[22 Paradise Rd., Northampton, Mass.]

T. S.Eliot
EmilyHale
TS
The Criterion
5 January 1938
Dearest,

I was very glad to get your note of the 23d December, but disappointed that you had not received my letter to 39 Brimmer Street which I had calculated would reach you on that day (I trust that my cable arrived on Christmas Eve however). I only hope that my attempts to follow you have not been defeated everywhere, and that my letter to New Bedford reached New Bedford while you were there. I wrote last on the 30th. Now you are back in Northampton, and I hope refreshed by your visit; but I wait anxiously to hear. Between now and Easter is, I fancy, the most tiring part of the year; because the Christmas holidays bring more fatigue than rest; and the Easter holidays, such as they are, you are more free to spend according to your own choice and judgement.

I am glad to be back in London with the prospect of not having to go away for weekends for a long time. LastMorleys, theTSE's New Years celebrated with;d5 weekend of course had to be spent at the Morleys for the New Year – pleasant, but the two boys in bed with colds, Christina with no nurse and only one not very effective young servant, and Frank’s secretary Miss Evans down with them to help – I got a sort of chill on the liver on Saturday night, and spent Sunday indoors feeling very feeble, but was practically recovered again by Monday morning and feel fortunate in not having caught a cold in the head and temperature – have done very well this winter so far, and being free of weekends or important engagements encourages me to hope that this will be the healthiest for some winters past. IMurder in the Cathedral1938 American tour;f6preparatory re-rehearsal for;b1 am rather busy this week, because I am giving several evenings to the new rehearsals for ‘Murder’, which I think is shaping very well. The chorus is handpicked, and I think the best they have had since Canterbury – all very keen and excited at the prospect of seeing America. They seem a nice lot. Fitz Urse is the weakest of the company so far. AshleyDukes, AshleyAmerican Murder tour;d3 left for New York to-day on the Ile de France, and will be in America until March. The company leaves on Saturday week for Boston. IBrownes, the Martin;b5 gave the Brownes your message about hotels, but apparently you had already written the same to them. TheMurder in the Cathedral1938 American tour;f6pre-crossing Liverpool dates;b2 rehearsals end on Saturday night, when the company goes to Liverpool and gives five performances there before sailing.

DidFamily Reunion, Thealternatively 'Follow the Furies';c6 IDukes, Ashleyagainst Family Reunion as title;d4 tellBrowne, Elliott Martin1939 production of The Family Reunion;c1against Family Reunion as title;a5 you that neither Dukes nor the Brownes like ‘The Family Reunion’ as a theatre title.1 I have suggested as an alternative ‘Follow the Furies’: Dukes seems delighted with this; I should like to have your opinion. HeLehmann, Beatrixdream casting for Family Reunion;a2 wants to get Beatrix Lehmann, who did such a marvellous performance as Viny [sc. Vinny] in ‘Mourning Becomes Electra’, for the part of Amy (the mother); andanti-Semitism;c3 although she is a youngish person I think she could play the part of an old lady; and she is not conspicuously Jewish in appearance, being blonde.

IPerkinses, themove apartment;h3 am glad that the Perkins’s have found an apartment; the neighbourhood sounds most suitable, though I suppose rather expensive. I must stop now. IEliot, Henry Ware, Jr. (TSE's brother)sends TSE luggage for Christmas;d4 have not written any of my American post-Christmas letters yet – must write first to Henry, who sent me the most ingenious and useless piece of luggage (to hold a dinner jacket and a shirt and nothing else, but quite large, and no lock (zip) so that you would never put it in the van).

toujours,
te souhaitant la bonne année
ton Tom

1.Henry Eliot to Donald Gallup, 9 Feb. 1938: ‘“The Family Reunion” will probably not be the title of the new play, if Dukes has his way (though I like the title myself[)]. It has to do with the Eumenides, or Erinyes, or Furies, who I believe appear in evening dress of the present day, and concerns the actions, interactions and reactions of an English family upon one particular member of the younger generation.’

