《Kierkegaard: Exposition and Critique 》

Reception [deepl翻译 本人校对]

后世回应

The book received no review.However by 1881 the Danish critic and man of letters Georg Brandes (who cannot but have had this text in view) was recommending to Nietzsche that he read Kierkegaard, ‘one of the most profound psychologists who ever lived’.51

这本书没有收到评论。然而直到1881年，丹麦的批评家和文学家勃兰兑斯（他不可能没读过这个文本）向尼采推荐他阅读克尔凯郭尔，"有史以来最深刻的心理学家之一 "51。

Subsequent to the turmoil of the Great War, the European Continent was to enter an age of angst and Kierkegaard’s text came into its own. In three footnotes in his Being and Time (1927), Martin Heidegger, not given to acknowledging his sources, pays tribute to Kierkegaard, remarking that it was he who had ‘gone farthest in analysing the phenomenon of anxiety [Angst]’.52 For Heidegger it is angst which discloses the ‘facticity’ of human existence, the human being’s thrownness (Geworfenheit) in the world in which he is not at home (nicht zu Hause). It is also however, as in Kierkegaard’s case, that we have angst that presents us with the possibility of achieving authenticity (Eigentlichkeit, literally a coming to own ourselves). Where Heidegger, however, differs from Kierkegaard is in the lack of divinity. Whereas for Kierkegaard such ‘authenticity’ (the self coming to itself) is only to be achieved through the relation to God, Heidegger recommends ‘resoluteness’. A latter-day Pelagian (or ‘ethical’ individual), he believes that at least ideally we can come to ourselves by ourselves. Interesting also is that in the case of Heidegger (who incidentally was a fine Luther scholar, known in his early years for the depth of his Luther scholarship), it is ‘the future’, in his case in the form of death, which forms that horizon from which we live (one might say by inverted existence)53 in our present. Kierkegaard must turn in his grave as Heidegger amputates that which he, Kierkegaard, believes gives ‘possibility’ to human existence, which is God. Heidegger’s is a far harsher doctrine.

世界大战的动荡之后，欧洲大陆进入了一个焦虑的时代，克尔凯郭尔的文本开始发挥作用。马丁-海德格尔在他的《存在与时间》（1927年）的三个脚注中，不愿意承认他的资料来源，向克尔凯郭尔表示敬意，说是他 "在分析焦虑[Angst]现象方面走得最远 "52。然而，正如克尔凯郭尔的情况一样，我们也有焦虑，它为我们提供了实现本真性（Eigentlichkeit，字面意义上是对我们自己的到来）的可能性。然而，海德格尔与克尔凯郭尔不同的地方在于缺乏神性。对克尔凯郭尔来说，这种 "本真性"（自我走向自身）只能通过与上帝的关系来实现，而海德格尔则建议 "决断性"。作为后世的伯拉纠主义者（或 "伦理的 "个人），他认为至少在理想状态下我们可以通过自己来实现自己。有趣的是，就海德格尔而言（顺便说一句，他是一位优秀的路德学者，早年因其对路德的研究深度而闻名），是 "未来"，在他看来是死亡的形式，它构成了我们在当下生活（可以说是通过颠倒了生存而来）53的那个地平线。克尔凯郭尔必须在他的坟墓里翻身，因为海德格尔切断了他（克尔凯郭尔）认为给人类存在带来 "可能性 "的东西，那就是上帝。海德格尔的学说要严苛得多。

