, Theory of Mind , and Pedagogy : Cognitive Construction of Social Class

This essay brings together cognitive literary theory and Mikhail Bakhtin’s theory of dialogic imagination to illuminate the construction of social class in the eighteenth-century novel. It offers a close reading of selected passages from Frances Burney’s Evelina (1778), made possible by combining Bakhtinian and cognitive poetics. It also discusses the theoretical ramifications of this approach and demonstrates its use in an undergraduate classroom. Lisa Zunshine is a Bush-Holbrook Professor of English at the University of Kentucky, Lexington. Lisa Zunshine Bakhtin, Theory of Mind, and Pedagogy: Cognitive Construction of Social Class

ECF 30, no. 1 © 2017 McMaster University Lisa Zunshine seclu sion and is now entering London. She is a daughter of a baronet, who abandoned her mother shortly after their marriage and burned the mar riage certificate. This means that, though by birth and education she belongs to the aristocracy, her social status is ambiguous, at least until her father publicly acknowledges her as his legitimate heiress. Until that happens, she is subject to amorous advances by men from an unusually wide social spectrum, from shopkeepers to aristocrats, each with his own way of speaking and pressing his suit. Mr Smith may be said to press his in a particularly obnoxious fashion, for Evelina had told him earlier that she did not want to go to the ball, and he has simply ignored her words.
Today Evelina does not just say no. Her answer is couched in such terms so as to emphasize her incompatibility with Mr Smith. 2 He understands only part of what she says and cannot respond properly. This is an important detail because men from the social class to which she anxiously defends her right to belong would have understood and responded in kind (even those of them, such as Sir Clement Willoughby, whose courtship style is obnoxious in its own way).
Here is their conversation. Evelina has reminded Mr Smith that she had already told him that she would not go to the Assembly. "Lord, Ma'am," cried he, "how should I suppose you was in earnest? come, come, don't be cross; here's your Grandmama ready to take care of you, so you can have no fair objection, for she'll see that I don't run away with you. Besides, Ma'am, I got the tickets on purpose." "If you were determined, Sir," said I, "in making me this offer, to allow me no choice of refusal or acceptance, I must think myself less obliged to your intention than I was willing to do." "Dear Ma'am," cried he, "you're so smart, there is no speaking to you;indeed you are monstrous smart, Ma'am! but come, your Grandmama shall ask you, and then I know you'll not be so cruel." (220) Evelina and Mr Smith may as well have been speaking two different languages, so loud is the clash of their sensitivities and the social incommensurability that it implies. Yet how is this impression created? That is, what tools do we have at our disposal to explain the rhetorical effect ECF 30, no. 1 © 2017 McMaster University Cognitive Construction of Social Class of their exchange? Left to their own devices, students consider Evelina's elaborate phrasing a prime example of what they call "flowery" and "wordy," while Mr Smith's speech is mainly "choppy." Can we do better than that?

Bakhtinian Poetics
If we want to do better, one good place to start is Mikhail Bakhtin's concept of heteroglossia. Novels, in Bakhtin's view, are constructed "out of heteroglot, multi-voiced, multi-styled and often multi-languaged ele ments." 3 One of the "compositional-stylistic unities" (though by no means the most important one) making up "the novelistic whole" is the "styl istically individualized speech of characters." 4 Although Burney was not on Bakhtin's radar when he wrote Discourse in the Novel (unlike, for instance, Henry Fielding, Laurence Sterne, and Tobias Smollett), her writ ing seems to exemplify what he called a comic style "of the English sort": one based on "the stratification of the common language." 5 The "verbally and semantically autonomous" 6 ways in which Burney's characters speak under score their largely immutable class positions. It is hetero glossia in service of ideology.
Some sociolectal markers pointing to Evelina's and Mr Smith's class differences seem to be obvious. In contrast with Evelina's polished way of speaking, Mr Smith uses short, clipped clauses ("don't be cross") and vulgar expressions that brand him as a shopkeeper aspiring to sound genteel, such as "monstrous smart." His grammar is bad ("you was"). He betrays his crassness by reminding her that he paid for the tickets ("I got the tickets on purpose"). It is all here.

