‎Frygt og Bæven. Dialektisk Lyrik af Johannes de Silentio. - [FEAR AND TREMBLING - INTRODUCING THE LEAP OF FAITH]‎

‎Kjøbenhavn, 1843. 8vo. Contemporary dark brown half cloth with gilt lettering to spine. Capitals and a bit of the front hinge worn, but overall very nice and tight. Internally a bit of brownspotting (as always due to the quality of the paper), but less than usual. Old owner's signature to title-page. VIII, 135 pp.‎

‎First edition of one of Kierkegaard's most important and sought-after works, Fear and Trembling, which is rather more difficult to find than most of his other works. Fear and Trembling is one of Kierkegaard’s most important works. And it is also one of his most difficult. It deals – in forceful brevity – with the relationship between reason and faith and provides us with Kierkegaard’s most thorough exposition of the religious stage, which he considered the most meaningful form of existence. It is here that Kierkegaard introduces the “tragic hero” and contrasts it to the “Knight of Faith”, who both ignore their own wishes for a higher good. These two essential figures epitomize the ethical and the religious and pave the way for the understanding of these stages in Kierkegaard’s philosophy. It is arguably also here that the idea of the essential leap of faith is introduced for the first time. The Knight of Faith sacrifices his son at the command of God and thus sets aside an ethical demand in in order to attain a higher goal that exists beyond the ethical. This teleological suspension of the ethical requires a leap of faith that is only possible through faith in virtue of the absurd. Himmelstrup 48.‎

‎Frygt og Bæven. Dialektisk Lyrik af Johannes de Silentio. - [A SPLENDID COPY IN THE ORIGINAL BINDING]‎

‎Kjøbenhavn, Reitzel, 1843. 8vo. VIII, 135 pp. Completely uncut in the original blue cardboard binding. Spine and front hinge neatly restored, preserving part of the original printed title-label. Brownspotting as usual. Overall a very nice copy indeed. Old owners’ names to inside of front board (N. Pedersen 18/8 1879 and C. Wegener).‎

‎A splendid copy of one of Kierkegaard's most splendid and most sought-after works in the original binding, which is extremely rare. The spines of the original Kierkegaard cardboard bindings are always just thin paper directly glued on the block, making them extremely fragile, and the original paper-labels are hardly every preserved. Although Fear and Trembling is evidently printed in the same number of copies as almost all the other works by Kierkegaard (i.e. ca 525), this is one of the most difficult of his works to find in the first edition. Perhaps later research will show whether unsold copies were destroyed, which seems unlikely, however. We know that in July or August 1847, 321 copies of Fear and Trembling had been sold. What we also know is that it is highly sought-after by collectors and much less frequently on the market than most of Kierkegaard’s other works. It is very odd that not a single copy on special paper or in a gift-binding, presentation-copy or anything like that has been located or registered. For this title, a Kierkegaard-collector will have to make do with a “normal” copy. The present copy, in the original binding, and completely uncut, is the best copy we have come across over the last many decades. FEAR AND TREMBLING is one of Kierkegaard’s most important works. And it is also one of his most difficult. It deals – in forceful brevity – with the relationship between reason and faith and provides us with Kierkegaard’s most thorough exposition of the religious stage, which he considered the most meaningful form of existence. Setting the scene in his Preface with the punchy opening lines: “Not merely in the realm of commerce but in the world of ideas as well our age is organizing a regular clearance sale. Everything is to be had at such a bargain that it is questionable whether in the end there is anybody who will want to bid.”(Preface, Walter Lowrie’s translation, 1941), Kierkegaard begins the work with a rendering of the biblical tale of Abraham and Isak from the Old Testament, using it to illustrate how religious reasons can triumph over ethical. It is here that Kierkegaard introduces the “tragic hero” and contrasts it to the “Knight of Faith”, who both ignore their own wishes for a higher good. These two essential figures epitomize the ethical and the religious and pave the way for the understanding of these stages in Kierkegaard’s philosophy. It is arguably also here that the idea of the essential leap of faith is introduced for the first time. The Knight of Faith sacrifices his son at the command of God and thus sets aside an ethical demand in in order to attain a higher goal that exists beyond the ethical. This teleological suspension of the ethical requires a leap of faith that is only possible through faith in virtue of the absurd. In many ways, Fear and Trembling is the most forceful of Kierkegaard’s works, as is also indicated by the title. Kierkegaard himself also considered it one of his most significant productions and wrote in his posthumously published Notebooks: “Oh, once I am dead, Fear and Trembling alone will be enough for an imperishable name as an author. Then it will be read, translated into foreign languages as well. The reader will almost shrink from the frightful pathos in the book.” (NB 12:147, 1849). This splendidly dense work which so magnificently weaves together existential concerns with biblical interpretation is responsible for the introduction of many of the concepts that are most fundamental to Kierkegaard’s philosophy and is essential to the understanding of his thought. Not a single presentation-copy of the work is known to exist and none has ever been registered nor identified. We know from the auction catalogue that Kierkegaard had two copies in his collection, one in “dainty binding”, but neither copy has been located. Himmelstrup 48 The present copy is no. 18 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Gjentagelsen. Et Forsøg i den experimenterende Psychologi af Constantin Constantius.‎

‎K., 1843. Lidt senere simpelt hshirtbd. Rent ekspl. 157 pp.‎

‎Originaludgave. Himmelstrup 53.‎

‎Gjentagelsen. Et Forsøg i den experimenterende Psychologi af Constantin Constantius.‎

‎K., 1843. Ubeskåret i et nydeligt senere mønstret mørkegrønt papirsbindd. Mangler 1/3 af skindtitlen på ryggen. Hér og dér noget plettet, revne på titelbl. restaureret.‎

‎Originaludgave. Himmelstrup 53.‎

‎Gjentagelsen. Et Forsøg i den experimenterende Psychologi af Constantin Constantius. - [KIERKEGAARD’S OWN COPY - ONE OF THE TWO COPIES HE HAD MADE FOR REGINE AND FOR HIMSELF]‎

‎Kjøbenhavn, Reitzel, 1843. Small 8vo. 157 pp. Splendidly bound in beautiful patterned pink moiré-paper covered with red and green floriated gilt branches. Rebacked in nearly matching paper. Blue silk end-papers. All edges gilt. Printed on thick vellum-paper. A splendid copy with light edgewear and absolutely minimal brownspotting. Contemporary inscription to front fly-leaf stating that this is Kierkegaard’s own copy and that it was bought at the auction after him, April 1856 (presumably in the hand of Herman H.J. Lynge). Housed in a beautiful marbled paper box with red Morocco spine. Spine with gilt lines and gilt gothic lettering stating title, the pseudonymous author name and that this is Kierkegaard’s own copy printed on heavy vellum-paper.‎

