The third letter is despairing, yet it reveals that she still has hope that Johannes may someday love her truly. The second letter is similar in intent, though it is more obscure in that she draws mainly from an anecdote about a rich man who took from a poor maiden her single lamb. The first letter is accusatory, bitterly acknowledging that she never possesed Johannes the way he possessed her. The first materials A reveals to us are three letter-notes by Cordelia herself, the seduced. “It is true that the dates are lacking, but even if I had them it would not help much, since the Diary as it progresses becomes more and more sparing of dates, until at last it is a marked exception when one is given, as if the story in its progress becomes qualitatively significant to such a degree that, although historically real, it comes nearer to being idea, and for this reason the time-designations become a matter of indifference.” (306-307) This may be particularly true because A mentions that he believes he once knew this Cordelia-though he is not particularly certain of this fact, as the Diary is shadowy in true details.įor the same reason, his presentation of the diary is haphazardly organized at best: While A's pieces in Either/Or examine seduction, amibiguity, and melancholy in a favorable light, he is nonetheless disquieted by Johannes peculiar Diary and his poeticized abandonment of Cordelia. Yet even he finds the impassioned deviousness of the seducer, Johannes, to be too much.
His essays and miscellaneous writings controversially praise the value of living in a purely aesthetic sphere of existence. The Seducer's Diary commences with an introduction by A, an invention of Kierkegaard's who is the author of the works comprising the first half of Either/Or. Written by people who wish to remain anonymous We are thankful for their contributions and encourage you to make your own. These notes were contributed by members of the GradeSaver community.
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