This book assembles a body of print and performance concerned with the misfortunes of the middling sort, arguing that these works negotiated tragedy’s vexed relationship to ordinary life. This “bourgeois and domestic tragedy” imagined a particularly modern sort of affliction, an “ordinary suffering” divested of the sorts of meanings, rhetorics, and affective resonances once deployed to understand it. Whereas neoclassical aesthetics aligned tragedy with the heroic and the admirable, bourgeois tragedy treated the pain of common people with dignity and seriousness, meditating upon a suffering that was homely, familiar, realistic, and entangled in the nascent values of capitalism, yet no less haunted by God. Hence, where many have seen aesthetic stagnation, misfiring emotion, and the absence of an idealized tragicness in the genre, this book tracks instead a sustained engagement in the emotional processes and representational techniques through which the middle rank feels its way into modernity. Describing this shift as an episode in the histories of both tragedy and emotion, it revises the standard critical account of eighteenth-century tragedy and reads the genre’s emergence in the period as a vigorous cultural conversation over whose life—and whose way of life—is grievable, as well as how that mourning might be performed.