‎Kierkegaard’s own copy of Repetition, one of the two copies he had printed on special paper and specially bound, one for Regine, one for himself, with a correction in Kierkegaard’s hand. This is as close as one comes to the love story of Regine and Kierkegaard – this is Kierkegaard’s own copy that he kept himself, from the love-set of the two copies of Repetition he had made, where the other was for Regine. One of the two copies of the book that he had made on special paper and bound in this particularly beautiful and romantic binding with gilding and flowers. Kierkegaard had his eight pseudonymous works made like this, one for Regine, one for himself. So far, only four of these have surfaced, Regine’s copies of Repetition, Prefaces, and Either-Or (all three sold at auction in 2002), and Kierkegaard’s own copy of Either-Or (which is in the Danish Royal Library). The other copies are unregistered, and the whereabouts unknown. The present copy is presumably that described merely as “dainty w. gilt edges”, nr. 2125 from the auction catalogue, which Herman H.L. Lynge bought at the auction. The correction is to be found on p. 80, where “legede” (played) has been changed to “levede” (lived). See Pap. IV B99. REPETITION – not only the title of one of his most significant books, but also a key concept in the philosophy of Kierkegaard – was written during the same brief spell of feverish activity that also produced Fear and Trembling the two books were even published on the same day. ”Say what you will, this question will play a very important role in modern philosophy, for repetition is a crucial expression for what “recollection” was to the Greeks. Just as they taught that all knowing is a recollecting, modern philosophy will teach that all life is a repetition.” (Repetition, p. 3 – translation by Hong), Kierkegaard states in the beginning of his treatise, anticipating the importance that his concept of Repetition is to have for modern philosophy. Written in the narrative form of an experimental novel centered on two stories that are internally linked, Kierkegaard lets us understand what Repetition could be and what it is in his philosophy. The first story portrays Repetition as something empty and trivial, whereas the second portrays it as an ethical category that is inextricably linked to religion. Repetition is that which makes it possible for man to become and to remain present in the present. Kierkegaard’s explanation of his key concept of Repetition is exhausted in the present work, but it also plays a significant rôle throughout his later works and is considered one of the key concepts in his philosophy. The work is centered around the story of a young man, who has fallen in love with an innocent young girl to whom he has become engaged. But, finding himself unable to consummate the love because of poetic stirrings inside himself, he tries to understand what is going on inside him and whether or not he should break off the engagement. The elderly Constantin Constantius, one of Kierkegaard’s numerous pseudonyms, interferes with the emotions of our young man and begins to conduct speculative experiments with him that are meant to investigate whether a repetition (of the relationship with the girl, of the young man’s feelings, etc.) might be possible. At the end of the first part, the young man flees Copenhagen and leaves the girl, presumably at her wits’ end. Later, she marries someone else, and the young man transforms into the true poet that he could only be when unattached to the girl he loved. It does not take much of an imagination to link this story to the Kierkegaard’s own wildly famous love story and failed engagement to Regine Olsen. It all begins in 1837, when Kierkegaard meets the lovely young girl Regine Olsen at a visit to the widowed Cathrine Rørdam. Three years later, in September 1840, after having corresponded frequently with her and visited her on numerous occasions, Kierkegaard decides to ask for her hand in marriage. She and her family accept, but the following day, Kierkegaard regrets his decision and ends up finally breaking off the engagement in October 1841. Disregarding the scandal, the heartbreak (his own included), and the numerous pleas from family members and friends alike, Kierkegaard’s tortured soul, still searching for God and for the meaning of faith, cannot continue living with the promise of marriage. Later the same month, he flees Copenhagen and the scandal surrounding the broken engagement. He leaves for Berlin, the first of his four stays there, clearly tortured by his decision, but also intent on not being able to go through with the engagement. As is evident from his posthumously published Papers, Kierkegaard’s only way out of the relationship was to play a charming, but cold, villain, a charlatan, not betraying his inner thoughts and feelings. Despite the brevity of the engagement, it has gone down in history as one of the most significant in the entire history of modern thought. It is a real-life Werther-story with the father of Existentialism as the main character, thus with the dumbfounding existentialist outcome that no-one could have foreseen. This exceedingly famous and difficult engagement became the introduction to one of the most influential authorships in the last two centuries. “She was the reason for my authorship”, Kierkegaard writes in his Papers, and there is no doubt that several of his most significant works are born out of the relationship with Regine – and its ending. It is during his stay in Berlin, his first of four altogether, right after the rupture of the engagement, that he begins writing Either-Or, parts of which, like Repetition, can be read as an almost autobiographical rendering of his failed engagement. Repetition, more than any other work, lets us see how Kierkegaard came to be as an author through his tumultuous inner life during his engagement and the ending of it. After a couple of years, Regine got engaged to someone else, whom she married in 1847. But as is well known, Kierkegaard never married, and the impact of his engagement to Regine and what it made him understand – about himself, about religion, faith, the inner workings of the philosopher and the poet –, never lost its significance. It is evident from the many drafts of a letter that he sent to Regine, through her husband, in 1849 (which was returned to him, unopened) that he had never lain the matter to rest and that the relationship with Regine was still very much alive. He also states in his Notebook 15 from 1849 “By the way, it is certainly the case that my relationship with her has been a very close, present study for me of what faith is. For I know better in this relationship how it is apparently the exact opposite of the foundational. That I have lasted in this relationship has been useful for me in relating to God as a believer.” In his Notebook 15, also known as My Relationship with Her, from 1849, Kierkegaard describes how, when he finally broke off the engagement and she tried to get him to stay, she had told him “that she would thank me her entire life for being allowed to stay with me, even if she were to live in a little cupboard” (SKS No. 16: 6). Thus, Kierkegaard had a little cupboard made, with no shelves in it. Here, he kept “everything that reminds me of her and will remind me of her. There is also a copy of the pseudonyms (i.e. the works that he wrote under a pseudonym)" of these, there were always only two copies on vellum-paper, one for her and one for me.” (SKS: Not. 15:6.). Here we have it – the closest we get to this pivotal love affair from which grew one of the most important philosophical-religious authorships in the Western world. In all, Kierkegaard wrote eight pseudonymous books, Repetition being one of them, all of which were evidently printed in two copies each on vellum-paper and bound in special bindings, one for Regine, one for Kierkegaard himself. 24 years ago, three of these books surfaced, at an auction in 2002, namely Either-Or, Repetiton, and Prefaces, all being the copies Kierkegaard had bound for Regine. Before that, only one single copy of one of these eight titles for Kierkegaard himself or for Regine were known (namely Kierkegaard’s own copy of Either-Or, which is in the Danish Royal Library). Seven of the books, Kierkegaard’s own copies, were listed in the auction catalogue after his death, but apart from the mentioned copy of Either-Or in the Royal Library, the others had not been found. The four known copies are all bound in very particular, beautiful, patterned bindings with flowers and gold, in either pink or white. Like Fear and Trembling, there are no presentation-copies known to exist of Repetition. Himmelstrup 53 The present copy is no. 19 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎I. A: Ogsaa et Forsvar for Qvindens höie Anlæg. II. B: Kjøbenhavnspostens Morgenbetragtninger i Nr. 43 + III. B: Om Fædrelandets Polemik + IV. S. KIERKEGAARD: Til Hr. Orla Lehman. [printed in: Kjøbenhavns flyvende Post, Interimsblad Nr. 34, 76, 82/83 ... - [VERY RARE FIRST PRINTINGS OF KIERKEGAARD'S FIRST FOUR PUBLICATIONS]‎

