 Kierkegaard also uses aesthetic devices, including pseudonyms, in his “second” authorship, that is, those published after Concluding Unscientific Postscript. These works include those by Anti-Climacus, who represents the Christian point of view par excellence, beyond where Kierkegaard placed himself. Kierkegaard also used many biblical figures and stories with poignant and striking effect in the religious writings he published under his own name. As a poet of the religious Kierkegaard was always preoccupied with aesthetics. In fact, contrary to popular misconceptions of Kierkegaard which represent him as becoming increasingly hostile to poetry, he increasingly referred to himself as a poet in his later years (all but one of over ninety references to himself as a poet in his journals date from after 1847). Kierkegaard never claimed to write with religious authority, as an apostle. His works represent both less religiously enlightened and more religiously enlightened positions than he thought he had attained in his own existence. Such representations were only possible in an aesthetic medium of imagined possibilities like poetry.