general, we respond emotionally to fictional characters. And, before
explaining how tragedy purges or purifies our fear, we might think it
reasonable to get a better sense of what‘fear’, in relation to a piece of
theatre, actually means. The defenders of theatre, and its detractors, have
often appealed to its effects on the emotions. Perhaps this chapter has
helped us to understand some of the challenges that confront both sides.
Further Reading: Emotions
For a sample of pieces on emotional responses tofiction, see Radford
(1975), Walton (1990: 195–204), Neill (1993), Zemach (1996), Suits
(2006). On the paradox of tragedy, Hume (1965) is often used as a
starting point, although he evidently did not invent the problem; see
Neill (1999) for a critical analysis of Hume. For a sample of contemporary
discussions, see Feagin (1983), Budd (1995), Shelley (2003), Friend
(2007). On catharsis: Aristotle’sPoetics is, of course, the source of the
dispute; interpreters make frequent reference to hisPolitics(for its refer-
ence to catharsis),Rhetoric(for the analysis of emotions like pity and fear)
andNicomachean Ethics(for its discussion of ethics and the emotions) to
support their various claims. For a sense of the variety of interpretations,
see Halliwell (1986: 184–201) (which also features a helpful discussion of
the uses of the Greek term), Schaper (1968), Nehamas (1992), Golden
(1973) and Lear (1992). On the rich history of interpretations of catharsis,
see Halliwell (1986: 350–6).
Notes
1 Chekhov (1980: 144).
2 Having seen a performance, it is perfectly possible to feel one emotion in relation to the actor
and another in relation to the character that the actor was playing. See, e.g., Brock (2007: 217–9)
for discussion.
3 Tolstoy (1995: 40).
4 Poetics49b.
5 Hegel (1993: 37–8).
6 See, e.g.,The Republic605b–606d.
7 Hamlet, II.ii 229.
8 Radford (1975: 78–9).
9 Walton (1990: 249).
10 As I have mentioned in my discussion of Walton in Chapter 2, his notion of‘make-believe’is
much broader than the everyday use of the term.
11 This example is developed from Woodruff (2008).
12 Walton (1990: 241).
13 The quotation is from Woodruff (2008: 164), who appears to miss this feature of Walton in
arguing against him.
14 Walton (1990: 252–3).
15 For further critical discussion of Walton’s view, see Neill (1991).
16 Pirandello’sSix Characters in Search of an Authorplays on exactly this phenomenon.156 From the Stage to the World