Abstract

ABSTRACT ‘The Seducer’s Diary’ is not a nostalgic account of a Romantic seducer-figure, and it does not represent the ‘ethical’ rejection of such Romanticism. Instead, it portrays the violence involved just as much in conventional bourgeois marriage as in works of erotic fantasy, and it reveals the necessary failure of both these projects. Although the suffering they may cause is real enough, they never manage to achieve the mastery they seek to impose. At the same time, this radical cultural critique functions as a philosophical allegory of imagination. For, if the main character is a seducer, he is also an artist, and if the material he seeks to shape is a woman, it is also the image produced by imagination as such. Kierkegaard's tale illustrates, and interrogates, the necessary role played by the image in mediating between the ‘real’ and the ‘meaningful.’