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These passages-the first from Kaja Silverman's The Threshold of the Visible World (1995), the second from Adam Smith's The Theory of Moral Sentiments (1759/ 1790)-link sympathy and spectacle in ways that, I will argue in this book, takes paradigmatic form in Victorian fiction. In each, a confrontation between a spectator "at ease" and a sufferer raises issues about their mutual constitution; in each, the sufferer is effectively replaced by the spectator's image of him or herself. As instances of what I wish to call "scenes of sympathy," these two passages, along with other scenes and texts discussed in the chapters that follow, document modern sympathy's inseparability from representation: both from the fact of representation, in a text's swerve toward the visual when the topic is sympathy, and from issues that surround representation, such as the relation between identity and its visible signs.