Ford Madox Ford, 1873-1939: Bibliography of Works and Criticism 9781400877478

Table of contents :
CONTENTS
I. Introduction
II. Bibliography
Chronological List of Ford's Books
A. Books (including Collaborations and Pamphlets)
B. Contributions to Books by Other Writers(including Translations by Ford)
C. Manuscripts, Letters, Miscellanea
List of Periodicals Referred to in Sections D and E
D. Contributions to Periodicals
E. Periodical Articles about Ford
F. Books Significantly Mentioning Ford
Index

Citation preview

FORD MADOX FORD 1873-1939 A

BIBLIOGRAPHY

O F WORKS AND

CRITICISM

FORD MADOX FORD with the permission of Mrs. Julia Loewe

FORD MADOX FORD 1873-1939 A BIBLIOGRAPHY OF WORKS AND C R I T I C I S M BY DAVID DOW HARVEY

*

PRINCETON, NEW JERSEY PRINCETON UNIVERSITY PRESS

1962

Copyright © 1962 by Princeton University Press ALL RICHTS

RESERVED

Printed in the United States of America

ACKNOWLEDGMENTS Gathering friends and pleasant debts was often more Intriguing than collecting the bits of information that make up this work. Most conspicuous among my creditors are: Mr. Edward Naumburg, Jr. of New York City, who magnanimously opened his Ford collection to my inspection, allowed me to quote at length from his 1948 Ford check-list (published in Princeton University Library Chronicle), and has kept me informed of additions to his collection; Mrs. Julia Loewe of Pasadena, California, who, with a kindness worthy of her father, allowed me to survey her manuscript collection; Mrs. Janice Blala Brustleln, Ford's literary executrix now living in Paris, who has had the fortitude to read at least part of this bibliography, has graciously approved my work on Ford and afforded me hospitality on more than one occasion; Mrs. William Aspenwall Bradley of Paris, who has been generous with her memories of Ford, in conversation and in opening files of letters accumulated over many years of friendly and business relations with Ford; Professor Frank MacShane, who not only allowed me to inspect and quote from his Oxford D. Phil, thesis but also has shared the fruits of his research with me in extensive correspondence. Grateful acknowledgment is also due to the institutions that have made Ford material available to me and, in many instances, afforded me aid in my research: the Reference Librarians of Columbia University; the keepers of the Rare Book Room and of the American Literature Collection, Yale University; the librarians of the Harriet Monroe Modern Poetry Library (University of Chicago), the Huntington Library and Art Gallery, the Rare Book Room of the Firestone Library (Princeton University), the Berg Collection of the New York Public Library, the Rare Book Room of the Deering Library (Northwestern University), the Lockwood Memorial Library (University of Buffalo), the H.G. Wells Archive (University of Illinois), Houghton Library (Harvard University), the libraries of the University of Washington (particularly the office of Inter-Library Loans), the British Museum, and the Bibliotheque Nationale, Paris. vii

My obligations to publishers are also numerous, even though many houses are now defunct and many who would willingly have given assistance could not because of the destruction of their records, often by enemy action. I am particularly indebted to Victor Gollancz, Ltd. for opening their Ford file to my inspection, and to Duckworth and Co., Ltd., for showing me many interesting file copies of Ford books (their records having been destroyed by bombing). This volume would have been pleasingly slim but far less useful had I not received a Fulbright grant to the University of London in i960 and generous support for research and final preparation of the bibliography from the University of Washington. With great gratitude also to Professors William York Tindall and John Unterecker of Columbia University, who stimulated and disciplined this work most helpfully; to Mr. John Waddell, Associate Reference Librarian of Butler Library, Columbia University, who offered valuable bibliographical suggestions; and to the energetic editors of English Fiction in Transition, Helmut E. Gerber and Edward S. Lauterbach, for their kind assessment of my labors, I conclude my roster of creditors outstanding.

viii

CONTENTS

I.

Introduction

xi-xix

II. Bibliography Chronological List of Ford's Books A.

Books (including Collaborations and Pamphlets)

B.

Contributions to Books by Other Writers (including Translations by Ford)

C.

Manuscripts, Letters, Miscellanea

xxl-xxiii 1-88 89-102 103-130

List of Periodicals Referred to in Sections D and E

131-135

D.

Contributions to Periodicals

137-271

E.

Periodical Articles about Ford

273-483

F.

Books Significantly Mentioning Ford

485-610

Index

611-633

Ix

INTRODUCTION Study of Ford's work and life, particularly of Parade's End and his collaboration with Joseph Conrad, led me to the conviction that "the good book about Ford" was yet to be written. Further thought convinced me that this book would not appear until someone had clearly revealed what had been written by and about him. Few modern writers have been so prolific or have so moved others to write, yet the outlines of the canon and life were indistinct. Ford helped to cover his own tracks, often forgetting he ever wrote certain books or articles. By the free play of fantasy in his autobiographies he almost wilfully encouraged many readers to reject the factual truth not only of anecdotes, but even of statements about the obvious or professed products of his pen. Did he really, as he said in Return to Yesterday, contribute a series of articles to Tribune and Outlook? Was The Soul of London "boomed" in the press to the extent he there boasted? Did he write part of Nostromo? He often boasted of the sales of his first book, The Brown Owl. How many editions did that slender fairy-tale achieve? And was it true that even before 1908 and his editorship of the English Review Ford had publicly encouraged modernity in poetry and argued for the supremacy of the novelist's craft? All these gaps in one's knowledge, sometimes almost negligible in themselves, added up to a great vagueness, a vagueness that seemed the chief obstacle in the path of the good Ford book. Whether or not Ford's career had entitled him to that good book or even to a bibliography seems now to belong among those questions mistakenly labelled "academic." Every reader of Ford's work will make that judgment for himself, but to enable the reader to base his judgment on a wider range of evidence has been the special purpose of this bibliography. Ford's reputation has suffered at the hands of influential critics who have judged him and his work from severely limited experience or who have simply not shared his love for "sweeping dicta [D278(III)]." Even such a friend as Herbert Read rebelled at the "falsity in Ford's claim" to have had a considerable influence upon Conrad and modern xi

literature [F193(b)]. Ford's claim could well be established by deep and thorough reading in appropriate parts of the bibliography and in works to which it refers. In these pages the reader may find not only amusement at the spectacle of "the unamused" but also assistance in his pursuit of the clouded fact. A Fordian may contemplate, for example, in Simon Nowell-Smith's introduction to The Legend of the Master [F211] a dangerous tendency, strange in an author who so respects factual accuracy, to make vague accusations. When the introduction condemns Ford's Thus to Revisit as "a re-hash of articles which had come in for a certain amount of criticism when they first appeared in the English Review," readers (whether aware or not of the prevalence of the custom of "re-hashing" articles in books) are directed by my notation to the "criticism" Nowell-Smith may have had in mind. When the same critic finds that Mrs. Conrad's famous letter to the Times further justifies his "approaching Hueffer's statements with caution," a notation refers the reader to that part of the bibliography where most of Mrs. Conrad's letter is printed. Judgment is not rendered, then, by the bibliographer, but rendered more possible. The scope, and even in certain respects the form, of every bibliography is predetermined in two ways: by what the writer wrote; by the various areas of ignorance that exist concerning his books and their reputation and sales, and concerning writings by himself and others on his life and work. Many bibliographies are designed primarily for the use of book collectors, dealers, and bibliophiles; some, including this particular work, make a special appeal to those interested in the works and the man, and interested in his books not simply as commodities or curiosities. To fulfill this literary intention my bibliography incorporates materials usually omitted: excerpts from, instead of a simple checklist of, Ford's periodical contributions; excerpts from writings about Ford found in books as well as periodicals; frequent correlation of varied materials by cross-reference (as exemplified above in reference to The Legend of the Master) . Certain kinds of information appearing in the conventional bibliography are also omitted here. Many details regarding the shape of the book and its publication appear xii

in Section A, but the scope of the entire work has not left me leisure to search pages for misprints and signatures, to mention two conspicuous omissions. This section still contains material not usually included but valuable, such as the number of copies printed and sold, wherever such information has been available. No section of the bibliography is exhaustive, but in every section thoroughness (within the briefest possible space) and accuracy have been the compiler's obsessions. Section A encompasses, between quotation marks, what may seem a disturbing quantity of previously published material. Mr. Edward Naumburg, Jr. of New York City has not only allowed me to base this part of the bibliography primarily upon his collection--to my knowledge the most inclusive Ford collection in the world--but he has also given me permission to quote all of his descriptive commentary given in "A Catalogue of a Ford Madox Ford Collection," Princeton University Library Chronicle, April, 1948 (pp.134-165). The basic form of entries in the Naumburg "catalogue" suited my conception of what was needed—a compromise between the mere check-list and the more orthodox, exhaustively analytical bibliography. This original effort in Ford bibliography needed only the reinforcement of several kinds of information I thought best included under each item, of descriptions of books added to the Naumburg Collection between 1948 and i960 and of other editions in other collections, and of only an occasional correction or modification of Naumburg's description. The dependency of Section A upon the fourteen-year-old Naumburg check-list was actuated by respect for a well done job that deserved further currency and also expansion beyond that collector's original intentions. The Naumburg definition of the Ford canon was thorough, surprisingly so considering the hazards of Ford collecting. The chronological organization of this canon has rarely had to be altered. Each entry in the Naumburg catalogue has otherwise been reproduced exactly, following the analytical description of title-pages. Where descriptions of editions not listed in that catalogue are added, I note whether or not each edition is in the Naumburg Collection, since the 1948 check-list generally omitted descriptions of more than one xiii

edition of each book (even if more than one edition were in the collection). An effort has been made to go beyond the limits, wide as they are, of the Naumburg Collection to discover and describe as many different editions of Ford's books as possible. I have thought it advisable to add to the Naumburg descriptions these items of interest: a. page measurements, b. publication price and date (exact or approximate) , c. number of copies printed and sales, where ascertainable (sales information being often valuable as confirmation or, more curiously, contradiction of the critical reception of a work; as an example of the former function, compare sales of the first publication of The Good Soldier to sales of the recent paperback edition LA46(a,g)]), d. greater clarification about the state of the copy--cover, binding, etc.—wherever interesting or necessary, e. bracketed information drawn from book catalogues about other printings, issues or editions not seen, f. contents of each volume of poetry, g. notation of previous and subsequent publication of poems, essays, and parts of books, h. dedication pages, where they exist and are not noted by Naumburg, i. composition dates that Ford after 1907 often affixed to his books, at the end of a preface or of the book itself (this information being often useful to the harried biographer who tries to trace Ford's movements), J. notice of descriptions of collaborative works listed in Conrad catalogues by T.J. Wise, Richard Curie, and George T. Keating, k. information drawn from Book Auction Records (London) wherever particularly interesting, 1. comparison of contents of English and American editions of the same book wherever applicable and possible, m. miscellaneous information drawn from Ford's letters to his literary agents and publishers (see, for instance, A77--Ford's interesting synopsis of Great Trade Route), from his own books, and from other sources. Some of this miscellaneous information merely adds further substance to the original Naumburg entry; some dramatically alters a previously accepted "fact," as in my entries for the supposed "collaborations" with Violet Hunt [A40,49L The shorter Naumburg check-list also did not demand a visual aid I have provided: between this Introduction and Section A xiv

appears a list of Ford's books for handy reference. This list, including collaborations and one translation by Ford, is arranged in chronological order and is further clarified by brief generic descriptions of each book. Section B, which enumerates and briefly describes all of Ford's contributions to books that I have discovered, depends much less than Section A on the similar portion of Naumburg's 19^8 catalogue. To that earlier and briefer list this section is indebted for suggestions of form and of a number of items previously unknown. There is no direct quotation from the Naumburg catalogue in this section, but an asterisk after the entry number indicates that volume is in the Naumburg Collection. My entries in Section B are longer as a rule than Naumburg's, but I have followed his lead in brevity of description greatly contrasting with Section A. Included in this section are these materials by Ford: prefaces and introductions, one translation, and contributions to anthologies of poetry and prose (necessarily not definitive; includes posthumous publication as well). Notice of previous publication appears wherever applicable, as does miscellaneous information of particular interest. Section C details the location of Ford's manuscripts and letters where known and brief descriptions of those items I have seen. I am indebted to Frank MacShane's Oxford D. Phil. (1955) thesis, "The Literary Career of Ford Madox Ford," for information about manuscripts I have been unable to see. There are indications that before long Ford may find his Ellmann and that the strange neglect of Ford that has extended to his unpublished materials is abating. The forms of Sections D and E, Ford's contributions to periodicals and periodical articles about Ford, are virtually identical. The conspicuous differences are these: a. Section D identifies the kind of contribution at the beginning of the citation unless it is an essay. b. No asterisks--in Section E indicative of important or interesting items--are prefixed to citations in Section D. c. In the first section whole poems (except strictly occasional verse) by Ford are reproduced when they do not appear in his various books of poetry. d. Section D attempts to be exhaustive, Section E to record a wide and representative range. xv

A list of periodicals cited in both sections appears before Section D, explaining the occasional abbreviations used and noting the city of publication. A survey of numbers indicates the breadth of research represented in these pages: two hundred thirty-one periodicals from eight countries (mostly, of course, from England, the United States, and Prance) are cited, including twelve London and five New York dailies. In Sections D, E, and P, I epitomize the tendency and matter of a periodical item or book by transcribing selected passages. Paraphrase and evaluative commentary scarcely appear in these pages. My hope is that the reader will use these pages as a guide, often returning to the original materials. Objectivity has been my ideal, yet no one can ignore the element of subjectivity that unavoidably creeps into selecting passages for quotation. If a review of a Ford book attacks or praises, I try to excerpt from the criticism enough to indicate the position and tone of the critic, whether frivolous, merely tolerant, intensely analytical or knowingly appreciative. The higher peaks of importance and interest (or of either importance· or interest) to be found in Sections E and P are indicated, with some trepidation, by asterisks. No such evaluative distinction is made in Section D, since every periodical contribution by Ford is ideally of interest to the Ford scholar. The length to which the work is quoted in all sections gives some indication of its interest, though an arbitrary limit of about one page per entry in Sections D and E, and about two pages in Section P, had to be established. Limitation of space has caused inevitable but minor injustices. I appear to violate my own principles of economy in Section B, transcribing at considerable length Ford's contributions to what he called in Return to Yesterday [N.Y. ed., p.3^91 "ephemeral organs" such as the Tribune, Outlook and Piccaailljy Review. One excuse is that I attempt to realize in part a wish expressed by Richard Aldington in 1942. What is needed now is a thorough, documented study of Ford's immense output as poet, novelist, essayist and miscellaneous writer. At the same time I would like to see a Collected Edition of all his work, including the best of his literary journalism. This seems to me the best memorial to a writer, the only one he would really care about. [Fl65(b)] xvi

