The first three elements in Fear and Trembling are the ‘preface’, the ‘attunement’ and the ‘exordium’. In the preface Kierkegaard makes an almost direct, if somewhat ironic and sarcastic, appeal to the audience, an audience beyond his contemporaries. The tone ranges from a side-swipe at those who would be reading him, an almost arrogant assumption that he will be read, to a hubristic tragedy in which no matter who reads him he is to be misunderstood. It’s amusing to read these rather brash lines and there is a lightness that we read into him which might be less kindly if he were to be taken seriously. From the beginning Kierkegaard makes the reader of FT feel as though they are in the midst of someone who says a little too much for their own good, whose passion is as readable as their words. Moreoever, he does so in the mode of doubt. He makes us doubt this ‘Silentio’ from the start. He seems a little smug, a little too perfect and yet he also seems to be standing up against that mob, that crowd of dumbskulls, that queue we find ourselves in for no reason.
The attunement is far more beautiful a piece of writing, the beginning of the beauty of FT. The preface might mark its opening philosophical moment, though even then we might instead want to mark this point in the lines of the epigraph. It is the epigraph that signposts the issue or method of indirect communication with which FT is entwined. Here, in the short moment during which Tarquin slices off the heads of the poppy flowers whilst walking with the messenger, we find the idea that a story can have two drastically different meanings. The messenger might recount the story of his walk with Tarquin and gain nothing of its murderous intent, merely report accurately and verbatim – a true representation – what happened. Tarquins son might understand something different, moreover he might understand the truth of the message hidden under the representation.









