Abstract
There is a certain quality, easy to perceive but hard to define, possessed by abnormally interesting people. Call it ‘it’. For the sake of clarity, let ‘it’, as a pronoun aspiring to the condition of a noun, be capitalised hereafter, except where it appears in its ordinary pronominal role. Most of us immediately assume that ‘It’ has to do with sex, and we’re right, but mainly because everything has to do with sex. Most of us also think that ‘It’ necessarily entails glamour, and so it does, but not for long. Most of us think that ‘It’ is rare, and it is quite, even to the point of seeming magical, but ‘It’ is also everywhere to be seen. In fact, however elusive this quality may be in the flesh, some version of it will, at any given moment, fall within our direct view or easy reach as a mass-circulation image; and if not, a worthy substitute will quickly come to mind, even to the minds of those who, commendably, want to resist generalisations like these, along with the pervasive imposition of the icons they describe.
I belonged to the Public and to the world, not because I was talented or even beautiful but because I had never belonged to anything or anyone else.
Marilyn Monroe
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Notes
David Aberbach, Charisma in Politics, Religion and the Media: Private Trauma, Public Ideals (London: Macmillan, 1996), p. x.
For the more recent history of ‘It’, see Joseph Roach, ‘It’, Theatre Journal, 56:4 (2004), 555–68.
Elinor Glyn, It (New York: The Macaulay Company, 1927), pp. 5–6.
Eugenia Peretz, ‘The “It” Parade’, Vanity Fair (September 2000), pp. 313–82.
Max Weber, On Charisma and Institution Building, ed. S. N. Eisenstadt (Chicago, IL: University of Chicago Press, 1968).
Walter Bagehot, The English Constitution, ed. R. H. S. Crossman (1867; repr. Ithaca, NY: Cornell University Press, 1966), p. 86.
Elinor Glyn, Romantic Adventure (New York: E. P. Dutton and Co., 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: Andre Deutsch, 1994). In The Cat’s Meow (Lions Gate, 2002), Joanna Lumley plays Elinor Glyn to Kirsten Dunst’s Marion Davies.
Elizabeth Howe, The First English Actresses: Women and Drama 1660–1700 (Cambridge: Cambridge University Press, 1992), p. 34.
The Diary of Samuel Pepys, ed. Robert Latham and William Matthews, 13 vols (Berkeley, CA: University of California Press, 1970–83), VIII, p. 91.
John Downes, Roscius Anglicanus, ed. Judith Milhous and Robert D. Hume (1706; repr. London: Society for Theatre Research, 1987), p. 41.
Charles Gildon, The Life of Mr. Thomas Betterton, the Late Eminent Tragedian (London: Printed for Robert Gosling, 1710), p. 10.
Theatre in Europe: A Documentary History; Restoration and Georgian England, 1660–1788, ed. David Thomas and Arnold Hare (Cambridge: Cambridge University Press, 1989), pp. 12, 17.
See Joseph Roach, ‘Celebrity Erotics: Pepys, Performance, and Painted Ladies’, Yale Journal of Criticisrn, 16:1 (2003), 211–30.
Emile Durkheim, The Elementary Forms of Religious Life, trans. Karen E. Fields (1912; repr. New York: The Free Press, 1995), p. 208. See also Jeffrey Alexander and Phil Smith, ‘Introduction’, The Cambridge Companion to Durkheim (Cambridge: Cambridge University Press, 2005).
Roland Barthes, Mythologies, trans. Annette Lavers (1957; repr. New York: Hill and Wang, 1972), pp. 56–7.
Anthony Aston, A Brief Supplement to Colley Cibber, in An Apology for the Life of Mr. Colley Cibber (1740), ed. Robert W. Lowe. 2 vols (London: John C. Nimmo, 1889), II, pp. 299–300.
Richard Steele, The Tatler, ed. Donald F. Bond, 3 vols (Oxford: The Clarendon Press, 1987), II, p. 424.
Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York: Hill and Wang, n.d.), p. 94.
Edmund Burke, Reflections on the Revolution in France, ed. Conor Cruise O’Brien (1790; repr. London: Penguin, 1968), p. 176.
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© 2005 Joseph Roach
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Roach, J. (2005). Public Intimacy: The Prior History of ‘It’. In: Luckhurst, M., Moody, J. (eds) Theatre and Celebrity in Britain, 1660–2000. Palgrave Macmillan, London. https://doi.org/10.1057/9780230523845_2
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DOI: https://doi.org/10.1057/9780230523845_2
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