‎Kjøbenhavn, 1834-1836. Large 4to. Interimsblade [i.e. Interim Papers] 1-100, with the joint title-page and the contents leaf, bound in a very nice contemporary brown half calf with gilt spine and marbled paper over boards. Spine with wear and hinges and corners bumped. Edges of boards with wear. Occasional brownspotting throughout, but all in all a fine and well preserved copy. Each “Interimsblad” takes up 4 pp. Kierkegaard’s contributions: I: ab. 1 p. II: 2 3/4 pp. III: 4 pp. IV: 4 pp.‎

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‎Very rare first printings of Kierkegaard’s first four publications, including the very first publication in Kierkegaard’s own name, which constitutes a true milestone in the history of Kierkegaard’s opus, as does, of course, his very first publication. KIERKEGAARD’S VERY EARLIEST publications are the papers that he publishes in Kjøbenhavns Flyvende Post, before he publishes his famous first book, which is a polemic attack on Hans Christian Andersen. The first and fourth of these earliest periodical publications are arguably the most important, being the very first thing Kierkegaard publishes and the very first publication in Kierkegaard’s own name respectively" but all these four earliest papers (Himmelstrup 1,2,3, and 4) are significant, 2,3, and 4 dealing with contemporary press issues, primarily freedom of press. Danish politics in the 1830’es was dominated by the slow implementation of rules for election for and assembly of the Estates of the Realm. But as they were only advisory, the papers and periodicals were not allowed to publish their opinions. In response to this, a liberal opposition arose around the two polemic papers Kjøbenhavnsposten (The Copenhagen Post) and Fædrelandet (The Fatherland). The first point on the agenda for the Liberals was the fight for freedom of the press and the abolishment of censorship. This fight for freedom of the press was something that found resonance with Copenhagen academics, and it stirred up a lively activity in Copenhagen. In 1835, active Liberals had encouraged King Frederik VI to support freedom of press but had received an answer stating that he alone was able to evaluate what was truly the best for the people and the state. After this answer from the king, the “Society for the Correct Use of the Freedom of press” was founded by moderate liberals and young liberals, and at the end of the year almost 2.300 members had joined. It was in the midst of all this that the 21-year old Søren Kierkegaard, then a student of theology, had his debut, with political-literary articles in Kjøbenhavns flyvende Post, in Interimsbladende, which were published separately. But as opposed to the predominantly liberal views of almost all other contributors, Kierkegaard’s articles expressed distinctly conservative views. His first publication, Også et Forsvar for Qvindens høie Anlæg (Also a Defense of the High Abilities of the Woman) constitutes an unpolished ironic apology for the liberation of women. This article is published in December 1834 and is signed “A.”. As opposed to the following next three articles, this does not deal with freedom of press. Kierkegaard’s three following publications, however, all concern the question of freedom of press and constitute satirical polemics against the two liberal papers Kjøbenhavnsposten and Fædrelandet, against Orla Lehmann, the upcoming star of the liberal youth, and against all liberals in general. These three articles were published in February and April 1836. The two first are signed “B.”, and the third, signed “S. Kierkegaard”, constitutes the very first publication in his own name. As is well known, the names under which Kierkegaard later publishes come to play a significant role in his authorship and represent an extremely thorough and well-thought-out construction. The foundation of this play with the reader is thus laid in the present publications, in which he begins to develop the style for which he later gained worldwide renown. The “names” A and B, under which he here publishes, will most famously be used again in Either- Or, Part one of which consists in “A.’s Papers” and Part Two in “B.’s Papers, Letters to A.” Common for all four of his first publications is the attempt at polemic and satirical power, at literary elegance and at a masterful and ceremonious critique of the prose of the opponent – all dominant traits in his later writings. Kjøbenhavns flyvende Post (The Flying Post of Copenhagen) was one of the most important and most widely read cultural and literary periodicals of the period. It was edited and run by Johan Ludvig Heiberg (1791-1860), arguably the most famous cultural person during the Danish Golden Age. He played a more significant role than any other author or thinker during this period and was the leading character of literature and philosophy in the 19th century. He introduced many German thinkers to Denmark, most importantly Hegel – who Kierkegaard would later oppose –, and he was part of almost all intellectual discussions of the Danish Golden Age. He was also a patron for many leading figures of the era. Interestingly, several people thought that the first of the articles on the freedom of the press was written by Heiberg. This was of dubious merit to Kierkegaard himself, as he was opposed to the circles around Heiberg and the Hegelian environment, but it was still this article – and this miscomprehension – that gave him a claim to fame. Another paper claimed that this “priceless” article had been written by Heiberg himself, who “had written many witty things, but never anything as witty as this.” Also Kierkegaard’s professor of philosophy, Poul Martin Møller, to whom Kierkegaard was very devoted and to whom he dedicated Begrebet Angest (the only person outside of his family that Kierkegaard ever wrote a printed dedication for), loved the article and assumed that Heiberg had written it. “He (Kierkegaard) had a lifelong antipathy toward the press, though he himself published reviews in various papers. His mistrust of the press as a legitimate organ of communication was based on several observations, one of which was that the press was the voice of the masses, rather than that of the individual. He viewed that voice with great skepticism and sarcasm in later years, averring that the crowd... even if technically correct... is wrong by the very fact of being the crowd. The truth can only be stated and practiced as individuals, especially as individuals before God. Admittedly, Kierkegaard’s view of the masses was not well developed at this juncture.” (D. Antony Storm). Himmelstrup: 1, 2, 3 & 4. The present copy is no. 1 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Indøvelse i Christendom. Af Anti-Climacus. Nr.I.II.III. Udgivet af S.Kierkegaard. K., 1850. (4)+277pp.‎

‎Nyere blåt blankt omsl. Lidt brunplettet.‎

‎Originaludgave. Himmelstrup 121.‎

‎Kjerlighedens Gjerninger. Nogle Christelige Overveielser i Talers Form. Første + Anden Følge (alt).‎

‎Kbh., 1847. Ét samt. helhirtbd. m. rygforgyldn. Ene fals, kapitæler samt hjørner lettere slidte. Første og sidste blade en del brunplettede. 224, 203 pp.‎

‎Originaludgave. Himmelstrup 105.‎

‎Kjerlighedens Gjerninger. Nogle Christelige Overveielser i Talers Form. Første-Anden Følge. K., 1847. 224+204pp.‎

‎Indb. m. den orig. hollanderede forperm i et blåt papbd. m. rygtiteletiket. hér og dér lidt plettet. ""Slutningen"" (fra s.190) lidt løsgået indvendig, dog uden fare for at ryge ud.‎

‎Originaludgave. Himmelstrup 105.‎

‎Kjerlighedens Gjerninger. Nogle christelige Overveielser i Talers Form. Første-Anden Følge.‎

‎Kbh., 1847. Noget brunplettet ekspl. i helbd. af nyere immiteret læder m. rygtitelfelter af rød og grøn immiteret læder. 224, 203 pp.‎

‎Originaludgave. Himmelstrup 105.‎

‎Kjerlighedens Gjerninger. Nogle Christelige Overveielser i Talers Form. Første + Anden Følge (alt).‎

‎Kjøbenhavn, 1847. 8vo. One nice contemporary black/brown full cloth with gilt title to spine. A bit of wear to capitals and corners. Internally a very fresh and bright copy. 224, 203 pp.‎

‎First edition. Himmelstrup 105.‎

‎Le Concept de l'angoisse. Traduit du Danois par Knud Ferlov et Jean J. Gateau.‎

‎Paris, Gallimard, 1935. Orig. printed wrappers. 236 pp. Name on half title.‎

‎First French edition of ""Begrebet Angest"".(1844).‎

‎Les Miettes philosophiques. Trad. nouvelle de Paul Petit.‎

‎Paris, Le Cailllou Blance, 1947. 237 pp. Name on title.‎

‎Enclosed a handwriitten letter from the translator (2 pp.), dated 5 November 1948. ‎

‎Om Begrebet Ironi med stadigt hensyn til Socrates. Af S. A. Kierkegaard. - [PRESENTATION-COPY TO HIS PREVIOUS GREEK TEACHER BOJESEN]‎

‎Kjøbenhavn, P.G. Philipsens Forlag, 1841. 8vo. (8), 350 pp. Gift binding of plain brown full cloth with single gilt lines to spine. Printed on fine paper. Handwritten title to spine: “Kierkegaard / Om / Ironie”. Very neat, barely noticeable small restorations to capitals and to corners. A bit of browning and brownspotting, mostly to the first leaves. With the ex libris of Georg Nygaard to inside of front board and pencil annotation stating that the copy was bought at the auction of his collection in 1943, by bookseller Hagerup. ‎

‎Magnificent presentation-copy of Kierkegaard's dissertation, inscribed toverso of front fly-leaf to his previous Greek teacher, Bojesen: “Til / Hr. Professor Boiesen” (i.e. For / Mr. Professor Boiesen). The copy is with the Thesis, but neither the date nor the time has been filled in by hand as usual in the presentation-copies. This is presumably because he did not expect his previous teacher to show up to the defense. Kierkegaard's dissertation constitutes the culmination of three years’ intensive studies of Socrates and “the true point of departure for Kierkegaard’s authorship” (Brandes). The work is of the utmost importance in Kierkegaard’s production, not only as his first academic treatise, but also because he here introduces several themes that will be addressed in his later works. Among these we find the question of defining the subject of cognition and self-knowledge of the subject. The maxim of “know thyself” will be a constant throughout his oeuvre, as is the theory of knowledge acquisition that he deals with here. The dissertation is also noteworthy in referencing many of Hegel’s theses in a not negative context, something that Kierkegaard himself would later note with disappointment and characterize as an early, uncritical use of Hegel. Another noteworthy feature is the fact that the thesis is written in Danish, which was unheard of at the time. Kierkegaard felt that Danish was a more suitable language for the thesis and hadto petition the King to be granted permission to submit it in Danish rather than Latin. This in itself poses as certain irony, as the young Kierkegaard was known to express himself poorly and very long-winded in written Danish. One of Kierkegaard’s only true friends, his school friend H.P. Holst recounts (in 1869) how the two had a special school friendship and working relationship, in which Kierkegaard wrote Latin compositions for Holst, while Holst wrote Danish compositions for Kierkegaard, who “expressed himself in a hopelessly Latin Danish crawling with participial phrases and extraordinarily complicatedsentences” (Garff, p. 139). When Kierkegaard, in 1838, was ready to publish his famous piece on Hans Christian Andersen (see nr. 1 & 2 above), which was to appear in Heiberg’s journal Perseus, Heiberg had agreed to publish the piece, although he had some severe critical comments about the way and the form in which it was written – if it were to appear in Perseus, Heiberg demanded, at the very least, the young Kierkegaard would have to submit it in a reasonably readable Danish. “Kierkegaard therefore turned to his old schoolmate H. P. Holst and asked him to do something with the language…” (Garff, p. 139). From their school days, Holst was well aware of the problem with Kierkegaard’s Danish, and he recounts that over the summer, he actually “translated” Kierkegaard’s article on Andersen into proper Danish. The oral defense was conducted in Latin, however. The judges all agreed that the work submitted was both intelligent and noteworthy. But they were concerned about its style, which was found to be both tasteless, long-winded, and idiosyncratic. We already here witness Kierkegaard’s idiosyncratic approach to content and style that is so characteristic for all of his greatest works. Both stylistically and thematically, Kierkegaard’s and especially a clear precursor for his magnum opus Either-Or that is to be his next publication. In many ways, Either-Or is born directly out of The Concept of Irony and is the work that brings the theory of Irony to life. Part One of the dissertation concentrates on Socrates as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a more synoptic discussion of the concept of irony in Kierkegaard’s categories, with examples from other philosophers. The work constitutes Kierkegaard’s attempt at understanding the role of irony in disrupting society, and with Socrates understood through Kierkegaard, we witness a whole new way of interpreting the world before us. Wisdom is not necessarily fixed, and we ought to use Socratic ignorance to approach the world without the inherited bias of our cultures. With irony, we will be able to embrace the not knowing. We need to question the world knowing we may not find an answer. The moment we stop questioning and just accept the easy answers, we succumb to ignorance. We must use irony to laugh at ourselves in order to improve ourselves and to laugh at society in order to improve the world. The work was submitted to the Philosophical Faculty at the University of Copenhagen on June 3rd 1841. Kierkegaard had asked for his dissertation to be ready from the printer’s in ample time for him to defend it before the new semester commenced. This presumably because he had already planned his sojourn to Berlin to hear the master philosopher Schelling. On September 16th, the book was issued, and on September 29th, the defense would take place. The entire defense, including a two hour long lunch break, took seven hours, during which ”an unusually full auditorium” would listen to the official opponents F.C. Sibbern and P.O. Brøndsted as well as the seven “ex auditorio” opponents F.C. Petersen, J.L. Heiberg, P.C. Kierkegaard, Fr. Beck, F.P.J. Dahl, H .J.Thue og C.F. Christens, not to mention Kierkegaard himself. The work appeared in two states – one with the four pages of “Theses”, for academics of the university, whereas the copies without the theses were intended for ordinary sale. These sales copies also do not have “Udgivet for Magistergraden” and “theologisk Candidat” on the title-page. The first page of the theses always contains the day “XXIX” of September written in hand, and sometimes the time “hora X” is also written in hand, but not always. In all, 11 presentation-copies of the dissertation are known, and of these only one is signed (that for Holst), all the others merely state the title and name of the recipient. As is evident from the auction catalogue of his collection, Kierkegaard had a number of copies of his dissertation in his possession when he died. Five of them were bound, and two of them were “nit. M. Guldsnit” (i.e. daintily bound and with gilt edges). These two copies were obviously meant as presentation-copies that he then never gave away. The gift copies of the dissertation were given two types of bindings, both brownish cloth, one type patterned, the other one plain, and some of them have gilt edges, but most of the plain ones do not. There exist two copies on thick vellum paper – one being Kierkegaard’s own copy, the other being the copy for H.C. Ørsted, discoverer of electromagnetism and then principle of the University of Copenhagen. “As already implied, two works of the authorship stand out in the sense that Kierkegaard sent his presentation-copies to a special circle of people: The dissertation from 1841...” (Posselt, Textspejle, p. 91, translated from Danish). Most of the copies were given to former teachers and especially to people who, due to leading positions, personified the university. “For this circle of initiated we can now, due to registered copies, confirm that Kierkegaard gave copies with handwritten dedications to the headmaster of the University H.C. Ørsted (printed on thick paper), Kolderup-Rosenvinge and to J.L. Heiberg. It is granted that Sibbern, Madvig and F.C. Petersen were also given the dissertation as a gift,... but these copies are not known (yet).” (Posselt, Textspejle, pp. 93-94, translated fromDanish). (N.b. We have since handled the copy given to Petersen and can thus confirm that it exists). The presentation-inscriptions in the 11 registered copies of the Irony all follow a certain, strict pattern. “The wording could not be briefer. In the donation of his academic treatise, the otherwise prolific Kierkegaard sticks to name, titles, and the modes of address that goes with the titles.” (Tekstspejle p. 96, translated from Danish). When presenting his later books, he always signs himself “from the author”, sometimes abbreviated (i.e. “Forf.” In stead of “Forfatteren”), unless he is mentioned by name on the title-page as the publisher, not the author, as is the case with some of the pseudonymous works. In that case he signs his inscriptions “From the publisher”, always accompanied by “in deep reverence”, “with reverence”, “with friendship” or the like, adapted to the rank of the recipient and his place on Kierkegaard’s personal scale. An academic treatise, however, published before the oral defense took place – in the mind of Kierkegaard – required certain demands in relation to the donation of it. Thus, the brevity and rigidity in the inscriptions. Ernst Frederik Christian Bojesen (1803-64) was a philologist and school man. In 1820, Bojesen graduated as student from Borgerdydskolen, where he already the following year began teaching classical languages and soon became the principal’s right hand man. Here, he taught classical languages and was Kierkegaard’s teacher of classical Greek. He later became dr. Phil and professor at Sorø Akademi, where “in September 1841, he received, by post, a presentation-copy of the dissertation “On the Concept of Irony” by his previous disciple. (Tudvad, Kierkegaards København, p. 171). Himmelstrup 8 The present copy is no. 7 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Om Begrebet Ironi med stadigt hensyn til Socrates. Af S. A. Kierkegaard. - [ARGUABLY THE BEST POSSIBLE COPY ONE CAN EVER HOPE TO ACQUIRE OF KIERKEGAARD’S DISSERTATION – ONE OF TWO COPIES ON THICK VELLUM PAPER]‎

