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ASPECTS OF THE SOCIAL SCENE 1 9
time. In short, he was aware continually of a replica (and a quite accurate one, too) of that world he knew best, the 'common-sense' world of actuality.
Added to this common-sense world of full consciousness was the consimilitude the machine has with the dream-world; this very flicking quality, this instantaneous tacit hiccough eliminates the space-time continuum which is indissolubly with us in our waking existence. For in the super-real world of dream we go in no-time from London to New York ; we can occupy a duality, even a multiplicity of spaces simultaneously. And so we can in cinema. The partly submerged psychological condition of the spectator brought about by fusion of the actual and the super-real in this way, the visual images accompanied by no precise aural counterpart, almost does away with the use of thought entirely. We are called upon to exercise stimulus for recognization, that is all. The mind is not even asked to dwell upon the primitive symbolism of language except occasionally when a title appears. We are reminded of Warwick in Saint Joan when he says : c . . . there is nothing on earth more exquisite than a bonny book, with well-placed columns of rich black writing in beautiful borders, and illuminated pictures cunningly inset. But nowadays, instead of looking at books, people read them.' Warwick prefers to look; it is easier to look than to read. If to-day we call Warwick's preference proletarian we shall not be far amiss.