Much of Ford's "literary journalism" cannot be regarded as ephemeral. Comparison of pre-war essays with later criticism, such as The English Novel, shows the constancy of his preoccupations, and that constancy explains partly his unmerited failure as a critic. Ford arrived at literary perceptions too advanced for the pre-war age; when he struck the same chords after the war, the literary public was by then deafened by familiarity, not its opposite. Critics now may be surprised to discover in a 1907 essay on Conrad, surrounded by characteristic digressions, propaganda for a modern "cause" and also an acute insight (". . . he is the exact scientist-the real servant of the Republic. . . . his principal defect is that he over-elaborates because he is profoundly sceptical [D76].") Many essays show extraliterary concerns (Prussianism, politics, injustice to artists of all varieties) that are treated similarly in his books. Many reviews are interesting because they show Ford coming to grips with many writers he never elsewhere mentions, such as Hauptmann, Gorky, Marie Corelli, Owen Wister, Edgar Lee Masters, Robert Frost. Some readers of Section D will be surprised at the breadth of Ford's literary involvements and the extent of his catholicity. Space has prevented reproduction in Section D of materials Ford published previously or subsequently in hard covers (the only exception being poems before 1913 not published in his Collected Poems). Materials in Sections E and F are never duplicated, as, for instance, the many essays and reviews by Ezra Pound later published in The Literary Essays of Ezra Pound; in each instance, however, I note previous or subsequent publication. Emphasizing that no section should be regarded as autonomous, correlative comment appears where necessary in every section. In the first entry for Ford's Daily Mail Books series [D5l], for example, I draw attention to Ford's comments on his affiliation with the Daily Mail in Return to Yesterday and to the attack on these comments by Archibald Marshall in his autobiography, Out and About. Reviews of Ford's books usurp the greater portion of Section E. I conceived it essential to include not only the rare reviews that made the great leap into legitimate criticism. The ordinary book reviewer's opinions may for some of us be beneath contempt but should not be beneath consideration xvii

for any scholar interested in a fluctuating literary reputation. A review of Zeppelin Nights by the forgettable J.K. Prothero [E323; see also subsequent related correspondence and Douglas Goldring's misinterpretation of this controversy] probably adversely affected the sales of The Good Soldier. Reviewers of the Conrad collaborations almost to a man influentially slighted Ford's part in the books, mainly because they were less acquainted with Ford's work (since he, unlike Conrad, virtually suspended his own work during the long period of collaboration). One too readily ignores the arbitrary influences that help create or destroy a reputation. Also revealing are the few reviews of books conspicuously about Ford that I include, such as Goldring's South Lodge and Trained for Genius, Stella Bowen's Drawn from Life, and of a few books to which Ford made notable contributions, such as Imagist Anthology 1930. Newspaper reports of some of Ford's activities also appear--court cases, notice of Ford's commission in the army, reports of his speeches and interviews, and, of course, obituaries. Many items listed in catalogues, such as the Book Review Digest, do not appear because of erroneous citations or because the materials cited were totally negligible. Neither in sections E nor F has it been necessary to note the appearance of Ford's name every time it occurred on a printed page. My evaluative asterisk, which serves to separate yet more clearly the gold from the dross, has slightly less force in Section E than in Section F, books in general being less ephemeral than periodical articles. Writings of Ford's, letters particularly, that appear nowhere other than in out-of-the-way periodical articles about Ford or in books not obviously dealing with him I quote fully. I also pursue in another direction Ford's Protean personality, revealing various disguises created for him by other writers. Ford appears, to cite a few examples, as a "stylist" gone to seed in Pound's "Mauberley" [FI76], as an "omniscient" friend in Conrad's preface to The Secret Agent [F45], and as editor of the Transatlantic Review and possibly as one of the many aspects of H.C. Earwicker in Joyce's Finnegan'.s Wake [Fll8]. I thus relax limitations of space in Sections E and F, presenting "original" material that would otherwise appear in a xviii

definitive critical biography of Ford. Having become in preparing this bibliography an inveterate reader of indices, I saw clearly the need to provide at the end this thread through the maze. Those who are only secondarily interested in Ford--Conrad, Joyce, Pound enthusiasts—will be impressed by Ford's acquaintance, both vast and deep, with literary men of more than one generation. The bibliographer hopes not to neglect the obvious demands of these readers but has been subservient only to those primarily interested in Ford, and to Ford himself.

xix

CHRONOLOGICAL LIST OP FORD'S BOOKS (INCLUDING COLLABORATIONS AND FORD'S OWN TRANSLATIONS) Date given is actual year of publication, not necessarily year on title-page. 1891. The Brown Owl. Children's fairy-tale. 1892. The FeatHer. Children's fairy-tale. 1892. The Shifting of the Fire. Novel. 1893. The Questions at the~WeTl [pseud. "Fenil Haig" ]. Poems . 1894. The Queen Who Flew. Children's fairy-tale. 1896. Ford Madox Brown. Biography. 19ΟΟ. Poems for Pictures. Poems. 1900. The Cinque Ports. "A Historical and Descriptive Tiecord" (half-title) of Kent and Sussex port towns. 1901. The Inheritors. Novel, written in collaboration with Joseph Conrad. 19Ο2. Rossetti. Art criticism and biography. 1903. Romance. Novel (historical adventure story), written in collaboration with Joseph Conrad. 1904. The Face of the Night. Poems. 1905. The Soul of" London. Sociological impressionism. 1905. The Benefactor. Novel. 1905. Hans Holbein. Art criticism. 1906. The Fifth Queen. Novel (historical romance; first of the "Katherine Howard" trilogy). 1906. The Heart of the Country. Sociological impressionism. 1906. Christina's Fairy Book. Children's fairy-tales. 1907. Privy Seal. Novel (historical romance; second of the Catherine Howard" trilogy). 1907. England and the English. Sociological impressionism; published only in America; composed of the pre­ viously published The Soul of London and The Heart of the Country plus The Spirit of the People. 1907. From Inland. Poems. I9O7. ArTEnglish Girl. Novel. 1907. The Pre-Raphaelite Brotherhood. Art criticism. 1907. TRe Spirit of the People. Sociological impressionism; previously published, only in America, in England and the English. 1908. The Fifth~~Queen Crowned. Novel (historical romance; third of the "Katherine Howard" trilogy). 1908. Mr. 1 Apollo. Novel. 1909. The IIaTf-MoOn". Novel (historical romance). 1910. A UaIT: NoveT. I9IO. Songs from London. Poems. 1910. The Portrait. Novel (historical romance). 1911. The Simple Life Limited [pseud. "Daniel Chaucer"]. Novel (satireTT 1911. Ancient Lights. Reminiscences; published in America in 1911 as Memories and Impressions. 1911. Ladies Whose Bright Eyes. Novel (,historical fantasy). 1911. The Critical Attitude. Essays in literary criticism. 1912. High Germany. Poems. 1912. The Panel. Novel (farce). 1912. The New Humpty-Dumpty [pseud. "Daniel Chaucer J. XXl

Novel (satire). [1913] This Monstrous Regiment of Women. Suffragette pamphlet. 1913· Mr. Fleight. Novel (satire). 1913. The Desirable Alien. Impressions of Germany, written in collaboration with Violet Hunt. 1913. The Young Lovell. Novel (historical romance). 1913. Ring for~Nancy. Novel (farce; adaptation of The Panel; published only in America). 1913. Collected Poems. 1914. Henry James. Critical essay. 1915. Antwerp. Long poem (pamphlet). 1915- The Good Soldier. Novel. 1915. When Blood is 1TKeIr Argument. War propaganda (antiPrussian essays). 1915· Between St. Dennis and St. George. War propaganda (pro-French and antl^Frussian essays). 1915· Zeppelin Nights. Historical sketches (told Decameronfashion against the background of the War), written in collaboration with Violet Hunt. 1917. The Trail of the Barbarians. Translation of the war pamphlet, L'Outrage des Barbares by Pierre Loti. 1918. On Heaven. Poems. 1921. A House. Long poem (pamphlet). 1921. Thus to Revisit. Literary criticism and reminiscence. 1923. The Marsden Case. Novel. 1923. Women & Men. Essays. 1923· Mister Bosphorus and the Muses. Long narrative and dramatic poem. 1924. Some Do Not. Novel (first, of the "Tietjens" tetralogy). 1924. The Nature of a Crime. Novella, written in collaboration with Joseph Conrad; previously published in 1909 in English Review. 1924. Joseph Conrad: A Personal Remembrance. Biography, reminiscence, and criticism. 1925. No More Parades. Novel (second of the "Tietjens" tetralogy). 1926. A Mirror to Prance. Sociological impressionism. 1926. J Man Could" Stand Up. Novel (third of the "Tietjens" tetralogy)^ 1927· New Poems. 1927. New York is Not America. Essays in sociological atmospheres. 1927. New York Essays. 1928. THe Last Post. Novel (last novel of the "Tietjens" tetralogy; titled Last Post in England). 1928. A Little Less Than Gods. Novel (historical romance). [1928. Perversity. Translation of a novel by Francis Carco; possibly not by Ford.] 1929· The English Novel. Essay in literary criticism and history. 1929. No Enemy. Disguised autobiography (concerning the war years; written shortly after the war). 1931· Return to Yesterday. Reminiscences (up to 1914). 1931. When the Wicked Man. Novel. 1933· The Rash SctT Novel. 1933· It. Was the Nightingale. Autobiography and reminiscences (from 191¾)· 1934. Henry for Hugh. Novel. xxii

1935· 1936. 1936. 1937· 1937.

1938.

1950. 1962.

Provence. Impressions of Prance and England. Vive Ie Roy. "Mystery" novel. CollecTecTToems. Great Trade Route. Impressions of Prance, the United States and England. Portraits from Life. Essays in personal reminiscence and literary criticism about ten prosateurs and one poet; published in England in 193^ as Mightier than the Sword. The March of Literature. Survey of literature "Prom Confucius to Modern Times." * # * # Parade's End. Posthumous publication in America of the ^Tietjens" tetralogy in one volume. The Bodley Head Pord Madox Ford. Two volume republication of The Good Soldier, selected reminiscences and poems, and the Fifth Queen trilogy.

xxiii

Section A

BOOKS (INCLUDING COLLABORATIONS AND PAMPHLETS) For the dependency of this Section upon the collection of Edward Naumburg, Jr. and upon the Naumburg Check-list published In April, 19^8 In the Princeton University Library Chronicle, see the Introduction, pp.xlll-xlv. All material quoted from the Naumburg Check-list is set apart from other material in Section A by quotation marks.

1

Al(a-b)

A.

BOOKS (INCLUDING COLLABORATIONS AND PAMPHLETS)

Al

THE BROWN OWL

[l89l]

a. First edition, English issue: THE / BROWN OWL / A FAIRY STORY / BY / PORD H. MADOX HUEPPER / TWO ILLUSTRATIONS BY / P. MADOX BROWN / LONDON / T. PISHER UNWIN / 1892 "First edition, [iv], 165 p., 1 leaf with printer's imprint on recto (verso blank). White figured cloth, with the same pattern on end papers and on all edges. Volume One of 'The Children's Library,' binding uniform with The Feather. The two illustrations by Ford's grandfather are on inserted glazed paper with tissue guards and are dated 1891. According to P.H. Muir, there was an American edition dated 1891 with cancel title-page. The book was therefore probably published late in 1891, the American edition so dated, but the English edition dated 1892 in accordance with the prevailing custom of postdating books published near the year-end. A letter from Ford Madox Brown, quoted below, established the publica­ tion date as 1891. The book was evidently popular, for there is an edition dated 1898, marked Fourth Edition, in decorated board with plain end papers. In all editions the title-page is in red and black. Two copies: The first is a presentation copy, inscribed: Theodore Watts, Esq. with F. Madox Brown's best wishes Inserted in the second are two letters from Ford Madox Brown to Herbert Gilchrist. The first, December 1, 189Ο, reads in part: 'Mrs. Hueffer and her children are now living with me. The boys are big fellows. Ford, the eldest, has left school.' In the second letter, October 2, 1891, Brown writes, 'My daughter, Mrs. Hueffer & her children are now living with me[.] The eldest grandson, Ford has just brought out his first book The Brown Owl, a Pairy story for which I have made two illustrations.'" 6 1/4 χ 3 5/8. 2s.6d. Evidently published in Oct.,1891 (the first review of the book I have found being on 0ct.7,l891). Publisher's records for T. Fisher Unwin (which was taken over by Ernest Benn Ltd.) are not available. Also in the Naumburg Collection is a third copy of this English edition, a presen­ tation copy, inscribed: W.M. Rossetti from the author

ΪΒ9ΪΤ

Widener Library, Harvard University, has a copy of this edition inscribed by Ford Madox Brown to Algernon C. Swinburne (the inscription dated 1891). b. First edition, American issue (also in Naumburg Collection): Title-page identical with English issue except for pub­ lisher and date: NEW YORK / FREDERICK A. STOKES COMPANY / MDCCCXCI. Pagination identical with English issue except that the Brown illustrations are placed differently and there is no frontispiece. Cover, end-papers and edges are all

3

Al(b)-3(a) different: red cloth with gilt lettering, decorated brown and white end papers, only top edges gilt and trimmed. Printed in England and also called "Volume One" of the "Children's Library." 6 3/8 χ 3 7/8. $.75. Publication or distribution in the U S. probably followed shortly upon the English publication. Catalogues list an 1892 edition published by Cassell in N.Y.; this may be the same edition, signifying only a change in distributor. A review of Romance in Bookman (N.Y.), Aug.,1904, notes that The Brown Owl had by that time run to ten "editions." Since most of the information in that review seems to have been garnered from an interview with Ford, this figure may not be reliable. Ford remarks in his essay on Hardy in Mightier than the Sword, p.126, that "the publisher—for whom Mr. Edward Garnett was literary adviser--paid me ten pounds for it and ... it sold many thousands more copies than any other book I ever wrote .. and keeps on selling to this day." He also remarks that his grandfather, Ford Madox Brown, "had, as it were, ordered Mr. Garnett to get it published." On p.128 Ford says he wrote the book "to amuse my sister Juliet. A2

THE FEATHER

1892

a. First edition, English issue: THE FEATHER / BY / FORD H. MADOX HUEFFER / AUTHOR OF 'THE BROWN OWL' / WITH FRONTISPIECE BY / F. MADOX BROWN / LONDON / T. FISHER UNWIN / 1892 "First edition. 1 leaf, [vi], 212 p., 4 p. of advertise­ ments on book stock paper. Title-page in red and black. White figured cloth with the same pattern on end papers and on all edges, uniform with The Brown Owl in 'The Children's Library.' The frontispiece, on glazed paper, is tipped in. " 6 1/4 χ 3 5/8. 2s.6d. Probably published on Oct.8,1892. p.fv]: dedication "To Juliet" (probably his sister, later Juliet Soskice), followed by a quotation. Also in the Naumburg Collection is a second copy, inscribed apparently in Ford's hand: W.M. Rossetti b. First edition, American issue (in U. of Washington Library): Title-page identical with English issue except for pub­ lisher and date: NEW YORK / CASSELL PUBLISHING COMPANY / 104 & 106 FOURTH AVENUE / 1892. Pagination identical with English issue except that an extra leaf prefaces the volume and no advertisements follow. Cover and end paper design identical. Printed in Edinburgh and also announced on the second leaf as a volume in "The Children's Library." A3

THE SHIFTING OF THE FIRE

1892

a. First edition, English issue: H. FORD HUEFFER [underlined] / THE / SHIFTING / OF / THE FIRE / BY THE AUTHOR OF / 'THE BROWN OWL,' 'THE FEATHER,' ETC. / [rule] / LONDON / T. FISHER UNWIN / PATERNOSTER SQUARE / [rule] / MDCCCXCII "First edition. [vi], 322 p., 1 leaf. Tan figured cloth', decorated end papers, all edges uncut. The backstrip and front cover read 'Ford H. Hueffer,' while the title-page

4

A3(a )-4 1

reads H. Ford Hueffer.' 'The Independent Novel Series.'" 7 3/8 χ 4 1/4. 3s.6d. Probably published In Oct.„1892, soon after The Feather (the first review I have found being on Oct. 297ΪΗ9277 p.[v]: dedication to Ford Madox Brown. [b. First edition, American issue: Catalogues list an 1892 edition published by Putnam in N Y. Probably printed in England and distributed by that firm in the U.S.] A4

