In 1921, Parliament debated, but did not pass, a bill that would have criminalized “gross indecency between female persons” as part of a general male reaction to the new freedoms and social power women were obtaining. There was a belief that if women engaged in lesbianism, they would never again be interested in men.
England
Covering topics relating specifically to England or generally to the region equivalent to the modern United Kingdom. Sometimes lazily and inaccurately used generally for the British Isles, especially when articles don’t specifically identify the nationality of authors.
LHMP entry
The central premise of this chapter Is to examine how the law came to acknowledge the existence of sexual “indecent assault” by one woman against another. But the case used to illustrate this concerns a midwife who was hired to examine the virginity of an underage girl being procured for prostitution. The case had a number of complicating factors. The men doing the procuring were anti-prostitution activists and journalists, working to demonstrate how easy it was to obtain such victims. One focus of such campaigns was to raise the female age of consent from 13 to 16.
Changes in understandings of Lesbianism in the 18th century can be illustrated by newspaper and legal accounts of “female husbands,” for example, the famous case of Charles/Mary Hamilton. Hamilton’s case was not particularly unusual, but the attention given to it was. Hamilton was working as a quack doctor, who courted and married the daughter of his landlady. Two months later, the bride announced that her husband was a woman and a legal inquiry resulted, including depositions by both partners.
Derry begins by contradicting the myth that Queen Victoria was the reason there were no laws in England against lesbianism. There are three problems with this myth: no such law was proposed; if it had been, the queen wouldn’t have any power to block it; and such a blockage wouldn’t explain the earlier absence of such laws. But the lack of specific laws doesn’t equal the “benign neglect” suggested by some historians. The main policy against lesbianism was silencing. Laws would recognize lesbianism as “a thing,” whereas silencing was aimed at preventing it from being imaginable.
Introduction: Shifting Sisters
As a supplement to the discussion of records of women cross-dressing, the book has an appendix with quotations from the court records. It notes that these are not an exhaustive record—indeed the number of records is relatively small. It’s likely that the attention given to cross-dressing as an offence varied depending on what other concerns might draw attention, for example a rise in the concern over vagrancy in the 1590s.
In contrast with the backstories of cross-dressing women in Shakespearean drama, legal records of women wearing male clothing (either individual garments or complete outfits) were viewed harshly by civic authorities. The chapter opens with an exception: the case of Arabella Stuart cross-dressing to try to evade confinement and escape to the continent in 1611.
The afterword sums up the conclusion of the collection that the “all male stage” is a myth and an aberration, being true only of certain specific times, contexts, and locations. Women are absent from the stage only when “the stage” is very narrowly and carefully defined. The concept holds true in England only for a narrow range of time between the rise of private professional companies (displacing the earlier tradition of guild-sponsored plays) and the entrance of women into those companies at the Restoration.
“Jest books” and collections of short humorous tales were a staple of the 16th and 17th centuries. [Note: the genre has its roots even earlier, such as Walter Map’s 12th century “Courtiers Trifles.”]
This article looks at one particular example of this genre of recorded vocal performance that has far more evidence for female performance of jests than usual. The book is also unusual in the proportion of original contemporary material as opposed to “reprints” from previously published joke books.
This article discusses the gendered aspects of ballad performance, both in terms of who is singing, and in terms of the gender of the “persona” of the song. The “female impersonation” of the article’s title refers to male performance of songs representing a female “voice.” This is connected very tangentially to the practice of male actors performing female parts on stage. Like the previous two articles, I did not consider it very relevant to my interests.
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