[240 Crescent St., Northampton, Mass.]

T. S.Eliot
The Criterion
27 April 1937
My Dearest Girl,

I am writing this morning to catch the Queen Mary, asPorteus, Hugh Gordon;b5 I have to give H. G. Porteus dinner tonight – I doubt if he often gets a square meal. ThenFamily Reunion, TheTSE on writing;b4 to start on what, I hope, will be a fairly uninterrupted fortnight of play-writing before going abroad. TheEnglandLondon;h1during 1937 Coronation;d1 officeGeorge VIhis coronation;a1 will be closed for a whole week anyway; already London is beginning to become impassable. The parks are closed, because the Colonial troops which have come to march in the procession are camping there; and the central parts of town are covered with scaffolds for seats. And people one wants to get hold of are gradually disappearing to the country and abroad.

ITandy, Geoffreyaccompanies TSE to Cambridge and Wisbech;b8 had a fairly good weekend at Wisbech; the weather, though very cold, was fine; and my cold is leaving me (though I shall be very glad of a holiday). WealcoholChâteau Leoville-Poyferré 1915;c2 tried three good wines – Romanee St. Vivant 1923, Chateau Leoville-Poyferré 1915, and Cockburn 1900 which were all new to me. Some day I may know something about wine: the advantage of cultivating one’s taste is practical as well as aesthetic, because if you are to appreciate good wine you can only drink very little at a time (the same applies to brandy and whisky too) and it makes one avoid ordinary beverages in favour of good beer. Alsosmokingand drinking;b6, one smokes less, because smoking interferes with the sense of taste. WisbechEnglandWisbech, Lincolnshire;k4TSE on visiting;a1 is a more striking town than I had expected: there is a fine open place with some excellent 18th century houses along the banks of the River Nene. IEnglandEnglish countryside;c2fen country;a5 should like to penetrate further into the fen country, andEnglandLincolnshire;g7arouses TSE's curiosity;a1 knowEnglandEast Anglia;e8its churches;a1 more about Lincolnshire and East Anglia (where there are some lovely churches) – I wonder if you know that country at all: butEnglandGloucestershire;f6TSE at home in;a4 IEnglandWorcestershire;k5TSE feels at home in;a1 amEnglandSomerset;i8TSE at home in;a2 always consciousEnglandDorset;e6TSE feels at home in;a2 inEnglandWiltshire;k1TSE at home in;a2 Eastern Counties of feeling much less at home than in the West – Gloucestershire, Worcestershire and the Welsh Marches, and Somerset, Wiltshire and Dorset, are the part of Britain I like best.

By the time you get this you will have only about six weeks more of term, and will be busy, no doubt, preparing for examinations. IMurder in the Cathedral1937 Amherst College production;f2;a3 have received a couple of copies of the Amherst paper, relating to ‘Murder’: IEliot, Samuel Atkins, Jr. (TSE's cousin)critical of TSE as playwright;a3 was a little startled to read a headline to the effect that ‘Eliot approves Amherst Production’ until I found that the column was a critique by Sam Eliot (‘Smith Professor’) who, however, did not think much of the play itself – the merit was in the work of the Amherst Masquers and not in that of the author.1 Do you ever see anything of him? I have no idea what he is like.

I do hope it will turn warm quickly. My winter clothes are very shabby – and I have been thinking of the Perkins’s shivering in Campden. I am very anxious that it should be a fine warm sunny summer for you; and I still hope, because last year was so dull and cold: but the spring is certainly very late indeed. Though I don’t think the growing things mind it so much as human beings; for the country is fairly well advanced.

to Emilie from her devoted Tom.

WeTrouncer, Margareton to her third book;b1 are trying to find a subject for Mrs. Trouncer – no sooner is one book out (this time the Pompadour) than she is clamouring about the next. That woman is terrifyingly industrious. It means that I have got to mug up the subject of Ninon de Lanclos [sc. l'Enclos].2

1.MurderMurder in the Cathedral1937 Amherst College production;f2;a4n in the Cathedral was performed on 18/19 Mar 1937 by the Amherst Masquers, an Amherst College theatre group, directed by Prof. F. Curtis Canfield. (Since Amherst College was at that time a men’s college, the Chorus was made up of wives of members of the faculty. The Tempters wore half-masks.)

