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NEWSLETTER Volume 3 No. 3

 

EVELYN WAUGH NEWSLETTER

Volume 3 Number 2 - Autumn 1969


WAUGH-GREENIDGE FILM - THE SCARLET WOMAN

Charles E. Linck, Jr. (East Texas State University)

Introduction

Evelyn Waugh, John Sutro, John and Terence Greenidge, members of the Hypocrites Club, "irreverents," and students of Oxford University in 1924, each pooled five pounds, purchased a half-size camera, and began producing The Scarlet Woman at Oxford and Hampstead Heath. A tentative title was The Last of the Borgias and the final sub-title was An Ecclesiastical Melodrama; Evelyn Waugh wrote the scenario and directed. The subject was a modern attempt by the Roman Church to re-take England. Among the major actors was Evelyn Waugh, who did a villainous Dean of Balliol (Sligger Urquhart) and a vicious Lord Borrowington, one in white wig, the other in black moustache, anticipating the then unknown Harpo Marx. John Sutro did a crafty and leering Cardinal Montefiasco; Viscount Elmley (Earl Beauchamp) did the King's Lord Chamberlain; and an "anonymous" Guards Officer did the King, “uttering no treason.” John Greenidge was the Prince of Wales (Edward VIII), Guy Hemingway was the Pope, and Alec Waugh was the Cardinal's old mother and friend to the Pope. Elsa Lanchester played the heroine, a cabaret singer of "Evangelical principles,” who ultimately changed heart and foiled the modern version of Guy Fawkes' Gunpowder Plot.

The first showing was in December, 1925 at the Oxford University Dramatic Society with musical accompaniment by Lennox Berkeley; Evelyn Waugh was not present, having "far too many other interests to allow him to concentrate on film-work," but John Fernald, the President of the OUDS, gave the film a rave notice in the Isis. He appreciated the mad caricaturing, John Sutro's versatile face, and the technique of representing persons by “favorite sport", i.e., "the Papal whiskey”, “the royal gin”, “the Romish cognac”, and “the academic vodka.” Soon, by request, the film was shown to the Newman Club at Campion Hall and Fr. C.C. Martindale, S. J., thought it quite smashing. The stage history from thence is dim, but Terence Greenidge's letters to me state that the film is "still shown from time to time, and the fun does not seem to ‘date"' and “in recent showings occasionally a spectator has found the film irreverent." These letters begin in November, 1961, at which point Graham Greene had recently witnessed a private showing.

The film was used for private occasions and the reunions of the Railway Club. Waugh, elated by Elsa Lanchester's movie successes, recalled, in a May, 1930 Daily Mail feature about actresses, that "I produced her first film, … (and) I have still a feeling of parental pride about her." But the film did not become far-famed again until Waugh's A Little Learning highlighted it. In November, 1963, Waugh was writing Terence Greenidge for "stills," and during a Railway Club reunion Auberon Waugh was arranging that it be left to him rather than the British Film Institute. In January, 1964, Greenidge showed the film to Auberon and Sutro; Waugh's daughter Margaret viewed it later in March. Because the Sunday Times excerpts from A Little Learning, July, 1964, gave it publicity, Terence Greenidge's colleagues in the Royal Shakespeare Company playing in Stratford demanded a showing, which occurred on August 28, 1964; a Jesuit priest fell into convulsions from laughter at the sub-titles in ecclesiastical Latin, nostalgia overcame all to see that Waugh was the present Auberon and Greenidge was his daughter Althea, and "Evelyn's direction of Elsa's mad rush over Hampstead Heath won praises from the professionals." On September 10, 1964, an abridged version was shown on BBC TV and a free new copy was given the owner. Waugh, who wrote "pray don't let the public see your film - keep it for private treats," objected to the film's being shown to "the poor," but Terence Greenidge was enthusiastic about attempting to show it in the United States (our efforts came to nothing). In January, 1965, John Sutro accepted his first dividend on the forty-year old investment, signing "Cardinal Montefiasco." There was a second showing for the Stratford actors in November, 1965; a Daily Express lady wrote it up for the "Mr. Hickey" column of December 9, and there was an article in London Life, March 19, 1966, with "stills." Granada TV showed parts of the film and made a new copy for their "Historical Trust" in mid-1966, after Waugh's death. Now safe with extra copies, Greenidge encouraged me to show it in Texas; he wanted to have some United States' publicity. Again on Guy Fawkes Day Greenidge showed it to the Stratford players in 1966, with attendant publicity in the Birmingham Post. On January 12, 1967, Christopher Sykes, authorized biographer of Waugh, saw the film and arranged a BBC TV program about Waugh with fragments of the film in January and a second program of interviews with Waugh's friends in February; the latter was partially transcribed in the Listener (the programs were repeated on August 9 and September 5, 1967). The Granada TV copy was lodged in the British Film Institute at Berkhamsted and a private invitational showing was given on February 2, 1967; some of the associated persons had not seen the film for forty years; the event was reported in Sight and Sound (Summer, 1967) and TLS (Feb. 1, 1968).

