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==Etymology==
 
==Etymology==
[http://nordan.daynal.org/wiki/index.php?title=English#ca._1100-1500_.09THE_MIDDLE_ENGLISH_PERIOD Middle English], from Anglo-French estage abode, [[story]] of a building, [[state]], from Vulgar Latin *staticum, from Latin stare to stand  
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[https://nordan.daynal.org/wiki/index.php?title=English#ca._1100-1500_.09THE_MIDDLE_ENGLISH_PERIOD Middle English], from Anglo-French estage abode, [[story]] of a building, [[state]], from Vulgar Latin *staticum, from Latin stare to stand  
*Date: [http://www.wikipedia.org/wiki/14th_Century 14th century]
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*Date: [https://www.wikipedia.org/wiki/14th_Century 14th century]
 
==Definitions==
 
==Definitions==
 
*1 a : one of a series of positions or stations one above the other : step  
 
*1 a : one of a series of positions or stations one above the other : step  
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*7 : one of two or more [[fragment|sections]] of a rocket that have their own fuel and engine
 
*7 : one of two or more [[fragment|sections]] of a rocket that have their own fuel and engine
 
==Stages on Life's Way==
 
==Stages on Life's Way==
''Stages on Life's Way'' (Danish: Stadier På Livets Vej) is a [[philosophical]] work by [http://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard Søren Kierkegaard] written in 1845. The [[book]] was written as a continuation of Kierkegaard's masterpiece [http://en.wikipedia.org/wiki/Either/Or Either/Or]. While Either/Or is about the [[aesthetic]] and [[ethical]] realms, Stages continues onward to the consideration of the [[religious]] realms.
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''Stages on Life's Way'' (Danish: Stadier På Livets Vej) is a [[philosophical]] work by [https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard Søren Kierkegaard] written in 1845. The [[book]] was written as a continuation of Kierkegaard's masterpiece [https://en.wikipedia.org/wiki/Either/Or Either/Or]. While Either/Or is about the [[aesthetic]] and [[ethical]] realms, Stages continues onward to the consideration of the [[religious]] realms.
 
*Section 1
 
*Section 1
The [[book]] is divided rather sharply into [[sections]], the first of which details in somewhat flowery terms a dinner party, whose attendees are shown to be [[representative]] of various types of [[aesthete]]. Some of the attendees, additionally, are or may be identified with previous pseudonyms under which Kierkegaard has published, leading many to propose more complicated [[interpretations]]. In a [[conscious]] [[reference]] to [http://en.wikipedia.org/wiki/Plato Plato]'s [http://en.wikipedia.org/wiki/Symposium_(Plato) Symposium], it is determined that each participant must give a [[speech]], and that their [[topic]] shall be [[love]]. Tellingly for the [[reader]], however, each account given is [[ultimately]] disheartening. The inexperienced young man, for example, considers it to be simply disturbingly puzzling. To the seducer, it is a [[game]] to be won, while the foppish [[fashion]] [[designer]] considers it to be simply a style, empty of real [[meaning]], which he can [[control]] like any other style.
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The [[book]] is divided rather sharply into [[sections]], the first of which details in somewhat flowery terms a dinner party, whose attendees are shown to be [[representative]] of various types of [[aesthete]]. Some of the attendees, additionally, are or may be identified with previous pseudonyms under which Kierkegaard has published, leading many to propose more complicated [[interpretations]]. In a [[conscious]] [[reference]] to [https://en.wikipedia.org/wiki/Plato Plato]'s [https://en.wikipedia.org/wiki/Symposium_(Plato) Symposium], it is determined that each participant must give a [[speech]], and that their [[topic]] shall be [[love]]. Tellingly for the [[reader]], however, each account given is [[ultimately]] disheartening. The inexperienced young man, for example, considers it to be simply disturbingly puzzling. To the seducer, it is a [[game]] to be won, while the foppish [[fashion]] [[designer]] considers it to be simply a style, empty of real [[meaning]], which he can [[control]] like any other style.
 
*Section 2
 
*Section 2
 
The second section of the [[book]] begins with the party's interruption by the nearby passing, and stopping, of a carriage containing one Judge William and his wife. The diners [[observe]] a [[conversation]] between the two, and shortly after they have left one of them succeeds in stealing a [[manuscript]] left in sight by the [[Judge]]. It [[proves]] to be an ode to [[marriage]], conceived by the Judge to fill the lack left by the unpoetic [[nature]] of marriage. He describes the [[reasons]] he sees as underlying this lack, and explains how a [[marriage]] can fail for too much [[romantic]] and [[erotic]] [[feeling]] as easily as for too little. Here, the [[reader]] is led to believe, we have a picture of the [[ethical]] stage of life.
 
The second section of the [[book]] begins with the party's interruption by the nearby passing, and stopping, of a carriage containing one Judge William and his wife. The diners [[observe]] a [[conversation]] between the two, and shortly after they have left one of them succeeds in stealing a [[manuscript]] left in sight by the [[Judge]]. It [[proves]] to be an ode to [[marriage]], conceived by the Judge to fill the lack left by the unpoetic [[nature]] of marriage. He describes the [[reasons]] he sees as underlying this lack, and explains how a [[marriage]] can fail for too much [[romantic]] and [[erotic]] [[feeling]] as easily as for too little. Here, the [[reader]] is led to believe, we have a picture of the [[ethical]] stage of life.
 
