Fetish in Literature
Fetish in Literature
Fetish in Literature
The 19th century was a period of rapid social change. One may think of social change in the
Victorian period in terms of technological change; however there were also changes in demographics -
there was rapid population growth during much of 19th century, potentially due to the ardor concerning
sexuality. There were also major political changes, a growth in democratic fervor and a fear of revolution.
This relationship between capitalism and perversion became overt in the turn of the 19 th century, within
which any sexual bodily practices that weren’t procreative were labelled, thus giving way to the
classification of Fetishisms. In contemporary discourse, people exercise the word "sexuality” to make a
distinction between being gay and straight. Sexuality is far broader and deeper than this. Sexuality is the
capacity one has for carnality, consequently establishing Fetishism as a by-product of sexual character.
Fetishism is an extension of one’s sexuality, and is defined as interest in objects, body parts or situations,
not traditionally viewed as sexual. ‘Subdivision, classification, and elaboration, are certainly
distinguishing characteristics of the present era of civilization.’ 1(Cannibal Georga Sala). The Victorian
attitude seemed to be that if something could be categorised, it could therefore be controlled. Krafft-Ebing
deemed procreation as the purpose of sexual desire and that any form of recreational sex was a perversion
of the sex drive. This was in line with the assertion of the French psychiatrist, Alfred Binet, who had
coined the term ‘Fetishism’ as a perversion and believed it to be at the heart of sexual attraction.
At the height of the Victorian era, a daring enterprise of artists and thinkers frustrated the then
prevalent fascination with conventional conduct, denouncing the confines of sexual propriety in their lives
and work. This encouraged something of a cultural revolt - facilitating freedom of expression to be
exhausted behind the closed doors of many Victorians (upper middle class men), thus spawning an
abundance of Fetishism. Such radical perversion made way for an upsurge of extraordinary predilection,
from hair to flagellation, and societal to naval proclivity. Activities of this ilk are perpetual within the
literature that this case study explores. Pioneering texts primarily considered include Swinburne’s
pornographic poetry that champions flagellation, The Diaries of Arthur Munby and Hannah Cullwick,
1
George Augustus Henry Sala (2011). Pleasure Bound: Victorian Sex Rebels and the New Eroticism. London: W. W. Norton
& Company. 121
Robert Brownings’ Porphyria’s Lover, Oscar Wilde’s Dorian Gray and Stanisla de Rhodes’
Autobiography of a Flea. Through the rhetoric surrounding Fetishism, this essay aims to measure and
investigate what stimulated such deviance, and the ways in which it manifested in literature. By embracing
taboo, the aforementioned iconoclasts produced some of the most captivating art, literature, and ideas of
their day.
Literary Fetishism incorporates a wealth of themes and motifs; with one of the more prevalent
being that of Sadomasochism, the act of deriving pleasure, chiefly sexual gratification, from exacting pain,
suffering, or humiliation upon others and oneself; ‘The fact that psychological qualities can have the effect
of a fetish in a broader sense is demonstrated by the pathological facts of masochism and sadism’ 2. Sadism
and Masochism, construct a prevailing facet of Victorian Sexuality, and stem from Richard Freiherr von
Krafft-Ebing, whom coined the terms in his publication, Psychopathia Sexualis (1886) when discussing the
practice of flagellation. Sadism manifests through domination variants, and is wielded through mediums
such as gender, class, race and age, ‘Masochism is the counterpart of sadism in so far as it derives the
acme of pleasure from reckless acts of violence at the hands of the consort 3.’ Though an academic piece of
research, Psychopathia Sexualis also spread word of non-normative sexual practice and could thus be
considered pornographic.
One fundamental Victorian conduct concerned with sadistic power roles would be that of
Flagellation; the whipping or lashing of skin, often as punishment imposed upon an unwilling subject.
‘The propensity which the English most cherish is undoubtedly flagellation. 4’ (Swinburne)coinciding with
‘Vice Anglais’. This was more than likely the most common of sadomasochistic activity of the late 19 th
century; von Krafft-Ebing favours the belief that spanking is the cause of the first sexual excitation, thus
inciting masturbation – ‘on account of the dangers to which this form of punishment gives rise, it would be
5
better if parents, teachers and nurses were to avoid it entirely.’
