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The best of our theater is standing on tiptoe, striving to see over the shoulders of father and mother. The worst is exploiting and wallowing in the self-pity of adolescence and obsessive keyhole sexuality. The way out, as the poet says, is always through.

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Above all else, tragedy requires the finest appreciation by the writer of cause and effect. No tragedy can therefore come about when its author fears to question absolutely everything, when he regards any institution, habit or custom as being either everlasting, immutable or inevitable. In the tragic view the need of man to wholly realize himself is the only fixed star, and whatever it is that hedges his nature and lowers it is ripe for attack and examination.

MAGGIE, in pain: That’s what I mean; I’m a joke to most people.

QUENTIN: No, it’s that you say what you mean, Maggie. You don’t seem to be upholding anything, you’re not — ashamed of what you are.

MAGGIE: W-what do you mean, of what I am?

… But you didn’t, did you?

He turns to her in agony.

Laugh at me?

QUENTIN: No. He suddenly stands and cries out to Listener. Fraud! From the first five minutes! …Because! I should have agreed she was a joke, a beautiful piece, trying to take herself seriously! Why did I lie to her, play this cheap benefactor, this — Listens, and now unwillingly he turns back to her.

MAGGIE: Like when you told me to fix where my dress was torn? You wanted me to be — proud of myself. Didn’t you?