Cognitive Poetics
But something else is here too. To see it, we turn to cognitive literary theory, 7 a field that has roots in cognitive science but has come into its Lisa Zunshine own in the last decade, with hundreds of studies that integrate insights from cognitive psychology and neuroscience with goals and methods of literary criticism. 8 In particular, we look at research on embedded mental states in fiction, an exciting recent offshoot of studies in "theory of mind" aka "mindreading" (that is, our tendency to explain observable behaviour as caused by underlying mental states, such as thoughts, desires, and intentions). 9 Cognitive scientists who work with theory of mind use the term "embedment" to describe thoughts and feelings nested within each other, as in, "she didn't realize that he wanted to surprise her." While they focus on embedded mental states that structure daily social interactions, 10 literary scholars explore embedments that emerge as we read fiction. It seems that to make sense of what's going on in a play, a novel, or a narrative poem, we continuously embed within each other mental states of its characters and, when appropriate, of its narrator, author, and readers. 11 Some of those embedments are merely implied by the text, while others are explicitly spelled out. For instance, we understand why Romeo kills himself when he discovers Juliet's lifeless body. We know that he does not know that she is alive and that she merely wanted some people to think that she is dead. This is an implied embedment. In contrast, the Old English poem "The Wanderer," dated somewhere between the late sixth and the early tenth century, spells out the narrator's feelings as he wonders at why he is not depressed when he thinks about death: Indeed I cannot think why my spirit does not darken when I ponder on the whole life of men throughout the world, How they suddenly left the floor (hall), the proud thanes." 12 Another explicit embedment, from Robinson Crusoe: "I know not what it was, but something shocked my mind at that thought, and I durst not speak the words. 'How canst thou become such a hypocrite,' said I, even audibly, 'to pretend to be thankful for a condition which, however thou mayest endeavour to be contented with, thou wouldst rather pray heartily to be delivered from?'" 13 Crusoe is shocked that he would pretend to be grateful for the condition that he would, in fact, prefer to escape. 14 In the eighteenth-century Chinese novel Dream of the Red Chamber (aka The Story of the Stone) by Cao Xueqin, an aristocratic young lady, Wang Xi-feng, offers her husband, Jia Lian, to exchange her maid, Patience, for a new "chamber wife" for him. 15 But even as she does it, we know (another implied embedment of mental states!) that she knows quite well that he understands she is merely playing with him and would never allow him to have another concubine, nor would she want to part with her trusted Patience. And when Patience lies to Jia Lian, within Xifeng's hearing, that a pretty girl has come with a message for Patience, she knows that, jealous as Xi-feng might be, she would eventually be grateful to her for making Jia Lian think of that girl and distracting him from the real purpose of the messenger. When Jia Lian steps out of the room, Patience explains to Xi-feng what she had in mind. Implied and explicitly spelled-out embedments thus often coexist on the same page, indeed, in the same sentence, reinforcing and complicating each other. One important interpretive payoff of looking at fiction through the lens of cognitive literary theory is the realization that writers portray some characters as capable of embedding more mental states than others-a difference that can be underwritten by considerations of class, race, and gender. 16 For instance, in the above example from Dream of the Red Chamber, the cat-and-mouse games that Xi-Feng and Patience play with Jia Lian are in keeping with a gender pattern we find elsewhere in the novel. Known for his nostalgic sympathy towards his young female characters, 17 Cao Xueqin consistently depicts them one step ahead of men, that is, embedding mental states on a higher, or deeper, level. 18

Cognition and Ideology
When I teach Evelina, I introduce my undergraduates to Bakhtin and heteroglossia but not necessarily to theory of mind. Especially if we are strapped for time, a comprehensive theoretical buildup from cognitive science may not be needed for an introduction to literature course 19 (as different, for instance, from a seminar on literary theory with a strong cognitive studies component). All we need is one concept-embedded (aka "nested") mental states-and that can be explained in ten minutes, with a chalkboard drawing of a circle within a circle within a circle. For instance, "She wants him to know that she is angry at him for forgetting her birthday"-four concentric circles with "wants" in the outermost layer and "forgetting" in the innermost-represents four men tal states embedded within each other. "He is sad because he wants to be with his family"-two concentric circles-two embedded mental states. "I want to go shopping"-one mental state. "I went shopping on Friday"no mental states. 