[41 Brimmer St., Boston]
I am in rather a bad Temper this morning, because I did not get to sleep till four, and consequently overslept and missed a Holy Day (SS. Philip & James) and I hate having the rest of my time table thrown out too. But if I can write this letter without too many interruptions, I will feel more amiable. To-day also was to be the day on which you were having your photograph taken; I shall be annoyed if I learnt that that has been postponed.
First of all, I hardly need to assure you again that your letter did not hurt me, except in my realisation of what it cost you to write it. On the contrary, a man who receives such a letter as that ought to be very proud and happy, as I was. (HereFaber, Geoffrey;a3 I was interrupted for exactly an hour, first by Faber, just returned from his place in Wales, andMorley, Frank Vigor;a4 thenBlake, George;a2 by Morley and Blake. MuchFaber and Faber (F&F)the garrulousness of publishing;a2 of a publisher’s business consists of talk). But every letter from you has something miraculous about it; it is a miracle first to have a letter, once a week; it is a miracle that you should care to write at all; and the great miracle is that two people, after so many years living wholly different lives in different environments, should at the end be not less, but more congenial and better able to understand each other. Even people living together are just as likely to become less as more alike; when people develop in different environments they almost inevitably must develop divergently. And we are neither of us merely going back, imaginatively, to any past; but have a real present – that is what is so wonderful and good. It may be vain and presumptuous on my part, but I feel that we must have something very rarely identical in us, so that words like ‘congenial’ and ‘sympathetic’ give but a feeble notion.
Now, I had not meant to force upon you the discussion of a painful subject already discussed; and indeed my mood was more comprehensive than that; it was one manifestation of a mood I shall often have again always; whether my practical affairs are settled, as well as they could now ever be settled, or not. The struggle to make the best of things – I mean, the positive spiritual best, not merely ‘resignation’ – will always go on. On the practical side, there is just one point to add. IfEliot, Vivien (TSE's first wife, née Haigh-Wood)separation from;f1obstructed by self-deception and responsibility;a3 she1 were an adult person, with adult perceptions and needs, the situation would have ended itself long ago; be[cause] she would have seen it as clearly as I do, and faced it, and found it intolerable. But I do not really think that it is nearly so painful for her as for me, even apart from the fact that self-deception, in the face of everything, comes easily, and the thought that some persons have, from fear, such fundamentally dishonest minds that truth merely kills them. There are some trifling considerations, of course: such as the fact that she has almost no friends now except such as are primarily associated with me, and that a life apart would be a very lonely one. Anyway, I cannot assure myself that a separation would be better for her as well as for me; which leaves me to look for substantial certain reasons only on my own side – and that makes it more difficult. There is my work – and it is so hard to persuade oneself that one’s work is important enough to sacrifice another person to it – at least, it is hard when one is middle-aged; and there is my personal development to talk of that seems even more egotistic than of work – but people must consider their own souls – yet here, I cannot get rid of the feeling that I ought to accept every obstacle, from this point of view, and not evade it. Oh dear; and certainly one advantage of a separate life would be that I should have no reason to be, to excess.
TUESDAY May 2nd.: One thing I hope you do not know is always having the times one has set apart for the one thing one most wants to do, interrupted by one thing after another; I think I deserve some credit for having kept my temper with everybody. If I could have my way, I should keep the last hour every night before going to bed to write to you; and then I might perhaps be able to say what I mean, to say it in order, and even perhaps (see the foregoing) say it grammatically. Ialcoholas aid to sleep;a6 am also very irritable at present because I have kept no whisky at home for three weeks, and the consequence of missing two or three hours sleep out of every night is nervousness; butChristianityvirtues heavenly and capital;e1temperance, with alcohol;e4 I believe that temperance can become a habit.
Looking over what I have written I dare say you will think: damn the man, he just can’t make up his mind any way, and expects me to listen to all his excuses. OnlyHaigh-Wood, Rose Esther (TSE's mother-in-law, née Robinson)the impossibility of VHE looking after;a2 one practical point to add to this now; and that is that to expect her mother to look after her is out of the question.2 She is 73, and not strong, and unfortunately V. (surely through some early emotional tangle again) is not often very nice to her, though she is constantly going to see her; something I am really anxious about the strain on the old lady even as things are.