THE QUESTIONS AT THE WELL

1893

First edition: THE QUESTIONS / AT THE WELL / WITH SUNDRY OTHER VERSES FOR / NOTES OF MUSIC / BY / FENIL HAIG / LONDON / DIGBY, LONG & CO., PUBLISHERS / 18 BOUVERIE STREET, FLEET STREET, E.C. / 1893 "First edition, vi, [2], 69 p., 1 leaf of advertisements (an integral part of the book), and 8 p. of inserted adver­ tisements on different paper, dated May,1893. Title-page in red and black. Tan cloth, slate-colored end papers. Inserted is an envelope in the writing of the author, addressed to Thomas Hutchinson, the former owner of the book, who has an initialed note opposite the half-title that Fenil Haig is the nom de plume of Ford Madox Hueffer." 7 1/2 χ 4 3/4. 3s.6d. Probably published in Aug.,l893 (the first review I have found being on Aug.26,1893). Gilt lettering on cover and backstrip. Verso title-page: dedication to "Miss Elsie Martindale" (whom he married in May,l894). The envelope referred to in the above quotation is postmarked "Hythe, Kent; Sp.25,'94." Ford's statements in his preface to Collected Poems (1914), pp.11-12, regarding reviews and sales of his earlier books of poetry are not reliable (particularly since he numbers his poetic efforts before 1914 as five instead of the actual six). CONTENTS: Part I.: The Questions at the Well -- The Story of Simon Pierreauford — Song of the Land of Hopes — Faith and Hope (Part of a Trilogy). Part II.: Song-Dialogue — Hammock Song — An October Burden -- In Contempt of Palmistry -- A Song of Seed's Fate -- A Little Comfort -- Spinning Song — In Memoriam — Travellers' Tales — Moonlit Midnight — River Song -- In Tenebris -- Omnipresence -- Conceits -- The Wind's Quest. Previous publication: According to Ford (in his note to the poem appearing in Collected Poems, 1914), the last poem of this collection was the first he ever published, supposedly in the anarchist journal Torch in 1891 (see Dl). "The Wind's Quest" was also published later under the pseudonym "Fenil Haig" in Living Age, Nov.4,1893 (see D2). Subsequent publication: Only three of these poems survived in later collections, all with certain changes. "SongDialogue" was published in Poems for Pictures: identical except that lines 2,4,10,12 and 17 are not there italicized. "In Tenebris" was published in Poems for Pictures: changed only in lines 7 and 8 ("Tired with woe and weary cark / When shall I see aright?" becomes "When shall I hear the

5

A4-6(a) lark? / When see aright?"). "The Wind's Quest" was published in Poems for Pictures and From Inland: change in line 3 ("in vale o'er dale" becomes "in vain o'er dale"). All three poems were then republished in Collected Poems 1914 and 1936. See Cvii(l,2) for manuscript versions of part of the poem, "Faith and Hope." A5

THE QUEEN WHO FLEW

1894

First edition: THE QUEEN / WHO FLEW [preceded by, in smaller type: A FAIRY TALE] / BY / FORD HUFFER [sic] / AUTHOR OF "THE BROWN OWL," / "SHIFTING OF THE FIRE, ETC. / WITH A FRONTISPIECE BY / SIR E. BURNE JONES / AND / BORDER DESIGN BY / C.R.B. BARRETT / LONDON / BLISS, SANDS & FOSTER / CRAVEN STREET, STRAND, W.C. / 1894 "First edition. 1 leaf, [vi], 118 p., 1 leaf with printer's imprint on recto and advertisements on verso. Title-page in red and black. Three variants, in all of which the author's name is incorrectly spelled 'Huffer' on the title-page: (1) Binding is rough, coarse-grained cloth with only title on front cover and no designs. Lacks first blank leaf. (2) Binding is smooth blue-gray cloth with the pictorial de­ sign used on the margins of the cover. (3) De luxe edition, one of 25 copies signed by the author. Vellum binding with lettering in gold and the Burne-Jones drawing used as the frontispiece reproduced on the front cover. Printed on thicker paper, all edges uncut. The limitation notice, on verso of first blank leaf, is written in longhand. This edition is about three-quarters of an inch taller than the others." 7 5/16 χ 5 3/8. 3s.6d. (The de luxe edition is 8 1 / 8 x 5 3/4; no price is discoverable). Probably published on May8,1894. A6

FORD MADOX BROWN

1896

a. First edition, English issue: FORD MADOX BROWN / A RECORD OF HIS LIFE AND WORK / BY / FORD M. HUEFFER / WITH NUMEROUS REPRODUCTIONS / [poem] / LONGMANS, GREEN, AND CO. / LONDON, NEW YORK, AND BOMBAY / 1896 / ALL RIGHTS RESERVED "First edition, xx, 459 p. Title-page in red and black. Decorated cloth, black end papers, top edges gilt. Laid in is an A.L.S. from Ford Madox Brown, May 19, 1871, to a Mr. Miller, mentioning Rossetti. " 8 7/8 χ 5 3/4. 42s. 1000 copies published on Oct.28,1896. p.tv]: dedication to his mother. 45 plates, pp.425-427: three appendices. Verso p.459: advertisement for Ford Madox Brown's cartoons. See William Michael Rossetti's Some Reminiscences, London 1906, Vol.11, pp.543-544 (tells how Ford came to be entrust­ ed with the writing of this biography of his grandfather). Frank MacShane ("The Literary Career of Ford Madox Ford, " Oxford D.Phil., 1955> p.314), on the authority of letters written from Ford to Edward Garnett between 1895 and 1896 and in the possession of David Garnett, says that "his uncle, William Michael Rossetti, provided material and Edward Garnett became his agent in almost every matter

6

A6(a)-7 connected with the book's production." Book Auction Records (London) show that a first edition pre­ sentation copy inscribed to "J. Conrad Korzeniowski," from the Conrad library was sold by Hodgson to Sawyer on Mar.13, 1925, for^6.10s. [b. First edition, American issue: Catalogues list an 1896 edition published by Longmans, Green of N.Y. (identical pagination,· price--$12.00). The New York office has no records of this publication and surmises (in a letter of Jul.5,i960) that this was "probably part of English editions imported from London."] A7

POEMS FOR PICTURES

1900

First edition: POEMS FOR PICTURES / AND FOR NOTES OF MUSIC / BY / FORD M. HUEFFER / AUTHOR OF / 'THE LIFE OF MADOX BROWN,' ETC., ETC. / [type ornament] / LONDON / JOHN MACQUEEN / HASTINGS HOUSE, NORFOLK STREET, STRAND / 1900 "First edition, viii, 67 p. Rough gray cloth, figured end papers. Presentation copy, inscribed on the half-title: W.T. Watts Dunton Esq. with the sincere regards of the author May 1900" and later re-inscribed: Robert Dripps with compliments of Ford Madox Hueffer Laid in is a letter from Byrne Hackett of the Brick Row Book Shop, dated June 17, 1924, to Robert Dripps, the former owner of the book, stating that he had Mr. Hueffer inscribe the book. '. . . he told me this interesting bibliographical fact--that of this book there are not more than seventeen in existence. He told me that he had it printed 25 years ago as a Christmas card, and sent out but seventeen copies. You are doubly fortunate then to have one of the seventeen that he had previously given to Watts Dunton. . . .' If the book was a Christmas gift why is the presentation dated May, 1900? Another curious thing is the acknowledgment (opposite the table of contents) of previous appearances of the poems in The Speaker, The Sketch, The Outlook, The Savoy, and 'three in a volume published pseudonymously in 1892. ' This must refer to The Questions at the Well, published in 1893, in which appeared two poems reprinted in Poems for Pictures, 'In Tenebris' and 'Song Dialogue.'" 6 3/4 χ 3 3/4. 2s. Probably published at the end of May, 1900 (the first review I have found being on Jun.2,1900). p.v: dedication to Edward Garnett. As I have said in relation to The Questions at the Well (A4), caution must be exercised in accepting Ford's statements about the sales and distribution of his books of poetry. Note also, re the above quotation, that "The Wind's Quest" also was reprinted from the first volume of poetry. CONTENTS: King Cophetua's Wooing -- Sea Jealousy -- A Night Piece — Love in Watchfulness — Enough — After All — The Old Faith to the Converts -- St Aethelburga -- In Adversity -- A Lullaby — Gray -- The Gipsy and the Cuckoo -- The Gipsy and the Townsman — The Song of the Women -- The

7

A7-8 Peasant's Apology -- Auctioneer's Song -- Aldington Knoll -- A Pagan -- Old Winter -- The Pedlar leaves the Bar Parlour at Dymchurch -- "Du Bist die Ruh" -- An Anniversary -- Beginnings -- Song Dialogue -- Tandaradei -- At the Bal Masqu~ -- The Wind's Quest -- In Tenebris -- Song of the Hebrew Seer -- An Imitation -- Sonnet -- For the Bookplate of a Married Couple -- A Masque of the Times o'Day. Manuscripts: See Ciii(l), f'or manuscripts of "The Peasant's Apology" and "King Cophetua's Wooing." Previous publication: See notes to The Questions at the Well for the three poems which appear here-81ightly altere~---­ "The Song of the Women": Savoy, Aug., 1896. "The Gipsy and the Cuckoo": Speaker, Aug.20,1898 (there titled "The Cuckoo and the Gipsy"; a few minor changes). "Love in Watchfulness": Speaker, Dec.3,1898 (see D14). "In Adversity": Speaker, Jan.14,1899 (see 015). "Aldington Knoll": Speaker, Feb.4,1899 (see D16). "The Gipsy and the Townsman": Speaker, Apr.l,1899 (minor changes) . "Auctioneer's Son~": Speaker, Jun.lO,1899 (minor changes; see also Civ(2». Subsequent publication: "Sea Jealousy," "A Night Piece," "Enough, " "In Adversity," "A Lullaby," "'Du Bist die Ruh, III "Tandaradei," "The Wind's Quest," and "For the Bookplate of a Married Couple" were reprinted in From Inland. All were reprinted in Collected Poems 1914 and 1936 except "'Du Bist die Ruh'" and "For the Bookplate of a Married Couple" ("A Masgue of the Times o'Day" was omitted from the 1936 edition). The "Night Piece" in Poems for Pictures is the one which appears on p.126 of the 1914 edition and p.189 of the 1936 edition, with one change ("golden angels with haloed wings" becomes "haloed angels with golden wings"). On p.62 of Provence (London), Ford prints a translation of "Tandaradei, which he first translated "when I was just fourteen, though ..• I have gone on mentally polishing it ever since." It is quite dif'f'erent f'rom the Poems for Pictures version. A8

THE CINQUE PORTS

1900

THE CINQUE PORTS / A HISTORICAL AND DESCRIPTIVE RECORD / BY FORD MADOX HUEFFER / AUTHOR OF / 'THE LIFE OF MADOX BROWN, , ETC., ETC. / ILLUSTRATED BY / WILLIAM HYDE/ WILLIAM BLACKWOOD AND SONS / EDINBURGH AND LONDON MCM / ALL RIGHTS RESERVED "First edition. 1 leaf, xiv, 403 p. Title-page in red and black. Tan cloth with gilt design on front cover, top edges gilt, bright red end papers." 11 1/8 x 8. 63s. 525 copies published on Oct.29,1900; 137 copies sold at this price which was then reduced in Oct.,1902 to 15s.; remaining copies sold at that price (authority: letter from the publishers, Dec.21,1960). p.[ii): two quotations, one from La Mere Sauvage, one from a poem by Meredith. pp.[v)-ix: dedicatory preface to Robert Singleton Garnett. pp.373-394: appendices. pp.395-403: inde~ In the Naumburg Collection is another copy, inscribed: To our dear

8

A8-9(b) Margaret [Poradowska?] with great love and best wishes from Jessie and Conrad New Year's day

TWT

(The hand seems not to be Conrad's but may be his wife's.) See P5l(a) regarding Conrad's interest in this book. A9 THE INHERITORS 1901 a. First American edition: THE / INHERITORS / AN EXTRAVAGANT STORY / BY / JOSEPH CONRAD / Se / FORD M. HUEFFER / [two rules] / [quotation] / [two rules] / MC CLURE, PHILLIPS & CO. / NEW YORK / MCMI "First edition, second issue. 1 leaf, [vi], 324 p. Titlepage in orange and black. Yellow decorated cloth, early is­ sues having the sky in gilt in the cover picture, top edges trimmed, others untrimmed. First issue has dedication page an integral part of the gathering, and the incorrect reading: 'To Boys and Christina.' Second issue has dedication page mounted on a stub and reads: 1To Borys and Christina.' The book was dedicated to the authors' children, and the error in the spelling of Conrad's son's name was promptly discovered and corrected by a cancel leaf. There are only four copies known of the first issue." 7 1/2 χ 4 3/4. $1.50. Published on Jun.1,1901. Book Auction Records (London) show that a second issue copy inscribed by Conrad, from the Frank J. Hogan Library, was auctioned by Parke-Bernet on Apr.24,1945, for $80. In T.J. Wise's A Bibliography of the Writings of Joseph Conrad, London, 1921, p.20, is this statement: 'Ά few copies of this edition (the publisher thinks there were seven or eight) were forwarded to London, and issued for copyright purposes by William Heinemann. [See Conrad's inscription in one of these copies, F57.] These have the words London / William Heinemann added at the foot of the title-page by means of an ordinary indiarubber stamp. An example is in the British Museum." Wise also says, and I believe him to be correct, that the novel was never serialized. See A Conrad Memorial Library: The Collection of George T. Keating (F49J, Garden City, N.Y , 1929, pp.83-85, for descriptions of copies of both issues inscribed by both collaborators. Ford's inscriptions are reproduced in Cxi(B). b. First English edition: THE INHERITORS / AN EXTRAVAGANT STORY / BY / JOSEPH CONRAD / AND / FORD M. HUEFFER / [quotation] / LONDON / WILLIAM HEINEMANN / 1901 "First English edition, first issue. iv, 323, [l] p., 32 p. of inserted advertisements. First issue: lacks dedication page. Second issue: with dedication page. The second is the rarer. Bright yellow cloth with pictorial decoration, edges untrimmed. Early issues have the W and H on either side of windmill in the publisher's device on the backstrip, and the word Heinemann in large capitals. The book was reprinted in 1914 by Doubleday Page & Co., and again in 1925 in the 'Personal Edition' of Conrad's works."

