WorkSøren Kierkegaard

Stages on Life's Way

Speeches at a banquet, a husband's defence of marriage and the diary of a broken engagement, bound together by a bookbinder.

by Søren Kierkegaard1,063 passages held

  • Danish, the original language
Original title
Stadier paa Livets Vei
First published
(aged 32)
Original language
Danish

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Overview

The harshest review this book received came in December 1845, in the yearbook Gæa, from P. L. Møller, a Copenhagen poet and critic who also wrote anonymously for the satirical weekly The Corsair. The book he attacked had appeared that April, and its fiction is that a bookbinder, Hilarius, found the manuscripts left inside volumes he had bound. The first is a banquet modelled on Plato's Symposium, at which five men, among them Victor Eremita, Constantin Constantius and Johannes the Seducer from Søren Kierkegaard's earlier books, make speeches on love and on woman. The second is a married man's defence of marriage against its objectors, in the voice of Judge William from Either/Or. The third and longest is a diary kept by a man who broke off his engagement: each morning he writes about what happened a year before, each midnight about where he now stands, and a commentator, Frater Taciturnus, adds an analysis of why he cannot know whether he is guilty of her suffering. Laid end to end, the three stand for the stages of the title: the aesthetic, the ethical and the religious. The diary's situation is close to Kierkegaard's own with Regine Olsen. Kierkegaard answered Møller's review in the newspaper Fædrelandet on 27 December, in Taciturnus's name, exposing Møller's connection to The Corsair and daring the paper to attack him. It did, for months. Its caricatures — a frail, hunched man in trousers with uneven legs — made him a laughing stock in the streets of Copenhagen.

Key concepts

Who is Hilarius Bookbinder?

The invented figure who presents the book. A bookbinder, he says he found the manuscripts left inside volumes he had bound and printed them without knowing who wrote them. The fiction lets Kierkegaard put three texts by different hands under one cover, bring back earlier characters, and let the arrangement rather than an author make the argument.

What are the stages on life's way?

The aesthetic, the ethical and the religious: three ways a person can live. The aesthetic lives for enjoyment and the interesting; the ethical for commitment and duty, as in marriage; the religious for a relation to God that the ethical cannot contain. The book's three manuscripts stand for them in turn, from the banquet through the defence of marriage to the diary.

Who is Frater Taciturnus?

The commentator, whose name means Brother Silent, who adds an analysis to the diary explaining why its author cannot know whether he is guilty of the girl's suffering. Kierkegaard used the same name in December 1845 to answer P. L. Møller's review in the newspaper Fædrelandet, which set off months of mockery in The Corsair.

Who speaks at the banquet?

Five men, among them Victor Eremita, Constantin Constantius and Johannes the Seducer, characters from Either/Or and Repetition. The banquet is modelled on Plato's Symposium, where the guests take turns praising love; here they speak on love and on woman, and the returning characters let the book reopen arguments the earlier books left unresolved.

Themes of the book

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

Speeches on Love, and a Defence of Marriage

Five men at a banquet speak on love and on woman; a married man answers them in defence of marriage. Underneath is the question whether love can be lived through a lifetime, or only enjoyed and talked about.

The first manuscript Hilarius Bookbinder claims to have found is a banquet modelled on Plato's Symposium. Victor Eremita, Constantin Constantius and Johannes the Seducer, all from Kierkegaard's earlier books, are among the speakers, and their speeches treat love and woman with every shade of wit and suspicion. The second manuscript is Judge William's defence of marriage against its objectors, taking up the argument of Either/Or again. Laid side by side, the two stand for the aesthetic and the ethical stages of the title, and the ethical holds the last word only until the third manuscript begins.

  • love
  • marriage
  • romantic love
  • gender
  • comedy
  • desire
  • aesthetics
  • commitment
  • ethics
  • irony
  • poetry
  • decision

A Diary That Cannot Settle Its Own Guilt

A man who broke off his engagement writes each morning about a year ago and each midnight about now. Can he ever know whether he is guilty of her suffering, and what can a person do with a guilt they cannot measure?

The third and longest manuscript is his diary, and with it the argument moves past the ethical into the religious. Each morning he records what happened a year before; each midnight, where he now stands. He cannot find out what the break has done to her, so he cannot settle the account, and the uncertainty becomes the substance of his inner life. Frater Taciturnus, the commentator, adds an analysis of why he cannot know whether he is guilty. The diary's situation lies close to Kierkegaard's own with Regine Olsen.

  • guilt
  • repentance
  • uncertainty
  • melancholy
  • suffering
  • responsibility
  • sympathy
  • religion
  • faith
  • inwardness
  • passion
  • memory
  • reflection
  • deception
  • anxiety
  • tragedy
  • communication
  • romantic relationships

Within this work

passages held
1,063
distinct concepts
828
by passages held, corpus-wide
#58

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 25 pairings. 84 pairings reach beyond these concepts and are not drawn.
ConceptPaired conceptShared passages
lovemarriage43
genderirony27
inwardnessreligion20
ironyromantic love20
marriagereligion19
gendermarriage16
lovereligion14
religionsuffering13
genderromantic love12
marriageromantic love12
lovesuffering11
genderlove10
ironymarriage8
ironylove7
marriagesuffering7
ironyreligion6
inwardnesssuffering5
gendersuffering4
inwardnessmarriage4
ironysuffering4
romantic lovesuffering4
genderreligion3
inwardnesslove3
inwardnessromantic love3
religionromantic love2

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)

    The first of the pseudonymous books: an invented editor presenting two invented authors, whose argument Stages on Life's Way would reopen two years later.

    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) you are here 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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