The stages show Rosalie’s enormous, ardent plans for the rescue and rehabilitation of Keggo, and they show the projection and the failure of the plans. They show work found for Keggo (through Simcox’s scholastic side) and lost and found again and again lost and still again. They show Keggo’s remorse and they show Rosalie’s forgiveness. They show it repeated and repeated. They show by degrees the gradual, and then the rapid, staling of Rosalie’s fond sympathies. They show her finally, immersed in her own purposeful interests, discovering to herself feelings in regard to Keggo on a plane with feelings discovered to herself in regard to her mother. It has been written: “Her mother was ageing rapidly. Rosalie could have wept to see the ageing signs; but somehow, seeing them, did not weep; was not moved; received the impression but was not sensitive to it; felt the tug but did not respond to the pull. Rather, indeed, was apt to be a little impatient.” It is not necessary to expand. Keggo was fast going downhill. Rosalie could have wept to see the downhill signs; but somehow, seeing them, did not weep; was not moved... rather, indeed... impatient. She had herself to think of. Youth’s an excuse for youth as childhood’s an excuse for childishness. Youth, still, like childhood, but unlike maturity, can be lost in its emotions, absorbed in them to the exclusion of all else, abandoned to them with all else pitched away as a swimmer discards his every stitch and joyously plunges in the stream. Youth is not accountable for its actions then: it is too happy or it is too sad. One oughtn’t to blame youth, immersed.