9

A9(b)-10(a) 7 1 / 2 x 4 3/4. 6s. Published on Jun.26,1901. "The electros (or plates) for this edition came to us from the American publishers, McClure Phillips, and It was printed In England. The number printed and sold was about 1500 : there Is no note of any reprint of this edition. . . . some 35 copies of this edition were re-cased and it is almost cer­ tain that these cases would be different from the original binding cases [letter from the publishers, Jan.20,1961]." With reference to the latter part of this letter and to the above quotation, see T.J. Wise's _A Bibliography of the Writings of Joseph Conrad, p.21: "At a later date a number of copies remaining in stock were put into bright yellow cloth boards lettered in black across the back, but without the design upon the front, and with trimmed edges." See A Conrad Memorial Library: The Collection of George T. Keating, pp.86-87, for descriptions of copies of both the first and second issues, inscribed by both collaborators. In the Naumburg Collection is another copy, inscribed: The assignment of what in this book is Conrad's & what is mine will be found in my Joseph Conrad" pp.118-19 et seq. Conrad wrote in another copy of this edition: "There is very little of my actual writing In this work. Discussion there has been in plenty. F.M.H. held the pen." --& that is about correct? Ford Madox Ford (P.M. Hueffer) New York Dec. MCMXXVI Other editions: See All(b), "Other Editions," regarding re­ publication in Conrad's collected works. Reprinted and/or re-issued many times, but evidently never independently of a collection of the works of Joseph Conrad. Catalogues list these reprints: Garden City, N.Y., Doubleday, Page, 1914; idem, 1919; London, Heinemann, 1921; London, Dent, 1923; Garden City, N.Y., Doubleday, Page, 1923; idem, 1925; London, Gresham, 1925; Garden City, N.Y., Doubleday, 1928; London, Dent, 1939. According to the publishers, the Doubleday edition went out of print on Jan.4,1943. See the letter to the editor of the Times (E994) by A.E. Ηορρέ in behalf of Dent, regarding republication of The Inheritors. AlO

ROSSETTI

[1902]

a. First edition, English issue: ROSSETTI / A CRITICAL ESSAY ON HIS ART / BY / FORD MADOX HUEFFER / AUTHOR OF / "THE LIFE OF MADOX BROWN," / "THE CINQUE PORTS" / ETC. / [type ornament] / LONDON: DUCKWORTH & CO. / NEW YORK: E.P. DUTTON & CO. "First edition, xv, [l], 192 p., 3p. of advertisements on book stock paper, printer's imprint on verso of third page. Green limp leather with gold stamping. Cheaper copies were issued in cloth. One of 'The Popular Library of Art' series. Uniform with Ford's Holbein. Reprinted in 1915 in Chicago by Rand McNaIIy & Co. ('Masters of Painting')." 5 7/8 χ 3 3/4. 53 illustrations. 2s. (leather: 2s.6d.-) Probably published in Jun.,1902 (the first review I have found being on Jun.21,1902). In the Naumburg Collection is another copy in coarse green cloth but otherwise identical; I have also seen one in smooth red cloth, also otherwise identical. 10

A10(b)-ll(a) [b. First edition, American issue: Presumably issued simultaneously by Dutton in N.Y. ; this is probably true of the later Duckworth and Dutton editions.] Other editions: Prior to the Rand, McNaIIy republication in 1915 mentioned above, there was at least one and pro­ bably more printings of a different edition by Duckworth (and possibly simultaneously by Dutton). For simplicity's sake, the copy described below (which is a Duckworth file copy) is called c. Second edition, English issue (not in Naumburg Col­ lection) : ROSSETTI / A CRITICAL ESSAY ON HIS ART 3Y / FORD MADOX HUEFFER / [publisher's device] / LONDON / DUCKWORTH & CO. / HENRIETTA ST. CONVENT GARDEN [1914] Masters of Painting series. 8 1/2 χ 5 5/8. 3s.6d. net. 1 leaf, 87, [l] p. Green cloth with gilt lettering, top edges gilt, side edges untrimmed. 32 photogravures. Verso title-page: "Published 1902 / Reissued 1914" Announcement of the series on dust jacket: "This is the first time that a number of Photogravure illustrations have been given in a volume published at a popular price." All

ROMANCE

1903

a. First English edition: ROMANCE / A NOVEL / BY / JOSEPH CONRAD / AND / FORD MADOX HUEFFER / LONDON / SMITH, ELDER & CO., 15, WATERLOO PLACE / 1903 / (ALL RIGHTS RESERVED) "First edition. [viii], 463 P-> 8 p. of advertisements on book stock paper. Blue cloth with white lettering. Presentation copy, with the inscription: To Henry James from Joseph Conrad & Ford Madox Hueffer October 1903 The inscription and date are in Conrad's hand, while Ford's name is in his own autograph. An analysis of Romance, writ­ ten by Ford, showing which parts are Conrad's and which Ford's, appeared in the transatlantic review (Vol. I, No.2, Feb.,1924). The typescript of this article accompanies the book." 7 3/8 χ 4 3/4. Gilt lettering on backstrip. 6s. Probably published on Oct.16,1903. p.[v]: dedication to "Elsie and Jessie," the wives of the collaborators, and a poem which was later considerably re­ vised to become the fourth poem of "A Sequence" in Ford's The Face of the Night. Conrad's interesting suggestions regard­ ing this poem appear on a preliminary title-page of the novel reproduced in the Barnet J. Beyer catalogue #9, N.Y.C, Item 58 (also in the Naumburg Collection). Sales: In the Huntington Library are two letters from Ford to Pinker which indicate that neither the sale of the manuscript nor of the published book lived up to the collab­ orators' expectations. The first letter is dated Sept.28, 1902: "I can't myself f?el--& I don't think Conrad felt-inclined to let Romance go at the present terms. . . . you expressed yrself confident of getting'£400 for the work. 11

All(a) . . . The sum at present offered seems to be £230." The second letter Is undated but written some time in 1904: "I suppose it's merely a matter of advertising—the sales stop­ ped the moment they did. --It can't be helped, I suppose. I haven't told C. of this meagreness--it wd put him out of his stride—& at present he's going strong." Ford's Analysis of the Collaboration: The above-mentioned analysis, which first appeared in the February Transatlantic Review, appeared again with virtually no change as the appen­ dix to The Nature of a Crime, "A Note on Romance." "Writing to his collaborator in a letter published in the Transatlantic Review for January 1924, Mr. Conrad makes the following ascrip­ tions of passages in the work above-named: 'First Part, yours; Second Part, mainly yours, with a little by me on points of seamanship and suchlike small matters; Third Part, about 60 per cent, mine with important touches by you; Fourth Part, mine, with here and there an Important sentence by you; Fifth Part practically all yours, including the famous sentence at which we both exclaimed: "This is Genius," (Do you remember what it is? ["Excellency--a few goats. ... "; p.395 in first English ed.]) with perhaps half a dozen lines by me. . . .' Mr. Conrad's recollections--except for the generosity of his two 'importants'--tally well enough with those of his collaborator if conception alone is concerned. When it comes, however, to the writing, the truth is that Parts One, Two, Three and Five are a singular mosaic of passages written alternately by one or other of the collaborators. The matchless Fourth Part is both in conception and writing entirely the work of Mr. Conrad. Below will be found the analysis of Romance. [pp.105-106 of The Nature of a Crime, London, 1924]"" Manuscript Materials : "Portions of the original autograph manuscript of Romance" were auctioned from the library of John Quinn on Nov.13,1923 (see Complete Catalogue of the Library of John Quinn, Sold by Auction in Five Parts, Anderson Galleries, N.Y., 1924). Item ΐΒϊοΊ "'Written on 12 pages, folio. In a half blue morocco slip case. Of these 12 pages, three are in Mr. Conrad's hand, each of which bears his in­ scription in red pencil, 'Romance. J. Conrad.' The remaining nine pages are in Mr. Hueffer's hand. This Manuscript is of portions of the latter part of the Third Book, 'Casa Riego, ' and differs greatly from the printed version—being so differ­ ent, in fact, that it is very difficult to identify the pas­ sages, a chance word or phrase being the only clue, coupled with the general incidents of the story." Item l8l7: "Writ­ ten on 196 pages, quarto. In a crushed brown levant morocco solander case. . . . This Manuscript begins on page 7 (of the MS.) of Part Third, 'Casa Riego,' and continues to page 85, almost to the middle of Chapter Third of this Book. There is then a break to page 446 (Chapter X of the Fourth Book, 'Blade and Guitar,') and the Manuscript continues to the middle of Chapter XI. The character of Carlos in the printed book is 'Sanchez' in the Manuscript. Enclosed is a synopsis of 'Seraphina; a Romance' . . . Mr. Conrad, writing to Mr. Quinn about this Manuscript, says: 1I have received from Hueffer some fragments of my collaboration with him in Romance. There are about 190 pages, in two batches, consecutive in themselves but not with each other.' The addressed wrapper to Mr. Quinn, in Mr. Conrad's hand, and with his signature, is included." This Item, but not Item 1816, was presented to the 12

All(a) Yale University Library by George T. Keating (see A Conrad Memorial Library: The Collection of George T. Keating I.F49J, pp.129-135, for descriptions of these materials and of a copy of the first English edition inscribed by both collaborators). P.430 of the MS. is now in the Rare Book Room of Yale University, with this inscription: "To Elinor Wylie, this page of Romance in Conrad's handwriting from Ford Madox Ford (F.M. Hueffer) New York Feb.l6th 1927" (from the bequest of William Rose Benlt). A more impressive collection of Romance materials remains yet to be traced. In the British Museum (Ashley B.2967) is a let­ ter from Robert S. Garnett to T.J. Wise dated Feb.20,1924: "Mrs. [Elsie] Hueffer tells me that she has heard from you and I now have the copy of 'Romance' (double set of corrected proofs &c) and shall be happy to show the same to you . . . Mrs. Hueffer instructs me that she values the property at £400, and I gather that unless she can obtain that sum pri­ vately she will endeavour to do so at a sale by auction." Wise was apparently not interested, for Book Auction Records (London) show that what seem to have been these materials were sold at auction by Hodgson to Lee on Jun.27,1924, for only £60. These are the items there recorded: "1st edn. two sets of First Proofs, one corrected by Conrad, and an appreciation (in letter form) on the dedication leaf, the other by Hueffer, with Auto. Letter from Conrad to his col­ laborator enclosing the original MS of his (Conrad's) con­ ception of the end (from ρ.46θ), on 8 pp. folio, with Hueffer's corrected revise of the last 3 PP·> in 1 vol. cloth and loose pages." "Serialization": T.J. Wise, in A Bibliography of the Writings of Joseph Conrad, London, 1921, p.^T] says: Two thousand copies were printed. . . . The novel was never serialised." In the British Museum (Ashley B.2967), though, is a letter from Richard Curie to Wise dated Mar.25,1922: "I also find that 'Romance,' which we thought had never been serialized, was serialized in 'McClure's' in 1901 or 1902." Curie may have made this assumption upon reading a letter from Conrad to Ford dated May,1902 (Ashley 2923*, second letter) which notified Ford that J.B. Pinker "placed Romance for serial rights and book form with McClure. The Royalty arrang— is fairly good 12 1/2 % for the first thou: and 15 % after. Serial £l00. (For the McC. Syndicate of Newspapers). Ad­ vance on pub: ^ 3 0 . Together in America £ 130. He says he could have had elsewhere £.100 for book (adv ) but no guaran­ tee of serial in that case. . . . It gives us £ 65 each to begin with anyhow. The condition that the beginning should be shortened for serial p u b — will give you some light occupa­ tion. . . . we may have a look at it together if you are too sick of the thing to tackle it alone." At that time an English publisher had not been secured; McClure later publish­ ed Romance in book form but the novel never appeared serially in McClure's magazine. Anotner item of interest in Book Auction Records is a pre­ sumably English first edition, from the Paul Lemperley library, auctioned by Parke-Bernet in N.Y. on Jan.4,1940, for $4. This copy supposedly has a note by Mr. Lemperley on the end leaf: "Imported in sheets and bound by J.B. Lippincott Co., Dec. 1903. Possibly 'unique' in this state as regular issue had edges trimmed." 13

All(b) b. First American edition: ROMANCE / A NOVEL / BY / JOSEPH CONRAD / AND F.M. HUEFFER / ILLUSTRATED BY / CHARLES R. MACAULEY / [publisher's device] / NEW YORK: MC CLURE3 PHILLIPS & CO. MCMIV "First American edition. [x], 428 p., 8 p. of advertisements, 1 leaf. Blue decorated cloth with gilt lettering. " 7 1 / 2 x 4 7/8. $1.50. Published on May2,1904. See A Conrad Memorial Library: The Collection of George T. Keating, pp.135-136* for a description of a copy of this edition inscribed by both collaborators. Other editions : On Feb.5,1926, Ford wrote a letter to W.H. Thompson, a London solicitor, protesting the exclusion of his name on the cover and dust jacket of republications of Romance and The Inheritors in the collected editions of Conrad's works published by Dent and Doubleday. A copy of this letter is in the Firestone Library, Princeton University. Ford says that J.B. Pinker had made the arrangement for the inclusion of collaborated works in collected editions of Conrad's books "without consulting me." This and other evidence below seems to refute Ford's allegation that "in June 1916 when I was going out to the Front, during a valedictory interview with Conrad, we cleared up a number of outstanding matters, he consenting to become my literary executor and asking me to write a memoir of him if I survived, arranging that the collaborations were to appear in both our collected works and so on [Return to Yesterday, N.Y., pp.193-194], " or at least it refutes the last clause of this allegation. He also says in the Thompson letter that he saw Conrad about the name omission "on the 9th and 10th of May 1924 and they both [Conrad and Pinker] promised to see that this was remedied . . . I am quite prepared to resort to litigation . . . " An answering letter from Thompson, dated May4,1926, is also in the Princeton Library. Thompson states he has seen the agreement Pinker made with Dent, "dated the 9th October, 1922 . . . Dent's edition has your name on the title page, but not on the cover or wrapper, and this applies to the Gresham edition. Dents have offered to put this right in future editions [l have not been able to check many of the Dent republications, but this was not "put right" in the latest edition; see below] . . . Also I would point out that you have had royalties on this account and can hardly now complain of it . . ." As a general rule, collaborated works that have appeared in Conrad collected editions have lacked Ford's name on cover and dust jacket. An exception is the 1925 Personal Edition published by Doubleday. In the Keating Collection, Yale University Library, is a letter from Conrad to Ford, dated May2,1924, drawing up an arrangement for republication of collaborated works, an arrangement which Ford evidently endorsed (the evidence being a Mayl7 letter from Conrad also in the Keating Collection which thanks Ford for his letter "conveying your agreement with mine of May 2nd."). "In the matter of our collaborated works what I propose is this: You, F.M.F., will give me the right of dealing with the collaborated books 'Inheritors' and 'Romance' as far as inclusion in any English and American edition, past or future, is concerned; subject to you receiving one half of the proportion of royalties falling to the share of those two books' to be paid to you when ever they fall due in the terms of any agreement they may be subject to. . . . This stipulation is not meant to prevent you from including those two books in any 14

All(b-e) edition of your complete works which you may arrange for in England, I receiving my proportion (one half) of the royalties earned by these books." See below, All(e), for the portion of this letter dealing with translation rights. Unlike The Inheritors, Romance was re-issued or reprinted several times independent of collected editions of the works of Joseph Conrad. Catalogues list these editions or issues which I shall not describe (some I have not seen): Garden City, N.Y., Doubleday, 1904; idem, 1914,1916,1920; London, Heinemann, 1921 (a limited edition whose volumes were not sold separately; 780 copies printed); London, Dent, 1923; Garden City, N.Y., Doubleday, 1923; London, Gresham, 1925; Garden City, N.Y., Doubleday, Page, 1925; idem, 1928; London, Nelson, 1929; idem, 1931 and 1936; London, Dent, 1939; N.Y., Doubleday, 1950. The Dent and Doubleday editions were still in print at last notice. Here follow descriptions of editions which I have seen, the Nelson editions being independent of a collection of Conrad works, the recent Dent edition representing such a collection. c. Second English edition (not in Naumburg Collection): ROMANCE / A NOVEL / JOSEPH CONRAD / AND / PORD MADOX HUEPPER / THOMAS NELSON / AND SONS [1909] Nelson's Library edition. 6 1/8 χ 4. [iv], 479, 1 p. of advertisements. Title-page enclosed in ornamental border. Red cloth with gilt lettering on backstrip. One illustration facing title-page. 7d. net. Probably published in Jul.,1909. There is a 1918 Nelson Library edition also, with the same pagination except for the preliminary leaves and of the same size. The copy of this edition I have seen is of blue cloth with black lettering on backstrip and a black swastika on lower right front cover; it has no illustration (this edition sold for ls.6d. net). The 1923 Nelson reprint is virtually identical except that the cover is of red cloth with black lettering. d. Recent Collected Edition (not in Naumburg Collection): ROMANCE / BY / JOSEPH CONRAD / IN COLLABORATION WITH / PORD MADOX HUEPPER / LONDON / J.M. DENT AND SONS LTD [1949] "Collected Edition of the Works of Joseph Conrad." 7 1/8 x 4 5/8. [viii], 541, [3] p. Blue cloth with gilt lettering on backstrip (where only Conrad's name is mentioned). Verso title-page: "First published 1903 / Uniform Edition 1923 / Present Collected Edition 1949" On the last two pages are lists of Conrad materials, including a "Chronological List of Conrad's Works." Translations : e. French translation: L'AVENTURE / (ROMANCE) / PAR / JOSEPH CONRAD ET PORD MADOX PORD / TRADUCTION DE MARC CHADOURNE / AVEC UNE LITHOGRAPHIE DE LUC-ALBERT MOREAU / SIMON KRA [publisher's device] 6, RUE BLANCHE / EDITEUR PARIS [1926] "French edition. 451, [l] p., 1 leaf. Cream paper wrap­ pers. Presentation copy, inscribed: Herbert Gorman From Fprd~MacTox Ford New York 3 Feb 1937 And looking back 15

