it imprudent on his part to be tortured in the bondage of repentance so as to be able to work Agnes loose from the shore where she is stranded, then in fact he attains peace, but he is lost for this world. If he becomes revealed and lets himself be saved by Agnes, then he is the greatest man I can picture; for it is only aesthetics which is frivolous enough to think that it extols the power of love by letting the lost soul be loved by an innocent girl and thereby saved; it is only aesthetics which sees amiss and thinks the girl a heroine, whereas it is in fact the merman who is the hero. So the merman cannot belong to Agnes unless, after having made the infinite movement of repentance, he makes still one more movement by virtue of the absurd. By his own strength he can make the movement of repentance, but for that he uses up absolutely all his strength and hence he cannot by his own strength return and grasp reality. If a man has not enough passion to make either the one movement or the other, if he loiters through life, repenting a little, and thinks that the rest will take care of itself, he has once for all renounced the effort to live in the idea -- and then he can very easily reach and help others to reach the highest attainments, i.e. delude himself and others with the notion that in the world of spirit everything goes as in a well-known game of cards where everything depends on haphazard. One can therefore divert oneself by reflecting how strange it is that precisely in our age when everyone is able to accomplish the highest things doubt about the immortality of the soul could be so widespread, for the man who has really made even so much as the movement of infinity is hardly a doubter. The conclusions of passion are the only reliable ones, that is, the only convincing conclusions. Fortunately existence is in this instance more kindly and more faithful than the wise maintain, for it excludes no man not even the lowliest, it fools no one, for in the world of spirit only he is fooled who fools himself.

It is the opinion of all, and so far as I dare permit myself to pass judgment it is also my opinion, that it is not the highest thing to enter the monastery; but for all that it is by no means my opinion that in our age when nobody enters the monastery everybody is greater than the deep and earnest soul who found repose in a monastery. How many are there in our age who have passion enough to think this thought and then to judge themselves honestly? This mere thought of taking time upon oneís conscience of giving it time to explore with its sleepless vigilance every secret thought, with such effect that, if every instant one does not make the movement by virtue of the highest and holiest there is in a man, one is able with dread and horror to discover (People do not believe this in our serious age, and yet it is remarkable that even in paganism, less easy-going and more given to reflection, the two outstanding representatives of the Greek as a conception of existence intimated each in his way that by delving deep into oneself one would first of all discover the disposition to evil. I surely do not need to say that I am thinking of Pythagoras and Socrates.) and by dread itself, if in no other way, to lure forth the obscure libido which is concealed after all in every human life, whereas on the contrary when one lives in society with others one so easily forgets, is let off so easily, is sustained in so many ways, gets opportunity to start afresh -- this mere thought, I would suppose, must chasten many an individual in our age which imagines it has already reached the highest attainment. But about this people concern themselves very little in our age which they think has reached the highest attainment, whereas in truth no age has so fallen victim to the comic as this has, and it is incomprehensible that this age has not already by a generatio aequivoca given birth to its hero, the demon who would remorselessly produce the dreadful spectacle of making the whole age laugh and making it forget that it was laughing at itself. Or what is existence for but to be laughed at if men in their twenties have already attained the utmost? And for all that, what loftier emotion has the age found since men gave up entering the monastery? Is it not a pitiable prudence, shrewdness, faintheartedness, it has found, which sits in high places and cravenly makes men believe they have accomplished the greatest things and insidiously withholds them from attempting to do even the lesser things? The man who has performed the cloister-movement has only one movement more to make, that is, the movement of the absurd. How many in our age understand what the absurd is? How many of our contemporaries so live that they have renounced everything and gained all? How many are even so honest with themselves that they know what they can do and what they cannot? And is it not true that in so far as one finds such people one finds them rather among the less cultured and in part among women? The age in a kind of clairvoyance reveals its weak point, as a demoniac always reveals himself without understanding himself, for over and over again it is demanding the comic. If it really were this the age needed, the theater might perhaps need a new play in which it was made a subject of laughter that a person died of love -- or would it not rather be salutary for this age if such a thing were to happen among us, if the age were to witness such an occurrence, in order that for once it might acquire courage to believe in the power of spirit, courage to quench cravenly the better impulses in oneself and to quench invidiously the better impulses in others . . . by laughter? Does the age really need a ridiculous exhibition by a religious enthusiast in order to get something to laugh at, or does it not need rather that such an enthusiastic figure should remind it of that which has been forgotten?

