Analyses of Character Emotions in Dramatic Works by Using EmoLex Unigrams
Authors: Mehmet Can Yavuz (Sabancı University, 2020)
Topic: Sentiment, Emotion, Irony, Hate

Abstract
In theatrical pieces, written language is the primary medium for establishing antagonisms. As one of the most important figures of renaissance, Shakespeare wrote characters which express themselves clearly. Thus, the emotional landscape of the plays can be revealed from the texts. It is important to analyze such landscapes for further demonstrating these structures. We use word-emotion association lexicon with eight basic emotions (anger, fear, anticipation, trust, surprise, sadness, joy, and disgust) and two sentiments (negative and positive). By using this lexicon, the emotional state of each character is represented in 10 dimensional space and mapped onto a plane. This principle axes planes position each character relatively. Additionally, tempora-emotional evaluation of each play is graphed. We conclude that the protagonist and the antagonist have different emotional states from the rest and these two emotionally oppose each other. Temporal-Emotional timeline of the plays are meaningful to have a better insight into the tragedies.

Introduction
Shakespeare's plays are one of the most important works of early modernity with their dramaturgy, strong and in-depth characters and poems, that are all still contemporary. Antagonistically most powerful works of Shakespeare, who wrote in three genres, are tragedies. Tragedies have strong antagonisms and written language is the primary medium for establishing antagonisms. Therefore, the characters in these plays express themselves through dialogues or monologues clearly. By using the emotional association of each word, from this perspective, it is possible to reveal the emotional landscape of the plays. Emotionally positioning the characters relative to each other is important for further understanding of the structure of the plays. It is also important to extract overall emotional variations throughout the play to have an insight about the tragedies. In this study, it is aimed to answer these two questions by using word-emotion association lexicon with eight basic emotions (anger, fear, anticipation, trust, surprise, sadness, joy, and disgust) and two sentiments (negative and positive). These tasks are not only important for artificial literature (Lebrun, 2017; Yavuz, 2020), but also for the purpose of increasing artistic creativity through computerized analysis. The algorithmic study of literary works has given rise to objective criticism in literary theory, (Moretti, 2013). Accordingly, the discovery of new or previously theoretically laid out features of literary texts through mathematical experiments or statistics brought along conjunctions on literature, (Moretti, 2000; Yavuz, 2020). Art and criticism develop in parallel today as of yesterday. Computational linguistics enriched with fields such as advanced chatbots, conversational AI, or text style transfers, the fields give clues that artificial literature will also develop rapidly in the upcoming period. Whether it is a computer-assisted writing process or fully automated writing machines, these generative models need evaluation metrics. For this purpose, objective metrics should be developed for outstanding literary pieces such as Shakespeare, and for what makes these plays so great, if possible… Aim of this paper is in accordance with the previous works, (Yavuz, 2019; Yavuz, 2020), we would like to discuss objective and quantifiable reasons behind the literariness of a drama. In order to convey such analyses, each character in any play represented in 10 dimensional emotional space and mapped onto a plane. The emotional timeline of the plays are also revealed. We would like to overview the word-emotion association lexicon and dimension reduction algorithm. Then, the last section is left to discussions on the emotional states of the characters and temporal analyses of the emotions.

Conclusion
The traces of the tensions between characters are observable from the emotional aspect. As we show, the emotional positions of the protagonist, the antagonist and the main cluster gives much insight about the greatness such pieces. Any great tragedy needs emotional contrast between the main characters and there is always the main cluster. The temporal-emotional characteristics of the plays are also important and very much similar to each other. There are constantly increasing emotions as well as neutrals. Each play grows towards positive, joyful and trusty emotional state. This might be the reason behind a followable play. Positive feelings should accumulate.