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Published online by Cambridge University Press: 25 February 2009
It should be well known that the philosophy of soren Kierkegaard exerted considerable inflence upon Ibsen the playwright, despite the latter's reluctance to admit as much. When Ibsen's play Brand was first published in Copenhagen, in 1866, it was hailed as a dramatic representation of Kierkegaar's philosophy, and subsequent critics have also indicated in a general way the Kierkegaardian concepts with which this play abounds. The earlier Love's comedy is also vibrant with Kierkegaardian undertones, and the fact that something of this same quality is echoed and re-echoed throughout the playwrite's entire corpus suggest something more than a merely literary influences: it indicates a temperamental affinity between the two authors.
page 137 note 1 See Halvdan Koht's Life of Isben, for example.Google Scholar
page 139 note 1 Fear and Trembling, p. 75.Google Scholar
page 139 note 2 Brand, Everyman's Library, p. 68. (There are better translations of the play, but this one is most readily available.)Google Scholar
page 139 note 3 Halvdan Koht's Life of Ibsen, p. 200.Google Scholar
page 139 note 4 Fear and Trembling, p. 103.Google Scholar
page 140 note 1 Fear and Trembling, p. 157.Google Scholar
page 141 note 1 There is no argument in Fear and Trembling to the effect that ethics is not universal. Such an argument is to be found elsewhere in Kierkegaard: e.g. Point of View.Google Scholar
page 142 note 1 I suggest that a similar argument may apply to certain heroes of Eliot, Montherlant, Marcel, et al.Google Scholar
page 143 note 1 Fear and Trembling, p. 147, et seq.Google Scholar