She did not set out to do that, of course. Her sanity is evident once more in the moderation with which she held her feminist sympathies, despite the clamour of the time and the provocation she received from masculine mishandling of her work. Herein too she had removed herself from “Time’s harsh drill,” having too great a reverence for her art to use it for the purposes of propaganda. That fact leads us again to her sonnet and the light it throws upon herself. For in studying her work one sees that she fulfilled completely her own conception of the poet—;as an artist withdrawn from the common struggle to wrestle with a fiercer power, and subdue it to a shape of recognizable beauty.
BIBLIOGRAPHY
Of the works of Michael Field, published to 1919
The New Minnesinger. (Arran Leigh.) Longmans, Green and Co. 1875.
Bellerophôn. (Arran and Isla Leigh.) C. Kegan Paul. 1881.
Callirrhoë, and Fair Rosamund. J. Baker and Son. First edition in spring of 1884; second edition in autumn of 1884.
The Father’s Tragedy, William Rufus, and Loyalty or Love. J. Baker and Son. 1885.
Brutus Ultor. J. Baker and Son. 1886.
Canute the Great and The Cup of Water. J. Baker and Son. 1887.
Long Ago. G. Bell and Sons, Ltd. 1889.
The Tragic Mary. G. Bell and Sons, Ltd. 1890.