1607

PSYCHOPATHIC CHARACTERS ON THE STAGE

If, as has been assumed since the time of Aristotle, the purpose of drama is to arouse ‘terror and pity’ and so ‘to purge the emotions’, we can describe that purpose in rather more detail by saying that it is a question of opening up sources of pleasure or enjoyment in our emotional life, just as, in the case of intellectual activity, joking or fun open up similar sources, many of which that activity had made inaccessible. In this connection the prime factor is unquestionably the process of getting rid of one’s own emotions by ‘blowing off steam ; and the consequent enjoyment corresponds on the one hand to the relief produced by a thorough discharge and on the other hand, no doubt, to an accompanying sexual excitation; for the latter, as we may suppose, appears as a by-product whenever an affect is aroused, and gives people the sense, which they so much desire, of a raising of the potential of their psychical state. Being present as an interested spectator at a spectacle or play does for adults what play does for children, whose hesitant hopes of being able to do what grown-up people do are in that way gratified. The spectator is a person who experiences too little, who feels that he is a ‘poor wretch to whom nothing of importance can happen , who has long been obliged to damp down, or rather displace, his ambition to stand in his own person at the hub of world affairs; he longs to feel and to act and to arrange things according to his desires - in short, to be a hero. And the playwright and actor enable him to do this by allowing him to identify himself with a hero. They spare him something, too. For the spectator knows quite well that actual heroic conduct such as this would be impossible for him without pains and sufferings and acute fears, which would almost cancel out the enjoyment. He knows, moreover, that he has only one life and that he might perhaps perish even in a single such struggle against adversity. Accordingly, his enjoyment is based on an illusion; that is to say, his suffering is mitigated by the certainty that, firstly, it is someone other than himself who is acting and suffering on the stage, and, secondly, that after all it is only a game, which can threaten no damage to his personal security. In these circumstances he can allow himself to enjoy being a ‘great man’, to give way without a qualm to such suppressed impulses as a craving for freedom in religious, political, social and sexual matters, and to ‘blow off steam’ in every direction in the various grand scenes that form part of the life represented on the stage.