This essay looks to bourgeois tragedy’s use of prose in the mid-eighteenth century as an episode in the histories of realism and emotion, arguing that the emergence of prosaic suffering on the period’s tragic stage helps to imagine modern forms of affliction. Taking Edward Moore’s 1753 drama The Gamester as emblematic of this shift, and situating the text in its performative and aesthetic contexts, I trace the “emotional practices” that navigated a range of confessedly “ordinary” feelings by evoking, engaging, and testing them across page and stage. Performing its grief with troubling immediacy and a raw intensity, in ways that were personal and familiar, absorptive rather than theatrical, and provocatively disenchanted, bourgeois tragedy thereby embodied a middling mode of existence in which the prosaic qualified not only the drama’s form but also, ultimately, its content.
Prosaic Suffering: Bourgeois Tragedy and the Aesthetics of the Ordinary
Alex Eric Hernandez is Assistant Professor of English at the University of Toronto, where he works on Restoration and eighteenth-century literature and culture. This essay is part of his book in progress titled Modernity and Affliction: The Making of British Bourgeois Tragedy.
Alex Eric Hernandez; Prosaic Suffering: Bourgeois Tragedy and the Aesthetics of the Ordinary. Representations 1 May 2017; 138 (1): 118–141. doi: https://doi.org/10.1525/rep.2017.138.1.118
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