In the Reader Emotion column, only two entries qualify as emotion in the traditional sense of the word: "fear" and "rejoice." "Hope" and "despair" are similar to emotions (mostly "liking" or "admiration"and / or "fear"), but "care" and "wrestle" are not. I'm not saying that caring and wrestling aren't significant components of the audience's emotional journey, but they are not emotions per se.

This distinction is important because there are many emotional trajectories for the reader besides the 6 stages you describe here. In the initial phase of some stories, for example, the audience doesn't care ABOUT the protagonist in the sense of caring FOR the protagonist, e.g. "American Psycho" or "The Ladykillers." The audience simply wants to know how things will turn out for the protagonist, which is more akin to curiosity than to admiration.

When the audience "wrestles" with the solution (usually in Act 2), they are often FEARING that the protagonist's solution / course of action will not work out (typically in the second half of Act 2). But that's just one of many possible emotions that the audience experiences at that point. If you drew a line to represent the audience's emotional journey, the image would look more like a series of many zigzags than a continuously sloping line.

The typical film script has something like 30-60 scenes, and in a compelling story, the audience will have an emotional response to each scene--that's 30-60 emotions. In a novel, there may be many more discrete emotions. If these emotions are neatly compartmentalized / divided into 6 boxes, with each box invoking the exact same emotion for the same length of time, the story will likely seem formulaic or monotonous.

I think you've hit on something very important and useful here--that the protagonist's journey is a vehicle for evoking emotions in the audience. But while the protagonist's journey may fit into a familiar template, the audience's emotional journey is (and should be) much more complex.