WorkSøren Kierkegaard

Either/Or

An aesthete's papers and a judge's letters, supposedly found in an old desk, set side by side with no verdict between them.

by Søren Kierkegaard1,745 passages held

  • Danish, the original language
Original title
Enten – Eller
First published
(aged 30)
Original language
Danish

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Overview

Victor Eremita, the invented editor whose Latin name means victorious hermit, says he found these papers in an antique writing desk and could not tell who had won the argument they contain. The first volume belongs to a young man known only as A: aphorisms, an essay on Mozart's Don Giovanni, an essay on how to manage boredom, and finally a diary in which a certain Johannes plans the seduction of a girl named Cordelia, for the pleasure of the planning. The second volume is the answer: long letters from a judge called William. A life spent collecting interesting moments, he tells A, never adds up to a self; a person becomes someone by choosing, as a husband chooses marriage, and then staying with the choice. A sermon by a country priest in Jutland closes the book. Søren Kierkegaard wrote much of it in Berlin in the winter of 1841–42, months after breaking his engagement to Regine Olsen, and had the fair copy written out partly in other hands so that the printer's staff would not recognise his. The two volumes, over eight hundred pages, went on sale on 20 February 1843, and Copenhagen speculated about who had written them. On 1 March J. L. Heiberg, the city's arbiter of literary taste, gave the book a short and condescending notice in his own journal, and Kierkegaard turned from would-be ally into a lasting critic of Heiberg. Even so, it was the only one of his books that sold well, and a second edition followed in 1849.

Key concepts

Who are A, Judge William and Victor Eremita?

Three invented figures in a book that is Kierkegaard's. Victor Eremita, whose Latin name means victorious hermit, claims to have found the papers in an antique writing desk. A, a young aesthete known only by that letter, wrote the first volume; William, a married judge, wrote the letters of the second. Keeping them apart is how the book makes the reader, not an author, decide.

What does the aesthetic mean in Either/Or?

Not art appreciation but a way of life: living for what is interesting, pleasurable or moving in the moment, keeping possibilities open and commitment at bay. A lives it with great intelligence, which is why it cannot be dismissed as mere pleasure-seeking. Judge William's objection is that such a life, however refined, never adds up to a self.

What is the Seducer's Diary?

The last text in A's volume, a diary in which a certain Johannes plans the seduction of a girl named Cordelia. What he wants is not the conquest but the pleasure of the planning, so the diary shows the aesthetic life at its coldest: another person turned into material for an experience.

What does Judge William mean by choosing oneself?

Becoming someone by an act of choice and then keeping to it. His model is marriage: a husband does not merely feel love but chooses it, and renews the choice in the ordinary days that follow. In such choosing a person takes over their own life as a task, which the aesthete, always keeping his options open, never does.

Why is the book called Either/Or?

Because it sets two ways of life side by side and demands a decision it will not make itself. The aesthete's volume and the judge's letters answer each other, a closing sermon by a Jutland priest adds a third voice, and the editor declines to say who has won. The either/or is handed to the reader.

Themes of the book

What this book returns to, gathered into themes and ordered by how much of the text each one occupies.

A Life Made of Interesting Moments

Can a life spent collecting pleasures, moods and clever arrangements ever add up to a person? The aesthete's papers make the strongest case for it, and the seducer's diary shows where it ends.

The first volume belongs to a young man known only as A: aphorisms, an essay on Mozart's Don Giovanni, an essay on how to manage boredom, and a diary in which a certain Johannes plans the seduction of Cordelia for the pleasure of the planning. Nothing in it is stupid, and that is its danger. This is the aesthetic life at its most gifted, a life of taste, possibility and reflection that never binds itself to anything. Kierkegaard lets it speak at full strength, so the reader feels its pull before the second volume answers it.

  • aesthetics
  • aestheticism
  • seduction
  • desire
  • manipulation
  • deception
  • sensuality
  • music
  • irony
  • reflection
  • memory
  • aesthetic experience
  • comedy
  • time

Becoming Someone by Choosing

Is a self something a person has, or something they become by choosing and then staying with the choice? Judge William stakes marriage on the second answer, and the editor refuses to say who has won.

The second volume is a reply in long letters from a judge called William. A life of interesting moments, he tells A, never adds up to a self; a person becomes someone by choosing, as a husband chooses marriage, and then keeping to the choice through ordinary days. What matters to him is less which way a person chooses than that they choose at all rather than drift. A sermon by a country priest in Jutland closes the book, and Victor Eremita, the invented editor, declines to judge, leaving the either/or with the reader, where the book insists it belongs.