If one would like to have a story written on a similar theme but more touching for the fact that the passion of repentance was not awakened, one might use to this effect a tale which is narrated in the book of Tobit. The young Tobias wanted to marry Sarah the daughter of Raguel and Edna. But a sad fatality hung over this young girl. She had been given to seven husbands, all of whom had perished in the

bride-chamber. With a view to my plan this feature is a blemish in the narrative, for almost irresistably a comic effect is produced by the thought of seven fruitless attempts to get married notwithstanding she was very near to it just as near as a student who seven times failed to get his diploma. In the book of Tobit the accent falls on a different spot, therefore the high figure is significant and in a certain sense is contributary to the tragic effect, for it enhances the courage of Tobias, which was the more notable because he was the only son of his parents (6:14) and because the deterrent was so striking. So this feature must be left out. Sarah is a maiden who has never been in love, who treasures still a young maidenís bliss, her enormous first mortgage upon life, her Vollmachtbrief zum Glücke, the privilege of loving a man with her whole heart. And yet she is the most unhappy maiden, for she knows that the evil demon who loves her will kill the bridegroom the night of the wedding. I have read of many a sorrow, but I doubt if there is anywhere to be found so deep a sorrow as that which we discover in the life of this girl. However, if the misfortune comes from without, there is some consolation to be found after all. Although existence did not bring one that which might have made one happy, there is still consolation in the thought that one would have been able to receive it. But the unfathomable sorrow which time can never divert, which time can never heal! To be aware that it was of no avail though existence were to do everything it could! A Greek writer conceals so infinitely much by his simple naïveté when he says: (cf. Longi Pastoralia). There has been many a girl who became unhappy in love, but after all she became so, Sarah was so before she became so. It is hard not to find the man to whom one can surrender oneself devotedly, but It is unspeakably hard not to be able to surrender oneself. A young girl surrenders herself, and then they say, "Now she is no longer free"; but Sarah was never free, and yet she had never surrendered herself. It is hard if a girl surrendered herself and then was cheated, but Sarah was cheated before she surrendered herself. What a world of sorrow is implied in what follows, when finally Tobias wishes to marry Sarah! What wedding ceremonies! What preparations! No maiden has ever been so cheated as Sarah, for she was cheated out of the most sacred thing of all, the absolute wealth which even the poorest girl possesses, cheated out of the secure, boundless, unrestrained, unbridled devotion of surrender -- for first there had to be a fumigation by laying the heart of the fish and its liver upon glowing coals. And think of how the mother had to take leave of her daughter, who as it were was herself cheated out of all and in continuity with this must cheat the mother out of her most beautiful possession. Just read the narrative. "Edna prepared the chamber and brought Sarah thither and wept and received the tears of her daughter. And she said unto her, Be of good comfort, my child, the Lord of heaven and earth give thee joy for this thy sorrow! Be of good courage, my daughter." And then the moment of the nuptials! Let one read it if one can for tears. "But after they were both shut in together Tobias rose up from the bed and said, Sister, arise, and let us pray that the Lord may have mercy upon us" (8:4).

In case a poet were to read this narrative, in case he were to make use of it, I wager a hundred to one that he would lay all the emphasis upon the young Tobias. His heroic courage in being willing to risk his life in such evident danger -- which the narrative recalls once again, for the morning after the nuptials Raguel says to Edna, "Send one of the maid-servants and let her see whether he be alive; but if not, that we may bury him and no man know of it" (8:12) -- this heroic courage would be the poetís theme. I take the liberty of proposing another. Tobias acted bravely, stoutheartedly and chivalrously, but any man who has not the courage for this is a molly-coddle who does not know what love is, or what it is to be a man, or what is worth living for; he had not even comprehended the little mystery, that it is better to give than to receive, and has no inkling of the great one, that it is far more difficult to receive than to give -- that is, if one has had courage to do without and in the hour of need did not become cowardly. No, it is Sarah that is the heroine. I desire to draw near to her as I never have drawn near to any girl or felt tempted in thought to draw near to any girl I have read about. For what love to God it requires to be willing to let oneself be healed when from the beginning one has been thus bungled without oneís fault, from the beginning has been an abortive specimen of humanity! What ethical maturity was required for assuming the responsibility of allowing the loved one to do such a daring deed! What humility before the face of another person! What faith in God to believe that the next instant she would not hate the husband to whom she owed everything!

