How, now, are these remarks to be applied in such a way as to yield an account of our aesthetic pleasure in some more sophisticated aesthetic object such as a dramatic work? We are confronted, first of all, by a manifold of actions on the stage. These provoke involvement: the aesthetic enjoyment of a drama would seem indeed to rest on a peculiar sort of `comfortable sympathy' with the characters we perceive (cf. 151). But they provoke also empathy-feelings, which are however experienced as phantasy-material only. And now these two sorts of feelings serve as.
