“The meaning lies in the appropriation.”

— Sören Kierkegaard

Source: 1840s, Three Discourses on Imagined Occasions (1845), p. 6 : Preface
Context: The meaning lies in the appropriation. Hence the book’s joyous giving of itself. Here there are no worldly “mine” and “thine” that separate and prohibit appropriating what is the neighbor’s. Admiration is in part really envy and thus a misunderstanding; and criticism, for all its justification, is in part really opposition and thus a misunderstanding; and recognition in a mirror is only a fleeting acquaintance and thus a misunderstanding-but to see correctly and not want to forget what the mirror is incapable of effecting, that is the appropriation, and the appropriation is the reader’s even greater, is his triumphant giving of himself.

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "The meaning lies in the appropriation." by Sören Kierkegaard?

Sören Kierkegaard 309

Danish philosopher and theologian, founder of Existentialism 1813–1855

Related quotes

“The excellence of a gift lies in its appropriateness rather than in its
value.”

Charles Dudley Warner (1829–1900) American writer

“Communism deprives no man of the power to appropriate the products of society; all that it does is to deprive him of the power to subjugate the labour of others by means of such appropriation.”

Karl Marx (1818–1883) German philosopher, economist, sociologist, journalist and revolutionary socialist

Section 2, paragraph 30.
The Manifesto of the Communist Party (1848)

“There are two methods, or means, and only two, whereby man's needs and desires can be satisfied. One is the production and exchange of wealth; this is the economic means. The other is the uncompensated appropriation of wealth produced by others; this is the political means.”

Albert Jay Nock (1870–1945) American journalist

Source: Our Enemy, the State (1935), p. 59
Context: There are two methods, or means, and only two, whereby man's needs and desires can be satisfied. One is the production and exchange of wealth; this is the economic means. The other is the uncompensated appropriation of wealth produced by others; this is the political means. The primitive exercise of the political means was, as we have seen, by conquest, confiscation, expropriation, and the introduction of a slave-economy. The conqueror parcelled out the conquered territory among beneficiaries, who thenceforth satisfied their needs and desires by exploiting the labour of the enslaved inhabitants. The feudal State, and the merchant-State, wherever found, merely took over and developed successively the heritage of character, intention and apparatus of exploitation which the primitive State transmitted to them; they are in essence merely higher integrations of the primitive State.
The State, then, whether primitive, feudal or merchant, is the organization of the political means. Now, since man tends always to satisfy his needs and desires with the least possible exertion, he will employ the political means whenever he can – exclusively, if possible; otherwise, in association with the economic means.

“The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.”

Muriel Rukeyser (1913–1980) poet and political activist

Source: The Life of Poetry (1949), p. 181
Context: The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent.... The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.