1 Either/Or, Vol. I.Google Scholar

2 Mozart, Appendix.Google Scholar

3 Mozart's Operas, p. 266.Google Scholar

4 Throughout this paper Don Giovanni indicates the opera, Don Juan its hero.Google Scholar

5 Mozart passim.Google Scholar

6 “Vous voulez connaītre celui de mes ouvrages que j'aime le mieux eh bien, c'est Don Giovanni,“ quoted Jahn, Mozart III, 144.Google Scholar

7 He calls it “the opera of Operas.”Google Scholar

8 H.M.V. booklet on Don Giovanni.Google Scholar

9 Man and Superman, p. x.Google Scholar

10 Cf. Poetics I, §. 2. πασαι [τέχναι] τυγχάνουσιν οὐσαι µιµασϵιςGoogle Scholar

11 These sub-dividings are my own, but I think they clarify Kierkegaard's dialectic.Google Scholar

12 Encyclopädie I, § 133 Zusatz.Google Scholar

13 Mr. Turner, Mozart (appendix) is wrong in saying that Kierkegaard does not explain these terms.Google Scholar

14 This is the real meaning of Den sandselige Genialitet, not “sensuous (or sensual) genius,” as Mrs. Swenson's American translation gives it.Google Scholar

15 Which means can never be superseded, even if another Don Giovanni was written.Google Scholar

16 See Stanford on Composition.Google Scholar

17 “Stage” does not imply succession however. Perhaps “metamorphosis” would be a better word, as Kierkegaard suggests.Google Scholar

18 I don't know what I am, what I do … etc.Google Scholar

19 Allgemeines Handbuch der Freimauerei, quoted by Dent, Magic Flute.Google Scholar

20 Trevelyan, English Social History, p. 203.Google Scholar

21 Molière, Don Juan I, Sc. 2.Google Scholar

22 Loc. cit.Google Scholar

23 See Dent's strictures, Mozart's Operas, p. 267.Google Scholar

24 That Mozart begins and ends his operas in the same key, suggests that he thought of them as each a totality.Google Scholar

25 The Danish word Sanselig can mean both “sensuous” and “sensual.” It is a pity the translator did not stick to the former, because the latter raises, by implication, a moral issue which is not here in question.Google Scholar

26 Mozart's Operas, p. 194.Google Scholar

27 Rape of Lucretia, Act II, Scene 2.Google Scholar

28 Man and Superman, Introduction, p. 13.Google Scholar

29 German art-historian 1802–73, known to Kierkegaard.Google Scholar

30 Shelley's Prometheus Unbound is a good example of exquisite lyricism but bad drama.Google Scholar

31 Dent, op. cit., p. 229.Google Scholar

32 Op. cit.Google Scholar

33 Kierkegaard probably heard the opera without the final sextet. But anyway it is but a conventional ending, and the opera is essentially over.Google Scholar

34 Georg Brandes, in S. Kierkegaard, ein literarisches Characterbild, by which S. Kierkegaard was first known outside Scandinavia, dissents from Kierkegaard here. But Kierkegaard is right.Google Scholar

35 Kierkegaard compares Molière's corresponding monologue, where the cataloguing alone matters.Google Scholar

36 I disagree with the way Professor Dent belittles the tragic element. When it comes, reflection is beginning, and with this comes a sense of moral tragedy. In “explaining” the trombones and tragedy. Dent, I think, explains them away, making the facts fit his theory that Don Giovanni, as only opera comique, can admit no tragedy.Google Scholar

37 Kierkegaard deprecates this translation (probably Rochlitz's) as Jahn and Dent do later. He describes it “foolishly decent, and a total failure.”Google Scholar

38 Man and Superman, p. xii.Google Scholar

39 Legge, H.M.V. booklet on Don Giovanni, vol. III, p. 18.Google Scholar

40 W. A. Mozart II, p. 107.Google Scholar

41 Dent, The Magic Flute, p. 92.Google Scholar