In this chapter Traub looks specifically at the pastoral genre, and particularly that inspired by Ovid, as a context for portraying love between women as a temporary adolescent amusement that will eventually and inevitably give way to a marital (and therefore heterosexual) norm. The normalcy of bodily transformation in Ovid provided a context for exploring “accidental” female homoerotic desire. Motifs that were particularly fertile ground include Diana and her nymphs and the story of Iphis and Ianthe.
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 general topic of this chapter is the historic association of the clitoris with transgressive lesbian sex (as opposed to culturally-acceptable same-sex relationships). Traub begins by reviewing Freud's theory that vagina = heterosexual, clitoris = homosexual, and points out that this was not a new concept with him but merely the culmination of a long tradition.
This chapter begins with a look at allegorical images of what appear on the surface to be female same-sex erotic embraces. Images such as "Peace and Justice embracing" on the frontispiece of Saxton's 1579 atlas (in the cartouche above Elizabeth's head), or various paired embracing nudes in paintings representing Justice and Prudence or Faith and Hope raise questions of the public use of female homoeroticism for symbolic purpose.
In this chapter, Traub looks at representations of Queen Elizabeth as embodying the contradictions between a professional discourse that authorized female pleasure and mutual sexual relations, and the licensing of this only within the context of patriarchal marriage with its concurrent emphasis on female chastity outside marriage. In this context, Elizabeth stands as an icon--if not at all a typical example--of marriage resistance and the erotic possibilities for women outside marriage.
In this chapter, Traub looks at medical views of female erotic pleasure, the understanding of orgasm, and the “rediscovery of the clitoris”. She opens with the story of the Spaniard Catalina de Erauso who dressed and passed as a man through many adventures both in Spain and the New World, but returned to living as a woman when convicted of murder in order to escape execution. One key factor in her plea was her status as an “intact virgin”. This arbitrary physical state was considered the crucial attribute of “innocence” despite her admitted history of erotic encounters with women.
Renaissance drama provides a case study in how lesbian themes and female homoerotic potential can be hidden in plain sight simply by the denial of their possibility. Traub notes that even today one can find vehement denials of homoerotic content in such overtly suggestive works as Shakespeare’s Twelfth Night. And less overt content may only emerge into view through an awareness of the era’s understanding and encoding of female desire and forms of female intimacy.
The introduction begins with a consideration of the play Il Pastor Fido (The Faithful Shepherd) and the interpretation of a key scene in art, when the shepherd Mirtillo -- having disguised himself as a woman to gain access to the object of his desire, the nymph Amarillis -- comes upon the nymphs holding a kissing competition among themselves. He enters the competition (still in disguise) and is crowned the victor by Amarillis (the scene commonly portrayed in paintings).
This is a very brief (2 page) review of references to non-heterosexual erotic orientation in Chaucer’s Canterbury Tales. The Parson refers directly to both male and female homosexuality with scriptural context.[*] Other references are more oblique and coy (and primarily address male homosexuality).
This article looks at the Middleton and Dekker play (1608) The Roaring Girl based on the life of Moll Frith. One of Frith's several claims to fame was her habit of going about London openly wearing male clothing. That is, she made no effort to pass as a man or to use the clothing as disguise, but rather adopted it as a form of personal expression. The theatrical depiction of her similarly challenges gender expectations and anxieties, but obviously in a more self-conscious way.
In considering various types of transgressive cross-dressing (e.g., for theatrical purposes), Schleiner begins by looking at some literary models available within that context that focus around logistical gender disguise.
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