On November 16, 1967, I received the BBC reprint, and, after viewing it privately, carried it to the NCTE meeting in Hawaii on November 18, 1967, expecting to screen it there. On January 26, 1968, I did show it in Texas to Professor Warren Roberts and Mr. Anthony Newnham, with some friends, and arranged the purchase of a copy for the Humanities Research Center in Austin, Texas; this transaction was completed in late November and reported in the Sunday Telegraph (London) on December 29, 1968. There are now four copies in existence. At the moment the original lies in the hands of bankruptcy officials, Greenidge having miscalculated in leaving the Royal Shakespeare Company for expected BBC wages and now he is languishing in a hospital.

On November 2, 1968, the film was shown in the United States to an appreciative audience at the SCMLA meeting in San Antonio, Texas. There I and Bob Davis, one very resourceful Convention Hall attendant, and various helpful persons managed to save our show from the odd advertisement poster's glaring "SEE THE SCARLET LETTER", a burned-out projection bulb on Saturday afternoon, plus a dearth of operational know-how. The display was announced in the South Central Bulletin of October, 1968, but reported nowhere, for Candidate Nixon was in town.

The next showing of the film will be at the College English Association cocktail hour period during the Modern Language Association meeting in Denver, Colorado on December 27, 1969 at 6:30 p.m. This showing was arranged by Professor Joe D. Thomas of Rice University, CEA regional roving ambassador.

Directions For Reading The Following:

Terence Greenidge explains that this silent film tends to skit D. W. Griffith's silents. The action is episodic narrative with sudden shifts of scene, but it is generally pre-Eisenstein in technique. In the version here, the typed Capitals are the film's sub-titles which give leads and information - these flashing on the screen before pictorial action begins. The parenthetical lower-case is my paraphrased description of the filmed action.

(Note by the Transcriber : For greater legibility on a website, I differentiate the sub-titles by putting them into italics rather than upper-case. Moreover I modify the entire set-out to help greater readability.)

EVELYN WAUGH BY ARRANGEMENT WITH TERENCE GREENIDGE

PRESENTS THE SCARLET WOMAN,

AN ECCLESIASTICAL MELODRAMA

 STORY BY EVELYN WAUGH  NIHIL OBSTAT - PROJICIATUR
C.C. MARTINDALE, S.J.

Rome, the everlasting city

(people walking)

The Vatican, within whose gardens the Pope was taking his afternoon walk, played by Septimus Nixon (Guy Hemingway)

(The Pope, carrying crozier, meets an old lady).

Chiara, mother of the ambitious Cardinal Montefiasco, played by Alec Waugh

(little old lady walks with Pope, nips at her bottle; Pope grins). Will love again awake that lies asleep so long?

(Pope nods).