Let Sarah be a man, and with that the demoniacal is close at hand. The proud and noble nature can endure everything, but one thing it cannot endure, it cannot endure pity. In that there is implied an indignity which can only be inflicted upon one by a higher power, for by oneself one can never become an object of pity. A man has sinned, so he can bear the punishment for it without despairing; but without blame to be singled out as a sacrifice to pity, as a sweet-smelling savor in its nostrils, that he cannot put up with. Pity has a strange dialectic, at one moment it requires guilt, the next moment it will not have it, and so it is that to be predestinated to pity is more and more dreadful the more the individualís misfortune is in the direction of the spiritual. But Sarah had no blame attaching to her, she is cast forth as a prey to every suffering and in addition to this has to endure the torture of pity -- for even I who admire her more than Tobias loved her, even I cannot mention her name without saying, "Poor girl." Put a man in Sarahís place, let him know that in case he were to love a girl a spirit of hell would come and murder his loved one -- it might well be possible that he would choose the demoniacal part, that he would shut himself up within himself and say in the way a demoniacal nature talks in secret, "Many thanks, I am no friend of courteous and prolix phrases, I do not absolutely need the pleasure of love, I can become a Blue Beard, finding my delight in seeing maidens perish during the night of their nuptials." Commonly one hears little about the demoniacal, notwithstanding that this field, particularly in our time, has a valid claim to be explored, and notwithstanding that the observer, in case he knows how to get a little in rapport with the demon, can, at least occasionally, make use of almost every man for this purpose. As such an explorer Shakespeare is and constantly remains a hero. That horrible demon, the most demoniacal figure Shakespeare has depicted and depicted incomparably, the Duke of Gloucester (afterwards to become Richard III) -- what made him a demon? Evidently the fact that he could not bear the pity he had been subjected to since childhood. His monologue in the first act of Richard III is worth more than all the moral systems which have no inkling of the terrors of existence or of the explanation of them.

I, that am rudely stamped, and want loveís majesty
To strut before a wanton ambling nymph;
I, that am curtailíd of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinished, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them.

Such natures as that of Gloucester one cannot save by mediating them into an idea of society. Ethics in fact only makes game of them, just as it would be a mockery of Sarah if one were to say to her, "Why dost thou not express the universal and get married?" Essentially such natures are in the paradox and are no more imperfect than other men, but are either lost in the demoniacal paradox or saved in the divine. Now from time out of mind people have been pleased to think that witches, hobgoblins, gnomes etc. were deformed, and undeniably every man on seeing a deformed person has at once an inclination to associate this with the notion of moral depravity. What a monstrous injustice! For the situation must rather be inverted, in the sense that existence itself has corrupted them, in the same way that a stepmother makes the children wicked. The fact of being originally set outside of the universal, by nature or by a historical circumstance, is the beginning of the demoniacal, for which the individual himself however is not to blame. Thus Cumberlandís Jew is also a demon notwithstanding he does what is good. Thus too the demoniacal may express itself as contempt for men -- a contempt, be it observed, which does not cause a man to behave contemptibly, since on the contrary he counts it his forte that he is better than all who condemn him -- In view of such cases the poets ought to lose no time in sounding the alarm. God knows what books are read now by the younger generation of verse makers! God knows what significance in existence these men have! Their study likely consists in learning rhymes by rote. At this moment I do not know what use they arc except to furnish an edifying proof of the immortality of the soul, for the fact that one can say of them as Baggesen says of the poet of our town, Kildevalle, "If he is immortal, then we all are." -- What I have said here with regard to the daimonia in poetic production (taking Sarah as the point of departure, and therefore a fantastic hypothesis) acquires full significance if with psychological interest one will absorb oneself in the significance of the saying: nullum unquam exstetit magnum ingenium sine aliqua dementia. For this dementia is the suffering allotted to genius in existence, it is the expression if I may say so, of the divine jealousy, whereas the gift of genius is the expression of the divine favor. So from the start the genius is disoriented in relation to the universal and is brought into relation with the paradox -- whether it be that in despair at his limitation (which in his eyes transforms his omnipotence into impotence) he seeks a demoniacal reassurance and therefore will not admit such limitation either before God or men, or else he reassures himself religiously by love to the Deity. Here are implied psychological topics to which, it seems to me, one might gladly sacrifice a whole life -- and yet one so seldom hears a word about them. What relation has madness to genius? Can we construct the one out of the other? In what sense and how far is the genius master of his madness? For it goes without saying that to a certain degree he is master of it, since otherwise he would be actually a madman. For such observations, however, ingenuity in a high degree is requisite, and love; for to make observation upon a superior mind is very difficult. If with due attention to this difficulty one were to read through the works of particular authors most celebrated for their genius, it might in barely a single instance perhaps be possible, though with much pains, to discover a little.

