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POMPONAZZI, PIETRO (PETRUS POMPONATIUS).

De naturalium effectuum causis, sive de Incantationibus, Opus abstrusioris philosophiae plenum, & brevissimis historiis illustratum atque ante annox XXXV compositum, nunc primum uerò in lucem fideliter editum. Adiectis breuibus scholijs à Gulielmo Gra... - [ESTABLISHING THE ENLIGHTENMENT]

Herman H. J. Lynge & Søn A/S
lyn46837
Basel, [Per Henrichum Petri, 1556 - on colophon]. An absolutely lovely copy of the exceedingly scarce first edition, first printing, of one of the most influential and important works in the history of modern thought. A work that has for a long time been overlooked due to the gross neglect of the history of Renaissance philosophy, but which has nonetheless been seminal to the development of scientific and philosophical thought from the 16th century and onwards. With a purely naturalistic and immanent view of the natural process, Pomponazzi here frees man's thought from the bounds of religion and provides modern thinkers and scientists with pure empiricism and naturalism. "Er will das "Wissen" and die Stelle des "Glaubens" stellen" - "die "dämonische" Kausalität des Glaubens weicht der Kausalität der Wissenschaft" (Cassirer, p. 110 + 111). 8vo. Contemporary full limp vellum, with vellum cords to hinges. Remains of vellum ties to boards. A bit of brownspotting, but all in all a lovely, completely unrestored copy in its first binding. Five large woodcut initials and large woodcut printer's device to verso of last leaf. (16), 349, (3). Adams: P-1827; Wellcome: I:5153; DSB: XI:71-74.A.H. Douglas: "The Philosophy and Psychology of Pietro Pomponazzi", 1910.M.L. Pine: "Pietro Pomponazzi: Radical Philosoper of the Renaissance", 1986.Thorndyke: "A History of Magic and Experimental Science", Vol. V, 1966 (4th printing)P.O. Kristeller: "Eight Philosophers of the Italian Renaissance", 1965.J.H. Randall, in: "The Renaissance Philosophy of Man", 1956 (4th impression).B.P. Copenhaver & C.B. Schmitt: "Renaissance Philosophy", 1992.E. Cassirer: "Individuum und Kosmos in der Philosophie der renaissance", 1969 (3. Aufl. - orig. 1927).See also: Kristeller: "Renaissance Thought and its Sources"; "Medieval Aspects of Renaissance Learning"; "Renaissance Thought II, Papers on Humanism and the Arts". "Pomponazzi's thought and reputation were extremely influential in the centuries after his death. Even before it was printed, his treatise "On incantations" circulated widely in manuscript among philosophers, physicians and early modern naturalists (see Zanier 1975). Due to his mortalist theory of the soul, 17th-century "free thinkers" regarded Pomponazzi as one of their own, portraying him as an atheist (see Kristeller 1968; Paganini 1985). Enlightenment thinkers of the 18th century pushed to extremes his distinction between natural reason and faith, while 19th-century positivists, such as Ernest Renan and Roberto Ardigò, saw in Pomponazzi a forerunner of their own beliefs and a champion of naturalism and empiricism." (SEP).