All(e-f) we see Romance?" 8 1/4 χ 5 1/2. 56Ο copies (60 on Holland, 500 on Bright White paper--this is one of the 500) printed on Jan.25, 1927 in Bruges. The dedicatory poem as well has been translated, p.[452]: table of contents and printer's imprint. A new edition of this translation was published in i960 by the Librairie Artheme Payard, Paris, in the collection "Horizon Libre: oeuvres e*trangeres pr^sente'es par Max-Pol Fouchet." In the Huntington Library is a copy of a letter written for Ford to Pinker by his Transatlantic Review secretary, M. Reid, and dated Mar.24,1924. "Mr. Ford ... has a very strong objec­ tion to parting with the full rights of Romance for which several very competent French critics anticipate an enormous sale in this country. . . . M. Paul Chadourne has informed Mr. Ford that a translation of Romance made by himself and his brother [note that the title-page only gives credit to the brother] was purchased by Messrs. Gallimard no less than 3 years ago." The Firestone Library at Princeton contains two further letters from Ford on this subject to Conrad, the first undated but verso a letter from Victor Llona, dated Apr.16,1924, and advising Ford of the legal status of copyright in France for a translation of an English novel by novelists still alive. Ford asks Conrad to look at the Llona letter, also asks whether Conrad still wants "to go to Gallimard for Romance?" He suggests instead Simon Kra. In the second letter, also undated, Ford reiterates this suggestion, evidently annoyed by what seems to have been Eric Pinker's resistance to it. ". . . a fortnight or so ago I received the enclosed amazing letter from Pinker [a letter from Eric Pinker to another Transatlantic Review secretary, dated Apr.24,1924, accompanies this letter but seems not to be the letter to which Ford is referring]. I say amazing because I have myself just signed a contract with Kra for the translation of six of my novels at an advance of royalty of 9,000 francs the volume on a royalty of 12 1/2, rising to 50 per cent. I asked my agent here to get an offer from Kra for Romance and he tells me that Kra is ready to pay similar terms for the book ... we to provide the translation. This is the same as the contract with my books as I am doing the translation myself in the case of the three modern ones and the translation of the historical ones in collaboration with Soupault. In the case of Romance a very admirable trans­ lation made by Chadourne already exists . . . I should certainly not consent to [G. Jean-] Aubry's making the translation . . . " Ford's wishes for the translation and publishing of Romance were evidently fulfilled, but there is no evidence of the trans­ lations of his own novels of which he speaks. A letter from Conrad to Ford, dated May2,1924 (quoted above under "Other editions", All(b)) appears to answer Ford's legal inquiry of Mar.24 but little else. ". . . I, J.C. make over to you complet< Iy all the rights of translation of 'Inheritors' and 'Romance' into French or any other European language, and renounce my share of any proceeds thereof; even in case of you finding it convenient to negotiate their inclusion in any complete edition of my_ translated works which I may have contracted for abroad." [f. Dutch translation: Het Kapersnest (translated by Caspar Hendricks), Tilburg, 16

All(f )-12 Het Nederlandsche Boekhuis, 1927. I have not seen this translation.] [g. Italian translation: Romanzo (translated by Vittorio Caselli), Milano, Alpes, 1928. I have not seen this translation.] Film rights: A movie, titled "The Road to Romance, " based based on Romance, was evidently presented to the public in 1927 (see the review in N.Y. Times, Oct.10,1927). Negotia­ tion for the film rights seems to have been going on as early as 1914. See Goldring's Trained for Genius, p.84 (he reproduces part of a letter previously printed in ,S.R.L., Aug.2,1941, q.v.) and p.209 (he deduces from a letter οΓ Ford to C.P.G. MasTTerman, of which he reproduces part, dated Jun.28,1919, that Ford had just received£400 "as a half share of the film rights of Romance"). The earlier letter also reveals the shares the collaborators took of profits on the various republications of Romance. In I_t Was the Nightingale Ford refers frequently to the unexpected "buckshee" from Hollywood and, on p.l45, to his horror at seeing photographs outside the New York theatre where "The Road to Romance" was playing. A12

THE FACE OF THE NIGHT

1904

First edition: THE / FACE OF THE NIGHT / A SECOND SERIES OF / POEMS FOR PICTURES / BY / FORD M. HUEFFER / [type ornament] / LONDON / JOHN MACQUEEN / 49 RUPERT STREET, W. / 1904 "First edition, vii, [l], 99, [l] p. Purplish-blue cloth, edges trimmed. Presentation copy, inscribed: W.H. Hudson from F.M. Hueffer These poems were first printed in The Fortnightly Review, The Athenaeum, The Academy, The Outlook, The PalT Mall Magazine, etc. The Crosby Gaige copy, which I have examined, has an inscription by Ford reading: Ί have never expected to see a copy of this volume again. It must be very rare. It did not sell more than seventeen copies when the firm of publishers failed.1" 6 3 / 4 x 3 3/4. 3s.6d. net. Probably published in Apr., 1904 (the first review I have found being on Apr.30,1904). The Crosby Gaige copy referred to above is now in the Naumburg Collection; identical with the copy described ex­ cept for the inscription, part of which is quoted above and which is signed: (Ford Madox Hueffer) Ford Madox Ford New York Dec. MCMXXVI See my note of caution to The Questions at the Well as to the reliability of Ford's remarks about the sale of his books of poetry. CONTENTS: The Face of the Night: Six Songs -- The Great View -- On Cadentia -- Night Piece -- Thanks Grey Matter — Children's Song -From the Soil: Two Monologues — 17

A Pastoral -- A Sequence: the Hills -- Sidera whilst Unharnessing -Old Man's Even Song — The Mother: A Song Drama

A12-13 -- Wisdom -- The Posy-Ring — To Christina at Nightfall -Wife to Husband -- Two Frescoes -- Volksweise -- And After­ wards -- On a Marsh Road -- Perseverance d'Amour: A Little Play -- An End Piece. Manuscripts: Nearly all the poems published in this volume are represented in the manuscript collections of Mr. Edward Naumburg, Jr. and Mrs. Julia Loewe. See Ciii(3). Previous publication: None of these poems had been publish­ ed in collected form before. "A Sequence": Poems III and IV, Outlook (London), Sept. 13,1902; Oct.19,1901 (see D26); Poem VI, Academy, Aug.31, 1901 (as "To A Tudor Tune"; minor changes")^ See D24 for further printings of "To A Tudor Tune." "The Great View": Outlook (London), Jul.27,1901 (as "A Great View"; only punctuation differences). "Night Piece": Academy, Aug.31,1901. "The Mother": Fortnightly, Apr.,1901. "To Christina at Nightfall": Athenaeum, Oct.26,1901. "An End Piece": Pall Mall Magazine, Oct.,1901 (as "At the End of a Phase"; quite a few minor changes). Subsequent publication: All of these poems were published in the same form if not in the same order in Collected Poems 1914 and 1936. "To Christina at Nightfall" and "Children's Song" also appeared in Christina's Fairy Book. A13

THE SOUL OF LONDON

1905

First edition: THE / SOUL OF LONDON / A SURVEY OF A MODERN CITY / BY / FORD MADOX HUEFFER / [quotation] / [publisher's device] / LONDON / ALSTON RIVERS, ARUNDEL STREET, W.C. / MCMV "First edition, xvi, 175, [l] p. Title-page in red and black. Red cloth with gilt lettering, top edges gilt, others untrimmed. Laid in is an A.L.S.: 'Aug. 5th [no year, but probably 1911] 15 Friedrichstrasse, Giessen. Dear Pinker: Here are the royalty statements. What I object to is that Rivers should debit against "The Soul of London" liabilities incurred by other books. . . . " The letter is written in the hand of Ezra Pound, with his initials at the end after Ford's signature." 7 1/4 χ 5 3/8. 5s. net. Published on May2,1905. p.[v]: dedication to Mrs. William Martindale, his motherin-law. See Archibald Marshall's statements about the firm of Alston Rivers in Out and About (Fl47), p.Ill: on p.114, he describes the firm's (of which he was a partner) publication of The Soul of London and The Heart of the Country, "beautiful examples of book production, of which we were justly proud, but we couldn't get them to go as well as we thought the books them­ selves deserved. " Manuscript: See Cii(2) for the Loewe manuscript. This is the first of three books, first printed in America and nowhere else as one volume (England and the English, see A20), the second and third being The Heart of the Country and The Spirit of the People. This edition of The Soul of London was reprinted in Nov.,1911 in the Duckworth Reader's Library. Pagination was identical but the measurements were 7 1/4 χ 4 3/4; blue cloth with gilt 18

A13-15(a) lettering on backstrip only; only the bottom edges untrimmed. Al4

THE BENEFACTOR

1905

First edition: THE BENEFACTOR / A TALE OF A SMALL CIRCLE / BY FORD MADOX HUEFFER, / AUTHOR OF "THE CINQUE PORTS," "THE SOUL OF LONDON," ETC. / [quotation] / LONDON / BROWN, LANGHAM & CO. / MCMV "First edition. [viii], 349 P., 1 leaf. Tan cloth with black lettering, top edges trimmed. Presentation copy, inscribed: Joseph Conrad with all affection from Ford M. Hueffer 24th Oct. 19057" 7 5/8 x 4 7/8. 6s. Probably published in Oct.,1905 (the first review I have found being on Oct.28,1905). Verso title-page: dedication to W.M. Rossetti. The black lettering is on the front cover but there is gilt lettering on the backstrip. Another copy in the Naumburg Collection is identical except for the presentation inscription: W.M. Rossetti [Esquire ?] affectionately from Ford M. Hueffer 13th Oct 1905 Title: A letter from Ford to his agent, J.B. Pinker (quoted in Paul A. Bartlett's article, S.R.L., Aug.2,194l), shows that Ford really wanted to use a title already used by Ouida, The Altruists, but "I can't think of anything better than 'The Benefactor' . . . I wish there were no such things as titles." This letter is now in the Huntington Library. Change of Publisher: This novel was transferred, if not for publication, at least for distribution, to Alston Rivers (letters from the manager of Alston Rivers to J.B. Pinker dated Jun.26, and Sept.20,1905* Deering Library, Northwestern U.). The first letter accepts the novel and sets forth terms: "... a fiften [sic] per cent ... royalty on the full published price (6/-) of all copies sold in Great Britain, three pence (3d) per copy on the Colonial edition and a payment oft50 down on account of royalties on the day of publication. " The second letter, signed by R.B. Byles, refers to this earlier transfer and proposes to take on a new novel (probably The Fifth Queen) on the same terms. A15

HANS HOLBEIN

[1905]

a. First edition: HANS HOLBEIN / THE YOUNGER / A CRITICAL MONOGRAPH / BY / FORD MADOX HUEFFER / [type ornament] / LONDON: DUCKWORTH & CO. / NEW YORK: E.P. DUTTON & CO. "First edition, xii, 177, [l] p., 1 leaf. Green limp leather with gold stamping, top edges gilt. Uniform with Rossetti in 'The Popular Library of Art' series. It was reprinted in 1914, and again in the 'Masters of Painting' series by Rand McNaIIy & Co., Chicago. Presentation copy, inscribed: 19

A15(a)-l6 J. Conrad Affectionately from Ford M. H. 6/ 127155" 5 3/4 x 3 5/8. Probably issued simultaneously in London and New York in Dec.,1905· Another copy in the Naumburg Collection is identical except for cover (smooth red cloth) and inscription by Ford: dixi prositer del Linked design] i: xii: MCMV Other editions: Catalogues list a reprint by Dutton in 1907 (same pagination; priced $.75 net [limp leather: $1.00 net]), thus implying another simultaneous English reprinting. Since this seems not to constitute a new edition, the copy described below is called b. Second English edition (Duckworth file copy): HANS HOLBEIN / THE YOUNGER / A CRITICAL MONOGRAPH BY / FORD MADOX HUEFFER / [publisher's device] / LONDON / DUCKWORTH & CO. / HENRIETTA ST. COVENT GARDEN [1914] Masters of Painting series. 8 1/2 χ 5 1/2. 3s.6d. net. 1 leaf, 86, [5] p. 32 photogravures. Green cloth with gilt lettering (uniform with the Masters of Painting edition of Rossetti); all edges trimmed. Verso title-page: "Published 1905 /Reissued 1914." Probably published in Nov.,1914. The 1915 American "republication" noted above was apparently similar in every way except title-page. Al6

THE FIFTH QUEEN

1906

First edition: THE FIFTH QUEEN: / AND HOW SHE CAME TO COURT. / BY / FORD MADOX HUEFFER. / [quotation] / [publisher's device] / LONDON: / ALSTON RIVERS, LTD., ARUNDEL ST., W.C. / 1906 "First edition. [viii], 301, Ll] p., 2 p. of advertise­ ments on book stock paper, and 8 p. of inserted advertise­ ments. Title-page is divided into three rectangles by a double line of rules. Red cloth with gilt lettering. The book is listed in the advertisements as 'Ready shortly.' It is dedicated to Joseph Conrad, so that the presentation inscription is doubly interesting: Joseph & Jessie Conrad always affectionately from Ford Madox Hueffer 14 March 190b" 7 1/4 χ 4 3/4. 6s. Published on Mar.14,1906. This novel was under consideration for publication by McClure's of New York (see Return to Yesterday, N.Y., p.312), but no American publication of this or the succeeding two volumes of the !Catherine Howard trilogy (Privy Seal and The Fifth Queen Crowned) seems to have taken place. On his 1906 trip to the United States Ford met W.A. Bradley of McClure's, whom he found to be "very amicable & well disposed—but I don't know what his powers are [Ford to Pinker, n.d., ca. Aug.,1906, from Newport, Rhode Island; in the Huntington Library]." Shortly afterward Ford wrote Pinker, in a letter also in the Huntington Library, that "Imprimis McClure's seem inclined to take the 20

Al6-17(a) London trilogy (as one book) [which they did, see A20] & two vols, of the Fifth Queen. . . . Also they want to com­ mission me to write three historical books about the dis­ coveries of parts of America." Evidently The "Half Moon" was to be the first of this series (see A27, "Proposed Trilogy"), On Apr.9,1908, Bradley wrote Ford, in a letter also in the Huntington Library, about the projected publication of The "Half Moon" (under its provisional title) as well as of The Fifth Queen: ". . . we are planning to publish 'Hendrick Hudson' this Autumn and 'The Fifth Queen' the following Spring or Autumn. What an excellent notice you received in connection with this last work, in a recent number of the Revue des Deux Mondes [see E117]. We expect the greatest credit from the publication of this admirable work and believe that it will be one of the books on our list by which in time we shall be able to erect a monumentum perennius aere." In spite of the failure of Bradley's firm to publish this novel, Ford and he appear to have remained good friends, Bradley becoming Ford's transatlantic agent in Paris in the 'twenties. Manuscript: See Ci(4) for the Loewe manuscript. Sales: Inscribed in pencil, probably by J.B. Pinker, on a letter from a publisher, Andrew Melrose, to Pinker (dated Jun.29,1909; Deering Library, Northwestern U.) which inquired about the sales of Ford's books is this figure applying to The Fifth Queen: ". . . to Dec. 31/1908: 2,850 (no col. Lprobably abbreviation for "Colonial"])." The Fifth Queen and the other volumes of the trilogy were published for the first time in one volume in 1962 (The Bodley Head Ford Madox Ford, vol.11, see A8l). Al7

