1462. But in how many cases does real life turn out to be a brilliant success for young married couples? Can one be sure that a young couple acting out the ideal marriage on the stage or screen are not in their private lives each onto their second or third marriage? And what about the writer himself? Is he still intoxicated by the love that was his source of inspiration when writing the play? Does one imagine that it still lasts? Can one be sure that the married life so highly praised and idealised by him in his play still thrives in his own life? Does one have any guarantee that he is not going through difficult divorce proceedings with a sexual partner like the one he praised or glorified so highly in his film or play? It is at any rate highly probable that he finds himself in sexual entanglements. And what about the audience itself? Indeed, older people, who have been married for a longer period of time and have long since have become furrowed and wrinkled by the trials and tribulations of marriage, can of course enjoy the glorious ideal of the marriage that is acted out on the stage, but it is not because it is something they themselves experience in abundance or something with which they have become completely satiated. If it were, the play or film would be of absolutely no interest to them. People have no desire to encumber themselves additionally or fill their consciousness with things they have had enough of. But when there are nonetheless so many people, including older people, who enjoy seeing films and plays it is because their fate has not been such that they have experienced to any great extent the great ideals that they see on the stage. In reality their lives gradually became an unsatisfied, marital hunger, which, in their heart of hearts or innermost selves, they still dream of having satisfied. Seeing this dream realised and fulfilled in flesh and blood, even if only in the form of a play on the stage or screen, is for them like having the flowerbeds of their dreams moistened with gentle summer rain. They, so to speak, revisit or are reminded of the lost or vanished paradise. They like to dream of the loved one they lost, or the loved one they want to win. And for this reason they like to go to a place where these dreams can be stimulated. And they cannot be better stimulated than through the sexual mirages or Fata Morganas, transformed into idealised marital happiness, produced for the stage and screen by love-intoxicated writers and poets.