Toward a Philosophy of Melodrama

Abstract

Abstract This article proposes a philosophy of melodrama, following the example of Noël Carroll in The Philosophy of Horror (1990). Melodrama is defined by a distinctive mode of address in which morality is dramatized through an appeal to our emotions. More narrowly conceived as the “tearjerker,” it is designed to solicit tears through the orchestration of pathos. While melodrama is associated above all with a genre of nineteenth- century theater, it is considered here as a mode that persists from at least the medieval period into the present, encompassing discrete art forms, such as theater, opera, and film. Furthermore, as it evolves historically, it develops more complex idioms. Classical melodrama, or the melodrama of good versus evil, which dwells on the pathos of suffering innocence, is contrasted with romantic melodrama or the melodrama of moral antinomy (Singer), which explores the pathos of sacrifice. A series of distinctions are drawn between sympathy, pathos, empathy, and identification, and the relationship of each to the other and to our moral responses are briefly delineated. The article contests Murray Smith's theory of empathy as central or personal imagination and defends a distinctive concept of identification, based upon its roots in the medieval French “identifier,” to “regard as the same.” It concludes with a brief defense of melodrama against the charge that is emotionally contrived and exploits our moral sentiments for meretricious ends.