THE HEART OF THE COUNTRY

1906

a. First edition: THE / HEART OF THE COUNTRY / A SURVEY OF A MODERN LAND / BY / FORD MADOX HUEFFER / [quotation in Greek] / [publisher's device] / LONDON / ALSTON RIVERS, LTD., ARUNDEL ST., W.C. / MCMVI "First edition. 1 leaf, xiii, [l], 217, [l] P-, 3 leaves, with advertisement for The Fifth Queen on verso of first and advertisement for The Soul of London on recto of second. Title-page in red and black. Red cloth with gilt lettering, top edges gilt, others untrimmed. Binding uniform with The Soul of London and The Spirit of the People. The book was dedicated to Henry James. Two presentation copies, inscribed: Henry James, Esq. Mr. & Mrs. Joseph Conrad affectionately from affectly from Ford Madox Hueffer Ford. M.~RT 9th May MCMVI May 9th MCMVI" 7 1/4 χ 5 3/8. 5s. net. Published on May9,1906. Previous publication: At the end of the "Author's Advertise­ ment, " on p.xiii, Enere is a note: "A number of extracts, selected rom [sic] the completed book by the Editor, have appeared in the columns of the Tribune: the book itself was written without any eye to such a form of publication. " A letter in the Naumburg Collection from Ford to Pinker, n.d., gives the lie, at least partially, to this last statement: "I hope to send you in a day or two the first chapter of a 21

A17(a)-l8(a) book called the Heart of the Country--which I think you might possibly be able to serialize . . . " Parts of the book did appear in Tribune (see D40). An undated letter from Ford to Pinker in the Huntington Library further establishes Ford's intention: "I'm sending you herewith the H. of the C.--ar­ ranged for the Tribune-24000 words in 12 articles--& the m.s. corrected for Alston Rivers. " Manuscript: See CiI(3) for the Loewe manuscript. b. Second English edition (Duckworth file copy): THE HEART OF THE / COUNTRY / BY / FORD MADOX HUEFFER / [publisher's device] / LONDON: DUCKWORTH & CO. / 3 HENRIETTA STREET, COVENT GARDEN [1915] Reader's Library edition. 7 1 / 4 x 4 7/8. 3s.6d. net. xiii, [l], 217, [lJ Ρ·* 2 leaves, no advertisements. Titlepage in black and white. Blue cloth with gilt lettering on backstrip only (uniform with Reader's Library editions of The Spirit of the People and The Critical Attitude); top edges gilt, bottom edges untrimmed. Catalogues list another publication in 1923 in the Duckworth Reader's Library; this may be a reprint of the above. In 1962 Graham Greene excerpted part of the chapter "Between the Hedgerows" (pp.41-48 in the first ed.) for inclusion in The Bodley Head Ford Madox Ford (A8l), Vol.1. This excerpt appears on pp.343-348 under the heading "Carew and other Tramps"; the preceding reminiscence, titled "'Meary,'" under the general heading of "The Heart of the Country" is not taken from the book by that name but from the "Cabbages and Queens" chapter of Return to Yesterday. Al8

CHRISTINA'S FAIRY BOOK

[1906]

a. First edition: "Christina's Fairy Book. London: Alston Rivers, Ltd., 1906. First edition. 27 p. Colored boards, 'bearing on the front cover a scene depicting a fairy and two children, and on the back the figure of a small girl holding out her pina­ fore at either side. ' (This description furnished by the British Museum.) It was issued in a series called 'The Pina­ fore Library,' and was published in America by McBride in 1909· Neither edition has ever been examined by the compiler. Since the appearance of the Naumburg check-list in the Princeton University Library Chronicle this volume has been added to the collection. THE PINAFORE LIBRARY [underlined] / [cut] / CHRISTINA'S FAIRY / BOOK [type design] BY FORD / MADOX HUEFFER / [cut] / LONDON: ALSTON RIVERS, LTD. 4 5/8 χ 3 1/2. 6d. net. 77, 3 p. of advertisements for Ford's books on book stock paper. Pictorial colored paper boards and end papers. Probably published in Dec.,1906. Presentation copy, inscribed from: Lucy Cowleshaw to Olive Garnett Xmas. 1906" The donor may have been some relation of William Harrison Cowleshaw, who shared Ford's London flat (see Ford's article on his work, Artist, Sept.,1897; also Return to Yesterday, 22

Al8(a)-19 N.Y., p.172). Previous publication: The dedicatory poem on pp.5-7, "To Christina at Nightfall," first appeared in Athenaeum, Oct.26, I9OI, and then in The Face of the Night. "The Poor Children's Song," pp.31-32, had also appeared in The Pace of the Night, as "Children's Song." Several, at least, of the stories appeared first, though most in the same year, in the magazine Little Polks. Correspondence with Publishers: In the Naumburg Collection is a letter from Ford to Pinker, dated Apr.1,1905: "The Alston Rivers people want to re-issue a fairy story of mine: it was published first in '94 by Bliss, Sands & Foster [The Queen Who Flew], who I fancy have disappeared. They (A.R. ) have a copy of the book, but they want some more stuff to fill out a larger volume. Here is a m.s. that I wrote 11 years ago to please some child or other. It ought just to do to fill out a vol. W— you mind handing it over to A.R. & making what terms you can? . . . My first fairy stories sold by the tens of thousands in '91-'2-'3--& still sell. I don't see why these should not. " A decision must have been made not to re-issue The Queen Who Flew but to make up the present volume of poems and stories. Another letter from Ford to Pinker (in Deering Library, Northwestern U.; dated Apr.7,1906) relates to this book: "With regard to the children's book I certainly think it is worth more than ^20 [and a pencilling in the margin says •£25] but if that is the most Rivers will give I suppose I must accept it. As for the fee of £ 10 for editorial work [which R.B. Byles of Rivers had offered three days previously] that is neither here nor there. I would rather not accept it. . . . I prefer to do that sort of thing for nothing . . . " On Apr.21,1906, Ford wrote again to Pinker: "I met Byles by chance on Wednesday & he told me that he would be glad to have the Fairy stories of mine at once as he wants to try experi­ ments with type." (Deering Library) Other editions: In reference to the 1909 American publication noted above, a letter from McBride, dated Jun.26,1960, says it was "not our publication because we did not publish books as early as 1909. Apparently it was a book published by Dodge Publishing Co. which we acquired in 1928 and which published books of this sort dating back to the turn of the century. . . . the Dodge records have all been lost . . . " b. Second edition (also in Naumburg Collection): CHRISTINA'S / FAIRY BOOK / BY / PORD MADOX FORD / ILLUSTRATED BY / JENNETTA VISE / [publisher's device] / LATIMER HOUSE LIMITED / 33, LUDGATE HILL, LONDON, E.C.4 [1949] 7 1/4 χ 4 3/4. 5s. net. 60 p. Gray cloth, red lettering on backstrip. The stories have been rearranged slightly, but all the items in the original edition are included. Published in Jul.,1949 and distributed in Canada as well. Al9

PRIVY SEAL

1907

First edition: PRIVY SEAL: / HIS LAST VENTURE / BY / FORD MADOX HUEPFER / [quotation] / [publisher's device] / LONDON: ALSTON RIVERS LTD. / BROOKE ST., HOLBORN BARS / MCMVII "First edition. [viii], 324 p. of text; advertisements (an integral part of the signature) numbered 325-328. 23

A19-21 Title-page is divided into three rectangles by a double line of rules. Red cloth with gilt lettering, uniform with the other titles in the trilogy, of which this is the second novel, the others being The Fifth Queen (1906) and The Fifth Queen Crowned (1908)." 7 1 / 4 x 4 3/4. 6s. Published on Feb.15,1907. p.[v]: dedication to Frau Laura Schmedding. Manuscript: See Ci(5) for the Loewe manuscript. This novel was republished in 1962 in the second volume of The Bodley Head Ford Madox Ford (see A8l). A20

ENGLAND AND THE ENGLISH

1907

First edition (not in Naumburg Collection): ENGLAND AND THE ENGLISH / AN INTERPRETATION / BY / FORD MADOX HUEFFER / [design] / ILLUSTRATIONS BY HENRY HYDE / NEW YORK / MC CLURE, PHILLIPS & CO. / MCMVII 7 7/8 x 5 1/2. $2.00. Published on Mayl8,1907. 3 leaves, xxi, 354 p., 2 leaves. Red cloth with gilt lettering, uniform with the English editions of the separate books published here for the first time under one cover: The Soul of London, The Heart of the Country, and The Spirit of the People. Includes 16 black-and-white illustrations on glazed paper made for this edition by Henry Hyde. Changes made for this edition: An "Author's Note," written specially for this volume and profiting from Ford's 1906 visit to the U.S., prefaces this volume, pp.ix-xxi. The "Introductory' chapter which prefaced each original volume has been omitted. Other adaptations for an American audience are minor, consisting of occasional insertions, such as the first three paragraphs of "The Heart of the Country," pp.131-132 (which begins in this edition, "I fancy that the chief difference in note between the American 'country' and the English lies in the fact that so much fewer men have died in the one than in the other"). Chapter V, "Utopias," of The Heart of the Country has been omitted entirely from this edition. See Al6 regarding Ford's relationship with the firm of McClure, Phillips, particularly with William A. Bradley, and the projected but never published American Fifth Queen trilogy. The Spirit of the People was actually published in England later than this volume, in Oct.,1907· The composition dates on p.354 of England and the English (the last page of the "Spirit of the People" section"J~ar>e: "WINCHELSEA, /June 27th-28th, 1906." A letter from Doubleday, Page to J B. Pinker, dated Jan.10,1912 (Deering Library, Northwestern U.), says the firm will have to melt the plates for this book for lack of interest in republication. A21

FROM INLAND

1907

First edition: FROM INLAND AND OTHER POEMS / BY FORD MADOX HUEFFER / LONDON: ALSTON RIVERS, LTD. / BROOKE ST., HOLBORN / MCMVII "First edition, xl p. No flyleaves. Gray paper wrappings." 8 x 5 3/4. Is. net. Probably published on Jul.11,1907. CONTENTS: From Inland -- The Portrait — Two Making Music — Song — The Unwritten Song — A Legend of Creation — A Sequence -- The Great View -- Night Piece -- For the Bookplate of a 24

A21-22 Married Couple — Wife to Husband — To Christina at Nightfall -- "Du Bist die Rub." -- In Adversity -- Sea Jealousy -- A Night Piece -- Enough — Tandaradei — Lullaby — The Wind's Quest. Previous publication: On p.vii appears the following note by the author! "The earlier in order of these poems are new. Others of the verse here printed appeared in volumes published, to all intents and purposes, privately, during the last few years. The responsibility for the selection must be borne by Mr. Edward Garnett, not myself." This note is dated "Winchelsea, 1907." The first sentence of this note is misleading: the only poems here which seem to have had no previous publication of any sort are "Two Making Music" and "Song." Here are the previous appearances of the others: "Prom Inland": Academy, Jan.6,1906. "The Portrait": Academy, Aug.12,1905 (numerous changes; less concise than the above). "The Unwritten Song": Christina's Fairy Book (with minor changes). "A Legend of Creation": Academy, Oct.28,1905 (as "A Suabian Legend"; numerous minor changes). "A Sequence," "The Great View," "Night Piece," "Wife to Husband, " and "To Christina at Nightfall" had made their first collected appearances in The Pace of the Night. The other poems appeared in either Poems for Pictures or The Questions at the Well. Subsequent publication: Only "Two Making Music" is omitted from Collected Poems~Tl9l4 and 1936), though several of the poems in From Inland appear in other sections. "A Legend of Creation" appears in later collections under its original title, "A Suabian Legend." Sales: See Ancient Lights, p.39* where Ford evidently refers to the sales and reviews of this volume, though he dates it as "1908." He says reviews were generous but sales came to only seventeen copies; as I have said earlier in regard to Ford's statements about his volumes of poetry, caution must be exercised—particularly since the number seventeen recurs in almost every description of sales. A22

AN ENGLISH GIRL

[1907]

First edition: AN ENGLISH GIRL / A ROMANCE / BY / FORD MADOX HUEPFER / AUTHOR OF "THE FIFTH QUEEN" / METHUEN & CO. / 36 ESSEX STREET W.C.

/ LONDON

"First edition. 1 leaf, [vi], 308 p., 40 p. of inserted advertisements, dated September, 1907· Blue cloth with gilt lettering, bottom edges untrimmed. Two copies, inscribed: the first to Joseph Conrad, the second to Violet Hunt: Jessie & Joseph Conrad affectionately from Ford Madox Hueffer Sept. MCMVII 'Only till then,; & his eyes sought the decorous clock, 'We've got ten minutes. Let's be desultory. We shall have to be businesslike enough. . . . But till then let's just

25

A22-24(a) talk. You've got to hear, & I can't tell It you often enough--that you're the most beautiful creature In the world. ' pp.3^-5" P.M.H. to V.H. Xmas MCMIX" 7 3 / 8 x 4 3/4. 6s. Probably published on Sept.6,1907. A letter from the publisher (Jan.10,196l) says that 2000 copies were printed; 500 were reprinted in Oct.,1907. p.Lv]: dedication to "Prau Regierungsrat Emma Goesen." Manuscript: See Ci(6) for the Loewe manuscript. A23

THE PRE-RAPHAELITE BROTHERHOOD

[19071

First edition: THE PRE-RAPHAELITE / BROTHERHOOD / A CRITICAL MONOGRAPH / BY / FORD MADOX HUEPPER / [type ornament] / LONDON: DUCKWORTH 6 CO. / NEW YORK: E.P. DUTTON & CO. "First edition, xi, [l], 174 p., 1 leaf. Brown boards with gilt lettering. One of 'The Popular Library of Art' series." 5 7/8 χ 3 3/4. 2s. net (leather: 2s.6d. net). Probably issued simultaneously in London and New York (at $.75; leather: $1.00) on Oct.28,1907. Many illustrations in black and white. Other edition: Reprinted by Duckworth in 1920; same pagina­ tion, same title-page (except that the N.Y. publisher has been removed). Blue boards with gilt lettering on backstrip only. (Duckworth file copy) A24

THE SPIRIT OP THE PEOPLE

1907

a. First edition: THE / SPIRIT OF THE PEOPLE / AN ANALYSIS OF THE ENGLISH MIND / BY / FORD MADOX HUEPFER / [quotation] / [publisher's device] / LONDON: ALSTON RIVERS, LIMITED / BROOKE STREET, HOLBORN BARS, E.C. / MCMVII "First edition, xvi, 172, [l] p., 2 p. of advertisements on book stock paper. Red cloth, uniform with The Heart of the Country and The Soul of London. Published also the same year in 'The Reader's Library' by Duckworth. The three books, The Spirit of the People, The Soul of London, and The Heart of the Country, were published in America in one volume entitled England and the English, an Interpretation. New York, McClure, Phillips, 1907T" 7 1/4 χ 5 1/4. 5s. net. Probably published on Oct.25,1907p.[v]: dedication, "To the most English / of All." p.xvi: "Author's Advertisement" is followed by dates which must signify beginning and completion of the writing (Ford often later dated his books thus): "Winchelsea, / January 27th, 1906--August 3rd, 1907." A letter from L.J. Bathurst of Alston Rivers to J.B. Pinker (dated Oct.5,1907; Deering Library, Northwestern U.) states the determination of the firm to terminate the relationship with this publication. The writer felt that Ford had not expressed "perfect confidence" in the firm by his apparent desire not to continue publishing with Rivers unless sales of The Spirit of the People were considerable; Bathurst speaks of "our-strenuous and lavish attempts in the past 26