anti-Semitism, and Marie von Moritz, and Mosley, within TSE's racial hierarchy, in After Strange Gods, and Mosley's Albert Hall rally, and Nazi persecution in Vienna, and the prospect of immigration, and EP, in South Africa,
Browne, Elliott Martin, meets TSE at Chichester, production of The Rock, meets TSE over possible collaboration, talks over outline of play, meets TSE with Martin Shaw, delighted with Rock choruses, discusses unwritten pageant scenes with TSE, predicament as The Rock's director, well connected in amateur circles, revising into the night with TSE, argues with Shaw at dress-rehearsal, presented to Prince Arthur, honoured by Rock cast-supper, producing Gordon Bottomley's play, speaks at Londonderry House with TSE, 1935 Canterbury Murder in the Cathedral, approached by TSE to 'produce', consulted throughout composition, goes silent, lunches with TSE and Speaight, directs and acts despite illness, pursues London Murder revival, 1935–6 Mercury Theatre Murder revival, engaged as producer by Dukes, keen that EH attend rehearsals, simultaneously part of BBC production, agrees about Speaight's decline, preferred as producer for TSE's next play, and Charles Williams's Cranmer, in which he plays 'the Skeleton', and TSE attend Tenebrae, taken to Cambridge after-feast, producing York Nativity Play, which TSE thinks Giottoesque, at Savile Club Murder dinner, producing Shakespeare's Dream, and Ascent of F6, and Tewkesbury Festival Murder confusion, 1939 production of The Family Reunion, due to be sent script, weighing TSE's proposal that he produce, enthused by script, suggests TSE see Mourning Becomes Electra, against Family Reunion as title, pleased with draft, quizzed on fire-safety, typescript prepared for, new draft submitted to, rewrite waits on, receives new draft, criticisms thereof, reports John Gielgud interest, mediates between Gielgud and TSE, TSE throws over Gielgud for, secures Westminster Theatre production, steps into company breach, then into still-greater breach, and the play's weaknesses, direction of Family Reunion, receives TSE's Shakespeare lectures, 1938 American Murder tour, re-rehearsing actors for, suffers fit of pre-tour gloom, yet to report from Boston, and Tewkesbury pageant, accompanies TSE to La Mandragola, on Family Reunion's future prospects, and possible Orson Welles interest, war leaves at loose end, advises TSE over next play, war work with Pilgrim Players, unavailable for modern-dress Murder, compared to tempter/knight successor, requests Pilgrim Players' play from TSE, New Plays by Poets series, as director, and This Way to the Tomb, and Family Reunion revival, urges TSE to concentrate on theatre, 1946 Mercury Family Reunion revival, in rehearsal, possible revue for Mercury Theatre, and The Lady's Not for Burning, Chairman of the Drama League, 1949 Edinburgh Cocktail Party, to produce, TSE's intended first reader for, receives beginning, approves first act, receives TSE's revisions, communciates Alec Guinness's enthusiasm, arranges reading, surpasses himself with production, in Florence, EH suggests moving on from, and the Poets' Theatre Guild, 1950 Cocktail Party New York transfer, compares Rex Harrison and Alec Guinness, TSE debates whether to continue collaboration with, suggests three-play TSE repertory, 1953 Edinburgh Confidential Clerk, receives first two acts, designing sets, 1953 Lyric Theatre Confidential Clerk, attends with TSE, 1954 American Confidential Clerk, 1954 touring Confidential Clerk, TSE and Martin Browne catch in Golders Green, seeks Family Reunion MS from EH,
see also Brownes, the Martin

4.E. MartinBrowne, Elliott Martin Browne (1900–80), English director and producer, was to direct the first production of Murder in the Cathedral: see Biographical Register.

Brownes, the Martin, at TSE's theatrical tea-party, pick over scenario for Murder, TSE's fondness for, introduce TSE to Saint-Denis, both invited to Tenebrae, TSE reads Family Reunion to, and their Pilgrim Players, their sons, among TSE's intimates, encourage TSE over Cocktail Party, discuss Cocktail Party draft, Silver Wedding Party,
Dukes, Ashley, described by Yeats to TSE, approaches Doone over Mercury Theatre season, lines up Mercury Murder revival, with which he is pleased, his ambitions for Murder, which Brace upsets, instructed as to Murder New York negotiations, hustling in New York, from where he reports, agrees about Speaight's decline, explains miscarriage of 1936 American production, at 100th performance of Murder, latest plans for Murder, revised plans for New York, dares to call TSE in morning, TSE's royalty arrangement with, policing pirate productions of Murder, discusses Murder's America rights, full of grand desgins, takes Browne into partnership, on Murder's Abdication Crisis resonance, among Family Reunion's first readers, plans for Murder, American Murder tour, against Family Reunion as title, pleased with Family Reunion fragment, sent full Family Reunion draft, lets EH down, consulted over Gielgud contract, on Gielgud and Family Reunion, negotiating with Saint-Denis, less persuaded by Family Reunion, optimistic on Family Reunion transfer, instructed on Family Reunion licensing, fields Orson Welles enquiry, suggests wartime Murder revival, which he mounts without consulting TSE, attempting season of miniature operas, submits theatrical reminiscences to TSE, and Murder film rights, book launch for memoirs, reports on TSE's continental productions, gives Garrick Club dinner for TSE, takes full control of Mercury, accompanies TSE to Germany, La Mandragola, The Scene is Changed, Too Many Twins,
see also Dukes, the

4.AshleyDukes, Ashley Dukes (1885–1959), theatre manager, playwright, critic, translator, adapter, author; from 1933, owner of the Mercury Theatre, London: see Biographical Register.