Exceedingly scarce first edition of Pomponazzi's seminal "De Incantationibus", perhaps the most original work of natural philosophy of the Renaissance and arguably the first work of what comes to be the Enlightenment. The work, which is one of Pomponazzi's most important productions (along with his treatise on the immortality of the soul), constitutes a forerunner of Naturalism and Empiricism and could be considered the first true Enlightenment work ever, causing Pomponazzi, our greatest Renaissance philosopher, to be generally considered "The last Scholastic and the first man of the Enlightenment" (Sandy, Randall, Kristeller). The appeal to experience is the main concern of the work, and its strict and completely novel way of treating the subject matter resulted in a hitherto unattained elevated position of philosophy in the Latin West, providing to philosophy a new method that remains dominant to this day and without which we would scarcely be able to imagine modern philosophy. Proclaiming the victory of philosophy over religion, the "de Incantationibus" changed the entire history of philosophy - philosophy being to Pomponazzi the supreme truth and the final judge of all phenomena."Pomponazzi's conclusion [in the "De Incantationibus] results from a dramatic change in method which in turn is based on a profoundly new attitude toward philosophical inquiry. Medieval theologians and philosophers as well as most Renaissance thinkers were content to limit the role of reason in nature because they sincerely believed that the Christian God intervened in the natural order to create miraculous occurrences. As we have seen, this belief prevented their scientific convictions from destroying Christian doctrine by exempting central Biblical miracles from natural process. Even those who held that Christian revelation and Aristotelian science were irreconcilable maintained a sincere fideism which allowed each universe to remain intact, each standing separate from the other. But once Pomponazzi applied the critical method of Aristotelian science to all religious phenomena, Christian miracles were engulfed by the processes of nature. Absorbed by the "usual course of nature", the miracle could no longer be the product of divine fiat. Indeed Christianity itself became merely another historical event, taking its place within the recurring cycles of nature, and destined to have a temporal career within the eternal flow of time." (Pine, p. 273)."De Incantationibus" constitutes one of the single most important works of the Renaissance. Bringing everything in the world under the general laws of nature, the history of religion as well as all other facts in experience, "De Incantationibus" gives us, for the first time in the history of philosophy an outline of a philosophy of nature and of religion, an outline that came to be seminal in the history of philosophy and science throughout the following centuries. With the main aim of the work being to determine the fact that there is no such thing as "supernatural", no magic, no omens, no witchcraft, no divine intervention, no apparitions, etc., etc. - all marvelous events and powers observed in experience or recorded in history have their natural, scientific explanation, they are all within the scope of principles common to all nature -, it is no wonder that it was placed on the index of forbidden books immediately upon its publication, as the only of Pomponazzi's works ever. The analysis of the history of religions and the theory of the nature and use of prayer that Pomponazzi here develops is hugely interesting and so far ahead of its time that one hardly believes it. E.g. the notion that religious doctrines all aim, through fables and myths (which he disproves), to preserve the social order rather than to discover the truth, is not something you will find in any other work of the Middle Ages or the Renaissance. "[H]e brings the whole phenomena of religious history - the changes of religious belief, and the phases of thaumaturgic power - under certain universal laws of nature. Of these facts as of all others, he suggests, there is a natural and a rational explanation; in them the powers that are at work in all nature are still operative; and they are subject to the laws and conditions that govern nature generally - the laws of change, of development, of growth and decay, and transformation in decay." (Douglas, p. 299)."In regard to the religious issue, I have tried to show that he makes a claim for the absolute truth of philosophy and relegates religion to the purely practical function of controlling the masses. Religious doctrines contain a kind of truth because they can persuade men to act so as to preserve the social order. But religious doctrine has social value rather than speculative veracity. [...] rational truth is the only truth. It is really compatible only with complete disbelief. And I think that this is the statement that Pomponazzi makes. The only doctrines that he accepts are those of philosophy. Philosophy rejects the personal Christian God acting within history and eliminates the miracles of religion. Philosophy reduces to the absurd the notion of a life after death. And finally philosophy destroys revelation itself by viewing it as the product of heavenly forces rather than the act of divine will." (Pine, pp. 34-35). The work was originally written in 1520, but was not published in Pomponazzi's life-time. It circulated in manuscript form, however, and was also as such widely noted. In 1552, 27 years after Pomponazzi's death, the manuscript