This chapter explores how the concept of sympathy is explored and interrogated in three Elizabethan prose texts: John Lyly’s Euphues: The Anatomy of Wit (1578); Sidney’s The Old Arcadia (c. 1580); and Thomas Lodge’s Rosalynde (1590). Lyly’s Euphues represents an important transitional moment in the history of the concept, as it employs both the earlier Latin form sympathia and the newer English word sympathy to describe the ‘sympathy of manners’ between two male friends: Euphues and Philautus. It is argued that the pair share each other’s emotions because of a common set of circumstances, rather than sympathetic magic or humanist models of friendship. The chapter reads these three prose fictions in the context of other works that reproduce or complicate the notion of a ‘sympathy of affections’ between friends or lovers. Within this discourse we can see the term sympathy increasingly used to describe a correspondence of woe, or what the narrator of Anthony Munday’s translation of Palmerin (1588), in a suggestive modification of the trope, refers to as a ‘sympathy of afflictions’.

This chapter examines the important cultural role played by early modern sermons in refining and developing the meaning of sympathy. The chapter begins by exploring how metaphors and concepts involving the human and social body were appropriated by religious writers in the 1580s, including Edwin Sandys, John Udall, and Christopher Hooke. It then explores a particular sermon by William James from 1589 that uses the term sympathy to describe a mutual suffering, in which James seeks to unite his listeners whilst excluding those of a different religious or political persuasion. The chapter goes on to argue that, by the mid-1590s, preachers such as Henry Holland were using the term to describe an active and imaginative engagement with the other, in ways that recall several contemporaneous dramatic works – including Shakespeare’s Romeo and Juliet (c. 1595). Finally, it examines Thomas Wright’s The Passions of the Minde in Generall (1604) and proposes that these questions about the performance and representation of sympathy recur across Protestant and Catholic cultures.

The Coda reflects upon the central arguments of the book as a whole, via an exploration of Edward Reynolds’s A treatise of the passions and faculties of the soule of man (1640). The elaborate metaphors used in Reynolds’s treatise have been used by some critics to suggest that, as Gail Kern Paster puts it, the passions ‘act within the body just as the forces of wind and waves act in the natural world’. By contrast, I consider Reynolds’s treatise in relation to his printed sermons, and argue that his conception of sympathy and the passions was spiritual, intellectual, and rhetorical. The fact that Reynolds draws upon variety of classical texts – including works by Homer, Virgil, Horace, and Seneca – as well as scientific and religious concepts, reminds us of the plurality and complexity of early modern emotional experience. This final case study thus demonstrates how my revised history of sympathy speaks to wider critical and methodological debates about early modern passions – and the history of emotions more generally.

This chapter explores how early modern dramatists were often preoccupied with ideas of pity and compassion, and sought out new words and metaphors for articulating such feelings. It begins by considering Marlowe’s Dido, Queen of Carthage (c. 1585-6) and Kyd’s The Spanish Tragedy (c. 1587), arguing that these plays centralize ideas of emotional comparability, receptivity, and resistance that fed into the subsequent emergence of the term sympathy. It goes on to examine Shakespeare’s Titus Andronicus (c. 1594), which contains an important early example of the word sympathy being used to describe a harmony of woe. The chapter then explores the emergence of the verbal form sympathize in several plays from the late 1590s, including The Comedy of Errors and Troilus and Cressida. It concludes with a discussion of Samuel Brandon’s 1598 closet drama The Vertuous Octavia, in which the protagonist invokes the possibility that she might ‘simpathize’ with her husband, while simultaneously suggesting that she is capable of resisting such emotional forces. This new word reflected and enabled a more active conception of sympathy as a practice of individual choice and agency.

This chapter demonstrates that the affective meanings of sympathy and sympathize persisted during the Caroline period, despite a renewed interest in the quasi-scientific conception of sympathy. The chapter opens with a wide-ranging discussion of Francis Bacon’s Sylva sylvarum (1626), along with other works that debated the magical properties of the weapon-salve – which could allegedly cure wounds without touching them – including William Foster’s Hoplocrisma-spongus (1631) and Robert Fludd’s Doctor Fludds answer unto M. Foster (1631). The chapter argues that several plays from this period offer a highly sceptical response to the weapon-salve, in particular Henry Glapthorne’s The Hollander (1635–6). It then considers the increasing sophistication of conceptions of sympathy in religious discourse, and focuses on Charles Fitzgeffry’s Compassion towards captives (1637), which describes the ‘Sympathy or Compassion’ we should feel for those in bondage in terms that anticipate modern conceptions of empathy. In this way, the Caroline fascination with natural sympathy does not diminish or displace the affective model but rather increases its complexity.

This chapter explores how the term sympathy was co-opted into political discourse in the first part of the seventeenth century, and how Jacobean literary and dramatic texts debated the political aspects of pity and compassion. Focusing on responses to the crises of succession and the plague, the chapter discusses the representation of sympathy in William Muggins’s Londons Mourning garment (1603), William Alexander’s The Tragedy of Croesus (1604), and Shakespeare’s King Lear (1608). It argues that King Lear exposes the ethical and philosophical problems involved in emotional perspective-taking, and points to the ways in which concepts of sympathy in this period were complicated by an individual’s class and status. The chapter then turns to royal elegies from the 1610s and 1620s, including poetic responses to the deaths of Prince Henry and Queen Anne. The chapter also explores several religious works that express concerns about a decline of sympathy during this period, and proposes that the increased bleakness of the 1623 Folio text of Lear may reflect wider social anxieties about what Thomas Medeley calls ‘this iron and flinty age’.

This chapter considers the first appearances in print of the word sympathize (1594) and argues that complaint poetry was an especially fertile genre in which ideas of emotional imitation and transmission were themselves imitated and transmitted. The chapter examines the poetics of feeling in Samuel Daniel’s The Complaint of Rosamond (1592). It goes on to discuss Shakespeare’s The Rape of Lucrece (1594), and focuses on Lucrece’s emotional encounter with her maid, who, ‘enforced by sympathy’, begins to weep herself. The chapter then examines how this sympathetic encounter was appropriated and reworked by several writers in the years that followed, including John Trussell’s The First Rape of Faire Hellen (1595) and Samuel Nicholson’s Acolastus (1600). This process of textual transmission and dissemination is also at work in the various poetic miscellanies that appeared at the turn of the seventeenth century, including Bel-vedére; or, The Garden of the muses (1600) and Englands Parnassus (1600), both of which include extracts from several of the poems discussed in this chapter.

The Introduction interrogates the current critical view of early modern sympathy as a physical or occult process. It proposes that literary critics and historians have neglected the coexistence of the emotional and physical senses of the word sympathy in the early modern period. Exploring a broader range of intellectual frameworks – including religious culture, literary theories of imitation, and humanist pedagogy – complicates the idea that sympathy was primarily an automatic or a humoral phenomenon. The Introduction also argues that translations of European vernacular texts, including Du Bartas’s The Historie of Judith (1584) and Montaigne’s Essais (1603), played a significant role in introducing the affective meaning of sympathy to English readers. This expanding emotional vocabulary – along with other material and social changes in the period – led to an increased theorization of pity and compassion, whereby individuals came to be regarded as a connected network of distinct selves rather than a homogenous social group. In this way, the emergence of sympathy as a term and concept prompted a reconsideration of the nature and boundaries of early modern selfhood.