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 produce it. I don't blame them, I want to thank them for it. I doubt if this sort of thing could have appealed to many theatre-goers then, especially as my young lovers are trying to be good, not bad. "Self-expression" and "the right to happiness" do not enter into their plans. The causes of their courageous and, of course, mistaken decision are unselfish and social motives, however futile and antisocial the results would have been had not their desperate determination been thwarted….When this play was first published most people were not thinking along these lines. Such ideas were considered radical then. They will soon be old-fashioned—even on the stage.

Kind and discriminating as the critics have been in regard to this comedy (a discriminating critic being, of course, one who praises your play), few of them have seen the point which I thought I was making emphatically clear, namely, that we can't cure social defects by individual treatment. Not only the lovers, but all the characters in this play are trying to do right according to their lights. There is no villain in this piece. At least the villain remains "off stage." Perhaps that is why so few see him. You are the villain, you and I and the rest of society. We are responsible for the rules and regulations