"He that knew all that learning ever writ, Knew only this - that he knew nothing yet"
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The flex here is anti-flex: Behn conjures a figure stuffed with every bookish credential available, then punctures him with a single humiliating insight. “He that knew all that learning ever writ” sets up the old ideal of mastery - the scholar as vault, hoarding the written record of “learning.” The next beat yanks the rug: the only real knowledge is the admission of ignorance. That pivot lands because it’s not gentle humility; it’s a verdict on what counts as intelligence. Memorization and authority aren’t wisdom. Self-knowledge is.
In Behn’s moment, that stance is more pointed than it looks. Restoration England prized wit, classical reference, and the performance of erudition - especially in the theater, where audiences came ready to judge who sounded “learned.” Behn, a working dramatist and a woman in a profession that invited suspicion, weaponizes a familiar philosophical move (the Socratic “I know that I know nothing”) to undercut gatekeeping. If the man who has read everything is still ignorant, then the cultural monopoly of the credentialed is revealed as theater: an act, a costume, a script.
The line also carries a sly self-defense. Behn doesn’t have to out-cite the scholars; she reframes the contest. The smartest person in the room isn’t the one with the thickest bibliography, but the one alert to the limits of any bibliography. It’s a critique of intellectual vanity that doubles as an opening for outsiders: if certainty is the pose, doubt is the real sophistication.
In Behn’s moment, that stance is more pointed than it looks. Restoration England prized wit, classical reference, and the performance of erudition - especially in the theater, where audiences came ready to judge who sounded “learned.” Behn, a working dramatist and a woman in a profession that invited suspicion, weaponizes a familiar philosophical move (the Socratic “I know that I know nothing”) to undercut gatekeeping. If the man who has read everything is still ignorant, then the cultural monopoly of the credentialed is revealed as theater: an act, a costume, a script.
The line also carries a sly self-defense. Behn doesn’t have to out-cite the scholars; she reframes the contest. The smartest person in the room isn’t the one with the thickest bibliography, but the one alert to the limits of any bibliography. It’s a critique of intellectual vanity that doubles as an opening for outsiders: if certainty is the pose, doubt is the real sophistication.
Quote Details
| Topic | Knowledge |
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