One momentous evening the pope finishes his plans for the gigantic attempt at the conversion of England

(sitting in his garden, taking a drink, with holy book on stand before him; tokes long drink, reads in the book, searches for page, reads, strikes the book in triumph or decision, calls a servant).

His Eminence Cardinal Montefiasco, played by John Sutro (in Cardinal's wide-brimmed hat and wide-mouthed, evil expression.)

He kneels, kisses the Pope's ring; they talk, the Pope giving instructions pointing to the book and handing the Cardinal an instructions sheaf).

The effecting of our holy intention is committed to your charge Montefiasco

(the Cardinal grins evilly, rolls up the sheaf and sticks it into an inner pocket. The Pope bids him go, takes a nip from his bottle).

Outside her little house under the shadow of the Vatican (the little old lady, mother of the Cardinal, is taking a drink).

A mother's congratulations and a son's farewell

(The Cardinal enters, kisses her; she looks despondent, takes a pull at her bottle. He walks off with a suitcase down a long garden walk).

London: Golders Green

(the Cardinal walking down the street).

The vacation haunt of the Dean of Balliol, leading Catholic layman of England in whose sinister influence even the Prince of Wales is succumbing, played by Evelyn Waugh (in blond or white wig; this is the famed "Sligger" Urquhart)

(a seltzer bottle in hand, he prepares a mixed drink, drinks and fondles it).

His Royal Highness, the Prince Of Wales, played by John Greenidge

(who approaches and greets the Dean with homosexual suggestion; they talk and fondle drinks.)

I cannot decide, our friendship, or my father's will

(the Prince talks with the Dean).

Buckingham Palace: His Majesty of England, Defender of the Faith, by Derek Erskine (a Guards Officer, real name unknown)

(the King reverently glances at a cross)

The Earl of Kettering, His Majesty's Chamberlain played by Michael Murgatroyd (Viscount Elmley, now Earl Beauchamp)

(who shows the King papers, gets signatures, talks of official business).

While in the palace garden the Prince awaits his greatest friend

(the Prince standing at a sundial, the Dean of Balliol enters. They talk; the scene shifts to inside the palace).

What, my son with the Dean of Balliol, act quickly Kettering!

(the King and Chamberlain watch what goes on between the Dean and Prince in the garden, talk excitedly with suspicion; the Chamberlain goes out to confront them. There is conversation at the sundial, the Chamberlain being quite skillful and the Dean having his arm over the Prince's shoulder; the Chamberlain wipes his brow, the Prince appears to be upset and departs with the Dean).

In the garden of a Putney lodging house with special terms for foreigners

(the Cardinal talks with the Dean).

Yes, yes, we must have the crown jewels for funds. I have a young friend, somewhat of a zany, but trustworthy, who will carry cut the task

(they talk on and call an attendant).

Father Murphy, S.J. , played by Terence Greenidge

(a very handsome young priest who kisses the Cardinal's ring, accepts his assignment. The Dean plays with his wig while the Cardinal talks with Fr. Murphy and shakes his hand).

The Royal Mews. Over the top at Dawn.

(Fr. Murphy climbs over a garden wall, listens, climbs into a garden cautiously and comically, proceeds crawling up a walk in daylight), creeping and crawling and hesitating. He stops by the sundial* and hides under it.)

Unfortunately, the Prince usually arrives home with the milk.

(the Prince enters and walks by the sundial where Fr. Murphy hides then creeps up the walk).

His Majesty has been working all night at St. Paul's epistles

(the King is drooping and nodding over a book; He sleeps. Fr. Murphy crawls up to the table, sniffs at the decanter and rejects the liquor. He sets the decanter back on the table, pulls the King's royal signet ring from his finger, admires it, shakes it, creeps off while the King sleeps).

The Royal Sewer, an orderly retreat

(Fr. Murphy climbing out through the garden again, peeks over a palisade fence, climbs over it with his long cassock skirt trailing dangerously, jumps over into another garden, creeps along, looks back, stops, looks, approaches another wooden fence, very comically).

