By Søren Kierkegaard
"In the big literature of affection, The Seducer's Diary is an problematic curiosity--a feverishly highbrow try and reconstruct an erotic failure as a pedagogic good fortune, a wound masked as a boast," observes John Updike in his foreword to Søren Kierkegaard's narrative. This paintings, a bankruptcy from Kierkegaard's first significant quantity, Either/Or, springs from his courting along with his fiancée, Regine Olsen. Kierkegaard fell in love with the younger lady, ten years his junior, proposed to her, yet then broke off their engagement a yr later. This occasion affected Kierkegaard profoundly. Olsen grew to become a muse for him, and a flood of volumes resulted. His try to set correct, in writing, what he feels used to be a mistake in his dating with Olsen taught him the key of "indirect communication." The Seducer's Diary, then, turns into Kierkegaard's try and painting himself as a scoundrel and therefore make their holiday more uncomplicated for her.
Matters of marriage, the moral as opposed to the classy, dread, and, more and more, the severities of Christianity are meditated via Kierkegaard during this extreme paintings.