The sympathy in the spectator: Divina Comedy
The moral approval of the characters by the spectator is delimited by a set of values and feelings that generate sympathy in whom he reads them, which is why in the present work will be addressed as the divine comedy manages to generate a feeling of empathy byyour readers towards your characters. To carry out this process, in the first instance the theme of sympathy towards fiction characters will be addressed. Because of this, it is necessary to talk about compassion as a pillar of empathy. Finally, some conclusions will be given and a break point for next jobs and discussions will be generated.
The interaction between the work and the spectator, is often marked by the feelings that the latter manages to experience both the work itself, and with the characters. Even when the reader is aware that they are fictional situations;From the outset – for some – it is difficult to separate the rational part, which shows that what is being seen or read and the emotional part that gives rise to feelings and emotions is not real. In the divine comedy particularly, who has a feeling of condolence towards the reprobes and in some cases, scandalizing due to those punished who may seem "unfair" by that God and the same Dante, in author’s position, being creatorof these penances.
That said so far, starting delimiting that it is sympathy, which according to Aertsen V (2017) "is an emotional state projected outwards, directed towards other people, and that is defined as the presence of an affective inclination towards them" (p.108). With what we can say that this feeling generates a positive affection towards a person and with it towards their behaviors. However, it is possible to make the clarification that sympathy can also be given towards a character, which can generate visceral reactions of sadness in the reader when the objects of sympathy face problems, and feelings of joy and emotion when they manage to improve their situation(Aertsen V, 2017). This same idea is reinforced by Plantinga (2009) who points out that "the sympathy for a character leads the viewer to show special interest in the well -being of the character and to develop strong concerns about the results of the story" (P. 149). All this leads to the fact that as previously reiterated, the viewer gets emotionally involved with the character by imagining him or a close being, how should be in his situation, using his imagination to evaluate the circumstances and possible emotions that may beLiving the character, this is what Goldman, in his work Simulating Minds: The Philosophy, Psychology, and Neuroscience of Mindreading calls as "Imaginative Empathy". Such is the case that is presented in the song V with the history of Francesca and Paolo, who are there for lust, which is one of the stories and punishments that most move within the work. Chiappo, L (1986) mentions that when reading these passages “we sink into an environment of great sadness and sweet nostalgia. There is something in our soul like feverish music, burning, longing and sweet and painful melancholy music ”(P.98). Which shows the feelings that can flood the reader in situations that put his moral system into play.
Something similar occurs with compassion, which is one of the pillars on which sympathy is established. "From the Buddhist perspective, compassion also implies being in contact with suffering, but also incorporates the feeling motivated to relieve the suffering of others and oneself" (Hanh, 2004; Kornfield, 2008; Neff, 2003b, cited byAraya, & Moncada, 2016). This means that compassion is one that manages to move in relation to the suffering of others, to the point of wanting to seek the relief of such suffering.
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