The first part of the year was very quiet, but in April Miss Browne returned and Anne becomes quite attentive to her, despite considering her family vulgar. This resulted in comment as the friendship was between the two women alone and not between their families. Anne finds many excuses to encounter her casually but there are no formal visits. Halifax society begins teasing Anne about the peculiar relationship. Anne also records encounters with more lower class persons who mock her for her masculine appearance and habits.
sexual/romantic desire
This tag is used broadly when there is discussion of erotic or romantic desire between women, whether or not specific activities are mentioned.
LHMP entry
It turns out that Miss Browne seems to be in love with a man that she's known for several years and is unhappy that her parents are set against him. It is becoming clear (even to the oblivious Anne) that Miss Browne has never seen Anne's interest as romantic. And after much internal conflict recorded in February and March, Anne's interest in her fades significantly.
At the time of the earliest journal entries, Marianne has already married and her husband has intercepted their correspondence, which included speculations on Anne and Marianne forming a household together after the (much older) husband's death. At this point Anne begins using her cipher in the correspondence for key passages, as well as in her journals, But relations with Marianne were becoming strained from the separation and Anne's thoughts turned once more to an earlier lover, Tib (Isabrlla Norcliffe), who was part of the York social circles of her youth.
This volume covers 1817 to 1824: Anne Lister lived from 1791 to 1840 at Halifax in West Yorkshire, England. Born one of six children, to an upper class family, the deaths of her four brothers enabled her to inherit Shibden Hall where she then lived with her Uncle James and Aunt Anne (unmarried siblings) from age 24 on, leaving her parental home. Finances were difficult at first but she seems to have had a talent far careful management and eventually had sufficient funds to travel.
The article begins by defending the use of the term "lesbian" by citing Brooten's evidence for a medieval sense of a woman who "behaves like a man" and "is oriented toward female companionship for sex" while raising several issues with that usage. But the author is examining a similar apparent contradiction in medieval texts to the one found by Brooten in early Christian texts: an acceptance (to some degree) of female same-sex unions combined with hostility toward female appropriation of male roles.
Female same-sex desire is generally presented in early modern drama in fictitious constructions: the desire is either mistaken or misdirected. Only in this last chapter do we see examples where knowing desire from one woman to another is presented positively, and may even be celebrated as an ideal over heterosexual desire. Things aren’t always straightforward, even so. Although the desiring woman may believe the object of her desire is a woman, not uncommonly the scenario is defused by involving a gender-disguised man.
This study covers almost 100 years of plays, from 1570 to 1662, spanning the Elizabethan period through the Restoration of Charles II. Within that scope, there is no clearly identifiable progression from one attitude toward female homoeroticism to another. While some scholars have suggested increasing constraints on the presentation of female homoeroticism toward the end of the 17th century, what this study has found is a wide variety of depictions throughout that period. This variety consistently exhibits condemnation of lust, but the valorization of selfless, romantic love.
Some writers object to examining cross-dressing dramas from a homoerotic viewpoint, noting that the act of changing clothes does not change orientation. But Walen emphasizes that the female homoeroticism in cross-dressing plays is situated, not necessarily within the sexual orientation of the characters, but in the dramatic tropes enabled by the cross-dressing motif. It is the audience, more than the characters, who experience the female-female desire.
This chapter focuses on the creation of homoerotic tension in a more asymmetric aggressive context, especially those involving a older experienced woman seducing a younger innocent, including those where the seduction (or assault) is triangulated around a male character that one or both women have a connection to. This motif stands in contrast to more idealized, egalitarian relationships such as those in Shakespeare’s As You Like It or A Midsummer Night’s Dream, or Lyly’s Gallathea.
There are as many as 80 early modern dramatic works that feature cross-dressed heroines, with overt motivations ranging from following a (male) lover, avoiding rape, scandal, or death, traveling freely, or as a deliberate expression of gender non-conformity. In roughly 30 of these plays (written between 1580 and 1660), the cross-dressing also precipitates female homoerotic desire in some fashion. This raises the question of how and why this motif was employed.
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