If you marry, you will regret it; if you do not marry, you will also regret it; if you marry or do not marry, you will regret both; Laugh at the world’s follies, you will regret it, weep over them, you will also regret that; laugh at the world’s follies or weep over them, you will regret both; whether you laugh at the world’s follies or weep over them, you will regret both. Believe a woman, you will regret it, believe her not, you will also regret that; believe a woman or believe her not, you will regret both; whether you believe a woman or believe her not, you will regret both. Hang yourself, you will regret it; do not hang yourself, and you will also regret that; hang yourself or do not hang yourself, you will regret both; whether you hang yourself or do not hang yourself, you will regret both. This, gentlemen, is the sum and substance of all philosophy.
Danish theologian, philosopher, poet and social critic (1813–1855)
Søren Aabye Kierkegaard (5 May 1813 – 11 November 1855) was a Danish Christian philosopher and theologian, considered to be a founder of Existentialist thought and Absurdist traditions. He wrote critical texts on organized religion, Christendom, morality, ethics, psychology and philosophy of religion, displaying a fondness for metaphor, irony and parables.
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There is a contrast of primary significance between Augustine and Pelagius. The former crushes everything in order to rebuild it again. The other addresses himself to man as he is. The first system, therefore, in respect to Christianity, falls into three stages: creation – the fall and a consequent condition of death and impotence; a new creation – whereby man is placed in a position where he can choose; and then, if he chooses – Christianity. The other system addresses itself to man as he is (Christianity fits into the world). From this is seen the significance of the theory of inspiration for the first system; from this also is seen the relationship between the synergistic and the semipelagian conflict. It is the same question, only that the syngeristic struggle has its presupposition in the new creation of the Augustinian system.
They were not unfortunate girls who, as outcasts or in the belief that they were cast out by society, grieved wholesomely and intensely and, once in a while at times when the heart was too full, ventilated it in hate or forgiveness. No visible change took place in them; they lived in the accustomed context, were respected as always, and yet they were changed, almost unaccountably to themselves and incomprehensibly to others. Their lives were not cracked or broken, as others' were, but were bent into themselves; lost to others, they futilely sought to find themselves.
For whoever has what he has from the God himself clearly has it at first hand; and he who does not have it from the God himself is not a disciple. Let us assume that it is otherwise, that the contemporary generation of disciples had received the condition from the God, and that the subsequent generations were to receive it from these contemporaries – what would follow?
I am courteous enough to assume that everyone in this so aesthetically voluptuous age, so potent and aroused that conception occurs as easily as with the partridge which, Aristotle says, needs only to hear the voice of the cock or its flight overhead - to assume that at the mere sound of the word 'concealment' everyone can easily shake a dozen romances and comedies from his sleeve.
Let other complain that the age is wicked; my complaint is that it is paltry; for it lacks passion. Men's thoughts are thin and flimsy like lace, they are themselves pitiable like the lacemakers. The thoughts of their hearts are too paltry to be sinful. For a worm it might be regarded as a sin to harbor such thoughts, but not for a being made in the image of God. Their lusts are dull and sluggish, their passions sleepy...This is the reason my soul always turns back to the Old Testament and to Shakespeare. I feel that those who speak there are at least human beings: they hate, they love, they murder their enemies, and curse their descendants throughout all generations, they sin.
And thus Christianity is played in “Christendom.” Artists in dramatic costumes make their appearance in artistic buildings—there really is no danger at all, anything but that: the teacher is a royal functionary, steadily promoted, making a career—and how he dramatically plays Christianity, in short, he plays comedy. He lectures about renunciation, but he himself is being steadily promoted; he teaches all that about despising worldly titles and rank, but he himself is making a career.
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