Later at the Dean of Balliol's house

(the Dean at ease, Fr. Murphy approaches, gives him the ring. The Dean gives him a coin and pats his hand, looks at the ring, rubs it, tosses it into the air).

The scene shifts to a lady's bedroom where she reclines in pajamas playing with a powdery substance; she sniffs at it and smiles while draped over a couch very seductively.

Beatrice De Carolle, the Cabaret Queen at her Bohemian flat, played by Elsa Lanchester

(she smokes, examines bills, shakes her head, tosses them down, looks anguished, picks up a Dagger, places it next to her throat, and waves it about).

Death kills but once, debts kill many times

(she dramatizes a scene of death, and there is a knock at the door).

THE SCARLET WOMAN - PART TWO

Lord Borrowington, a penniless Peer, Master of the Prince's Revels, played by Evelyn Waugh (in black hair with dapper mustache, tap hat and tuxedo)

(in Beatrice's room, he sits down and she listens to his animated talk. Things are placed on the table and she takes things from it. He examines her bills, comments on them, and she hides her face).

Bills, dear me, and cocaine; surely not

(she talks).

Why contemplate death when there is real life at our dear Prince's court? Why not prefer gay St. James to the melancholy grave?

(they talk further, she listens reluctantly and picks up papers. He shows her something; there is animated talk. At first she is reluctant, then she starts to listen and appears to accept. He takes hat and umbrella and beckons her to accompany; she nods thoughtfully and follows).

In the palace gardens an hour later

(Borrowington leads Beatrice, in sari with one shoulder uncovered, down the garden walk, introduces her to the Prince at the sundial; animated talk while the Prince leers wolfishly and she acts shy. The peer leaves them and the Prince makes his approach).

By Jove, Borrowington has excelled himself this time

(he takes his hat off and suddenly the Dean confronts them, looks hurt, walks away).

This is a far far deeper hurt than I've ever felt before

(and the Dean looks quite gloomy).

And the days went by, the Dean found that his Catholic remonstrances were losing their force

(the Dean sitting on a garden bench with the Prince. He edges nearer the Prince who edges away. Beatrice enters and the Prince greets her, then stands with hands in pockets looking upset. The Dean attempts to pull the Prince from her, is rebuffed, walks off slowly. The Prince sits on the bench with Beatrice, puts his hand on her bare shoulder).

The Dean's reinforcements

(the Cardinal enters and begins to berate the Prince violently. Beatrice threatens him with her umbrella and drives him off. The two lovers resume their activities sheltered under her umbrella; they play footsie; she lifts her skirt above her ankles).

At his home in Golders Green the Dean plans a new use for the jewel

(he tosses it in play).

Father Murphy, I'm glad you've come. I have more work for you

(he talks to Fr. Murphy, gives him the ring and instructs him in what to do, ending with a "that seems to do it" expression).

Eagerly preparing for supper with the Prince

(Beatrice is seen wrapping a sari about her, round and round and up over one shoulder. She is shapely and preens before a mirror at her dressing table; she tries on a chain or necklace.

Alas, no jewels

(she looks upset; Fr. Murphy enters, talks to her, offers her a jewel).

From an admirer, who wishes to remain unknown

(she looks at it and he at her. She tries it at her breast and he looks lustfully upon her).

Even clergymen are naughty now and then

(he looks love-stricken; she talks to him gaily, offers a drink; he looks and stares at her as he drinks. She is coy, plays with the jewel. He kisses her hand and leaves reluctantly while she looks coy).

In the suburbs an hour later: Ye Old Bull And Bush Hotel

(a taxi pulls up with Beatrice and the Prince).

Still in the service of the dean

(Fr. Murphy hangs on the rear of the taxi, spying; he follows them into the inn gardens).

Coffee in the garden after supper

(the lovers at table, Fr. Murphy creeps up and listens. The Prince moves the table and sits nearer Beatrice, puts his arm about her, talks, attempts to remove her dress, then sees the ring).

