[No surviving envelope]
I returned Sunday morning from Virginia, dog-tired. It always takes me a couple of days to pull myself together after these jaunts. This was the last of my paid lectures; but I have four speaking engagements yet; and I feel too tired to begin. I wish that I had some news of you; I was worried about the neuritis, and I want to know your plans for the summer. But I have written to Mrs. Perkins to ask when I may come to see them. I have been clearing up, and putting my books ready, having been too stupid for anything else; and that has been rather depressing. I still have four or five weeks here. IEliot, Vivien (TSE's first wife, née Haigh-Wood)separation from;f1would necessitate TSE's sequestration;a8 think that in one way I shall feel better when I am actually back in England, and the suspense is over. My present intention is to find a place in the country near London for the summer; so as to keep in touch with my office without coming to town any more than is necessary.
I started to write last night, but was interrupted, late, by one of my pupils who always comes to see me when slightly intoxicated – after a Signet Strawberry Night,1 which I did not attend. SoVassar Collegeand Sweeney Agonistes;a1 my letter was unsatisfactory, and I am writing it over. I must omit much detail of last week – afterSweeney AgonistesHallie Flanagan's Vassar production;a7 windingFlanagan, Hallieher Sweeney Agonistes;a1 up my course on Saturday left for Pittsfield, and was motored from there to Vassar. On the whole I was much pleased by their performance of Sweeney Agonistes – male parts were taken by amateurs from the Community Theatre in Poughkeepsie. The two girls, Doris & Dusty, were very good, and had evidently worked hard; I was especially pleased to notice how much the actors had enjoyed themselves with the scenes. It is very strange to hear people on a stage speaking words that you have written[,] something with such associations for oneself, spoken by people who know nothing of these; very dreamlike. I had imagined realistic setting and abstract acting; they gave realistic acting and abstract setting; I was startled to see Sweeney appear in Polo costume complete with helmet & boots – Mrs. Flanagan said they needed a spot of white in the middle; but I should have done that by putting Sweeney in an apron, as he is cooking. SweeneySweeneyas pictured by TSE;a1 (who is the head of a hospital in Poughkeepsie, and who said this was the first poetry he had ever liked!) was a little tired, not so vital as he is meant to be; and the whole thing was made a little too comic; I think most of the audience took it as pure farce.2 I wish that you might have such a position as Mrs. Flanagan’s with her Experimental Theater; she can do much as she likes, I should say. The Theocritus was good; the Dorothy Parker I thought unsuited to a college girl actress; only an actress of great experience can do a long passionate monologue.
ThenEliot, Henry Ware, Jr. (TSE's brother)hosts TSE in New York;b6 I spent two nights with my brother in New York; thenAmericaVirginia;h7TSE on visiting;a3 to Charlottesville Virginia to deliver three lectures.3 IAmericaSouth, the;h3TSE's first taste of;a1 had never been in the South before. You are in another country the moment you cross the Potomac. ItEnglandDevon ('Devonshire');e5likened to American South;a1 is a fascinating country, like a sub-tropical Devonshire; flowersbirdscardinals;a8spotted near Charlottesville;a1, floweringbirdstanagers;d2spotted near Charlottesville;a1 trees, jungle, swamp, mountains, brilliant birds – cardinals, tanagers, birds golden and blue – flying about, mocking birds, log cabins whitewashed, Palladian brick architecture of Thomas Jefferson, poor whites creeping about, immobile negroes sitting on kegs or poised at street corners; people waiting for nothing to happen. A sombre, sad country, unkempt and grand; as alien in its way as California, but almost wholly without vulgarity. I should like to spend some time in the South, from Charleston to New Orleans; some day I hope I can, it does get hold of you, even in a few days.
As for the last part of your letter. It is a comfort to me that you should [have] realised what a very ‘bitter draught’ it is for me. IChristianitydivorce;b5which TSE regrets;a2 confessEliot, Vivien (TSE's first wife, née Haigh-Wood)the possibility of divorcing;f2;a4 now that I have worried a good deal, since Christmas, believing that my attitude seemed to you merely superstitious, and that the Church seemed to you monstrously bigoted. Perhaps you do feel so; or [it] might be, or might have been, harder [for] you than for me. At any rate you cannot believe that this is easy for me, or anything but a constant daily and nightly torment. I don’t want to be ‘rarified’, as you seemed to think that I was – but I do hope that some day I may have more peace, and be able to give more to others. My life here is not conducive to it; the adulation and the publicity only intensify the bitterness, so that I just hold on, praying that the cup may pass;4 but perhaps the sort of life that I shall be leading in the future will give the necessary discipline. But how do I know what sort of life it will be? Life’s irony5 may lead me into a very active public life in England, instead of the quiet retired life that I anticipate.
But O dear! I wish that you might have the sort of life which you crave, and for which your genius is fitted. I should so like you to be happy that [sic] could even forgive you for being happy – and that is a great deal!
Your letter has made me by turns very happy & proud and very miserable – but you know my faults, I hope, better than you did; and as I get to know yours better, I love them in you.
1.The gala night of the Signet Club.
