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TO ARTHUR GREEVES (LP XI: 259-60):

      [Gastons

      30 May 1916]

      My dear Galahad,

I don’t know whether you quite realized how mysterious your last letter was: on page III I read ‘have just begun a tale called “Alice for short”’. Very good, say I, remembering William de Morgan’s novel of that name:⁷² but you are ‘doubtful whether you’ll finish it’: remembering the size of the volume on our landing book case I am not surprised: then I read on a bit and see that you ‘daren’t let it out of your hands, even to me’. Ah! Ce devient interèssant (is there an accent on that word?), I think something tremendously improper. But imagine my even greater confusion on learning that de Morgan’s long and heavy looking novel is a continuation of Alice in Wonderland!⁷³ Of course as soon as I turned the page I saw that you meant ‘began to write’ and not ‘began to read’ as I had naturally thought, being as you know cracked absolutely.

      Well as to the information itself: I cannot urge you too strongly to go on and write something, anything, but at any rate WRITE. Of course everyone knows his own strength best, but if I may give any advice, I would say as I did before, that humour is a dangerous thing to try: as well, there are so many funny books in the world that it seems a shame to make any more, while the army of weird and beautiful or homely and passionate works could well do with recruits. But perhaps your ‘Alice’ is not so much humorous as lyric and fantastic? Anyway, you might as well send me along what you have done and let me have a look at it: at the worst it can’t be more boring than ‘Bleheris’ and of course it’s much easier to criticise each other’s things on paper than viva voce: at least I think so.

      And by the way, while I’m on this subject, there’s one thing I want to say: I do hope that in things like this you’ll always tell me the absolute truth about my work, just as if it were by someone else whom we did not know: I will promise to do the same for you. Because otherwise there is no point in sending them, and I have sometimes thought that you are inclined not to. (Not to be candid I mean). So I shall expect your MS–‘Alice’ or anything else you have done–next week.

      ‘Rob Roy’ is done now, and (to pay you out for your remarks about ‘Persuasion’) I must admit that I only skimmed the last three or four chapters: the worst of a book with a plot is that when the plot is over, the obvious ‘fixing up’ is desperately tedious. On the whole however it was jolly good, and some of the scenery passages, as you say, are gorgeous: particularly where Frank is riding ‘near the line’ with the Bailey and the latter points out the Highland Hills–do you remember? That bit is almost as good as the scene where Clement Chapman shows Ralph the Wall of the World. But I suppose you would think it sacriledge to compare Morris to Scott. So would I for that matter, only the other way round.

      You ask about the binding of my ‘Tristram’: well of course, apart from the binding itself, all French books are far poorer than ours: this one for instance cost 2/- (2fr.50) although it was only a paper back, of about the same size as my Gawain: the binding will come to another 2/- or perhaps 2/6. That sounds a lot: but after all if you saw a nice leather bound book in a shop of that size and were told it cost 4/-, I don’t think it would seem very dear. Of course it is true I may very likely be disappointed in it, but then, not being a prudent youth like you, I have to take risks occasionally.

      With the Chaucer I am most awfully bucked: it is in the very best Everyman style–lovely paper, strong boards, and–aren’t you envious–not one but two bits of tissue paper. When I’ve collected enough in that way, I shall be able to put tissue in all my better class Everymans. As to the contents, although I looked forward to them immensely, they have proved even better than I hoped: I have only had time so far to read the ‘Prologue’ and ‘The Knight’s Tale’ (that’s Palamon and Arcite you know), but I adore them. The tale is a perfect poem of chivalry, isn’t it? And the pathos of Arcite’s death is really wonderful, with the last broken appeal,

‘Forget nat Palamon that gentil man⁷⁴

and the cry of ‘Mercy Emelye’.⁷⁵

      But God! there I go on talking like a book again, and you a poor invalid who ought to be consoled. Seriously though, I hope you’ll be quite alright by the time you read this: I don’t like to hear of your being in bed so often, especially as it affects your spirits so. However, cheer up, and whenever you are fed up with life, start writing: ink is the great cure for all human ills, as I have found out long ago.

      I quite appreciate what you say about my father, to whom I wrote on Sunday: but after all he hasn’t written to me, and as he had Warnie with him I thought he could ‘thole’. Still you are quite right in what you say and I must be more regular in future.

      I thought you would like De Quincy, and hope you will go on reading him: it is always nice to feel that one has got a new friend among the book world, isn’t it? What an old miser you are though. I suppose I shall have to buy the Academy book myself now: and rest assured that you will never see one page of it. It is strange that ‘Frankenstein’ should be badly written: one would expect the wife of Shelley to be a woman of taste, wouldn’t one?

      As to my brother’s talk about another ‘E Lucevan le Stelle’ I’m afraid the front must have turned the poor boy’s brain: considering how I pined after your copy for over a year it wasn’t very likely that I should have forgotten one if I had it. What put the idea into his head I can’t think.

      Have been to Leatherhead baths for a swim today and am terribly stiff, as I always am after the first bathe of the year. Sorry this is not much of a letter this week, old man, but it’s after 11, and everyone is going to bed. This brings you the next instalment of Bleheris–criticise freely.

      Yours,

      Jack

       TO ARTHUR GREEVES (LP V: 84-6):

      [Gastons

      6 June 1916]

      My dear Arthur,

      I was rather surprised to see the note paper of your last letter, and certainly wish that I could have been with you: I have some vague memories of the cliffs round there and of Dunluce Castle, and some memories which are not vague at all of the same coast a little further on at Castle-rock, where we used to go in the old days. Don’t you love a windy day at a place like that? Waves make one kind of music on rocks and another on sand, and I don’t know which of the two I would rather have.

      As to your remarks about my ‘promise’ to join you on some future holiday, I must call your attention to the fact that all I promised was not to contract any engagement with my Aunt that could stand in the way of it, always warning you that I might not go anywhere. However I hope to do so, and will certainly try my best.

      By the way, in future, if possible, don’t write your letter on so many different ‘levels’, so to speak: I keep them all on a pin now, and so far, all being written the same way up, I have been able to turn to any one I wanted, like a book: the latest one is a hard nut to crack. Always grumbling you see.

      You may well ask ‘when’ my ‘Tristan’ is coming: I have asked the same question myself more than once, and it’s beginning to be like those famous Columbia records the holydays before last. As to the binding, if it is what the girl in the shop told me, it will be boards with leather back, and those little triangular pieces of leather on the corners. I don’t know if you understand this description, so I have drawn it for you: though perhaps indeed you find the picture quite as hard. In other words it is a glorified edition of the 2/- Everyman. The reason I’m not quite certain is that the girl showed me a much larger book done in the same style, only red. As I didn’t care for the colour, she said she thought it could be done like that in brown;

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