Kierkegaard and P.M. Moller on Immortality
P.M. Moller and His Relation to S.A. Kierkegaard
Although virtually unknown today outside of Danish philosophical circles, Moller (1794-1838) was, during his lifetime, esteemed as one of Denmark’s most loved poets, and beginning in 1831 he held the position of professor of philosophy at the University of Denmark. While at the university Moller taught Moral and Greek Philosophy, and his early philosophical position has been regarded as Hegelian. Kierkegaard began his university studies in 1830, and the young professor made a deep impression upon him.
During 1834-36 two events occurred that transformed Moller’s philosophy and also influenced his relation to Kierkegaard. The first was the death of Moller’s wife in 1834, which caused him to question the adequacy of Hegel’s system. The second was the publication of some articles by Kierkegaard in 1836 in a journal called Copenhagen’s Flying Post. In these articles Kierkegaard attacked Orla Lehmann, the young leader of the liberal student movement. This attack pleased the conservative Moller, and the two developed a deep friendship. Despite the nineteen-year difference in their ages, the two shared similar views regarding Danish politics, a growing distrust of the Hegelian system, and a concern about the state of the Danish clergy. With the death of Moller in 1838, at the age of forty-four, Kierkegaard lost his nearest congenial friend, the person with whom, above all others, he could discuss freely his ideas and receive a sympathetic and intelligent response. After Moller’s death Kierkegaard cherished his memory and faithfully read his Posthumous Works when they were published in 1839-43. Kierkegaard also dedicated his book The Concept of Anxiety (1844) to Moller, with the following tribute:
To the late Professor Poul Martin Moller
The happy lover of Greek culture, the admirer of Homer,
the confidant of Socrates, the interpreter of Aristotle,
Denmark’s joy in “Joy over Denmark,” though “widely
traveled” always “remembered in the Danish summer,”
the object of my profound admiration, my profound loss,
this work is dedicated.
This dedication should illustrate, if not Kierkegaard’s indebtedness to Professor Moller, then at least his unyielding affection.
Moller’s Reflections on Philosophical Systems and Personal Immortality
The work by Moller that beyond all others influenced Kierkegaard was “Thoughts on the Possibility of Proofs of the Immortality of Human Beings With Reference to the Most Recent Literature on the Subject.” H.P. Rhode stresses that it was this work on immortality that was Moller’s most important contribution to philosophy in Denmark, and most notably for the young Kierkegaard, who was “notoriously occupied” with it.
Take a minute to relax. Enjoy the lightness, or surprising heaviness, of the paper, the crispness of the ink, and the regularity of the type. There are over four pages in this stack, brimming with the answer to some question, proposed about subjects that are necessarily personal in nature. All of philosophy is personal, but some philosophers may deny this. Discussed here are philosophers that would not be that silly. Two proto-existentialists, Søren Kierkegaard and Friedrich Nietzsche, were keen observers of humanity, and yet their conclusions were different enough to seem contradictory. Discussed here will be Nietzsche’s “preparatory human being” and Kierkegaard’s “knight of faith”. Both are archetypal human beings that exist in accordance to their respective philosopher’s values, and as such, each serve different functions and have different qualities. Both serve the same purpose, though. The free spirit and the knight of faith are both human beings that brace themselves against the implosion of the god concept in western society.
“Deep Sea Drifters II” didn’t stand out because it wasn’t a photograph but because the style of art seemed like something like a nine-year-old’s crayon work. Of course, when I looked closer, the piece...
In Concluding Unscientific Postscript, Kierkegaard differentiates between the subject as the knower, and the world (object) as the known: the only way we know the world is through ourselves. Kierkegaard emphasizes the importance of "how" the subject is related to the truth, and not the "what" (content) of the objective. He asserts that the truth can only exist in the subject, for if it lies in the world, we could never access (know) the truth the way we know ourselves. Kierkegaard explains that we can only discover the truth by turning inward: "passionate inwardness" is essential to finding the truth, as it is the way in which the subject is seeking the truth; the more passion the subject has, the closer she/he comes to the truth. "Passionate inwardness" is fueled by "objective uncertainty": if an individual sees objective proof of her truth, she will become less passionate; however, when she does not find reassurance in the objective, her inward passion will lead her to "the" (her) truth. This paradox relies on the subject believing passionately in the truth that exists in her while believing in a lack of objective support for that truth.
