Abstract

In Smith’s view, the dédoublement that structures any act of sympathy is internalized and doubled within the self. In endeavoring to “pass sentence” upon one’s own conduct, Smith writes, “I divide myself, as it were, into two persons; and … I, the examiner and judge, represent a different character from that other I, the person whose conduct is examined into and judged of” . Earlier in his book, Smith claims that in imagining someone else’s sentiments, we “imagine ourselves acting the part” of that person ; here he pictures us trying to play ourselves by representing ourselves as two different characters. “The first,” writes Smith, “is the spectator, whose sentiments with regard to my own conduct I endeavour to enter into, by placing myself in his situation.” The second character, according to Smith, is “the agent, the person whom I properly call myself, and of whose conduct, under the character of a spectator, I was endeavouring to form some opinion” . In the version of this chapter that appeared in the first edition, Smith made these roles explicitly by stating that “we must imagine ourselves not the actors, but the spectators of our own character and conduct” . In his final exposition, he makes it clear that we are both actors and spectators of our characters. We are actors not just because we appear before spectators played by ourselves but also because, as Smith describes, we personate ourselves in different parts, persons, and characters. The self is theatrical in its relation to others and in its self-conscious relation to itself; but it also enters the theater because “the person whom I properly call myself” must be the actor who can dramatize or represent to himself the spectacle of self-division in which the self personates two different persons who try to play each other’s part, change positions, and identify with each others. Ironically, after founding his Theory of Moral Sentiments on a supposedly universal principle of sympathy, and then structuring the act of sympathy around the epistemological void that prevents people from sharing each other’s feelings, Smith seems to separate the self from the one self if could reasonably claim to know: itself. In order to sympathize with ourselves, we must imagine ourselves as an other who looks upon us as an other and tries to imagine us. Indeed, calling the spectator within the self the person judged of, Smith writes, “but that the judge should, in every respect, be the same with the person judged of, is as impossible, as that the cause should in every respect, be the same with the effect” . Thus the actor and spectator into which one divides oneself can never completely identify with each other or be made identical. Identity is itself undermined by the theatrical model which pictures the self as an actor who stands beside himself and represents the characters of both spectator and spectacle.14 14. Smith’s depiction of the impartial spectator and the relations it creates within the self suggest that he has been reading Shaftesbury. The characterization of the impartial spectator as the “man within the breast” recalls Joseph Butler’s discussion of “the witness of conscience” in his sermons “Upon the Natural Supremacy of Conscience” . Hume discusses the moral value of considering how we appear in the eyes of those who regard us: “By our continual and earnest pursuit of a character, a reputation in the world, we bring our own deportment and conduct frequently in review, and consider how they appear in the eyes of those who approach and regard us. This constant habit of surveying ourselves, as it were, in reflection, keeps alive al the sentiments of right and wrong” . It is Shaftesbury, however, who expounds a “doctrine of two persons in one individual self” as he presents his “dramatic method” …. The terms and figures of theater are clearly inscribed within Smith’s characterizations of sympathy and the impartial spectator but they are clearly informed by Shaftesbury’s meditation on the dramatic character of the self and the problem of theatricality that threatens the self as it appears before the eyes of the world. This interpretation of Shaftesbury is developed at length in my The Figure of Theater. David Marshall, assistant professor of English and comparative literature at Yale University, has written on Rilke and Shakespeare. The present essay is adapted from a chapter of his forthcoming book, The Figure of Theater: Shaftesbury, Defoe, Adam Smith, and George Eliot