The next three sections are essay lectures from 'A' to the 'Symparanekromenoi', a club or fellowship of the dead who practice the art of writing posthumous papers.


The first essay, which discusses ancient and modern tragedy, is called the "Ancient Tragical Motif as Reflected in the Modern".
Once again he is writing about the inner and the outer aspects of tragedy.
Can remorse be shown on a stage?
What about sorrow and pain?
Which is easier to portray?
He also discusses guilt, sin, fear, compassion, and responsibility in what can be considered a foreshadowing of Fear and Trembling and Repetition.
He then writes a modern interpretation of Antigone which leads into The Concept of Anxiety.

Draw nearer to me, dear brothers of Symparanekromenoi; close around me as I send my tragic heroine out into the world, as I give the daughter of sorrow a dowry of pain as a wedding gift.
She is my creation, but still her outline is so vague, her form so nebulous, that each one of you is free to imagine her as you will, and each one of you can love her in your own way.
She is my creation, her thoughts are my thoughts, and yet it is as if I had rested with her in a night of love, as if she had entrusted me with her deep secret, breathed it and her soul out in my embrace, and as if in the same moment she changed before me, vanished, so that her actuality could only be traced in the mood that remained, instead of the converse being true, that my mood brought her forth to a greater and greater actuality.
I placed the words in her mouth, and yet it is as if I abused her confidence; to me, it is as if she stood reproachfully behind me, and yet it is the other way around, in her mystery she becomes ever more and more visible.
She is my possession, my lawful possession, and yet sometimes it is as if I had slyly insinuated myself into her confidence, as if I must constantly look behind me to find her, and yet, on the contrary, she lies constantly before me, she constantly comes into existence only as I bring her forth.
She is called Antigone.
This name I retain from the ancient tragedy, which for the most part I will follow, although, from another point of view, everything will be modern.
Either/Or Part I, Swenson, p. 151
 
That which in the Greek sense affords the tragic interest is that Oedipus’ sorrowful destiny re-echoes in the brother’s unhappy death, in the sister’s collision with a simple human prohibition; it is, so to say, the after effects, the tragic destiny of Oedipus, ramifying in every branch of his family.
This is the totality which makes the sorrow of the spectator so infinitely deep.
It is not an individual who goes down, it is a small world, it is the objective sorrow, which, released, now advances in its own terrible consistency, like a force of nature, and Antigone’s unhappy fate, an echo of her fathers, is an intensified sorrow.
When, therefore, Antigone in defiance of the king’s prohibition resolves to bury her brother, we do not see in this so much a free action on her part as a fateful necessity, which visits the sins of the fathers upon the children.
There is indeed enough freedom of action in this to make us love Antigone for her sisterly affection, but in the necessity of fate there is also, as it were, a higher refrain which envelops not only the life of Oedipus but also his entire family.
Either/Or Part I, Swenson, p. 154
Kierkegaard may have been responding to what Hegel wrote about "divine commands and the State and country and community and Freedom and Reason".

Subjective volition Passion is that which sets men in activity, that which effects" practical" realization.
The Idea is the inner spring of action; the State is the actually existing, realized moral life.
For it is the Unity of the universal, essential Will, with that of the individual; and this is "Morality."
The Individual living in this unity has a moral "life; possesses a value that consists in this substantiality alone.
Sophocles in his Antigone, says,  "The divine commands are not of yesterday, nor of to-day; no, they have an infinite existence, and no
The next three sections are essay lectures from 'A' to the 'Symparanekromenoi', a club or fellowship of the dead who practice the art of writing posthumous papers.

The first essay, which discusses ancient and modern tragedy, is called the "Ancient Tragical Motif as Reflected in the Modern". Once again he is writing about the inner and the outer aspects of tragedy. Can remorse be shown on a stage? What about sorrow and pain? Which is easier to portray? He also discusses guilt, sin, fear, compassion, and responsibility in what can be considered a foreshadowing of Fear and Trembling and Repetition. He then writes a modern interpretation of Antigone which leads into The Concept of Anxiety. 
Draw nearer to me, dear brothers of Symparanekromenoi; close around me as I send my tragic heroine out into the world, as I give the daughter of sorrow a dowry of pain as a wedding gift. She is my creation, but still her outline is so vague, her form so nebulous, that each one of you is free to imagine her as you will, and each one of you can love her in your own way. She is my creation, her thoughts are my thoughts, and yet it is as if I had rested with her in a night of love, as if she had entrusted me with her deep secret, breathed it and her soul out in my embrace, and as if in the same moment she changed before me, vanished, so that her actuality could only be traced in the mood that remained, instead of the converse being true, that my mood brought her forth to a greater and greater actuality. I placed the words in her mouth, and yet it is as if I abused her confidence; to me, it is as if she stood reproachfully behind me, and yet it is the other way around, in her mystery she becomes ever more and more visible. She is my possession, my lawful possession, and yet sometimes it is as if I had slyly insinuated myself into her confidence, as if I must constantly look behind me to find her, and yet, on the contrary, she lies constantly before me, she constantly comes into existence only as I bring her forth. She is called Antigone. This name I retain from the ancient tragedy, which for the most part I will follow, although, from another point of view, everything will be modern. Either/Or Part I, Swenson, p. 151
 
That which in the Greek sense affords the tragic interest is that Oedipus’ sorrowful destiny re-echoes in the brother’s unhappy death, in the sister’s collision with a simple human prohibition; it is, so to say, the after effects, the tragic destiny of Oedipus, ramifying in every branch of his family. This is the totality which makes the sorrow of the spectator so infinitely deep. It is not an individual who goes down, it is a small world, it is the objective sorrow, which, released, now advances in its own terrible consistency, like a force of nature, and Antigone’s unhappy fate, an echo of her fathers, is an intensified sorrow. When, therefore, Antigone in defiance of the king’s prohibition resolves to bury her brother, we do not see in this so much a free action on her part as a fateful necessity, which visits the sins of the fathers upon the children. There is indeed enough freedom of action in this to make us love Antigone for her sisterly affection, but in the necessity of fate there is also, as it were, a higher refrain which envelops not only the life of Oedipus but also his entire family. Either/Or Part I, Swenson, p. 154
Kierkegaard may have been responding to what Hegel wrote about "divine commands and the State and country and community and Freedom and Reason".
Subjective volition Passion is that which sets men in activity, that which effects" practical" realization. The Idea is the inner spring of action; the State is the actually existing, realized moral life. For it is the Unity of the universal, essential Will, with that of the individual; and this is "Morality." The Individual living in this unity has a moral "life; possesses a value that consists in this substantiality alone. Sophocles in his Antigone, says,  "The divine commands are not of yesterday, nor of to-day; no, they have an infinite existence, and no 
Either/Or