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The realist position offers the best solution to the seeming paradox of feeling emotions in response to fiction. The alternative positions of factualism, counterfactualism and fictionalism all attack the problem by denying that emotions are really felt toward fictional characters and events. However, according to the realist position, the thesis to be denied is that emotions can be felt only toward characters and events that are believed to be real. The difference is not in the reality of the emotion felt, but rather in being a spectator of fiction instead of a participant in reality.

A previous interpretation on David Hume and the paradox of tragedy is questioned. It is shown that the resulting conversion theory is amisinterpretation of Hume and a misrepresentation of catharsis. A holistic approach to the paradox of pain and pleasure experienced in drama is required to establish a conversion theory which remains true to Hume's philosophy and tothe originally proposed premise.