‘MasquersEliot, Samuel Atkins, Jr. (TSE's cousin)critical of TSE as playwright;a3’ Play Is Approved by Eliot: “Murder in the Cathedral” Is Better on Stage Than in Print, Reviewer Finds / Hart Praise in Lead / Actual Murder Anti-Climactic, But Production as a Whole Called High in Quality / By Samuel A. Eliot, Jr. (Head of Dramatic Department, Smith College’)’, The Amherst Student, 22 Mar. 1937, 1, 3: ‘“Murder in the Cathedral” is an absorbing stage-play, of extraordinary interest to theatre-workers of every kind, choric speakers, poets, and religious minds. In print, it appears verbose and heavy, sometimes obscure, sometimes disagreeably “modern” in expression, – on the whole, uneven and arbitrary. But in such a production as the Masquers give it, rhythm, beauty and strangeness endowed it with great unity and power, through the first scene (the Archbishop’s hall) of Part II. Bookish and abstract words, sometimes impossible to understand, and passages of thought too unfamiliar for prompt grasping, were over-ridden by the fire and fervor of the acting. Despite occasional failures of ear or of intellect, the spectator was completely absorbed – not in the life and problems of 1170, not in the theatre-art of 1937, but in something purely imaginative, created out of both. As in the “ideal” drama of other times, both Attic Tragedy and Medieval Passion-play, an atmosphere of something different from life, a mingling of the superhuman with the human, a strong suggestion of eternity, was stirringly evoked.

‘The Chorus, of course, established this atmosphere, and grandly sustained it until the grotesque images and diction that Eliot gave it, after Part II, Scene 1, brought grimacing modernity athwart illusion. (The fish-basket and golf-club of the Third Tempter were negligible bits of bad taste, intruding on but not destroying the deeper meaning of his scene.) At first, one had to make conscious adjustments to the Chorus, and while its rhythm was excellent, its tones seemed monotonous in pitch and its inflections inadequately expressive. In the beginning, no doubt deliberately, for the sake of climax, more uniform, than it afterwards became. All its movements and its facial expressions were admirable: even in the unfortunate stasimon about “guts”, the rhythmic stance-pattern, and individual contributions of its members, fascinated the eye. The variety at first desired was presently supplied, and each woman acted, whether singly or in unison. Technically, such a Chorus was a great achievement.

‘Mr [James S.] Hart’s Becket, too, was a grand piece of acting. Physically he lacked, a little, the keen-eyed vigor one expected. Now and then he suggested an eagle discomfited by rain. But his voice and delivery were superb, his Christmas sermon most impressive (though not written with the logical progression one expected, and unconvincing in its final sentences), and his characterization, consistent and sustained. The scene with the four Tempters was the best drama in the performance, though only one of the masks – the golden mask of him who offered temporal power under the king – was satisfactory and enhanced the effect. The first had too little character, expressing not Ease and Pleasure, but unformed childishness. The third was too dark and pointed: a John Bull mask seems indicated, with – if not a falcon on the wrist – a boar-spear in the hand. And the fourth was actually Commedia dell ’Artish, prying and tricky, whereas a smug, bland hypocrite-mask, distorting Becket’s own features, ought to visor such a Tempter. Mr Brewer was curiously less good as the Tempter than as the Knight; Mr Canfield also was more at ease in his unmasked character; but Mr Kennedy excelled when stylized and was weak when natural.

‘The cause of the decline in effectiveness that one felt during the play’s final scenes is not single nor demonstrable. The fault lies mainly with the author, but the producer, if he felt it, might lessen it. The Chorus anticipates too much: the murder itself is anti-climax. Historically, one or two priests stood by Becket, warded off some of the blows with their crosses, and assisted the dying man. Eliot seems to have wished to suggest the Passion of Christ (and succeeded at hinting at Gethsemane in Part II, Scene 1, while the bearded cleric in this production looked very like St Peter), and has so formalized the Archbishop’s final moments that any illusion of reality disappears. The following scene, of the Knight’s self-justification, is well written and worth careful attention, but is obviously a comment on the play, not a part of it. Shaw’s epilog to Saint Joan may have suggested it, but Eliot has not shown Shaw’s skill at continuity and gradation. And while Eliot was describing how recalcitrant Archbishops would be bloodlessly dealt with in later ages, one missed an expectable allusion to Cranmer and Henry VIII.’

