ootnote: See the introduction to Epipsychidion.] but
who also offers us an imaginary poetess of supreme powers,--Cythna, in
_The Revolt of Islam_.

It is disappointing to the agitator to find the question dropping out of
sight in later verse. In the Victorian period it comes most plainly to
the surface in Browning, and while the exquisite praise of his

Lyric love, half angel and half bird,

reveals him a believer in at least sporadic female genius, his position
on the question of championing the entire sex is at least equivocal. In
_The Two Poets of Croisic_ he deals with the eighteenth century in
France, where the literary woman came so gloriously into her own.
Browning represents a man writing under a feminine pseudonym and winning
the admiration of the celebrities of the day--only to have his verse
tossed aside as worthless as soon as his sex is revealed. Woman wins by
her charm, seems to be the moral. A hopeful sign, however, is the fact
that of late years one poet produced his best work under a feminine
_nom de plume_, and found it no handicap in obtaining recognition.
[Footnote: William Sharp, "Fiona McLeod."] If indifference is the
attitude of the male poet, not so of the woman writer. She insists that
her work shall redound, not to her own glory, merely, but to that of her
entire sex as well. For the most worthy presentation of her case, we
must turn to Mrs. Browning, though the radical feminist is not likely to
approve of her attitude. "My secret profession of faith," she admitted
to Robert Browning, "is--that there is a natural inferiority of mind in
women--of the intellect--not by any means of the moral nature--and that
the history of Art and of genius testifies to this fact openly."
[Footnote: Letter to Robert Browning, July 4, 1845.] Still, despite this
private surrender to the enemy, Mrs. Browning defends her sex well.

In a short narrative poem, _Mother and Poet_, Mrs. Browning claims
for her heroine the sterner virtues that have been denied her by the
average critic, who assigns woman to sentimental verse as her proper
sphere. Of course her most serious consideration of the problem is to be
found in _Aurora Leigh_. She feels that making her imaginary poet a
woman is a departure from tradition, and she strives to justify it. Much
of the debasing adulation and petty criticism heaped upon Aurora must
have been taken from Mrs. Browning's own experience. Ignoring
insignificant antagonism to her, Aurora