sture, but by the leap itself he stands fixed in that posture. . . . One need not look at them when they are up in the air, but only the instant they touch or have touched the ground--then one recognizes them. But to be able to fall down in such a way that the same second it looks as if one were standing and walking, to transform the leap of life into a walk, absolutely to express the sublime and the pedestrianùthat only these knights can do--and this is the one and only prodigy (Fear and Trembling Ch. 2).
Another analogy that Kierkegaard uses is that of the unrequited courtly lover, who is positively fixated on the princess who is unattainable and who is continually advised to give up his quest for her. What the advisors do not understand is that the love, which he would like well enough to consummate physically, is ever-present in his experience as the ideal, which he can consume spiritually at any time. This, Kierkegaar
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