[No surviving envelope]

T. S.Eliot
EmilyHale
TS
Faber & Faber Ltd
29 October 1946
My Dearest,

The weather has changed to winter in the last few days, and I return[ed] from Shamley yesterday morning with a fine bunch of celery, which proves that there has been a frost, and a cold in the head, which suggests that too much must not be expected of inoculations. Iappearance (TSE's)hernia;b9deferred operation for;a2 shall mention this to my doctor at half past twelve, after which he is to take me in to the abdominal specialist for an examination of my hernia. IFamily Reunion, The1946 Mercury revival;i2rehearsals for;a1 wentMercury Theatre, Londonand 1946 Family Reunion revival;c8 to the Mercury yesterday morning on my return, expectingBrowne, Elliott Martin1946 Mercury Family Reunion revival;e3in rehearsal;a1 to see Martin rehearse his performers, but found that they had been at it all day Sunday, and were taking most of Monday off. However, I saw the décor, which looks quite good, and should look better under electric light: a gloomy Palladian window embrasure, with a lustre chandelier and a marble bust on a pedestal. IEast CokerTSE's recording of;c7 am wondering whetherFour Quartetsrecorded by TSE;a9 I shall be fit to do a good recording of ‘East Coker’ this afternoon: I doubt it. I hope I shall not have to take to bed, as it would disappoint Martin. If I feel up to it, I shall go round to the Mercury after dinner for the rest of the rehearsal. CatherineLacey, Catherineagain Agatha in 1946 revival;a2 Lacey is again Agatha; anWatson, HenriettaAmy in Family Reunion revival;a1 elderly Miss Henrietta Watson1 is Amy; andWheatley, Alanas Harry in Family Reunion;a1 the Harry is a certain Wheatfield [sc. Wheatley], about whom I know nothing. AndMurder in the Cathedral1946 Teatro Nacional production;g2earmarked for repertory;a1 I believe that Murder is to be added to the programme of the Theatro [sc. Teatro] Nacional in Madrid this winter. ButMilton, JohnBritish Academy lecture on;a6 I'Milton II';a2 do not think I should have time to go to see it: IJohnson, Dr Samuelsubject of TSE's Princeton lectures;a8 shall have my hands full preparing the Milton lecture, whichPrinceton UniversityJohnson lectures revamped for;b8 I hope to use at Harvard, and the Johnson, which I hope to use at Princeton. IHavens, Paulengages TSE to make commencement address;a7 have just had a reassuring letter from President Havens: but that means preparing a talk of forty minutes which I can only use that once.

IMurder in the CathedralHoellering film;g1;a7 am afraid I cannot interest myself very much in either revivals of Family Reunion or foreign productions or films of Murder; any more than I do in this recording of Four Quartets. I want to get on to new work: even for these prose essays and lecture I have to fight for time – the dentist, now, I ought to go to see my dentist again soon, and my afternoons are so busy that that appointment will probably mean a morning lost: and I only think of these pieces of work as things to be got out of the way. SoCocktail Party, The;b2 it is unlikely that by the time I come over again I shall even be able to talk about my play; I can’t talk to you, or to anybody, about what I am trying to do in that way, until I have something to show, which can be discussed: for until I am quite sure what it is that I am trying to do, suggestions from other people are merely confusing, and explanations from myself only confuse me more.

IConcord Academy, Massachusettscompared to Scripps;a5 should like another letter with details of your daily life; the lodger, and the dog (whom you have never mentioned) and the cooking; as well as the pupils in Boston – what sort of girls they are (or grown women) and how they respond. And whether it is time to get out your fur coat. I am sorry to hear that the most congenial people you have found in Concord are on the point of leaving: I suppose that most of the people there are just well-to-do Boston suburban. ItScripps College, Claremontcompared to Concord Academy;g1 seems to me a great disadvantage for you of a school like this, against a college, that in the latter there is at least a local college society, which usually includes a few interesting people. You were happier at Claremont than anywhere, in that way. I do look forward to the spring, and think it more and more as Christmas approaches, and last summer recedes. IEliot, Henry Ware, Jr. (TSE's brother);k5 wish it was not clouded by anxiety about Henry.

Very lovingly
Tom.

1.HenriettaWatson, Henrietta Watson (1873–1964), Scottish stage and screen actor.

appearance (TSE's), 'pudding-faced', TSE remembers wearing make-up, of a third-rate actor, likened to a crook, of a Chicago magnate, of a dissipated movie actor, of a debauched British statesman, hair-style, lobster-skinned, of a brutal Roman emperor, of a superior comic actor, of Maurice Evans, proud of his legs, wart on scalp, baldness, 'in spots', unlikely treatment for, 'as a bat', worsened by travel, due to worry, may require wig, in retreat, reasserts itself, confines TSE to single barber, eyes, dark, damaged by teeth-poisoning, figure, 'obese', altered by war, hernia, described, deferred operation for, recovery from, nose, the Eliot nostril, a Norman nose, too thin for pince-nez, teeth, 'nothing but chalk', EH severe on the state of, 'stumps', blamed for hair-loss, liable to be removed, blamed for rheumatism, false upper plate, plate reconstructed, state of, new false teeth, keystone tooth removed, remaining upper teeth removed, new plate,
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.