*Section 3
 
*Section 3
The third section of the [[book]] stands more nearly apart from the first two, being bracketed by a description, by a previously unintroduced [[narrator]], of the [[discovery]] of a [[manuscript]] under curious circumstances. The manuscript proves to be the [[diary]] of a young man who has been engaged and rather suddenly broken off the engagement; entries [[alternate]] between recording his [[thoughts]] at the time of the engagement, and his thoughts one year later. Similarities to Kierkegaard's own [[experiences]] are frequently noted, but it is not clear how nearly we are to identify the young man with Kierkegaard himself. In any case, this section seems to depart somewhat from the earlier two in that it is clear, for most of the diary if not its entirety, that the young man has not so much [[achieved]] the [[religious]] stage of life but is rather seeking after it. His misgivings with regard to his engagement [[center]] about his [[fears]] that his fiancée cannot accompany him to that stage, though his own past and the [[depression]] it has left him suffering from at times frequently impinge upon his consideration of her [[future]] [[happiness]] as his [[wife]]. In the end, the engagement is broken off, and the young man is left to relive its major [[events]] on their anniversaries. Puzzlingly enough, the narrator of the frame story to the diary, Frater Taciturnus, concludes with a disavowal of its purported [[discovery]] and a thematic description of it as a [[fictional]] [[work]], expanding upon the theme it [[develops]] in comparison with such works as [http://en.wikipedia.org/wiki/Hamlet Hamlet], which he sees as [[sharing]] the [[psychological]] [[examination]] of the shift toward the [[religious]] phase. As his afterword [[progresses]], the [[writer]] begins to distance himself from his own [[identity]], subtly shifting to third person descriptions of, and eventually warnings against, "the [[author]]," despite being self-avowedly the sole [[source]] of the [[manuscript]].
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The third section of the [[book]] stands more nearly apart from the first two, being bracketed by a description, by a previously unintroduced [[narrator]], of the [[discovery]] of a [[manuscript]] under curious circumstances. The manuscript proves to be the [https://www.wikipedia.org/wiki/Diary diary] of a young man who has been engaged and rather suddenly broken off the engagement; entries [[alternate]] between recording his [[thoughts]] at the time of the engagement, and his thoughts one year later. Similarities to Kierkegaard's own [[experiences]] are frequently noted, but it is not clear how nearly we are to identify the young man with Kierkegaard himself. In any case, this section seems to depart somewhat from the earlier two in that it is clear, for most of the diary if not its entirety, that the young man has not so much [[achieved]] the [[religious]] stage of life but is rather seeking after it. His misgivings with regard to his engagement [[center]] about his [[fears]] that his fiancée cannot accompany him to that stage, though his own past and the [[depression]] it has left him suffering from at times frequently impinge upon his consideration of her [[future]] [[happiness]] as his [[wife]]. In the end, the engagement is broken off, and the young man is left to relive its major [[events]] on their anniversaries. Puzzlingly enough, the narrator of the frame story to the diary, Frater Taciturnus, concludes with a disavowal of its purported [[discovery]] and a thematic description of it as a [[fictional]] [[work]], expanding upon the theme it [[develops]] in comparison with such works as [https://en.wikipedia.org/wiki/Hamlet Hamlet], which he sees as [[sharing]] the [[psychological]] [[examination]] of the shift toward the [[religious]] phase. As his afterword [[progresses]], the [[writer]] begins to distance himself from his own [[identity]], subtly shifting to third person descriptions of, and eventually warnings against, "the [[author]]," despite being self-avowedly the sole [[source]] of the [[manuscript]].
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Ultimately, the [[reader]] is left with the obscure warning that the [[author]] can only be [[trusted]] if not taken seriously, whereupon the [[book]] ends. [[Ultimately]], this [[progressive]] distancing of the [[author]], already distinguished from [[http://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard Kierkegaard] himself, and the [[doubt]] which this casts upon the [[examinations]] presented within the third part of the [[book]] suggest Kierkegaard's recurring theme of the [[subjectivity]] of [[faith]]. Whatever the religious phase is, however it is presented in "Stages on Life's Way", the author cannot be depended upon to explain it to the [[reader]] in any [[meaningful]] sense.
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Ultimately, the [[reader]] is left with the obscure warning that the [[author]] can only be [[trusted]] if not taken seriously, whereupon the [[book]] ends. [[Ultimately]], this [[progressive]] distancing of the [[author]], already distinguished from [[https://en.wikipedia.org/wiki/S%C3%B8ren_Kierkegaard Kierkegaard] himself, and the [[doubt]] which this casts upon the [[examinations]] presented within the third part of the [[book]] suggest Kierkegaard's recurring theme of the [[subjectivity]] of [[faith]]. Whatever the religious phase is, however it is presented in "Stages on Life's Way", the author cannot be depended upon to explain it to the [[reader]] in any [[meaningful]] sense.
    
[[Category: Psychology]]
 
[[Category: Psychology]]

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