The Ideology of the Unspectacular: Theatricality and Charles Lamb’s Essayistic Figure
Bibliographic record
Abstract
TheOEDdefines “theatricality” in essentially negative terms, as the degraded cultural progeny of the theatre itself, and in the process associates it with spectacle. Assuming cultic proportions in late-Regency London, theatricality, I argue, comes full circle to engulf theatre itself. Epitomized by the mesmeric Kean and an increasing reliance on spectacular effects, this is the point at which Lamb enters the argument. A combined study of theatrical culture and periodical writing in the Romantic period, I demonstrate how such a spectacularization of theatre informs Lamb’s performance with Elia of an “essayistic figure”. Through Elia’s ludic, phantasmal ontology in theLondon Magazine- in which the illusion of autobiography is enacted and the essay form transcended with assertions of fictive liberty - Lamb’s use of a persona is, like theatricality itself, derivative of theatre. Yet the frequent readjustment of expectations that Elia’s playfulness demands of the reader clearly designates Lamb’s as areaderlymode of theatricality that diametrically opposes the dominant model of ritualistic spectatorship. Indeed, Lamb’s career seemingly embodies the Romantic ambivalence over theatre identified by Mary Jacobus. Both failed playwright and avid theatre-goer, Lamb famously priveliges the reader’s over the audience’s experience of Shakesperare’s tragedies, then later - as Elia - celebrates artificial comedy for the escape it affords from the “diocese of strict conscience”. Elia can perhaps, therefore, be read as Lamb’s attempt at managing theatre on his own terms: an appropriation of its illusory, emancipative qualities to the unspectacular format of the familiar essay.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.005 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.005 | 0.029 |
| Scholarly communication | 0.009 | 0.003 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.002 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".