2.JoanneVassar CollegeTSE's visit remembered and reported;a2n BentleySweeney Agonistesand TSE's Vassar visit;a8n relates, in Hallie Flanagan: A Life in the American Theatre (1988), 137: ‘On the morning of May 6, Philip [Davis, a member of the Vassar faculty, later Flanagan’s husband] drove to Cambridge to pick up Eliot. On the way back they stopped at several bars. Hallie was frantic by the time they arrived [at Poughkeepsie]. “Oh, I thought you’d miss it!” she exclaimed. “I wish I had,” Eliot murmured, but he took his seat. The audience … was riveted by Sweeney.’ Vassar Miscellany News, 10 May 1933, reported TSE’s opinion of Flanagan’s production (which formed part of the programme of the Vassar Experimental Theater’s spring production): ‘Yes, Sweeney was entirely different from my previous conception of it … But I liked it very, very much. In fact, I am inclined to think that Mrs Flanagan’s way of presentation was better than my own might have been. Sweeney is still a fragment to me, I can only see it as part of a longer play, but Mrs Flanagan successfully produced it as a complete dramatic unit … The first option on the dramatic performance of the finished work will go to Mrs Flanagan.’
(TSE wrote to Edward F. D’Arma (Program Associate, The Ford Foundation) – who had played Klipstein in Flanagan’s production (‘my first and only appearance on the stage, but it was a lot of fun’), 11 June 1958: ‘I enjoyed that production of Sweeney Agonistes which was, I am sure, the world premiere. You may be interested to know that the B.B.C. have been enquiring about the possibility of a production with the same music of Quincy Porter.’)
TheAsh WednesdayTSE explains;a9n next afternoon (7 May 1933), in the same venue (Avery Hall at Vassar), TSE read some of his poetry and discussed it. Vassar Miscellany News, 10 May 1933, reported: ‘He read two sections from Ash-Wednesday, the second and the fifth. “The three white leopards of the first,” he explained, “are of course, the World, the Flesh and the Devil.” The second borrowed John Donne’s pun of “world” and “whirled”, and introduced “word” into it. It was a protest against spiritual blindness, spiritual deafness, and it made use of a refrain from the Mass for Good Friday. Ash-Wednesday celebrated Mr Eliot’s conversion to the Anglo-Catholic faith.’
FlanaganFlanagan, Hallierecalls TSE on his own poetry;a2n recalled, in her memoirs:
RoamingpoetryTSE on his own;b1n about the setting of his own play he talked about poetry with impersonal lucidity.
‘My poetry is simple and straightforward,’ he declared; and when the audience laughed he looked pained. ‘It is dubious whether the purpose of poetry is to communicate anyway. Poetry ought simply to record the fusion of a number of experiences.’ Later when asked about Sweeney Among the Nightingales, he said, ‘I’m not sure it means anything at all.’ And he went on to develop the point that a poem may be like a still life, the meaning of which we do not formulate – ‘We merely estimate the way the painter has used planes and angles.’
To student questions from the crowded house he was painstakingly exact, though sometimes cryptic.
‘Was the production what you expected?’
‘The moment expected may be unforeseen when it arrives.’ (This line he later used in Murder in the Cathedral.)
And to the student who asked why he did not write Sweeney differently, he said thoughtfully, ‘To be a different poem a poem would either have to be written by the same poet at a different time, or by a different poet at the same time.’
One questioner, referring to the lines,
Every man has to, needs to, wants to
Once in a lifetime do a girl in,
asked hopefully, ‘Mr Eliot, did you ever do a girl in?’ Mr Eliot looked apologetic and said, ‘I am not the type.’ (Dynamo, 84–5; cited in Bentley, Hallie Flanagan, 138–9.)
HisBishop, Elizabethattends the Vassar Sweeney Agonistes;a1n audienceMcCarthy, Maryattends Vassar Sweeney Agonistes production;a1n atRukeyser, Murielattends the Vassar Sweeney Agonistes;a1n the reading included the students Elizabeth Bishop, Mary McCarthy and Muriel Rukeyser.
TSE may have written to Flanagan at a later date (in a now lost letter), questioning the character of her production of Sweeney, since she subsequently wrote to him, 17 May 1933: ‘If you saw the play done against a realistic background, I have a feeling that you would be disappointed, because after all, isn’t the realistic background as obsolete as arbitrary rhyme in poetry?’ (quoted in Bentley, Hallie Flanagan, 137).
3.FromPage-Barbour Lectures, The (afterwards After Strange Gods)TSE stays in Charlottesville during;a5nAfter Strange Gods
On three successive days from 10 May he delivered the Page-Barbour lectures, under the working title ‘Tradition and Contemporary Literature’, in Madison Hall at the University of Virginia: the individual lecture titles were ‘The Meaning of Tradition’, ‘Modern Poetry’ and ‘Three Prose Writers’ – much of the last lecture being devoted to negative criticism of Thomas Hardy and D. H. Lawrence – to be published in 1934 as After Strange Gods.
4.‘But Jesus answered and said, Ye know not what ye ask. Are ye able to drink of the cup that I shall drink of, and to be baptized with the baptism that I am baptized with …’ (Matthew 20: 22). ‘Father, if thou be willing, remove this cup from me: nevertheless not my will, but thine, be done’ (Luke 22: 42).
5.Cf. Thomas Hardy, Life’s Little Ironies (1894).
3.HenryEliot, Henry Ware, Jr. (TSE's brother) Ware Eliot (1879–1947), TSE’s older brother: see Biographical Register.
5.The directorFlanagan, Hallie Hallie Flanagan (1890–1969), a Professor at Vassar College, was planning to produce Sweeney Agonistes at the Experimental Theater that she had founded at Vassar.