{"schema":"record/v1","id":"art_01M5MVFHXRC8KZ49YC1H9F4AV7","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What does Baker's Chapter II say about how action links to story logic (causality) and about why an audience cares what happens (stakes), and how does it compare with the Phillips and Archer rows?","summary":"1919 stage practice. Baker's chapter does not set out a causal-chain rule or use the words 'stakes', 'consequence' or 'suspense'. What it offers is narrower. On causality: action earns attention partly because it helps the audience understand the story, and his Romeo and Juliet reading shows the opening brawl characterizing the figures, clarifying the story and motivating the banishment edict; unnecessary bustle is described as crudely effective. On stakes: the nearest passage is the burning-house hypothetical, where audience emotion depends on characterization of the endangered figure and of the relative whose eyes we share. The comparison rows (Phillips 1914, Archer 1912) state firmer rules; Baker's chapter agrees in direction and differs in anchoring everything to audience emotion.","status":"active","body":{"text":"1919 stage practice. Baker's chapter does not set out a causal-chain rule or use the words 'stakes', 'consequence' or 'suspense'. What it offers is narrower. On causality: action earns attention partly because it helps the audience understand the story, and his Romeo and Juliet reading shows the opening brawl characterizing the figures, clarifying the story and motivating the banishment edict; unnecessary bustle is described as crudely effective. On stakes: the nearest passage is the burning-house hypothetical, where audience emotion depends on characterization of the endangered figure and of the relative whose eyes we share. The comparison rows (Phillips 1914, Archer 1912) state firmer rules; Baker's chapter agrees in direction and differs in anchoring everything to audience emotion.\n\nCurator qualifications: Chapter-bounded absence confirmed; Romeo and Juliet / burning-house readings are Baker's.\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. II lines 708-2033"}]},"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/36580/pg36580.txt","claim":"1919 stage practice. Baker's chapter does not set out a causal-chain rule or use the words 'stakes', 'consequence' or 'suspense'. What it offers is narrower. On causality: action earns attention partly because it helps the audience understand the story, and his Romeo and Juliet reading shows the opening brawl characterizing the figures, clarifying the story and motivating the banishment edict; unnecessary bustle is described as crudely effective. On stakes: the nearest passage is the burning-house hypothetical, where audience emotion depends on characterization of the endangered figure and of the relative whose eyes we share. The comparison rows (Phillips 1914, Archer 1912) state firmer rules; Baker's chapter agrees in direction and differs in anchoring everything to audience emotion.","locator":"ch. 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Baker's chapter does not set out a causal-chain rule or use the words 'stakes', 'consequence' or 'suspense'. What it offers is narrower. On causality: action earns attention partly because it helps the audience understand the story, and his Romeo and Juliet reading shows the opening brawl characterizing the figures, clarifying the story and motivating the banishment edict; unnecessary bustle is described as crudely effective. On stakes: the nearest passage is the burning-house hypothetical, where audience emotion depends on characterization of the endangered figure and of the relative whose eyes we share. The comparison rows (Phillips 1914, Archer 1912) state firmer rules; Baker's chapter agrees in direction and differs in anchoring everything to audience emotion.\n\nCurator qualifications: Chapter-bounded absence confirmed; Romeo and Juliet / burning-house readings are Baker's.\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. II lines 708-2033"}]},"tags":[],"type":"article","links":[],"title":"What does Baker's Chapter II say about how action links to story logic (causality) and about why an audience cares what happens (stakes), and how does it compare with the Phillips and Archer rows?","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":"1919 stage practice. Baker's chapter does not set out a causal-chain rule or use the words 'stakes', 'consequence' or 'suspense'. What it offers is narrower. On causality: action earns attention partly because it helps the audience understand the story, and his Romeo and Juliet reading shows the opening brawl characterizing the figures, clarifying the story and motivating the banishment edict; unnecessary bustle is described as crudely effective. On stakes: the nearest passage is the burning-house hypothetical, where audience emotion depends on characterization of the endangered figure and of the relative whose eyes we share. The comparison rows (Phillips 1914, Archer 1912) state firmer rules; Baker's chapter agrees in direction and differs in anchoring everything to audience emotion.","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"1919 stage practice. Baker's chapter does not set out a causal-chain rule or use the words 'stakes', 'consequence' or 'suspense'. What it offers is narrower. On causality: action earns attention partly because it helps the audience understand the story, and his Romeo and Juliet reading shows the opening brawl characterizing the figures, clarifying the story and motivating the banishment edict; unnecessary bustle is described as crudely effective. On stakes: the nearest passage is the burning-house hypothetical, where audience emotion depends on characterization of the endangered figure and of the relative whose eyes we share. The comparison rows (Phillips 1914, Archer 1912) state firmer rules; Baker's chapter agrees in direction and differs in anchoring everything to audience emotion.","locator":"ch. II lines 708-2033","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":["CAT:T01.28"],"confidence":"Not stated; see limitations.","limitations":["Source pin hashes are native catalogue descriptor hashes, not upstream byte hashes. 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