aspects of the rhetor's desire. This is what Burke calls the "Ubiquity of the Ratios", claiming that the composition of ratios "are at the very centre of motivational assumptions." For example, "The maxim 'terrain determines tactics' is a strict localization of the scene-act ratio, with 'terrain' as the casuistic equivalent for 'scene' in a military calculus of motives, and 'tactics' as the corresponding 'act.'" The analysis of a situation as a multi-faceted occurrence is central to Burke's concept of ratios. Likewise, the substitution of a dramatistic element with another can change an interpretation of the motive, allowing the analyst to modify the ratio in order to highlight the importance of a specific factor. For example, "the resistance of the Russian armies to the Nazi invasion could be explained 'scenically' in terms of the Soviet political and economic structure; or one could use the act-agent ratio, attributing the power and tenacity to 'Russian' traits of character. However, in deriving the act from the scene, one would have to credit socialism as a major scenic factor, whereas a derivation of the act from agents would allow for a much more felicitous explanation from the standpoint of capitalist apologists." The rhetor-agent also has a significant amount of power in crafting the perception of these ratios to their effect, "If an agent acts in keeping with his nature as an agent (act-agent ratio), he may change the nature of the scene accordingly (scene-act ratio) and thereby establish a state of unity between himself and his world (scene-agent ratio)." Scene-act ratio The scene, or the setting, will contain the act, or the what/actions. The way in which the agent interacts with the scene draws out specific analyses usually related to the atmosphere of the setting. While Burke states that, "It is a principle of drama that the nature of acts and agents should be consistent with the nature of the scene," some "comic and grotesque works may deliberately set these elements at odds with one another, audiences make allowances for such liberty, which reaffirms the same principle of consistency in its very violation." This reflects the division of most plays into very literal "acts", as the agents who construct the scene are very literally "acters" whose work is played against the backdrop of the scene.The actions that a person performs are interpreted through the setting or happenings. Scene-agent ratio A relationship between the agent (person)