Heidi Silcox

“News! Oh! Yes, I always like news.” Throughout Emma, Jane Austen’s eponymous heroine repeatedly betrays her intense love of gossip. Other characters (notably, Miss Bates and Mr. Knightley) also indulge and rejoice in this style of conversation, as does the novel’s own narrator. In this chapter, the authors propose to examine the multifaceted and ambiguous role played by gossip in Emma, in light of the diverse opinions expressed by a number of critics and philosophers about the ethical and psychological significance of this form of human discourse. They argue that Austen exhibits a fascinating, consistently ambivalent evaluative attitude toward the information-rich chitchat of her characters. She reveals a sensitivity to the moral dangers of gossip, as well as to what evolutionary psychologists have identified as its fundamental role in the regulation of human societies, and in the development of more indispensable forms of linguistic communication.

Can art encourage social progress without invoking empathy? Bertolt Brecht thought so. He built convention violations into his plays in order to alienate audiences from their empathetic responses. He did this in order to encourage reasoned responses among his audience members. In so doing, Brecht ran the risk that spectators would imaginatively resist the play and focus exclusively on the convention violations. This kind of imaginative resistance does in fact undermine Brecht's purpose of achieving social progress. Contrary to Brecht's assessment, empathy is cognitive in nature and is a vehicle by which Brecht could have effectively realized his goal.