Novel spectators: spectatorship in the eighteenth-century novel

Tom Jones is a typical eighteenth-century hero: he is beaten, bullied, seduced, betrayed, and banished by numerous other characters in the narrative. He performs very little action himself, and that rather unsuccessfully. In one escapade in Book XIII, the hero overwhelmed by London society and ignored by his hosts, Fielding writes that “Poor Jones was rather a Spectator of this elegant scene, than an actor in it” (Tom Jones 451). Tom Jones is a bystander in his own story. The same might be said of protagonists like Samuel Richardson’s Clarissa Harlowe and Maria Edgeworth’s Belinda Portman—protagonists who, like Tom Jones, tend to observe more than participate in their own narratives. Belinda is remembered most for having a dry personality, while Clarissa famously spends hundreds of pages willing herself to die. For modern readers, these characters may seem to lack agency. Despite their apparent passivity, however, these characters reveal the powerful agency of spectatorship in eighteenth-century culture. The spectator figure played a newly dominant role in both the English theater and English society at large across the eighteenth century. Many writers used theatrical imagery to justify spectatorship as more than passive observation. Analyzing depictions of spectatorship in the works of authors ranging from eighteenth-century periodical writers like Joseph Addison and Richard Steele to aesthetic theorists like Adam Smith, and from artists like William Hogarth to romantic playwrights like Joanna Baillie, I show how spectatorship offered a potent form of moral authority more rooted in judgment than action. Moreover, I argue that engaged spectatorship offered an important theatrical model for protagonists in the eighteenth-century novel.