Eliot, Henry Ware, Jr. (TSE's brother), hears TSE's Dryden broadcast, as potential confidant, sibling most attuned to TSE's needs, witness to the Eliots in 1926, surprises TSE in Boston, his aura of futility, disputes New Yorker profile of TSE, at Eliot family Thanksgiving, attends second Norton lecture, his business in Chicago, hosts TSE in New York, TSE reads his second detective story, his immaturity, accuses TSE of wrath, writes TSE long critical letter, the favourite of TSE's parents, sends New York Murder clippings, writes again about religion, insensitive to European affairs, Peabody Museum employ as research associate, gives TSE pyjamas for Christmas, sends TSE luggage for Christmas, hosts Murder's Boston cast, sends present to Morley children, cables TSE on 50th birthday, given draft of Family Reunion, gives TSE portfolio, champions Kauffer's photograph of TSE, explains operation on ears, sends list of securities, takes pleasure in shouldering Margaret, undergoes serious operation, recovering at home, as curator of Eliotana, as curator of Eliotana, war imperils final reunion with, and TSE's rumoured Vatican audience, corresponds with TSE monthly, offers Tom Faber wartime refuge, nervous about TSE during Blitz, as described by Frank Morley, recalls The Dry Salvages, has appendix out, cautioned as to health, frail, condition worries TSE, as correspondent, friend to J. J. Sweeney, tries TSE's patience, reports on Ada, describes Ada's funeral, beleaguered by Margaret, sent Picture Post F&F photos, likened to Grandfather Stearns, goitre operated on, his archaeological endeavours, back in hospital, imagined in exclusively female company, ill again, as brother, has pneumonia, terminal leukaemia, prospect of his death versus Ada's, anxieties induced by deafness, writes to TSE despite illness, death, memorial service for, on EH's presumption, Michael Roberts's symptoms reminiscent of, his Chicago acquaintance, friends with Robert Lowell's father, invoked against EH, on TSE's love for EH, buried in Garrett family lot, The Rumble Murders,

3.HenryEliot, Henry Ware, Jr. (TSE's brother) Ware Eliot (1879–1947), TSE’s older brother: see Biographical Register.

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,
Lehmann, Beatrix, as O'Neill's Electra, dream casting for Family Reunion,
Morleys, the, join the Eliots in Eastbourne, TSE fears overburdening, go on holiday to Norway, more TSE's friend than VHE's, return from Norway, life at Pike's Farm among, reading Dickens aloud to, their Thanksgiving parties, suitable companions to Varsity Cricket Match, and TSE to Laughton's Macbeth, TSE's June 1934 fortnight with, and certain 'bathers' photographs', and TSE play 'GO', attend Richard II with EH, TSE's New Years celebrated with, take TSE to Evelyn Prentice and Laurel & Hardy, TSE's return from Wales with, TSE's September 1935 week with, leave for New York, one of two regular ports-of-call, see EH in Boston, safely returned from New York, TSE reads Dr Johnson to, compared to the Tandys, add to their menagerie, reiterate gratitude for EH's peppermints, in Paris with TSE, give TSE copy of Don Quixote, and Fabers take TSE to pantomime, and TSE's Salzburg expedition, join Dorothy Pound dinner, visit Hamburg, have Labrador puppies, dinner at Much Hadham for, TSE to see them off at Kings Cross, seem unhappy in America, Thanksgiving without, in New Canaan, return to Lingfield, remember TSE's birthday, difficulties of renewing friendship with,
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,
Perkinses, the, likely to be interested in An Adventure, compared to Mary Ware, enjoyable dinner at the Ludlow with, take to TSE, TSE desires parental intimacy with, their dinner-guests dismissed by TSE, who repents of seeming ingratitude, TSE confides separation plans to, too polite, questioned as companions for EH, offered English introductions, entertained on arrival in London, seek residence in Chichester, given introduction to G. C. Coulton, take house at Chipping Camden, as Chipping Campden hosts, given introduction to Bishop Bell, TSE entertains at Oxford and Cambridge Club, TSE's private opinion on, TSE encourages EH's independence from, their repressive influence on EH, buy TSE gloves for Christmas, sent Lapsang Souchong on arrival in England, invite TSE to Campden, move apartment, anticipate 1938 English summer, descend on EH in Northampton, and EH's wartime return to America, temporarily homeless, enfeebled, EH forwards TSE teenage letter to, their health, which is a burden, approve EH's permanent Abbot position,