What we call the 'self' is a certain characteristic of all experience, that seems to be eternal

And where does the Buddha's Teaching come in? If we understand the 'eternal' (which for Kierkegaard is ultimately God—i.e. the soul that is part of God) as the 'subject' or 'self', and 'that which becomes' as the quite evidently impermanent 'objects' in the world (which is also K.'s meaning), the position becomes clear. What we call the 'self' is a certain characteristic of all experience, that seems to be eternal. 

It is quite obvious that for all men the reality and permanence of their selves, 'I', is taken absolutely for granted; and the discrepancy that K. speaks of is simply that between my 'self' (which I automatically presume to be permanent) and the only too manifestly impermanent 'things' in the world that 'I' strive to possess. The eternal 'subject' strives to possess the temporal 'object', and the situation is at once both comic and tragic—comic, because something temporal cannot be possessed eternally, and tragic, because the eternal cannot desist from making the futile attempt to possess the temporal eternally. This tragi-comedy is suffering (dukkha) in its profoundest sense. And it is release from this that the Buddha teaches. How? By pointing out that, contrary to our natural assumption (which supposes that the subject 'I' would still continue to exist even if there were no objects at all), the existence of the subject depends upon the existence of the object; and since the object is manifestly impermanent, the subject must be no less so. And once the presumed-eternal subject is seen to be no less temporal than the object, the discrepancy between the eternal and the temporal disappears (in four stages—sotāpatti, sakadāgāmitā, anāgāmitā, and arahatta); and with the disappearance of the discrepancy the two categories of 'tragic' and 'comic' also disappear. The arahat neither laughs nor weeps; and that is the end of suffering (except, of course, for bodily pain, which only ceases when the body finally breaks up).

In this way you may see the progressive advance from the thoughtlessness of immediacy (either childish amusement, which refuses to take the tragic seriously, or pompous earnestness, which refuses to take the comic humourously) to the awareness of reflexion (where the tragic and the comic are seen to be reciprocal, and each is given its due), and from the awareness of reflexion (which is the limit of the puthujjana's philosophy) to full realization of the ariya dhamma (where both tragic and comic finally vanish, never again to return).

Nanavira Thera