Renaissance philosophy tackled the question of friendship: who is an appropriate friend, what behavior should a friend exhibit, what is the relationship between the love of friends and sexual desire? Given the times, the majority of texts addressing this topic were concerned with friendships between men, though a nod was often given to Sappho as a proponent of female friendships, or to the possibility of “Platonic love” between women, which is given explicit license in the Symposium as well as by Renaissance writers commenting on it, as Agnolo Firenzuola did.
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
One of the premises of astrology is that it predetermines various personality traits, as well as aspects of the course of one’s life. As applied to sexual preference, astrology provides at least a vague analog to the notion of an inborn orientation toward certain types of sexual activities and partners, although the ways these activities and partners are categorized don’t necessarily align with modern categories.
Medical references to sex between women include several on the “rediscovery of the clitoris” theme as well as pseudo-medical explanations for same-sex desire, plus some titillating orientalism. Several of the texts cited here are classical but formed part of the corpus of standard medical literature in the Renaissance.
The introduction notes the extreme variation in how female same-sex relationships were treated, in terms of penalties, liability, and the means and extent of enforcement, including differing legal theories of whether the term “sodomy” could apply. As a generalization, consensual same-sex behavior was least prosecuted in England, while Florence may have regularly prosecuted relations between men but the penalties were relatively light, while in Spain penalties were regularly quite severe including execution, and similarly severe were those recorded in Geneva.
Robinson uses the pornographic L'Academie des dames to explore the portrayal of sex between women and of non-procreative sex in general in the later 17th century. The work is structured as a dialogue between two women: the older, experienced Tullie and her younger cousin Octavie who moves from fiancée to wife in the course at the book. It is a French adaptation of Chorier's Latin Satyra Sotadica which was published two decades earlier.
While the academic “queer studies” movement has analyzed a great many “high culture” works in literature and art, looking for evidence of same-sex impulses, this approach has been less useful for (or perhaps less interested in) an understanding of the ordinary lives of average people who might have had those same impulses. For this purpose, identifying lesbian motifs in works like the Roman de Silence or interpreting nuns’ adoration of vulva-like images of the wounds of Christ as homoerotic is somewhat beside the point.
Male-centric views of sexuality frame singlewomen either as lonely and frustrated (spinsters) or as dangerously promiscuous (whores), but this dichotomy ignores the possibility of the sexual desires of singlewomen being satisfied by other women. There is an idealized image of pre-modern lesbian that finds its epitome in the Ladies of Llangollen type from the late 18th century.
Benkov reviews how the squeamishness of medieval legal texts in indicating how the word "sodomy" is applied to women's acts effectively erases the lesbian nature of their activity: “women with each other by detestable and horrible means which should not be named or written about.” Which text is placed beside for more simple and clear descriptions of men participating in anal intercourse. Crompton (1980) addressed the question of prosecutions of women for sodomy up to the French revolution, but little additional material has been added since.
Chapter 2
This chapter covers the same material as Amer 2001 covering the 12th century Livre des Manières by Etienne de Fougères. (See also Clark 2001 for more details on the poem's language.)
Pages