2.Anne ‘Ninon’ de l’Enclos (1620–1705), French author, courtesan, and patron. A friend of Jean Racine, she encouraged the young Molière, and she also left money to the boy Voltaire.

alcohol, as pleasure, as temptation, as weakness, whisky as necessity, whisky as suppressant, as aid to sleep, and American Prohibition, the 'bedtime Guinness', too much sherry, whisky as medicine, at The Swan, Commercial Road, GCF's pillaged whisky, and buying cheap delicious wine, 'whisky' vs 'whiskey', erroneous belief about brandy, Guinness before Mass, asperity on port, at JDH and TSE's dinner, Château Latour 1874, Château Leoville-Poyferré 1915, fine wines at JDH's, wartime whisky, bottle of beer with wireless, 'dry sherry' and rationing,
Eliot, Samuel Atkins, Jr. (TSE's cousin), unknown to TSE, apparently disliked, critical of TSE as playwright, dominates theatre at Smith,

2.SamuelEliot, Samuel Atkins, Jr. (TSE's cousin) Atkins Eliot, Jr. (1893–1984), author, translator of works by Frank Wedekind, Professor at Smith College, Northampton; son of the Unitarian clergyman Samuel Atkins Eliot (1862–1950) and grandson of Charles W. Eliot, President of Harvard. Works include Little Theatre Classics (3 vols, 1918–21); Erdgeist, by Wedekind (trans., 1914); and Tragedies of Sex, by Wedekind (trans., 1923).

