By Mary Luckhurst, Jane Moody
Those fascinating essays discover facets of popularity, notoriety and transgression in quite a lot of performers and playwrights together with David Garrick, Oscar Wilde, Ellen Terry, Laurence Olivier and Sarah Kane, studying the creative ways that those stars have negotiated status. The essays additionally examine the advanced relationships among discourses of superstar and questions of gender, spectatorship and the operation of cultural markets.
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It is to propose instead a lively repertoire of crowd-pleasing romantic comedies and tear-jerking histrionics as an alternative explanation of what passes for popular sovereignty in the age of mass communication, magnetic personalities, and endemic mendacity. In discussing the sentimental hold of monarchy on the imaginations of the English people, Bagehot’s keyword is visibility. Royalty, the aristocracy and the established Church (along with anyone else with glamour who might be recruited for the parade) provide the ‘visible form’ of English government, to which loyal emotion is due and by which it is extracted, whereas nameless, faceless bureaucrats provide the ‘efficient form’ of boring – hence invisible – service and regulation, the good offices of which effectively rule but do not reign.
13 She found her special doctrine of ‘spiritual disguise’ revealed in the heroes and heroines she created in fiction or sought out in her journeys, which took on the aura of pilgrimages. Her spiritual quest was for the iconic royals of an imagined dynasty of true glamour and noblesse oblige which ran from her putative Stuart forebears to their modern successors in Tinsel Town. 14 Not that this was an especially new idea to her or to the actors. 16 The key element of monarchical government, as Bagehot attests, is the public visibility of its sacred head, and His Majesty’s Servants made their sovereign intimately visible through their daily performances of all genres in his name, not merely on those rare and dangerous occasions when, as in the Exclusion Crisis, they edged too close to current events and seemed to mimic a reigning monarch or his deputies directly and critically.
N. Eisenstadt (Chicago, IL: University of Chicago Press, 1968). 6 Walter Bagehot, The English Constitution, ed. R. H. S. Crossman (1867; repr. Ithaca, NY: Cornell University Press, 1966), p. 86. 7 Bagehot, The English Constitution, p. 248. 8 Bagehot, The English Constitution, p. 249. 9 Elinor Glyn, Romantic Adventure (New York: E. P. , 1937), p. 11. For additional details and perspective, see Anthony Glyn, Elinor Glyn: A Biography (London: Hutchinson, 1955), Meredith Etherington-Smith and Jeremy Pilcher, The ‘It’ Girls: Lucy, Lady Duff Gordon, the Couturiere ‘Lucile’, and Elinor Glyn, Romantic Novelist (London: Hamish Hamilton, 1986); and Joan Hardwick, Addicted to Romance: The Life and Adventures of Elinor Glyn (London: André Deutsch, 1994).