
"Socratic Love". Erotic painting by Edouard-Henri Avril, depicting Socrates getting ready for sexual intercourse with his pupil, Alcibiades.
The Uranians were a small group of poets, who constituted a pederastic artistic fellowship during Victorian England. While their exact membership is unknown, three major figures stand out: Gerard Hopkins, Walter Pater, and, of course, Oscar Wilde. The Uranians saw themselves not as a “subculture”, but as the culture, the true heirs of the Western Greco-Roman tradition. As Pater wrote in his piece, The Renaissance (1893), “Hellenism is not merely an absorbed element in our intellectual life; it is a conscious tradition in it”.
This profound admiration for the Classical world is probably rooted in their elite education. In fact, all of the Uranians were educated at Eton and/or Oxford in a ‘Greats curriculum’ based on the close reading of Greek and Latin texts. As a result, they all shared an appreciation for a Greco-Roman world in which ‘paiderastia, or boy-love, was a phenomenon of one of the most brilliant periods of human culture’. Hence, even at their most oblique, these writers were Classically allusive enough to have been understood by their Oxford-educated coterie, a coterie to which they were often responsive, a coterie that can rightly be said to have constituted a ‘fellowship of pederasts’.

"The Hit", by Lord Frederick Leighton
Far from a means of evasion, allusions to the Greeks were a tool for valorization in a strategy for social acceptance. Surveying the allusions, one sees that they are largely to asymmetrical relationships, either clearly age-structured, or between a god and a mortal, or a warrior/hero and his protégé […], or various combinations thereof. […] Such relationships today are regarded as inherently morally culpable, paternalistic and patronizing at best, exploitative or even ‘abuse’ at the worst; to hold up such relationships as an ideal is accordingly viewed either as self-justification on the part of the ‘superordinate’ party, or hypocrisy. Yet this inequality is part of the objective outline that Uranians saw in their Greek mirror; the Greek relationships were asymmetrical, and the Uranians saw themselves in this outline and filled in their own features. After all, the Uranians believed that Grecian pederasty had not only been sanctioned by the gods, but had also seeded Western philosophy, had spurred military bravery, had inspired the highest arts, and had cradled democracy.
Of course, their views were at odds with the social and moral norms of Victorian England, so the poets were forced to navigate between the Victorian norms and those of the ancient Greeks. As a result, there were different approaches on how to deal with the “boy issue” among the Uranians. On one hand, there was a compromising view, that which was conciliatory to the era’s social orthodoxies. Gerard Hopkins (a Jesuit priest) sublimated most, if not all, his pederastic desires. So did, for the most part, Walter Pater (though he did actualize his desires once, which threatened his academic career). On the other hand, there was a perversely dissident view. Instead of adjusting boy-worship to the time’s norms, Uranians like Oscar Wilde overtly rebelled against them, and in fact actualized almost all of his the pederastic impulses.
There was also a common distaste for women among the Uranians. Unlike today’s “gay men”, the Uranians were strongly masculine, and were frontally opposed to feminism or egalitarianism (theories in which today’s gay rights movement are actually based on). Uranian poet John Addington Symonds’ translation of the ancient Greek dialogue Erôtes is, in this regard, quite paradigmatic:

Not only did the poets voice a clear preference for boys, but Uranian writers, such as Frederick Rolfe were deeply misogynistic. The Uranian landscape was dominated by men – their bodies and activities, their forms of beauty – often hailed at the direct expense of women. A scathing passage from Rolfe’s The Desire and Pursuit of the Whole expresses the author’s view about the body of women, and indicates a strong revulsion towards females, to the point of describing their bodies as a “a parrot crossed with a jelly-fish”. These sentiments were not caused by, as many politically-correct critics hold, the “homosocial environment” the Uranians lived in. The Uranians did not repudiate women because they were surrounded by men. They repudiated women because they thought that even in the field of beauty, boys were much superior to women. Consider these other two poems:

√ This concludes part I on Pederasty and Victorian England. Since it is a very extensive topic, I deemed it better to divide the posts into two or three instead of concentrating everything into one single post.Comments are suggestions are welcomed (and remember, they are totally anonymous, you do not need to provide your email or name, just leave it blank).
