I feel no
inclination
to ring up & ask may I go in &
play, even ifl felt like playing, and I don't.
play, even ifl felt like playing, and I don't.
Samuel Beckett
9
To-morrow afternoon I have the Lener, but alas one cannot
10
every morning finds me shirking the cold journey.
only once. Perhaps it will be somewhere to go in the spring.
[. . . ]
book a seat for a mood.
from Ronda, drinking a lot of wine & frileux playing his fiddle in olive-groves on the rock, & reading Maupassant. He is going on to Seville, sometime. It does not sound as though he were doing
246
A sad little letter from Maurice Sinclair
much good. Cissie has left the Adelaide & gone home, very little
11
where she wants him now. The Costello seems to have cast me
12
1 so I do. On Monday I go for the 133rd time. 4
God love thee & write again soon. s/ Sam
TIS; 2 leaves, 2 sides; env to Thomas McGreevy Esq, Tarbert, Limerick, Co. Kerry, l. F. S. ; pm 8-2-35, London; TCD, MS 10402/70.
1 McGreevy translated Les Celibataires (1934), by French writer Henry Millon de Montherlant (1895-1972), as Lament for the Death of an Upper Class (London: John Miles, 1935). McGreevy's unmarried sister Margaret McGreevy (known as Ciss, 1887-1952) was at home during this time; his sister Honora Phelan (nee McGreevy, known as Nora, 1891-1974) also lived in Tarbert.
2 "Basta"(enough).
3 MaryJoPrado(neeTurner,n. d. )wasmarriedtoFlavioPradoUchoa(n. d. ),resident ofLondon and Sao Paulo, Brazil. whom SB found "sehr sympathisch" (very pleasant). Mary Jo Prado played: "Gavotte" from Nouvelles suites de pieces de clavedn . . . avec
des remarques sur les differens genres de musique, by French composer Jean-Philippe Rameau (1683-1764); music by Russian composer Aleksandr Scriabin (1872-1915); "Two Dances" from Manuel de Falla's lyric drama La vida breve; Prokofiev's "Navazhdeniye" ("Suggestion diabolique") from Four Pieces (rev. of Four Pieces, 1908), op. 4, no. 4; and music by Hungarian composer Erno Dohnanyi (ne Ernst von Dohnanyi, 1877-1960).
Amica de Biden Footner (1874-1961), British portrait painter, whose subjects included many prominent persons; her sister recalled the "directness and naivety of her conversation" (The Times, 20 October 1961: 15).
Mme. Mahieu (n. d. ), proprietor ofCafe le Mahieu.
There is no indication ofa concert by Mary Jo Prado on 14 February 1935 at Aeolian Hall; however, a piano recital was given there that evening by Elena Cavalcanti (n. d. ) ("Music this Week," The Times 11 February 1935: 8).
4 HesterDowden,knownforherexperimentsinautomaticwritingasaprofessio nal medium, had built "a clientele second to none throughout the country" (Bentley, Far Horizon: A Biography ofHester Dowden, 44). Hester Dowden's pets included Siamese cats and Pekinese dogs. "Infanta": see 24 February 1931, n. 4.
247
8 February {1935), McGreevy
the better.
Nothing more from Lucia Gottlob. Helen has got Giorgio
Lovat Dickson sent back the story by return. The thought of venturing forth into the cold world
off & kein Wunder.
I sent it on to Life & Letters. I have neither seen nor sought to see
13
Charles.
in the evening is intolerable. I feel I must squabble with Bion, &
8 February {1935}, McGreevy
5 Balzac,LaCousineBette(1846;CousinBette).
Alfred Adler (1870-1937), Austrian-born psychologist. SB's notes on psychology
include those taken on Adler's The Neurotic Constitution: Outlines of a Comparative Individualistic Psychology and Psychotherapy, tr. Bernard Glueck and John E. Lind (New York: Moffat, 1916; rpt. London: Kegan Paul. 1921); these notes are undated, and SB may have read other works by Adler (TCD, MS 10971/8/f 24r-33r).
6 FlemishpainterDavidTenierstheyounger(1610-1690),whowasinfluencedby Brouwer.
Adriaen Brouwer (c. 1605-1638) was a Flemish painter who spent much of his work ing life in Holland. Interior of a Room with Figures: A Man Playing a Lute and a Woman (c. 1635, Victoria and Albert Museum, CAI/80).
The Brouwer painting in the National Gallery described by SB is Tavern Scene (NGL 6591), on loan from Sir Edmund Bacon "from July 1907 until at least 1971"; it was acquired by the National Gallery in July 2002 (Alan Crookham and Flavia Dietrich-England, 1 July 2005). The painting in the "reference section" (or lower galleries) then attributed to Brouwer was entitled Three Boors Drinking (NGL 2569) (National Gallery Illustrations, Continental Schools {excluding Italian], 36); it is now attributed to "style of [Adriaen] Brouwer" and is entitled Four Peasants in a Cellar (Gregory Martin, The Flemish School, drca 1600 - drca 1900 [London: National Gallery, 1970] 12).
7 Gerard Ter Borch the younger (also Terborch, 1617-1681), Man in Black Dress, measures 19 x 21. 6 cm (Forster Bequest, F. 35, V&A); the Collection was a bequest of John Forster (1812-1876). The collection of the Dulwich College Picture Gallery con tains Flemish, Italian, and Dutch art, including many paintings by Dutch artist Aelbert Cuyp (1620-1691).
8 GeoffreyThompsonwasSeniorHousePhysicianatBethlemRoyalHospitalfrom 4 February to 31 October 1935 and extended his service there to January 1936.
9 "De fil en aiguille" (by easy stages). Arthur Hillis lived at 131 Cheyne Walk in Chelsea. Hillis's Bechstein piano was his father's wedding gift to his mother. Hillis owned a painting by Paul Henry (1876-1958), Irish portrait and landscape artist, and an interior scene painted by Pieter de Hooch (1629-1684), who was associated with the School of Delft.
Alfred Cortot recorded Albeniz's"Seguidillas" from Suite espafiola, op. 232, no. 5, and the malaguefia"Rumores de Ia Caleta" from Recuerdos de viaje, op. 71, no. 6, also by Albeniz (see"Alfred Cortot plays Short Works," Biddulph Recordings, LHW 020, 1994, and "Alfred Cortot: Rare 78 rpm Recordings & Rare Pressings 1919-1947," Music & Arts, CD-615, 1989).
Arthur Hillis read Classics and Law at Trinity College Dublin. Greek philosopher Theophrastus (c. 372-287 BC), head of the Peripatetic School after Aristotle, is known for his study of"Characters," human types related to the humour theory of person ality dominant through the English Renaissance. John Earle (1601-1665) wrote a collection of character sketches, Microcosmographie (1628), based on the model of Theophrastus.
10 SB'sticketfortheLenerQuartet,playingaBeethovenprogramatQueen'sHall, was not for 9 February, but for 3 pm on 9 March 1935 (see below, 20 February 1935 and 10 March 1935).
248
14 February {1935}, McGreevy
11 RondaisacitybuiltonahighplateauintheAndalusiaregionofSpain. "Frileux" (sensitive to cold).
French writerGuy de Maupassant (1850-1893).
CissieSinclair had been treated at the Adelaide Hospital in Dublin.
12 LuciaJoyce. "Gottlob"(Godbepraised).
Giorgio Joyce and his wife Helen were in NewYork, where he was pursuing a
musical career (Ellmann, James Joyce, 678, 683). Nuala Costello. "Kein Wunder" (no wonder).
13 SB's story "Lightning Calculation" was sent on to Life and Letters which, from November 1934, was edited by Richard Ellis Roberts (Pilling, A Samuel Beckett Chronology, 51).
Charles Prentice.
14 SB had been in therapy with Bion for a little more than a year.
THOMAS M cGR E EVY TARBERT, CO. KERRY
14/2 [1935] 34 Gertrude Street [London] S. W. 10
My dear Tom
Delighted at the prospect of seeing you soon. Will you be
going to Cheyne Gardens? 1
There is nothing in the Criterion.
