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Kierkegaard began to pursue her over a long period of time, ingratiating himself first as a friend and later attempting to court her. On 8 September 1840 Kierkegaard finally revealed his feelings to Olsen when she was playing the piano for him at her family's house. He recounted the events years later in his journal: "'Oh!
The words were written by Englishwoman Helen Taylor, under the original title "Bless the House". The music was composed by Australian May Brahe, a friend of Taylor's. One of the first artists to record the song was tenor John McCormack who recorded it on September 16, 1932 in London with Edwin Schneider on piano. [1]
These discourses or conversations are intended to be "upbuilding", building up another person or oneself. Kierkegaard said: "Although this little book (which is called 'discourses,' not sermons, because its author does not have authority to 'preach', [4] "upbuilding discourses," not discourses for upbuilding because the speaker makes no claim to be a teacher) wishes to be only what it is, a ...
Kierkegaard was interested in "how" one comes to acquire knowledge. Adolph Peter Adlers experience may have influenced him. He identified his audience as the "reader" and the "listener," [18] but now he speaks of the "seeker". He says, "No man can see God without purity,” and “no man can know God without becoming a sinner.”
Kierkegaard explores two simple verses from the Old Testament, "Then Job arose, and tore his robe, and shaved his head, and fell upon the ground, and worshiped, saying: Naked I came from my mother's womb, and naked shall I return; the Lord gave, and the Lord took away; blessed be the name of the Lord.", [6] and delivers a message to his "reader" about gratitude.
The paradox and the absurd are ultimately related to the Christian relationship with Christ, the God-Man. That God became a single individual and wants to be in a relationship with single individuals, not to the masses, was Kierkegaard's main conflict with the nineteenth-century church. The single individual can make and keep a resolution.
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Prayers of Kierkegaard, Op. 30, is an extended one-movement cantata written by Samuel Barber between 1942 and 1954. The piece has four main subdivisions and is based on prayers by Søren Kierkegaard. It is written for chorus, large orchestra, soprano solo and incidental tenor and alto solos.