was brought to Basel by Pomponazzi's student Guglielmo Gratarolo, who had had to flee Italy due to his anti-religious views. Here, in Basel, he had the book printed for the first time, with a foreword written by himself, in 1556. This was the very first time that the book was published, as it had also not been included in the standard edition of Pomponazzi's collected works, published at Venice the year after his death, 1525 - presumably due to its dangerous and revolutionary views.In his preface, Gratarolo expresses fear that someone may think him either over curious or less Christian for publishing this book. He furthermore explains that he had purchased the manuscript 20 years earlier and brought it with him North when leaving Italy 6 years previously. "Granting, however, that there may be something in the work which does not entirely square with Christianity, Gratarolo thinks that it should not be suppressed or withheld from the scholarly public, since it contains more solid physics and abstruse philosophy than do many huge commentaries of certain authors taken together." (Thorndyke, V, p. 99-100). Come the Renaissance, the idea of eliminating demons and angels and attempts at a showdown with magical transformations and the like were not completely novel in themselves. Much scientific thinking of the Middle Ages and the Renaissance carried such beliefs that had in some form or other been current for a long time. But up until Pomponazzi's treatise, these ideas had always been surrounded by hesitance and a clear aim at still protecting the miraculous nature of Christianity itself, not leading the theories forward and not letting them bear any relevance. "Let us pause here a moment to estimate the place of this radical treatise [i.e. "De Incantationibus"] in the history of European rationalism. [...] It was Pomponazzi's achievement to go beyond these earlier hesitations and qualifications, particularly in regard to the astrological determination of religious belief. By dramatic shifts of emphasis and the extension of certain ideas to their logical limits, Pomponazzi utterly transformed the context in which these earlier views occurred. In their newly radicalized form, they challenged the supremacy of revelation by elevating philosophy to a position hitherto unattained in the Latin West". (Pine, p. 268)."[...] Even this brief sketch makes clear that Pomponazzi came at the end of a long scientific tradition which had absorbed, and to some degree, subordinated Aristotelian-Arabic science and astrology to the Christian universe. But if we look at each strand of this tradition, we can see how Pomponazzi carried these concepts to their furthest limits." (Pine, pp. 268-72). Pomponazzi clearly sought to explain all miraculous cures, events, etc. through natural powers. All sequences and concoctions which could seem magical or supernatural are within the same framework as other observed sequences and concoctions in nature. We may not be able to explain all of them (although Pomponazzi does attempt in the treatise to provide specific and elaborate natural, physical explanations of a large number of "magical" and "supernatural" events), but that is merely a lack in our intellect or understanding and by no means because these occurrences or events are not governed by nature and the physical laws of nature. "This whole mode of explanation of the marvelous in nature and history is constantly pitted against the orthodox theory which attributed magic and miracles to the agency of angels or demons. The book "De naturalium Effectuum Causis" is a uniform polemic against that theory, as essentially a vulgar superstition. It is the tendency of the vulgar mind, he says, always to ascribe to diabolic or angelic agency events whose causes it does not understand." (Douglas, p. 275). "These fictions are designed to lead us to truth and to instruct the common people who must be led to the good life and turned away from evil just like children, that is to say, by the hope of reward and the fear of punishment; and it is by these vulgar motives that they are led to spiritual knowledge, just as children pass from delicate nourishment to more solid nourishment. Hence it is not far from my concept or from the truth that Plato taught the existence of angels and demons not because he believed in them but because it was his aim to instruct the ignorant." (Pomponazzi, "De Incantationibus", 10, pp. 201-202).In order to understand the monumental accomplishment of Pomponazzi's "De Incantationibus", one must realize which tradition he is inscribed in, namely that of Italian Aristotelianism (as opposed mainly to the Renaissance Platonism). It is within this long tradition that he effects a revolution. "In the Italian schools alone the emerging science of nature did not mean a sharp break with reigning theological interests. To them it came rather as the natural outcome of a sustained and co-operative criticism of Aristotelian ideas. Indeed, that mathematical and mechanical development which by the end of the sixteenth century produced Galileo owes very little to the Platonic revival but received powerful stimulus from the critical Aristotelianism of the Italian universities." (Ren. Phil. of Man, p. 12).Pomponazzi stood at a crossroad in the history of Aristotelianism. He still studied the great logicians and natural philosophers of the 14th century, which his Italian humanistic colleagues had given up (focusing instead on "man" and his place in the universe), but at the same time he had a highly original approach to