Kierkegaard Concept of Believing

2). To do yielded to that insight, however, is also to have glimpsed and to have experienced infinity, which is the province of trustingness and is infinitely (so to say) satisfying.

Kierkegaard uses some(prenominal) analogies to illustrate his point. One is that of the accomplished dancer.

It is supposed to be the some difficult task for a dancer to leap into a definite posture in much(prenominal) a modality that there is not a second when he is taking hold after the posture, but by the leap itself he stands mend in that posture. . . . One need not look at them when they are up in the air, but only the indorsement they touch or have touched the ground--then sensation recognizes them. and to be able to fall down in such a way that the same second it looks as if atomic number 53 were standing and walking, to trans plaster cast the leap of life into a walk, short to express the sublime and the pedestrian that only these knights can do--and this is the one and only prodigy (Fear and Trembling Ch. 2).

Another analogy that Kierkegaard uses is that of the unrequited courtly lover, who is positively fixated on the princess who is unattainable and who is continually assured to give up his quest for her. What the advisors do not reckon is that the love, which he would like well enough to consummate physically, is present in his experience as the ideal, which he can study spiritually at any time. This, Kierkegaard explains, is accomplished by passion, which is characterized as the impulse toward religious exp

The 2 models of faith offered by Kierkegaard are not incompatible, but they are distinct. The first one, in Fear and Trembling, seems to have much to do with a concept of God, perhaps as father, perhaps as creator, perhaps as a kind of prudence that eludes understanding. In utmost Unscientific Postscript, the model is the charismatic example of cosmos that does in fact yield to the idea of a Providence that is not only hard to understand but is toughened from fabric experience as well. The model in Concluding Unscientific Postscript seems to offer human beings little material benefit except certainty of faith in the thick of every reason not to have it, to turn away from the idea of Providence, and abandon the idea of God.

But the paradox of an seeming(a) providential betrayal and the uselessness of leaping into acquiescence in contingency, Kierkegaard suggests, gets one nowhere, for it is difficult to see how one can invalidate asking whether it would somehow be easier to encounter the absurd and remnant without faith.

In Concluding Unscientific Postscript, Kierkegaard's approach to faith takes the form of a Christian apologetic, or, more generally, an articulation of Christology as a kind of conduit to and support of faith. In this text, the absurd does not of necessity refer to the objective facts of humankind as militating against the idea of faith but rather to the experience of faith in the mise en scene of the objective facts of existence. Objectively speaking, having faith "is absurd; and this absurdity, held fast in the passion of inwardness, is faith" (Concluding Unscientific Postscript 188). The content of the faith as absurdity has to do with the Christ-event:

erience: Every movement of infinity comes about by passion, and no reflection can draw a movement about. This is the continual leap in existence which explains the movement (Fear and Trembling; emphasis in original). Passion, too, is in the background knowledge of what may seem an irrational yielding to t
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