Marta Moldovan-Cywińska: What will I unfortunate do with the suffering of extensive interests?

Like Cioran or Heidegger, it is impossible to read “Either-Either” epidermically, although, getting carried away by his imagination, we feel how much he owes to the French and English novels of the 17th century. Kierkegaard is brimming with unfulfillment, creating associations worthy of the Presurrealists, and the secretary's desk evoked in “Either-Either” resembles an avant-garde bathtub with a fiddly key-locked door. Evoking the longing for POSSESSION he shows that the WILL to possess is stronger than the possession itself - aren't these the first emotions accompanying the self-justification of the afflicted collector?

Kierkegaard asks: Who is the poet? An unhappy man who hides deep suffering in his heart, and whose lips are so made that when sighs and complaints overflow through them they sound like beautiful music” . A platitude? And where! This is the “Diapsalmata.” A work in which Kierkegaard strenuously persuades us that people require the poet to suffer, because thereby he valorizes us, immersed in sorrow, for the first recipient of the author of “Enten-Eller” should not be a philosopher, but a poet, which I hereby do, weary of the “community” arguments of the theorists of suffering, as if after reading a farce devoid of crotchety characters.

And then there's that fictional Cordelia pretending to be the real Cordelia in “Diary of a Seducer”! Hundreds, thousands of confabulated and confabulating Cordelias, like cut-out, half-folded dolls made of wrapping paper! “Nothing is more aggravating and such a curse as secrecy.” Cordelia is a foreshadowing of all the complexity of symbolism in the paintings of John Everett Millais, William Hunt, Dante Gabriel Rossetti and his brother William Michael - to the extent, of course, that philosophy/romantic prose can foreshadow a painting universe.