glbtq: an encyclopedia of gay, lesbian, bisexual, transgender & queer culture
home
arts
literature
social sciences
special features
discussion
about glbtq
   search

 
   Encyclopedia
   Discussion
 
 

   member name
  
   password
  
 
   
   Forgot Your Password?  
   
Not a Member Yet?  
   
JOIN TODAY. IT'S FREE!

 
  Advertising Opportunities
  Permissions & Licensing
  Terms of Service
  Privacy Policy
  Copyright

 

 

 

 

 
literature

Alpha Index:  A-B  C-F  G-K  L-Q  R-S  T-Z

Subjects:  A-B  C-E  F-L  M-Z

     
Field, Michael [Katherine Bradley (1846-1914) and Edith Cooper (1862-1913)]  

Katherine Bradley and her niece Edith Cooper collaborated under the pseudonym "Michael Field" on a number of poetic dramas with historical and mythical subjects, one prose play, and eight volumes of verse. Sturge Moore has edited the women's journals and correspondence in Works and Days (1933).

As Mary Sturgeon, their biographer, relates, the women's being born into affluent Birmingham merchant families provided them access to the limited educational opportunities for the nineteenth-century British woman. In 1878, at University College at Bristol, where they advocated such causes as antivivisection and women's rights, they decided to live and write together.

Sponsor Message.

Sturgeon regards an untitled sonnet that they cowrote at this time, later published in Underneath the Bough (1893), a collection of their love lyrics to each other, as an exchange of marriage vows. Katherine would later record in the journals that, compared with the most famous literary couple of their day, Robert and Elizabeth Barrett Browning, she as "Michael" and Edith as her beloved "Henry" were more closely wedded.

Their early dramatic collaborations, especially Callirrhoe (1884) and Brutus Ultor (1886), which portrays Brutus as a champion of women's rights, received critical acclaim, attracting the attention of Arthur Symons, Robert Browning, and the young W. B. Yeats, who avidly read them when he was seeking models for his own poetic drama.

Katherine admitted in an 1884 letter to Browning that the public was not ready to accept a passion for women's rights from women writers, thus the necessity for the pseudonym. What made the pseudonym even more necessary was their interest in portraying women's love for each other. For example, Canute the Great (1887) contains an explicit love scene between two women, while the poetry in Long Ago (1889), ostensibly in imitation of Sappho, celebrates lesbian love.

The women's work flourished in the 1890s. They presented Mary Stuart in The Tragic Mary (1890) as a politically exploited woman, an approach that Oscar Wilde found much more human than Swinburne's treatment of the character. Stephania, a Trialogue (1892), an early example of symbolist drama in England, attacks the decadent notion of harlotry as aesthetic. Attila, My Attila (1896), examines, with what we would today term "black humor," what happens when an aggressive, patrician woman of the fifth century, like the "New Woman" of the 1890s, meets the Hun.

A Question of Memory (1893), a departure from their usual approach of dealing with contemporary themes under the disguise of classical tragedy, and written in an innovative stream of consciousness prose, with a modern setting--the 1848 uprising in Hungary--ends with an intentionally shocking lovers' "triad." Two men and a woman decide to spend their lives together, an obvious correlative for their "Michael Field" relationship.

As a result of the negative reviews of this, their only publicly performed play, the women reverted to writing verse tragedies set in antiquity. On their conversion to Roman Catholicism in 1907, they began publishing volumes of devotional poetry.

Both those claiming the women as celebrants of women's expanding prerogatives and those championing them as Catholic mystics must understand what conversion to Roman Catholicism represented for them and for contemporaries like Oscar Wilde, Lord Alfred Douglas, Aubrey Beardsley, and others.

The conversion was an embrace of antirational and mystical aestheticism, a reaction against vulgar Victorian bourgeois values. That these women are so little known or read today measures the extent to which the values they rejected have prevailed.

David J. Moriarty

     

    
 interact  
   
Contact Us
 
Join the Discussion
 
 find 
   
Related Entries
 
More Entries by this contributor
 
A Bibliography on this Topic

 
Citation Information
 
More Entries about Literature
 
   
spacer
Popular Topics:

Social Sciences

 
Stonewall Riots
Stonewall Riots


Gay Liberation Front


The Sexual Revolution, 1960-1980
The Sexual Revolution, 1960-1980


Leather Culture


Anthony, Susan B.
Anthony, Susan B.


Africa: Sub-Saharan, Pre-Independence


Androgyny
Androgyny


Russia


Computers, the Internet, and New Media


Radicalesbians

 
 


   Related Entries
  
literature >> Overview:  Aestheticism

A theory of art and an approach to living that influenced many European and American gay male and lesbian writers at the turn of the twentieth century, aestheticism stressed the independence of art from all moral and social conditions and judgments.

literature >> Overview:  English Literature: Nineteenth Century

From its beginning, the nineteenth century in England had a purposeful homosexual literature of considerable bulk, both male and female, though it was fettered by oppression.

literature >> Douglas, Alfred Bruce

Lord Alfred Douglas is remembered today for his tumultuous association with Oscar Wilde and as a minor poet.

literature >> Sappho

Admired through the ages as one of the greatest lyric poets, the ancient Greek writer Sappho is today esteemed by lesbians around the world as the archetypal lesbian and their symbolic mother.

literature >> Swinburne, Algernon Charles

Algernon Charles Swinburne was interested in flagellation, sadomasochism, bisexuality, and lesbianism, not only for their erotics but also as gestures of social and cultural rebellion.

literature >> Wilde, Oscar

Oscar Wilde is important both as an accomplished writer and as a symbolic figure who exemplified a way of being homosexual at a pivotal moment in the emergence of gay consciousness.


    Bibliography
   

Laird, Holly. "Contradictory Legacies: Michael Field and Feminist Restoration." Victorian Poetry 33.1 (Spring 1995): 111-128.

Maynard, Theodore. "The Drama of the Dramatists." Carven from the Laurel Tree, Essays. Oxford: B. H. Blackwell, 1918; rpt. Freeport, N.Y.: Books for Libraries Press, 1967.

Prins, Yopi. "A Metaphorical Field: Katharine Bradley and Edith Cooper." Victorian Poetry 33.1 (Spring 1995): 129-148.

Sturgeon, Mary. Michael Field. London: G. G. Harrap, 1922; rpt. Freeport, N.Y.: Arno Press, 1975.

_____. "Michael Field." Studies in Contemporary Poets. London: G. G. Harrap, 1920.

 

    Citation Information
         
    Author: Moriarty, David J.  
    Entry Title: Field, Michael [Katherine Bradley and Edith Cooper ]  
    General Editor: Claude J. Summers  
    Publication Name: glbtq: An Encyclopedia of Gay, Lesbian, Bisexual,
Transgender, and Queer Culture
 
    Publication Date: 2002  
    Date Last Updated October 7, 2002  
    Web Address www.glbtq.com/literature/field_m.html  
    Publisher glbtq, Inc.
1130 West Adams
Chicago, IL   60607
 
    Today's Date  
    Encyclopedia Copyright: © 2002-2006, glbtq, Inc.  
    Entry Copyright © 1995, 2002 New England Publishing Associates  
 

 

This Entry Copyright © 1995, 2002 New England Publishing Associates

www.glbtq.com is produced by glbtq, Inc., 1130 West Adams Street, Chicago, IL   60607 glbtq™ and its logo are trademarks of glbtq, Inc.
This site and its contents Copyright © 2002-2006, glbtq, Inc.  All Rights Reserved.
Your use of this site indicates that you accept its Terms of Service.