Vathek (Beckford 1986) is an unusual, yet intriguing, tale of avarice and lust, as unusual and intriguing, perhaps, as its author, William Beckford. Written in 1782, this gothic ‘romancing the stone’ adventure would surely have turned heads in its day, as it surely would even in a more modern, open-minded society. James (2003) describes it as “pure fantasy in which…sexual taboos are flouted…[in]…a fevered vision of an Arabian Neverland”. Woods and O’Brien (n.d., p. 3-6), discussing the story’s conclusion, also make reference to that world of the young boy, Peter Pan, who refused to grow up. Indeed, it is in its conclusion that this text refuses to re-establish the traditional moral framework expected from a tale of corruption and depravity produced in eighteenth century England at a time when morality was strictly defined.

The key protagonist, Vathek, has a lust for all things material, physical, emotional and sexual. Urged on by his mother, Carathis, he embarks on a treasure hunt in which the ‘holy grail’ is not merely a jewel or chest of gold. The treasure Vathek seeks is the knowledge and experience of all there is to know and feel: “that which surpasseth his power” (Beckford 1986, p. 160). He is told by the “Giaour”, a deliciously deceptive demon, that this absolute knowledge is to be found in the “Palace of Subterranean Fire…in immense depositories…surrounded by the talismans that control the world” (Beckford 1986, p. 169). But entry to this palace does not come cheaply. The Giaour promises to take Vathek to this treasure trove, to open the portal to that palace, in exchange for “the blood of fifty children…the most beautiful sons” of his realm (Beckford 1986, p. 170). Vathek agrees and, under the guise of a festival, gathers the children near a chasm wherein awaits the Giaour. The boys “were soon stripped, and presented to the admiration of the spectators the suppleness and grace of their delicate limbs” (Beckford 1986, p. 172). Vathek, at the edge of the chasm, calls the lads to him, offering his own garments and jewels as a prize. As each child comes to him, Vathek pushes the naked youth into the chasm. But unbeknownst to Vathek, the boys are not consumed by the Giaour, but rather are rescued by “a good old Genius, whose fondness for the company of children had made it his sole occupation to protect them” (Beckford 1986, p. 234).

Later, Vathek, still seeking his ‘holy grail’, meets Nouronihar and her cousin, Gulchenrouz, a young teenage boy:

the most delicate and lovely creature in the world…when Gulchenrouz appeared in the dress of his cousin, he seemed to be more feminine than even herself.

(Beckford 1986, p. 206-207)

Nearer this tale’s conclusion, while Vathek and Nouronihar, who has joined Vathek in both his bed and his quest, Gulchenrouz, thinking himself dead, falls “into the arms” of that same good Genius (Beckford 1986, p. 234). The Genius takes Gulchenrouz to his “nest” where the younger children saved from the Giaour “were all assembled”:

Gulchenrouz…thought himself in the mansions of eternal peace. He admitted without fear, the congratulations of his little friends, who…vied with each other in kissing his serene forehead and beautiful eyelids….there he found a place truly congenial to the delights of his soul….the Genius, instead of burdening his pupils with the perishable riches and vain sciences, conferred upon them the boon of perpetual childhood.

(Beckford 1986, p. 235)

Meanwhile, as Gulchenrouz enjoys what Woods and O’Brien (n.d., p. 3-6) describe as “a Peter Pan type existence in…a type of gay paedophile heaven”, Vathek has found his palace of absolute knowledge and riches only to discover he is now “in the abode of vengeance and despair”, a hell wherein he, Nouronihar and Carathis are doomed for eternity (Beckford 1986, p. 249).

Thus the Caliph Vathek, who, for the sake of empty pomp and forbidden power…became a prey to grief without end…whilst the humble…Gulchenrouz passed whole ages…in the pure happiness of childhood

(Beckford 1986, p. 254-255)

Though one would expect such a dire fate to befall the greedy and violent Vathek, the fate of Gulchenrouz, who would forever be kissed by those beautiful boys, is surely a defeat of the traditional moral framework, not because he had been either good or bad, but because his heaven was a heaven of unholy, immoral pleasure. However, the transgressive nature of this text is not surprising, given Beckford’s own sexual inclination, described by James (2003) as “unapologetic homosexuality” expressed through “his lifelong attraction to pre-adolescent boys”. Beckford was accused of having a sexual relationship with his younger cousin, William Courtenay, whom Franklin (1998, p. 21) casts as the ‘real life’ Gulchenrouz. The accusation of paedophilia led to Beckford fleeing England. It is not difficult to imagine the self-exiled Beckford, dreaming of his unattainable ‘Gulchenrouz’, casting himself as the doomed Vathek, doomed, not for seeking his own pleasures, but for following the wrong path. Perhaps Beckford is suggesting the only true path to eternal happiness is not following the more traditional aspirations of wealth or knowledge, but rather, relishing the delights of the innocence of youth, a perverse path of pederasty down which Beckford himself preferred to pass, and for which he was cast, socially at least, into damnation.

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