Historic Cross-dressing: Female Husband
In late 17th century England, the practice of boys playing female roles on stage became outmoded and even perhaps unacceptable to audiences. This was, of course, only made possible by women entering the acting profession to play those characters. But the growing unacceptability of male cross-gender performance did not translate to a similar rejecting of female cross-gender performance on the stage. In fact, women playing male roles became fashionable, though the nature of the practice changed during the course of the century.
[Note: I’d like to remind readers of my convention that my commentary and critique of articles is typically enclosed in square brackets, unless it’s clear enough from context that I’m speaking in my own voice. Otherwise non-bracketed text is meant to be understood as a summary of the article.
[Note: the use of the word “hermaphrodite” and its definitions in this article and the texts it examines is in reference to a historic concept--one that reflected a specific social construction. It is acknowledged and emphasized that “hermaphrodite” can be an offensive term in modern language in the context of gender, sexuality, or physiology.]
This article looks at French historical terminology for women who loved women to consider whether changes in the prevalent terminology reflected social shifts in attitudes toward such women, on the basis that “naming grants recognition”. Unfortunately the article is deeply flawed by unfamiliarity with earlier examples of some terms, and by overlooking terms that were as common as the ones considered (if not more so). This results in conclusions based on faulty premises.
This paper starts with a rather poetic framing of the French language of sexuality in the 16th century as “cornucopian in abundance”. The general theme is that this is an era when popular and slang terminology for same-sex and gender-transgressive behavior reflected this sense of expansive abundance in its variability and prevalence.
As with most general works on same-sex sexuality (and especially ones authored by men) this book is overwhelmingly focused on male sexuality. There is also the tendency usual in this context to suggest that texts, situations, and commentaries that don’t specifically include women can be extrapolated to them.
Chapter 1: Sex and the Middle Ages
Mills asks (rhetorically) why medievalists rarely discuss transgender frameworks of interpretation, given that medieval people had much clearer ideas about that topic than anything that might be called “sexuality.” Moral polemics focused less on sex acts themselves, than on disruptions of gender, in particular those that violated the strict binary contrast of “male = active, female = passive.” Androgynous (or intersex) persons were recognized as existing, but were required to choose a consistent binary gender identity (or celibacy).
In this chapter, Faderman reviews the historic and literary perception of women cross-dressing as men during the 16-18th centuries. She notes that women passing as men [or transgender men, although this framing was not typically used at the time the book was published] were considered a more serious issue than lesbian sex, as long as that sex was between “feminine” women. One difference was that sexual encounters could be framed as a transient amusement whereas passing women were engaged in a long-term transgression.
Friedli provides an extensive examination of “passing women” -- defined as women (using current terminology, it might be better to say “persons assigned female at birth”, but Friedli uses “women” and I will follow that here) who live, work, and/or marry as men for some period during their lives. This is specifically distinguished from theatrical cross-dressing or overt cross-dressing as a sexual signal. While the phenomenon is far from confined to the 18th century, there seems to have been a fascination with it in England, beginning in the late 17th century.