Literary women who love women often lament being "the only one" or consider themselves outside of nature, but in the 18th century this begins being transformed into a sense of monstrousness. Versions of Ovid's myth of Sappho's late-life conversion to heterosexuality begin to presage this shift in the early modern era. Though a straightforward reading of Ovid's tragic ending would be that heterosexuality was the death of her, it began to be framed as a retroactive punishment for her previous love for women.
19th c
LHMP entry
Chapters 1-4
Chapter 2: Inseparables
While the Inseparable motif sometimes employs a male character to bridge the practical logistics of forming a female couple, it is more natural for a triangle of this sort to frame the man and woman as rivals for their shared object of desire. Sappho’s fragment 31 encapsulates the envy of a woman for the man who has the attention of the woman she loves. And in contrast to the common motif of-two men competing for a woman's love, when one of the rivals is a woman there is always an awareness that the playing field is badly uneven.
This article concerns an individual who may more properly be interpreted as transgender, however as noted a number of times before, in a historic context where heteronormativity is so strong as to impede the ability to self-define as a woman-oriented woman, interpretation can be ambiguous.
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