A24(a)-25(b) to make Mr. Hueffer's works popular." Manuscript: See CIi(4) for materials in the Loewe Collection. Other editions: Apart from the reprint (in the case of The Spirit of the People, actually a previous publication) in the collection, England and the English, there also was a reprint­ ing by Duckworth in 1915· I have not seen a Duckworth reprint in 1907 and doubt very much if it took place. Three letters from a Mr. Levear, for Alston Rivers, to J.B. Pinker (dated Jun.12 and 28 and Jul.3,1911; Deering Library, Northwestern U.) reveal that another publisher (finally revealed as Duckworth) had offered to buy all rights to the trilogy and sell it in cheaper editions. The publisher says there are still "large amounts to be worked off in royalties on each volume. . . . as far as we are concerned the books are practically dead, with no possibility of our working off the overpaid royalties M

b. [Second] edition (Duckworth file copy): THE SPIRIT OP THE / PEOPLE / AN ANALYSIS OP THE ENGLISH MIND / BY / FORD MADOX HUEPPER / [publisher's device] / LONDON: DUCKWORTH & CO. / 3 HENRIETTA STREET, COVENT GARDEN [1915] Reader's Library edition. Same pagination; no advertise­ ments. Blue cloth with gilt lettering on backstrip (uniform with the Reader's Library edition of The Critical Attitude and The Heart of the Country); all edges trimmed. A25

THE PIPTH QUEEN CROWNED

1908

a. First edition: THE FIFTH QUEEN / CROWNED / A ROMANCE / BY / PORD MADOX HUEPPER / [publisher's device] / / [quotation] / LONDON / EVELEIGH NASH, PAWSIDE HOUSE / 1908 "First edition, xi, [l], 314 p., 1 leaf with advertise­ ment on recto, printer's imprint on verso. Title-page is divided into three rectangles by a double line of rules. Red cloth, uniform with the others in the trilogy, The Fifth Queen and Privy Seal. Presentation copy, inscribed: Joseph Conrad affctly from Ford Madox Hueffer ~2o March MCMVIII" 7 1 / 4 x 4 3/4. 6s. Published on Mar.26,1908. p.[vii]: dedication to Arthur Marwood. b. Second edition (not in the Naumburg Collection): THE PIPTH QUEEN / CROWNED / A ROMANCE / BY / FORD MADOX HUEFPER / [rule] / [quotation] / LONDON / EVELEIGH NASH, PAWSIDE HOUSE / 1910 7 1/2 χ 4 7/8. Same pagination. Title-page divided into three rectangles by a double line of rules. Green cloth with gilt lettering; paper cameo decoration pasted on front cover. Sales: Prom a letter by Eveleigh Nash to J.B. Pinker, Mar.23, 1909 (Deering Library, Northwestern U.): "I have published 'THE HALF MOON' by Mr. Pord Madox Hueffer, and I enclose cheque for1.113.17.11--the amount earned by 'THE FIFTH QUEEN CROWNED'--on account of royalties, as per agreement." From an earlier letter it appeared that an advance ofj£250 had been 27

A25(b)-27 asked for. On Jun.29,1909> a publisher, Andrew Melrose, made an inquiry about Ford's sales; pencilled figures, probably by Pinker, on this letter refer to The Fifth Queen Crowned: "... sales to Dec. 31 / 1908: ΐ7Τ?2 (750 col. [probably abbreviation for "Colonial"])." (Deering Library, Northwestern U.) In 1962 this novel was reprinted in the second volume of The Bodley Head Ford Madox Ford (see A8l). A26

MR. APOLLO

[1908]

First and second "editions": MR. APOLLO / A JUST POSSIBLE STORY / BY / FORD MADOX HUEFFER / AUTHOR OF "THE FIFTH QUEEN" / [quotation] / METHUEN & CO., / 36 ESSEX STREET W.C. / LONDON "First edition. [viii], 310 p., 1 leaf with printer's imprint on recto (verso blank), 40 p. of inserted advertise­ ments, dated June, 1908. Red cloth with gilt lettering, bottdm edges untrimmed. Presentation copy, inscribed: For Crosbie Gaige Ford Madox Ford New York Dec 1927 Conrad used to say that this was my best book. F.M.F. Second edition. Published in October, 1908. It bears the words 'Second Edition' on title-page and on verso of titlepage. A slip inserted before the dedication page reads: 'The paragraph on page 103 referring to the Cheltenham Water Supply was suggested by an action relating to the water sup­ ply of another town, and the reference to Cheltenham is an error on the part of the author. No such action has ever been taken in regard to the water supply of Cheltenham, the purity of which the Author believes has never been questioned, and he sincerely regrets his error in referring to Cheltenham.'' 7 3/8 χ 4 3/4. 6s. There seems to have been only one edition (2,000 copies published on Aug.20,1908); a number of these or additional copies were evidently issued in Oct.,1908, as stated above, with the inserted correction. The publisher informs me (Jan.10,1961) that 500 copies were reprinted in Feb.,1911. p.[v]: dedication to John and Ada Galsworthy. Sales of Mr. Apollo up to Dec.31,1908 were apparently 1,298 plus 410 colonial copies (see letter cited above, A25, from Andrew Melrose to J.B. Pinker). A27

THE 'HALF MOON'

1909

First English edition: THE 'HALF MOON ' / A ROMANCE OF THE OLD WORLD / AND THE NEW / BY / FORD MADOX HUEFFER / [quotation] / EVELEIGH NASH / FAWSIDE HOUSE / LONDON / 1909 "First edition. 346 p., 6 p. of advertisements on book stock paper. There are two bindings: blue with gold let­ tering on spine and title in black letters and blindstamped lines on cover; the other in red with no title or lines on cover. Both have the same advertisements. Publish­ ed in America by Doubleday, Page & Co., 1909. " 7 1 / 4 x 4 3/4. 6s. Probably published in Mar.,1909 (the first review I have found being on Mar.19,1909). 28

A27-28 pp.v-xlv: dedicatory preface to W.A. Bradley, the literary agent, dated "Wlnchelsea, June 8th, 1907." See below for confirmation that composition of this work took place some years before Its final publication. American "edition": The sheets for this issue were evidently imported from England (the printer's imprint appears verso title-page and on p.346) and bound in the U.S. Title-page differs only as to publisher: NEW YORK / DOUBLEDAY, PAGE & COMPANY / 1909 Blue ribbed cloth with gilt lettering on cover and backstrip, orange and black rendering of the ship on front cover. There are no advertisements in the copy belonging to the Library Company of Philadelphia, the only one I have seen. $1.50. Published on Jun.28,1909Proposed Trilogy: Prank MacShane (in "The Literary Career of Ford Madox Ford," Oxford D. Phil., 1955. P-347), on the authority of a letter (in the Paul A. Bartlett Collection, U. of Virginia) from McClure, Phillips and Co. to Ford, dated Sept.26,1906, says that "The 'Half Moon' was originally to have been a part of a trilogy called The Three Ships . . . " Neither of the other parts of the trilogy was ever published. See Al6. A28

A CALL

1910

First edition: A CALL / THE TALE OF TWO PASSIONS / BY / FORD MADOX HUEFFER / [quotation] / [publisher's device] / LONDON / CHATTO & WINDtfS / 1910 "First edition. [iv], 304 p., 32 p. of inserted advertise­ ments. Title-page in red and black. Blue cloth with gilt lettering on backstrip and on cover. Presentation copy, inscribed: 'Every way and altogether,' she answered. To Violet Hunt Ford Madox Hueffer Feb 8th MCMK Laid in is a typewritten slip, probably typed by Ezra Pound, reading: 'Ford's Call slick work but not, I fear, really interesting. He doesn't get down to the real stuff. ("Nor I think, does he in life" V.H.)' In ink is added: Ά [.] Bennett letters.' The quotation is on the verso of a fragment of a letter addressed to 'Mrs. Hueffer.' It is curious to ponder whether this was really Violet Hunt's comment, whether it was Pound's quotation, or part of the Bennett letter.' The quotation in the inscription, 'Every way and altogether,' is the last line of the book, p. 292. A further and sentimental point of interest is in the 'Epistolary Epilogue' (p. 297) where a paragraph begins: 'Thus, my dear - -, you would have me end this book, after I have taken an infinite trouble to end it otherwise.' Ford has filled in the blank line with the name 'Violet'.1 Another copy is bound in darker smooth cloth with title and author's name on front cover blind-stamped." 7 3/8 χ 4 5/8. 6s. Probably published on Feb.12,1910. Previous publication: Appeared serially in English Review, Aug. through Nov.,1909; this did not include the "Epistolary Epilogue" published here. "Bennett Letter": Arnold Bennett's criticism quoted above 29

A28-29 Is really an excerpt from The Journal of Arnold Bennett, N.Y., 1932-1933, 3 vols. In one, p.370 (the entry for Mar.6,1910). Bennett also reviewed the book In New Age, Mar.17,1910 (see E174). "Epistolary Epilogue": Evidently written, as a quotation from the following letter in the Naumburg Collection shows, to satisfy the request of a publisher for more "filler. " Pord to J.B. Pinker, Aug.17,1909: "With regard to the length of Ά Call' I really don't know how long it is. As you know Methuens were of opinion that it was too short for them and it would absolutely ruin the book to lengthen it. If, however, they want more matter I would undertake ... to add a preface calling attention to the impracticability of the booksellers' idea of having all novels of a stereotyped length and this, I should think, would do something to call attention to the book, more materially than by an addition of matter." Pord evidently was dissuaded from writing this sort of "filler"; the epilogue being on the subject of happy endings and how they conflict with "Impressionism. " A29

SONGS PROM LONDON

1910

First edition: SONOS PROM LONDON / BY PORD MADOX HUEFFER / LONDON: ELKIN MATHEWS / VIGO STREET MCMX "First edition, xxxi p. No flyleaves. Greenish paper wrappers. Presentation copy, inscribed: With the compliments of the season from Pord Madox Hueffer Xmas, 1909 Miss May Sinclair Only the signature is in Ford's hand." 8 x 5 5/8. Price not available. Probably published in Feb.,1910 (the first review I have found being on Feb.10, 1910). CONTENTS: Views -- Finchley Road -- The Three-Ten -- Four in the Morning Courage -- Modern Love -- Spring on the Woodland Path — Consider — Club Night -- To Christina and Katharine at Christmas — The Dream Hunt — The Old Lament -- The Gothic Woman's Love Song -- Mauresque -- In the Stone Jug -- How Strange a Thing — Every Man: A Sequence. Manuscripts: See Ciii(4) for manuscripts of six of these poems in the Loewe Collection. Previous publication: "Finchley Road": Daily Mail (Books Supp.), Jan.19,1907 (titled "Castles in the F o g T "The Three-Ten": Country Life, Jun.29,1907. "Pour in the Morning Courage": Country Life, Jun.29,1907. "Consider": Country Life, Mayll,1907. "To Christina and Katharine at Christmas": Country Life, Dec.5,1908. "The Dream Hunt": Christina's Fairy Book (as "A Dream Hunt"; with minor changes). "The Old Lament": Saturday Review, Mar.10,1906; Literary Digest, Apr.7,1906 (slight change in fourth stanza); Living Age, Jun.9,1906 (Literary Digest version). 30

A29-31 "How Strange a Thing": Country Life, May23,1908 (as "The Happy Travellers"; with a slight change, see D102). "Every Man: A Sequence": Saturday Review, Mar.18,1905. Subsequent publication: All the poems, except "The Gothic Woman's Love Song" and "Every Man: A Sequence," were reprint­ ed in Collected Poems (1914 and 1936). All were reprinted identically, except that the last line of "How Strange a Thing," "Supports us and our sin," becomes "Doth bear us and our sin." The poem "Consider" was set to music by Peter Warlock (pseud, for Philip Heseltine) and published in 1924 by Oxford University Press. This also is in the Naumburg Collection. In 1962 "Views" was republished at the end of the first volume of The Bodley Head Ford Madox Ford (see A8l). A30

THE PORTRAIT

[1910]

First edition: THE PORTRAIT / BY / FORD MADOX HUEFFER / AUTHOR OF "AN ENGLISH GIRL" ETC. / METHUEN & CO. LTD. / 36 ESSEX STREET W.C. / LONDON "First edition. [iv], 307 p., 31 p. of inserted advertise­ ments, dated February, 1910. Purple cloth with gilt letter­ ing, bottom edges untrimmed." 7 3/8 χ 4 5/8. 6s. Probably published in Jun.,1910 (the first review I have found being on Jun. 9., 1910). According to the publisher (Jan.10,1961), 2,000 copies were printed. A letter in the Deering Library, Northwestern U., dated Feb. 18,1910, shows that Ford was paid ^300 on account for advance royalties. Another copy is in the Naumburg Collection, identical except for the inscription in Ford's hand: "But I, " Mr. Bettesworth said, "you have played with me as if I were a fish upon a hair line, & here I am.'" "Oh, my friend, " Lady Eshetsford answered, "take your laurels & wear them & do not enquire too closely what hand holds the knife that cut them. For I think most great victories are like this & most victors if you could search their hearts are much as you are; for it is nine parts fortune & one of merit, & so the world goes round." F.M.H. to V.H. June MCMX A31

THE SIMPLE LIFE LIMITED

1911

First edition: THE SIMPLE / LIFE LIMITED / BY DANIEL CHAUCER / [two rules] / LONDON: JOHN LANE, THE BODLEY HEAD / NEW YORK: JOHN LANE COMPANY MCMXI "First edition. [iv], 389 p., 16 p. of advertisements on book stock paper. Red cloth with gilt lettering. Some copies have errata leaf pasted in. This copy blind-stamped on titlepage: 'Review Copy with John Lane's Compliments.' Laid in is a long letter from Ford to Violet Hunt, April 9, 1 9 H 5 from Giessen: Dear Miss Hunt, With regard to Mr. John Lane's letter of the 29th of March requesting details of my biography. The family of Chaucer is ancient and respectable having, from time 31

A31-32(a) immemorial had Its seat in the County of Kent. The most distinguished member of the family was the poet Geoffrey Chaucer of the 14th century. '. . . [There follows a long and amusing account of his life and neighbors, and concludes:] . . . perhaps you would like to forward for Mr. John Lane's instruction the following note which I am Just sending to the author of 'Who's Who'. Chaucer, Geoffrey Lsic J born lbb9 the son of W. Chaucer, Esq. of Poultney Wick, Kent and of Muriel daughter of Lancelot Klrby. Educated privatly [sicJ and at Trin Col. Cam. Married 1891 Eugenia Blosson, the champion barefoot sandal wearer of the world, whom he divorced 1910. Publications 'How to live healthily on nuts,' 1907. 'Why I wear vegetarian sandals' 1909- 'The Simple Life Limited,' 1911. Recreations: hunting, shooting fishing and stamp collecting. Clubs: Thatched House. Address the Manor House Poultney Wick Kent Telephone 190 Ightham. It may well be understood that the unfortunate event of 1910 together with the connection which preceeded [sic J it accounts at once for my knowledge of and repulsion from all forms of the 'Simple Life Limited' or 'Unlimited'. Believe me, my dear Miss Hunt Yours very sincerely Daniel Chaucer This letter, written from Germany, while Ford was attempting to obtain a divorce, can best be understood after reading Violet Hunt's I Have This to Say or Douglas Goldring's South Lodge. " 7 1 / 8 x 4 5/8. 6s. (N.Y.: $1.50) Published in England on Feb.15,1911, and probably simultaneously distributed or published in N.Y. "Daniel Chaucer": See Paul A. Bartlett, "Letters of Ford Madox Ford," S.R.L., Aug.2,1941, for the letter of Mar.30, 1910, which Ford addressed to Pinker: "I shall be sending you in the course of a few days a manuscript called 'The Simple Life, Limited' by a young author called Daniel Chaucer in whose work I am exceedingly interested. I may say that I have not the slightest doubt that it is Just as good or better than anything I could do myself. " Ford was to use this pseudony in his New Humpty-Dumpty (A37) and for certain contributions to the Transatlantic Review (D295). A32