Good God, my father's ring. Leave me you thief!

(she is distraught, defends herself, gets away and runs. He picks up his hat and the ring, rubs his head, is very upset. Fr. Murphy looks around the bush and watches. The Prince walks out and Fr. Murphy follows).

Only love counts now

(Fr. Murphy follows Beatrice out of the gardens, across the street. The Prince leaves in a cab, looking back).

The Prince's study the following morning

(he sits lighting his pipe, takes a letter from a tray and opens it, looks at it, rises upset and excited, is undecided what to do).

The spider awaits the fly

(in a garden the Cardinal rests in a seat, and the Prince approaches him, is upbraided heatedly).

If you do not choose to comply with my wishes, I'm sure your father would be interested in knowing what sort of company you kept yesterday evening

(the Cardinal pounds his fist and the Prince cringes, kisses the ring. The Cardinal looks evilly satisfied above him and blesses him).

AD MAJOREM DEI GLORIAM

(with kissing the ring and pleading, the Prince begs, and the Cardinal looks evilly satisfied).

At the little community of O Sapientia

(an alley, a bearded monk).

Father McGregor, a notable ascetic, who presides over the community, with Baptista Illiardo, his favorite Italian acolyte, played by Septimus Nixon and Arden Hilliard (Guy Hemingway and another, name unknown)

(in a darkened alley, the Dean enters and greets the bearded monk. The Prince and the Cardinal enter, the former quite disturbed).

But where, oh where, is Father Murphy?

(the Cardinal appears worried about Fr. Murphy but they enter).

AD MAJOREM DEI GLORIAM

(about a table, the group perform an exorcism ritual upon the Prince, blessing him, incensing him, questioning him with third degree tactics. The Cardinal leers satisfiedly, thumbs in vest).

This has taken a lot out of you your Highness. Come to my house and have a little medicine

(they all leave, the Dean grinning).

Meanwhile at Rome

(street scene, a hansom cab; shift to the Cardinal's mother emptying bottles. The Pope enters with his staff, carrying a book, looking at her empties. She accepts a bottle from him, takes a drink from another. He sits beside her and looks at her hand lovingly).

Isn't life wonderful?

(the Pope holds his crozier, she shakes her bottle and is evidently a wino. The Pope begins necking with her).

END OF PART TWO

And in London outside Beatrice's flat

(Fr. Murphy on the doorstep, is lovesick, crosses himself, prays. Inside Beatrice tosses about on her bed, awakens, looks about).

To sleep, perchance to dream. Aye, there's the rub

(she tosses about, pounds the pillow, gets up, talks to herself, rolls on the bed. The clock ticks away and she writhes upon the bed very enticingly).

Dawn and a decision

(she awakens and repeats all the actions of anguish. Next she walks through the doorway where Fr. Murphy lies asleep, stepping over him and going off. Fr. Murphy arouses himself, rubs his eyes, sees the open door.)

Distraught and friendless on Hampstead Heath, with the world against her

(Beatrice stumbles through a wood, falls Down in the dusky light, feels her way along; she looks about wildly, her hair flying. Two boys confront her. She runs; they throw stones).

Hot on the trail comes

(Fr. Murphy in a cab; he sees the two boys, and they point the way. He looks, thanks God, gets on knees and prays and crosses himself. He reenters the cob, directs it, and they proceed down a long street with vintage automobiles proceeding up and down. He leaves the cob and starts looking in the street for tracks, the cabbie remonstrating behind him).

Hi! What about the five bob?

(Beatrice is running down the street distraught, looking about, stopping. Fr. Murphy follows her tracks, running toward her. She runs over a hill scattering sheep from before her and runs downhill right up into the camera. Fr. Murphy sees her ahead, stops to bless himself and prays kneeling. She climbs upon a bridge railing and stands looking down into the dirty and murky substance below. Fr. Murphy runs toward her, driving dogs from his path, runs onto the bridge as she is about to jump, grabs her and pulls her down saving her. She swoons, looks up at him and smiles, tries to get bock on the railing. He comforts her, holds her, and they walk off together arm in arm, up the hill, she stumblingly and he helpfully holding her up. They sit on two choirs on the hillside. He puts a rug over her knees, puts his arms about her; they talk and she brushes her hair).