I would consider still another case, that of an individual who by being hidden and by his silence would save the universal. To this end I make use of the legend of Faust. Faust is a doubter,

("If one would prefer not to make use of a doubter, one might choose a similar figure, an ironist, for example, whose sharp sight has discovered fundamentally the ludicrousness of existence, who by a secret understanding with the forces of life ascertains what the patient wishes. He knows that he possesses the power of laughter if he would use it, he is sure of his victory, yea, also of his good fortune. He knows that an individual voice will be raised in resistance, but he knows that he is stronger, he knows that for an instant one still can cause men to seem serious, but he knows also that privately they long to laugh with him; he knows that for an instant one can still cause a woman to hold a fan before her eyes when he talks, but he knows that she is laughing behind the fan, that the fan is not absolutely impervious to vision, he knows that one can write on it an invisible inscription, he knows that when a woman strikes at him with her fan it is because she has understood him, he knows without the least danger of deception how laughter sneaks in, and how when once it has taken up its lodging it lies in ambush and waits. Let us imagine such an Aristophanes, such a Voltaire, a little altered, for he is at the same time a sympathetic nature, he loves existence, he loves men, and he knows that even though the reproof of laughter will perhaps educate a saved young race, yet in the contemporary generation a multitude of men will be ruined. So he keeps silent and as far as possible forgets how to laugh. But dare he keep silent? Perhaps there are sundry persons who do not in the least understand the difficulty I have in mind. They are likely of the opinion that it is an admirable act of magnanimity to keep silent. That is not at all my opinion, for I think that every such character, if he has not had the magnanimity to keep silent, is a traitor against existence. So I require of him this magnanimity; but when be possesses it, dare he then keep silent? Ethics is a dangerous science, and it might be possible that Aristophanes was determined by purely ethical considerations in resolving to reprove by laughter his misguided age. Aesthetical magnanimity does not help [to solve the question whether one ought to keep silent], for on the credit of that one does not take such a risk. If he is to keep silent, then into the paradox he must go. -- I will suggest still another plan for a story. Suppose e.g. that a man possessed an explanation of a heroic life which explained it in a sorry way, and yet a whole generation reposes securely in an absolute belief in this hero, without suspecting anything of the sort.)

an apostate against the spirit, who takes the path of the flesh. This is what the poets mean by it, and whereas again and again it is repeated that every age has its Faust, yet one poet after another follows indefatigably the same beaten track. Let us make a little alteration. Faust is the doubter par excellence, but he is a sympathetic nature. Even in Goetheís interpretation of Faust I sense the lack of a deeper psychological insight into the secret conversations of doubt with itself. In our age, when indeed all have experienced doubt, no poet has yet made a step in this direction. So I think I might well offer them Royal Securities to write on, so that they could write down all they have experienced in this respect -- they would hardly write more than there is room for on the left hand margin.

Only when one thus deflects Faust back into himself, only then can doubt appear poetic, only then too does he himself discover in reality all its sufferings. He knows that it is spirit which sustains existence, but he knows too that the security and joy in which men live is not founded upon the power of spirit but is easily explicable as an unreflected happiness. As a doubter, as the doubter, he is higher than all this, and if anyone would deceive him by making him believe that he has passed through a course of training in doubt, he readily sees through the deception; for the man who has made a movement in the world of spirit, hence an infinite movement, can at once hear through the spoken word whether it is a tried and experienced man who is speaking or a Münchhausen. What a Tamberlane is able to accomplish by means of his Huns, that Faust is able to accomplish by means of his doubt: to frighten men up in dismay, to cause existence to quake beneath their feet, to disperse men abroad, to cause the shriek of dread to be heard on all sides. And if he does it, he is nevertheless no Tamberlane, he is in a certain sense warranted and has the warranty of thought. But Faust is a sympathetic nature, he loves existence, his soul is acquainted with no envy, he perceives that he is unable to check the raging he is well able to arouse, he desires no Herostratic honor -- he keeps silent, he hides the doubt in his soul more carefully than the girl who hides under her heart the fruit of a sinful love, he endeavors as well as he can to walk in step with other men, but what goes on within him he consumes within himself, and thus he offers himself a sacrifice for the universal.

