This chapter concerns Early Modern Ottoman, poetry, primarily about love, and primarily about love between men. This is not solely love of adolescent boys, but a wide array of male beloveds. Changes in cultural influences, especially westernization in the 19th century, reframed this dynamic as perverse. The focus of the article is Istanbul and relations between men, but one section of the article looks at female poets, and female same-sex topics.
18th c
LHMP entry
This chapter begins with a discussion of what is known about Sappho, her poetry, and her reputation among her contemporaries in ancient Greece. The tragically fragmentary nature of the written legacy of her work is traced, including the nine volume collection lost in the 9th century and the recovery of fragments of her work from papyrus sources in the late 19th and 20th centuries.
Introduction
In the second half of the 18th century, women established themselves as writers of novels in dramatic numbers, thus the genre is imbued with a diverse array of women’s concerns. The novels discussed in this book tell stories often at odds with the official cultural narrative. Within that diversity, they contribute to a common tale of women’s options and how they negotiate them.
Introduction
In the later 18th century, there is a conflict in the English imagination between the foreign, dangerous, “female friends,” personified by the image of sapphic Marie-Antoinette, and the positive image of such celebrated English female couples such as Ponsonby and Butler, Seward and Sneyd. Hester Thrale personified this conflict, expressing deeply negative views of sexualized female relationships, but praising and even engaging in intimate (but not overtly sexual) relationships between women, such as Frances Barney.
{The following material appears in the longer edition only.}
L'HERMAPHRODITE,
OU
LETTRE
D'ANNE GRANDJEAN
A FRANÇOISE LAMBERT SA FEMME,
Nec duo sunt, sed forma duplex; nec femina dici,
Nec puer ut possit, nec utrumque & utrumque videtur.
Ovid. Metam.
THE HERMAPHRODITE,
OR
LETTER
FROM ANNE GRANDJEAN
TO FRANÇOISE LAMBERT ZIR WIFE,
NOTA. Par Arrêt rendu en la Chambre de la Tournelle du Parlement de Paris, le 10 Janvier 1765, Monsieur le Procureur Général a été reçu appellant comme d'abus de la célébration du mariage d'Anne Grandjean, & ce mariage à été déclaré abusif; la Sentence de la Sénéchaussée de Lyon, sur l'accusation en profanation de Sacrement, a été infirmée, & l’Accusé a été mis hors de Cour; il lui a néanmoins été enjoint de prendre les habits de femme; avec défenses de hanter Françoise Lambert, & autres personnes du même sexe.
Mais nous avons annoncé des preuves d'un autre genre.
But we have announced evidence of another kind.
TROISIEME OBJET
Bonne foi de l'Accusé.
THIRD ISSUE
Good faith of the accused.
Il faut commencer par partir d'un point fixe; c'est que la mauvaise foi ne se présume pas, que la Justice suppose toujours l'innocence, & que pour condamner; il faut avoir contre l'Accusé des preuves de conviction.
On l'accuse d'avoir profané le Sacrement de mariage. Il ne l'a pas profané, s'il étoit de bonne foi: c'est le second objet que nous nous étions proposé de démontrer.
Zie is accused of having profaned the Sacrament of Marriage. He did not profane it, if he was in good faith: this is the second point we set out to demonstrate.
SECOND OBJECT
Point de profanation si l'Accusé étoit dans la bonne foi.
SECOND ISSUE
No profanation if the accused was in good faith.
Il est donc important ici de le faire connoître dans le détail; mais comme cette description peut tomber entre les mains de personnes dont nous craindrions d'alarmer la pudeur, nous croyons par délicatesse devoir nous servir d'une langue moins familiere.
It is thus important here to make it known in detail; but as this description can fall into the hands of people whose modesty we would fear to alarm, we believe by delicacy to have to use a less familiar language.
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