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<p continued="N" fullOut="N" runin="N">It was this scene that brought out one of Brecht’s most
swingeing attacks on what I term the ‘fallacy of the pathetic’:</p>
<p>
<displayText class="prosequote" id="oso-9780199554591-chapter-16-displayText-1"><p continued="N" fullOut="Y" runin="N">I have here Horace’s <i>Ars Poetica</i> in
Gottsched’s translation. He really expresses a theory that often concerns us, one that
Aristotle proposed for the theatre:</p><p>
<displayText class="verse" id="oso-9780199554591-chapter-16-displayText-2">
<lineGroup>
<line>You must enchant and conquer the reader’s breast.</line>
<line>One laughs with those who laugh and lets tears flow</line>
<line>When others are sad. So, if you want me to weep</line>
<line>First show me your own eye full of tears.</line>
</lineGroup>
</displayText></p><p continued="N" fullOut="Y" runin="N">In this well‐known passage Gottsched cites Cicero
writing on oratory, describing how the Roman actor Polus played Electra mourning her
brother. His own son had just died, and so he brought the urn with his ashes on to the
stage and spoke the relevant verses ‘focusing them so painfully on himself that his own
loss made him weep real tears. Nor could any of those present have refrained from
weeping at that point.’</p><p continued="N" fullOut="N" runin="N">I must say there is only one word for such an
operation: barbaric.<xrefGrp role="footnote">
<xref ref="oso-9780199554591-chapter-16-note-254">
<sup>1</sup>
</xref>
</xrefGrp>
</p>
</displayText>
</p>
<p continued="N" fullOut="Y" runin="N">What is wrong with such an operation: is it the ready
communication of suffering of character and actor to audience? With narrowing the distance
between actor, classic role, and modern audience? With the actor</p>