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The comparison rests on relayed summaries and is untested; no source gives a decision rule for when they coincide.","status":"active","body":{"text":"Sargent defines the climax by what ends suspense about the object, not by a turn of fortune, and places it at or as near the end as possible, with crises ascending before it. Compared by candidate ID: Aristotle (relayed) marks a division at the turning point and gives no proportions; Phillips (relayed) agrees on a single-scene climax and brief conclusion; Archer (relayed) reports a stage norm Sargent rejects. The same outline can therefore have two different key beats, a suspense-end beat and a fortune-turn beat (my synthesis). The comparison rests on relayed summaries and is untested; no source gives a decision rule for when they coincide.\n\nCurator qualifications: Struggle/suspense/crisis/climax/anti-climax rules verified as Sargent claims, with examples labelled; relayed Aristotle/Phillips/Archer comparison is by candidate ID (relayed rows, not re-read); -07 agent check and L10 experiment are proposals, untested.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"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://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","claim":"Sargent defines the climax by what ends suspense about the object, not by a turn of fortune, and places it at or as near the end as possible, with crises ascending before it. Compared by candidate ID: Aristotle (relayed) marks a division at the turning point and gives no proportions; Phillips (relayed) agrees on a single-scene climax and brief conclusion; Archer (relayed) reports a stage norm Sargent rejects. The same outline can therefore have two different key beats, a suspense-end beat and a fortune-turn beat (my synthesis). 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Compared by candidate ID: Aristotle (relayed) marks a division at the turning point and gives no proportions; Phillips (relayed) agrees on a single-scene climax and brief conclusion; Archer (relayed) reports a stage norm Sargent rejects. The same outline can therefore have two different key beats, a suspense-end beat and a fortune-turn beat (my synthesis). The comparison rests on relayed summaries and is untested; no source gives a decision rule for when they coincide.\n\nCurator qualifications: Struggle/suspense/crisis/climax/anti-climax rules verified as Sargent claims, with examples labelled; relayed Aristotle/Phillips/Archer comparison is by candidate ID (relayed rows, not re-read); -07 agent check and L10 experiment are proposals, untested.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) offsets per candidate"}]},"tags":[],"type":"article","links":[],"title":"Where does Sargent (1916) put the crisis and the climax relative to the end of a photoplay, and how does his end-of-suspense definition compare, by candidate ID, with Aristotle's turning point (Butcher), Phillips (1914), Archer (1912) and other stakes/suspense 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":"Sargent defines the climax by what ends suspense about the object, not by a turn of fortune, and places it at or as near the end as possible, with crises ascending before it. 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