Frank's friend Guilford arrived yesterday, & I have to be
with him rather more than I would ifhe were not Frank's friend. 3
I know Hester will be froissee ifI do not tum up at the Aeolian this
evening & hear the Prado, but I do not think I will be able. I have
not been round to 15 for a long time now, so the lnfanta is no
4
between the detainees at Bethlem, Hadfield & Miss What is her
5
that I sent you from Dublin. It was very scantily parcelled & I felt
2
further.
I have seen very little ofGeoffrey. He has no time to spare,
name, and I have seen nothing ofhim.
By the way did you ever receive Sorel's Chute de la Royaute
doubtful about it at the time.
6
249
14 February {1935}, McGreevy
I see no prospect of the analysis coming to an end. But I realize how lost I would be bereft of my incapacitation. When will the old sub renounce? 7
Stella is giving a show at the Arlington Galleries. Here is a photo of her looking like Holofernes Leyster. She promised in
8
I finished Cousine Bette - incomprehensibly. A Stock
Exchange Hugo. Now I am reading the divine Jane. I think she
9
Dublin that she would send me a card, but she has not.
hasmuchtoteachme. ItiscurioushowEnglishliteraturehas never freed itself from the old morality typifications & simplifi cations. I suppose the cult of the horse has something to do with it. But writing infect[ed] with selective breeding of the vices & virtues becomes tiresome, whether resulting in humours a la Jonson or Coglioni Lorenziani. Isn't Aldington straight out of the Chester cycle? 10
The two Rests on the Flight School of Patinir are lovely. If
the little Flemish annexe contained a chair it would be perfect.
The Master from Delft Crucifixion triptych is inexhaustible.
11
There are passages straight out of Bosch apparently.
If only
one could afford the choices in the Classiker der Kunst [for
Klassiker]. Zwemmer's have a number at reduced prices. I nearly
bought a Brouwer in the K[u]nstlermappen series, but withheld
my hand like Michelangelo from Brutus. 6/- with 6 coloured
12
ALS; 1 leaf, 2 sides; enclosure, cutting from the Daily Sketch 12 February 1935: n. p. . featuring a photo of Estella Solomons with the caption "Irish Art" (AN added to portion of headline above the pictures, wavy underscoring, addition of double exclamation points: FUNDS HEAVY); env to Thomas McGreevy Esq, Tarbert, Limerick, Co. Kerry, l. F. S. ; pm 14-2-35, London; TCD, MS 10402/71. Dating: from pm and enclosure.
250
plates, including an astonishing landscape. Love
Sam
1 WhenhewasinLondon,McGreevyusuallystayedatHesterDowden'shome,15 Cheyne Gardens, Chelsea, London SW3.
2 McGreevy anticipated a review in The Criterion of his Poems which had been published in May 1934 by William Heinemann Ltd. in London, and in November 1934 by Viking in New York; none appeared.
3 James H. Guilford (1903-1997) lived in Foxrock, near the Beckett family home.
4 "Froissee"(offended). Theconcerton14FebruarywasnotbyMaryJoPrado(see 8 February 1935, n. 3). SB had been invited to use Hester Dowden's piano when he liked (see 29 January [19351, n. 3.
5 GeoffreyThompsonjoinedtheTavistockClinicin1935. JamesArthurHadfield (1882-1967) was Director ofStudies and a consultant ofthe Tavistock Clinic from 1928 to 1951. Thompson was courting Ursula Stenhouse (1911-2001), who taught at Crohamhurst School in Croydon (1933-1935), and then Croydon High School for Girls, south ofLondon (Deborah Thompson, 13 June 1994).
6 AlbertSorel(1842-1906),LaChutedelaroyaute1789-1795,thesecondoftheeight· volume L'Europe et la revolutionfra11faise (1885-1904); rpt. Paris: Pion, Nourrit: 1914-1922.
7 Sub:subconscious.
8 "PicturesofCornwall,Yorkshire,Donegal,Portraits,Etchings,"thegroupexhi· bition by Estella Solomons, Mary Duncan (1885-1967), and Louise R. Jacobs (1880-1946), was held at The Arlington Gallery, from 26 February to 8 March 1935.
A notice ofthe show appeared in the Daily Sketch, 12 February 1935, with Estella Solomons's picture (n. p. ). SB compares her photograph to Judith Holding the Head of Holofemes (NG! 186) by Lucas Cranach (1472-1553), probably alluding to what McGreevy later describes as Judith's "purposeful expression" (Pictures in the Irish National Gallery, 47). SB conflates this image with Judith Leyster (1609-1660), Dutch artist, whose An Interior: Woman Sewing by Candlelight is also in the collection ofthe National Gallery ofIreland (NG! 468).
9 Balzac'sLaCousineBetteiscomparedtothewritingsofVictorHugo. English novelist Jane Austen (1775-1817).
10 Inthemedievalmoralityplaycharactersoftenexemplifiedvirtuesandvices.
The humour theory ofhuman types and behaviors was exemplified by Ben Jonson's Everyman in His Humour (1598) and Everyman Out ofHis Humour (1599).
"Coglioni Lorenziani" (Lawrentian balls) is an allusion to D. H. Lawrence.
SB places Richard Aldington and/or the characters in his novels in the context of the Chester cycle plays which enacted biblical narratives to illuminate themes ofsin and redemption; Aldington's Death ofa Hero (1929), The Colonel's Daughter (1931), All Men are Enemies (1933).
11 Joachim Patinir (also Patenir, Patenier, c. 1480-1524), early Flemish landscapist. SB refers to two paintings ascribed to the School ofPatinir: Rest on the Flight into Egypt (NGL 3115) and The Flight into Egypt (NGL 1084). The Master from Delft (fl. 1490-1520) triptych Scenesfrom the Passion ofChrist (NGL 2922) depicts the Crucifixion in the central panel, with scenes ofthe Procession to Calvary, Judas hanging from a withered tree, the Virgin swooning with Saint John and three Holy Women, and the Agony and preparation for the Capture. Netherlandish painter Hieronymus Bosch (1450-1516).
251
14 February {1935), McGreevy
14 February {1935}, McGreevy
In the National Gallery, London, the little Flemish annex, room XIII, was offa corridor between rooms XII and XN; these rooms were rearranged and remodeled in 1935.
12 The Klassiker der Kunst in Gesamtausgaben (1904-1937) was a series of comprehensive studies with illustrations that included works by painters such as Rembrandt, Titian, Diirer, and Rubens. The London bookstore A. Zwemmer, 76-78 Charing CrossRoad, specialized in fine art books. The volume on Adriaen
Brouwer in the Kiinstlermappen series (no. 83) was written by Kurt Zoege van Marteuffel, Adriaen Brouwer: acht farbige Wiedergaben seiner Werke (Leipzig:
E. A. Seemann, 1936).
Michelangelo (ne Michelangelo Buonarroti. 1475-1564) began sculpting a bust of
Brutus (1540, Museo Nazionale de! Bargello, Florence) "as a tribute to the republican spirit of Florence," but abandoned the project when "reminded of the crime" of Brutus' murder of Caesar (Howard Hibbard, Michelangelo, 2nd edn. [Cambridge, MA:
Harper andRow, 1985] 264).
THOMAS McGREEVY TARBERT, CO. KERRY
20/2 [1935]
34 Gertrude Street London S. W[. ] 10
My dear Tom
It is good news that I may look forward to seeing you in a
fortnight. Herewith the spinsterian pound. I have seen nothing
at all of Hester.
I feel no inclination to ring up & ask may I go in &
play, even ifl felt like playing, and I don't. She took my address
carefully on two occasions & she can write & invite me if she
wants me, which I believe & frankly hope she does not. It is a
strain there always and the animals like Renard's hedgehog - a
1
ofMarch.
Frank's pal has been liquidated without casualty. It was only
about a ptosis belt that he came, so he is as far from the sights of it as ever. 3
I like Jane's manner, in the sense that there is material that can be treated most conveniently in the crochet mode, and
252
decaying pudenda with nowhere to go, how castrated soever.
I went to my concert a month too soon. It is not till the 9th
2
20 February {1935}, McGreevy
somehow Elinor Dashwood is realised as concubine no less desirable than Fielding's Sophie. I suppose the Baron Hulot was
4
by him, & so I think did Teniers. It is very hard to see the Elsheimers in the German room, but the Tobias & the Angel seems exquisite. Rubens let off a lot of obituary steam for him, deplored his "indolence"! 6 The Geertgen Adoration must be one of the earliest spotlight paintings. Surely it is only half the story to date them from Raphael's Liberation of St. Peter. I never saw the Oxford Uccello mentioned in this connection either. 7
Miss B. O'Brien is in Florence "studying the Old Masters".
