Abstract
Abstract Fear and Trembling’s goal is illuminating the difficulty of faith. Silentio claims that whereas both knights of resignation and knights of faith are dancers, only the knight of faith can dance perfectly, doing what perhaps no dancer can do: he does not “hesitate” in the moment between landing from his leap and assuming the position from which to reengage with finitude. This surprising invocation of dance has not been given sustained attention in the literature on Fear and Trembling. Given Kierkegaard’s surprisingly precise grasp of classical ballet’s vocabulary and aesthetic, I examine how these provide him additional power to clarify the difference between faith and resignation.
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