ButEliot, Vivien (TSE's first wife, née Haigh-Wood)marriage to;e6its morbidity;a4 it comes to merely the decision between the wrong of living with a person whom one really doesn’t like at all (I have never put it like this to anyone else, of course, and hesitated before to do so [sic] even with you – for that really is bad I am sure for both persons – and the wrong of just slipping off any responsibility one has once undertaken. I can say no more.
Meanwhile your long and very informative letter of April 24th arrived yesterday morning. Reading – of course you must keep up with dramatic affairs to begin with – do you go to the theatre often? or is it very expensive? – and read any important new plays that you cannot see. ICoward, NoëlHay Fever;a7 have just procured ‘HayHale, Emilyas actor;v8as Judith Bliss in Hay Fever;a4 Fever’ so your programme will come in very useful; and I hope to read it before the 6th. IHuxley, AldousThe World of Light;b9TSE enjoys;a1 amHuxley, AldousThe World of Light;b9;a2 sending you Aldous’s play ‘The World of Light’, which I went to see3 – the first time to the theatre in three years, so of course I was more excited than anyone who is used to it. It was extremely well acted – I don’t think it is a great success, but it is rather over the heads of the ordinary audience, who seem to take it rather as a satire on spiritualism than what he meant it to be – rather a study in various types of cowardice, mental dishonesty and self-deception. I liked it much better than I expected. I don’t suppose it would do for amateurs, because the séance scene must need a good deal of special machinery. But glancing over the text makes me recognise how flat most plays read after you have seen them well acted. Enid is a good part, anyway.
I have not seen Karsavina’s memoirs. IKarsavina, Tamara;a1 met her once at a party, a haggard little woman (very tiny) but full of vitality underneath I should say (she is a Mrs. Bruce in private life[)].4 LopokovaLopokova, Lydia (Mrs John Maynard Keynes)described;a1 I have met several times, as she is Mrs. J Maynard Keynes5 – more a plump peasant type, more placid; IDiaghilev, SergeiLa Boutique fantasque;a2 think she was at her best in La Boutique Fantasque.6 The one of the dancers I liked best, personally, was LeonidMassine, Léonidein TSE's opinion;a1 Massine – a quiet, shy man, with little personality off the stage, but wonderful beauty and fire when dancing – heDiaghilev, SergeiThe Three Cornered Hat;a3 was wonderful in The Three Cornered Hat.7 Ten years ago I went a great deal of the Ballet, and those were its great days. DiaghileffDiaghilev, Sergeiremembered;a18 was an odious creature – I felt extremely uncomfortable once in a box with him and some of his scented young men – at – of all things – Midsummer Night’s Dream. But I had a faint notion of trying to do a scenario for a ballet,9 and that was why I met him.
ButBeyle, Marie-Henri (Stendhal)TSE suggests that he and EH read together;a1 all your reading seems to be contemporary? OrBeyle, Marie-Henri (Stendhal)La Chartreuse de Parme;a3 may I perhaps select some French book that I haven’t read and send you a copy? A good thoroughgoing long one, like the Chartreuse de Parme.10
IRemarque, ErichThe Road Back;a1 have just read Thereading (TSE's)The Road Back;a1 Road Back by Erich Remarque, becauseWheen, Arthursends TSE his translation of The Road Back;a1 a friend of mine, A. W. Wheen, translated it and sent me a copy.11 VeryGermanyand The Road Back;a1 good, I think though not exactly first rate literature – a good picture of the immediately post-war Germany.
I dare say my feeling for music is largely sentimental. ButStravinsky, Igordiminished in TSE's admiration;a1 some of that wears off; I used to admire Stravinsky very much but less and less. WhereasWagner, Richardstill capable of exciting TSE;a1 if my excitement by Wagner is sentimental at least he can revive it every time. ButBeethoven, Ludwig vanTSE's favourite composer;a2 IBrahms, Johannesranked by TSE alongside Beethoven;a1 like Beethoven and Brahms best. But I only hear music now on the wireless or when I can afford to buy a record. There is a wonderful string quartet of Tsaikovsky [sic] which I like better than his symphonies.12 And any music is better than none!