8
Lucia is in Grosvenor Place with her aunt, who . . "is on her
10
for much in the elaboration of Charlus. Brouwer ran away from Hals & Haarlem, & Rubens & Rembrandt owned pictures
5
Perhaps Dermot [for Dermod] is working her up for the Gallery. Mary Manning is now Mrs Mark De Wolfle] Howe & on her honey moon to New York & the . . . Bermudas! 9 Do you know the story of the chaste centipede, who said to her suitor, crossing her thou sand legs: "No, a thousand times no. "
way to Ireland", whatever that means.
see me. I have done nothing - except make detours.
She wrote wanting to I have seen nothing of Geoffrey, but have planned to go
down & see him at the hospital next Sunday.
11
It may help to
solve the destination of the day. I inspected the plaster carica
tures of Vischer & Kraft in the V. & A. Nothing. The Great Hall
12
13
I go on with Bion . . . histoire d'elan acquis. I see no reason why it should ever come to an end. The old heart pounces now & then, as though to console me for the intolerable symp toms of an improvement. Mother writes, she supposes I am
253
was full of whores. The Raphael Room is closed.
The Maccarthy has taken her picture.
20 February {1935}, McGreevy
brimming over with material for books. . . anything rather than desoeuvrement. 14
Estella S. sent me a card for vernissage (et comment) next Tuesday. She is with Mary Duncan & Louise Jacobs at the
15
Arlington. Landscapes from Donegal & Yorkshire.
Last night I dropped my glasses from balcony of this room
16
into the area.
wanting to scrap the frame anyway.
I found the lenses this morning, unbroken. I was Love Sam
ALS; 1 leaf, 2 sides; env to Thomas McGreevy Esq, Tarbert, Limerick, Co. Keny, in lower left comer Irish Free State; pm 20-2-35, London; TCD, MS 10402/72. Dating: pm and opening of the Arlington Gallery before exhibition March 1935.
1 McGreevydidnotarriveinLondonashehadplanned(see10March1935).
Hester Dowden had offered SB the use ofher piano. SB compares the cats and dogs of her household to Renard's "'Le Herisson," in Histoires naturelles, a series of humorous vignettes written first for newspaper publication and then collected:
"'Le Herisson" Essuyez votre. . . S. V. P. II
II faut me prendre comme je suis et ne pas trop serrer. "'The Hedgehog"
Please wipe your
You have to take me as I am and not squeeze too tightly.
Uules Renard, Oeuvres, II, ed. Leon Guichard, Bibliotheque de la Pleiade [Paris: Gallimard, 1971] 126)
2 TheLenerQuartetatQueen'sHallon9March1935(see8February1935,n. 10).
3 James Guilford was in London to consult specialists; a ptosis belt is used to alleviate the symptoms of a hernia.
4 SB compares Elinor Dashwood in Jane Austen's Sense and Sensibility (1811) with Joseph Fielding's character, Sophia Weston, in Tom Jones (1749). He also sees Baron Hulot, a character from Balzac's La Cousine Bette, as a forerunner of the Baron de Charlus in Proust's A la recherche du temps perdu. SB uses a Gallicism, "'etre pour beau
coup dans" for "'to count for a good deal in. "
5 Adriaen Brouwer served an apprenticeship in Haarlem under Frans Hals (c. 1581-1666); he left for Amsterdam, later returned to Haarlem from c. 1625 to 1631, and then spent the remainder of his life in Antwerp (Gerard Knuttel, Adriaen Brouwer: The Master and His Work, tr. ]. G. Talma-Schilthuis and Robert Wheaton [The Hague: L. J. C.
254
II
Bancher, 1962] 109). Rubens owned seventeen Brouwers (179); Rembrandt's collection of Brouwer included seven paintings, another "after Brouwer," and a book of drawings (Kenneth Clark, Remm-andt and the Italian Renaissance [London: John Murray, 1966] 193-202). Brouwer influenced Teniers the younger, but the only evidence that Teniers owned a painting by Brouwer is Teniers's painting The Artist in His Studio (1635, private collection) which depicts Teniers painting a self. portrait in his studio which is hung with thirty-three paintings by himself and contemporaries, including Brouwer's Drinker Asleep (The Sleeping Toper, AH:64:05, Fisher Gallery, University of Southern California; Margret Klinge, David Teniers the Younger: Paintings - Drawings, Antwerp: Koninklijk Museum Voor Schoene Kunsten, 11 May-1 September 1991 [Ghent: Snoeck-Ducaju and Zoon, 1991] 50, 52-53; Margret Klinge, 14 February 2007).
6 ThepaintingsofAdamElsheimer(1578-1610)intheGermanroom(XIX)ofthe National Gallery in London included St. Paul on Malta (c. 1600, NGL 3535, also known as The Shipwreck of St. Paul), St. Lawrence Being Prepared for Martyrdom (c. 1600-1601, NGL 1014), The Baptism of Christ (c. 1599, NGL 3904), and Tobias and the Archangel Raphael (c. 1650, NGL 1424, then attributed to Elsheimer, now considered to be after Elsheimer).
On 14January 1611, Rubens wrote to a biologist and collector living in Rome, Dr. Johann Faber (fl. early seventeenth century), who had informed him of Elsheimer's death: Elsheimer "had no equal in small figures, in Landscapes, and in many other subjects. He has died in the flower of his studies. " Rubens deplored Elsheimer's "sin of sloth, by which he has deprived the world of the most beautiful things" (Keith
Andrews, Adam Elsheimer: Paintings - Drawings - Prints [New York: Rizzoli, 1977] 51).
7 SBreferstoTheNativity(latefifteenthcentury,NGL4081)byGeertgentotSintJans {1460/1465-1495), noting that it was earlier than the Liberation of St. Peter from Prison {1513-1514) by Raphael, which was painted over a window-opening in the Vatican (Frederick Hartt, History of Italian Renaissance Art: Painting, Sculpture, Architecture, 3rd edn. [New York: Harry N. Abrams, 1987] 513-514). Also earlier is Uccello's Hunt in the Forest (c. 1470,Ashmolean MuseumA79).
8 Irish artist, Rose Brigid O'Brien (m. Ganly, 1909-2002) was the daughter of Dermod O'Brien, who was on the Board of Governors and Guardians of the National Gallery oflreland; the museum was seeking a new Director.
9 Irish writer Mary Manning• (1905-1999) married theAmerican historian and biographer Mark de Wolfe Howe {1906-1967) on 28 February 1935.
10 LuciaJoycearrivedinLondonon14February1935withheraunt,Mrs. Eileen Schaurek (nee Eileen Isabel Mary Xavier Brigid Joyce, 1889-1963), with whom she stayed at the Mascot Hotel in York Street, not Grosvenor Place. While Mrs. Schaurek was in Dublin (24 February to 1 March), Lucia Joyce stayed with Harriet Weaver at 74 Gloucester Place. However, from 26 to 27 February, she stayed on her own in a hotel on Gloucester Street, returning afterwards to stay again with Harriet Weaver. Lucia left for Ireland with her aunt on 16 March 1935 (Ellmann, James Joyce, 681; Carol Loeb Shloss, Lucia Joyce: To Dance in the Wake [New York: Farrar, Straus and Giroux, 2003] 308-312, 509; Brenda Maddox, Nora: The Real Life of Molly Bloom [Boston: Houghton Mifflin Co. , 1988] 305-309). According toJoyce's letter to Giorgio and HelenJoyce, 19 February 1935, during this period Lucia met SB "a few times and they had dinner together" Ooyce, Letters of]ames Joyce, III. 344).
