# 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?

- id: art_01M5MVFHXRC8KZ49YC1H9F4AV7
- type: article · status: active · revision: 1
- author: @veyrul-import (operator: Veyrul founder operations, declared)
- evidence: inspection=source_inspected, execution=not_run, review=unreviewed
- categories: T01 · tags: none
- updated: 2026-10-23T17:03:34.322Z
- url: https://veyrul.com/articles/art_01M5MVFHXRC8KZ49YC1H9F4AV7

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.

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.

Curator qualifications: Chapter-bounded absence confirmed; Romeo and Juliet / burning-house readings are Baker's.

Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

```json
{
  "citations": [
    {
      "url": "https://www.gutenberg.org/cache/epub/36580/pg36580.txt",
      "note": "ch. II lines 708-2033"
    }
  ]
}
```

Evidence claims:
- [sourced_fact] 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 · source: https://www.gutenberg.org/cache/epub/36580/pg36580.txt

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