England, TSE as transatlantic cultural conduit for, discomforts of its larger houses, and Henry James, at times unreal, TSE's patriotic homesickness for, which is not a repudiation of America, TSE's want of relations in, encourages superiority in Americans familiar with, reposeful, natural ally of France, compared to Wales, much more intimate with Europe than America, TSE on his 'exile' in, undone by 'Dividend morality', in wartime, war binds TSE to, post-war, post-war privations, the English, initially strange to TSE, contortions of upward mobility, comparatively rooted as a people, TSE more comfortable distinguishing, the two kinds of duke, TSE's vision of wealthy provincials, its Tories, more blunt than Americans, as congregants, considered racially superior, a relief from the Scottish, don't talk in poetry, compared to the Irish, English countryside, around Hindhead, distinguished, the West Country, compared to New England's, fen country, in primrose season, the English weather, cursed by Joyce, suits mistiness, preferred to America's, distinguished for America's by repose, relaxes TSE, not rainy enough, English traditions, Derby Day, Order of Merit, shooting, Varsity Cricket Match, TSE's dislike of talking cricket, rugby match enthralls, the death of George V, knighthood, the English language, Adlestrop, Gloucestershire, visited by EH and TSE, Amberley, West Sussex, ruined castle at, Arundel, West Sussex, TSE's guide to, Bath, Somerset, TSE 'ravished' by, EH visits, Bemerton, Wiltshire, visited on Herbert pilgrimage, Blockley, Gloucestershire, tea at the Crown, Bosham, West Sussex, EH introduced to, Bridport, Dorset, Tandys settled near, Burford, Oxfordshire, EH staying in, too hallowed to revisit, Burnt Norton, Gloucestershire, TSE remembers visiting, and the Cotswolds, its imagined fate, Cambridge, Cambridgeshire, less oppressive than Oxford, TSE's vision of life in, possible refuge during Blitz, Charlbury, Oxfordshire, visited by EH and TSE, Chester, Cheshire, TSE's plans in, TSE on, Chichester, West Sussex, the Perkinses encouraged to visit, EH celebrates birthday in, TSE's guide to, 'The Church and the Artist', TSE gives EH ring in, Chipping Campden, Gloucestershire, Perkinses take house at, shockingly remote, TSE's first weekend at, likened to Florence, TSE jealous of memories associated with, its Arts & Crafts associations, its attractions to Dr Perkins, forever associated with TSE and EH, sound of the Angelus, without EH, treasured in TSE's memory, excursions from, EH on 'our' garden at, Stamford House passes into new hands, EH's fleeting return to, Cornwall, TSE's visit to, compared to North Devon, Cotswolds, sacred in TSE's memory, Derbyshire, as seen from Swanwick, Devon ('Devonshire'), likened to American South, the Eliots pre-Somerset home, its scenery, Dorset, highly civilised, TSE feels at home in, TSE's Tandy weekend in, Durham, TSE's visit to, East Anglia, its churches, TSE now feels at home in, East Coker, Somerset, visited by Uncle Chris and Abby, TSE conceives desire to visit, reasons for visiting, described, visited again, and the Shamley Cokers, now within Father Underhill's diocese, photographs of, Finchampstead, Berkshire, visited by TSE and EH, specifically the Queen's Head, Framlingham, Suffolk, visited, Garsington, Oxfordshire, recalled, Glastonbury, Somerset, Gloucester, Gloucestershire, Gloucestershire, highly civilised, its beautiful edge, its countryside associated with EH, TSE at home in, its domestic architecture, Hadsleigh, Suffolk, visited, Hampshire, journey through, TSE's New Forest holiday, Hereford, highly civilised, Hull, Yorkshire, and 'Literature and the Modern World', Ilfracombe, Devon, and the Field Marshal, hideous, Knole Park, Kent, Lavenham, Suffolk, visited, Leeds, Yorkshire, TSE lectures in, touring Murder opens in, the Dobrées visited in, home to EVE's family, Lincoln, Lincolnshire, TSE's visit to, especially the Bishop's Palace, Lincolnshire, arouses TSE's curiosity, unknown to EH, Lingfield, Surrey, Little Gidding, Cambridgeshire, TSE's long-intended expedition to, London, in TSE's experience, TSE's isolation within, affords solitude and anonymity, contrasted to country life, its fogs, socially freer than Boston and Paris, eternally misty, its lionhunters, rain preferable in, more 'home' to TSE than America, socially more legible than Boston, its society compared to Boston's, TSE's desire to live among cockneys, South Kensington too respectable, Clerkenwell, Camberwell, Blackheath, Greenwich scouted for lodging, its comparatively vigorous religious life, Camberwell lodging sought, Clerkenwell lodging sought, and music-hall nostalgia, abandoned by society in August, the varieties of cockney, TSE's East End sojourn, South Kensington grows on TSE, prepares for Silver Jubilee, South Kensington street names, Dulwich hallowed in memory, so too Greenwich, during 1937 Coronation, preparing for war, Dulwich revisited with family, in wartime, TSE as air-raid warden in, Long Melford, Suffolk, Lowestoft, Suffolk, Lyme Regis, Dorset, with the Morleys, Marlborough, Wiltshire, scene of a happy drink, Needham Market, Suffolk, Newcastle, Northumberland, TSE's visit to, Norfolk, appeals to TSE, Nottingham, Nottinghamshire, dreary, Nottinghamshire, described for EH, Oxford, Oxfordshire, as recollected by TSE, past and present, EH takes lodgings in, haunted for TSE, in July, compared to Cambridge, Peacehaven, Sussex, amazing sermon preached in, Penrith, TSE's visit to, Rochester, as Dickens described, Salisbury, Wiltshire, in the Richmonds' company, Shamley Green, Surrey, TSE's ARP work in, its post office, Pilgrim Players due at, Somerset, highly civilised, TSE at home in, Southwold, Suffolk, TSE visits with family, Stanton, Gloucestershire, on TSE and EH's walk, Stanway, Gloucestershire, on EH and TSE's walk, Suffolk, TSE visits with family, Surrey, Morley finds TSE lodging in, evening bitter at the Royal Oak, TSE misses, as it must have been, Sussex, commended to EH, TSE walking Stane Street and downs, EH remembers, Walberswick, Suffolk, Wells, Somerset, TSE on visiting, Whipsnade, Bedfordshire, EH and TSE visit, Whitchurch Canonicorum, Dorset, delightful name, Wiltshire, highly civilised, TSE at home in, Winchelsea, East Sussex, visited, Winchester, TSE on, Wisbech, Lincolnshire, TSE on visiting, Worcestershire, TSE feels at home in, Yeovil, Somerset, visited en route to East Coker, York, TSE's glimpse of, Yorkshire,