20 When we return to the conversation between Mr Smith and Evelina and examine what they say specifically in terms of the number of embedded mental states, we notice right away that Mr Smith's embedments, both implied and explicit, stay around the second level, whereas Evelina spouts third-to-fourth-level embedments one after another. Here is one way to map their exchange: "Lord, Ma'am," cried he, "how should I suppose you was in earnest? come, come, don't be cross; here's your Grandmama ready to take care of you, so you can have no fair objection, for she'll see that I don't run away with you. Besides, Ma'am, I got the tickets on purpose." [Who would think that you meant what you said? (two embedded mental states). I know that you worry that there will be no chaperone (two embedded mental states).] "If you were determined, Sir," said I, "in making me this offer, to allow me no choice of refusal or acceptance, I must think myself less obliged to your intention than I was willing to do." [I might have felt bad turning you down had I thought that you were aware of my feelings enough to care to give me a choice (at least three, perhaps four embedded mental states). But because now I know that you would not even consider that I may not want to go, I intend not to feel bad about disappointing you (two parallel sets of three embedded mental states).] "Dear Ma'am," cried he, "you're so smart, there is no speaking to you;indeed you are monstrous smart, Ma'am! but come, your Grandmama shall ask you, and then I know you'll not be so cruel." [I know that you are too smart for me (two embedded mental states). I hope you will listen to your Grandmama (two embedded mental states). I know that you will agree eventually (two embedded mental states Mr Smith's limited capacity for embedding mental states is thus dialogic 21 -another key concept from Bakhtin-that is, we may experience it as limited only in contrast with the embedments of other characters, such as Evelina, Sir Clement Willoughby, and Lord Orville. Once we become aware of this contrast, we realize that it is used throughout the novel in two related but not identical ways. First, it marks bona fide, as opposed to in-name-only, gentility. That is, "real" gentlemen and gentle women, such as Lady Howard, Mr Villars, Mrs Selwyn, and Mr Macartney, who also happen to treat Evelina with kindness and respect, con sistently embed mental states at and above the third level, while the nominally genteel characters who insult, ignore, and exploit her, such as Lord Merton, Lady Louisa Larpent, Mr Lovel, and Captain Mirvan, stay around a lower (that is, second) level. 22 Besides marking "true" gen tility, the differential capacity for embedding is also used to naturalize char acters' social status. Shopkeepers and parvenus with shopkeeper mentality do not rise above the second level in their attribution of mental states. Thus, Evelina's low-born cousin Tom Branghton: "There is nothing but quarreling with the women; it's my belief they like it better than victuals and drink" (221), or her ex-barmaid grandmother, Mme Duval: "I've no doubt but we shall be all murdered!" (146), or Biddy Branghton: "I wonder when Mr. Smith's room will be ready" (177). If you consider the dismal treatment that these characters receive throughout the novel, it seems that the lack of capacity for embedding mental states on a high level marks pretty much everyone belonging to this class as not worthy of compassion and sympathy. The capacity for embedment thus functions as a form of heteroglossia. It can be combined with other sociolectal markers, but only for those char acters who are incapable of sophisticated layering of social con sciousness. Thus Tom Branghton's low-level embedments go hand-in-hand with contractions, clipped sentences, and colloquialisms: "Didn't you [hear of it], Miss? ... why then you've a deal of fun to come, I'll promise you; and, I tell you what, I'll treat you there some Sunday noon" (188); Mme Duval's, with contractions, double negatives, and bad French: "Pardie, no-you may take care of yourself, if you please, but as to me, I promise you I sha'n't trust myself with no such person" (206). Lord Merton, a newly titled nobleman who lacks true gentility, punctuates his first-level embedments with curses: "I don't know what the devil a woman lives for after thirty" (275). Captain Mirvan, another character whose behaviour belies his nominal status of gentleman, sprinkles his second-level embedments 23 with sailor's lingo: "I am now upon a hazardous expedition, having undertaken to convoy a crazy vessel to the shore of Mortification" (141). 24 In comparison, the speech of unambiguously genteel characters is largely devoid of such markers. The only feature that is reliably presentand thus should be considered a marker in its own right-is the ability 23 That Captain Mirvan seems to embed mental states on the second level more consistently than, say, Mme Duval or the Branghtons (who tend to stay around the first level), may reflect his peculiar role in Evelina. As Ruth Bernard Yeazell observes, "Though there is scarcely a character in the novel who seems more distant from Evelina than this crude ex-sailor, he nonetheless has a remarkable tendency to aim his practical jokes at targets whom she herself has strong motives to attack." Yeazell, to embed mental states on a high level. "Can there, my good Sir, be any thing more painful to a friendly mind, than a necessity of communicating disagreeable intelligence?" (13); "I am grieved, Madam, to appear obstinate, and I blush to incur the imputation of selfishness" (19); "The benevolence with which you have interested yourself in my concerns, induces me to suppose you would wish to be acquainted with the cause of that desperation from which you snatched me" (227); "I am extremely sorry ... that you think me too presumptuous" (355); "To what, my Lord, must I, then, impute your desire of knowing [my intentions]?" (257). Lady Howard, Mr Villars, Mr Macartney, Lord Orville, and even Sir Clement Willoughby (except when he tries to overwhelm Evelina with his dramatic professions of devotion and overblown terms of endearment) sound nearly interchangeable in their complex embedments. It is almost as if the relentlessly demanding pattern of such embedments were too metabolically costly for the text, leaving little energy for further verbal idiosyncrasies to be associated with these characters.
