Abstract

This translation of Gregor Malantschuk's Den kontroversielle Kierkegaard again illustrates his ability to state clearly "what Kierkegaard said." The title is slightly misleading because we are not really shown the "controversial" Kierkegaard in any real sense even though a number of themes in his writings are treated in a kind of random way. The first part of this thin volume is promising: Kierkegaard is said to be an opponent of communism and to have written Works of Love largely as a protest against the notion of worldly or natural "equality." The defense of "the single individual" is urged against all social movements that would pretend to eliminate human differences. This is shown to be parallel to his attack, in Two Ages, on the "leveling" tendencies of the age which, earlier, Poul Møller had characterized as "nihilism." So specifically are Kierkegaard's criticisms against "mass man" and "the crowd" directed to communism that Malantschuk points out that Kierkegaard had, in all likelihood, read an essay entitled "Luther as Judge between Strauss and Feuerbach". In addition to such interesting and novel bits of scholarship, Malantschuk includes a summary of Fear and Trembling that does not fit too well into the overall point of the book. A discussion of Kierkegaard's attitudes towards women is interesting insofar as it points out that Christianity emphasizes the equality of men and women before God and that the religious orientation requires a synthesis of the feminine and the masculine: "An eminently masculine intellectuality joined to a feminine submissiveness." It is shown that Kierkegaard sees women as attuned to "finitude," as sensitive, imaginative, and aesthetically involved in life. Before Schopenhauer, he averred that romantic love serves "nature" and its ends. Before Baudelaire and Nietzsche, he emphasized that, as compared to men, women are more deeply rooted in the "natural world." Naturally, as Malantschuk points out, he was ambivalent on this issue: his later pronouncements are quite bitter and picture women as luring men from their "tasks" and inhibiting their daring, their expressions of "spirit," domesticating them. Of all the opinions on women laid out by Malantschuk, one is curious enough to sound valid: women, unlike men, are intolerant of "paradox" and find "reduplication" impossible. Throughout this set of thinly related essays, there are sprinkled biographical details that, by now, are quite familiar. Even though it is mentioned that Kierkegaard was influenced by one Madame Gyllenbourg in regard to Two Ages and paid tribute to the actress, Johanne Heiberg, in A Crisis in the Life of an Actress, an opportunity is missed to note that this essay was perhaps the first attempt to touch upon the question of the "passages" through which individuals pass in life. This brief study is not a sustained analysis of any one issue in Kierkegaard's corpus nor is it a full account of his decided anti-communism. An interpretation of Kierkegaard along these lines would be interesting and provocative. Curiously absent from Malantschuk's work is any reference to Kierkegaard's rather reactionary attachment to monarchy and some of the more cutting remarks about the communist ideal and the leveling of all individuals that can be found in the Journals and Papers. Fortunately, we are told that unless there is an inner transformation of each person, no social system of legislated "equality" will ever achieve its ends. Finally, it should be mentioned that Malantschuk placidly accepts Kierkegaard's concerns for the average man even though it is quite clear that the description of ethical individuality and "becoming a Christian" indicate a very strong defense of "spiritual aristocracy."--George J. Stack, SUNY at Brockport.