Partly through Heidegger and partly directly Kierkegaard was also important for French existentialism. Called up for military service, in December 1939 Jean-Paul Sartre writes to Simone de Beauvoir requesting that she send a copy of The Concept Angst.54 After consuming it (and finding it bafflingly theologic), he tells her that she will see in the book what Heidegger owes to Kierkegaard. What evidently interests Sartre is ‘the relation [of] anxiety to its object, to something that is nothing (linguistic usage also says pregnantly: to be anxious about nothing)’.55 Thus does Kierkegaard feed into the Sartrean conception of angst in the face of nothingness and, as in the case of Kierkegaard, our inauthentic behaviour is an attempt to cope with this (in Sartre’s vocabulary our bad faith, mauvais foi). Albert Camus was likewise deeply influenced by Kierkegaard. His novel The Fall depicts a classic case of a man brought face to face with his inauthenticity, his self-understanding as an ethical individual (he had been an advocate) shattered as he fails to rescue a woman who commits suicide, throwing herself into the Seine. When we encounter our protagonist he is drowning himself in the aesthetic, living a down-and-out existence among the pimps and the prostitutes of Amsterdam. (Compare Kierkegaard: ‘Forget that you were a child, that there was piety in your soul and innocence in your thought, . . . doze your life away in the glittering inanity of the soirées, forget that there is an immortal spirit within you; and when wit grows mute there is water still in the Seine’ (E/O II, 211).) Yet this man keeps in a cupboard the stolen panel from the van Eyck triptych that shows the just judges ‘on their way to meet the lamb’. As he knows, after ethical failure there is always the possibility of repentance and entry into the religious. But, in the last line of the novel ‘it’ll always be too late’.56

部分通过海德格尔，部分直接通过克尔凯郭尔，对法国存在主义也很重要。1939年12月，让-保罗-萨特被征召服兵役，他写信给西蒙娜-德-波伏娃，要求她寄来一本《焦虑的概念》。54 在读完之后（发现它是令人困惑的神学），他告诉她，她将在书中看到海德格尔归功于克尔凯郭尔的贡献。显然，萨特感兴趣的是 "焦虑与它的对象的关系，与什么都不是的东西的关系（语言学的用法也说得很好：对虚无焦虑）"55。因此，克尔凯郭尔为萨特的概念提供了面对“无”的焦虑，而且，就克尔凯郭尔而言，我们不真实的行为是为了应付这种情况（用萨特的词汇来说，就是我们自欺，mauvais foi）。阿尔伯特-加缪也同样深受克尔凯郭尔的影响。他的小说《堕落》描述了一个典型的案例：一个男人面对自己的非本真状态，他作为一个道德个体的自我理解（他曾是一个倡导者）被打破了，因为他没能拯救一个自杀的女人，把自己扔进塞纳河。当我们遇到我们的主人公时，他正把自己淹没在美学中，在阿姆斯特丹的皮条客和妓女中过着落魄的生活。(比较一下克尔凯郭尔："忘掉你是个孩子，忘掉你的灵魂里有虔诚，忘掉你的思想里有无辜，......把你的生命打发在闪闪发光的疯狂酒吧里，忘掉你内心有一个不朽的精神；当智慧变得沉默的时候，塞纳河里还有水"（E/O II, 211））。然而，这个人把从凡-艾克三联画中偷来的画板放在柜子里，显示正义的法官们 "正在去见羔羊的路上"。正如他所知道的，在道德失败之后，总是有悔改和进入宗教的可能性。但是，在小说的最后一句话中，"它总是太晚了 "56。

In a quite different intellectual context in 1939–40, giving Gifford Lectures in Edinburgh, the American political thinker and theologian Reinhold Niebuhr was to draw on Kierkegaard’s book. It is reliably reported in Scotland that the audience could hear the first German bombs falling on the docks at Leith as he spoke. Niebuhr portrayed German hubris as arising out of angst. In true Kierkegaardian style he tells us:

1939-40年，在一个完全不同的知识背景下，美国政治思想家和神学家莱因霍尔德-尼布尔（Reinhold Niebuhr）在爱丁堡举办的Gifford讲座中，借鉴了克尔凯郭尔的书。据苏格兰的可靠报道，在他演讲时，听众可以听到德国的第一枚炸弹落在利斯的码头上。尼布尔将德国人的狂妄描绘成焦虑的升腾。他以真正克尔凯郭尔式的风格告诉我们