20 February {1935}, McGreevy
11 GeoffreyThompsonwasinBeckenham.
255
20 February {1935}, McGreevy
12 Nineteenth-centuryplastercastsintheVictoriaandAlbertcollection(room46A) included the highly ornamented Gothic canopy and enclosure ofthe Tomb ofSt. Sebaldus (1508-1519, St. Sebalduskirche, Nuremberg; V&A repro. 1869-14) by Peter Vischer the elder (c. 1460-1529) that was decorated with statuettes and reliefs; other works by Peter Vischer in the collection were casts of the Monument of Count Otto N of Henneberg (1488, Stadtkirche, Romhild; V&A repro. 1873-580:1) and of A Bronze Monument (1497, Magdeburg Cathedral; V&A repro. 1904-55:0). Also among the collection of casts in this room was the Schreyer-Landauer Monument (1490-1492, St. Sebalduskirche, Nuremberg; V&A repro. 1872-53) by German sculptor Adam Kraft (also Krafft, fl. 1490-1509).
The Raphael Room (48), with cartoons for tapestries commissioned by Pope Leo X (1515) for the Sistine Chapel, was closed intermittently between April 1934 and August 1935, as paintings were removed in stages for repair. The records of the Victoria and Albert Museum indicate that the cartoon then known as "Peter and John at the Beautiful Gate" (now "The Healing of the Lame Man," 1515-1516) was removed in early February 1935, treated, and replaced in its frame on 6 March 1935 (Alison Baber, National Art Library, Victoria and Albert Museum. 1 June 1994, from the Museum's registered papers). The "Great Hall" may have been the main entrance to the Museum or the Octagon Court which displayed loan exhibitions; there are no records to confirm what was exhibited there in 1935 (Alison Baber, 13 June 1994).
13 Ethna MacCarthy's painting, Portrait of a Lady (inscribed 1599 "age 61") by the School of Pourbus, had been offered at auction (Sotheby's, 13 June 1934, no. 85) but had not met the reserve price. The Pourbus family of Flemish painters included Pieter Pourbus (1523/1524-1584), his son Frans Pourbus (1545/1546-1581), and Frans Pourbus II (1569-1622). SB had been asked to pick up the painting and keep it for MacCarthy.
14 "Histoired'elanacquis"ijustamatterofmomentum). "Desoeuvrement" (having nothing to do, idleness).
15 "Vernissage (et comment)" (private view [and howl). The exhibition opened for private view on 26 February 1935. Mary Duncan's landscapes were largely of Cornwall, those by Louise Jacobs were of Yorkshire, and those by Estella Solomons were of Donegal.
16 SB wrote "<this> balcony of this room . THOMAS McGREEVY
TARBERT, LIMERICK, co_ KERRY 10/3 (1935]
34 Gertrude Street London SW10
My dear Tom
Very glad to have your letter & touched at your bothering
your head about my old Grillen. 1 All I ever got from the 256
10 March {1935}, McGreevy
Imitation went to confirm & reinforce my own way of living, a way ofliving that tried to be a solution & failed. I found quanti ties of phrases like qui melius scit pati majorem tenebit pacem, or, Nolle consolari ab aliqua creatura magnae puritatis signum est, or the lovely per viam pacis ad patriam perpetuae claritatis, that seemed to be made for me and which I have never forgot ten. 2 Amg many others. But they all conduced to the isolation ism that was not to prove very splendid. What is one to make of "seldom we come home without hurting of conscience" and "the glad going out & sorrowful coming home" and "be ye sorry in your chambers" but a quietism of the sparrow alone upon the housetop & the solitary bird under the eaves? An abject self-referring quietism indeed, beside the alert quiet ofone who always had Jesus for his darling, but the only kind that I. who seem never to have had the least faculty or disposition for the supernatural, could elicit from the text. and then only by means of a substitution ofterms very different from the one you pro pose. 3 I mean that I replaced the plenitude that he calls "God", not by "goodness", but by a pleroma only to be sought among my own feathers or entrails, a principle of self the possession of which was to provide a rationale & the communion with which a sense of Grace. Thus the Imitation could be made [to] subserve the "Sin" of Luciferian concentration. And I know that now I would be no more capable of approaching its hypostatics & analogies "meekly, simply & truly", than I was when I first twisted them into a programme of self-sufficiency. I would still find it, so far from being a compendium of Christian behaviour, with oeuvres pies, humility, utility, self-effacement, etc. etc. , in all probability conceived & composed on the rebound from the fiasco of just such an effort in behaviour, your "long, long experience of unhappiness"; and that ifcertain forms of contact
257
10 March {1935}, McGreevy
are commended by the way, it is very much by the way, and
incidental & secondary to the fundamental contact - for him,
with "God". So that to read "goodness & disinterestedness" every
time for "God". would seem the accidental for the essential with
a vengeance & a mining of the text; whereas to allow the scep
tical position (which I hope is not complacent in my case, how
ever it may be a tyranny), & replace a principle of faith, absolute
& infinite, by one personal & finite of fact, would be to preserve
its magnificent basis of distinction between primary & secon
4
dary,intheinterestsofaverybaroquesolipsismifyoulike. I cannot see how "goodness" is to be made a foundation or a beginning of anything. Arn I to set my teeth & be disinterested? When I cannot answer for myself, and do not dispose of myself, how can I serve? Will the demon - pretiosa margarita! - disable me any the less with sweats & shudders & panics & rages & rigors & heart burstings because my motives are unselfish & the welfare of others my concern? Macche! 5 Or is there some way of devoting pain & monstrosity & incapacitation to the service of a deserving cause? Is one to insist on a crucifixion for which there is no demand?
For me the position is really a simple & straightforward one, or was until complicated by the analysis, obviously necessarily. For years I was unhappy, consciously & deliberately ever since I left school & went into T. C. D. , so that I isolated myself more & more, undertook less & less & lent myself to a crescendo of disparagement of others & myself. But in all that there was nothing that struck me as morbid. The misery & solitude & apathy & the sneers were the elements of an index of superior ity & guaranteed the feeling of arrogant "otherness", which seemed as right & natural & as little morbid as the ways in which it was not so much expressed as implied & reserved &
258
10 March {1935}, McGreevy
kept available for a possible utterance in the future. It was not
until that way of living, or rather negation of living, developed
such terrifying physical symptoms that it could no longer be
pursued, that I became aware of anything morbid in myself. In
short, if the heart had not put the fear of death into me I would
be still boozing & sneering & lounging around & feeling that I
was too good for anything else. It was with a specific fear & a
specific complaint that I went to Geoffrey, then to Bion, to learn
that the "specific fear & complaint" was the least important
symptom of a diseased condition that began in a time which I
could not remember, in my "pre-history", a bubble on the pud
dle; and that the fatuous torments which I had treasured as
denoting the superior man were all part of the same pathology.
That was the picture as I was obliged to accept it, and that is still
largely the picture, and I cannot see that it allows of any philo
sophical or ethical or Christlike imitative pentimenti, or in what
way they could redeem a composition that was invalid from the
6
Ifl cod myself with all this I cod myself & that is all. It will
7
Reavey has been active, founding a branch of his International Bureau over here, or something equally interesting. Your
259
word "go" & has to be broken up altogether.
bubbles it is because the puddle has not been drained, and the fact of its bubbling more fiercely than ever is perhaps open to receive consolation from the waste that splutters most, when the bath is nearly empty.
If the heart still
havebeenanexpensivecanular. Ihavetriedtofacethepossi bility of its failing to render the business of remaining alive tolerable, & I have not been able to. It claims to do more, but if it does as much the year of two fears or three fears will seem to me better spent than any others I can point to up till now.
10 March {1935}, McGreevy
defection at the 6 Bells was still present in his mind. I was wishing I had his precious Anthologie Surrealiste to return to him. But he will be back in a fortnight. He is full of translations, anthologies, adaptations & centos & transactions of every kind. He showed me a poem that surprised me it was so much better than anything I had seen ofhis hitherto. 8
The Lucia ember flared up & fizzled out. But more of that viva voce.
I do not see much of Hester, but it always goes very well when I go round, and we play the Pavane with special reference to the obeisances in the dance. 9
The news from home is good. I sent Mother Morton's In the
1
I spent an evening with Geoffrey and to-day I am going down to Eden Park to spend afternoon & evening. He is in excellent form and is now attached to the outpatients psychological department at Bart's, so that he can proceed to little analyses on his own! 11
I went to the Lener playing the Rasumovsky Quartets at Queen's Hall yesterday & was very disappointed. Their playing seemed dry & finickety to the point of Old Maidishness & Ludvig never so Rembrandtesque. 12
Stella's exhibition with Louise Jacobs & Mary Duncan was really lamentable. She had a 10 year old portrait of Jack Yeats priced at £100! The place was packed with the chosen & faithful for the opening day.