When an eccentric pate raises a whirlwind of doubt one may sometimes hear people say, "Would that he had kept silent." Faust realizes this idea. He who has a conception of what it means to live upon spirit knows also what the hunger of doubt is, and that the doubter hungers just as much for the daily bread of life as for the nutriment of the spirit. Although all the pain Faust suffers may be a fairly good argument that it was not pride possessed him, yet to test this further I will employ a little precautionary expedient which I invent with great ease. For as Gregory of Rimini was called tortor infantium because he espoused the view of the damnation of infants, so I might be tempted to call myself tortor heroum; for I am very inventive when it is a question of putting heroes to the torture. Faust sees Marguerite -- not after he had made the choice of pleasure, for my Faust does not choose pleasure -- he sees Marguerite, not in the concave mirror of Mephistopheles but in all her lovable innocence, and inasmuch as his soul has preserved love for mankind he can perfectly well fall in love with her. But he is a doubter, his doubt has annihilated reality for him; for so ideal is my Faust that he does not belong among these scientific doubters who doubt one hour every term-time in the professorial chair, but at other times are able to do everything else and to do it too without the support of spirit or by virtue of spirit. He is a doubter, and the doubter hungers just as much for the daily bread of joy as for the food of the spirit. He remains, however, true to his resolution and keeps silent, and he talks to no man of his doubt, nor to Marguerite of his love.

It goes without saying that Faust is too ideal a figure to be content with the tattle that if he were to talk he would give occasion to an ordinary discussion and the whole thing would pass off without any consequences -- or perhaps, and perhaps . . . . (Here, as every poet will easily see, the comic is latent in the plan, threatening to bring Faust into an ironical relation to these fools of low comedy who in our age run after doubt, produce an external argument, e.g. a doctorís diploma, to prove that they really have doubted, or take their oath that they have doubted everything, or prove it by the fact that on a journey they met a doubter -- these express-messengers and foot-racers in the world of spirit, who in the greatest haste get from one man a little hint of doubt, from another a little hint of faith, and then turn it to account as best they can, according as the congregation wants to have fine sand or coarse sand.) Faust is too ideal a figure to go about in carpet-slippers. He who has not an infinite passion is not the ideal, and he who has an infinite passion has long ago saved his soul out of such nonsense. He keeps silent and sacrifices himself/or he talks with the consciousness that he desires to confound everything.

If he keeps silent, ethics condemns him, for it says, "Thou shalt acknowledge the universal, and it is precisely by speaking thou dost acknowledge it, and thou must not have compassion upon the universal." One ought not to forget this consideration when sometimes one judges a doubter severely for talking. I am not inclined to judge such conduct leniently, but in this case as everywhere all depends upon whether the movements occur normally. If worse comes to worst, a doubter, even though by talking he were to bring down all possible misfortune upon the world, is much to be preferred to these miserable sweet-tooths who taste a little of everything, and who would heal doubt without being acquainted with it, and who are therefore usually the proximate cause of it when doubt breaks out wildly and with ungovernable rage. -- If he speaks, then he confounds everything -- for though this does not actually occur, he does not get to know it till afterwards, and the upshot cannot help a man either at the moment of action or with regard to his responsibility.

If he keeps silent at his own peril, he may indeed be acting magnanimously, but to his other pains he adds a little temptation (Anfechtung), for the universal will constantly torture him and say, "You ought to have talked. Where will you find the certainty that it was not after all a hidden price which governed your resolution?"

If on the other hand the doubter is able to become the particular individual who as the individual stands in an absolute relation to the absolute, then he can get a warrant for his silence. In this case he must transform his doubt into guilt. In this case he is within the paradox, but in this case his doubt is cured, even though he may get another doubt.

Even the New Testament would approve of such a silence. There are even passages in the New Testament which commend irony -- if only it is used to conceal something good. This movement, however, is as properly a movement of irony as is any other which has its ground in the fact that subjectivity is higher than reality. In our age people want to hear nothing about this, generally they want to know no more about irony than Hegel has said about it -- who strangely enough had not much understanding of it, and bore a grudge against it, which our age has good reason not to give up, for it had better beware of irony. In the Sermon on the Mount it is said, "When thou fastest, anoint thy head and wash thy face, that thou be not seen of men to fast." This passage bears witness directly to the truth that subjectivity is incommensurable with reality, yea, that it has leave to deceive. If only the people who in our age go gadding about with vague talk about the congregational idea were to read the New Testament, they would perhaps get other ideas into their heads.

But now as for Abraham -- how did he act? For I have not forgotten, and the reader will perhaps be kind enough to remember, that it was with the aim of reaching this point I entered into the whole foregoing discussion -- not as though Abraham would thereby become more intelligible, but in order that the intelligibility might become more desultory. For, as I have said, Abraham I cannot understand, I can only admire him. It was also observed that the stages I have described do none of them contain an analogy to Abraham. The examples were simply educed in order that while they were shown in their own proper sphere they might at the moment of variation [from Abrahamís case] indicate as it were the boundary of the unknown land. If there might be any analogy, this must be found in the paradox of sin, but this again lies in another sphere and cannot explain Abraham and is itself far easier to explain than Abraham.

