It allows the audience — and Mildred — a chance to enjoy a rare moment of
pure happiness because in many ways, this will be the highest point for the character before everything gradually begins to crumble around her in the following episodes.
Now this totality is not given but demanded; it can not be given, not only
because the critique of the transcendental illusion accompanies it without fail, but
because practical reason, in its dialectic, institutes a new antinomy; what it demands, in fact, is that
happiness be added to morality; it thus requires to be added to the object of its aim, that this object may be whole, what it excluded from its principles, that they might be
pure.