18세기 후반 영국의 여성소설에 나타난 공감의 정치학에 관한 연구: 앤 래드클리프의 [이탈리아인]을 중심으로
The Politics of Sympathy in Ann Radcliffe's The Italian
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This paper explores the politics of sympathy in Ann Radcliffe's The Italian, focusing on the relationship between Ellena and Olivia and the relationship between Vivaldi and Paulo. Both in Daivd Hume and in Adam Smith, sympathy is the principle by which sentiments are communicated between the spectator and the sufferer. In The Italian, however, sympathetic relations are formed between fellow-sufferers, in other words, between individuals who have similar experiences or are in similar situations. Ellena longs for a friend who would sympathize with and comfort her. She finds this friend in Olivia whose sympathy for her is mixed with curiosity about her identity. Their sympathetic relation is based on the fact that they are fellow-sufferers and seems to be much stronger than that between the spectator and the sufferer. Moreover, Olivia helps Ellena escape from San Stefano and later turns out to be her real mother, which implies that Olivia’s sympathy is connected to her maternal, though unconscious, affection for Ellena. Likewise, Vivaldi’s sympathy for an unknown sufferer in the Inquisition is based on the similarities in their situations. While sympathizing with the unknown person, Vivaldi restrains his passions and experiences the strength of his intellectual self. It is self-command that characterizes Vivaldi’s sympathy. By contrast, Paulo, Vivaldi’s faithful servant who is too willing to “go shares” with his master in all his troubles, fails to sympathize with him precisely because he lacks the ability to command himself. Problematically, the difference between Vivaldi’s ability of self-command and Paulo’s lack of it is inextricably intertwined with their class differences. It is significant that, throughout the novel, Ellena gets comfort and protection not from Vivaldi but from a mother figure with whom she forms a sympathetic relation: Bianchi, Olivia and Santa della Piéta, the family-like female community of which the abbess is the mother.
Abstract
This paper explores the politics of sympathy in Ann Radcliffe's The Italian, focusing on the relationship between Ellena and Olivia and the relationship between Vivaldi and Paulo. Both in Daivd Hume and in Adam Smith, sympathy is the principle by which sentiments are communicated between the spectator and the sufferer. In The Italian, however, sympathetic relations are formed between fellow-sufferers, in other words, between individuals who have similar experiences or are in similar situations. Ellena longs for a friend who would sympathize with and comfort her. She finds this friend in Olivia whose sympathy for her is mixed with curiosity about her identity. Their sympathetic relation is based on the fact that they are fellow-sufferers and seems to be much stronger than that between the spectator and the sufferer. Moreover, Olivia helps Ellena escape from San Stefano and later turns out to be her real mother, which implies that Olivia’s sympathy is connected to her maternal, though unconscious, affection for Ellena. Likewise, Vivaldi’s sympathy for an unknown sufferer in the Inquisition is based on the similarities in their situations. While sympathizing with the unknown person, Vivaldi restrains his passions and experiences the strength of his intellectual self. It is self-command that characterizes Vivaldi’s sympathy. By contrast, Paulo, Vivaldi’s faithful servant who is too willing to “go shares” with his master in all his troubles, fails to sympathize with him precisely because he lacks the ability to command himself. Problematically, the difference between Vivaldi’s ability of self-command and Paulo’s lack of it is inextricably intertwined with their class differences. It is significant that, throughout the novel, Ellena gets comfort and protection not from Vivaldi but from a mother figure with whom she forms a sympathetic relation: Bianchi, Olivia and Santa della Piéta, the family-like female community of which the abbess is the mother.
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