In the spring of 1895, Anglo-Irish author Oscar Wilde initiated a libel suit against John Sholto Douglas, the ninth Marquess of Queensberry, who had left a note at Wilde’s club accusing the playwright of “posing as a somdomite [sic].”1 Wilde lost his case when Queensberry provided ample evidence of Wilde’s traffic with male prostitutes – evidence that forced the Director of Public Prosecutions to bring criminal charges against Wilde for “gross indecency.” Wilde was tried twice on these charges: the first trial ended in a hung jury; in the second he was found guilty and received the maximum sentence of two years’ hard labour (see esp. Foldy; Holland; also Ellmann; Hyde; Taylor and Gee). Wilde’s fame as an author and wit, the stature of the marquess, and the salacious nature of the testimony led to a frenzy of public interest in the case: countless newspaper articles, cartoons, broadsheets, extra editions, and even poems were published to keep up with the British public’s appetite for information about the trials (Cohen 126– 209). Once Wilde was convicted, the coverage all but dried up, and his name disappeared from the headlines almost as quickly as it had been erased from the marquees of London’s West End, where his celebrated society plays suddenly proved unmarketable. Alan Sinfield and Ed Cohen have both argued that newspaper coverage of the Wilde scandal was responsible for a watershed moment in the history of homosexuality. For Sinfield, “our stereotypical notion of male homosexuality derives from Wilde, and our ideas about him” (vii) – ideas that we can trace back to 1895, when “the queer image may be observed at its point of emergence in press reports of the trials” (123; emphasis added). In this, Sinfield is echoing Cohen, who argues that what was on trial was the very personality of Wilde: in the libel suit, the jury was not asked to consider whether or not Wilde had committed sodomitical acts, but rather whether he was the type of person who might be inclined to commit or seen as likely to commit such acts. In other words, Cohen argues, we can see the trial as evidence of Michel Foucault’s famous
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