“This Base Stallion Trade”: He‐whores and Male Sexuality on the Early Modern Stage

Abstract

Recent scholarship on early modern male sexuality has stressed the threat that sexual relations with women were believed to pose to manhood. Focusing on such plays as Middleton's Your Five Gallants (c. 1608), Fletcher and Massinger's The Custom of The Country (c.1620), and Davenant's The Just Italian (1630), this paper analyzes representations of male prostitutes for women to argue that cultural attitudes toward male sexual performance were more complex and self-contradictory than generally acknowledged. The patriarchal codes that warned against effeminating sexual desire and advocated parsimonious seminal “spending” are undermined by their own inherent corollary: the most masculine man is one who can demonstrate unlimited seminal capacity. Furthermore, it has been posited that the early modern period marked the beginning of a shift from “reproductive” to “performative” constructions of manhood, in which the manhood-affirming aspects of male sexuality gradually became unmoored from their traditional association with bloodlines and attached instead to penetrative sexual conquest. The class implications of this shift inform patriarchal anxieties about the superior sexual stamina of servant-class men and their bodily “service” to elite women. Representing a fantasy of empowering male sexuality that relies on detaching virile performance from effeminating desire—a physiologically absurd notion—and on providing sexual “service” while leaving intact both class and gender hierarchies, a successful he-whore like Middleton's Tailby or Davenant's Sciolto playfully challenges the dictates of patriarchal masculinity by fulfilling them in absurd and unorthodox ways. Ultimately, he illuminates just how untenable those dictates might be.