‎Kjøbenhavn, P.G. Philipsens Forlag, 1841. 8vo. (8), 350 pp. Gift binding of elaborately blindpatterned full cloth with single gilt lines to spine. All edges gilt and printed on thick vellum paper. A splendid copy in completely unrestored state with minimal edge wear. Slight sunning to upper 1 cm of front board and slight bumping to corners and capitals. Leaves completely fresh and clean. Pencil-annotation from the Kierkegaard archive of the Royal Library (nr. 83) and discreet stamp from the Royal Library of Copenhagen to inside of front board (with a deaccession-inscription) and to verso of title-page. With ownership signatures of P.S. Lund and Troels Lund to title-page. Inside of back board with previous owner’s pencil-annotations listing the entire provenance of the copy and explaining that this is one of two copies printed on thick vellum paper. Laid in is the original agreement for the exchange of real property between the previous owner and the Royal Library of Denmark, from which is evident that in 2003, The Royal Library and the previous owner legally agreed to exchange their respective copies of Om Begrebet Ironie – the present one for Ørsted, being one of two copies on thick vellum paper, and the copy on normal paper for Heiberg, which is now in the holdings of the Royal Library of Denmark.‎

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‎Arguably the best possible copy one can ever hope to acquire of Kierkegaard’s dissertation – one of two copies on thick vellum paper, being a presentation-copy from Kierkegaard to the discoverer of electromagnetism H.C. Ørsted. Inscribed to verso of front fly-leaf: “Til / Hans Magnificens / Universitetets Rector / Hr. Conferentsraad Ørsted. / C og D.M.” (For / His Magnificence / Principle of the University / Mr. [a high Danish title, now obsolete] Ørsted. / C (ommandør) (i.e. Commander) and DM (short for Dannebrogsmand, another honourable title) ). The copy is with the Thesis, and both the day and the time has been filled in by hand. As mentioned in the introduction to the Irony, Kierkegaard had two copies made on thick vellum paper –one for himself (which is in the Royal Library of Denmark), and one for H. C. Ørsted, a towering figure of the Danish Golden Age, one of the most important scientists that Denmark has produced, then principle of the University of Copenhagen. This copy is unique among the 11 registered presentation-copies of Kierkegaard’s dissertation and is without doubt the most desirable. It is approximately twice as thick as the other copies and stand out completely. THIS IS KIERKEGAARD’S dissertation, which constitutes the culmination of three years’ intensive studies of Socrates and “the true point of departure for Kierkegaard’s authorship” (Brandes). The work is of the utmost importance in Kierkegaard’s production, not only as his first academic treatise, but also because he here introduces several themes that will be addressed in his later works. Among these we find the question of defining the subject of cognition and self-knowledge of the subject. The maxim of “know thyself” will be a constant throughout his oeuvre, as is the theory of knowledge acquisition that he deals with here. The dissertation is also noteworthy in referencing many of Hegel’s theses in a not negative context, something that Kierkegaard himself would later note with disappointment and characterize as an early, uncritical use of Hegel. Another noteworthy feature is the fact that the thesis is written in Danish, which was unheard of at the time. Kierkegaard felt that Danish was a more suitable language for the thesis and hadto petition the King to be granted permission to submit it in Danish rather than Latin. This in itself poses as certain irony, as the young Kierkegaard was known to express himself poorly and very long-winded in written Danish. One of Kierkegaard’s only true friends, his school friend H.P. Holst recounts (in 1869) how the two had a special school friendship and working relationship, in which Kierkegaard wrote Latin compositions for Holst, while Holst wrote Danish compositions for Kierkegaard, who “expressed himself in a hopelessly Latin Danish crawling with participial phrases and extraordinarily complicatedsentences” (Garff, p. 139). When Kierkegaard, in 1838, was ready to publish his famous piece on Hans Christian Andersen (see nr. 1 & 2 above), which was to appear in Heiberg’s journal Perseus, Heiberg had agreed to publish the piece, although he had some severe critical comments about the way and the form in which it was written – if it were to appear in Perseus, Heiberg demanded, at the very least, the young Kierkegaard would have to submit it in a reasonably readable Danish. “Kierkegaard therefore turned to his old schoolmate H. P. Holst and asked him to do something with the language…” (Garff, p. 139). From their school days, Holst was well aware of the problem with Kierkegaard’s Danish, and he recounts that over the summer, he actually “translated” Kierkegaard’s article on Andersen into proper Danish. The oral defense was conducted in Latin, however. The judges all agreed that the work submitted was both intelligent and noteworthy. But they were concerned about its style, which was found to be both tasteless, long-winded, and idiosyncratic. We already here witness Kierkegaard’s idiosyncratic approach to content and style that is so characteristic for all of his greatest works. Both stylistically and thematically, Kierkegaard’s and especially a clear precursor for his magnum opus Either-Or that is to be his next publication. The year 1841 is a momentous one in Kierkegaard’s life. It is the year that he completes his dissertation and commences his sojourn in Berlin, but it is also the defining year in his personal life, namely the year that he breaks off his engagement with Regine Olsen. And finally, it is the year that he begins writing Either-Or. In many ways, Either-Or is born directly out of The Concept of Irony and is the work that brings the theory of Irony to life. Part One of the dissertation concentrates on Socrates as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a more synoptic discussion of the concept of irony in Kierkegaard’s categories, with examples from other philosophers. The work constitutes Kierkegaard’s attempt at understanding the role of irony in disrupting society, and with Socrates understood through Kierkegaard, we witness a whole new way of interpreting the world before us. Wisdom is not necessarily fixed, and we ought to use Socratic ignorance to approach the world without the inherited bias of our cultures. With irony, we will be able to embrace the not knowing. We need to question the world knowing we may not find an answer. The moment we stop questioning and just accept the easy answers, we succumb to ignorance. We must use irony to laugh at ourselves in order to improve ourselves and to laugh at society in order to improve the world. The work was submitted to the Philosophical Faculty at the University of Copenhagen on June 3rd 1841. Kierkegaard had asked for his dissertation to be ready from the printer’s in ample time for him to defend it before the