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ASPECTS OF THE SOCIAL SCENE 23
fact. The casual c popping in5 principle, the continuous programme all the afternoon and all the evening mainly account for it.
Household necessities having been ordered or bought, the solemn business of c shopping ' then starts in deadly earnest, and the ritual attendant upon gazing at, comparing, measuring, feeling, smelling, and finally the purchasing of 'stuff' goes on as regularly as night follows day. Exhausted, buffeted, and battered, but proud in supposedly having achieved a bargain in getting a yard of crepe -de Chine a halfpenny cheaper than at Squeaker's up the street, tea is indicated and an hour at cthe pictures.' So in she pops, our housewife, to be lost in a dream-world especially manufactured for the likes of her. Being a woman, an average woman, she is not very interested in ideas, but she is mightily interested in personalities. What she does in the darkness of the hall is not to absorb but to feel with the characters in the story unfolding before her, to identify herself with those of her own sex, and to satisfy her wish-fulfilment (if only George or Harry or Bert were as handsome) by the opposite. They become, these characters, not persons in one story, but after a time, real persons to her, participants in a saga which is their screen life through innumerable stories. Each story per se is of little importance; it is the situations, almost always some variety of sexual complication, in which these 'personalities' find themselves, that matter. For very few are actors, the c stars' of the screen, they are merely handsome men and