In many poetry anthologies, H.D. is treated merely as a member of the Imagist who wrote a handful of short and intense poems. It is apparent that H.D. as a poet has been trivialized and omitted considering the importance and significance of her major works, Trilogy or Helen in Egypt. The male tradition usually dubbed her as an escapist poet whose Greece had no connection with the Greece of actuality. This criticism was not applied to other male poets, Keats, Matthew Arnold or Edgar Allan Poe in their Greece. It is noteworthy that her birth as a poet is related to a series of illustrious men like Ezra Pound, Aldington, D.H. Lawrence, Cecil Gray, and Kenneth Macpherson who functioned as "initiators." She often engaged in what literary critic DuPlessis called `romantic thralldom` with men. But what she took away from them was transformed into a revisionary mythology that reflected her lifelong effort to understand her identity as a woman and a poet. Her lyrics, "Helen," "Eurydice," and "Fragment Thirty-Six", (the Sappho poem) capture her personal sexual conflict and her conviction that these female characters were misrepresented in established literature. Hence H.D. unveils a distorted image of Helen of Troy by patriachal culture. On the other hand, Eurydice not Orpheus is given the voice to speak her side of perspective. A more fundamental female position is projected on her long poem Trilogy. Trilogy composed as a response to the disintegration of self and civilization in world War II argues that a world at war looses touch with the female forms of divinity, that the search for life amid death is inextricably linked with the recovery of the Goddess. The poet`s alchemical purification of language initiates the necessary revision of myth in occidental culture and restores Venus, whose name has come to stand for "venery," her original and ancient power. H.D. restored the Goddess, the "Lady" who resembles the madonna of Christian tradition, or powerful Isis of Egyptian religion embodying salvation and rebirth. But she appears without the Child, the male symbol of salvation. Instead, she carries a book of life whose pages are blank, waiting to be inscribed anew by the poet or the women poets, perhaps descendents of Woolf`s Judith Shakespeare.