the teachings of Aristotle and a unique uninhibited approach to the nature of the universe, and he responded philosophically to the achievements of humanism, always seeking the truth and the "naturalist" explanation. Of that critical Aristotelianism which sought to find the true meaning of the works of Aristotle, lay them bare, and develop them further to find the true nature of the universe, to explain how the world functions without any preconceived notions (like the belief in Christ, etc.), Pomponazzi was a forerunner. With his "De Incantationibus", this "last scholastic and the first man of the Enlightenment" paved the way for the Enlightenment of the centuries to come, for rational free thinking. His quest against the theologians and "his scorn for all comfortable and compromising modernism in religion, and his sober vision of the natural destiny of man" (Randall, p. 268) combined with his refusal to leave the bounds of the Aristotelian tradition, his meticulous use of the medieval method of refutation, and his thorough rationalism, enabled him to revolutionize the Aristotelianism of the 16th century - and indeed the entire trajectory of philosophy of the ages to come - and invoke the period of scientific free-thinking that breaks free of Christian doctrines and which later comes to be the Enlightenment. "Against Pico's denial of astrology as incompatible with human freedom, he tried to make an orderly and rational science of the stars, opposed to all superstition - the naturalist's answer to the Humanist". (Randall, p. 277)."During the twelve decades or so between Pomponazzi's arrival (1484) and Galileo's departure in 1610, the learned community that Shakespeare called "fair Padua, nursery of arts", achieved a distinction in scientific and medical studies unmatched elsewhere in Europe. Thus, Pomponazzi's career in northern Italy brought him close to the most exciting advances of his time in science and medicine. In keeping with the nature of his university appointments, he approached Aristotle from a perspective quite distant from Bruni's humanism or Lefèvre's theologizing. [...] Pomponazzi's Aristotelianism developed entirely within the framework of natural philosophy". (Copenhaver & Schmitt, p. 105). "With this final explanation, Pomponazzi has discovered natural causes for all miraculous events and hence has eliminated the miracle as a category for understanding the process of nature. [...] As we have seen, Pomponazzi's theory offers three fundamental natural explanations of events which Christianity ascribes to the miraculous intervention of angels and demons. [...] Here Pomponazzi's method takes its most radical turn. Biblical miracles are now also found to have natural causes. Moses, we learn, performed his task by natural means. The "dead" revived by the prophets were not really dead. And the acts of Christ and the Apostles can be explained "within natural limits"." (Pine, pp. 254-56)."The histories of other religions record miracles similar to those of Christianity, and Pomponazzi justifies his frequent citation of historians in a philosophical work as authorities for past natural events of rare occurrence. Such is the most detailed and carefully worked out, the most plausible and at the same time most sweeping expression of the doctrine of astrological control over the history and development of religions that I have seen in any Latin author." (Thorndyke V, pp. 108-9).FULLER DESCRIPTION AVAILABLE UPON REQUEST-
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What's Welsh for Zen? The Autobiography of John…
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CALE, JOHN (+) BOCKRIS, VICTOR.
Herman H. J. Lynge & Søn A/S
lyn62763
London, Bloomsbury, 1999 (1997/1998 ?). Folio. Unbound, as issued, unopened in original plastic protection, in the original cardboard box with photographic paper-label to lid and to back. Number 518 out of 1000 copies, signed by Cale. The lid of the cardboard box with very light edge wear, otherwise mint condition. Richly illustrated throughout with photographs, reproductions of manuscripts, artworks, and memorabilia from Cale’s archives. Also included is a copy of the nornmal, unnumbered edition, dated 1999, in the original cardboard-binding with photographic paper-label to front and back board and printed spine. This copy is opened and with the same illustrated contents as the limited signed edition, which is unopened in its original plastic protection. Corners slightly bumped, otherwise a very nice and clean copy. 272 pp. Signed, numbered edition - rarely found in the trade - of John Cale's autobiography, an artwork in itself. Cale was a founding member of the American rock band the Velvet Underground: "arguably the most influential American rock band of our time" (The New York Times, October 3, 2013). The book mixes text, poetry, and collage-like visual material in an experimental narrative reflecting Cale’s avantgarde style. It covers Cale’s early years in Wales, his work with La Monte Young and the Theatre of Eternal Music, his period with The Velvet Underground and his subsequent solo and production career with Nico, Patti Smith, Brian Eno, The Stooges, and others.
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Forord. Morskabslæsning for enkelte Stænder efter…
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KIERKEGAARD, SØREN.
Herman H. J. Lynge & Søn A/S
lyn62263
