Page:History of the Literature of the Scandinavian North.djvu/305

ity, Kjerkegaard most emphatically leads him to it. According to him Christianity is a paradox, that is to say, objectively considered it is an absurdity, which is of value only to the religious consciousness. To the reason it is a source of vexation, and to faith it is an object of passion. Life in faith is, therefore, according to Kjerkegaard, exclusively a union between God and "individuals" (one of his characteristic expressions). Of life in the Christian community he has not only no appreciation, but he even assumes an almost hostile attitude to it. When bishop Martensen, after Mynster's death, called the latter "a witness of truth" Kjerkegaard's attacks on the "official" Christianity assumed a more and more violent character. According to Kjerkegaard, official Christianity was glaringly opposed to that "imitation of Christ," which he demanded, and which in his estimation had nothing in common with the former, for the existing Christendom is a union of Christianity and the world, whereby the former is expelled, while real Christianity means a renunciation of the world." In his pamphlet "Öieblikket" (the Moment), the last of his very numerous works, the violence of his attacks on the official Christianity reaches its climax. His literary activity began with the philosophical dissertation "Om Begrebet Ironi" (On the idea of irony), then followed two works "Enten — Eller" (Either — Or), and "Stadier paa Livets Vei" (Stations on the path of life), in which the æsthetical and ethical points of view are contrasted with the Christian. In several works published under various signatures he developed his own peculiar conception of Christianity in its various relations. The most remarkable of these are probably "Afsluttende, uvidenskabelig Efterskrift," "Indövelse i Kristendom," and "Til Selvprövelse." All his works are distinguished for their refined and brilliant dialectics combined with passionate enthusiasm for the maintainance of Christianity as the "gospel of suffering." His style is noble, full of poetic sentiment, and very eloquent, though it is not always perfectly clear. His writings exercised a powerful