To-morrow afternoon I have the Lener, but alas one cannot
10
every morning finds me shirking the cold journey.
only once. Perhaps it will be somewhere to go in the spring.
[. . . ]
book a seat for a mood.
from Ronda, drinking a lot of wine & frileux playing his fiddle in olive-groves on the rock, & reading Maupassant. He is going on to Seville, sometime. It does not sound as though he were doing
246
A sad little letter from Maurice Sinclair
much good. Cissie has left the Adelaide & gone home, very little
11
where she wants him now. The Costello seems to have cast me
12
1 so I do. On Monday I go for the 133rd time. 4
God love thee & write again soon. s/ Sam
TIS; 2 leaves, 2 sides; env to Thomas McGreevy Esq, Tarbert, Limerick, Co. Kerry, l. F. S. ; pm 8-2-35, London; TCD, MS 10402/70.
1 McGreevy translated Les Celibataires (1934), by French writer Henry Millon de Montherlant (1895-1972), as Lament for the Death of an Upper Class (London: John Miles, 1935). McGreevy's unmarried sister Margaret McGreevy (known as Ciss, 1887-1952) was at home during this time; his sister Honora Phelan (nee McGreevy, known as Nora, 1891-1974) also lived in Tarbert.
2 "Basta"(enough).
3 MaryJoPrado(neeTurner,n. d. )wasmarriedtoFlavioPradoUchoa(n. d. ),resident ofLondon and Sao Paulo, Brazil. whom SB found "sehr sympathisch" (very pleasant). Mary Jo Prado played: "Gavotte" from Nouvelles suites de pieces de clavedn . . . avec
des remarques sur les differens genres de musique, by French composer Jean-Philippe Rameau (1683-1764); music by Russian composer Aleksandr Scriabin (1872-1915); "Two Dances" from Manuel de Falla's lyric drama La vida breve; Prokofiev's "Navazhdeniye" ("Suggestion diabolique") from Four Pieces (rev. of Four Pieces, 1908), op. 4, no. 4; and music by Hungarian composer Erno Dohnanyi (ne Ernst von Dohnanyi, 1877-1960).
Amica de Biden Footner (1874-1961), British portrait painter, whose subjects included many prominent persons; her sister recalled the "directness and naivety of her conversation" (The Times, 20 October 1961: 15).
Mme. Mahieu (n. d. ), proprietor ofCafe le Mahieu.
There is no indication ofa concert by Mary Jo Prado on 14 February 1935 at Aeolian Hall; however, a piano recital was given there that evening by Elena Cavalcanti (n. d. ) ("Music this Week," The Times 11 February 1935: 8).
4 HesterDowden,knownforherexperimentsinautomaticwritingasaprofessio nal medium, had built "a clientele second to none throughout the country" (Bentley, Far Horizon: A Biography ofHester Dowden, 44). Hester Dowden's pets included Siamese cats and Pekinese dogs. "Infanta": see 24 February 1931, n. 4.
247
8 February {1935), McGreevy
the better.
Nothing more from Lucia Gottlob. Helen has got Giorgio
Lovat Dickson sent back the story by return. The thought of venturing forth into the cold world
off & kein Wunder.
I sent it on to Life & Letters. I have neither seen nor sought to see
13
Charles.
in the evening is intolerable. I feel I must squabble with Bion, &
8 February {1935}, McGreevy
5 Balzac,LaCousineBette(1846;CousinBette).
Alfred Adler (1870-1937), Austrian-born psychologist. SB's notes on psychology
include those taken on Adler's The Neurotic Constitution: Outlines of a Comparative Individualistic Psychology and Psychotherapy, tr. Bernard Glueck and John E. Lind (New York: Moffat, 1916; rpt. London: Kegan Paul. 1921); these notes are undated, and SB may have read other works by Adler (TCD, MS 10971/8/f 24r-33r).
6 FlemishpainterDavidTenierstheyounger(1610-1690),whowasinfluencedby Brouwer.
Adriaen Brouwer (c. 1605-1638) was a Flemish painter who spent much of his work ing life in Holland. Interior of a Room with Figures: A Man Playing a Lute and a Woman (c. 1635, Victoria and Albert Museum, CAI/80).
The Brouwer painting in the National Gallery described by SB is Tavern Scene (NGL 6591), on loan from Sir Edmund Bacon "from July 1907 until at least 1971"; it was acquired by the National Gallery in July 2002 (Alan Crookham and Flavia Dietrich-England, 1 July 2005). The painting in the "reference section" (or lower galleries) then attributed to Brouwer was entitled Three Boors Drinking (NGL 2569) (National Gallery Illustrations, Continental Schools {excluding Italian], 36); it is now attributed to "style of [Adriaen] Brouwer" and is entitled Four Peasants in a Cellar (Gregory Martin, The Flemish School, drca 1600 - drca 1900 [London: National Gallery, 1970] 12).
7 Gerard Ter Borch the younger (also Terborch, 1617-1681), Man in Black Dress, measures 19 x 21. 6 cm (Forster Bequest, F. 35, V&A); the Collection was a bequest of John Forster (1812-1876). The collection of the Dulwich College Picture Gallery con tains Flemish, Italian, and Dutch art, including many paintings by Dutch artist Aelbert Cuyp (1620-1691).
8 GeoffreyThompsonwasSeniorHousePhysicianatBethlemRoyalHospitalfrom 4 February to 31 October 1935 and extended his service there to January 1936.
9 "De fil en aiguille" (by easy stages). Arthur Hillis lived at 131 Cheyne Walk in Chelsea. Hillis's Bechstein piano was his father's wedding gift to his mother. Hillis owned a painting by Paul Henry (1876-1958), Irish portrait and landscape artist, and an interior scene painted by Pieter de Hooch (1629-1684), who was associated with the School of Delft.
Alfred Cortot recorded Albeniz's"Seguidillas" from Suite espafiola, op. 232, no. 5, and the malaguefia"Rumores de Ia Caleta" from Recuerdos de viaje, op. 71, no. 6, also by Albeniz (see"Alfred Cortot plays Short Works," Biddulph Recordings, LHW 020, 1994, and "Alfred Cortot: Rare 78 rpm Recordings & Rare Pressings 1919-1947," Music & Arts, CD-615, 1989).
Arthur Hillis read Classics and Law at Trinity College Dublin. Greek philosopher Theophrastus (c. 372-287 BC), head of the Peripatetic School after Aristotle, is known for his study of"Characters," human types related to the humour theory of person ality dominant through the English Renaissance. John Earle (1601-1665) wrote a collection of character sketches, Microcosmographie (1628), based on the model of Theophrastus.
10 SB'sticketfortheLenerQuartet,playingaBeethovenprogramatQueen'sHall, was not for 9 February, but for 3 pm on 9 March 1935 (see below, 20 February 1935 and 10 March 1935).
248
14 February {1935}, McGreevy
11 RondaisacitybuiltonahighplateauintheAndalusiaregionofSpain. "Frileux" (sensitive to cold).
French writerGuy de Maupassant (1850-1893).
CissieSinclair had been treated at the Adelaide Hospital in Dublin.
12 LuciaJoyce. "Gottlob"(Godbepraised).
Giorgio Joyce and his wife Helen were in NewYork, where he was pursuing a
musical career (Ellmann, James Joyce, 678, 683). Nuala Costello. "Kein Wunder" (no wonder).
13 SB's story "Lightning Calculation" was sent on to Life and Letters which, from November 1934, was edited by Richard Ellis Roberts (Pilling, A Samuel Beckett Chronology, 51).
Charles Prentice.
14 SB had been in therapy with Bion for a little more than a year.
THOMAS M cGR E EVY TARBERT, CO. KERRY
14/2 [1935] 34 Gertrude Street [London] S. W. 10
My dear Tom
Delighted at the prospect of seeing you soon. Will you be
going to Cheyne Gardens? 1
There is nothing in the Criterion.
Frank's friend Guilford arrived yesterday, & I have to be
with him rather more than I would ifhe were not Frank's friend. 3
I know Hester will be froissee ifI do not tum up at the Aeolian this
evening & hear the Prado, but I do not think I will be able. I have
not been round to 15 for a long time now, so the lnfanta is no
4
between the detainees at Bethlem, Hadfield & Miss What is her
5
that I sent you from Dublin. It was very scantily parcelled & I felt
2
further.
