Edward Perry Warren's three-volume "A Defence of Uranian Love," written under his pseudonym Arthur Lyon Raile and privately printed in 1928-1930, can be judiciously labelled "the premier paederastic apologia in the language." Warren always and rightly called this work his magnum opus: it is the clearest elucidation of the motives that lay behind his acquisition of Graeco-Roman antiquities for the Museum of Fine Arts in Boston and other prominent collections. Warren's acquisition practices converted those antiquities into a "paederastic evangel," as he himself declares, and his Defence is intimately woven into this lifelong, evangelistic mission.
"My verses and my prose," writes Warren, "advocate a morality, but it is not the current morality in certain matters." This is understatement at its most playful, for Warren's "Defence" is a detailed map to a Utopia where "Grecian grandeur" is restored, and the "Christian sublime," all but banished; where masculine virtues topple the feminine that have mistakenly led to democracy, sexual purity, and feminism; where aristocracy, nobleness, and male supremacy establish a civilisation in which Nietzsche would have found himself at home; and where paederasty, in the form familiar to the ancient Spartans, could and needs must flourish. For, according to Warren, "Love" "can revive the old Hellenic day." It is this revival - this veritable "Renaissance of Paederasty"-that Warren's elaborate apologia aims to begin, by reminding Western culture of what it has lost or only forgotten: a sacral Boy-love and its accompanying traditions.
Edward Perry Warren's three-volume "A Defence of Uranian Love," written under his pseudonym Arthur Lyon Raile and privately printed in 1928-1930, can be judiciously labelled "the premier paederastic apologia in the language." Warren always and rightly called this work his magnum opus: it is the clearest elucidation of the motives that lay behind his acquisition of Graeco-Roman antiquities for the Museum of Fine Arts in Boston and other prominent collections. Warren's acquisition practices converted those antiquities into a "paederastic evangel," as he himself declares, and his Defence is intimately woven into this lifelong, evangelistic mission.
"My verses and my prose," writes Warren, "advocate a morality, but it is not the current morality in certain matters." This is understatement at its most playful, for Warren's "Defence" is a detailed map to a Utopia where "Grecian grandeur" is restored, and the "Christian sublime," all but banished; where masculine virtues topple the feminine that have mistakenly led to democracy, sexual purity, and feminism; where aristocracy, nobleness, and male supremacy establish a civilisation in which Nietzsche would have found himself at home; and where paederasty, in the form familiar to the ancient Spartans, could and needs must flourish. For, according to Warren, "Love" "can revive the old Hellenic day." It is this revival - this veritable "Renaissance of Paederasty"-that Warren's elaborate apologia aims to begin, by reminding Western culture of what it has lost or only forgotten: a sacral Boy-love and its accompanying traditions.