Skip to content Skip to navigation

sex between women

 

This tag is used for any general discussion of erotic physical activity between women or one where more specific terms are not mentioned.

LHMP entry

Anne is depressed after Marianne leaves in January. During a visit from Tib Anne tells her that she is no longer as interested in "sleeping with" other women. (Presumably based on the explicit pledges she exchanged with Marianne.) It's unclear whether this is meant to be euphemism or literal but the context suggests the former. Tib teases her about this and continues in the mistaken belief that she will be Anne's life partner at some point. But Anne continues to be less than honest with Tib about her commitment to Marianne, of whom Tib continues to be jealous.

While staying with the Belcombes in York, Anne gives Miss Vallance a copy of her secret cypher while at the same time saying she is “getting lukewarm about her.” Anne returns to Halifax in mid-January. In February she writes a very loving letter to Marianne and refers to her as “my wife”. In May she records a sexual fantasy about a local woman Caroline Greenwood, whom she admires, and there are regular notes through the summer about her attraction to various women, though none of these seem to go beyond admiration.

At the beginning of the year, Anne is once more being annoyed by strangers accosting her on the road and by impertinent letters. After yet another comment about an advertisement taken out in her name seeking a “sweetheart”, she consults a lawyer about the letters, but he advises her to take no notice of them.

In February she goes off to spend time in York with the Belcombes and Marianne. In March they are joined by Isabella (Tib) Norcliffe and it’s clear having all three women in one place is a bit uncomfortable.

It turns out that Miss Browne seems to be in love with a man that she's known for several years and is unhappy that her parents are set against him. It is becoming clear (even to the oblivious Anne) that Miss Browne has never seen Anne's interest as romantic. And after much internal conflict recorded in February and March, Anne's interest in her fades significantly.

This volume covers 1817 to 1824: Anne Lister lived from 1791 to 1840 at Halifax in West Yorkshire, England. Born one of six children, to an upper class family, the deaths of her four brothers enabled her to inherit Shibden Hall where she then lived with her Uncle James and Aunt Anne (unmarried siblings) from age 24 on, leaving her parental home. Finances were difficult at first but she seems to have had a talent far careful management and eventually had sufficient funds to travel.

This study covers almost 100 years of plays, from 1570 to 1662, spanning the Elizabethan period through the Restoration of Charles II. Within that scope, there is no clearly identifiable progression from one attitude toward female homoeroticism to another. While some scholars have suggested increasing constraints on the presentation of female homoeroticism toward the end of the 17th century, what this study has found is a wide variety of depictions throughout that period. This variety consistently exhibits condemnation of lust, but the valorization of selfless, romantic love.

Female same-sex desire is generally presented in early modern drama in fictitious constructions: the desire is either mistaken or misdirected. Only in this last chapter do we see examples where knowing desire from one woman to another is presented positively, and may even be celebrated as an ideal over heterosexual desire. Things aren’t always straightforward, even so. Although the desiring woman may believe the object of her desire is a woman, not uncommonly the scenario is defused by involving a gender-disguised man.

Some writers object to examining cross-dressing dramas from a homoerotic viewpoint, noting that the act of changing clothes does not change orientation. But Walen emphasizes that the female homoeroticism in cross-dressing plays is situated, not necessarily within the sexual orientation of the characters, but in the dramatic tropes enabled by the cross-dressing motif. It is the audience, more than the characters, who experience the female-female desire.

This chapter focuses on the creation of homoerotic tension in a more asymmetric aggressive context, especially those involving a older experienced woman seducing a younger innocent, including those where the seduction (or assault) is triangulated around a male character that one or both women have a connection to. This motif stands in contrast to more idealized, egalitarian relationships such as those in Shakespeare’s As You Like It or A Midsummer Night’s Dream, or Lyly’s Gallathea.

Images of women-loving-women were established enough in 16th century England to appear as a character type that was not so much defined as simply assumed, and therefore was available for reference both explicitly and obliquely. Within this general type, there were clear distinctions made between the motifs of desire between women and sexual acts between women. This chapter explores evidence for this character type in non-dramatic sources that were available to early modern English playwrights and their audiences.

Pages

Subscribe to sex between women
historical