@article{oai:nagoya.repo.nii.ac.jp:00027880, author = {滝川, 睦 and Takikawa, Mutsumu}, journal = {IVY}, month = {Oct}, note = {The aim of this study is to shed light on the relation between memory and revenge in Hamlet from two perspectives: the art of memory and the spiritual exercises, i. e., meditation on death. It has been pointed out that memory is one of the play’s most important themes and that the conflict between memory and oblivion in Hamlet is represented by the opposition of Hamlet and Claudius. According to this view, one can say that Hamlet, who adheres to the memory of his father, embodies the 'doctrine of remembrance' and opposes Claudius who has a good command of the 'rhetoric of oblivion.' Yet the problem concerning the kinds of mnemonic devices Hamlet uses to retain his memory has been mostly neglected by the critics. Moreover, the connection between the act of revenge and memory in this play has never fully been examined in spite of the fact that these two elements should be intertwined closely in a revenge tragedy. The first kind of mnemonic technique used by Hamlet is a rhetorical one. When he uses writing-tablets ("tables") and writes the Ghost’s words as a motto ("word") upon them (1. 5. 95-112), he must be acting, as Nigel Alexander suggests, according to Quintilian’s advice in Book XI of lnstitutio oratoria, where Quintilian advises his students to memorize one word as a trigger to recall rhetorical passages on the same page. But what is important is the fact that this 'mnemotechnics' does not immediately entail Hamlet’s act of revenge. Staging The Murder of Gonzago (3. 2. 92-288) reveals the second type of the art of memory. It not only makes Claudius remember his past sin but reminds Hamlet of the words and commands of the Ghost. It can be said that the technique of using a play as a memory system belongs to the Renaissance art of memory as well as to classical art of memory tradition. The classical art of memory uses the technique of setting images for words (or things) upon a series of ordered places, whereas the Renaissance art of memory uses the device of depositing the actor’s images for words (or things) upon the memory theatre’s stage. However, it must be noted that the 'mnemotechnics' of this scene fails in the sense that it is not directly connected with the revenge on Claudius. The third type of memory system, which is used by Hamlet in the graveyard scene (5. 1. 65-209), involves spiritual exercises or the art of meditation on death, which is a version of the classical art of memory. The spiritual exercises, exemplified by Ignatius of Loyola’s Spiritual Exercises, succeeds in inciting Hamlet’s will to 'holy affections and resolutions.' And as the result of this meditation on death, Hamlet can complete his act of revenge. It seems reasonable to say that the play Hamlet itself is a kind of memory system or, using Hamlet’s words, "the mirror" which reminds us of "the beauty of the world, the paragon of animals," the "quintessence of dust," and particularly, our own true nature., 本論は、平成元年度文部省科学研究費補助金[一般研究(c)]による研究「英国ルネサンス期演劇における<記憶術>需要の研究」の成果の一部である。}, pages = {17--38}, title = {Hamletにおける記憶術と霊操}, volume = {26}, year = {1993} }