As to the Hattie Tyng Griswold mentioned by Huneker, she is listed in Frances Willard’s _Woman of the Century_[9] as a successful Wisconsin journalist and a friend of Violet Paget, the British art critic and philosopher, who wrote under the name Vernon Lee. No record seems to exist of her connection with Menken outside the newspaper articles mentioned by Huneker, which have not been consulted here. As in the case of Sand and Wollstonecraft, interest in Menken’s spectacular career has diverted attention from possible variant experience, but it appears to be precisely such stormy and passionate spirits who turn to women for the happiness they are unable to find with any number of men. It is interesting that Clement Wood should say, in contradiction to Huneker, that she deserved as much poetic acclaim as Whitman, but “was a woman, with a softer voice.”[10] The volume alluded to, _Memoirs_, has not been seen by the present writer, but honest critical judgment compels some qualification of Wood’s praise in view of the known _Infelicia_, though there are many pages in the latter which are not “bad” poetry. *“Michael Field.”* Another “poet” in the present group is Michael Field, pseudonym of two late-Victorian Englishwomen, Katherine Bradley and Edith Cooper. They were aunt and niece, but actually they were much closer than this relationship indicates, for when Edith’s mother was left an invalid after the birth of a second child, Katherine and her mother moved in to care for the family, and Katherine assumed complete responsibility for the three-year-old Edith. Katherine was then seventeen and had studied at Newnham and in Paris, where she had been in love with the older brother of a French friend. This man died, and the loss is reflected faintly in her first published poetry a decade later. There is no indication of any other heterosexual interest on either woman’s part throughout their lives. By the time Edith had reached late adolescence and Katherine was approaching thirty, their relation had become one of adult equality, and they were active together in university life in Bristol, though apparently more in debating, woman’s suffrage, and anti-vivesection societies than in formal university courses. In 1881, when one was thirty-three and the other nineteen, they published jointly a first book of verse, “by Arrand and Isla Leigh,” which received little critical comment. It was two years later that they hit upon the pseudonym of Michael Field, and when _Callirrhoë and Fair Rosamund_ appeared in 1883 it was hailed as the work of a new and promising talent. They published, in all, eleven volumes of verse and nineteen or twenty poetic dramas, mostly on classical or historical themes; but, as Sturge Moore says in the introduction to their joint memoirs, _Works and Days_: