No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Kierkegaard and the Renaissance and Modern Traditions Tome III: Literature, Drama and Musicįirst published 2009 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Jon Stewart and the contributors 2009 Jon Stewart has asserted his right under the Copyright, Designs and patents Act, 1988, to be identified as the editor of this work.

This volume was published with the generous financial support of the Danish Agency for Science, Technology and Innovation General Editor JON STEwART Søren Kierkegaard Research Centre, University of Copenhagen, Denmark Editorial Board KATALIN NUN pETER ŠAJDA Advisory Board ISTvÁN CzAKÓ FINN GREDAL JENSEN DAvID D. Kierkegaard Research: Sources, Reception and Resources is a publication of the Søren Kierkegaard Research Centre Kierkegaard Research: Sources, Reception and Resources Volume 5, Tome III KIERKEGAARD AND THE RENAISSANCE AND MODERN TRADITIONS TOME III: LITERATURE, DRAMA AND MUSIC Finally, while Kierkegaard is not an obvious name in musicology, his analysis of Mozart's Don Giovanni shows that he had a keen interest in music on many different levels. Kierkegaard constantly refers to their dramatic characters, whom he often employs to illustrate a philosophical idea with a pregnant example or turn of phrase. The classic Danish authors of the eighteenth century, Holberg, Wessel and Ewald, were influential figures who prepared the way for the Golden Age of Danish poetry. However, his use of the leading figures of the British Romantic movement, Byron and Shelley, remains largely unexplored terrain. It is obvious from, among other things, The Concept of Irony that Kierkegaard knew in detail the works of some of the main writers of the German Romantic movement. While there is an established body of secondary material on Kierkegaard's relation to Shakespeare, little has been said about his use of the Irish dramatist Sheridan. Although he never possessed strong English skills, this did not prevent him from familiarizing himself with English literature, primarily with the help of German translations. French dramatists were popular on the Danish stage, and Kierkegaard demonstrated an interest in, among others, Moliére and Scribe. He also enjoyed French literature, represented here by articles on Chateaubriand, Lamartine, and Mérimée. He was captivated by the figure of Cervantes' Don Quixote, who is used as a model for humor and irony. Kierkegaard was well read in the European literature of the seventeenth and eighteenth century. Tome III covers the sources that are relevant for literature, drama and music. The present volume consists of three tomes that are intended to cover Kierkegaard's sources in these different fields of thought.

His interests concerned not just philosophy, theology and literature but also drama and music. Moreover, he also read a diverse range of genres. The Danish thinker read authors representing vastly different traditions and time periods. The present, rather heterogeneous volume covers the long period from the birth of Savonarola in 1452 through the beginning of the nineteenth century and into Kierkegaard's own time. The long period from the Renaissance to the nineteenth century supplied numerous sources for Kierkegaard's thought in any number of different fields.

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