I likedHale, Emilyappearance and characteristics;v7in silk, autumn 1930;a6 very much the silk I saw last autumn – it is hard to believe that is only seven months ago – it seems years. You must tell me about the dress selected for Judith.13
ButHale, Emilyfinances;w5;a2 O dear, I felt very sad, and not sad exactly so much as in a Rage, because it seems to me that you have been denied everything in life that you ought to have had, and it enrages me at times to see other women having them – even just money. If you could only just have double your income – enough to dress the very best, and travel, and not have to teach. Thank you very much for telling me so exactly about your income – it is about what I imagined. I have a great deal of financial anxiety myself – but I will keep that for another time.
TheSitwell, Edithwhich displeases EH;a2 comparison to E. Sitwell was not intended as a compliment, but merely to emphasise that although any scrap of a photograph is precious, I am very impatient for a really good one.
Well, your faults still seem to me very tenuous existences, my dear; but I know that whatever progress one makes, one still becomes conscious of more faults, and more conscious of faults, than before; and it is indeed a sign of growth. I know that whatever faults you have would make not the slightest difference to my admiration and adoration, because I know you better than your faults do.
And now this letter has been a very unsatisfactory one to the writer; and I shall make a fresh start on Friday. As for depending on someone’s letters – sometimes I am really terrified by my dependence on you!
[Letter from William Empson attached, with ‘A disciple of Richards’s’ in TSE’s hand]
[Letter from F. S. Oliver attached with ‘Fred Oliver – author of “The Endless Adventure” aged 65 – ½ a lung left – millionaire who befriended The Criterion’]
1.Vivien Haigh-Wood Eliot.
2.RoseHaigh-Wood, Rose Esther (TSE's mother-in-law, née Robinson) Esther Haigh-Wood (1860–1941), wifeHaigh-Wood, Charles of Charles Haigh-Wood (1854–1927), artist.
3.Aldous Huxley’s The World of Light: A Comedy in Three Acts opened at the Royalty Theatre, London, 30 Mar. 1931; it was not a success and closed early.
4.TheatreKarsavina, Tamara Street: The Reminiscences of Tamara Karsavina (1930). Karsavina (1885–1978) was prima ballerina of the Imperial Russian Ballet; later of the Ballets Russes under Sergei Diaghilev. In 1918 she quit Moscow for Paris, and then moved to London where she helped to establish the Royal Ballet and the Royal Academy of Dance. Her third husband, whom she married in 1918, was the British diplomat and author Henry James Bruce (1880–1951).
5.LydiaLopokova, Lydia (Mrs John Maynard Keynes) Lopokova (1892–1981), ballet dancer, married in 1925 John Maynard Keynes (1893–1946), the economist and theorist of money, government advisor and negotiator, and patron of the arts. Judith Mackrell notes that she ‘took pleasure in [TSE’s] company. She thought he had a “kind nature” and was intrigued by his and Maynard’s friendship’ (Bloomsbury Ballerina: Lydia Lopokova, Imperial Dancer and Mrs John Maynard Keynes [2008], 346).
6.Stravinsky’s La Boutique fantasque, choreographed by Léonide Massine – co-author of its libretto with the artist André Derain – premiered at the Alhambra Theatre, London, with Diaghilev’s Ballets Russes on 5 June 1919.
7.LéonideMassine, Léonide Massine, born Leonid Fyodorovich Myasin (1896–1979), Russian baller dancer and choreographer; principal choreographer for Sergei Diaghilev’s Ballets Russes, 1915–21. The premiere of The Three Cornered Hat (El sombrero de tres picos, or Le Tricorne), prod. Sergei Diaghilev, with music by Manuel de Falla and sets and costumes by Pablo Picasso, took place at the Alhambra Theatre, London, in July 1919. TSE called Massine ‘the greatest mimetic dancer in the world’ (‘Commentary’, Criterion 3: 9 [Oct. 1924], 4); see too ‘Dramatis Personae’ (1923): CProse 2, 434.
8.SergeiDiaghilev, Sergei Diaghilev (1872–1929), Russian impresario; founder in 1909 of the Ballets Russes.
9.The notion never took to paper, it seems: at least, no evidence survives.
10.La Chartreuse de Parme (novel, 1839), by Stendhal, nom de plume of Marie-Henri Beyle (1783–1842).
11.Erich Maria Remarque, The Road Back (Der Weg zurück), trans. A. W. Wheen (1931).