“The thing is to understand myself, to see what God really wishes me to do; the thing is to find a truth which is true for me, to find the idea for which I can live and die” (Kierkegaard 95). Søren Kierkegaard was a clear supporter of expressing our own personality. He wanted us to take the time to find our true selves. Even though he acknowledged there were social systems in our society, he still believed we were our own individual human being. The only way to make sense of our life and find our individuality is to embrace our faith in God. Kierkegaard wanted human beings to be able to exercise their freedom. Human beings should not postpone their choices simply because they do not know the universal truth. As humans we cannot postpone our choices because we will never
For my final project I chose to compare two works of art from ancient Mesopotamia. A visual work of art and a literary one. The visual work of art I chose was the Statuettes of Worshipers which were created around 2900 to 2350 BCE at the Square Temple at Eshnunna, a city in ancient Mesopotamia. The literary artwork I have chosen is the Epic of Gilgamesh written roughly around 2800 BCE by author or authors unknown. It was set in Uruk, another city in ancient Mesopotamia. Both of these works of art share a common theme; the theme of immortality. It is my hopes that within this paper I can accurately show how each of these works of art express this theme, and how it relates to modern society.
Greece is a country united by its name, but divided by its ways. Although Sparta and Athens were both Greek cities, their societies were different. Sparta was focused on having a perfect military, whereas Athenian daily life revolved learning and knowledge. When Spartan boys were being trained for an army, Athenian boys were being trained for life. Both of these societies revolved around different government, education from when kids to teenagers, the responsibilities each individual had to keep their spot, and how women played a role throughout each city state.
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hilosophers have contemplated over the subject of immortality. They question if the soul, particularly, is immortal. Although Plato writes the Meno, it is supposed to be a copy of what Socrates personally encountered and “taught” in his lifetime. Even though the Meno is originally about the search for the meaning of virtue, one perspective on the immortality of the soul is introduced to us by Socrates in that play. Therefore, what Socrates thought about the immortality of the soul in the Meno is the following: “If the truth about reality is always in our soul, the soul would be immortal so that you should always confidently try to seek out and recollect what you do not know at present” (Plato, 86b) In the beginning, Meno challenges Socrates
In Sunset Limited, Black conveys Kierkegaard’s philosophy through his own life and words. In the beginning of the play, Black and White argue over the meaning of life—the former loving it, the latter trying to end it. Early on, Black tries to identify with White’s suicidal argument by noting that “Suffering and human destiny are the same thing” (55). Of course, Black’s admittance does not mean he believes in White’s argument, but instead that he understands White’s pain. Likewise, Kierkegaard’s description of life is similar to Black’s reasoning. In his writing, Kierkegaard recounts both the painful way a person is brought into the world and then taken out of it, saying, “[…] and then tell me whether something that begins and ends thus could be intended for enjoyment.” But the undertone of both Black and Kierkegaard’s statements cannot go unquestioned, and White replies, “You’re not making any sense” (55). White fails to understand that everything is common sense for Black, who has not only suffered more than White could ever imagine, but also believes in a force outside White’s wildest dreams. Originally a convict, Black turns his life around after a near-death experience, believing God chose him of all people to talk to. He lives in hopes of delivering God’s message and love to those bereft of it, for what pain can someone experience if God is on the other side? Comparatively, Kierkegaard’s detailed analysis of despair calls the obvious solution faith alone. Somehow, Black evinces Kierkegaard’s belief through becoming a productive member of society. After believing to have heard the Savior in his sleep, Black leaves his former friends and refrains from various forms of pleasure so he can help those less fortunate than himself. I...
[III] Immortality: “through Art, and through Art only, that we can shield ourselves from the sordid perils of actual existence”
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