In her chapter “Going Along with Others: Adam Smith and the Realists,” Rae Greiner explores the idea of realism in fiction as an effect that the novel has upon the reader. She argues that “realism in the nineteenth-century British novel … is best understood as ‘sympathetic realism,’ not simply because the novels promote or are about sympathy … but because they employ forms designed to enact sympathetic habits of mind in readers” (15). She understands sympathy to be not purely emotive, but cognitive, with emotional response brought about by cognitive assent to and entrance into the mental state of another. She suggests that realist fiction is the best platform for sympathy, for “fiction alone grants ‘nobodies’ … specificity that distinguishes them from the (fictional) generality out of which they emerge” (47). That is, only in the context of fiction is the other able to gain selfhood in the mind of the reader, for in fiction alone does the individual other become distinct from the general, typical other.
It is interesting to consider Greiner’s theory of sympathetic realism in relation to Harriet Martineau’s sociological observations in How to Observe Morals and Manners in comparison with her novel Deerbrook. Does this idea of a notion of the selfhood of the other as gained only through fiction hold true in Martineau’s works?
My first response, based upon my own reaction to the works and upon the conversation that we had in class way-back-when we were reading Martineau at the beginning of the semester is an emphatic yes. Martineau’s sociological treatise is interesting and provides the reader with valid points as to how to charitably observe and judge the actions of others. However, this treatise neither presents us with others to view as selfs, nor encourages us to view others in that way. Instead, it assists us in the task of scientifically categorizing and labeling others in order to further our own agenda—even if we are to do so in the most charitable way possible.
For example, Martineau writes of how “popular songs are both the cause and effect of general morals” (83). She goes on to explain how this is the case, and why it is therefore important for the observer to pay careful attention to these songs “as an index of popular morals” (83). While these instructions are good in their way, and while they do to a certain extent encourage an impartial view of the situation, they do not help the reader to see the other as a specific self. Instead, they encourage the reader to read other human beings as they would scientific data, categorizing them under a set of undefined criteria based upon the reader’s personal experience of the world. Thus, in Martineau’s nonfiction, we see not people, but data; individual others become nobodies and are consumed into the generality.
In contrast, in Deerbrook Martineau aims to help the reader to enter into the experience of the other, thereby encouraging the recognition of the specificity and selfhood of the other that Grainer suggests is attained only in fiction.
One of the most striking examples of this is in Maria Young, the invalid governess who doesn’t on the surface appear to get the happy ending that her merits warrant. Though we may be tempted to classify her under the general, stereotypical category of “unlucky single woman who is destined to become bitter and unhappy after her former lover marries her best friend,” Maria’s final conversation with Margaret suggests otherwise. Maria explains to Margaret, “you are no fair judge of my lot. … If you could, for one day and night, feel with my feelings, and see through my eyes … you would know, from henceforth, that there are glimpses of heaven for me in solitude, as for you in love” (599). In this passage, supported by the several instances of Maria’s heavenly solitude that are provided throughout the book, the reader is encouraged to see Maria as removed from the generality in her actual peace with the lot that she has been granted. Though throughout the book these instances may seem unrealistic and idealized, in this final passage the reader is given one last encouragement to read Maria as actually unique within the category of invalid single women. Maria becomes through this work of fiction a nobody who ahs been granted “specificity that distinguishes [her] from the (fictional) generality out of which [she has] emerge[d]” (Greiner 47).
Thus, Martineau’s works support Greiner’s theory of sympathetic realism as ultimately aimed at arousing in the reader an emotional sympathy with the reader through cognitive entrance into their experience of the world; it is indeed through fiction that one is best able to cognitively enter into the emotional state of another and thereby to view that other as another specific self.
Greiner, Rae. “Going Along with Others: Adam Smith and the Realists.” Sympathetic Realism in Nineteenth-Century British Fiction. Baltimore: Johns Hopkins UP, 2012. 15-49. Blackboard. Web. 2 April 2015.
Martineau, Harriet. Deerbrook. 1839. New York: Penguin, 2004. Print.
—. How to Observe Morals and Manners. 1838. N.p.: ReadaClassic.com, 2010