new semester commenced. This presumably because he had already planned his sojourn to Berlin to hear the master philosopher Schelling. On September 16th, the book was issued, and on September 29th, the defense would take place. The entire defense, including a two hour long lunch break, took seven hours, during which ”an unusually full auditorium” would listen to the official opponents F.C. Sibbern and P.O. Brøndsted as well as the seven “ex auditorio” opponents F.C. Petersen, J.L. Heiberg, P.C. Kierkegaard, Fr. Beck, F.P.J. Dahl, H .J.Thue og C.F. Christens, not to mention Kierkegaard himself. Two weeks later, on October 12th, Kierkegaard broke off his engagement with Regine Olsen (for the implications of this event, see the section about Regine in vol. II). The work appeared in two states – one with the four pages of “Theses”, for academics of the university, whereas the copies without the theses were intended for ordinary sale. These sales copies also do not have “Udgivet for Magistergraden” and “theologisk Candidat” on the title-page. The first page of the theses always contains the day “XXIX” of September written in hand, and sometimes the time “hora X” is also written in hand, but not always. In all, 11 presentation-copies of the dissertation are known, and of these only one is signed (that for Holst), all the others merely state the title and name of the recipient. As is evident from the auction catalogue of his collection, Kierkegaard had a number of copies of his dissertation in his possession when he died. Five of them were bound, and two of them were “nit. M. Guldsnit” (i.e. daintily bound and with gilt edges). These two copies were obviously meant as presentation-copies that he then never gave away. The gift copies of the dissertation were given two types of bindings, both brownish cloth, one type patterned, the other one plain, and some of them have gilt edges, but most of the plain ones do not. There exist two copies on thick vellum paper – one being Kierkegaard’s own copy, the other being the copy for H.C. Ørsted, discoverer of electromagnetism and then principle of the University of Copenhagen. “As already implied, two works of the authorship stand out in the sense that Kierkegaard sent his presentation-copies to a special circle of people: The dissertation from 1841...” (Posselt, Textspejle, p. 91, translated from Danish). Most of the copies were given to former teachers and especially to people who, due to leading positions, personified the university. “For this circle of initiated we can now, due to registered copies, confirm that Kierkegaard gave copies with handwritten dedications to the headmaster of the University H.C. Ørsted (printed on thick paper), Kolderup-Rosenvinge and to J.L. Heiberg. It is granted that Sibbern, Madvig and F.C. Petersen were also given the dissertation as a gift,... but these copies are not known (yet).” (Posselt, Textspejle, pp. 93-94, translated fromDanish). (N.b. We have since handled the copy given to Petersen and can thus confirm that it exists). The presentation-inscriptions in the 11 registered copies of the Irony all follow a certain, strict pattern. “The wording could not be briefer. In the donation of his academic treatise, the otherwise prolific Kierkegaard sticks to name, titles, and the modes of address that goes with the titles.” (Tekstspejle p. 96, translated from Danish). When presenting his later books, he always signs himself “from the author”, sometimes abbreviated (i.e. “Forf.” In stead of “Forfatteren”), unless he is mentioned by name on the title-page as the publisher, not the author, as is the case with some of the pseudonymous works. In that case he signs his inscriptions “From the publisher”, always accompanied by “in deep reverence”, “with reverence”, “with friendship” or the like, adapted to the rank of the recipient and his place on Kierkegaard’s personal scale. An academic treatise, however, published before the oral defense took place – in the mind of Kierkegaard – required certain demands in relation to the donation of it. Thus, the brevity and rigidity in the following inscriptions. With the exception of Kierkegaard Hans Christian Ørsted (1777-1851) is arguably the most famous and influential Dane ever to have lived, universally known for his discovery of Electro-magnetism in 1820, which led to new theories and discoveries that constituted the foundation of all later electro-technology. After this milestone of scientific discovery, Ørsted went on to write a number of important philosophical works on natural philosophy and empiricism, of which The Spirit in Nature is the most famous and the work he himself considered his main work. Both H.C. Andersen and Søren Kierkegaard admit to having been influenced by the writings of Ørsted. “He was an enthusiastic follower of the “Naturphilosophie” school in Germany, whose main object was the unification of physical forces, thus producing a monistic theory of the universe. It was to further this purpose that Oersted sought in actual phenomena the electro-magnetic identity of which he had already convinced himself on metaphysical grounds” (Percy H. Muir in Printing and The Mind of Man). “The natural scientist Hans Christian Ørsted was one of the most significant and influential personalities of his age and together with the sculptor Bertel Thorvaldsen, the poet Hans Christian Andersen, and the thinker Søren Kierkegaard, constituted the small handful of figures from “The Danish Golden Age” who achieved international and even world fame.” (Troelsen in Kierkegaard and his Danish Contemporaries I: p. (215) ). In intellectual circles in Denmark at the time of Kierkegaard, Ørsted was inevitable. He influenced not only natural sciences profoundly, but also philosophy, literature, and Danish languages (coining more than 2.000 neologisms). He was furthermore rector of the university of Copenhagen, when Kierkegaard in 1841 submitted his master’s thesis On the Concept of Irony. Being the rector, Ørsted was the one who needed to pass the treatise, but having read it, he was simply not sure whether to do so or not and needed to consult other experts, before making his decision. He ended up allowing it to pass, but not without having first famously said about it (in a letter to Sibbern) that it “makes a generally unpleasant impression on me, particularly because of two things both of which I detest: verbosity and affectation.” (Kirmmmse (edt.): Encounters with Kierkegaard, p. 32). Kierkegaard makes several references to Ørsted’s Spirit in Nature and mentions him several times in his journals and notebooks. Although being of different generations and not particularly close on a personal level, the two intellectual giants would naturally be unavoidably connected in one way or the other. Ørsted was simply so centrally placed and so influential that there was no way around him for someone like Kierkegaard. Himmelstrup 8 The present copy is no. 9 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Om Begrebet Ironi med stadigt hensyn til Socrates. Af S. A. Kierkegaard. - [KIERKEGAARD’S DISSERTATION IN THE ORIGINAL BINDING, WHICH IS OF THE UTMOST SCARCITY.]‎

