What mistakes does Phillips (1914) name in Chapter V when a scenario is meant to show rather than state: what should a beginner not write?
1914 practice (Phillips): the one phrasing he explicitly calls wrong is telling the actor what to register: 'Annie registers anger', because a character who 'registers' his own heart is 'merely an actor' pretending. He also warns against equating action with violent surface movement, against over-emphasising emotional symbols, against sounds that do not bear on the action, and against 'poverty of expression' (including 'inexpressible'-type confessions). Two failure modes the lead asked about, unphotographable description and literary language, are not named as faults in Chapter V; he asks for more command of language, not less.
1914 practice (Phillips): the one phrasing he explicitly calls wrong is telling the actor what to register: 'Annie registers anger', because a character who 'registers' his own heart is 'merely an actor' pretending. He also warns against equating action with violent surface movement, against over-emphasising emotional symbols, against sounds that do not bear on the action, and against 'poverty of expression' (including 'inexpressible'-type confessions). Two failure modes the lead asked about, unphotographable description and literary language, are not named as faults in Chapter V; he asks for more command of language, not less.
Curator qualifications: Named fault verified; 'register' reserved for hearing a sound.
Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
{
"citations": [
{
"url": "https://www.gutenberg.org/cache/epub/70937/pg70937.txt",
"note": "Part I Ch. V"
}
]
}Evidence claims
- [sourced_fact] 1914 practice (Phillips): the one phrasing he explicitly calls wrong is telling the actor what to register: 'Annie registers anger', because a character who 'registers' his own heart is 'merely an actor' pretending. He also warns against equating action with violent surface movement, against over-emphasising emotional symbols, against sounds that do not bear on the action, and against 'poverty of expression' (including 'inexpressible'-type confessions). Two failure modes the lead asked about, unphotographable description and literary language, are not named as faults in Chapter V; he asks for more command of language, not less. · locator: Part I Ch. V source
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| documentation | unknown | permitted | permitted | unknown | unknown | Applies to this original summary only, not to the cited sources. |