Because I love I will tell you what I should not tell. Today is the twenty-fourth of August, St. Bartholomew's day, and tonight, as once before, all the leading Protestants of the country, and you are one of them, are to be cut down without remorse or pity, my child.

(she listens, is shocked, astonished, excited, upset. She jumps up and makes violent motions, picks up her wrap and coat and runs off uphill. Fr. Murphy is left standing there while she runs. He sits down, looks downhearted, blesses himself, prays).

The fate of a nation was running that night

(Beatrice runs down hill, tumbles, rises and runs, zig-zagging girl style down walkways, runs right up into the camera).

The Spaniard's

(she passes the Hampstead Hill landmark, climbs over a fence, knees showing, collapses, rises and runs on).

The Wishing Well

(she stops to gulp down water, a lady and child watching, then wipes her mouth and runs on).

Into North End Road

(she goes down a garden alley, a tree-covered street ).

Golders Green

(she runs into the Tube station among the crowd).

Buckingham Palace

(she runs up the garden walks and into the King's room where the Chamberlain catches her as she staggers in and the King gives her a reviving drink).

Quick, your Majesty, prevent a bloody St. Bartholomew

(she explains all to the King and the Chamberlain very animatedly. She convinces them; they are consternated).

We are deeply shocked and grieved

(the King and Chamberlain indicate deep distress and indecision).

Botley, you remember how we dealt with the communist leaders. Well the Catholic ones this time, played by Archibald Gordon

(Botley pats Beatrice's head. She sits at a table crowded with various bottles and has a drink).

Beatrice, Catholics and Protestants seem so far away. Do you think you could gladden the heart of an old Lord Chamberlain?

(she drinks, and they talk).

Kettering, to the greater glory of God, yes!

(he puts his arms about her).

Scene shifts to Rome:

Good news of Montefiasco's progress

(the Pope and the mother of the Cardinal open another bottle, drink, and make amorous advances).

London, in an anteroom at the palace

(someone strikes a match).

Smeaton Welkes, footman at the palace. A man of incredible vicious disposition with a zealous desire to do something

(someone talks to a footman).

Smeaton, I know you were sent down from Oxford, but remember the dear old Memorial

(there is further talk).

Montefiasco's suburban parlor

(the Dean receives a post).

To his Catholic Highness. His Majesty duly amazed and astounded at the progress of the Roman Catholic church in England summons you to Buckingham Palace to discuss terms of reconciliation with him

All among the expensive cars

(street scene with 1925 automobiles).

The fire of a burning fanaticism has caused the Dean of Balliol to outrun his companions so he arrives somewhat early in the royal anteroom

(the Dean shakes hands with various persons present; the Cardinal and others arrive).

His Majesty is occupied at present and wishes you to partake of refreshments while you await him

(the company present begin pouring out drinks, sitting about a table).

Wouldn't you like one, sir?

(the talk is animated, the drinking proceeds. Suddenly the Dean grimaces, clutches at his throat, writhes in agony, dies. The Cardinal is next, grimacing horribly in his death throes; others involved in the plot also succumb).

There be babes in hell not two spans long to the greater glory of the Lord and are ye not more wicked than many babes?

(the dying scene continues).

A livelier bag than the communist leaders, Smeaton.

Left all alone at Putney is Father Murphy

(he drinks something).

The scene shifts to the Vatican gardens, the Pope reading his mail; he becomes terribly excited, jumps up:

CONSOLATIO PHILOSOPHIA

(the Pope reads a book).