Kjøbenhavn, Reitzel, 1844. Small 8vo. 110, (1) pp. Completely uncut in the original blue cardboard-binding. Minimal wear to capitals, and hinges with a tiny tear to front upper and back hinge. Minute paper loss to capitals, and minimal loss to one corner. The printed title-label preserved in its entirety. Brownspotting due to the quality of the paper.A truly magnificent copy in completely original state – almost looks like it came straight off the press. First edition of Kierkegaard's most humorous book, Prefaces, in the very rare original blue binding in truly magnificent state and with the printed title-label preserved in its entirety. Published simultaneously with The Concept of Anxiety, Prefaces can be viewed as its companion piece. It represents an altogether different genre and is the most humorous of all of Kierkegaard’s works, but the two fictional authors of the works interestingly contrast each other. Although having been eclipsed by the now notoriously famous Concept of Anxiety, Prefaces was in fact more popular when it appeared and sold many more copies. Written under the pseudonym of Nicolaus Notabene, the “author” name indicates that despite its humorous approach, Prefaces is still something serious – something to be noted. And it certainly is. It is here that we find Kierkegaard’s sarcastic roasting of the Hegelian system and of the Danish Hegelians with Johan Ludvig Heiberg as the main representant. Through Notabene, he makes fun of Heiberg and Hegel, who both want to explain everything and want to be mediators of understanding. Just as Hafniensis in The Concept on Anxiety poses that “how sin came into the world each man understands solely by himself. If he would learn it from another, he would misunderstand it” (p. 51), so Notabene in Prefaces states that “My frame, my health, my entire constitution do not lend themselves to mediation” (p. 45). In Prefaces we also find Kierkegaard’s thoughts about the relationship between the reading public and the author and his fierce criticism of literary critics and reviewers, among these also Heiberg as well as Martensen, who famously reviewed Either-Or and Repetition respectively. And in the very amusing preface to the Prefaces, we are given another glimpse into Kierkegaard’s thoughts on marriage and the dilemma he found himself in with Regine – the inner struggle between he, who is the husband, and he, who is the author; can one be both? With its challenging notions on the idea of the book and the interaction of the book with its readers, his little ironic masterpiece is a clear forerunner of Postmodernism. “Kierkegaard’s ‘Prefaces’ is a brief though not unimportant work. Themes he develops elsewhere at greater length here are presented with characteristic insight and wit. This richly suggestive text has never received the attention it deserves. William McDonald’s fine translation now makes it possible to assess the importance of ‘Prefaces’ for Kierkegaard’s œuvre and to appreciate its significance for philosophical, literary, and theological issues that are still with us.” (From the review of William McDonald’s 1989 edition of Prefaces in English in the Kierkegaard and Postmodernism-series). Written under a pseudonym and without Kierkegaard’s name appearing as publisher or indeed as anything else, he was unable to give away presentation-copies of the work (due to his own strict set of rules for this). Thus, not a single presentation copy of the work exists. A single copy of the book was in the auction catalogue of his book collection after his death. Himmelstrup 70. The present copy is no. 28 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.
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Das Moderne Plakat. - [THE MAIN WORK OF BELLE…
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SPONSEL, JEAN LOUIS
Herman H. J. Lynge & Søn A/S
lyn62774
Dresden, Verlag von Gerhard Kühtmann. 1897. Large4to. In contemporary half cloth with leather title-label to spine. Light discolouration to upper margins of boards. Inner front hinge quite weak. Internally very nice and clean. VII, 316 pp. + 52 colour lithograph plates and 266 monotone illustrations (included in the pagination). First edition of one of the most important and influential art-historical publications of the Belle Époque. This magnificent work established the artistic poster as a recognised and serious art form. The work provides a comprehensive geographical survey of the principal poster artists of the day and includes 52 colour lithograph plates and 266 monochrome illustrations by Chéret, Toulouse-Lautrec, Steinlen, Grasset, Mucha, Will Bradley, Louis Rhead, and others. Jean Louis Sponsel (1858–1930) was a German art historian and museum director in Dresden, known for his studies on the decorative and graphic arts. Director of the Grünes Gewölbe and scholar of the Kupferstich-Kabinett, he was among the first to recognise the artistic importance of the modern poster. The present work remains a landmark publication, elevating poster design to the status of fine art.
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Huetiana, ou pensees diverses de M. Huet, eveque…
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HUET, PIERRE DANIEL.
Herman H. J. Lynge & Søn A/S
lyn62786
Amsterdam, Herman Uytwerf, 1723. 8vo. Bound in a bit later half calf binding with six raised bands with gilt lettering and ornamentation to spine. All edges coloured in red. Previous owner's name to title-page and internally with light occassional browning. XX, (8), 449,+ (3) pp. Fullpage wood-cut on p. 57. Second edition.
Stadier paa Livets Vei. Studier af Forskjellige.…
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KIERKEGAARD, SØREN.
Herman H. J. Lynge & Søn A/S
lyn62266
Kjøbenhavn, Reitzel, 1845. Large 8vo. (8), 383 pp. An extraordinary copy printed on very heavy vellum-paper and bound in the mid-20th century in an elegant black half Morocco binding with single gilt lines to boards; double gilt lines and Gothic gilt lettering to spine (bound by Agnete With). Top edge gilt. A bit of brownspotting throughout. With the bookplate of Henning Kehler to inside of front board and with neat pencil annotations to back free end-paper describing the history of the copy. With a handwritten correction on p. 47. Kierkegaard's own copy of the pivotal sequel to his main work Either-Or, one of two copies printed on special paper, with Kierkegaard's own handwritten correction on p. 47. In Either-Or, Kierkegaard had presented the first two stages, the aesthetic and the ethical. In Stages on Life's Way, he continues his work on these stages and moves on to present also the religious stage, which occupies approximately two thirds of the work. The religious stage is that in which man attains a personal relationship with God and that in which man only truly begins to exist, the aesthetic and ethical stages being inadequate. It is in this foundational work, in the religious stage, that Kierkegaard first properly describes what is now known as the "Leap of Faith" (in fact a "leap to faith"), namely the leap that involves willing and belief instead of reason and knowledge, the leap that you take in order to connect to God and which requires that which Kierkegaard calls "the suspension of the ethical". Undoubtedly among Kierkegaard's most brilliant literary achievements, Stages on Life's Way is written in the form of different viewpoints of Kierkegaard's many pseudonymous characters. We have both Hilarius Bookbinder, who by chance has come into possession of the documents presented in the work and has prepared them for printing. We have the famous banquet scene, which mirrors Plato's Symposium, described by William Afham, and in which the three aesthetics participate: Johannes the Seducer, Victor Eremita, and Constatin Constantius. We have Judge William's discourse in praise of marriage, and we have the diary, discovered by Frater Taciturnus, of a young man, who was deeply in love but felt compelled to break off his engagement. This story in form of a diary is the closest one comes to a description of Kierkegaard's own love story, his relationship to Regine. The diary describes an engagement that has lasted for six months; it alternates between the morning notes that recall the engagement and the midnight notes that put it all in perspective. The work closes with a letter to the reader from Taciturnus on the three "existence-spheres" represented by the three parts of the book. Stages on Life's Way is one of Kierkegaard's most important works. Not only does it sum up and explain some of the most important themes of Kierkegaard's previous works, utilizing the characters and pseudonymous authors of the earlier works to do so; it goes beyond these foundational themes, introduces the religious stage, and points to the further development of the central themes in Kierkegaard's philosophy, most of which are only fully developed in Concluding Unscientific Postscript. Written under a pseudonym and without Kierkegaard's name appearing as publisher or indeed anything else, he was unable to give away presentation-copies of the work (due to his own rigid set of rules for his presentation-copies). Thus, not a single presentation copy of the work exists. A single copy of the book was in the auction catalogue of his book collection after his death. In Rohde's edition of the auction-record, this copy and its recent faith is thoroughly described. Like Repetition, Prefaces, and his other seven pseudonymous works, Stages on Life's Way was printed in two copies each on vellum-paper and bound in special bindings, one for Regine, one for Kierkegaard himself. 24 years ago, three of these books surfaced, at an auction in 2002, namely Either-Or, Repetition, and Prefaces, all being the copies Kierkegaard had bound for Regine. Before that, only one single copy of one of these eight titles for Kierkegaard himself or for Regine were known (namely Kierkegaard's own copy of Either-Or, which is in the Danish Royal Library). Seven of the books, Kierkegaard's own copies, were listed in the auction catalogue after his death, but apart from the mentioned copy of Either-Or in the Royal Library, the others had not been found. Kierkegaard's wildly famous love story and failed engagement to Regine Olsen plays a pivotal role throughout Kierkegaard's entire life and work. It all begins in 1837, when Kierkegaard meets the lovely young girl Regine Olsen at a visit to the widowed Cathrine Rørdam. Three years later, in September 1840, after having corresponded frequently with her and visited her on numerous occasions, Kierkegaard decides to ask for her hand in marriage. She and her family accept, but the following day, Kierkegaard regrets his decision and ends up finally breaking off the engagement in October 1841. Disregarding the scandal, the heartbreak (his own included), and the numerous pleas from family members and friends alike, Kierkegaard's tortured soul, still searching for God and for the meaning of faith, cannot continue living with the promise of marriage. Later the same month, he flees Copenhagen and the scandal surrounding the broken engagement. He leaves for Berlin, the first of his four stays there, clearly tortured by his decision, but also intent on not being able to go through with the engagement. As is evident from his posthumously published Papers, Kierkegaard's only way out of the relationship was to play a charming, but cold, villain, a charlatan, not betraying his inner thoughts and feelings. Despite the brevity of the engagement, it has gone down in history as one of the most significant in the entire history of modern thought. It is a real-life Werther-story with the father of Existentialism as the main character, thus with the dumbfounding existentialist outcome that no-one could have foreseen. This exceedingly famous and difficult engagement became the introduction to one of the most influential authorships in the last two centuries. "She was the reason for my authorship", Kierkegaard writes in his Papers, and there is no doubt that several of his most significant works are born out of the relationship with Regine – and its ending. It is during his stay in Berlin, his first of four altogether, right after the rupture of the engagement, that he begins writing Either-Or, parts of which can be read as an almost autobiographical rendering of his failed engagement. After a couple of years, Regine got engaged to someone else, whom she married in 1847. But as is well known, Kierkegaard never married, and the impact of his engagement to Regine and what it made him understand – about himself, about religion, faith, the inner workings of the philosopher and the poet –, never lost its significance. It is evident from the many drafts of a letter that he sent to Regine, through her husband, in 1849 (which was returned to him, unopened) that he had never lain the matter to rest and that the relationship with Regine was still very much alive. He also states in his Notebook 15 from 1849 "By the way, it is certainly the case that my relationship with her has been a very close, present study for me of what faith is. For I know better in this relationship how it is apparently the exact opposite of the foundational. That I have lasted in this relationship has been useful for me in relating to God as a believer." In his Notebook 15, also known as My Relationship with Her, from 1849, Kierkegaard describes how, when he finally broke off the engagement and she tried to get him to stay, she had told him "that she would thank me her entire life for being allowed to stay with me, even if she were to live in a little cupboard" (SKS No. 16: 6). Thus, Kierkegaard had a little cupboard made, with no shelves in it. Here, he kept "everything that reminds me of her and will remind me of her. There is also a copy of the pseudonyms (i.e. the works that he wrote under a pseudonym); of these, there were always only two copies on vellum-paper, one for her and one for me." (SKS: Not. 15:6.). In all, Kierkegaard wrote eight pseudonymous books, Stages on Life's Way being one of them, all of which were evidently printed in two copies each on vellum-paper and bound in special bindings, one for Regine, one for Kierkegaard himself. This splendid copy, which is one of two specially produced copies, being Kierkegaard's own copy, with his own correction (deleting "ikke" – i.e. "not" on p. 47), is nr. 2136 in the auction catalogue of Kierkegaard's books sold after his death. In Rohde's official edition of the auction catalogue, there is a lengthy note on the present copy documenting the more recent history of the copy:"Now: Mogens Müllertz, Copenhagen. Copy on vellum-paper. S.K.,'s own handwritten correction of the printing error "not" on p. 47, cf Papers XI I, p. 36. The previous owner, the author Henning Kehler, has let the book, which was originally in half calf, rebind in black half calf by Agnete With and has pasted his book plate on the inside of the front board. In 1952, Henning Kehler gave the book as a Christmas present to Mogens Müllertz; in an accompanying letter Kehler writes, among other things: "even though the present book is my best and dearest, I still want you to have it. I know of no-one else to whom I would rather dispense with it." In an article "About printing errors", Berlingske Aftenavis 9.11.1963, Kehler touches upon this book gift: "Being a writer I am naturally hardened when it comes to printing errors, no book and no newspaper article is without errors. Søren Kierkegaard, who could even pay others – eg. Israel Levin – to proofread mentions in his Papers a printing error in "Stages on Life's Way", which kept vexing him. It was a "not" that had fallen out. I once owned a copy of the book that had been placed in the palisander book cabinet for Regine, and in that copy, this "not" had been added in ink and in Kierkegaard's handwriting. I gave the book to a book-mad collector – under false pretenses, alas." – Identification of the copy uncertain." (pp. 110-11).Although Kehler is mistaken in the correction being adding a "not" instead of deleting one, there is no doubt that this is the copy he is referring to. The sentence on p. 47, in which the correction occurs reads "Pro dii immortals what is a woman, when she is not in fashion, per deo obsecro what is she when she is not (this being the "not" that Kierkegaard has deleted here and was vexed about) in fashion".This copy on very heavy paper – one of the two printed like this – is approximately 1/3 thicker than normal copies of the book.The pencil annotations on the back free end-paper bear witness to the previous owner's frustration at Kehler for having tampered with the copy. After stating that this is Kierkegaard's personal copy, one of two on vellum-paper and copy nr. 2136 from the auction catalogue, he continues: "The copy used to have all edges gilt, a few leaves still have remains of this. The edge has been shaved at the ruthless rebinding that Henning Kehler in his complete lack of understanding of what he possessed had done." On Kehler's bookplate, the same previous owner has noted in neat pencil-annotation "bibliophile vandal".In spite of the frustration with this particular book having been rebound and not kept exactly as it was, this is still an utterly amazing copy of one of Kierkegaard's most important works – hands down the best copy there is of the work. Namely Kierkegaard's own, with his own correction, one of two printed on heavy paper, one for Regine, one for himself. We must be thankful that, despite the "vandalism" of the rebinding, the book is still here and identified as that same copy that Kierkegaard had made for himself. Himmelstrup 78.