Note, finally, that the differential capacity for embedment does not map well onto E.M. Forster's classic distinction between "flat" and "round" characters, although it might seem that it would. 25 For instance, Mr Smith may come across as more "round" than Lady Howard, even though she embeds mental states on a higher level than he does. As Natalie M. Phillips observes in her recent cognitive historicist study, Distraction: Problems of Attention in Eighteenth-Century Literature, if "tradi tional models of characterization continue to use Forster's volumetrics for measuring the fictional mind," a cognitively inflected analysis (in Phillips's case, analyzing characters' styles of attention) "reveals a broader range of traits to apply in literary criticism." 26 The sociocogni tive com plexity of characters, that is, their relative capacity for embedding mental states, emerges as one such trait, although at this point it is a wide open question what role specific historical milieus, ideological prero gatives, and culturally ascendant genres play in its emergence.

Pedagogical Payoff
Introducing students to embedded mental states as a form of Bakhtinian heteroglossia is not a gratuitous exercise in literary theorizing on the undergraduate level. Instead, it is a way of building on their intuition to help them see how fiction can naturalize social class. In calling Burney's writing "wordy" and "flowery," they may already be picking up on its underlying sociocognitive pattern: the consistently high level of embedment of mental states structuring thoughts and speeches of upper-class characters. Cognitive literary theory allows us to articulate this pattern and recognize its possible function within the text: manipulation and reimagining of social cognition in service of ideology.
The same theory also helps students crack the code of genteel (or "polite") 27 talk in eighteenth-century fiction. One exercise that we do in class is to take a statement and envelop it in several layers of mental states, paying attention to what it does to our perception of the speaker's social standing. "We lost our way" seems to be neutral; a foot man may say that, but so may a clergyman. But put it side by side with "I fear we lost our way" and ask yourself which phrase is more likely to be uttered by footman and which by clergyman. By adding a mental state, we move the speaker up one notch in the social hierarchy. Just so, "I hope you will not think me too rash if I tell you that I fear we lost our way" (three embed ded mental states!) marks the speaker's gentility more surely than would an expensive gown or a sword. What used to be experienced as "wordiness" can now be seen as ideologically laden signalling.
Note that "wordiness" does not actually mean "more words." True, in my "we lost our way" example, sentences get longer as the number of embedded mental states increases. In actual works of fiction, however, multiply layered consciousness can be conveyed with elegance and economy. For instance, Mr Villars's "I blush to incur the imputation of selfishness" contains three embedded mental states, yet it is shorter than Mme Duval's "Pardie, no-you may take care of yourself, if you please, but as to me, I promise you I sha'n't trust myself with no such person," which contains, at most, two embedded mental states. Particularly when embedments are implied-deduced from the context rather than spelled out-sentence length ceases to be a decisive factor. 27 For a useful review of the eighteenth-century notion of politeness, see John Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century (London: Routledge, 1997), 89-90. For a suggestive discussion of politeness in specifically cognitive terms, see Phillips. Quoting from Lord Chesterfield, who suggested that a polite person "should not only have attention to every thing, but a quickness of attention, so as to observe, at once, all the people in the room; their motions, their looks, and their words; and yet without staring at them, and seeming to be an observer," Phillips writes that eighteenth-century "politeness relied on skillful divisions of focus, facilitating full comprehension of a social scene" (174). Note that "full com pre hension of a social scene" can also be modelled as embedded consciousness (for example, being aware of "the people in the room's" awareness of your behaviour, such as staring).
By the end of their third week with Burney, my students are usually well attuned to the differential embedment of mental states and have seen how it contributes to the construction of class difference in Evelina. Sometimes, at this point, I ask them to pen a letter on behalf of one of the characters, something that he or she may write to an absent friend, telling that friend about the recent events at Howard Grove-for instance, about the fake robbery that Captain Mirvan staged to "mortify" Mme Duval. As they read their letters out loud, their classmates are invited to guess which character is being impersonated, which they successfully do.
