As a playwright, you can cover a lot of waterfront without being able to hold your own against an expert in any of those areas. I have no illusions about that.

We are tied down to a language which makes up in obscurity what it lacks in style.

If the audience is made to do not enough work, they resent it without knowing it. Too much and they get lost. There's a perfect pace to be found. And a perfect place that is different for every line of the play.

Act first! The ideas will follow, and if not - well, it's progress

He's never known anything like it! But then, he has never known anything to write home about, so this is nothing to write home about.

We give advice by the bucket, but take it by the grain.

Poetical feelings are a peril to scholarship. There are always poetical people ready to protest that a corrupt line is exquisite. Exquisite to whom? The Romans were foreigners writing for foreigners two millenniums ago; and for people whose gods we find quaint, whose savagery we abominate, whose private habits we don't like to talk about, but whose idea of what is exquisite is, we flatter ourselves, mysteriously identical to ours.