"The Maiden Tribute of Modern Babylon" was a series of newspaper articles on child prostitution that appeared in The Pall Mall Gazette in July 1885. Written by the paper's crusading editor W. T. Stead, the series was a tour de force of Victorian journalism. With sensational crossheads, such as "The Violation of Virgins" and "Strapping Girls Down", the Maiden Tribute achieved, as a consequence, the implementation of the Criminal Law Amendment Act of 1885, which raised the age of consent for girls from 13 to 16.

Overview

The first instalment took up six pages. Stead attacked vice with eye-catching subheadings: "The Violation of Virgins", "The Confessions of a Brothel-Keeper", "How Girls Were Bought and Ruined". He argued that, while consensual adult behaviour was a matter of private morality and not a law enforcement issue, issues rife in London existed that did require legislative prohibition, listing five main areas where the law should intervene: The theme of "Maiden Tribute" was child prostitution, the abduction, procurement and sale of young English virgins to Continental "pleasure palaces". Stead took his readers to the labyrinthine streets of London (intentionally recalling the Greek myth) to its darker side, exposing the flesh trade while exposing the corruption of those officials who not only turned a blind eye but also condoned such abuse. In particular, he drew a distinction between sexual immorality and sexual criminality, and criticized those members of Parliament who were responsible for the Bill's impending "extinction in the House of Commons" and hinted that they might have personal reasons to block any changes in the law. Describing himself as an "investigator" rather than an "informer", Stead stated that he would disclose actual names and identifying details only to the two UK Archbishops, one MP, two members of the House of Lords active in criminal legislation or child protection, and a past director of the CID.

Contents of the articles

The disclosure proper began in the 6 July publication, in which Stead reveals that he had asked if genuine maiden virgins could be procured, and being told it was so, asked whether such girls were willing and consensual, or aware of the intentions planned for them: Stead commented that "Children of twelve and thirteen cannot offer any serious resistance. They only dimly comprehend what it all means. Their mothers sometimes consent to their seduction for the sake of the price paid by their seducer. The child goes to the introducing house as a sheep to the shambles. Once there, she is compelled to go through with it. No matter how brutal the man may be, she cannot escape". A madam confirmed the story for him, stating of one girl that she was rendered unconscious beforehand, and then coercively given the choice to continue or be homeless afterwards: Stead quoted a former brothel-keeper who confirmed the nature of the trade:

Ramifications

Background

The 'Tribute' series led to the passage of the Criminal Law Amendment Act 1885, also known as the 'Stead Act' or 'Stead's Act'. From its inception, one of the goals of the series was to influence public policy. W. T. Stead wrote that its object was "to pass a new law, and not to pillory individuals, there was no need to mention names."

Aftermath

Stead and several of his accomplices were later brought to trial as a result of the unlawful investigative methods they used (see the Eliza Armstrong case) and Stead himself served three months in prison. Stead's reports were, according to Roland Pearsall, "using the weapons of pornography to right a wrong; it was the death knell of responsible journalism". Stead's account was widely translated and the revelation of "padded rooms for the purpose of stifling the cries of the tortured victims of lust and brutality" and the symbolic figure of "The Minotaur of London" confirmed European observers' worst imaginings about "Le Sadisme anglais" and inspired erotic writers to write of similar scenes set in London or involving sadistic English gentlemen. Such writers include Gabriele D'Annunzio in Il Piacere, Paul-Jean Toulet in Monsieur de Paur (1898), Octave Mirbeau in Jardin des Supplices (1899) and Jean Lorrain in Monsieur de Phocas (1901). The title evokes the Greek myth of the Minotaur's virgins tribute. Stead's allegory about the Minotaur and human sacrifice inspired George Frederic Watts to create the painting The Minotaur in 1885.