  • marriage
  • ethics
  • choice
  • selfhood
  • freedom
  • duty
  • love
  • romantic love
  • individuality
  • despair
  • courtship
  • religion

Within this work

passages held
1,745
distinct concepts
1,115
by passages held, corpus-wide
#31

What this book thinks together

The wheel takes this book’s leading concepts and shows how often they come up together. The wider the band between two, the more of its passages speak of both. Among them, most often together: “love” and “marriage”.
Concept co-occurrence, strongest first 8 concepts, joined by 28 pairings. 81 pairings reach beyond these concepts and are not drawn.
ConceptPaired conceptShared passages
lovemarriage78
marriageromantic love53
desireseduction31
aestheticsmarriage29
ethicsmarriage23
aestheticsethics19
ironyseduction19
aestheticsseduction18
desirelove16
ethicslove16
aestheticsdesire13
aestheticslove13
desireromantic love13
aestheticsromantic love11
romantic loveseduction11
ironyromantic love10
loveseduction10
aestheticsirony9
ironymarriage9
desireirony8
ethicsromantic love6
ironylove6
desiremarriage5
loveromantic love5
ethicsirony4
marriageseduction3
ethicsseduction2
desireethics1

Works held

The author's work in order, this book marked in place. Your-language title first, the original beneath it where the two differ; side chips show which full texts are held.

  1. 1841 The Concept of Irony (Om Begrebet Ironi)

    Defended in September 1841 — after he had returned Regine Olsen's engagement ring, before the final break with her — this academic dissertation is the last book he signed himself before the pseudonymous books began with Either/Or.

    DA
  2. 1843 Either/Or (Enten – Eller) you are here DA
  3. 1843 Fear and Trembling (Frygt og Bæven)

    Twin of Repetition, published the same October day: both books take up a man who must give up what he loves, one through Abraham and Isaac, the other through an engagement broken off.

    DA
  4. 1843 Repetition (Gjentagelsen)

    A short fiction, subtitled a venture in experimenting psychology: one man's account of a journey back to Berlin, and another man's letters about a love he has fled.

    DA
  5. 1844 Philosophical Fragments (Philosophiske Smuler)

    Johannes Climacus signs his first book here and returns in the far longer Postscript; in its author's lifetime this short thought experiment was little read outside Denmark.

    DA
  6. 1844 The Concept of Anxiety (Begrebet Angest)

    Philosophical Fragments had appeared four days earlier under another pseudonym; this is its companion, and it takes a point of church doctrine, inherited sin, and treats it as a problem in psychology.

    DA
  7. 1845 Stages on Life's Way (Stadier paa Livets Vei)

    Characters from Either/Or and Repetition return here, and the argument moves past the ethical into the religious.

    DA
  8. 1846 Concluding Unscientific Postscript to "Philosophical Fragments" (Afsluttende uvidenskabelig Efterskrift)

    He meant it to close his authorship and later called it the authorship's turning point; after it, the openly religious writing takes over.

    DA
  9. 1846 Two Ages: The Age of Revolution and the Present Age. A Literary Review (En literair Anmeldelse)

    After the Postscript's farewell, the first book he published was, in form, a review of a contemporary novel, and he signed it with his own name.

    DA
  10. 1847 Upbuilding Discourses in Various Spirits (Opbyggelige Taler i forskjellig Aand)

    Begun in the spring of 1846, while the satirical weekly The Corsair was still caricaturing him, it opens the run of signed religious books that fills the years after the Postscript.

    DA
  11. 1847 Works of Love (Kjerlighedens Gjerninger)

    Two series of deliberations, a form he set apart from the discourse because it is meant to unsettle a reader rather than console one, published six months after the Upbuilding Discourses in Various Spirits.

    DA
  12. 1848 Christian Discourses (Christelige Taler)

    The first book of 1848, the year he later called the richest of his authorship and the year he wrote The Sickness unto Death.

    DA
  13. 1849 The Sickness unto Death (Sygdommen til Døden)

    The first of two books signed by Anti-Climacus, with Practice in Christianity following in 1850; Kierkegaard later ranked the pair among the most important things he wrote.

    DA
  14. 1849 Two Ethical-Religious Essays (Tvende ethisk-religieuse Smaa-Afhandlinger)

    A slim pamphlet, the only book under the initials H.H., salvaged from a planned cycle of ethical-religious essays that he gave up in the spring of 1849.

    DA
  15. 1850 Practice in Christianity (Indøvelse i Christendom)

    Kierkegaard judged it the truest of all his books; with The Sickness unto Death it makes up the pair signed by Anti-Climacus.

    DA
  16. 1851 For Self-Examination (Til Selvprøvelse, Samtiden anbefalet)

    The last new title he published before three years of public silence, and the book whose planned second series became Judge for Yourselves!

    DA
  17. 1855 The Moment (Øieblikket Nr. 1–10)

    The open, signed form of the criticism that Practice in Christianity had made under a pseudonym, carried in a periodical of his own through the last months of his life.

    DA
  18. 1876 Judge for Yourselves! (Dømmer selv! Til Selvprøvelse Samtiden anbefalet)

    Of the books on this shelf, the only one he finished and then chose not to publish; it stands between the signed discourses of 1851 and the open attack on the church of 1854–55.

    DA
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