The only other woman poet sufficiently variant to attract critical comment was Paule Reuss, noted by Clarissa Cooper in her _Women Poets of the Twentieth Century in France_. Reuss’s volume _Le Génie de L’Amour_ (1935) was dedicated to her fellow poet Anna de Noailles, and is said “to breathe a pure idealistic love like that of Dante for Beatrice.” Cooper’s only quotation is: Vous demandez d’aller vous voir! Mais serait-ce quitter ce soir Vos mains jointes dans la mienne? Sera-ce vous quitter au matin? J’ôterai ma robe blanche; Au clair de lune de la lampe, Sera-ce toi vers moi qui te penches? Je passerai dans les sentiers Déjà connus ou oubliés Et je dirai: Madame! alors Que j’avais dit mon trésor![38] This suggests a proud and ironic restraint to equal Natalie Clifford Barney’s. Poetry—German The first contemporary variant poetry in German was probably an item cited in Hirschfeld’s _Jahrbuch_ simply as: Plehn. _Lesbiacorum Liber_. 1896. As it is not listed in the German publishers’ catalog during the 1890s, it must have appeared in a periodical or as a part of some longer volume. The only possible author is a Marianne Plehn who produced a long monograph on geology during the same decade. Her interest in a field cultivated chiefly by men supports the assumption that her literary outlook was also masculine, and her rather labored Latin adjective would imply that her “Book of Lesbians” celebrated women of similar temperament. In 1898 considerable notoriety attended the publication of _Auf Kypros_ by Marie Madeleine (Baroness von Puttkamer), an author included by a later literary historian among “exponents ... of the right to unrestrained sexual freedom even if perverse,” and described as “so brazenly pornographic [an adjective which the critic employed freely] that the less said the better.”[39] The volume was later privately reissued in a de luxe edition with color plates by nine or ten established contemporary artists.[40] Though most of the poems in _Auf Kypros_ are heterosexual, six or seven match Renée Vivien’s in lesbian frankness, e.g. “Vergib” and “Greisenworte.” “Sappho” too much resembles other imitations of that poet’s most passionate ode or Louÿs’ _Songs of Bilitis_ to need special attention. Another, almost flippant in tone, is from a group entitled “Aus dem Tagebuch einer Demi-Vierge,” and sketches with great economy what is evidently a tranvestist episode. The speaker has given her “Kätzerl” sweets, liqueurs, cigarettes (“natürlich Kyriazi Frères!”)—and kisses—and has kept up her “strenges incognito” so successfully that her Puss really believes her a Man-About-Town. Only the American “Götze” on the end-table (surely Billikin) grins wickedly to hear the impostor repeatedly promise the frustrated girl ‘Everything!!—next time!’ The remaining three lesbian poems express tragic regret for initiating a younger girl. “Vagabunden” is a prophetic warning: