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THOMAS AQUINAS.

Summa theologiae - Incipit tertia pars summe sancti Thome de Aquino. Questio prima deconnenientia incarnationis. - [THE "FIVE WAYS" OF PROVING THAT GOD EXISTS]

Herman H. J. Lynge & Søn A/S
lyn60412
Venedig, Bernardino de Tridino - Stagnatius (Bernardino Benalio and Giovanni de Tridino / Bernardino Benalio and Giovanni de Tridino alias Tacuino), 10. April 1486. Folio (binding: 33x22 cm, block: 31,5x21,5 cm). In a charming contemporary full blindstamped pigskin binding over wooden boards. Five raised bands and early handwritten paper title-labels to spine. Spine and upper parts of boards with wear. Front hinge cracked, but still holding, although inner hinge very weak. Brass clasps, but no ties. Boards richly blindstamped with panels of acanthus-stamps and diamond-shaped stamps with two-headed dragons. Centre-panel with round stamps inside which a lion. Front board with "Iohannes" repeated four times inside banners. Pasted down front end-paper richly annotated in various hands - contemporary and early - and with several Ex libris - Ditlev Duckert, Sigurd&Gudrun Wandel, and "A-D". First blank with contemporary or near contemporary two-line inscription and a discreet stamp ("Veräusserte Dublette aus Stadtbibliothek Frankfurt am Main"). Neat, contemporary handwritten annotations to margins of many leaves. Pasted-down end-paper with many contemporary handwritten annotations as well. Beautifully printed in two columns throughout, 70 lines to each. Handpainted initials in red throughout and rubricated in red. A few leaves cropped at lower blank margin (far from affecting text), one leaf with a vertital tear (no loss), one leaf with a large brown stain, and one leaf with the red initials smudged. Otherwise just some occasional brownspotting. Generally very nice and well preserved. All in all a lovely copy. 200 ff. (a-p8, q-r6 (incl. the 3 ff. of Tabula) + aa-mm8 + 2 ff. Tabula) - thus fully complete, with both registers and the first blank.

The scarce and magnificent Tridino-edition of the seminal third part of the Summa Theologiae, Aquinas' unfinished magnum opus, of which each part constitutes a work in its own right, the third dealing with Christology. It is here that we find Aquinas' groundbreaking "Five Ways", his five arguments for the existence of God, arguably the most influential demonstration that God exists ever written. Each individual part of the "Summa" has its own separate printing history and its own bibliography, and the three parts are not expected to be found together. The "Pars Tertia" was printed for the first time in the 1470'ies, by Michael Wenssler. A reissue of this appeared in 1485. The present edition, by the renowned Venice book printer Tridino, constitutes the second edition of this landmark work of Western thought and the third appearance overall. Aquinas wrote his seminal magnum opus, the "Summa Theologiae", as an instructional guide for theology students and those interested in understanding Christian theology. Together, the three volumes that he wrote present the reasoning for almost all parts of Christian theology in the West, following a cycle beginning and ending with God, in between which we find Creation, Man, the Purpose of Man, Christ, and the Sacraments (unfinished), the third part dealing with Christ, the most fundamental question of the existence of God, and man's way of knowing him to exist. Although he left the "Summa" as such unfinished, the individual parts have come to form "one of the classics of the history of philosophy and one of the most influential works of Western literature." (Ross, James F.: "Summa theologiae, Christian Wisdom Explained Philosophically", 2003. P. 165). Determining that the way which leads to God is Christ, the path to God becomes the theme of Pars III of the "Summa", where we find Aquinas' Christology developed in full, his seminal demonstration of the existence of God, and his assertation of the necessity of the incarnation. Centering on the unity of the divine and human in the person of Christ, Pars III argues that all human potentialities are made perfect in Jesus. Aquinas here focuses on Christ's true humanity, including his birth, passion, resurrection, and the symbolism of the cross, and combines the Christian and the non-Christian in a synthesis that comes to be defining for all later Christian thought and theological philosophy. The most famous and influential part of Pars III of the "Summa", however, is probably Aquinas' considerations of - and arguments for - the existence of God. Exploring the rational belief in God, amongst other things, Aquinas here presents his "Five Ways" for the first time. "Aquinas considers whether we can prove that God exists in many places in his writings. But his best-known arguments for the existence of God come in Ia, 2, 3(the "Five Ways")... [i]t would be foolish to suggest that the reasoning of the Five Ways can be quickly summarized in a way that does them justice. But their substance can be indicated in fairly uncomplicated terms. In general, Aquinas' Five Ways employ a simple pattern of argument. Each begins by drawing attention to some general feature of things known to us on the basis of experience. It is then suggested that none of these features can be accounted for in ordinary mundane terms, and that we must move to a level of explanation which transcends any with which we are familiar..." (Marenbon, Medieval Philosophy, 2004. Pp. 244-45). "The Five Ways, Latin Quinquae Viae, in the philosophy of religion, the five arguments proposed by St. Thomas Aquinas (1224/25-1274) as demonstrations of the existence of God. Aquinas developed a theological system that synthesized Western Christian (and predominantly Roman Catholic) theology with the philosophy of the ancient Greek thinker Aristotle (384-322 BCE), particularly as it had been interpreted by Aristotle's later Islamic commentators. In his "Summa Theologica", which he intended as a primer for theology students, Aquinas devised five arguments for the existence of God, known as the Five Ways, that subsequently proved highly influential. While much of Aquinas's system is concerned with special revelation-the doctrine of the Incarnation of God's Word in Jesus Christ-the Five Ways are examples of natural theology. In other words, they are a concerted attempt to discern divine truth in the order of the natural world. Aquinas's first three arguments-from motion, from causation, and from contingency-are types of what is called the cosmological argument for divine existence. Each begins with a general truth about natural phenomena and proceeds to the existence of an ultimate creative source of the universe. In each case, Aquinas identifies this source with God. Aquinas's first demonstration of God's existence is the argument from motion. He drew from Aristotle's observation that each thing in the universe that moves is moved by something else. Aristotle reasoned that the series of movers must have begun with a first or prime mover that had not itself been moved or acted upon by any other agent. Aristotle sometimes called this prime mover "God." Aquinas understood it as the God of Christianity. The second of the Five Ways, the argument from causation, builds upon Aristotle's notion of an efficient cause, the entity or event responsible for a change in a particular thing. Aristotle gives as examples a person reaching a decision, a father begetting a child, and a sculptor carving a statue. Because every efficient cause must itself have an efficient cause and because there cannot be an infinite chain of efficient causes, there must be an immutable first cause of all the changes that occur in the world, and this first cause is God. Aquinas's third demonstration of God's existence is the argument from contingency, which he advances by distinguishing between possible and necessary beings. Possible beings are those that are capable of existing and not existing. Many natural beings, for example, are possible because they are subject to generation and corruption. If a being is capable of not existing, then there is a time at which it does not exist. If every being were possible, therefore, then there would be a time at which nothing existed. But then there would be nothing in existence now, because no being can come into existence except through a being that already exists. Therefore, there must be at least one necessary being-a being that is not capable of not existing. Furthermore, every necessary being is either necessary in itself or caused to be necessary by another necessary being. But just as there cannot be an infinite chain of efficient causes, so there cannot be an infinite chain of necessary beings whose necessity is caused by another necessary being. Rather, there must be a being that is necessary in itself, and this being is God. Aquinas's fourth argument is that from degrees of perfection. All things exhibit greater or lesser degrees of perfection. There must therefore exist a supreme perfection that all imperfect beings approach yet fall short of. In Aquinas's system, God is that paramount perfection. Aquinas's fifth and final way to demonstrate God's existence is an argument from final causes, or ends, in nature (see teleology). Again, he drew upon Aristotle, who held that each thing has its own natural purpose or end. Some things, however-such as natural bodies-lack intelligence and are thus incapable of directing themselves toward their ends. Therefore, they must be guided by some intelligent and knowledgeable being, which is God." (Encycl. Britt.). "Thomas Aquinas's "Summa theological" was originally written as a teaching document, a guide for beginning theology students. At more than 3,500 pages, it may seem an intimidating introduction to Christian theology; however, the influence of the "Summa" exceeds its volume. Aquinas's work influenced every subject in the liberal arts, especially astronomy, logic, and rhetoric. Aquinas's methodical disputations, rhetorical style, and logic are as much an education as his insights on the balance of faith and reason within Christian doctrine." (University of Dayton Library). "During the high Middle Ages theology itself underwent important changes. In the eleventh and twelfth centuries, the study of logic and dialectic began to expand at the expense of grammar and rhetoric… Another change that accompanied this development was the effort to transform Christian doctrine from scattered pronouncements of Scripture, the Councils, and the Church Fathers into a coherent and systematic body of statements. This process culminates in Peter Lombard's "Sentences"…, and in St. Thomas Aquinas' "Summa Theologiae"." (Kristeller, Renaissance Thought and its Sources, 1979. P. 117). Hain:1470; Proctor: 4826; Graesse: 7:139.
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What's Welsh for Zen? The Autobiography of John…
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CALE, JOHN (+) BOCKRIS, VICTOR.
What's Welsh for Zen? The Autobiography of John Cale. - [THE SCARCE NUMBERED EDITION, SIGNED BY CALE]
Herman H. J. Lynge & Søn A/S
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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.
Forord. Morskabslæsning for enkelte Stænder efter Tid og Leilighed af Nicolaus Notabene. - [KIERKEGAARD'S SARCASTIC ROASTING OF THE HEGELIAN SYSTEM]
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
Das Moderne Plakat. - [THE MAIN WORK OF BELLE EPOQUE POSTERS]
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.
Huetiana, ou pensees diverses de M. Huet, eveque d´Avraches. Nouvelle edition, augmentée de la description en vers latins du voyage de l?auteur en Suède.
Herman H. J. Lynge & Søn A/S
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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.
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Stadier paa Livets Vei. Studier af Forskjellige.…
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KIERKEGAARD, SØREN.
Stadier paa Livets Vei. Studier af Forskjellige. Sammenbragte, befordrede til Trykken og udgivne af Hilarius Bogbinder. - [KIERKEGAARD'S OWN COPY OF THE WORK THAT INTRODUCED "THE LEAP OF FAITH", WITH HIS OWN HANDWRITTEN CORRECTION]
Herman H. J. Lynge & Søn A/S
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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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A. En Flygtig Bemærkning betræffende en Enkelthed…
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KIERKEGAARD, SØREN.
A. En Flygtig Bemærkning betræffende en Enkelthed i Don Juan. [Printed in: Fædrelandet 6te Aarg. Nr.1890. Mandagen den 19. Maj 1845 + Nr. 1891. Tirsdagen den 20. Mai 1845, edt. Giødwad]. - [KIERKEGAARD'S IMPORTANT PAPER ON DON GIOVANNI - EXCEEDINGLY SCARCE]
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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