Belinda (Maria Edgeworth)
It’s always interesting to see the intersection of very different takes on the same set of historic data. Interpretations of the “romantic friendship” phenomenon and how it related to social reality are a great example. In contrast to interpretations that take middle-class models of romantic friendship as naively “innocent” of sexual overtones, Moore suggests that the concept of romantic friendship always existed in parallel with--and was a direct response to--awareness of the possibility of sexual relations between women.
Evidently the fame of the Ladies of Llangollen was such that it could induce even a male poet of Wordsworth’s fame to confine himself to the themes of romantic friendship. But the other male authors in this group wallow in the images of the mostrous lesbian seductress and the joys of sensationalistic lesbian decadence. The female authors are quite mixed: a satirical sterotype of a “mannish” lesbian, a diary with remarkably candid discussions of erotic relations between women, and a poem on the usual romantic themes.
There was a theatrical counterpart to the real life cross-dressing women discussed in the previous chapter. It had become the fashion for women to play certain types of male roles on stage, under the cover term “breeches parts”. This was part of the contradictory acceptance/rejection of women in male disguise. Acceptability was not related to how well the disguise was pulled off: “masculine” clothing among fashionable women (such as riding habits) might be mocked while women discovered after passing completely as soldiers might be lauded.