ABSTRACT
This chapter presents the temporarily inhabiting artistic evocations of pathological mood states in order to better understand how moods think, feel, and communicate the state of things. It discusses and considers why the moods in the three examples may be described as 'mad' or pathological than with what the artistic articulations of mood may invite their audiences to feel. The chapter suggests that the several artists, in related manners, trying to grapple with what 'pathological' mood may be trying to tell the people about being a feeling being in the world. A slide to atmosphere may productively begin to fray the edges of an individualised, private notion of mood to something altogether more atomised and worldy. It is thus possible to understand the play as engaged with melancholia without locating the 'fault' or origin within the individual women themselves. If the ordinary logic of realist stage objects is distended in 'night, Mother, one likewise witnesses a smudging of time signatures.