I have seen very little ofGeoffrey. He has no time to spare,
name, and I have seen nothing ofhim.
By the way did you ever receive Sorel's Chute de la Royaute
doubtful about it at the time.
6
249
14 February {1935}, McGreevy
I see no prospect of the analysis coming to an end. But I realize how lost I would be bereft of my incapacitation. When will the old sub renounce? 7
Stella is giving a show at the Arlington Galleries. Here is a photo of her looking like Holofernes Leyster. She promised in
8
I finished Cousine Bette - incomprehensibly. A Stock
Exchange Hugo. Now I am reading the divine Jane. I think she
9
Dublin that she would send me a card, but she has not.
hasmuchtoteachme. ItiscurioushowEnglishliteraturehas never freed itself from the old morality typifications & simplifi cations. I suppose the cult of the horse has something to do with it. But writing infect[ed] with selective breeding of the vices & virtues becomes tiresome, whether resulting in humours a la Jonson or Coglioni Lorenziani. Isn't Aldington straight out of the Chester cycle? 10
The two Rests on the Flight School of Patinir are lovely. If
the little Flemish annexe contained a chair it would be perfect.
The Master from Delft Crucifixion triptych is inexhaustible.
11
There are passages straight out of Bosch apparently.
If only
one could afford the choices in the Classiker der Kunst [for
Klassiker]. Zwemmer's have a number at reduced prices. I nearly
bought a Brouwer in the K[u]nstlermappen series, but withheld
my hand like Michelangelo from Brutus. 6/- with 6 coloured
12
ALS; 1 leaf, 2 sides; enclosure, cutting from the Daily Sketch 12 February 1935: n. p. . featuring a photo of Estella Solomons with the caption "Irish Art" (AN added to portion of headline above the pictures, wavy underscoring, addition of double exclamation points: FUNDS HEAVY); env to Thomas McGreevy Esq, Tarbert, Limerick, Co. Kerry, l. F. S. ; pm 14-2-35, London; TCD, MS 10402/71. Dating: from pm and enclosure.
250
plates, including an astonishing landscape. Love
Sam
1 WhenhewasinLondon,McGreevyusuallystayedatHesterDowden'shome,15 Cheyne Gardens, Chelsea, London SW3.
2 McGreevy anticipated a review in The Criterion of his Poems which had been published in May 1934 by William Heinemann Ltd. in London, and in November 1934 by Viking in New York; none appeared.
3 James H. Guilford (1903-1997) lived in Foxrock, near the Beckett family home.
4 "Froissee"(offended). Theconcerton14FebruarywasnotbyMaryJoPrado(see 8 February 1935, n. 3). SB had been invited to use Hester Dowden's piano when he liked (see 29 January [19351, n. 3.
5 GeoffreyThompsonjoinedtheTavistockClinicin1935. JamesArthurHadfield (1882-1967) was Director ofStudies and a consultant ofthe Tavistock Clinic from 1928 to 1951. Thompson was courting Ursula Stenhouse (1911-2001), who taught at Crohamhurst School in Croydon (1933-1935), and then Croydon High School for Girls, south ofLondon (Deborah Thompson, 13 June 1994).
6 AlbertSorel(1842-1906),LaChutedelaroyaute1789-1795,thesecondoftheeight· volume L'Europe et la revolutionfra11faise (1885-1904); rpt. Paris: Pion, Nourrit: 1914-1922.
7 Sub:subconscious.
8 "PicturesofCornwall,Yorkshire,Donegal,Portraits,Etchings,"thegroupexhi· bition by Estella Solomons, Mary Duncan (1885-1967), and Louise R. Jacobs (1880-1946), was held at The Arlington Gallery, from 26 February to 8 March 1935.
A notice ofthe show appeared in the Daily Sketch, 12 February 1935, with Estella Solomons's picture (n. p. ). SB compares her photograph to Judith Holding the Head of Holofemes (NG! 186) by Lucas Cranach (1472-1553), probably alluding to what McGreevy later describes as Judith's "purposeful expression" (Pictures in the Irish National Gallery, 47). SB conflates this image with Judith Leyster (1609-1660), Dutch artist, whose An Interior: Woman Sewing by Candlelight is also in the collection ofthe National Gallery ofIreland (NG! 468).
9 Balzac'sLaCousineBetteiscomparedtothewritingsofVictorHugo. English novelist Jane Austen (1775-1817).
10 Inthemedievalmoralityplaycharactersoftenexemplifiedvirtuesandvices.
The humour theory ofhuman types and behaviors was exemplified by Ben Jonson's Everyman in His Humour (1598) and Everyman Out ofHis Humour (1599).
"Coglioni Lorenziani" (Lawrentian balls) is an allusion to D. H. Lawrence.
SB places Richard Aldington and/or the characters in his novels in the context of the Chester cycle plays which enacted biblical narratives to illuminate themes ofsin and redemption; Aldington's Death ofa Hero (1929), The Colonel's Daughter (1931), All Men are Enemies (1933).
11 Joachim Patinir (also Patenir, Patenier, c. 1480-1524), early Flemish landscapist. SB refers to two paintings ascribed to the School ofPatinir: Rest on the Flight into Egypt (NGL 3115) and The Flight into Egypt (NGL 1084). The Master from Delft (fl. 1490-1520) triptych Scenesfrom the Passion ofChrist (NGL 2922) depicts the Crucifixion in the central panel, with scenes ofthe Procession to Calvary, Judas hanging from a withered tree, the Virgin swooning with Saint John and three Holy Women, and the Agony and preparation for the Capture. Netherlandish painter Hieronymus Bosch (1450-1516).
251
14 February {1935), McGreevy
14 February {1935}, McGreevy
In the National Gallery, London, the little Flemish annex, room XIII, was offa corridor between rooms XII and XN; these rooms were rearranged and remodeled in 1935.
12 The Klassiker der Kunst in Gesamtausgaben (1904-1937) was a series of comprehensive studies with illustrations that included works by painters such as Rembrandt, Titian, Diirer, and Rubens. The London bookstore A. Zwemmer, 76-78 Charing CrossRoad, specialized in fine art books. The volume on Adriaen
Brouwer in the Kiinstlermappen series (no. 83) was written by Kurt Zoege van Marteuffel, Adriaen Brouwer: acht farbige Wiedergaben seiner Werke (Leipzig:
E. A. Seemann, 1936).
Michelangelo (ne Michelangelo Buonarroti. 1475-1564) began sculpting a bust of
Brutus (1540, Museo Nazionale de! Bargello, Florence) "as a tribute to the republican spirit of Florence," but abandoned the project when "reminded of the crime" of Brutus' murder of Caesar (Howard Hibbard, Michelangelo, 2nd edn. [Cambridge, MA:
Harper andRow, 1985] 264).
THOMAS McGREEVY TARBERT, CO. KERRY
20/2 [1935]
34 Gertrude Street London S. W[. ] 10
My dear Tom
It is good news that I may look forward to seeing you in a
fortnight. Herewith the spinsterian pound. I have seen nothing
at all of Hester.
I feel no inclination to ring up & ask may I go in &
play, even ifl felt like playing, and I don't. She took my address
carefully on two occasions & she can write & invite me if she
wants me, which I believe & frankly hope she does not. It is a
strain there always and the animals like Renard's hedgehog - a
1
ofMarch.
Frank's pal has been liquidated without casualty. It was only
about a ptosis belt that he came, so he is as far from the sights of it as ever. 3
I like Jane's manner, in the sense that there is material that can be treated most conveniently in the crochet mode, and
252
decaying pudenda with nowhere to go, how castrated soever.
I went to my concert a month too soon. It is not till the 9th
2
20 February {1935}, McGreevy
somehow Elinor Dashwood is realised as concubine no less desirable than Fielding's Sophie. I suppose the Baron Hulot was
4
by him, & so I think did Teniers. It is very hard to see the Elsheimers in the German room, but the Tobias & the Angel seems exquisite. Rubens let off a lot of obituary steam for him, deplored his "indolence"! 6 The Geertgen Adoration must be one of the earliest spotlight paintings. Surely it is only half the story to date them from Raphael's Liberation of St. Peter. I never saw the Oxford Uccello mentioned in this connection either. 7
Miss B. O'Brien is in Florence "studying the Old Masters".
