Soren Kierkegaard

(Romina) #1

  1. Death mask of Poul Martin Møller.
    “In the kingdom of thought, man may be
    grouped with the ruminant animals,” he
    noted in one of his “random thoughts,” and
    this was particularly true of Møller himself.
    Indeed, he worked extraordinarily slowly,
    constantly rewriting, and often involuntarily
    ending up with fragments. As a professor of
    philosophy he became increasingly skepti-
    cal of Hegel, emphasizing instead the vital
    philosophical importance of the idea of
    personality. Møller’s analyses of affectation
    sharpened Kierkegaard’s sense for the many
    forms that self-deception and dissimulation
    can assume. Apart from his father, Møller
    was the only person to whom Kierkegaard
    officially dedicated any of his works, specifi-
    cally The Concept of Anxiety, in which
    Møller is praised as “the happy lover of
    Greek culture.”

  2. Frederik Christian Sibbern. “He was,
    inherently and in his innermost being, a
    very inwardly complicated sort of person....
    I don’t know whether he had a genuinely
    Christian disposition and temperament,
    although he certainly must have had some-
    thing of that sort,” the eighty-four-year-old
    Sibbern wrote about Kierkegaard, whom he
    had come to know in the early 1830s in his
    capacity as a professor of philosophy. Sib-
    bern was on the committee that evaluated
    Kierkegaard’s magister dissertation On the
    Concept of Irony. During the period of
    Kierkegaard’s engagement, Sibbern occasion-
    ally rode along in the carriage when the
    young couple drove out to the Deer Park,
    but he never expressed himself on the subject
    of their relationship even though—by his
    own admission—he could “tell about things
    that only a very few people know, apart
    from myself.” He is shown here without his
    wig, of which he owned many, and which—
    owing in part to vanity and in part to
    philosophical absentmindedness—he would
    sometimes wear one on top of another.

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