Algernon Swinburne is a name symbiotic with flagellation, due to his innate fascination with the practice,
and subsequent works concerning flagellation as a central preposition, evidenced in his publications as a
2
R. von Krafft-Ebing (2012). Psychopathia Sexualis. New York: Forgotten Books . 90
3
R. von Krafft-Ebing (2012). Psychopathia Sexualis. New York: Forgotten Books . 52
4
Algernon Charles Swinburne (1995). The Whippingham Papers. London: Wordsworth Editions Ltd. 4
5
R. von Krafft-Ebing (2012). Psychopathia Sexualis. New York: Forgotten Books . 28
poet, playwright and novelist. As a proclaimed homosexual, and algolagnic, he was considered something
of a Uranian, a 19th century term used to define a third sex, ‘originally a female psyche in a man’s body’ 6.
His works were shocking to Victorian, once inherent, sensibilities. One particular poem of Algernon
Swinburne’s that demonstrates a preoccupation with flagellation is ‘Arthur’s Flogging’, which tells the
story of a young boy who’s fallen victim to the headmaster’s birch rod. ‘’Oh Birch! Thou common dread
and doom of all boys,’. 7The 52 stanza poem unremittingly allegorically narrates the merciless whipping
of a young boy. The length and exhaustiveness of the poem seems to be in alignment with the content, and
as a reader, one is obligated to empathize with the Arthur’s casualty. There is a palpable Eton influence on
Swinburne’s poetry, and ‘Arthur’s Flogging’ is a prime illustration of this. It’s a power imbalance, insofar
as the headmaster is older, bigger, and stronger than his victim, though the irony may be in that the
Swinburne enjoys and romanticizes the victimisation that comes with physical subjection, thus enabling a
degree of carnality – ‘Just where the broad bare bottom, smooth and plump, Flaked with red drops like
rose leaf fallen on snow, Sloped toward the tender thighs, 8’. Although ‘Arthur’s Flogging’ exhibits
technical virtuosity through its language and narrative, its conceivably long and compulsive repetition of
sadomasochistic eroticism evokes exhaustion. It is thought that Swinburne’s Eton experiences are the
central component in his captivation with the Flagellation fetish, and could also be in accordance with von
Krafft’s theory surrounding flagellation, and its ability to instigate sexuality from a young age, thus later
manifesting as fetish.
Throughout the Victorian era, sexuality became accountable for how the Victorians understood
not only themselves but the public/social divisions separating them, forming the significance of Society.
There were the extremes of wealth and poverty that emerged, during this period; Disrealli spoke of ‘two
nations in which the owners of capital accumulated great wealth and the poor deteriorated and tried to
survive on low wages and lived in appalling conditions’ 9. This may illustrate the motive as to why many
6
Lord Alfred Douglas (2010). Lad's Love: An Anthology of Uranian Poetry and Prose, Volume . Munich:
Valancourt Books. 103
7
Algernon Charles Swinburne (1995). Arthur’s Flogging, The Whippingham Papers. London: Wordsworth
Editions Ltd. 50
8
Algernon Charles Swinburne (1995). Arthur’s Flogging, The Whippingham Papers. London: Wordsworth
Editions Ltd. 51
9
Bill Spring. (2005). Victorian Sexual Attitudes. Available: http://www.byteboss.com/view.aspx?