So then, Abraham did not speak, he did not speak to Sarah, nor to Eleazar, nor to Isaac, he passed over three ethical authorities; for the ethical had for Abraham no higher expression than the family life.

Aesthetics permitted, yea, required of the individual silence, when he knew that by keeping silent he could save another. This is already sufficient proof that Abraham does not lie within the circumference of aesthetics. His silence has by no means the intention of saving Isaac, and in general his whole task of sacrificing Isaac for his own sake and for Godís sake is an offense to aesthetics, for aesthetics can well understand that I sacrifice myself, but not that I sacrifice another for my own sake. The aesthetic hero was silent. Ethics condemned him. however, because he was silent by virtue of his accidental particularity. His human foreknowledge was what determined him to keep silent. This ethics cannot forgive, every such human knowledge is only an illusion, ethics requires an infinite movement, it requires revelation. So the aesthetic hero can speak but will not.

The genuine tragic hero sacrifices himself and all that is his for the universal, his deed and every emotion with him belong to the universal, he is revealed, and in this self-revelation he is the beloved son of ethics. This does not fit the case of Abraham: he does nothing for the universal, and he is concealed.

Now we reach the paradox. Either the individual as the individual is able to stand in an absolute relation to the absolute (and then the ethical is not the highest) / or Abraham is lost -- he is neither a tragic hero, nor an aesthetic hero.

Here again it may seem as if the paradox were the easiest and most convenient thing of all. However, I must repeat that he who counts himself convinced of this is not a knight of faith, for distress and anguish are the only legitimations that can be thought of, and they cannot be thought in general terms, for with that the paradox is annulled.

Abraham keeps silent -- but he cannot speak. Therein lies the distress and anguish. For if I when I speak am unable to make myself intelligible, then I am not speaking -- even though I were to talk uninterruptedly day and night. Such is the case with Abraham. He is able to utter everything, but one thing he cannot say, i.e. say it in such a way that another understands it, and so he is not speaking. The relief of speech is that it translates me into the universal. Now Abraham is able to say the most beautiful things any language can express about how he loves Isaac. But it is not this he has at heart to say, it is the profounder thought that he would sacrifice him because it is a trial. This latter thought no one can understand, and hence everyone can only misunderstand the former. This distress the tragic hero does not know. He has first of all the comfort that every counter-argument has received due consideration, that he has been able to give to Clytemnestra, to Iphigenia, to Achilles, to the chorus, to every living being, to every voice from the heart of humanity, to every cunning, every alarming, every accusing, every compassionate thought, opportunity to stand up against him. He can be sure that everything that can be said against him has been said, unsparingly, mercilessly -- and to strive against the whole world is a comfort, to strive with oneself is dreadful -- he has no reason to fear that he has overlooked anything, so that afterwards he must cry out as did King Edward the Fourth at the news of the death of Clarence:

Who suíd to me for him? who, in my wrath,
Kneelíd at my feet and bade me advised?
Who spoke of brotherhood? who spoke of
love?

The tragic hero does not know the terrible responsibility of solitude. In the next place he has the comfort that he can weep and lament with Clytemnestra and Iphigenia -- and tears and cries are assuaging, but unutterable sighs are torture. Agamemnon can quickly collect his soul into the certainty that he will act, and then he still has time to comfort and exhort. This Abraham is unable to do. When his heart is moved, when his words would contain a blessed comfort for the whole world, he does not dare to offer comfort, for would not Sarah, would not Eleazar, would not Isaac say, "Why wilt thou do it? Thou canst refrain"? And if in his distress he would give vent to his feelings and would embrace all his dear ones, this might perhaps bring about the dreadful consequence that Sarah; that Eleazar, that Isaac would be offended in him and would believe he was a hypocrite. He is unable to speak, he speaks no human language. Though he himself understood all the tongues of the world, though his loved ones also understood them, he nevertheless cannot speak -- he speaks a divine language...he "speaks with tongues."

This distress I can well understand, I can admire Abraham, I am not afraid that anyone might be tempted light-heartedly to be the individual, but I admit also that I have not the courage for it, and that I renounce gladly any prospect of getting further -- if only it were possible that in any way, however late, I might get so far. Every instant Abraham is able to break off, he can repent the whole thing as a temptation (Anfechtung), then he can speak, then all could understand him -- but then he is no longer Abraham.

