Originally posted by Herlock Sholmes
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There’s nothing ambiguous in that Thompson passage. For clarity: he is not describing illness in the abstract, nor speaking symbolically about “sin” in some vague sense. He is explicitly describing prostitutes and likening their sexual activity to a festering venereal wound.
“Putrid ulceration of love” = a disease-ridden parody of love.
“Venting foul and purulent discharge” = the imagery of syphilis and gonorrhoea, tied directly to prostitution in the 19th century.
“A blasphemy against love’s language” = the idea that their very work was a desecration of true intimacy.
In modern terms: Thompson is saying that prostitutes corrupt love itself, spreading disease and blasphemy with every act. That’s not the language of mere moral disapproval — it is disgust so pathological that it reduces women to pus and infection in his imagination.
For context, this wasn’t just one stray outburst. Thompson wrote in the same violent register across multiple pieces, combining sexual loathing with imagery of knives, blood, and punishment. It is part of a consistent pattern of thought.
So yes, he was directly condemning prostitutes, and in terms far more visceral than almost any other Victorian writer. To pretend it’s ambiguous is to ignore the plain meaning of the words.
John Walsh (Strange Harp, Strange Symphony) records Thompson at Providence Row Refuge in Whitechapel — so he was there, among the “nightly crowd of haggard men.” Add his childhood and adult fire-starting, asylum stays, laudanum addiction, and Major Henry Smith’s 1910 profile (ex-medical student, asylum, coin fraud, prostitute links, Rupert Street) — which Thompson uniquely matches.
Factor in his scalpel, medical training, obsession with a runaway prostitute, and the murders stopping when he was hospitalised in Nov ’88, and it’s clear: the case against Thompson rests on documented facts, not speculation.
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