Cocktail Party, The, copy inscribed to Miss Swan, Martin Browne's preference for a popular play, plot ruminated, still a distant prospect, deferred by war, at last begun, being written, EH begs TSE to continue, stimulated by the Martin Brownes, titled and nearly drafted, interrupted, attempts to reconcile EH to title, to be discussed with Brownes, to be continued in Princeton, end in prospect, TSE rewriting, alternative titles, its star appeal, 1949 Edinburgh Festival production, Martin Browne to produce, production schedule, the Martin Browne collaboration, 'reading' for, reviewed, cuts made during rehearsal, TSE's opening-night impressions, stage-set for, copy to be sent to EH, EH on, TSE disavows autobiographical basis, post-Edinburgh prospects, 1949 Theatre Royal, Brighton run, its fate, closing, 1950 New York transfer, TSE skeptical of, its fate, being negotiated, fixed, revisions made in mind of, alarmingly successful, royalties from, prospects beyond 1 June 1950, final act still being rewritten, its reception, EH's second opinion on, 1950 New Theatre production, preliminary week in Southsea, its fate, opening night, to close with provinicial tour, comes off at New Theatre, Mrs Nef's reading-group reading, in which TSE reads Reilly, and casting for Confidential Clerk, its first draft, difficult to produce in France, 1954 Théâtre du Vieux-Colombier production, reception, Muriel Spark on, EH detects hidden meaning in,
Concord Academy, Massachusetts, appoints EH on temporary basis, subsequently to permanent position, provides EH with rooms, TSE's Commencement Address to, compared to Scripps, TSE on,
East Coker, its Kensington origins, and TSE's cousins' visit, TSE's own plan to visit eponymous village, which he does, TSE returns to East Coker, TSE on writing, and Yeats's Purgatory, needs polishing, ready for printer, EH sent, decision to print in NEW, TSE on its mood, sales, reception, EH yet to receive, EH promised shilling edition, broadcast by BBC Eastern Service, draft inevitably bought by Gallup, TSE recites for Czechs, EH recounts recitation of, TSE's recording of,
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,
Four Quartets, as publishing proposition, as conceived by TSE, deliberations over title, published in America, whose first edition appals TSE, reviewed, English edition of, appearing in French in Africa, recorded by TSE, BBC broadcast TSE reading,
Havens, Paul, and EH greet TSE at Claremont, appointed President of Wilson College, congratulated on appointment, offers TSE honorary degree, engages TSE to make commencement address, which Henry's health jeopardises, and is eventually cancelled,
see also Havenses, the
Johnson, Dr Samuel, his cats, TSE reads aloud from the Rambler, TSE's fellow lie-abed, TSE joins club founded by, imbibed for lecture, TSE's projected Lives of the Poets essay, TSE's projected Lives of the Poets book, subject of TSE's Princeton lectures, The Vanity of Human Wishes,
Lacey, Catherine, as Agatha in Family Reunion, again Agatha in 1946 revival, Daily Telegraph singles out, performance swells with praise, possible Mrs Guzzard,

2.CatherineLacey, Catherine Lacey (1904–79): British actor who was Agatha in The Family Reunion at the Westminster Theatre in 1939 and again at the Mercury Theatre in 1946.

Mercury Theatre, London, Yeats proposes season at, from the outside, possible Murder premiere at, season in financial straits, stage too small for Doone, to stage Murder revival, rehearsal at, Murder coming off at, hard to imagine Murder beyond, Dukes proposes new Mercury Theatre, Martin Browne's York Nativity Play, presents The Ascent of F6, Murder in re-rehearsal at, possible venue for Family Reunion, Dukes's La Mandragola, new Murder revival at, attempts season of miniature operas, 'initimate opera' at, its French equivalent, hosts New Plays by Poets, and 1946 Family Reunion revival, Martin Browne's proposal to stage revue at, presents Saroyan play, graced with royal visit, staging Playboy of the Western World, possible destination for Cocktail Party,
'Milton II', TSE reading for, drafted, being revised, further revision, apparently perceived as 'recantation',
Milton, John, on TSE's brain, TSE on Comus, appealing to the ear, TSE's Churchill Club talk on, British Academy lecture on, Frick lecture on, Comus,
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,
Princeton University, according to TSE's fantasy, TSE engaged to lecture at, and Ronald Bottrall, TSE on his trip to, its architecture, compared to Harvard and Yale, Alumni Weekly print TSE's More tribute, possible wartime lectures at, and Allen Tate, among American colleges, extends wartime invitation to TSE, invites TSE to conference, Johnson lectures revamped for, confers honorary degree on TSE, and TSE's Institute for Advanced Study position, EH's information on, and Herbert Read, and EH's bequest,
Scripps College, Claremont, EH headhunted to teach at, but EH declines post, still a possibility, TSE on whether or not to accept post, which EH does, TSE hopes to visit EH at, sounds picturesque, EH expects suite at, EH reassured about feeling 'inadequate', EH arrives at, TSE asks for full report of, grows on EH, EH's all-arts theatrical workshop at, TSE's lecture at, TSE's desire to deliver EH from, TSE's visit to, its suspicious characters, its effect on EH despaired of, year's leave requested from, EH considers returning to, encouraged by TSE to return, despite TSE forswearing, refuses EH's return, EH on not returning, under Jaqua, EH's existence at, EH's extra-curricular work at, preferred to Smith, bequeathed EH's TSE book collection, compared to Concord Academy,
Watson, Henrietta, Amy in Family Reunion revival,

1.HenriettaWatson, Henrietta Watson (1873–1964), Scottish stage and screen actor.

Wheatley, Alan, as Harry in Family Reunion,