In another part of the gardens the evening courier, played by Terence Greenidge

(a postman delivers a letter at the Cardinal's mother's window, takes a drink proffered through the opening. She reads the letter and becomes quite despondent).

CONSOLATIO PHILOSOPHIA

(she takes a drink of something).

At a little country orphanage by royal permission

(a crowd of little children are playing when Fr. Murphy comes in, pats them on their heads, is gay and playful with them. They laugh and play to the camera. He holds their hands and they dance).

THE END

*Arthur Waugh told Terence Greenidge that this sundial was actually used by Nelson and Lady Hamilton.


WAUGHIAN IRONY

Gerald F. Manning (Kingston, Ontario, Canada)

I was reminded by Alfred Borrello's A Visit to Combe Florey: Evelyn Waugh's Home (EWN Winter 1968) of an experience my wife and I had during a trip to England in May 1968. Having spent a day with same friends in Taunton, we naturally were anxious to catch a glimpse of the Waugh home before heading on our way, so we drove out to Combe Florey, expecting that in such a small village the Waugh premises would be fairly prominent.

We came upon an attractive home set back in a grove of trees and surrounded by splendid grounds. "That must be it," we chorused, so I stopped the car and got out the camera.

There was only one shot left on the end of the film so I took unusual care. As we began to leave my wife inquired gently: "Do you suppose we might have been mistaken?"

"Oh, I don't think so," I replied. "This seems to be the only estate of any size around here. But maybe I should ask someone just to be sure." Upon knocking at a door I discovered to my surprise that the Waugh estate was "back down the road a bit. You'll come to a big gatehouse - you can't miss it." So we returned the way we had come and found the gatehouse indeed, and the two-storey house sitting on the hill behind it.

I had no color film left. Hastily taking a couple of black and white shots with our decrepit second camera, I took another look at the Waugh estate and we departed. The black and white film failed to develop; we have a splendid color slide of an unidentified Combe Florey house and Waugh's last home lives in our memories. Evelyn Waugh would have loved the irony.

WAUGH CORRESPONDENCE IN THE FALES COLLECTION, NYU

Paul A. Doyle

In accordance with its attempts to increase knowledge about Waugh, EWN follows its earlier listings of Waugh materials at the University of Texas, University of Calgary, etc., by the accompanying description of Waugh items in the Fales Collection at New York University. The books ordered by Waugh from Arthur Rogers are now presumably at the University of Texas, where scholars will someday doubtless catalogue Waugh's library and reading interests. Permission for EWN to synopsize some highlights from the Waugh materials at NYU was graciously granted by Dr Theodore Grieder, Curator of the Division of Special Collections at New York University library.