id=2749039&name=msp_week_11._victorian_sexual_attitudes2.web. Last accessed 29th April
of the fetishist would tend to be middle and upper class white men, given that they felt the effects of both
wealth and chastisement . One should also consider the imperial dimension of upper and middle class male
sexuality, and the sexual adventures which empire made available to men of this class. None of this means,
however, that sexual activities were free for men, in the sense of guilt free; On the contrary, many forms of
sex were regarded with disgust. Men would report, to their diaries, for instance, being quite repelled by
what they did. This class division was a notable fetish that became prevalent in the period, instigating the
One notable figure concerned with such fetish is Arthur Joseph Munby, barrister and published
poet, whom in the first page of his diaries, notes – ‘simple and unconscious: thinking only, if she thought
10
at all, that she was very dirty and not fit to be seen’ in acknowledgement of Hannah Cullwick, a
Shropshire scullery maid. Upon graduating from Trinity College Cambridge, as a Barrister, Munby moved
to London. It was here that he exercised the habit of strolling industrial areas of the city, questioning
working class women on the details of their work and lives, and relishing the markers of class. It was here,
(1854) he sparked up a relationship with Hannah Cullwick – a servant, ‘maid of all work’. In his diaries
Munby confesses details of his infatuation with working class women, of which Cullwick personifies – ‘A
robust hardworking peasant lass, with the marks of labour and servitude upon her everywhere (…) such a
combination I had dreamt of and sought for (…) ‘If I ever have a sweetheart’, she thought, ‘he shall be
someone much above me; and I will be his slave’ 11. Cullwick followed a line of maids of whom Munby
had photographed, and collected the dirty hand prints of. One notable photo taken of Cullwick depicts her
as a chimney sweep, wearing a slave collar and wrist strap as a sign of Munby’s ownership. It’s also
important to note that the power play was as much sought by Cullwick as Munby – when Cullwick first
sees the Byron play, Sardanapalus, she immediately identifies with Myrrha, resolving that she too would
become slave to a master, - ‘and when I see that Myra [sic] as was the king’s slave, you know, I was took
with her! (…) if I was to love anyone, that’s what I should like: for him to be above me, and me to be his
slave’ 12– eerily similar to Munby’s diary entry. Through their relationship, Cullwick privately referred to
10
Derek Hudson (1972). The Life and Diaries of Arthur J. Munby 1828-1910. Cambridge: The Master and
Fellows of Trinity College. 107
11
Derek Hudson (1972). The Life and Diaries of Arthur J. Munby 1828-1910. Cambridge: The Master and
Fellows of Trinity College. 115
12
Hannah Cullwick and Elizabeth Stanley (1984). The Diaries of Hannah Cullwick: Victorian Maidservant.
Knightsbridge: Virago Press Ltd. 45
Munby as "Massa", an unsettling term of endearment that referred to her native Shropshire vernacular and
omitted it with that of the ‘negro slave whose blackness she replicated with soot’, as much for her own
satisfaction as for Munby’s. ‘Massa’ epitomizes all the social, sexual and racial inflections that make their
connection so forbidden and binding. By the turn of 1858, Hannah was working in London; and Munby
was educating her, and exhorting her to bear her life of service with humility. Although evidence suggests
that they never had sex, their relationship was highly sexual and ‘provided an arena for Munby to
The divide in years between lovers is prevailing, if oftentimes subliminal, in Victorian literature.
Late 19th century writers make little distinction between homosexuality and pederasty, oftentimes making
the assumption the two were synonymous. ‘The historical exactitude of ‘queer theory’ has formed an
overview of sexuality in relation to ‘pederasty’ as opposed to ‘homosexuality’ 14, but its uncertainty has led
to a refusal to amalgamate the moments in fiction when sexual activity between males may depart from
literal meaning, which reiterates consigned male-male sex to the wayside. Using Oscar Wilde’s works as
a point of reference, one can observe elements of veiled themes of homosexuality, and pederasty,
respectively. Pederasty emerges In ‘Portrait of Mr W.H. (1889), a story about an attempt to uncover the
identity of Mr WH, the enigmatic dedicatee of Shakespeare’s Sonnets; it communicates that the affection
given by an older man to a younger is not necessarily reciprocated - Characters Erskine and Shakespeare
are infatuated by youthful men; whilst the young run riot, behaving heartlessly, the elder men observe
subserviently, this uncaring, reckless and wilful behaviour. The point of mutuality in pederastic relations
seems worrying for Wilde, as he remains dubious about the place of sex in pederast relationships as it
Wilde’s infamous and most recognised novel, Dorian Gray, features vague narration of Dorian's "sins";
there exists an element of homoeroticism in the rivalry between Lord Henry and Basil, both of whom vie
for Dorian's recognition; nonetheless protagonist Dorian embarks on a series of adventures as his two
besotted elder companions fall away to the story’s wayside. ‘Wilde's editor JM Stoddart had already
erased a multitude of "objectionable" material from the novel before it made its debut in Lippincott's
13
Diane Atkinson (1988). Love & Dirt. Kent: Pan Macmillan Ltd. 138
14
Chris Bartle. (2004). Pederasty and Sexual Activity. Oscar Wilde's The Happy Prince and other tales. 1 (1), 1
Monthly Magazine in 1890’15, which however still led to the Daily Chronicle branding it ‘a tale spawned
from the leprous literature of the French Decadents – a poisonous book, the atmosphere of which is heavy
with the mephitic odours of moral and spiritual putrefaction’ 16. One amended excerpt originally read, ‘It is
quite true I have worshipped you with far more romance of feeling than a man should ever give to a friend.