‎Kjøbenhavn, P.G. Philipsens Forlag, 1841. 8vo. (4), 350 pp., 1 f. (blank), 2 pp. (advertisements). Completely uncut and partly unopened in the original brown cardboard binding. Rebacked with paper perfectly matching that of the boards. Corners restored. Title-page evenly browned and a few leaves with a bit of brownspotting, but overall in unusually nice condition, clean, fresh, and bright. Completely unmarked.‎

‎A fabulous copy of the first edition of Kierkegaard’s dissertation, here in the original binding, which is of the utmost scarcity. We have only seen it in this state once before. And of all the copies we have handled of the Irony over the last decades, we have only once before come across a copy with the advertisement-leaf in the back. This is virtually never present. This completely uncut copy is approximately 1 cm taller and wider than regular copies. The spines of the original Kierkegaard cardboard bindings are always just thin paper directly glued on the block, making them extremely fragile, especially on the thicker volumes. If one finds these original bindings, the spines are almost always more or less disintegrated. Kierkegaard's dissertation constitutes the culmination of three years’ intensive studies of Socrates and “the true point of departure for Kierkegaard’s authorship” (Brandes). The work is of the utmost importance in Kierkegaard’s production, not only as his first academic treatise, but also because he here introduces several themes that will be addressed in his later works. Among these we find the question of defining the subject of cognition and self-knowledge of the subject. The maxim of “know thyself” will be a constant throughout his oeuvre, as is the theory of knowledge acquisition that he deals with here. The dissertation is also noteworthy in referencing many of Hegel’s theses in a not negative context, something that Kierkegaard himself would later note with disappointment and characterize as an early, uncritical use of Hegel. Another noteworthy feature is the fact that the thesis is written in Danish, which was unheard of at the time. Kierkegaard felt that Danish was a more suitable language for the thesis and hadto petition the King to be granted permission to submit it in Danish rather than Latin. This in itself poses as certain irony, as the young Kierkegaard was known to express himself poorly and very long-winded in written Danish. One of Kierkegaard’s only true friends, his school friend H.P. Holst recounts (in 1869) how the two had a special school friendship and working relationship, in which Kierkegaard wrote Latin compositions for Holst, while Holst wrote Danish compositions for Kierkegaard, who “expressed himself in a hopelessly Latin Danish crawling with participial phrases and extraordinarily complicatedsentences” (Garff, p. 139). When Kierkegaard, in 1838, was ready to publish his famous piece on Hans Christian Andersen (see nr. 1 & 2 above), which was to appear in Heiberg’s journal Perseus, Heiberg had agreed to publish the piece, although he had some severe critical comments about the way and the form in which it was written – if it were to appear in Perseus, Heiberg demanded, at the very least, the young Kierkegaard would have to submit it in a reasonably readable Danish. “Kierkegaard therefore turned to his old schoolmate H. P. Holst and asked him to do something with the language…” (Garff, p. 139). From their school days, Holst was well aware of the problem with Kierkegaard’s Danish, and he recounts that over the summer, he actually “translated” Kierkegaard’s article on Andersen into proper Danish. The oral defense was conducted in Latin, however. The judges all agreed that the work submitted was both intelligent and noteworthy. But they were concerned about its style, which was found to be both tasteless, long-winded, and idiosyncratic. We already here witness Kierkegaard’s idiosyncratic approach to content and style that is so characteristic for all of his greatest works. Both stylistically and thematically, Kierkegaard’s and especially a clear precursor for his magnum opus Either-Or that is to be his next publication. The year 1841 is a momentous one in Kierkegaard’s life. It is the year that he completes his dissertation and commences his sojourn in Berlin, but it is also the defining year in his personal life, namely the year that he breaks off his engagement with Regine Olsen. And finally, it is the year that he begins writing Either-Or. In many ways, Either-Or is born directly out of The Concept of Irony and is the work that brings the theory of Irony to life. Part One of the dissertation concentrates on Socrates as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a more synoptic discussion of the concept of irony in Kierkegaard’s categories, with examples from other philosophers. The work constitutes Kierkegaard’s attempt at understanding the role of irony in disrupting society, and with Socrates understood through Kierkegaard, we witness a whole new way of interpreting the world before us. Wisdom is not necessarily fixed, and we ought to use Socratic ignorance to approach the world without the inherited bias of our cultures. With irony, we will be able to embrace the not knowing. We need to question the world knowing we may not find an answer. The moment we stop questioning and just accept the easy answers, we succumb to ignorance. We must use irony to laugh at ourselves in order to improve ourselves and to laugh at society in order to improve the world. The work was submitted to the Philosophical Faculty at the University of Copenhagen on June 3rd 1841. Kierkegaard had asked for his dissertation to be ready from the printer’s in ample time for him to defend it before the new semester commenced. This presumably because he had already planned his sojourn to Berlin to hear the master philosopher Schelling. On September 16th, the book was issued, and on September 29th, the defense would take place. The entire defense, including a two hour long lunch break, took seven hours, during which ”an unusually full auditorium” would listen to the official opponents F.C. Sibbern and P.O. Brøndsted as well as the seven “ex auditorio” opponents F.C. Petersen, J.L. Heiberg, P.C. Kierkegaard, Fr. Beck, F.P.J. Dahl, H .J.Thue og C.F. Christens, not to mention Kierkegaard himself. Two weeks later, on October 12th, Kierkegaard broke off his engagement with Regine Olsen (for the implications of this event, see the section about Regine in vol. II). The work appeared in two states – one with the four pages of “Theses”, for academics of the university, whereas the copies without the theses were intended for ordinary sale. These sales copies also do not have “Udgivet for Magistergraden” and “theologisk Candidat” on the title-page. The present copy is one of the sales-copies without theses. Himmelstrup 8 The present copy is no. 11 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Om min Forfatter=Virksomhed.‎

‎K., 1851. Hshirtbd. Noget plettet, og lidt løs fra bindet. 20 pp.‎

‎Om min Forfatter=Virksomhed. K., 1851. 20pp.‎

‎Orig. bogtrykt omsl. Gennemgående skjold i nederste venstre hjørne.‎

‎Originaludgave. Himmelstrup 132.‎

‎Om min Forfatter=Virksomhed. K., 1851. 20pp.‎

‎Blåt blankt papiromsl. Plettet ekspl.‎

‎Originaludgave. Himmelstrup 132.‎

‎Om min Forfatter=Virksomhed. K., 1851. 20pp.‎

‎Orig. for- og bagomsl. opklæbet på pap fungerende som permer for dette hshirtbd. Lidt løs, m. stort gennemgående vandskjold.‎

