《分裂的王国》（1976）：

人生本是一场交际舞会——在这繁文缛节的文明中，在这逢场作戏的表演中，在这纸醉金迷的战场上，在这摩肩擦背的舞场上，请君莫忘人性背后潜伏着的动物本性。

“Man is a social animal,” said Spinoza.  Just below the surface of humans’ civilized veneer lurks an animal nature that cannot be ignored.  The scene is a cotillion ball where members of high society are dressed in formal attire – the gentlemen in tailcoats and the ladies wearing gowns and mirrored headpieces.  A baroque score vies for dominance with urgent, percussive 20th-Century music, reflecting the struggle between our gentler and more savage natures.  As primitive impulses emerge, the women plant seeds and bear progeny, while the men seem no longer to wear tails but bear tails.  They prance and stalk on all fours, and their totemic friezes suggest the prehistoric ancestors from whom we have descended.  Although the dance ends on a triumphant note with social structures intact, it has become clear that we are not separate from animals, we are animals.

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