Soren Kiekegaard is con side of meatred a major figure in 19th lightheaded speed philosophy. It would be difficult to point his bodies of stool into a occurrence category, b atomic take 18ly he is most often referred to as an existentialist. He given much time and effort to exploring existence and what it he finesse to the individual. For Kierkegaard there are three elans of existence: the artistical, the h adeptst, and for those impulsive to commit a sincere leap of faith, the religious. The focus of this turn up is on the aesthetic stage, and how it is exemplified in Diary of The Seducer, from Either/or Vol. I.         The aesthetic mode of existence is filled with disaster. Boredom is the lash evil. The aesthete lives in abstract immediate apprehension, never acknowledging the universal. The outside innovation is both ignored or treated as a clean instrument of fantasy. He/She is a Don Juan go from single and entirely(a) ticklin g fantasy to the next alone asleep of the respectable. livelihood for the aesthete is in the issue, in the fragmentiseicular, in the finite. The immediacy of the lifestyle does not all(a)ow for go throughings of eternal passionateness or despair. It is the consideration of the classical narcissist.1         Description of the aesthetic ho habit up comfortably be found in the lyric of Diary of The Seducer. The Aesthete introduces the contri besidesor to the diary of Johannes the Seducer, a man he claims to know. Some point that Aesthete is Kierkegaard and that the diary is a manifestation of his relationship with Regina, a women to whom he was affianced further left later breaking the engagement.2 Was Kierkegaard the ladies man of Regina? He may hold in been a ladies man of sort, only not the aesthetic ladies man Johannes portrays for Kierkegaard fled to Berlin to escape his feelings. Feelings are not a range of the lawful aesth etes thought process, therefore not a true ! gibbosity of Kierkegaards actions.         The written report of Johannes and Cordelia, the object of his fantasy, is a unsophisticated one. Johannes encounters Cordelia and right absent decides to pursue her. He becomes present with all aspects of her life. He learns her likes and dislikes, her family, her activities, and naiant her wardrobe before they yield the opportunity to meet. He arranges for the cardinal to meet formally but does not assume the office staff of suitor right away. or else he appears whole distant from her, and he takes on a simulacrumlity that Cordelia would not be able to resist.         To increase the adventure he enlists the help of Edvard, a real suitor in love with Cordelia. Edvard had no image of Johannes strategy, and that he would supremely feed a hand in the fair maidens conquering. In the eradicate he too would feel the rich brunt of Johannes deception. Of course the feelings of Edvard are nev er a disquietude for Johannes. He is a virtuous pawn in the realisation of the fantasy.         Eventually Johannes is able to specify a promise of trade union from Cordelia, who is at this point completely vexed by the situation. The lady killer immediately stops the tingling overtures, and once again assumes the persona of disinterest. Cordelia is forced to use erotic behavior to gain his attentions once again. Cordelia would ultimately break send off the engagement, the end of the wager was near. Cordelia was now free in the aesthetic sense. Johannes conquering was complete.         The story of Cordelia and her seducer great power appear simple on the surface. A closer look reveals a more(prenominal)(prenominal) complex annals. Page by and by page the author unveils the art of the aesthetic. His prose is that of love sick romantic, full of passion and love, longing and erotic satisfaction. However, many of the memories he c hooses to set down are oddly superficial. He descri! bes Cordelias face as beautiful, but having no external point of intellectual faculties.Â3 When he first learns her name is Cordelia he proclaims it to be a lovable name, which is important, since it is often very humiliating to entertain to use an miserable name with the tenderest predicates.Â4 His judging of himself holds no less concoct for he has a side glance not easily forgotten.         The aesthetic does not hook up with. To marry means to make that choice that would open the world of ethical reality. wherefore does Johannes inspectk an engagement to Cordelia? In one warrant he claims to have a respect for the ethical. He claims to have never promised marriage, even in jest. In the next exercise he is proposing. The final cause is used to confuse Cordelia, tearing calibrate her resistance and context of use the stage for seduction. This aesthetic believes seduction to be a unbend process. He compares a quick seduction to enchant. An engagement go forth create enough confusion that the misfire would be totally blind to the truth. The truth existence suck in deception.         Johannes claims to not be a seducer. For him a seducer is one who prefers the rape of innocence. He is an aesthetic, and proudly so. He understands the nature and center of love and believes that no love affair should last more than half-dozen months, and should cease as soon as one has had the ultimate enjoyment.Â5 In his world of the aesthetic everything is light and beautiful. Realizing the enormity of his deception and its consequences on the characters involved would create a harsh, ethical reality that is thudding and un hearty.         As mentioned in the precedent paragraph, Johannes denies world a seducer. His choice of words support his argument. He is orchestrating a seduction he give not even bring forward by name. Instead he chooses to use metaphors that taper a theme of conquest, which is the ultimate enjoyment. He ca! lls the seduction an clapÂ, a web into which she is spun. He believes he is helping Cordelia. His seduction is her baptism. It is her inspired liberation. From what is he liberating her? It appears to be a liberation from a boring life of marriage, for which she surely would enter if not for his efforts.         other(prenominal) frequent subject area found in the driveing is that of possession.
throughout the selection Johannes refers to Cordelia as My CordeliaÂ, and himself as Your Johannes. From the very beginning he knew that she would belong to him in entirety. In the opening entry of the diary, the seducer begins with Take drive off, my beautifu l stranger! Cordelia could not bring herself to do the same. She was incertain as to whether Johannes ever belonged to her, or if he belonged only to himself. She would fail that the latter was the truth.         Cordelia cancels the engagement when it becomes apparent that Johannes was not what he appeared to be. She gave herself freely and left him freely. This was exactly what Johannes indispensabilityed her to do. The seduction was complete. She stop the relationship accept it the right thing to do. It was her decision, and public repartee would lay goddam at her feet. Free and clear would be Johannes. Not that being free from blame meant anything for guilt was never a part of his thought. Johannes saw the breaking of the engagement by Cordelia as her victory. She had raised herself to a higher sphere. And she would find in the end that this result be the most elicit part of the relationship she will remember.6         After all the hard work Johannes had put into the seductio! n he was content never to see Cornelia again. Once a adult female has given away everything, consequently she is weak, then she is weak..... He did not even say sayonara for fear she might cry. He finds nought more funky than a fair sex crying, as he found nothing more satisfying than a freely giving woman.         The diary itself is an example of the aesthetic. It is an model of the authors desire to revel for a moment in his victory, and to pct this victory with others. He does not care close to Cordelia, Edvard, or the aunt. He only cares in his satisfaction, and can use the diary as a monitoring device. not a reminder of the woman whom he would rather forget, but as a reminder of the eloquence with which he played the game. He wants the subscriber to read and re-read in order to find fun and enjoyment, two things the aesthete longs to possess. He goes so far as to suggest another seduction with which to use as an epilogue, never bothered wi th the aspect of destroying another young girls life. His only concern was to create an interesting epilogue with which to close the diary.         Kiekegaards decision to use a narrative as an example of the aesthetic mode of existence is engaging. It is the entire way to communicate in a manner that all who read would understand. The information would be not only educational, but interesting as well. The reader may find the diary jounceing, and even offensive. This is what Kierkegaard must have intended. Things that shock also unlawful thought. Maybe Kierkegaards intention was to make the reader think about the aesthetic mode of existence, and long for the ethical. If you want to get a full essay, order it on our website:
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