In his writings, Dorf suggests that one root of identifying an experience as “sapphonic” can be found in the idea of women opening doors that had long been closed by men. He cites that “reading Greek was a transgressive act for women.”1He continues to suggest that the Princesse de Polignac and her circle reading Plato could be just as Sapphonic as Natalie Barney reading Sappho with her circle, the root of these similarities being “an unspoken awareness of each other’s precarious sexual position.”2
In both cases, we see a deliberate expression of empowerment between women romantically interested in other women. According to Dorf, one of the most striking aspects of Sapphonics is the “hidden eroticisim.”3 There is a power in the unnamed, but signaled. By request, Satie was deliberate with removing all blatant sexualization from his piece, yet it is still interpreted as having a Sapphonic nature. The piece did not need to be explicitly depicting scenes of a homoerotic nature to signal a lesbian interpretation. I am convinced by Dorf that Satie’s use of an “exotic” 4style and the intent of the commission by the Princesse de Polignac make its Sapphonic interpretation accurate.
I personally find immense power in the idea of lesbian women enjoying a text written by Plato, intended for the pleasure of men, for their own pleasure.
In the article “Camp in Francis Poulenc’s Early Ballets,” Moore makes a compelling argument as to why Les Biches could be read as queer. A “Janas-faced” work, 5utilizing both sacred and profane inspiration, Poulenc’s ballet leaves an audience questioning what they have experienced, as it “[establishes] the theme for heterosexual desire as an alibi for the work’s queer subtext.” 6Much like the Princesse de Polignac, Poulenc found success “working inside the system,” 7 and coming out with an entirely outlandish ballet might have brought on questions that he was not looking to address. Leaving the audience with innuendos through costuming and musical expression, it is highly possible to come away with a queer interpretation.“Poulenc explained that his ballet was not informed by “pathos” but rather by “acquiescent pain.” 8 One could interpret this as the pain he was feeling through his own life’s constrictions regarding his homosexual expression. However, one could also argue that this is not the case, as there is no definitive evidence expressed by Poulenc, himself. I believe Moore’s argument to be justified in this ballet, but am cautious to overextend this justification into other aspects of Poulenc’s life. Of course, identity informs expression, but it is difficult to navigate speculations.