ArthurWheen, Arthur Wheen (1897–1971), librarian and translator, grew up in Sydney, Australia, and came to Europe with the Australian Expeditionary Force in WW1 (he received the Military Cross ‘for some incredible act of valour in the last war, which provoked a temporary breakdown,’ as TSE said). A Rhodes Scholar at New College, Oxford, 1920–3, he worked in the Library of the Victoria & Albert Museum; as Keeper, 1939–62. He translated novels relating to WW1, winning praise for his version of Erich Maria Remarque’s All Quiet on the Western Front (1929); and he wrote a novella, Two Masters (1924, 1929). TSE wrote of him: ‘He’s completely honest, and one of the most silent men I know.’ FVM thought his modest friend ‘the best critic I know, bar none’ (to Morley Kennerley, 5 July 1933). See We talked of other things: The life and letters of Arthur Wheen 1897–1971, ed. Tanya Crothers (2011).
12.It is not known which of Tchaikovsky’s three string quartets was especially favoured by TSE.
13.Judith Bliss, the character in Hay Fever.
10.GeorgeBlake, George Blake (1893–1961), novelist, journalist, publisher: see Biographical Register.
8.SergeiDiaghilev, Sergei Diaghilev (1872–1929), Russian impresario; founder in 1909 of the Ballets Russes.
11.GeoffreyFaber, Geoffrey Faber (1889–1961), publisher and poet: see Biographical Register.
2.RoseHaigh-Wood, Rose Esther (TSE's mother-in-law, née Robinson) Esther Haigh-Wood (1860–1941), wifeHaigh-Wood, Charles of Charles Haigh-Wood (1854–1927), artist.
2.RoseHaigh-Wood, Rose Esther (TSE's mother-in-law, née Robinson) Esther Haigh-Wood (1860–1941), wifeHaigh-Wood, Charles of Charles Haigh-Wood (1854–1927), artist.
10.AldousHuxley, Aldous Huxley (1894–1963), novelist, poet, essayist: see Biographical Register.
5.LydiaLopokova, Lydia (Mrs John Maynard Keynes) Lopokova (1892–1981), ballet dancer, married in 1925 John Maynard Keynes (1893–1946), the economist and theorist of money, government advisor and negotiator, and patron of the arts. Judith Mackrell notes that she ‘took pleasure in [TSE’s] company. She thought he had a “kind nature” and was intrigued by his and Maynard’s friendship’ (Bloomsbury Ballerina: Lydia Lopokova, Imperial Dancer and Mrs John Maynard Keynes [2008], 346).
7.LéonideMassine, Léonide Massine, born Leonid Fyodorovich Myasin (1896–1979), Russian baller dancer and choreographer; principal choreographer for Sergei Diaghilev’s Ballets Russes, 1915–21. The premiere of The Three Cornered Hat (El sombrero de tres picos, or Le Tricorne), prod. Sergei Diaghilev, with music by Manuel de Falla and sets and costumes by Pablo Picasso, took place at the Alhambra Theatre, London, in July 1919. TSE called Massine ‘the greatest mimetic dancer in the world’ (‘Commentary’, Criterion 3: 9 [Oct. 1924], 4); see too ‘Dramatis Personae’ (1923): CProse 2, 434.
4.FrankMorley, Frank Vigor Vigor Morley (1899–1980), American publisher and author; a founding editor of F&F, 1929–39: see Biographical Register.
2.EdithSitwell, Edith Sitwell (1887–1964), poet, biographer, anthologist, novelist: see Biographical Register.
ArthurWheen, Arthur Wheen (1897–1971), librarian and translator, grew up in Sydney, Australia, and came to Europe with the Australian Expeditionary Force in WW1 (he received the Military Cross ‘for some incredible act of valour in the last war, which provoked a temporary breakdown,’ as TSE said). A Rhodes Scholar at New College, Oxford, 1920–3, he worked in the Library of the Victoria & Albert Museum; as Keeper, 1939–62. He translated novels relating to WW1, winning praise for his version of Erich Maria Remarque’s All Quiet on the Western Front (1929); and he wrote a novella, Two Masters (1924, 1929). TSE wrote of him: ‘He’s completely honest, and one of the most silent men I know.’ FVM thought his modest friend ‘the best critic I know, bar none’ (to Morley Kennerley, 5 July 1933). See We talked of other things: The life and letters of Arthur Wheen 1897–1971, ed. Tanya Crothers (2011).