Somehow I have never loved a woman (…)I adored you madly, extravagantly, absurdly. I was jealous of
everyone to whom you spoke. I wanted to have you all to myself. I was only happy when I was with you’ 17.
Here lies a trace of borderline pederastic intent, which is later supposedly exercised by Dorian himself,
thus suggesting a possibility that Wilde was using the novel as a vehicle to display his own lustings.
Thereafter, Gray also reflects on Hallward's feelings for him. "There was something infinitely tragic in a
romance that was at once so passionate and sterile". 18This was deemed untoward content, as it alludes to
homosexuality, and suggests another subtext of pederasty, which becomes a central topic throughout the
trials of Oscar Wilde. The later debasement of Dorian appears to transform what was once an innocent
charisma into a damaging influence. Basil even questions why Dorian's ‘friendship is so fatal to young
men’19, referring to the ‘shame and sorrow’20 that the father of one of the disgraced boys exhibits.
Elsewhere, even Wilde’s divulged epistle, De Profundis (1897) can be read as Wilde’s ‘lamentation of his
devotion to a younger man who had been inattentive to the elder’s wishes, needs, and counsel’ . Dorian
Gray is fitting with this theory as it illustrates a man’s “fetishist” obsession with youth and beauty.
In the Wilde Case Transcripts, Wilde openly advocates intimacy between an older and young man in a
speech in the courtroom – ‘It is intellectual, and it repeatedly exists between an elder and a younger man,
when the elder man has intellect, and the younger man has all the joy, hope and glamour of life before
him21’. This progressive, though ancient (Greek), ideology was unremittingly pressed upon in the
courtroom, by defence solicitor Edward Carson - particularly the themes and philosophy implied by
Dorian Gray – ‘It is said that in the month of July, 1890, Mr. Wilde published (…), a certain immoral and
15
Alison Flood. (2011). Uncensored Picture of Dorian Gray published. The Guardian. 1 (1), 1
16
Jad Adams (2007). Hideous Absinthe: A History of the Devil in a Bottle. London: Tauris Parke Paperbacks. 149
17
Oscar Wilde (2013). The Picture of Dorian Gray (The Original 1890 Uncensored Edition + The Expanded and
Revised 1891 Edition). Harvard: Belknap Press of Harvard University Press. 135
18
Oscar Wilde (2013). The Picture of Dorian Gray (The Original 1890 Uncensored Edition + The Expanded and
Revised 1891 Edition). Harvard: Belknap Press of Harvard University Press. 142
19
Oscar Wilde (2013). The Picture of Dorian Gray (The Original 1890 Uncensored Edition + The Expanded and
Revised 1891 Edition). Harvard: Belknap Press of Harvard University Press. 149
20
“ “““ “ “ “ “
21
Author n/a. (2009). The Criminal Trials of Oscar Wilde: Transcript Excerpts. Available:
http://law2.umkc.edu/faculty/projects/ftrials/wilde/Wildecriminaltranscript.html. Last accessed 2nd May
indecent work with the title of “The Picture of Dorian Gray”, which was intended to be understood by the
readers to describe the relations, intimacies, and passions of certain persons guilty of unnatural
practices’22. This supposed predilection of the love between a young man and his elder may be explained
Additionally, what Carson may have been referring to was the perception that Dorian in his journey of
self-destruction adopts a tendency to be intimate with particularly young boys. Carson adopts this mode of
attack later when quoting a poem by Wilde’s lover, Lord Alfred Douglas, beginning, ‘Sweet youth(…)’
and concludes with ‘love that dare not speak its name’23. Wilde’s defines the ‘love’ as ‘The Love that dare
not speak its name" in this century is such a great affection of an elder for a younger man as there was
between David and Jonathan, such as Plato made the very basis of his philosophy, and such as you find in
the sonnets of Michelangelo and Shakespeare.’ 24Wilde goes on to justify the love between an older and
