Adam Smith’s mid-eighteenth-century account of sympathy begins with an imagined scene of torture. After the excesses of the French Revolution, such speculative scenarios of political and juridical violence prompt more explicit articulations of sympathy. This chapter identifies an urgent clarification of sympathy’s abstract, imaginative, and potentially transgressive features in the post-Terror philosophical work of Smith’s French translator, Sophie de Grouchy, and William Godwin’s Caleb Williams. De Grouchy’s translation highlights the same aspects of Smith’s work—fraternity, abstraction, and physicality—that are fundamental features in novelistic revisions of sympathy. In its figures of the brother on the rack and a natural disaster in the Far East, Smith’s Theory initiates a transformation of visual perception into imaginative perspective that Godwin’s Caleb Williams explores in narrative form.
