Recently, a soap opera storyline focusing on domestic abuse had me cringing with horror. The husband threw his dinner in the bin because the wife did not put any meat in the dish. The reason for this was because he controls how much she spends on food and she didn’t have enough money; he holds her bank card and allows her limited time to be out of the house to shop for groceries. In a fit of pique he sent her upstairs to the bedroom while he made a better dinner. Much later, he called her down to share a roast chicken meal with all the trimmings and the wife, placatory and submissive, tucked in and complimented him on the cooking. Watching her enjoy her meal, he told her she was eating Charlotte Brontë, her beloved pet chicken, because the old bird no longer produced eggs. She spat out her food and burst into tears.
I felt very sorry for the poor wife. As a vegan, I felt very sorry for the chicken although I would imagine plenty of non-vegans felt the same way: we all love out pets and it’s not easy to eat a creature with a name, albeit that of an expired author. An episode later, we see the husband in a panic because he thinks his wife has left him; he is weak and damaged and he can only relate to the ones he loves with deceit, control and spite. Of course, I felt sorry for them all but the wife’s situation is paramount in this instance. A soap opera, well-written and well-performed, can inspire empathy in the audience. To me, the episode with the slaughtered chicken was a modern-day Titus Andronicus.
I’ve just edited my next novel and one proof othat a story will stand up is that, having picked through it a dozen and more times, I still feel empathy for the characters. I’m writing a new novel: having reached 75,000 words, I stayed awake at night wondering how the characters must feel in their current situations, feeling sorry for their plight. That’s silly: I’ve already plotted the ending: I know how it works out. But empathy is an unavoidable emotion and it’s good to practise these feelings by becoming involved in literature and drama.
We need to apply empathy to real life situations too. It’s very easy to feel compassion for made-up characters that we don’t really know and then become negative and critical about those we do. And real people we’ve never met are often obvious targets for Schadenfreude and envy: famous faces are sometimes objectified and condemned without empathy in the press and the public are invited to copy their example. Phrases such as ‘body-shaming’ and ‘trolling’ are relatively new terms and are linked to negative actions, words and thoughts.
The plight of the abused wife on the soap opera is not fantasy; the reason such dramas can move an audience to feel compassion is that they reflect the real world from a safer place. They are, as Bertolt Brecht might have said, Lehrstücke, learning plays devised to inform the audience about an opinion and to initiate understanding through acting. In short, if we feel for the plight of the wife, we can apply the same empathy elsewhere, to other people and their situations. For example, if we’re in a café and the waiter is bad -tempered or if we’re on a bus and the driver is grumpy, they might have all sorts of personal problems they have hidden below the surface. Maybe it’s better to smile and wish them a nice day than to report them or leave a bad review.
I watched my team play football the other evening on television: no-one played brilliantly but one player in particular wasn’t on his game. A later player rating in a newspaper would give him 3/10. The commentator said how bad he was; how he was completely reprehensible when an opposition player scored. I cheered pundit Jermaine Jenas when he spoke up in defence of the player, explaining that he’d recently returned from injury and it would take a few games before he returned to normal fitness. How refreshing to be empathic rather than critical.
It’s not always easy to reach out to the bad-tempered, the diffident or the distant people we meet. But it seems important to think beyond what we’re presented with. Because we have no idea what goes on behind the scenes, perhaps it’s important not to judge or to criticise. And there are a whole lot of people out there who are lonely, anxious, stressed. There are people bulk-buying hand wash to save them from viruses; people losing their rights to live and work in this country; people who have health worries, money worries, relationship worries, even imaginary worries. Often people don’t show their anxiety; they make jokes, they shrug their troubles off and then go home and weep alone. We’ve all been in that position at some time, so we all know how it feels.
Reaching out and showing acts of kindness and empathy are not always easy. Often we all have so much to absorb us in our own lives that it’s easy to forget. But the recent soap opera episode reminded me that some people’s experiences, though their lives may seem normal on the outside, are anything but ordinary in reality. I was glad I watched the episode of the soap opera, even though I was horrified by the husband’s cruel behaviour and the death of the chicken: the programme gave me an opportunity to flex my empathy muscle. It’s important to keep it well-toned.
2 thoughts on “The one about the tortured wife, the chicken and the empathy muscle”
A thoughtful post. I saw that episode too, very distressing though I do think Corrie has gone too far with its highlighting of “issues” to the extent the program has been so depressing for so long I hardly ever watch it any more. On the other hand Hospital on BBC2 must have elicited masses of empathy this last couple of weeks, absolutely heart breaking stories of what families have gone through. Yet its balanced with hope and success stories too, as well as showing the medical staff treating the most difficult cases have deep feelings too and feel a great sense of sadness when they can do no more to help. I understand your point that in day to day life we tend to forget all that empathy we felt when reading a book or watching TV and revert back to snap judgements when we come across someone who appears stand offish to us, though I suppose it’s in the moment whereas with fiction or drama we have time to think and reflect.
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You’re right- I must watch the Hospital programme- the hope part is so important so thanks for this. 💐
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