Though I've bowed out, I wanted to clarify: I was employing a loose connotation of each word when used in conjuction, which I thought would be understood in context.
"Anguish" as I used it here was meant to imply sincerity.
"Angst," though, is overwrought and melodramatic.
I thought the distinction clear, but evidently should not have made that assumption.
Again, overdramatic/insincere to
whom? If he were in front of an actual character in the show, then sure there'd be a case to be made. But more on that with the next point.
I considered (and consider) the observation both valid and germane. If the writers and directors can break the fourth wall and address me directly, then I have a certain license when discussing that particular ep, in my opinion.
Precisely my point. Are we to assume he's ranting and raving whilst talking to himself ... or is he wailing about "people ... dying out there" directly to the viewer? I thought the latter obvious ... and think it an emotional appeal that doesn't withstand cold scrutiny. The story could have been told in another fashion ... and the fact that it's the vehicle by which the story is conveyed does not render it immune to legitimate deconstruction.
Here's the thing, though. The episode comes close to breaking the Fourth Wall, but one final line in the end renders it moot: "Computer, erase that entire log." THAT has to be
obvious (to borrow your word) then that he wasn't addressing the viewer but the captain's log; after all, he outright says it, and that device right there reaffirms the wall (seriously, if Occam's Razor ever applied to anything in DS9...). There's no acknowledgement of the audience itself, unlike Blazing Saddles or Sir Lawrence Olivier's take on Richard III, and audience acknowledgement is a
crucial component in all Fourth wall concepts. Does it toy with audience perceptions? Yes, it does, which helps plant the viewer further into Sisko's world, perhaps a tad unfairly. Does it break the Fourth Wall? No, because the writers revealed a way to frame the whole "monologue" while maintaining suspension of disbelief. It's like Clockers: replace a cop with a computer or a tape recorder and it's the same concept, and narrative cohesion is maintained.
With the Fourth Wall up and standing because of no audience acknowledgement, I again ask, who would Sisko be melodramatic to, especially in a log that becomes non-existant?
Warning: Audacity approaching: Of course, there's the possibility that you were so engrossed in the story that you did think that the writers were directly addressing the audience, and there's no harm in that. You could hate Sisko after such a thing yet find the story well-made and that'd be perfectly legit; I can't like Janeway because of Tuvix, but I can't deny that it was such a good episode and that the writing is what made me dislike Janeway. Like a good chunk of fiction, in cases like this, hate the character, not the narrative, ie Catcher in the Rye or whathaveyou. Debate the Sisko, not the way the story was told.
With that mouthful said, it true that the episode is designed to inspire discussion into Sisko's character as far as depth and development go (like the first three pages of this thread with semi-congenial thoughts going back-and-forth), I doubt the last line in the episode was ever up for debate.