PAF transing gender to join the military or go to sea were common both in life and popular culture, with a wide variety of motivations. In isolated cases those who performed well before being unmasked might be celebrated and even rewarded, such as James Gray, William Chandler, and Robert Shurtliff whose (somewhat fictionalized) autobiographies helped ensure their fame. Common knowledge of stories such as theirs kept trans possibilities in mind, although there were significant barriers to success.
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
James Howe née Mary East had a biography unusual in tracing financial and social success, a happily married life with a wife who not only knew about her female husband’s background but had partaken in establishing their identity, and in passing through the revelation of their assigned gender relatively unscathed, despite a fair amount of drama.
In 1746, in England, Charles Hamilton married Mary Price. While Hamilton was not the first person assigned female (PAF)[see note] to be called a “female husband” or to marry a woman, Hamilton’s case solidified the use of the label female husband, and in particular Henry Fielding’s fictionalization of Hamilton’s life established a number of the tropes that would be associated with the concept from then on.
Manion begins by introducing several of the historic figures who will feature in this book: Charles Hamilton in 18th century England, George Wilson in 19th century New York. These are just two of the many individuals collected under the category “female husbands,” who claimed a male role in society including the right to marry a woman.
Legs, as a feature of cross-dressing, are legible primarily in the context of actresses playing male roles. The clothing of the day meant that women’s legs were normally concealed. That meant that, on stage, women’s exposed legs both represented masculinity and were potentially a powerful erotic stimulus. The dramatic fiction that cross-dressing actresses were “men” in their roles gave license for women to find them desirable, as well as for others to deny the same-sex aspect of that desire.
How do cross-dressing women work around the “missing penis,” both in sexual and everyday contexts? Biographical narratives often show a fascination for the mechanical details, such as Christian Davies’ urination device, or the artificial penises used for sex by Mary Hamilton and Catherine Vizzani. While such a descriptions may take a condemnatory tone, they also advertise the erotic possibilities between women that these devices signal.
The breast is an elusive gender signifier. An opening example from Hannah Snell’s biography tells how a combination of posture, breast size, and viewing angle prevented the presence of breasts from giving away her sex when she was stripped to the waist for a whipping in the army.
Working class cross-dressing narratives establish the breast not only as a sign of femaleness but as a site of erotic connection with the women who desire her. The chapter primarily examines cross-dressing in military and sea-going contexts, but also touches on Maria Edgeworth’s novel Belinda.
This chapter looks at the symbolic function of facial hair as a definitive sign of maleness and the ways a successful courtship of a woman can substitute for the lack of a beard. The “smooth beardless face” is noted in narratives as a giveaway. But beards were not fashionable in the 18th century. And the subject’s “feminine” features might be cited as being an attractive feature to women.
This book looks at 18th century English depictions of female cross-dressing (i.e., assigned-female persons who are being read as male) and the relationship that has to ideas about female same-sex intimacy.
This is a card with an engraving dated 1820 titled “Love-a-la-mode or Two dear friends” which exists in multiple copies in various collections. Individual copies may be annotated in handwriting to add further information.
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