younger man by describing it as ‘the noblest of affections’, and an ‘intellectual love’ implies a veiled
admission of finite pederasty. The case of Oscar Wilde, alongside his publications really highlights the
pivotality of Fetishism, whether it exist within the realms of literature or physical society. Here, it would
appear that what certifies as a fetish, can be the most intelligent and creative of fascinations, thus
Sin and wrongness associated with fetishism plays a fundamental role in the pornographic
literature of the 19th century. The scandal surrounding immorality induces an excitement and an
invigoration. Sex alone in the 19 th century was a discrepancy, and to embellish it with even more
insubordination would generate ultimate adventure and escapism. Stanislas De Rhodes’ ‘The
((Notable publications include the aforementioned Whippingham Papers, including poems by Algernon
Charles Swinburne, and a pirated edition of Sir Richard Burton's Kama Sutra)). The Autobiography of a
22
Carson. (2009). The Criminal Trials of Oscar Wilde: Transcript Excerpts. Available:
http://law2.umkc.edu/faculty/projects/ftrials/wilde/Wildecriminaltranscript.html. Last accessed 2nd May
23
Douglas Murray (2000). Bosie: Biography of Lord Alfred Douglas. London: Hodder & Stoughton Ltd. 12
24
Wilde. (2009). The Criminal Trials of Oscar Wilde: Transcript Excerpts. Available:
http://law2.umkc.edu/faculty/projects/ftrials/wilde/Wildecriminaltranscript.html. Last accessed 2nd May
Flea depicts the story of Bella, a woman blackmailed by a priest into a life of sexual perversion and
subservience. ‘Belle, young, childlike and so lately innocent, had suddenly become a woman of violent
passions. Now she lusted for hump without limit, or bounds of decency.’ 25Sin and wrongness are deep-
seated themes in this novel, and can be seen as a result of the mandatory restraint posited by the church.
Though Catholicism was supposed as complementary to classical Greece, it was challenged regarding its
separatism of sexuality and religion in critical practice. O'Malley's claim that ‘there is a persistent
conjunction of tropes of Catholicism with those of non-normative sexual expression or identity in the
literary, artistic, and polemical culture of nineteenth-century Britain and Ireland and, further, that that
26
conjunction reflects an ongoing contest over Britain's sectarian purity as well as its sexual values’ .
Rhodes’ novel illustrates the ultimate sin an ultimate setting - The act of rape, incest and polyamorous
sexual relations within a religious sphere, pandering to a myriad of Fetish. Religion, in this case, fails to
serve as a means of sublimating, masking, justifying, or celebrating desire in ways not always understood
acknowledged by the narrator, a flea; a philosophical love bug who frequents dark and intimate places. The
novel operates as a work of sexually explicit erotica and morality tale - the flea manipulates events to
ensure justice and the priesthood undergoes a damning review, as they define Bella, ‘a young girl, selected
from others for the qualities of her mind, is dedicated to the relief of the servants of religion’ 27. It may be
argued that the fetishism in the novel interprets anxiety surrounding an obsession with the need to control
and need to regulate and discipline, which is forcibly exercised in the conclusion of the book when Bella
The upper and upper middle class men of the Victorian Era had a wealth of sexual opportunities
availed to them. These men had wives who had virtually no legal rights, and certainly no right to withhold
their conjugal duties from their husbands. The wife had no right to say no, her body then was her
husband’s to dispose of. The enforced Passivity, that is not of alien occurrence in Victorian fetishism,
manifests within ‘Porphyria’s Lover’. Porphyria’s Lover, which was published in 1836, is of the earliest
25
Stanislas de Rhodes (2009). The Autobigography Of A Flea. Toronto: Harper Perennial. 14.
