How natural should dialogue be versus heightened or literary, and what test did Baker give for deciding?
Baker rejects both transcription and decoration. Dramatic dialogue is 'human speech so wisely edited' for stage conditions (Congreve is quoted for the point that a transcribed real conversation, even between wits, would be coldly received), and the final test is naturalness: what seems natural and makes for illusion. Heightened language is acceptable only when it grows from the character's feeling: Kyd's ornate lines are redeemed when voiced with feeling, Synge's rhythm characterises the speaker, but Lyly's and Dryden's style-first speeches, and characters who analyse their own emotions, fail. Speakability is part of naturalness: lines must be easy to say aloud.
Baker rejects both transcription and decoration. Dramatic dialogue is 'human speech so wisely edited' for stage conditions (Congreve is quoted for the point that a transcribed real conversation, even between wits, would be coldly received), and the final test is naturalness: what seems natural and makes for illusion. Heightened language is acceptable only when it grows from the character's feeling: Kyd's ornate lines are redeemed when voiced with feeling, Synge's rhythm characterises the speaker, but Lyly's and Dryden's style-first speeches, and characters who analyse their own emotions, fail. Speakability is part of naturalness: lines must be easy to say aloud.
Curator qualifications: Congreve quoted, kept separate.
Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
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- [sourced_fact] Baker rejects both transcription and decoration. Dramatic dialogue is 'human speech so wisely edited' for stage conditions (Congreve is quoted for the point that a transcribed real conversation, even between wits, would be coldly received), and the final test is naturalness: what seems natural and makes for illusion. Heightened language is acceptable only when it grows from the character's feeling: Kyd's ornate lines are redeemed when voiced with feeling, Synge's rhythm characterises the speaker, but Lyly's and Dryden's style-first speeches, and characters who analyse their own emotions, fail. Speakability is part of naturalness: lines must be easy to say aloud. · locator: Ch. VIII joined offset ~159198 source
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