Family Reunion, The, and TSE as Orestes, plot sought for, progress stalled, referred to as 'Orestes play', written against countdown to war, should be artistically a stretch, plot still not settled on, begun, compared to Murder, TSE on writing, described (mid-composition), and Gunn's Carmina Gadelica, described to GCF, EH questions Harry's entrance, draft read to Martin Brownes, projected autumn 1938 production, depletes TSE, and Mourning Becomes Electra, its Greek inheritance, alternatively 'Follow the Furies', first draft promised to EH, as inspired by Tenebrae, being rewritten, work suspended till summer, fair copy being typed, waiting on Browne and Dukes, 'Follow the Furies' quashed by EH, aspires to be Chekhovian, Dukes keen to produce, criticised by Martin Browne, under revision, submitted to EH's theatrical wisdom, for which TSE credits her, possible John Gielgud production, Gielgud-level casting, Browne's final revisions, with the printers, Henry loaned draft, Donat and Saint-Denis interested, in proof, progress towards staging stalled, Saint-Denis interest tempered, possible Tyrone Guthrie production, possible limited Mercury run, its defects, publication scheduled, first draft sent to EH, Michael Redgrave interested in, March 1939 Westminster Theatre production, waits on terms, rehearsals for, which are photographed, opening night contemplated without EH, last-minute flutters, opening night, reception, coming off, TSE's final visit to, Dukes bullish on New York transfer, EH spurs TSE's reflections on, and Otway's Venice Preserv'd, American reception, and Orson Welles, F&F's sales, 1940 American production, Henry harps on the personal aspect, its cheerfulness, EH acknowledges part in, 1943 ADC production, in Dadie Rylands's hands, described, certain lines expressing TSE's frustrations, EH discusses with pupils, plays in Zurich, 1946 Birmingham production, 1946 Mercury revival, rehearsals for, opening night, TSE attends again in company, Spanish translation of, VHE's death calls to mind, its deficiencies, BBC Gielgud broadcast version, first aired, to be repeated, goes nominally with The Cocktail Party, Swedish National Theatre production, compared to Cocktail Party, EH's response to, more 'personal' than Cocktail Party, performed in Göttingen, 1950 Düsseldorf production, 1953 New York production vetoed, 1956 Phoenix Theatre revival, described, Peter Brook congratulated on, Martin Browne seeks MS of,
George VI, his coronation, invests TSE at Buckingham Palace, attends Murder, dies, his funeral,
Murder in the Cathedral, idea for initially suggested by Laurence Irving, offered to Martin Browne, St. Thomas as TSE's muse, TSE on writing, tentatively, 'The Archbishop Murder Case', uncertainties over title, currently 'Fear in the Way', which proves unpopular, TSE on rewriting, title settled on, final revisions for printer, tentatively critiqued by EH, and EH on TSE as dramatist, chorus copied for EH, Virginia Woolf's aspersions on, the form of its choruses, defended from obscurity, did not test TSE's plotting, book-sales to-date, $1,000 offered for American rights, pays for 1936 American trip, Italian and Hungarian rights sold, and Whiggery, Savile Club dinner to celebrate, compared to next play, discrepancies of Canterbury Text, Martin Browne's initial response to, TSE recognised as author of, TSE on its cheerful title, EH on, abandoned Mercury Theatre premiere, suggested by Yeats and Doone, in the offing, and Doone's response to first draft, EH requested at, imperilled, text copied for Yeats, 1935 Canterbury Festival production, in rehearsal, opening night, reception, final performance, and EH's response, 1935–6 Mercury Theatre revival, Martin Browne pushing for, in rehearsal, which EH attends, compared to Canterbury original, at the box-office, its 100th performance, still running, proposed tour to end, 1936 BBC radio version, BBC bid to produce, broadcast fixed, BBC memo on, in rehearsal, TSE on, abortive 1936 New York transfer, Dukes visits America to arrange, blighted by Brace's actions, quashed by Federal Theatre production, its usurper founders, deferred to autumn, unsolicited 1936 New York production, licensed by Brace, to be directed by Rice, seemingly withdrawn, Rice resigns from, delights EH and Eleanor Hinkley, TSE sent press-cuttings for, EH reports on, TSE speculates as to textual discrepancies, attended by Eleanor Roosevelt, extended and potentially expanded, TSE to the Transcript on, may predispose immigration authorities favourably in future, royalties from, 1936 University College, Dublin student production, described by TSE, rumoured Australian and American productions, 1936 Gate Theatre touring production, TSE's long-held wish, scheduled, 1936 touring production, due at the Arts Theatre, Cambridge, as it was played in Cambridge, 1936 America pirate production, 1937 Duchess Theatre West End transfer, date fixed for, announced in Times, dress-rehearsal attended, reception, reviewed, royalties, still playing, ticket sales pick up, coming to an end, receives royal visit, 1937 touring production, scheduled post-Duchess, beginning in Leeds, then Manchester, going strong, 1937 Harvard University production, 1937 Amherst College production, singled out for praise, 1937 Old Vic production, touring production arrived at, in rehearsal, 1937 Tewkesbury Drama Festival production, 1938 American tour, projected for January 1937, said date seconded by Dukes, deferred to September 1937, confirmed again by Dukes, pre-tour dates in Golders Green, then Liverpool, opening in Boston in January, over which EH is consulted, tour itinerary, Family Reunion keeps TSE from, preparatory re-rehearsal for, pre-crossing Liverpool dates, EH's judgement desired, EH reports on first night, reviewed in The Times, EH sends New York cuttings, prematurely transferred to New York, Dukes reports on, Westminster Cathedral Hall charity performance, 1940 Latham Mercury revival, revival suggested in rep with Family Reunion, wartime modern-dress production suggested, ambushes TSE, in rehearsal, first night, reviewed, Browne's wartime Pilgrim Players' adaptation, Hoellering film, Hoellering's initial approach made, Hoellering's vision for, TSE adapting for screen, reconnoitre of Canterbury for, casting Becket, recording made for, development process described to NYT, non-actor found for Becket, screenings of Groser, set-dressing, screening, approaching release, still in the edit, final screening, and Venice Film Festival, seeking distribution, soon to premiere, opens, initial reception, circulating in shortened version, 1945 Théâtre du Vieux Colombier production, compared to Martin Browne's, royalties, apparently a hit, reviewed, reaches 150 performances, Fluchère's involvement, 1946 German production, 1947 Edinburgh Festival production, 1948 Milton Academy production, 1949 broadcast, 1949 Berlin production, politically resonant, 1952 University of Rennes, Grand Théâtre abridgment, 1952 Théatre National Populaire production, 1953 Old Vic revival, waiting on Donat, TSE on, 1954 Harvard production,
Porteus, Hugh Gordon, hosts TSE in his garrett, relieved by advance from F&F, fails to get drunk at Criterion gathering,

