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Fear and Trembling / the Book of Adler

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Fear and Trembling / the Book of Adler S0REN KIERKEGAARD FEAR AND TREMBLING THE BOOK ON ADLER TRANSLATED BY WALTER LOWRIE WITH AN INTRODUCTION BY GEORGE STEINER EVERYMAN'S LIBRARY Alfred A. Knopf New York London Toronro 178 THIS IS A BORZOI BOOK PUBLISHED BY ALFRED A. KNOPF First included in Everyman's Library, 1994 Fear and Trembling Copyright 1941, 1954, by Princeton University Press On Authorityand Revelation: The Book on Adler Copyright 1955, by Princeton University Press Published by arrangement with Princeton University Press Introduction Copyright © 1994 by George Steiner Bibliography and Chronology Copyright © 1994 by Everyman's Library Typography by Peter B. Willberg Sixth printing (US) All rights reserved. Published in the United States by Alfred A. Knopf, a division of Random House, Inc., New York, and in Canada by Random House of Canada Limited, Toronto. Distributed by Random House, Inc., New York. Published in the United K.ingdom by Everyman's Library, Northburgh House, 10 Northburgh Street, London ECl V OAT, and distributed by Random House (UK) Ltd. US website: www.randomhouse.com/everymans ISBN: 978-0-679-43130-5 (US) LC 94-75208 978-1-85715-178-7 (UK) A ClP catalogue reference for this book is available from the British Library Book design I!J Barbara de Wi/de and Carol Devine Carson Typeset in the UK by AccComputing, North Barrow, Somerset Printed and bound in Germany by GGP Media GmbH, Pbssneck FEAR AND TREMBLING THE BOOK ON ADLER CONTENTS Introduction .. XI Select Bibliography .. XXV Chronology . XXVI FEAR AND TREMBLING fufue 3 Prelude 6 A Panegyric upon Abraham I I Problemata: Preliminary Expectoration 19 Problem I: Is there such a thing as a teleological suspen- sion ofthe ethical? . 45 Problem II: Is there such a thing as an absolute duty toward God? . 58 Problem Ill: Was Abraham ethically defensible in keeping silent about his purpose before Sarah, before Eleazar, before lsaac? 7 I Epilogue 108 ON AUTHORIT Y AND RE VELATION : THE BOOK ON AD LER Introduction I 13 Chapter I The Historical Situation . 127 Chapter II The So-Called Fact of Revelation 160 Chapter I II Adler Does Not Himself Believe He Has Had a Revelation I Documents concerning his deposition 170 2 Adler's fo ur last books 190 Supplement. Recapitulation 23 I IX KIERKEGAARD Chapter IV Psychological View of Adler as a Pheno­ menon or as a Satire upon the Hegelian Philosophy and upon the Present Age I Psychological exposition 234 2 The catastrophe in Magister Adler's life 239 3 Magister Adler's advantage .. 243 4 The fundamental fimlt in Magister Adler 250 5 Magister Adler as an epigram upon Christendom of our day 264 Postscript . 275 Appendix Translator's Notes to Fear and Trembling 283 S.K .'s Prefaces to The Book on Adler 292 x INTRODUCTION It is difficultto write about Smen Kierkegaard (18 I 3-55). He has written about himself with a mixture of immediacy and indirection, of confessional urgency and ironizing distance so vivid, so diverse as to beggar commentary from outside. Famously, Kierkegaard's pseudonyms, the dramatis personae he alleges to be the begetters of some of his exemplary works (while assuming that the reader will detect the figure beneath the mask), enact a system of self-mirroring. But the aim is in no straightfo rward sense autobiographical. Sharp-edged as are the assumed guises of S.K., they also achieve effects of dispersal, of dissemination. (At key points, current deconstruc­ tive notions of 'dissemination' and of the 'abolition of the author' go back to Kierkegaard.) Kierkegaard purposes to remain elusive also to himself, to be opaque and in motion as he traverses successive 'stages on life's way'. Pseudonyms, the division of the self into contradictory voices (the 'dialectic'), the brusque pendulum swing between prayer and sophistry, gravity and play, keep open (in Kierkegaard's memorable phrase) 'the wounds of possibility'. They prevent the frozen certitudes of the dogmatic, the inertia of the canonic. If music, notably that of Mozart, was to S0ren Kierkegaard a touch­ stone of the pulse of meaning, the reason is clear: he sought in his reflexes of argument and sensibility, in his prose, to translate out of music its capacities fo r counterpoint, fo r plurality of simultaneous moods and movements, fo r self­ subversion. Like no other major thinker, perhaps, Kierke­ gaard is polyphonic. We must, in consequence, respond with a provisional, questioning lightness matching his own to even those fu nda­ mental aids to understanding to be fo und in his writings. The Kierkegaardian 'triad' is well known. It proceeds from an aesthetic stance to one of ethics; fr om ethics to religion. The aesthetic modulates into the ethical; from the ethical a 'leap of fa ith', the quantum jump 'into absurdity' (which twentieth­ century existentialism took from Kierkegaard), conveys a Xl KIERKEGAARD chosen or aillicted few into the transcendent