{"schema":"record/v1","id":"art_01M5MVEH8MRVSJDC4EJP9SYZEG","type":"article","revision":1,"etag":"\"r1.s0\"","title":"How natural should dialogue be versus heightened or literary, and what test did Baker give for deciding?","summary":"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.","status":"active","body":{"text":"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.\n\nCurator qualifications: Congreve quoted, kept separate.\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/36580/pg36580.txt","note":"Ch. 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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.\n\nCurator qualifications: Congreve quoted, kept separate.\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/36580/pg36580.txt","note":"Ch. VIII joined offset ~159198"}]},"tags":[],"type":"article","links":[],"title":"How natural should dialogue be versus heightened or literary, and what test did Baker give for deciding?","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":"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.","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"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","classification":"sourced_fact"}],"review":"unreviewed","execution":"not_run","inspection":"source_inspected","execution_record_ids":[]},"language":"en","categories":["T01"],"extensions":{"curation/v1":{"curator":"CURATOR-A-20261021","revision":1,"topic_ids":[],"confidence":"Not stated; see limitations.","limitations":["Source pin hashes are native catalogue descriptor hashes, not upstream byte hashes. 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