‎Originaludgave. Himmelstrup 132.‎

‎Opbyggelige Taler i forskjellig Aand.(3 Afdelinger). K., 1847.‎

‎Samt. hshirtbd. m. rygforgyldn. Øvre false lidt revnede. Øvre kapitæl lidt slidt. Bortset fra skjold i sidste halvdel, pæn. (IV)+155+64+140pp.‎

‎Originaludgave. Himmelstrup 101.‎

‎Opbyggelige Taler i forskjellig Aand.(3 Afdelinger). K., 1847. (IV)+155+64+140pp.‎

‎Indb. i et lidt senere beskedent hshirtbd. Bortset fra skjold øverst på de første 60 sider, rent ekspl.‎

‎Originaludgave. Himmelstrup 101.‎

‎Opbyggelige Taler i forskjellig Aand.(3 Afdelinger).‎

‎K., 1847. Senere blåt blankt omsl. Svagt gennemgående skjold. Lettere brunplettet indimellem. (IV)+155+64+140pp.‎

‎Originaludgave. Himmelstrup 101.‎

‎Original handwritten letter for ”Min Kjære Carl” [i.e. My Dear Carl], signed ”din Onkel K” [i.e. Your Uncle K.]. - [ORIGINAL LETTER BY KIERKEGAARD, ONE OF ONLY EIGHT KNOWN ON PRIVATE HANDS]‎

‎Dated ”Berlin.” ”D. 8 Dec. 41”. 8vo. Closely written in a small, neat, Gothic script on both recto and verso, 34 lines to each. Two vertical and three horizontal folds. Neat restoration to a few of the folds. All words are legible, and the letter in overall very good condition.SKS notes that it goes for all letters that have been folded to an envelope and sealed that the opening of it has caused small damage to the manuscript. In this case, the damage is absolutely minimal, with a tiny paper flaw at the second horizontal fold at lines 3-4 from the bottom (see SKS note 3 to Letter 171).‎

‎A lengthy and truly magnificent original handwritten letter from Kierkegaard to his nephew Carl Lund, written during Kierkegaard’s first stay in Berlin right after the termination of his engagement to Regine. Original letters by Kierkegaard are of the utmost scarcity and only eight are known on private hands.In all, 318 of Kierkegaard’s letters are known, either preserved or otherwise rendered. Of these, 21 are now lost, and of the 297 still extant ones, 289 are in public institutions, almost all in Denmark. The remaining eight letters are on private hands, this being one. Needless to say, letters by Kierkegaard hardly ever appear on the market, and we have been able to trace merely two at auction or in the trade over the last 50 years.SKS has divided all of Kierkegaard’s letters into 14 groups, of which one contains the letters to the Lund family, consisting in 37 letters sent to Kierkegaard’s nephews and nieces, being children of his sisters Petrea (married to Ferdinand Lund) and Nicoline (married to Christian Lund). Of the 37 letters, eight are written during his seminal first stay in Berlin. The earliest of these letters is the present one, for Carl Lund, dated December 8, 1841, less than six weeks after Kierkegaard left for Berlin.We know from Henriette Lund (see her Erindringer fra Hjemmet) that it was of great importance for Kierkegaard to correspond with his nephews and nieces while he was abroad. Shortly before he left, he gathered his nephews and nieces and collectively urged them to write to him while he was away. They all agreed, but in tears that he was leaving the country – as was Kierkegaard himself. And they kept their promises, as is evident from the Kierkegaard letters that are still preserved. Sadly, none of the letters from his nieces and nephews have been preserved. Kierkegaard had a very close relationship with his nieces and nephews and undoubtedly wanted to stay in contact with them to follow their development, keep in touch with his family, and to uphold the close connection with them while abroad. But the correspondence was also important to Kierkegaard for another reason. He hoped to hear news about Regine. And the more he could rely on news from Copenhagen, the more he could hope to hear glimpses of news, however small, about his one big love, the one he left Copenhagen because of. Having broken off his engagement (see more about Regine and the engagement below, after Section II in vol. II), Kierkegaard almost immediately flees Copenhagen and the scandal surrounding the broken engagement. He leaves for Berlin, the first of his four stays there, clearly tortured by his decision, but also intent on not being able to go through with the engagement. This, his first stay in Berlin, is one of legend. It is a determining factor for his life as an author, with Regine as the inevitable and constant backdrop. It is here that it all really begins. It is here he begins writing Either-Or, parts of which can be read as an almost autobiographical rendering of his failed engagement. Kierkegaard left for Berlin on October 25th, 1841 and returned on March 6th, 1842, with large parts of the manuscript for Either-Or in his suitcase. We have the young existentialist genius in the making, broken and awoken by a self-torturing decision to leave his only beloved, spending four and a half months in a foreign city having fled a horrifying scandal in his hometown and finding himself as an author. This is possibly one of the most interesting and moving periods in Kierkegaard’s personal life, and holding in one’s hand a letter from him from this period cannot but move the heart of any Kierkegaard enthusiast.The present letter, written merely six weeks after having left Copenhagen, is both interesting and in many ways touching. It is written for Kierkegaard’s then 11-year old nephew Carl, who was the youngest living child of Nicoline and Christian Lund and is affectionately signed “Your uncle K”. The letter is warm and personal and shows us a side of Kierkegaard that we never see in his presentation inscriptions and that is not evident in his printed works.We see him as a caring uncle, one who makes sure to mention things from Berlin that are amusing for a child to hear about – vivid descriptions of things you would not see in Copenhagen. Of Thirgarten and of various animals here. Of how in Berlin they use dogs to pull carriages with milk from the countryside, like small horses, and how once, Kierkegaard saw a young boy acting as coachman for one of these carriages, speeding through the city. We also see him as an engaged uncle, who knows his nephew well and also cares about his intellectual progress. He is obviously concerned with Carl’s writing and spelling abilities, but he also tells him not to worry too much about writing well enough or spelling correctly – “you writevery well and with the exception of one letter, everything is so grammatically and calligraphically well that a Master of Arts could have put his name to it”.It is clear that he is not writing to a very young nephew, but to one who is old enough to understand slightly philosophical considerations, such as musings over time passing – “Time changes everything, and so it has also… changed you… In the light of this, you can now also understand how much it pleases me that you, in spite of this complete transformation, this metamorphosis… will remain unchanged in your relation to me”.The provenance of this extraordinary letter, perhaps the only Kierkegaard-letter one will ever have the opportunity to buy, is the Høyernielsen-family, descendants of Kierkegaard’s sister Nicoline.The letter is no. 171 in SKS. SKS 28: 281-82. ‎

‎Papirer. Anden forøgede udg. ved Niels Thulstrup. 16 Bd. (i 25).‎

‎K., 1968-78. 25 org. helshirtbd.‎