The motif of the passionless woman was invented by medical writers in the 18th century in England and then promulgated more generally initially via fiction. This totally upended the previous idea of female sexual desire, envisioning women’s sexuality as entirely distinct from men’s.
The Female Husband (Henry Fielding)
18th century fictionalized biography of the real-life Mary Hamilton. In the fiction, Hamilton was seduced by a woman but after being abandoned by her, began living as a man and had several sexual relationships with women, including marriage in some cases.
LHMP entry
Although the date of this article should serve as a warning for homophobic content, it presents an extremely thorough dissection of three topics: the evidence for Henry Fielding as author of The Female Husband, the relationship of The Female Husband to the objective facts of Mary Hamilton’s life and trial (i.e., tenuous), and the most likely sources for Fielding’s fictional additions and substitutions. I’m going to skim over much of the detailed evidence, but will use this opportunity to include the text of the primary sources that Baker quotes.
In 1746, a young woman named Mary Price discovered that her recently-wed husband was assigned female at birth. She considered herself to have been defrauded and brought the matter to the attention of the law. Her husband was tried and found guilty under the vagrancy laws. England had no laws that addressed cross-dressing or gender-crossing specifically, and the legal records indicate that the system did a certain amount of head-scratching to figure out what charges to bring—though they were clear that they planned to find something.
This is a startlingly (I might say unexpectedly) excellent and comprehensive survey of lesbian-relevant history in Early Modern Europe. That actually makes it difficult to summarize (as well as difficult to tag, though I’ll give it my best shot). I think I’ll approach it by noting themes and topics, without necessarily trying to compose complete sentences.
This article looks at the culture of public masquerade entertainments in 18th century England (primarily London), especially in how they promoted and supported an atmosphere of sexual liberty. This reputation of masquerades is solidly documented in social commentary and fiction of the time, such as the works of Pope, Hogarth, Fielding, and others.
In this article, Lanser examines the intersection of changing conceptions of sexual difference (i.e., the difference between male and female) and changing attitudes toward sexuality in the 18th century, specifically with regard to how female homosexuality plays a part in these processes.
Manion’s book Female Husbands: A Trans History came out in 2020. This is something of a “teaser” article in what appears to be a local history magazine (rather than an academic journal) presenting information from that research that is specific to Pennsylvania. See the Project’s coverage of the later book for a broader picture.
Changes in understandings of Lesbianism in the 18th century can be illustrated by newspaper and legal accounts of “female husbands,” for example, the famous case of Charles/Mary Hamilton. Hamilton’s case was not particularly unusual, but the attention given to it was. Hamilton was working as a quack doctor, who courted and married the daughter of his landlady. Two months later, the bride announced that her husband was a woman and a legal inquiry resulted, including depositions by both partners.
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.
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.
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