As I tried to point out yesterday, it seems to me wrong to insist
that desire is always "proleptic" -- oriented on the future. It can
also be oriented on the past, mournfully and/or nostalgically, with
no expectation of future fulfilment at all. Think of Olivia's posture
at the opening of "Twelfth Night" -- "all this to season a brother's
dead love, which she would keep fresh and lasting in her sad
remembrance". This is not ONLY proleptic, surely, nor is it confined
to the future perfect. That she eventually realizes a complexly
transposed version of this desire in first Viola/Cesario and then
Sebastian does not reveal the "truth" of that initial desire as
having been always secretly oriented on the future, as it is not then
"the same" desire, as Lacan, I'm sure, would have been the first to
note. Renaissance writers were indeed very sophisticated about these
matters -- but there needs no ghost etc to tell us that.
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