8
Lucia is in Grosvenor Place with her aunt, who . . "is on her
10
for much in the elaboration of Charlus. Brouwer ran away from Hals & Haarlem, & Rubens & Rembrandt owned pictures
5
Perhaps Dermot [for Dermod] is working her up for the Gallery. Mary Manning is now Mrs Mark De Wolfle] Howe & on her honey moon to New York & the . . . Bermudas! 9 Do you know the story of the chaste centipede, who said to her suitor, crossing her thou sand legs: "No, a thousand times no. "
way to Ireland", whatever that means.
see me. I have done nothing - except make detours.
She wrote wanting to I have seen nothing of Geoffrey, but have planned to go
down & see him at the hospital next Sunday.
11
It may help to
solve the destination of the day. I inspected the plaster carica
tures of Vischer & Kraft in the V. & A. Nothing. The Great Hall
12
13
I go on with Bion . . . histoire d'elan acquis. I see no reason why it should ever come to an end. The old heart pounces now & then, as though to console me for the intolerable symp toms of an improvement. Mother writes, she supposes I am
253
was full of whores. The Raphael Room is closed.
The Maccarthy has taken her picture.
20 February {1935}, McGreevy
brimming over with material for books. . . anything rather than desoeuvrement. 14
Estella S. sent me a card for vernissage (et comment) next Tuesday. She is with Mary Duncan & Louise Jacobs at the
15
Arlington. Landscapes from Donegal & Yorkshire.
Last night I dropped my glasses from balcony of this room
16
into the area.
wanting to scrap the frame anyway.
I found the lenses this morning, unbroken. I was Love Sam
ALS; 1 leaf, 2 sides; env to Thomas McGreevy Esq, Tarbert, Limerick, Co. Keny, in lower left comer Irish Free State; pm 20-2-35, London; TCD, MS 10402/72. Dating: pm and opening of the Arlington Gallery before exhibition March 1935.
1 McGreevydidnotarriveinLondonashehadplanned(see10March1935).
Hester Dowden had offered SB the use ofher piano. SB compares the cats and dogs of her household to Renard's "'Le Herisson," in Histoires naturelles, a series of humorous vignettes written first for newspaper publication and then collected:
"'Le Herisson" Essuyez votre. . . S. V. P. II
II faut me prendre comme je suis et ne pas trop serrer. "'The Hedgehog"
Please wipe your
You have to take me as I am and not squeeze too tightly.
Uules Renard, Oeuvres, II, ed. Leon Guichard, Bibliotheque de la Pleiade [Paris: Gallimard, 1971] 126)
2 TheLenerQuartetatQueen'sHallon9March1935(see8February1935,n. 10).
3 James Guilford was in London to consult specialists; a ptosis belt is used to alleviate the symptoms of a hernia.
4 SB compares Elinor Dashwood in Jane Austen's Sense and Sensibility (1811) with Joseph Fielding's character, Sophia Weston, in Tom Jones (1749). He also sees Baron Hulot, a character from Balzac's La Cousine Bette, as a forerunner of the Baron de Charlus in Proust's A la recherche du temps perdu. SB uses a Gallicism, "'etre pour beau
coup dans" for "'to count for a good deal in. "
5 Adriaen Brouwer served an apprenticeship in Haarlem under Frans Hals (c. 1581-1666); he left for Amsterdam, later returned to Haarlem from c. 1625 to 1631, and then spent the remainder of his life in Antwerp (Gerard Knuttel, Adriaen Brouwer: The Master and His Work, tr. ]. G. Talma-Schilthuis and Robert Wheaton [The Hague: L. J. C.
254
II
Bancher, 1962] 109). Rubens owned seventeen Brouwers (179); Rembrandt's collection of Brouwer included seven paintings, another "after Brouwer," and a book of drawings (Kenneth Clark, Remm-andt and the Italian Renaissance [London: John Murray, 1966] 193-202). Brouwer influenced Teniers the younger, but the only evidence that Teniers owned a painting by Brouwer is Teniers's painting The Artist in His Studio (1635, private collection) which depicts Teniers painting a self. portrait in his studio which is hung with thirty-three paintings by himself and contemporaries, including Brouwer's Drinker Asleep (The Sleeping Toper, AH:64:05, Fisher Gallery, University of Southern California; Margret Klinge, David Teniers the Younger: Paintings - Drawings, Antwerp: Koninklijk Museum Voor Schoene Kunsten, 11 May-1 September 1991 [Ghent: Snoeck-Ducaju and Zoon, 1991] 50, 52-53; Margret Klinge, 14 February 2007).
6 ThepaintingsofAdamElsheimer(1578-1610)intheGermanroom(XIX)ofthe National Gallery in London included St. Paul on Malta (c. 1600, NGL 3535, also known as The Shipwreck of St. Paul), St. Lawrence Being Prepared for Martyrdom (c. 1600-1601, NGL 1014), The Baptism of Christ (c. 1599, NGL 3904), and Tobias and the Archangel Raphael (c. 1650, NGL 1424, then attributed to Elsheimer, now considered to be after Elsheimer).
On 14January 1611, Rubens wrote to a biologist and collector living in Rome, Dr. Johann Faber (fl. early seventeenth century), who had informed him of Elsheimer's death: Elsheimer "had no equal in small figures, in Landscapes, and in many other subjects. He has died in the flower of his studies. " Rubens deplored Elsheimer's "sin of sloth, by which he has deprived the world of the most beautiful things" (Keith
Andrews, Adam Elsheimer: Paintings - Drawings - Prints [New York: Rizzoli, 1977] 51).
7 SBreferstoTheNativity(latefifteenthcentury,NGL4081)byGeertgentotSintJans {1460/1465-1495), noting that it was earlier than the Liberation of St. Peter from Prison {1513-1514) by Raphael, which was painted over a window-opening in the Vatican (Frederick Hartt, History of Italian Renaissance Art: Painting, Sculpture, Architecture, 3rd edn. [New York: Harry N. Abrams, 1987] 513-514). Also earlier is Uccello's Hunt in the Forest (c. 1470,Ashmolean MuseumA79).
8 Irish artist, Rose Brigid O'Brien (m. Ganly, 1909-2002) was the daughter of Dermod O'Brien, who was on the Board of Governors and Guardians of the National Gallery oflreland; the museum was seeking a new Director.
9 Irish writer Mary Manning• (1905-1999) married theAmerican historian and biographer Mark de Wolfe Howe {1906-1967) on 28 February 1935.
10 LuciaJoycearrivedinLondonon14February1935withheraunt,Mrs. Eileen Schaurek (nee Eileen Isabel Mary Xavier Brigid Joyce, 1889-1963), with whom she stayed at the Mascot Hotel in York Street, not Grosvenor Place. While Mrs. Schaurek was in Dublin (24 February to 1 March), Lucia Joyce stayed with Harriet Weaver at 74 Gloucester Place. However, from 26 to 27 February, she stayed on her own in a hotel on Gloucester Street, returning afterwards to stay again with Harriet Weaver. Lucia left for Ireland with her aunt on 16 March 1935 (Ellmann, James Joyce, 681; Carol Loeb Shloss, Lucia Joyce: To Dance in the Wake [New York: Farrar, Straus and Giroux, 2003] 308-312, 509; Brenda Maddox, Nora: The Real Life of Molly Bloom [Boston: Houghton Mifflin Co. , 1988] 305-309). According toJoyce's letter to Giorgio and HelenJoyce, 19 February 1935, during this period Lucia met SB "a few times and they had dinner together" Ooyce, Letters of]ames Joyce, III. 344).
20 February {1935}, McGreevy
11 GeoffreyThompsonwasinBeckenham.
255
20 February {1935}, McGreevy
12 Nineteenth-centuryplastercastsintheVictoriaandAlbertcollection(room46A) included the highly ornamented Gothic canopy and enclosure ofthe Tomb ofSt. Sebaldus (1508-1519, St. Sebalduskirche, Nuremberg; V&A repro. 1869-14) by Peter Vischer the elder (c. 1460-1529) that was decorated with statuettes and reliefs; other works by Peter Vischer in the collection were casts of the Monument of Count Otto N of Henneberg (1488, Stadtkirche, Romhild; V&A repro. 1873-580:1) and of A Bronze Monument (1497, Magdeburg Cathedral; V&A repro. 1904-55:0). Also among the collection of casts in this room was the Schreyer-Landauer Monument (1490-1492, St. Sebalduskirche, Nuremberg; V&A repro. 1872-53) by German sculptor Adam Kraft (also Krafft, fl. 1490-1509).
