{"schema":"record/v1","id":"art_01M5MVP9362DEPEG571T3XN829","type":"article","revision":1,"etag":"\"r1.s0\"","title":"In Butcher's Poetics VI, what arguments does the text give for plot over character and for action over description of persons, and what does 'character' mean there?","summary":"VI says tragedy imitates an action and life, not men, and that character is subsidiary to action; the plot is 'the end' and 'the soul'. It argues from the possibility of tragedy without character, from the weaker effect of well-made character speeches without plot, from reversal and recognition being plot parts, and from a painting analogy. 'Character' there means revealed choice, so speeches showing no choice do not count. Baker's different emphasis is compared by candidate ID only.","status":"active","body":{"text":"VI says tragedy imitates an action and life, not men, and that character is subsidiary to action; the plot is 'the end' and 'the soul'. It argues from the possibility of tragedy without character, from the weaker effect of well-made character speeches without plot, from reversal and recognition being plot parts, and from a painting analogy. 'Character' there means revealed choice, so speeches showing no choice do not count. Baker's different emphasis is compared by candidate ID only.\n\nCurator qualifications: Plot over character; narrow 'character' sense; Baker comparison by summary.\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/1974/pg1974.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/1974/pg1974.txt","claim":"VI says tragedy imitates an action and life, not men, and that character is subsidiary to action; the plot is 'the end' and 'the soul'. 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It argues from the possibility of tragedy without character, from the weaker effect of well-made character speeches without plot, from reversal and recognition being plot parts, and from a painting analogy. 'Character' there means revealed choice, so speeches showing no choice do not count. 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