adventure of God. Kierkegaard oftenin sists on the tripartite construct of his lifeand labours. The early Either/Or dramatizes the conflictual temptations of the aesthetic and the ethical conditions of spirit. The leap across the abyss of mundanity and of reason - ethics is still a worldly, a calculable strategy - which makes acces­ sible the religious sphere, is carefully prepared fo r and plotted in successive meditations and pseudonymous tracts. Yet Kierkegaard lays traps both fo r himself and fo r us. In such texts as the Edifjing Discourses, as the enigmatic but probably decisive treatise on Repetition, as the teasing reflections on Kierkegaard's own 'authorship', the inwoven triplicity of voices and points ofview is manifest. There is, from the outset, a moralistic malaise in the paradoxes and avowals of the aesthete, of the romantic dandy and seducer. Kierkegaard's ethical 'scenarios' and self-scrutiny are charged with poetic, rhetorical display and the disinterested exuberance in stylistic experiment of a literary master. The 'transgression' into sacrificial, uncompromising fa ith, the tormented acceptance of the demands of the absolute in 'imitation of Christ' is latent throughout Kierkegaard. As I read and re-read this exsensive, kaleidoscopic body of work, the 'decision fo r God' in the image of Jesus seems to me discernible, like the flash of a distant lighthouse, as early as Kierkegaard's doctoral dissertation on Socratic irony, with its subtle but unmistakable critique of even the loftiest of pre-Christian souls. The three strands are interwoven almost to the very end. The 'credal' totality prevails only near that very end, in those polemic indictments of the imperfection of the established church which so clearly spell out Kierkegaard's own imminent death. Furthermore, an external fa ctor obtrudes. In mid-October 1843, Kierkegaard, at one simultaneous stroke, published three books: Fear and Trembling, signed Johannes de Silentio; The Repetition, under the name of Constantine Constantius; and Three Edifjing Discourses by Soren Kierkegaard . In one sense, we are confronted by a single 'speech-act'. In another, these three texts qualify, scrutinize and even ironize each other. But all three arise immediately from a crisis at once intimate and strangely public (Copenhagen was a small city Xll INTROD UCTION addicted to censorious gossip). They enact Kierkegaard's torment and analytic apologia in respect of his broken engage­ ment to Regine Olsen. The drama of self-alleged infidelity and philosophic licentiousness had already been played out, all too transparently, in Either/Or. Now two occurrences precipitated Kierkegaard's anguish: Regine had nodded to him in church, suggesting fo rgiveness and a true understanding of her 'betrayer's' motives (the root incompatibility of the philo­ sophic and the married state). Then he learnt of her betrothal to another. The psychological effect was both ruinous and liberating. Wild energies of argumentative, allegoric self­ dramatization and social satire erupted in Kierkegaard. His henceforth aloneness turned to strategy. He took his stance at the frontiers of his community and of his own psyche. Each of the three treatises published in that mirabilis month bore on Regine Olsen's conventional retreat fr om what might have been a solitude, a symbolic apartness concordant with S.K.'s. Allusions to intimate episodes and storms of sensibility arc encased in the psychological, metaphysical and theological motions of argument even where these appear to be most abstract and general. Kierkegaard, in manoeuvres of rhetoric not always attractive, strips himself naked while advocating uttermost reticence and the burial of the heart. The very pen­ names advertise: 'the constant onc' and the 'apostle of silence', itself a reference to a fa iry-talc by the brothers Grimm in which a lover turns to stone rather than betray his secret despair. As a rule, I find current modes of 'psycho-biography' fatuous. The fibres which relate a man to his work arc, where anyone of Kierkegaard's dimensions and refinement go, of a tautness and complication which rebuke our indiscretions. But in the case of Fear and Trembling (and the two masterpieces which closely accompany it), the private domain compels notice were it only because Nietzsche, indirectly, and Wittgen­ stein, in plain awareness, were attentive to Kierkegaard's precedent when they conducted their own spiky lives and when they fa iled at or rejected certain 'normal' human relations (such as marriage). Regine Olsen's is not the only biographical presence in Fear XllI KIERKEGAARD and Trembling. The black persona ofKierkegaard 's dead father looms. The vacant, sombre heath invoked at the outset of chapter one is not that of biblical Canaan, but of Jutland. It was there that S0ren's fa ther, in starved and despairing childhood, had cursed God. This distant malediction became a life-long obsession. It was revealed by the fa ther to his son.
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