In Masoch’s novel Venus in Furs, three ‘Negresses’ magically appear at the moment that the speaker signs away his legal rights to life. This fantasy is an example of how actual bondage and historical slavery shape the sadomasochistic imagination. This chapter traces that imagination through poems by Algernon Charles Swinburne and Gerard Manley Hopkins, written at the height of Victorian sexology. It looks at the metaphor of the plough or the ploughman in relation to bondage and Hopkins’s class politics, and at the flagellation fantasies in Swinburne’s poetry (including his juvenile compositions), and the way that those poems fetishise the foot, mouth and ‘bum’. It discusses the theatricality and suspension of agency involved in masochism in relation to specific examples of colonial violence, to challenge the idea that the voluntary submission to constraint in radical sex practices can undermine forms of social domination.

In the highly competitive and conflictual world of early modern China, aggression and violence were a regular part of life. People not only came to blows with other people, but also with ghosts and demons that infested their world with evils and afflictions. The rock fights, cockfights, self-mortifying shamans, sword-wielding exorcists, public floggings and bloody beheadings discussed in this chapter were common spectacles of public violence. China’s educated elites, who associated such acts with vulgar lower-class culture, disparaged popular forms of violence because they were wild, senseless and uncontrollable. For the lower orders, however, violence was purposeful. It gave power to the powerless and prestige to the disreputable. Regular displays were necessary to gain respect and could even ensure social mobility. Violence was essential to masculinity and gave meaning to men’s lives, providing them with ambition and dignity. The shedding of blood also gave meaning to violence. Blood was the vital force of life important in warding off evil spirits, curing illnesses, ensuring fertility and bringing good luck. These acts were part of a well-established, but heterodox, folk tradition whereby violence and bloody rituals were deeply rooted in the everyday life and popular culture of early modern China.