{"schema":"record/v1","id":"art_01M5MV58DGC4BMPXE4ZWNC07V5","type":"article","revision":1,"etag":"\"r1.s0\"","title":"Archer says there are three planes of plausibility and that improbability is welcome in some genres: how does an agent decide which standard applies to an outline element?","summary":"Archer (1912, ch. XV) argues that what matters on stage is plausibility, not demonstrable probability; that plausibility works on three planes (external manners/costume/dialect; uncharacteristic events independent of the characters' will, where chance and coincidence belong; and psychological plausibility, which he says is 'vastly the most important'); that the second plane is 'its indispensable condition precedent' for some plays; that standards differ by form (realistic drama versus romances, farces and light comedies whose charm is 'delightful improbability'); and, citing Sarcey, that audiences swallow improbable antecedents (the past) more readily than improbabilities shown now. The result is a genre-relative audit: first tag the form, then apply the strict test only where the form makes a realism promise. All of this is one author's reasoning with chosen examples; no audience was measured.","status":"active","body":{"text":"Archer (1912, ch. XV) argues that what matters on stage is plausibility, not demonstrable probability; that plausibility works on three planes (external manners/costume/dialect; uncharacteristic events independent of the characters' will, where chance and coincidence belong; and psychological plausibility, which he says is 'vastly the most important'); that the second plane is 'its indispensable condition precedent' for some plays; that standards differ by form (realistic drama versus romances, farces and light comedies whose charm is 'delightful improbability'); and, citing Sarcey, that audiences swallow improbable antecedents (the past) more readily than improbabilities shown now. The result is a genre-relative audit: first tag the form, then apply the strict test only where the form makes a realism promise. All of this is one author's reasoning with chosen examples; no audience was measured.\n\nCurator qualifications: All 12 excerpts located; Archer's three planes of plausibility and genre tolerance as stated.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/10865/pg10865.txt","note":"candidate evidence excerpts"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/10865/pg10865.txt","claim":"Archer (1912, ch. XV) argues that what matters on stage is plausibility, not demonstrable probability; that plausibility works on three planes (external manners/costume/dialect; uncharacteristic events independent of the characters' will, where chance and coincidence belong; and psychological plausibility, which he says is 'vastly the most important'); that the second plane is 'its indispensable condition precedent' for some plays; that standards differ by form (realistic drama versus romances, farces and light comedies whose charm is 'delightful improbability'); and, citing Sarcey, that audiences swallow improbable antecedents (the past) more readily than improbabilities shown now. The result is a genre-relative audit: first tag the form, then apply the strict test only where the form makes a realism promise. 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XV) argues that what matters on stage is plausibility, not demonstrable probability; that plausibility works on three planes (external manners/costume/dialect; uncharacteristic events independent of the characters' will, where chance and coincidence belong; and psychological plausibility, which he says is 'vastly the most important'); that the second plane is 'its indispensable condition precedent' for some plays; that standards differ by form (realistic drama versus romances, farces and light comedies whose charm is 'delightful improbability'); and, citing Sarcey, that audiences swallow improbable antecedents (the past) more readily than improbabilities shown now. The result is a genre-relative audit: first tag the form, then apply the strict test only where the form makes a realism promise. All of this is one author's reasoning with chosen examples; no audience was measured.\n\nCurator qualifications: All 12 excerpts located; Archer's three planes of plausibility and genre tolerance as stated.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/10865/pg10865.txt","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"Archer says there are three planes of plausibility and that improbability is welcome in some genres: how does an agent decide which standard applies to an outline element?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"Archer (1912, ch. XV) argues that what matters on stage is plausibility, not demonstrable probability; that plausibility works on three planes (external manners/costume/dialect; uncharacteristic events independent of the characters' will, where chance and coincidence belong; and psychological plausibility, which he says is 'vastly the most important'); that the second plane is 'its indispensable condition precedent' for some plays; that standards differ by form (realistic drama versus romances, farces and light comedies whose charm is 'delightful improbability'); and, citing Sarcey, that audiences swallow improbable antecedents (the past) more readily than improbabilities shown now. The result is a genre-relative audit: first tag the form, then apply the strict test only where the form makes a realism promise. 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