By Christopher Ivic, Grant Williams
This number of essays historicizes and theorizes forgetting in English Renaissance literary texts and their cultural contexts. Its essays open up a space of research ignored through modern Renaissance scholarship, that's too usually swayed by way of a severe paradigm dedicated to the "art of memory." This quantity recovers the an important position of forgetting in generating early modernity's subjective and collective identities, wants and fantasies.
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Extra resources for Forgetting in Early Modern English Literature and Culture: Lethe's Legacy (Routledge Studies in Renaissance Literature and Culture, 3)
Sample text
As John Downame puts it, what will their passed pleasures, honours and riches, now profit them . . if they die of a spiritual lethargie, and be rocked asleepe of the divell in the cradle of security, and so carried quietly into hell; so as they have no leasure to think of these things, or time to entertaine these fearfull meditations; yet how much more hellish horror have they when they are awakened out of their deep sleep, with those intollerable tortures? (Downame 1611: V4r–v) Lethargy here involves the willful avoidance of meditating upon one’s mortality.
Dante makes good use of the long history of prudence and justice standing opposed to folly (linked to obliviousness) and to tyrannical efforts to overthrow just authority. Whether we take the vanquished figure in the factotum head-letter to be Invidia or Oblivio, the disposition of the allegorical virtues in the tableaux visually parallel Christ’s triumph over Death. Moreover, we must not lose sight of the memento mori aspects of such a head-letter, which is, in its form and function, reminiscent of Holbein’s subtly crafted head-letters calling to mind death in word and image in Figure 7, and of his more explicit, graphically violent designs in Figure 8.
Engel Skull and a Writing Quill” (1628) in Figure 2, symbolizing the futility of such endeavors, a theme to which this essay will return in the conclusion. Oblivion thus stands opposed to Memory in a double way: as the darkness of death and as an erasure of what once was thought to be known – what was known by virtue of thinking through memory. How then are we to think through Oblivion, with Memory as our guide, when such a way of thinking implies thinking back to the basis of thinking itself, and following that thought back to the source and wellspring of poesy (Heidegger 1968: 11)?