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KIERKEGAARD, SØREN.
Herman H. J. Lynge & Søn A/S
lyn62268
(København), 1845. Large 4to (33 x 24, 8 cm). 2 columns to a page. Columns 15145 – 15160. 4 ff. + 1 f. (Følgeblad til Nr. 1890). Kierkegaard’s article is printed as a feuilleton at the bottom of the pages, beneath a printed double-line (this section is reserved for the serials), and runs from columns 15147-15153 + 15155-15159. Marginal dampstaining. The exceedingly scarce original printing of the two issues of The Fatherland that contain Kierkegaard’s highly important article on the performance of Don Giovanni at The Royal Theatre of Copenhagen in 1845. The present paper entitled A Cursory Observation Concerning a Detail in Don Giovanni, signed “A”, is of great importance in connection with Either-Or, to which Kierkegaard indirectly refers twice. The paper is in two parts and was printed over two numbers of The Fatherland, Monday 19th of May and Tuesday 20th of May, 1845. The occasion that prompted the paper was the re-staging of Don Juan at the Royal Theatre on February 23rd, 1845. Last time, Don Juan had been performed at The Royal Theatre was the season of 1839-40, where Kierkegaard was certainly also present. The first part of Either-Or contains “A’s Papers” (note that the present paper is signed by “A” as the author); it is in this part of the work that we find the chapter about the erotic stages, The Immediate Erotic Stages, Or The Musical-Erotic, which is devoted to the music of Mozart, in particular Don Juan. For Kierkegaard, Don Juan represents sensuality. And there is no other place where the untamed power of nature is better expressed than in Mozart’s Don Juan. Mozart’s Don Juan influenced Kierkegaard more than any other work of art, and throughout his life he returns to just how magnificent it is – “A work of genious that carries the touch of eternity”. Together with The Immediate Erotic Stages, Or The Musical-Erotic in Either-Or, the present article is Kierkegaard’s most important printed piece on Don Juan. When Nielsen collected and published Kierkegaard’s newspaper articles posthumously, in 1857, he apparently did not realize that Kierkegaard was also the author of the present pseudonymous paper and did not include it in his publication. It appeared as a separately published appendix two years later, in 1859, with remarks about the references to Either-Or. Fædrelandet – litterally translated as ”The Fatherland” – was a Danish newspaper that was founded in 1834 and existed until 1882. In the beginning it appeared weekly, but in 1839, it began appearing daily. With its cultural and political contents, it soon became the leading paper of the national liberal opposition. The paper was the most important paper in Kierkegaard’s time and the one that more than any other influenced public opinion. During the first years of its existence, the paper had numerous different publishers and editors. It also ended up in numerous controversies with the censorship authorities, resulting in many trials and fines. From May 1841, the editors of the paper were Carl Ploug and J.F. Giødwad. The latter would come to play an enormous role in Kierkegaard’s authorship, as would The Fatherland itself. Giødwad was one of the very few people that Kierkegaard has ever characterized as a “personal friend” (SKS 21 214,10). It is very likely that this friendship was initiated in 1842, when Kierkegaard published his first paper in The Fatherland, Aabenbart Skriftemaal. We know that from the Christmas of 1842, Giødwad helps with the proof reading of Either-Or and is thus clearly one of the most trusted people in his life. As we shall see later, it was also Giødwad, who represented Kierkegaard in dealings with publishers and printers, when it had to do with the pseudonymous writings, thus protecting Kierkegaard’s pseudonymity and shielding him from the public. Giødwad himself said that Kierkegaard initially got a favourable impression of him when at some point he had dismissed a reader, who wished to know who was behind an anonymous paper published in The Fatherland (see A.D. Jørgensen’s statement from 1885 in Kirmmsee, Søren Kierkegaard truffet, p. 88). Kierkegaard trusted Giødwad completely, and thereby also The Fatherland. Apart from his four earliest papers in Kjøbenhavnsposten (see nr. 1 above), The Fatherland was the only paper Kierkegaard would publish in. During its entire existence, The Fatherland would be published in ca 2.000 copies, making it of the utmost scarcity today. Almost all copies of it have been destroyed, thrown out, worn, etc., and it is extremely rare on the market. The few issues we have at the moment are the only ones from this period that we have ever seen for sale. Himmelstrup 84. The present copy is no. 33 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.
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