What Happens At The End Of 'Either Or'?

2026-03-11 07:18:17
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2 Answers

Jace
Jace
Favorite read: Between Two Loves
Story Finder Mechanic
Kierkegaard’s 'Either Or' wraps up with a curveball that still has me scratching my head in the best way. After pages of debating pleasure versus duty, the book drops this sermon that basically says, 'Hey, no matter what you choose, you’re probably missing the bigger picture.' It’s like the philosophical equivalent of a mic drop. The shift from abstract arguments to a heartfelt plea for spiritual humility is jarring but brilliant. I love how it refuses to give easy answers—instead, it makes you sit with the discomfort of uncertainty. That’s Kierkegaard for you: always keeping you on your toes.
2026-03-15 05:36:25
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Gemma
Gemma
Favorite read: Stuck in between
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The ending of 'Either Or' by Søren Kierkegaard is a fascinating blend of philosophical musings and narrative ambiguity that leaves much to the reader's interpretation. The book, part of his larger work 'Either/Or,' presents two contrasting life views through the pseudonymous authors 'A' and 'Judge Wilhelm.' The final section, 'Ultimatum,' includes a sermon titled 'The Upbuilding That Lies in the Thought That We Are Always in the Wrong Before God,' which shifts the tone from aesthetic and ethical deliberations to a more religious reflection. This sermon suggests a transcendence beyond the either/or dichotomy, pointing toward a higher, divine truth.

What strikes me most about the ending is how it doesn’t neatly resolve the earlier debates but instead opens a new dimension. The aesthetic life (represented by 'A') and the ethical life (embodied by the Judge) are both left hanging, as if Kierkegaard is nudging the reader toward a leap of faith. It’s not about choosing one or the other but recognizing the limitations of both. The sermon’s emphasis on humility and spiritual reckoning feels like a quiet bombshell after the earlier intellectual fireworks. I’ve revisited this ending multiple times, and each read leaves me with a different take—sometimes it feels like a critique of human arrogance, other times like a tender invitation to surrender.
2026-03-17 19:13:57
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The protagonist in 'Either Or' faces a dilemma that's deeply rooted in existential philosophy, and their choice reflects Kierkegaard's exploration of the aesthetic and ethical stages of life. What fascinates me is how the character's decision isn't just about plot progression—it's a mirror to the reader's own struggles with meaning. I've always felt that their choice to embrace the ethical life over fleeting pleasures speaks to that universal moment when we realize responsibility isn't limiting, but actually gives life weight. The way they reject immediate gratification for something more substantial reminds me of my own transition from carefree college days to finding purpose in long-term creative work. The beauty of this choice lies in its ambiguity—it's not presented as clearly 'right,' which makes it painfully relatable. I've revisited that moment in the book during several crossroads in my life, and each time I interpret it differently. Last year, when I turned down a high-paying but soulless job offer to pursue writing, I dog-eared that exact page. There's something timeless about how the protagonist's internal debate captures the human condition—we all eventually face versions of that 'either/or' between what feels good and what feels meaningful.

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Who is the main character in 'Either Or'?

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The main character in 'Either Or' is a fascinating study in contrasts, a young man whose name we never actually learn directly in the text. He’s often referred to as 'the aesthete' or 'the young man,' and his journey is one of existential exploration. What makes him so compelling is how he embodies Kierkegaard’s philosophical duality—constantly torn between a life of sensual pleasure and one of ethical responsibility. He’s not just a character; he’s a vessel for ideas, debating with himself (and the reader) about whether to embrace hedonism or morality. What’s wild about this protagonist is how relatable he feels despite being written in the 19th century. His inner monologues about love, art, and purpose could easily belong to someone today scrolling through social media, paralyzed by choices. The book’s brilliance lies in how it frames his indecision not as weakness but as a fundamental human struggle. I’ve reread passages where he agonizes over whether to pursue a romantic entanglement or retreat into intellectual solitude, and it’s eerie how timeless those dilemmas are. Even without a name, he leaves a lasting impression—like a ghost of every reader’s own 'what if' moments.
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