The Raphael Room (48), with cartoons for tapestries commissioned by Pope Leo X (1515) for the Sistine Chapel, was closed intermittently between April 1934 and August 1935, as paintings were removed in stages for repair. The records of the Victoria and Albert Museum indicate that the cartoon then known as "Peter and John at the Beautiful Gate" (now "The Healing of the Lame Man," 1515-1516) was removed in early February 1935, treated, and replaced in its frame on 6 March 1935 (Alison Baber, National Art Library, Victoria and Albert Museum. 1 June 1994, from the Museum's registered papers). The "Great Hall" may have been the main entrance to the Museum or the Octagon Court which displayed loan exhibitions; there are no records to confirm what was exhibited there in 1935 (Alison Baber, 13 June 1994).
13 Ethna MacCarthy's painting, Portrait of a Lady (inscribed 1599 "age 61") by the School of Pourbus, had been offered at auction (Sotheby's, 13 June 1934, no. 85) but had not met the reserve price. The Pourbus family of Flemish painters included Pieter Pourbus (1523/1524-1584), his son Frans Pourbus (1545/1546-1581), and Frans Pourbus II (1569-1622). SB had been asked to pick up the painting and keep it for MacCarthy.
14 "Histoired'elanacquis"ijustamatterofmomentum). "Desoeuvrement" (having nothing to do, idleness).
15 "Vernissage (et comment)" (private view [and howl). The exhibition opened for private view on 26 February 1935. Mary Duncan's landscapes were largely of Cornwall, those by Louise Jacobs were of Yorkshire, and those by Estella Solomons were of Donegal.
16 SB wrote "<this> balcony of this room . THOMAS McGREEVY
TARBERT, LIMERICK, co_ KERRY 10/3 (1935]
34 Gertrude Street London SW10
My dear Tom
Very glad to have your letter & touched at your bothering
your head about my old Grillen. 1 All I ever got from the 256
10 March {1935}, McGreevy
Imitation went to confirm & reinforce my own way of living, a way ofliving that tried to be a solution & failed. I found quanti ties of phrases like qui melius scit pati majorem tenebit pacem, or, Nolle consolari ab aliqua creatura magnae puritatis signum est, or the lovely per viam pacis ad patriam perpetuae claritatis, that seemed to be made for me and which I have never forgot ten. 2 Amg many others. But they all conduced to the isolation ism that was not to prove very splendid. What is one to make of "seldom we come home without hurting of conscience" and "the glad going out & sorrowful coming home" and "be ye sorry in your chambers" but a quietism of the sparrow alone upon the housetop & the solitary bird under the eaves? An abject self-referring quietism indeed, beside the alert quiet ofone who always had Jesus for his darling, but the only kind that I. who seem never to have had the least faculty or disposition for the supernatural, could elicit from the text. and then only by means of a substitution ofterms very different from the one you pro pose. 3 I mean that I replaced the plenitude that he calls "God", not by "goodness", but by a pleroma only to be sought among my own feathers or entrails, a principle of self the possession of which was to provide a rationale & the communion with which a sense of Grace. Thus the Imitation could be made [to] subserve the "Sin" of Luciferian concentration. And I know that now I would be no more capable of approaching its hypostatics & analogies "meekly, simply & truly", than I was when I first twisted them into a programme of self-sufficiency. I would still find it, so far from being a compendium of Christian behaviour, with oeuvres pies, humility, utility, self-effacement, etc. etc. , in all probability conceived & composed on the rebound from the fiasco of just such an effort in behaviour, your "long, long experience of unhappiness"; and that ifcertain forms of contact
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10 March {1935}, McGreevy
are commended by the way, it is very much by the way, and
incidental & secondary to the fundamental contact - for him,
with "God". So that to read "goodness & disinterestedness" every
time for "God". would seem the accidental for the essential with
a vengeance & a mining of the text; whereas to allow the scep
tical position (which I hope is not complacent in my case, how
ever it may be a tyranny), & replace a principle of faith, absolute
& infinite, by one personal & finite of fact, would be to preserve
its magnificent basis of distinction between primary & secon
4
dary,intheinterestsofaverybaroquesolipsismifyoulike. I cannot see how "goodness" is to be made a foundation or a beginning of anything. Arn I to set my teeth & be disinterested? When I cannot answer for myself, and do not dispose of myself, how can I serve? Will the demon - pretiosa margarita! - disable me any the less with sweats & shudders & panics & rages & rigors & heart burstings because my motives are unselfish & the welfare of others my concern? Macche! 5 Or is there some way of devoting pain & monstrosity & incapacitation to the service of a deserving cause? Is one to insist on a crucifixion for which there is no demand?
For me the position is really a simple & straightforward one, or was until complicated by the analysis, obviously necessarily. For years I was unhappy, consciously & deliberately ever since I left school & went into T. C. D. , so that I isolated myself more & more, undertook less & less & lent myself to a crescendo of disparagement of others & myself. But in all that there was nothing that struck me as morbid. The misery & solitude & apathy & the sneers were the elements of an index of superior ity & guaranteed the feeling of arrogant "otherness", which seemed as right & natural & as little morbid as the ways in which it was not so much expressed as implied & reserved &
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10 March {1935}, McGreevy
kept available for a possible utterance in the future. It was not
until that way of living, or rather negation of living, developed
such terrifying physical symptoms that it could no longer be
pursued, that I became aware of anything morbid in myself. In
short, if the heart had not put the fear of death into me I would
be still boozing & sneering & lounging around & feeling that I
was too good for anything else. It was with a specific fear & a
specific complaint that I went to Geoffrey, then to Bion, to learn
that the "specific fear & complaint" was the least important
symptom of a diseased condition that began in a time which I
could not remember, in my "pre-history", a bubble on the pud
dle; and that the fatuous torments which I had treasured as
denoting the superior man were all part of the same pathology.
That was the picture as I was obliged to accept it, and that is still
largely the picture, and I cannot see that it allows of any philo
sophical or ethical or Christlike imitative pentimenti, or in what
way they could redeem a composition that was invalid from the
6
Ifl cod myself with all this I cod myself & that is all. It will
7
Reavey has been active, founding a branch of his International Bureau over here, or something equally interesting. Your
259
word "go" & has to be broken up altogether.
bubbles it is because the puddle has not been drained, and the fact of its bubbling more fiercely than ever is perhaps open to receive consolation from the waste that splutters most, when the bath is nearly empty.
If the heart still
havebeenanexpensivecanular. Ihavetriedtofacethepossi bility of its failing to render the business of remaining alive tolerable, & I have not been able to. It claims to do more, but if it does as much the year of two fears or three fears will seem to me better spent than any others I can point to up till now.
10 March {1935}, McGreevy
defection at the 6 Bells was still present in his mind. I was wishing I had his precious Anthologie Surrealiste to return to him. But he will be back in a fortnight. He is full of translations, anthologies, adaptations & centos & transactions of every kind. He showed me a poem that surprised me it was so much better than anything I had seen ofhis hitherto. 8
The Lucia ember flared up & fizzled out. But more of that viva voce.
I do not see much of Hester, but it always goes very well when I go round, and we play the Pavane with special reference to the obeisances in the dance. 9
The news from home is good. I sent Mother Morton's In the
1
I spent an evening with Geoffrey and to-day I am going down to Eden Park to spend afternoon & evening. He is in excellent form and is now attached to the outpatients psychological department at Bart's, so that he can proceed to little analyses on his own! 11
I went to the Lener playing the Rasumovsky Quartets at Queen's Hall yesterday & was very disappointed. Their playing seemed dry & finickety to the point of Old Maidishness & Ludvig never so Rembrandtesque. 12
Stella's exhibition with Louise Jacobs & Mary Duncan was really lamentable. She had a 10 year old portrait of Jack Yeats priced at £100! The place was packed with the chosen & faithful for the opening day.