Man, being both free and bound, both limited and limitless, is anxious. . . . Anxiety is the internal precondition of sin. It is the inevitable spiritual state of man, standing in the paradoxical situation of freedom and finiteness. Anxiety is the internal description of the state of temptation. It must not be identified with sin because there is always the ideal possibility that faith would purge anxiety of the tendency toward sinful self-assertion. . . . That is why Christian orthodoxy has consistently defined unbelief as the root of sin, or as the sin which precedes pride.57

人，既是自由的，又是被束缚的，既是有限的，又是无限的，是焦虑的。. . 焦虑是罪恶的内部前提。它是人不可避免的精神状态，站在自由和有限的矛盾处境中。焦虑是对试探状态的内部描述。它不能与罪相提并论，因为总有一种理想的可能性，即信仰会清除焦虑中的罪性自我主张的倾向。. . . 这就是为什么正统基督教一直将不信定义为罪的根源，或者说是先于骄傲的罪57。

And Niebuhr quotes Luther ‘in conformity with the general Christian tradition’ as saying in his ‘On the Freedom of a Christian’, referring to Sirach 10:14: ‘The beginning of all sin is to depart from God and not to trust Him’. What is interesting and most significant about Niebuhr’s take on Kierkegaard’s thought is the emphasis on human creativity and not simply sin as arising out of the ‘paradoxical situation of freedom and finiteness’ in which human beings find themselves. Given angst, human beings write symphonies.58

尼布尔引用路德 "按照一般的基督教传统"，在他的《论基督徒的自由》中提到西拉书10:14说："一切罪恶的开端是离开上帝，不信任他。尼布尔对克尔凯郭尔思想的看法，最有趣和最重要的是强调人类的创造力，而不是简单的罪，因为人类发现自己处于 "自由和有限性的矛盾情况 "中。在焦虑的情况下，人类会写出交响乐。

By the 1960s Kierkegaard’s text, now available in English translation, was firmly in the public eye. Every angst-ridden student was attracted—at least to the title. What people derive from this opaque book must be a matter for curiosity. Perhaps its dreamlike nature encourages them to make of it what they will, taking from it what they can. The book fed into existential psychotherapy. It influenced the work in theology and cultural theory of the German immigrant to the United States Paul Tillich.59 The Concept Angst has been the most influential of Kierkegaard’s texts (excepting perhaps the existential import of the Postscript). Considering its Christian context it is interesting that its major impact has been in secular fields. What has proved seminal, whether in philosophy, psychoanalysis, or literature, has been the analysis of the phenomenon of angst. How remarkable that this apparently arcane book (a deliberation on original sin) has proved perhaps more able than any other of Kierkegaard’s texts to stand the test of time. So long as humans struggle and survive, wrestling with their predispositions, we may think that it will continue to fascinate and engage.

到20世纪60年代，克尔凯郭尔的文章，现在有了英译本，牢牢地进入公众视野。每一个焦虑不安的学生都被吸引--至少是被书名所吸引。人们从这本晦涩的书中得到了什么，一定是一个值得好奇的问题。也许它的梦幻般的性质鼓励他们按自己的意愿去理解它，从中获取他们所能得到的。这本书为存在主义的心理治疗提供了素材。它影响了移民美国的德国人保罗-蒂利希在神学和文化理论方面的工作。59 《焦虑的概念》是克尔凯郭尔文本中最有影响力的（也许除了《附言》带给存在主义的影响）。此书主要影响是在世俗领域，考虑到其基督教背景，这点是有趣的。无论是在哲学、精神分析还是文学方面，被证明具有开创性的是对焦虑现象的分析。这本看似神秘的书（关于原罪的思考）被证明可能比克尔凯郭尔的任何其他文本都更能经受住时间的考验，这是多么了不起。只要人类在挣扎和生存，与他们的预设（人类原罪的预设被认为是焦虑）搏斗，我们就可以认为焦虑将继续吸引人们参与。