26
Patrick R. O'Malley (2006). Catholicism, Sexual Deviance, and Victorian Gothic Culture. Washington DC:
Georgetown University. 1
27
Stanislas de Rhodes (2009). The Autobigography Of A Flea. Toronto: Harper Perennial. 10
and most controversial of Robert Browning’s dramatic monologues. The poem chronicles a man alone in
his cottage, whom welcomes in a beautiful young woman from an ongoing storm. She initially functions as
the apathetic of the two characters, whilst he admires her movements as she ‘rises from the dripping cloak
and shawl’28, shedding garments that connect her to the outside world. The passivity exhibited by
Porphyria can be deemed an arousing and compulsive facet of character, driving the admiring narrator to
become urgently affected - The wrongness, and “misplacement” of power in the scene also serves as a
fetish. Hereafter though, the power balance shifts, which is evident even before the narrator throttles
Porphyria with her own hair – (the passivity is only ever displayed by Porphyria herself). The main
fetishism witnessed here (alongside passivity), is that of Hair. The femininity of her ‘displaced, yellow’
all her hair/in one yellow string (…) wound three times her little throat around’ 29to kill Porphyria. It may
seem there exists a ‘desire to possess, collect, touch, watch and show hair collapsed, as it carries some of
the traditional distinctions between compulsive and consumption, sexual perversion and idolization of
inanimate objects’30., thus implicating hair as venue between the animate and inanimate. Here also exists
the concept that loose hair denotes virginity and innocence. Even in Psychopathia Sexualis, von Krafft
reports on hair fetishism as ‘ the first and foremost fetish among all those centred on bodily parts’ 31. After
Porphyria’s death in the poem her total subjection by the narrator is accentuated by her seemingly ‘smiling
rosy lips’32; this doll-like attribution suggests an infantilisation and possible eternalising of virginity. The
narrator recognises his killing of Porphyria as a sin, in that he realises God has not punished him for the
murder. It displays parallels to other works by Browning as it again depicts a male character who
objectifies, uses, and abuses women by projecting their wishes upon them, The Duke Of Ferrara And
Count Guido Franceschini being the most evident examples. The climactic ‘mine,mine’ is made possible
by the romantic absolutism that assures the lover of his power to possess, to control, to save, and to
avenge. He too, the line insists, is ‘happy and proud’ 33the triumph with which his narrative has charted the
woman’s self-abasement now permits the emotional spontaneity of ‘surprise’, accompanied by the sexual
28
Robert Browning (2006). Porphyria's Lover, The New Penguin Book of Love Poetry. Cambridge: Penguin. 26
29
Robert Browning (2006). Porphyria's Lover, The New Penguin Book of Love Poetry. Cambridge: Penguin. 26
30
Galia Ofek (2009). Representations of Hair in Victorian Literature and Culture. London: Macmillan. 39
31
R. von Krafft-Ebing (2012). Psychopathia Sexualis. New York: Forgotten Books . 110
32
Robert Browning (2006). Porphyria's Lover, The New Penguin Book of Love Poetry. Cambridge: Penguin. 26
33
Robert Browning (2006). Porphyria's Lover, The New Penguin Book of Love Poetry. Cambridge: Penguin.
suggestiveness of ‘swelling’ and ‘growing’. The woman who is the subject of this changed dynamic is now
‘reduced to the object of her lover’s will, an “it” and her “utmost will” he has divined and honoured’ 34.
Beyond its status as a collective social object, hair evokes an immensely personal response from the
narrator. This literature illustrates the propensity a fetish can bear, and how such a compulsive
Taking into consideration the fetishist texts examined in this essay, it’s incontestable that the role
of fetishism in Victorian Literature is of crucial value. The period’s ever-growing restraint of the discourse
surrounding sex created backlash; the precatory texts evidences multiple developments of the dislocation,
amplification, modification and reorientation of desire. The fetishist boundaries grew due to the
polarisation borne out of the period’s literature, and events such as the case of Oscar Wilde. Though a
consequence of the era that it was borne of, fetishism has undoubtedly had repercussions upon literature
which followed, and the intimate minutiae has divulged sexual practices that still exist in literature today.
The literature of the 19th century demonstrates how such preferences came about in in sexually-stifling
times. Furthermore, the texts enable readers to understand the relationship between society, culture, and
fetish. The Victorians had few patterns to follow, and embraced standing in the margins in their
comprehension of sexuality ‘Thus the image of the imperial prude is emblazoned on our restrained mute
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34
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http://law2.umkc.edu/faculty/projects/ftrials/wilde/Wildecriminaltranscript.html.
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http://law2.umkc.edu/faculty/projects/ftrials/wilde/Wildecriminaltranscript.html.
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12
Wilde. (2009). The Criminal Trials of Oscar Wilde: Transcript Excerpts. Available:
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