Abraham cannot speak, for he cannot utter the word which explains all (that is, not so that it is intelligible), he cannot say that it is a test, and a test of such a sort, be it noted, that the ethical is the temptation (Versuchung). He who is so situated is an emigrant from the sphere of the universal. But the next word he is still less able to utter. For, as was sufficiently set forth earlier, Abraham makes two movements: he makes the infinite movement of resignation and gives up Isaac (this no one can understand because it is a private venture); but in the next place, he makes the movement of faith every instant. This is his comfort, for he says: "But yet this will not come to pass, or, if it does come to pass, then the Lord will give me a new Isaac, by virtue viz. of the absurd." The tragic hero does at last get to the end of the story. Iphigenia bows to her fatherís resolution, she herself makes the infinite movement of resignation, and now they are on good terms with one another. She can understand Agamemnon because his undertaking expresses the universal. If on the other hand Agamemnon were to say to her, "In spite of the fact that the deity demands thee as a sacrifice, it might yet be possible that he did not demand it -- by virtue viz. of the absurd," he would that very instant become unintelligible to Iphigenia. If he could say this by virtue of human calculation, Iphigenia would surely understand him, but from that it would follow that Agamemnon had not made the infinite movement of resignation, and so he is not a hero, and so the utterance of the seer is a sea-captainís tale and the whole occurrence a vaudeville.

Abraham did not speak. Only one word of his has been preserved, the only reply to Isaac, which also is sufficient proof that he had not spoken previously. Isaac asks Abraham where the lamb is for the burnt offering. "And Abraham said, God will provide Himself the lamb for the burnt offering, my son."

This last word of Abraham I shall consider a little more closely. If this word were not, the whole event would have lacked something; if it were to another effect, everything perhaps would be resolved into confusion.

I have often reflected upon the question whether a tragic hero, be the culmination of his tragedy a suffering or an action, ought to have a last rejoinder. In my opinion it depends upon the life-sphere to which he belongs, whether his life has intellectual significance, whether his suffering or his action stands in relation to spirit.

It goes without saying that the tragic hero, like every other man who is not deprived of the power of speech, can at the instant of his culmination utter a few words, perhaps a few appropriate words, but the question is whether it is appropriate for him to utter them. If the significance of his life consists in an outward act, then he has nothing to say, since all he says is essentially chatter whereby he only weakens the impression he makes, whereas the ceremonial of tragedy requires that he perform his task in silence, whether this consists in action or in suffering. Not to go too far afield, I will take an example which lies nearest to our discussion. If Agamemnon himself and not Calchas had had to draw the knife against Iphigenia, then he would have only demeaned himself by wanting at the last moment to say a few words, for the significance of his act was notorious, the juridical procedure of piety, of compassion, of emotion, of tears was completed, and moreover his life had no relation to spirit. On the other hand, if the significance of a heroís life is in the direction of spirit, then the lack of a rejoinder would weaken the impression he makes. What he has to say is not a few appropriate words, a little piece of declamation, but the significance of his rejoinder is that in the decisive moment he carries himself through. Such an intellectual tragic hero ought to have what in other circumstances is too often striven for in ludicrous ways, he ought to have and he ought to keep the last word. One requires of him the same exalted bearing which is seemly in every tragic hero, but in addition to this there is required of him one word. So when such an intellectual tragic hero has his culmination in suffering (in death), then by his last word he becomes immortal before he dies, whereas the ordinary tragic hero on the other hand does not become immortal till after his death.

One may take Socrates as an example. He was an intellectual tragic hero. His death sentence was announced to him. That instant he dies -- for one who does not understand that the whole power of the spirit is required for dying, and that the hero always dies before he dies, that man will not get so very far with his conception of life. So as a hero it is required of Socrates that he repose tranquilly in himself, but as an intellectual tragic hero it is required of him that he have spiritual strength sufficient to carry himself through. So he cannot like the ordinary tragic hero concentrate upon keeping himself face to face with death, but he must make this movement so quickly that at the same instant he is consciously well over and beyond this strife and asserts himself. So if Socrates in the crisis of death had remained mute, he would have weakened the impression of his life and awakened a suspicion that the elasticity of irony within him was not a cosmic force but a life-belt which by its buoyancy might serve to hold him up pathetically at the decisive moment. (Opinions may be divided as to which rejoinder of Socrates is to be regarded as the decisive one, inasmuch as Socrates has been in so many ways volatilized by Plato. I propose the following. The sentence of death is announced to him, the same instant he overcomes death and carries himself through in the famous reply which expresses surprise that he had been condemned by a majority of three votes." With no vague and idle talk in the marketplace, with no foolish remark of an idiot, could he have jested more ironically than with the sentence which condemned him to death.)