Here are several of those letters, arranged in ascending order: from the lowest level of embedded mental states to the highest. 28 You a'nt gon' believe what happened to me 'bout a day ago! You best read this close and you'll get a good laugh. We was wandering home at night and 'bout halfway lost and thieves came up us. They 'bout scared me halfway to death, but Madame Duval, she was goin' crazy, They took her and all her fancy clothes and hair and whatnot and they chucked her down in the dirt. They ain't hurt her or nothin, but they got riled up real good. Me and the boys were about to lose it, but we had to try not to laugh till we got home. Turned out, it was just some rich boys playin' some kind'a trick. I sure got a kick out'a it. I couldn't look her in the eye, scared I was gonna get it, but I wasn't gonna stand up to some robbers over a few of Madame Duval's things; she got plenty. [A coachman from the Howard Grove; zero to first-level embedment of mental states.] ***** I regret to inform you that recently I was treated in the most despicable manner. Believe me, I warrant that nobody never was so abused before. A robber verily came and dragged me out of my chariot. Never nobody was so unlucky as I am. I've never been so bad off, Mon Dieu! He shook me, tied me up with rope, I was sure I'd have me murdered. I hope the villain is hanged. He'll certainly be found out, for I'll get the justice to stop him! The worst thing is that the villain lost my curls! I'll never rest until he gets what's coming even if it costs me all my fortune. [Mme Duval; first-to second-level embedment of mental states.] ***** As one of my chosen crew, I cannot help but believe that you would find as much enjoyment as I in my own actions. My fellow mate and I set about on our hazardous expedition for the sake of a particular madam, whom you may recall from my past transmission to you. We came upon ECF 30, no. 1 © 2017 McMaster University Cognitive Construction of Social Class her vessel disguised most cleverly, so that she shan't have recognized us to be from her earlier party, and proceeded to trick her into mortification. Could you believe, my dear friend, that she believed herself to have been robbed? She would hardly be worth the time to actually rob-all I believe her to be good for is a good joke, that old woman, and hardly anything more. She is worth, in my eyes, about as much as the ditch and tree we thus tied her to. The servants that had joined in our expedition could hardly help but laugh at the lady's reactions, though I cannot charge them with mutiny for something such as that, she had no way of knowing it was I simply by their laughter, and I myself had a difficult time containing my laughter.
[Captain Mirvan; mostly second level of embedment.] ***** My dear friend, I want to ask you, can in life there exist anything more challenging to both the mind and patience than an act of unkindness? I hope you will not mind if I report to you the strange occurrence of events that hath passed here at Howard Grove these last days.
That horrible Madame Duval-the ignorant French woman I assume you recall my mentioning to you-has been the victim of an act of cruelty by [one of the residents of ] the Grove ... I do not imagine that it is necessary to explain to you how I feel on the matter, as I believe you know I see this punishment fitting for a woman so cruel ... Further, the horrid woman was accompanied by my young charge, and I know you will agree that she should have nothing to do with the matter. [Lady Howard; third level of embedment.] Given that this particular group of students had twenty minutes to come up with their letters, they appear to have captured quite well something of the peculiar idiom associated with different social classes in Burney's novel. This, I believe, is the direct effect of introducing them to the expanded definition of heteroglossia, one that includes not only professional lingos, conventional sociolects, and colloquialisms, but also, when appropriate, differential embedment of mental states.

Beyond "Evelina"
I said before that the characters who function on the first and second level of embedment do not, as a rule, elicit much reader compassion. (As one of my students put it, referring to the cruel prank that Captain Mirvan plays on Mme Duval, "I didn't care about Mme Duval's suffering. It's one bad character playing a trick on another bad character." 29 ) It also works the other way around. The characters who are portrayed as being able to afford the cognitive luxury of consistently embedding mental states on this high level come across as more aware of their own 30 and, frequently, other people's feelings 31 and hence are seen as more deserving of readers' interest and sympathy.