6.HughPorteus, Hugh Gordon Gordon Porteus (1906–93), literary and art critic; author: see Biographical Register. HisBartek, Zenda partner was Zenka Bartek, who left him in 1944.

smoking, like a schoolboy, with Jim Clement, despite Mt Holyoke rules, and TSE's definition of 'civilised', a pipe again, Chesterfields, tobacconist to Dr Perkins, cigarettes versus gaspers, birthday cigarettes, JDH's Christmas cigars, bedside cigarettes, French cigarettes versus Ringer's Mild Shag, as practised by Virginia Woolf, pipes from the Tandys, and drinking, French cigarettes, TSE forced to halve intake, against doctor's orders, TSE gives up,
Tandy, Geoffrey, at Pike's Farm, on cuts to The Rock, playing on slot-machine with TSE, described for EH, plays golf with TSE, at Dobrée's farewell lunch, his film of TSE, on Speaight's Becket, in poor spirits, part of Criterion inner circle, gives Christmas Eve BBC address, Metaphysical readings prepared for, brings TSE sherry in bed, accompanies TSE to Cambridge and Wisbech, TSE's stylistic influence discerned in, and the original 'Cats' broadcast, repeats 'Cats' broadcast, away on war business, his conversation missed, his war work,
see also Tandys, the

2.GeoffreyTandy, Geoffrey Tandy (1900–69), marine biologist; Assistant Keeper of Botany at the Natural History Museum, London, 1926–47; did broadcast readings for the BBC (including the first reading of TSE’s Practical Cats on Christmas Day 1937): see Biographical Register.

Trouncer, Margaret, introduced to TSE by EH, presses manuscript on TSE, which JDH's friend reads, loses baby, on warpath with second book, which TSE is keen on, on to her third book, produces novel, A Courtesan of Paradise,

2.MargaretTrouncer, Margaret Trouncer (1903–82), author of A Courtesan of Paradise: The Romantic Story of Louise de la Vallière, Mistress of Louis XIV (F&F, 1936). See http://archive.thetablet.co.uk/article/18th-december-1982/23/obituary-margaret-trouncer