What is briefly suggested here has to be sure no application to Abraham in case one might think it possible to find out by analogy an appropriate word for Abraham to end with, but it does apply to this extent, that one thereby perceives how necessary it is that Abraham at the last moment must carry himself through, must not silently draw the knife, but must have a word to say, since as the father of faith he has absolute significance in a spiritual sense. As to what he must say, I can form no conception beforehand; after he has said it I can maybe understand it, maybe in a certain sense can understand Abraham in what he says, though without getting any closer to him than I have been in the foregoing discussion. In case no last rejoinder of Socrates had existed, I should have been able to think myself into him and formulate such a word; if I were unable to do it, a poet could, but no poet can catch up with Abraham.

Before I go on to consider Abrahamís last word more closely I would call attention to the difficulty Abraham had in saying anything at all. The distress and anguish in the paradox consisted (as was set forth above) in silence -- Abraham cannot speak. (If there can be any question or an analogy, the circumstance of the death of Pythagoras furnishes it, for the silence which he had always maintained he had to carry through in his last moment, and therefore [being compelled to speak] he said, "It is better to be put to death than to speak" [cf. Diogenes Laertius, viii. 39]). So in view of this fact it is a contradiction to require him to speak, unless one would have him out of the paradox again, in such a sense that at the last moment he suspends it, whereby he ceases to be Abraham and annuls all that went before. So then if Abraham at the last moment were to say to Isaac, "To thee it applies," this would only have been a weakness. For if he could speak at all, he might have spoken long before, and the weakness in this case would consist in the fact that he did not possess the maturity of spirit and the concentration to think in advance the whole pain but had thrust something away from him, so that the actual pain contained a plus over and above the thought pain. Moreover, by such a speech he would fall out of the rôle of the paradox, and if he really wanted to speak to Isaac, he must transform his situation into a temptation (Anfechtung), for otherwise he could say nothing, and if he were to do that, then he is not even so much as a tragic hero.

However, a last word of Abraham has been preserved, and in so far as I can understand the paradox I can also apprehend the total presence of Abraham in this word. Firstly, he does not say anything, and it is in this form he says what he has to say. His reply to Isaac has the form of irony, for it always is irony when I say something and do not say anything. Isaac interrogates Abraham on the supposition that he knows. So then if Abraham were to have replied, "I know nothing," he would have uttered an untruth. He cannot say anything, for what he knows he cannot say. So he replies, "God will provide Himself the lamb for the burnt offering, my son." Here the double movement in Abrahamís soul is evident, as it was described in the foregoing discussion. If Abraham had merely renounced his claim to Isaac and had done no more, he would in this last word be saying an untruth, for he knows that God demands Isaac as a sacrifice, and he knows that he himself at that instant precisely is all ready to sacrifice him. We see then that after making this movement he made every instant the next movement, the movement of faith by virtue of the absurd. Hence he is speaking no untruth, but neither is he saying anything, for he speaks a foreign language. This becomes still more evident when we consider that it was Abraham himself who must perform the sacrifice of Isaac. Had the task been a different one, had the Lord commanded Abraham to bring Isaac out to Mount Moriah and then would Himself have Isaac struck by lightning and in this way receive him as a sacrifice, then, taking his words in a plain sense, Abraham might have been right in speaking enigmatically as he did, for he could not himself know what would occur. But in the way the task was prescribed to Abraham he himself had to act, and at the decisive moment he must know what he himself would do, he must know that Isaac will be sacrificed. In case he did not know this definitely, then he has not made the infinite movement of resignation, then, though his word is not indeed an untruth, he is very far from being Abraham, he has less significance than the tragic hero, yea, he is an irresolute man who is unable to resolve either on one thing or another, and for this reason will always be uttering riddles. But such a hesitator is a sheer parody of a knight of faith.

Here again it appears that one may have an understanding of Abraham, but can understand him only in the same way as one understands the paradox. For my part I can in a way understand Abraham, but at the same time I apprehend that I have not the courage to speak, and still less to act as he did -- but by this I do not by any means intend to say that what he did was insignificant, for on the contrary it is the one only marvel.

And what did the contemporary age think of the tragic hero? They thought that he was great, and they admired him. And that honorable assembly of nobles, the jury which every generation impanels to pass judgment upon the foregoing generation, passed the same judgment upon him. But as for Abraham there was no one who could understand him. And yet think what he attained! He remained true to his love. But he who loves God has no need of tears, no need of admiration, in his love he forgets his suffering, yea, so completely has he forgotten it that afterwards there would not even be the least inkling of his pain if God Himself did not recall it, for God sees in secret and knows the distress and counts the tears and forgets nothing.

So either there is a paradox, that the individual stands in an absolute relation to the absolute / or Abraham is lost.

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