To the extent that low-level embedment is class-driven, 32 we can partly chalk it up to Burney's willingness to rely on the conventional association between landed property and "social personality." 33 At least in this particular regard, she is perhaps not yet the Burney who, as Margaret Anne Doody puts it, would "examine" and "attack" rather than merely reflect "her society in its structure, functions, and beliefs," especially those pertaining to "social class." 34 (That will change in Cecilia.) general pattern informing Burney's narrative: "With its strong emotional investment in the heroine's relationship to her father and to father figures, Evelina honours the patriline and is ambivalent about the matriline." Spencer, "Evelina and Cecilia," To the extent that low-level embedment is driven by character flaws, as in the case of Lord Merton, Mr Lovel, and Captain Mirvan, we can attribute it to what seems to be a literary tradition (dating back at least to Cervantes's Don Quixote 35 and perhaps even to Apuleius's The Golden Ass and Heliodorus's An Ethiopian Romance) 36 of correlat ing characters' inability to entertain complex embedments with their relative lack of sympathetic appeal-relative, that is, always in comparison to "highembedders." This tradition is far from unambiguous. High-embedders may come across as sensitive and intelligent people, or they may come across as peculiarly misguided, betrayed as it were by their socio cog ni tive complexity into ethically questionable or socially debili tating behaviour. (And not to forget about evil masterminds, whose hubristic Machia vellian ism may render them abhorrent in the eyes of the reader.) 37 Still, there seems to be more than enough sympathetic high-embedders around for us to assume that this kind of complexity is more often an asset rather than a liability when it comes to fictional characterization.
We can observe something roughly similar in real-life social interactions. We like people who strike us as having a deeper awareness of social dynamics and their own thought processes, while, at the same time, we feel wary of those who use that deeper awareness to further their own ends. We maintain a fine distinction between "insightful," "sensitive," and "socially astute" on the one hand, and "manipulative" and "Machiavellian" on the other, even though they may all embed mental states on the same (high) level.
It is a fascinating experience to read Burney's letters and diaries written around the time she was working on Evelina with attention to their embedded mental states. 38 While I have been unable to establish an unam biguous correlation between high-level embedment and social class, there is certainly a correlation between high-level embedment and personal amicability. To put it bluntly, people who are kind to Burney  But if, after all, I have only wearied you, do not think me so weak as to wish to teaze you into writing-I could not forbear sending this remonstrance, but will not trouble you again, unless you should again desire it.-which I only fear you should now do, out of Compliment, or compassion-however, I will not further pester you, but only subscribe myself, My dear daddy Your ever affectionate & obliged Frances Burney. If you should write, I conjure you to let it be with frankness. 39 When Burney writes about people whom she admires or considers personally sympathetic, she finds ways of making them embed complex mental states even when they cannot do it in words. Mr Omai was a Tahitian who had been drawn into the Burney "family circle" 40 through the efforts of Frances's brother James. On several occasions in the journal, Mr Omai, who is portrayed as a perfect gentleman and "living con firma tion of the myth of the 'Noble Savage,'" 41 is shown to convey complex layering of social consciousness by his body language. Here ECF 30, no. 1 © 2017 McMaster University Lisa Zunshine of his money. In contrast, although Cecilia's aristo cratic and otherwise genteel characters consistently embed mental states on a higher level than shopkeepers, the correlation between the capacity for complex embedments and social class is less rigid. Some tradesmen (or their children, such as Henrietta Belfield and her brother) 44 are allowed to embed-and hence feel-as deeply, or nearly as deeply, as Cecilia herself. We seemed to have moved beyond the simple hierarchy according to which servants may get by without embedding any mental states (at least not verbally) and tradespeople might muster one or two, while ladies and gentlemen of leisure effortlessly weave third-to fourth-level embedments into almost everything they say.
To the extent to which writers may be said to make an intuitive decision about which of their characters will be capable of embedding more mental states than others, when it comes to eighteenth-century Britain, it is tempting to read social class as the key factor in that decision. Yet the relationship between class and sociocognitive complexity is never unambiguous. On the one hand, we have Richard Steele's The Conscious Lovers (1722), based on Terence's Andria (166 BCE), which reverses the embedment pattern present in the original play. In Andria, the slave named Davos masterminds a plot to save his master, Pamphilus, from a marriage arranged by Pamphilus's father; in The Conscious Lovers, a similar plot is hatched by Bevil Jr., the son of Sir John Bevil, while Tom, Bevil Jr.'s servant and the character based on Davos, merely helps out. He is never allowed to think on the same level as, or above, his aristo cratic master. On the other hand, we have Samuel Richardson's Pamela (1740), in which a servant girl outthinks, outwrites, and "outembeds" her aristocratic would-be seducer, leaving him no option but to accept their relationship on her terms. Differentially layered social con sciousness appears to be a powerful rhetorical tool avail able to writers, but we are still in the early stages of understanding its role in the history of dialogic imagination.