Dr Martin Spychal introduces his new series of blogs for the Victorian Commons on Lord Ronald Gower (1845-1916), who was elected as MP for Sutherland in 1867.
Born into ‘the inner circle of English aristocratic life’, Lord Ronald Gower (1845-1916) is best known as the likely inspiration for the hedonistic aristocrat, Lord Henry Wotton, in Oscar Wilde’s The Picture of Dorian Gray (1890), and as the sculptor of the Shakespeare Memorial in Stratford-upon-Avon. He is a prominent figure in Britain’s nineteenth-century LGBTQ+ history on account of his connection with Wilde (who spoke at the unveiling of the Shakespeare Memorial), his own output as an artist and author, and his centrality to queer metropolitan society from the 1870s.*
As Joseph Bristow has suggested, despite Gower’s sexual interest in men becoming an increasingly open secret in high society by the end of the nineteenth century, his wealth and social status allowed him to avoid the criminal sentencing that destroyed the lives of less connected queer men (both before and after the 1885 Labouchère Amendment).
This relative freedom allowed him to play an influential role in shaping, and to an extent asserting, queer identities during the late nineteenth century. Whitney Davis has astutely observed that in terms of his artistic practice, by the late 1880s Gower ‘had begun self-consciously to enact the possibility – the aesthetic possibility – of an essentially homosexual life-historical identity’. And John Potvin has suggested that Gower’s remarkable bric-a-brac ‘treasure house’ at Windsor Lodge, which became a meeting point for a generation of young aesthetes from the 1870s, reflected Gower’s ‘unique sense of queer time and place’.
In 1867, at the age of just 21, Gower was returned for the Scottish county of Sutherland. He represented the constituency until 1874. For most of those years he kept a detailed diary, parts of which found their way into his popular two volume autobiographical memoirs, My Reminiscences, published in 1883. After working on the manuscript of Gower’s diary for the History of Parliament’s forthcoming Commons 1832-1868 volumes it has become clear to me that Gower undertook a considerable amount of self-censorship in his memoirs. More importantly it is evident that the document warrants specific attention beyond the scope of the traditional History of Parliament biography format.
As well as being a significant source for understanding the machinations of parliamentary politics at the time of the second Reform Act, Gower’s unpublished diary offers an amazing opportunity to understand the life of a young, aristocratic queer man as he navigated his way through the homosocial world of Westminster politics, and established himself in London society. It also offers an opportunity to examine Gower’s connection to London’s queer culture during the 1860s, discussed in Charles Upchurch’s excellent Before Wilde: Sex between Men in Britain’s Age of Reform (2009).
In a series of blogs over the next few months I’ll use Gower’s diary to consider various aspects of his life in London as an MP during 1867 and 1868, from his reputed nickname as ‘the beautiful boy’ of the House of Commons, to his election at the 1867 by-election, and his experiences as an MP at Westminster. Moving outside Parliament, I’ll consider his busy social life (featuring aristocratic balls, West End nightlife and an intriguing predilection for spectating at major London fires), an apparent summer romance with the son of the commissioner of the Metropolitan Police, his close friendship with his cousin and MP for Argyllshire, the Marquess of Lorne, and his developing connections with London’s art world.
Part two: ‘Lord Ronald Gower (1845-1916): the social life of a queer MP at the time of the Second Reform Act‘
Part three: ‘The ‘beautiful boy’ of the Commons: Lord Ronald Gower (1845-1916) and sexual identity in Parliament at the time of the Second Reform Act‘
Part four: ‘A Highland canvass in a ‘pocket county’: Ronald Gower (1845-1916) and the 1867 Sutherland by-election‘
Part five: ‘‘Covent Garden was lit up by a lucid light’: an MP’s account of the fire at Her Majesty’s Theatre, 6 December 1867‘
* Following the theories pioneered by leading queer theorists since the 1980s (including Judith Butler, Michel Foucault, Eve Kosofsky Sedgwick, Sara Ahmed, Lauren Berlant and Michael Warner) I use the term ‘queer’ because, to borrow from Warner, it ‘defin[es] itself against the normal rather than the heterosexual’. Queer allows for a much wider definition of sexuality because it avoids the binary of homosexuality vs heterosexuality.
S. Ahmed, Queer Phenomenology: Orientation, Objects, Others (2006)
S. Avery, K. M. Graham, Sex, Time and Place: Queer Histories of London, c.1850 to the Present (2018)
J. Bristow, ‘Oscar Wilde, Ronald Gower, and the Shakespeare Monument’, Études anglaises (2016)
M. Cook, London and the Culture of Homosexuality 1885-1914 (2003)
H. G. Cocks, Nameless Offences: Homosexual Desire in the Nineteenth Century (2003)
W. Davis, Queer Beauty: Sexuality and Aesthetics from Winckelmann to Freud and Beyond (2010)
W. Davis, ‘Lord Ronald Gower and ‘the offending Adam’, in D. Getsy (ed.), Sculpture and the Pursuit of a Modern Ideal in Britain (2004)
E. Kosofsky Sedgwick, Epistemology of the Closet (1990)
J. Potvin, Bachelors of a Different Sort (2014)
C. Upchurch, Before Wilde: Sex between Men in Britain’s Age of Reform (2009)
P. Ward-Jackson, ‘Lord Ronald Gower, Gustave Doré and the Genesis of the Shakespeare Memorial at Stratford-on-Avon’, Journal of the Warburg and Courtauld Institutes (1987)
P. Ward-Jackson, ‘Gower, Lord Ronald Charles Sutherland-Leveson- (1845-1916)’, Oxf. DNB
M. Warner, Fear of a Queer Planet: Queer Politics and Social Theory (1993)
Reblogged this on The History of Parliament.
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