ALS. 1p. Authors Club, 2 Whitehall Court, London, SW1, Nov. 14, (1947?). To Harold Downs. Waugh cannot allow second serial rights to the World Digest for his articles on Scandinavia because the price offer is too little.
APCI. Piers Court, postmarked August 25, 1949. To Arthur Rogers. Thanks Rogers for agreeing with his annoyance at the New Statesman and his admiration for Ronald Knox
APCI. Piers Court, postmarked March 9, 1950. To Arthur Rogers, bookseller, Newcastle on Tyne. Waugh orders several items from Rogers' catalogue 97 including two books on Art.
APCI. Piers Court, postmarked Oct. 2, 1950. To Arthur Rogers. Waugh orders from catalogue 100 the following items: 250 Photography (Cowper); 251 Photography (Wordsworth); 375 Waugh (a first edition of his own Put Out More Flags); 362 Savoy; 352 Newman (Rogers has crossed this item out as sold), and 279 Beerbohm.
APCI. Piers Court, postmarked March 18, 1951. To Arthur Rogers. Waugh inquires about the date of item 71 (Bodoni Press) in catalogue '02. Rogers has indicated, in pencil, that the book has already been sold.
APCI. Piers Court, postmarked May 3, 1952. To Arthur Rogers. Waugh orders #249 Manners from Rogers' catalogue 108. Makes an offer of 2 pounds plus for a Yeats book, but this, Rogers notes, has been sold.
APCI. Piers Court, postmarked Oct. 29, 1952. To Arthur Rogers .Waugh asks about a book by Repton listed in Rogers' catalogue 111. If the book has ten plates, over-slips, and in perfect condition, he wishes to purchase it.
ALS. 1p. Piers Court, Nov. 1 n.y. (c. 1952?) To Arthur Rogers. Has received Repton's Old Whims but wrongly supposed it to deal with his main collecting interests - architecture and garden design. Since the Repton book does not concern these subjects, he would like to return it.
APCI. Piers Court, n.d., (c.1952?), no addressee but probably to Arthur Rogers. A thank you note. Probably enclosed with returned Repton book.
APCI. Piers Court, April 30, 1953. To Arthur Rogers. Orders item 229 from catalogue 113 - this is a copy of Tennyson's In Memoriam. Waugh wants it only if it is the two volume edition.
APCI. Piers Court, postmarked June 24, 1954. To Arthur Rogers. Waugh orders an edition of Spenser's Faerie Queene from catalogue 120.
APCI. Combe Florey, postmarked September 18, 1957. To Arthur Rogers. Thanks Rogers for sending letters which will help him in writing the St. Edmund's part of Knox's life. Cannot understand Knox 's sympathy for Robert Hugh Benson. Alludes to his article about Priestley in the Spectator.
ALS. 1p. Combe Florey, Oct. 3, (1957?). To Arthur Rogers. Expresses gratitude for the Knox letters from which he has made valuable extracts.
APCI. Combe Florey, postmarked July 29, 1958. To Arthur Rogers. Requests items 246 Knox and 364 Fine Printing from catalogue 140. Rogers indicates in pencil that number 364 has already been sold.
APCI. Combe Florey, Nov. 6, 1958. To Mrs. C. Romer. Contrary to what she has heard, he does not collect wash hand stands so cannot purchase hers. ( See The Ordeal of Gilbert Pinfold.)
APCI. Combe Florey, postmarked June 15, 1959. To Arthur Rogers. Requests item 420 Tennyson from catalogue 144.

In addition to the above mentioned letters and postcards, the Fales Collection has a very representative gathering of Waugh's first editions including three 1945 Chapman and Hall issues of Brideshead and one of the difficult-to-locate copies of Wine in Peace and War.

ANNOUNCEMENTS

On account of considerably increased postage and offset printing costs, the EWN subscription fee for 1970 will be $2.50 a year. We will discuss this matter in more detail in the Winter 1969 issue.

Fred L. Morey, editor of the Emily Dickinson Bulletin, writes that Waugh's Sword of Honour is presently a bonus selection of The Readers' Subscription Club.

Alan Clodd lists a hitherto unreported bibliographical reference - Gordon Wheeler, "Waugh on Knox: An Appraisal," Dublin Review, no. 482 (Winter 1959/60), 346-352.


The Evelyn Waugh Newsletter, designed to stimulate research and continue interest in the life and writings of Evelyn Waugh, is published three times a year in April, October, and December (Spring, Autumn, and Winter numbers). Subscription rate for libraries and interested individuals: $1.00 a year (10 shillings in England). Back issues 50 cents each. Checks or money orders should be made payable to the Evelyn Waugh Newsletter. Notes, brief essays, and news items about Waugh and his work may be submitted, but manuscripts cannot be returned unless accompanied by a stamped, self-addressed envelope. Address all correspondence to Dr. P.A. Doyle, c/o English Department, Nassau Community College, State University of New York, Garden City, New York 11530.

 

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Editorial Board  
 Editor:  P.A. Doyle
 Associate Editors:  Alfred W. Borrello (Mercer County Community College)
   James F. Carens (Bucknell University)
   Robert M. Davis (University of Oklahoma)
   Heinz Kosok (University of Marburg)
   Charles E. Linck, Jr. (East Texas State University)

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