Just here was the center of our interest, because it showed that uniqueness of the means with which the photoplaywright can work.

If we want to shape the question now in the same way, we ought to ask how it is with the emotions of the spectator.

But then two different groups of cases must be distinguished.
On the one side we have those emotions in which the feelings of the persons in the play are transmitted to our own soul.

On the other side, we find those feelings with which we respond to the scenes in the play, feelings which may be entirely different, perhaps exactly opposite to those which the figures in the play express.
The first group is by far the larger one.

Our imitation of the emotions which we see expressed brings vividness and affective tone into our grasping of the play's action.