ANCIENT LIGHTS

1911

a. First English edition: ANCIENT LIGHTS / AND / CERTAIN NEW REFLECTIONS / BEING THE MEMORIES OF A YOUNG MAN / BY / FORD MADOX HUEFFER / AUTHOR OF "THE FIFTH QUEEN," "THE SOUL OF LONDON," / "LADIES WHOSE BRIGHT EYES," ETC. / WITH NUMEROUS ILLUSTRATIONS / [quotation] / LONDON / CHAPMAN AND HALL, LTD. / 1911 "First edition, xvi, 303 P- Red cloth with gilt lettering. Presentation copy, inscribed on the half-title: For Crosbie Gaige Ford Madox Ford" New York Dec 1927 In London when an old house is threatened by a new building's being erected near its windows then a man hangs out a sign bearing the words Ancient Lights—meaning that

32

A32(a-b) he claims all the light falling from an angle of 45' above his windows. New York might do worse.' FMF" 8 1 / 2 x 5 3/8. 18 illustrations. 12s.6d. net. Published on Mar.24,1911. pp.vii-xvi: dedicatory preface to his daughters, Christina and Katharine; calls this book "the best Christmas present that I can give you," thus implying it was finished before Christmas, 1910. For an interpretation of the reasons behind this dedication, see Goldring's Trained for Genius, p.159. Title-page Quotation: "A hundred years went by, and what was left of his haughty and proud people full of free passions? They and all their generations had passed away.' PUSHKIN (Sardanapalus)." This is one of Ford's favorite passages, frequently occuring in his other works; see, for example, the title of his essay in Yale Review, Jul.,1922. pp.299-303: index. Previous publication: Chapters I, II, III, and V appeared in Harper's (Feb.,Apr.,Oct.,191Oi Mar..l911; with very slight change, including changes in titles). Part of Chapters XI and IV appeared in Fortnightly (Oct.,1910 and Mar.,1911). On p.ii appears the statement: "Various chapters of this book have appeared in Harper's Monthly Magazine, the Fortnightly and the English Reviews.' There is no sign of installments of the book in English Review; a few of his miscellaneous writings while editing the review, such as the memorial essay on Swinburne, may reappear in places in the book. Sales: A letter from Arthur Waugh, for Chapmen and Hall, dated Aug.9,1920, to J.B. Pinker, refers to the sales record of Ancient Lights, saying "we had to remainder nearly 400 out of 1000 ..." (Deering Library, Northwestern U.) "Bodley Head" Selections: In 1962 Graham Greene published in the first volume of The Bodley Head Ford Madox Ford passages he selected from Ancient Lights as well as from other volumes of reminiscence. Since he did not there identify the source of his selections, it is necessary here to cite the page references in Ancient Lights, accompanying them with Greene's heading for each selection: 1-18 ("My Grandfather's House"); 45-47 ("My Unhappiest Night"); 50-52 ("A Pre-Raphaelite Poetess"); 52-53 ("On Obsolete Words"); 58 ("Mr Ruskin's Epithet"); 62-63 ("Pre-Raphaelite Love"); 70-73 ("The Abbe" Liszt"); 76-78 ("A German Master"); 82-87 ("The Music Critic of The Times'1); 89-90 ("Strawberry Jam and Oysters"); 94 ("The Music Stopped"); 96-99 ("Poetesses in Four Wheelers"); 102-103 ("My Cousins, The Rossettis"): 126 ("A Fabian Debate"); 128-129 ("Rossetti's Inverness Cape"); 134-136 ("Mr Howell and Mr Rossetti"); 204-206 ("Ford Madox Brown: II"); 222-225 ("Ford Madox Brown: I"); 292 ("Myself"); 292-293 ("Good Friday"). These selections do not appear in the order in which they were published in Ancient Lights. b. First American edition: MEMORIES / AND IMPRESSIONS / A STUDY IN ATMOSPHERES / BY / FORD MADOX HUEFFER / ILLUSTRATED / [publisher's device] / HARPER & BROTHERS PUBLISHERS / NEW YORK AND LONDON / MCMXI "First American edition, xviii, [4], 335, U ] p., 1 leaf. Red cloth with gilt lettering. " 8 1 / 8 x 5 1/4. $1.60. p.[Ii]: "Published March, 1911."

33

A32(b)-33(b) (in the Berg Collection, New York Public Library, is a letter from Ford to Pinker, dated Feb.8 [1911], stating that he had just "received a telegram--I presume from Waugh--to say that Harpers and Chapman had agreed to publish on the 24th of March. ") Different arrangement of illustrations; simpler sub-titles (i.e., the illustrations are not identified by quotations drawn from the text), pp.331-[336] : index. A33

LADIES WHOSE BRIGHT EYES

1911

a. First English edition: LADIES / WHOSE BRIGHT EYES / A ROMANCE / BY / FORD MADOX HUEFFER / [quotation] / LONDON / CONSTABLE & CO. LTD. / 1911 "First edition. 1 leaf, [vi], 363 p., 12 p. of adver­ tisements on book stock paper. Brown cloth with gilt letter­ ing. The book enjoyed some popularity here and abroad as evidenced by the several printings. An American edition bears the imprint New York, Baker Taylor Co., 1 9 H 5 in blue cloth, with Doubleday Page & Co. on the backstrip. The title-page is mounted on a stub. A later American edition, printed from the English plates, has Doubleday Page & Company, 1912 on the title-page (mounted on a stub) and Doubleday Page & Co. on the backstrip. This is in blue cloth with white lettering. The book was reprinted in England in 1919 and 1920 by Constable in 'The Westminster Library of Fiction. ' It was again reprinted in America in 1935 by Lippincott in a considerably revised version." 7 3/8 χ 4 3/4. 6s. Probably published in Jul.,1911 (the first review I have found being on Aug.9,1911). Quotation on title-page is from Milton's "L'Allegro," the source of the title. p.[v]: dedicated to "V.H.," i.e., Violet Hunt. (See her Flurried Years, p.102: "I found in a table in the porch of Salisbury Cathedral a name for the heroine.") A second copy of the novel is in the Naumburg Collection, inscribed: For Herbert Mohan Ford Madox Ford (F.M. HuefferJ" New York Sept 26 1928 "In the summer it will be very pleasant; the birds will sing & we shall walk in the gardens. And in the winter we shall go into our little castle & we shall sit by the fire. ..." p.3^2 The quotation is from the novel. Another copy in the collection of the late Crosby Gaige (sold Mar.25,195Ο, in N.Y.C.) was described as having this inscrip­ tion in Ford's hand: "The Idea of this book was suggested to me by Mark Twain's Yankee at the Court of King Arthur. It occurred to me to wonder what would really happen to a modern man thrown back into the Middle Ages. ..." b. Revised American edition (at Cornell University): [three rules] / LADIES WHOSE / BRIGHT EYES / BY / FORD MADOX FORD / [rule] / [quotation] / [rule] / PHILADELPHIA / J.B. LIPPINCOTT COMPANY / LONDON / 1935 / [three rules] 8 x 5 3/8. 2,465 copies were printed and 2,437 sold. 34

A33(b)-34 351, [l] Ρ· Orange cloth with dark blue lettering. ; p.351 Composition dates offer the only indication in this edition that this is a revision of an earlier book: "Car­ cassonne, Nov. 1910. / New York, Dec. 1934." For a comparison of this considerably revised edition with the 1911 original, see Richard A. Cassell, "The Two Sorrells of Ford Madox Ford" (EIO36; an expanded version of pp.90-106 in Cassell's Ford Madox Ford, F37)· Among other changes, the dedication to Violet Hunt has been omitted in the revision. Other editions : See above for nearly complete listing of reissues and republications. In addition to these are two copies now in the Naumburg Collection, one the 1912 Doubleday reprint described above; the other distributed in Canada by the Musson Book Co. (whose name appears on the title-page) but printed in Garden City, N.Y., by Doubleday, Page (which is signified on verso title-page). The latter is probably also a 1912 reprint. The Constable ("Westminster Library of Fiction") reprints of Apr.,1919, Feb.,192Ο, and Apr.,1931 appear virtually identical. The 1919 publication was priced at 3s.6d., had the dedication on verso title-page, and was covered with dark blue decorated cloth with orange lettering; same measurements. The 1920 issue sold for the same price, the 1931 for 5s· net. A description of the latter reprint, housed in the Loewe Collection, follows: LADIES / WHOSE BRIGHT EYES / A ROMANCE / BY / FORD MADOX HUEFFER / (F. M. FORD) / [quotation] / CONSTABLE & CO. LTD. / LONDON [1931] 7 1/4 χ 4 1/4. Maroon cloth with gilt lettering on backstrip only. I leaf, [vi], 363 p. Verso title-page: "First published . . 1911 / Popular Edition . . 1919 / Pocket Edition . . 1931" A34

THE CRITICAL ATTITUDE

1911

First edition: THE / CRITICAL ATTITUDE / BY / FORD MADOX HUEFFER / [publisher's device] / LONDON / DUCKWORTH & CO. / 3 HENRIETTA STREET, W.C. / 1911 "First edition, vii, [l], 190 p., 1 leaf with printer's imprint on verso (recto blank). Black cloth, lettered in gilt on the backstrip only. These essays were contributed to The English Review. They were reprinted in 1915 in 'The Reader ' s Library. ' " 7 5/8 χ 5 3/8. 5s. net. The top edges only are trimmed and they are gilt. Probably published on Oct.21,1911 p.v: dedication to W.P. Ker. Previous publication: Chapter VII was previously published under the same title, "The Woman of the Novelists, " in Vote (Aug.27, Sept.3,10,17,1910). Chapter VIII, "Modern Poetry, " appeared in Thrush, Dec.,1909· The other chapters appeared in English Review: Chapters I, III, IV, V, and VI were there published under the general heading "The Critical Attitude" (respectively, Feb.,1910; Oct.,Nov., Dec ., Sept.,1909). Chapter II gathers together the four editorials entitled "The Functions of the Arts in the Republic" (Dec. through Mar.,1909). Other "edition": The Duckworth file copy of the 1915 reprint has the same pagination and title-page (only there is no date).

35

A34-36 Verso title-page: "First published 1911 / Published in the Reader's Library 1915." Blue cloth with gilt lettering on backstrip, publisher's seal on front. Top edges not gilt; all edges trimmed. This edition was priced at 2s.6d. net. A35

HIGH GERMANY

[1912]

First edition: HIGH GERMANY / ELEVEN SETS OF VERSE / BY FORD MADOX HUEPPER / [quotation] / DUCKWORTH & CO / LONDON MCMXI "First edition. Iv, [l] p. Errata leaf tipped in before p.[vii]. Tan paper wrappings. The cover bears the poem from which the title is taken, and is ascribed to Folk-Songs from Somerset. These poems were reprinted in Collected Poems (1914), Another copy, without the errata leaf, is a presentation copy, inscribed in the hand of Violet Hunt: With all good wishes Prom Ford & Violet Hueffer Xmas 1911^12^1 7 3/4 x 5 1/2. Is. net. Probably published in Feb.,1912 (the first review I have found being in Mar.,1912). The above inscription as well reinforces the supposed date of publication. At the end of the pamphlet appear dates which seem to limit the period of composition: "Paris, Sep. 6th--Giessen, Nov. 1st MCMXI." CONTENTS: The Starling -- Autumn Evening -- In the Train -The Exile — Rhyming — Moods on the Moselle -- Canzone a la Sonata — The Feather -- SU'ssmund's Address — In the Little Old Market-Place -- To All the Dead. Manuscripts: See Ciii(5) for manuscripts of four of these poems in the Loewe Collection. Previous publication: Only one poem seems to have been printed before : "The Starling," Fortnightly, D e c , 1911. Subsequent publication: All of the poems were reprinted in Collected Poems, 1914 and 1936. In these later publications the last two lines of "The Exile" were omitted: "My father had many oxen yet all are gone; / My father had many servants; I sit alone." A36

THE PANEL

1912

First edition: THE PANEL / A SHEER COMEDY / BY / FORD MADOX HUEFFER / AUTHOR OP "LADIES WHOSE BRIGHT EYES," ETC. / LONDON / CONSTABLE AND CO. LIMITED / 1912 "First edition. 327 p. Red cloth with blind-stamped lettering. The book appeared in America in 1913 in a considerably rewritten form as : Ring for Nancy." 7 1 / 4 x 4 3/4. 6s. Probably published in Jun.,1912 (the first review I have found being on Jun.20,1912). p.[v]: dedication to Miss Ada Potter. (it was at one of "Miss Ada Potter's Matine'es" that Ford's play based on The Fifth Queen Crowned was performed in Mar.,1909.) Hasty Composition and an American Version: In the Huntington Library is a letter from Ford to Pinker, dated Jun.3jl912: "I really think it is time that you let me hear something about Constable's intentions in publishing the Panel. You

36

A36-38 worried me In their Interests until I wrote the novel In about a month and induced a very severe nervous breakdown from which I am still suffering." This may have been, as Violet Hunt said on p.202 of The Flurried Years, "the beginning of a fresh attack of neurasthenia that lasted three whole years, and was responsible for many things, and much private and particular misery." That Ford put no great store by the novel produced in these circumstances, another letter in the Huntington Library testifies. "I have no objection to Mr. Bobbs Merrill doing anything he likes with 'The Panel.' He may change the title, rewrite the dedication, alter the end into a Tragedy in which all the people stab each other . . . " The letter is dated May6,1913, and Ford is referring to the proposed American publication, Ring for Nancy. See A42 for this revised version and comment on the revisions. Dramatization: See Cv(4) for an incomplete typescript in the Loewe Collection. The book was dramatized after both the English and the American publications, under the title "The Panel." On p.1761 of Dramatic Compositions Copyrighted In the United States, l870-191b there is an entry for this play, dated Feb.27,1914: "Comedy in 4 acts, by F.M. Hueffer and E.L. Swete. (120)p. 4°. Typewritten." A letter in the Deering Library, Northwestern University, inquires about the play's progress. The letter is from a Mr. Watson of the Haymarket Theatre to J.B. Pinker, dated Mar.31,1914: "Mr. Swete finished his adaptation in January, which Mr. Hueffer approved, and has now been certified for copyright in the United States. Do you think any more is likely to be done from the other side regarding the enquiry that you had?" I have not discovered whether or not the play ever reached production. Ford and his agent evidently tried for some time to have the play made into a film. In the Huntington Library is a letter from Ford to Pinker, dated Jul.8,1920: "Ref. you last letter and the cinema rights of the Panel. I was quite aware that the arrangement with the American people had fallen through. . . . The book is a bad book but it would make a good film. A37

THE NEW HUMPTY-DUMPTY

1912

First edition: THE NEW [three type ornaments] / HUMPTY-DUMPTY / BY DANIEL CHAUCER / [quotation] / LONDON: JOHN LANE THE BODLEY HEAD / NEW YORK: JOHN LANE COMPANY MCMXII "First edition, vi, [2], 432 p., 8 p. of advertisements on book stock paper. Title-page is divided into three rectangles by a double line of rules. Reddish-brown cloth with black let­ tering. Two copies: Violet Hunt's, with her signature ('Violet Hueffer') on the flyleaf; Ford's own copy, with his book-stamp on the flyleaf. Ford's copy has additional adver­ tisements inserted at the end." 7 3/8 χ 4 3/4. 6s. (N.Y.: $1.25) Published on Jul.9,1912 in England and probably simultaneously in N.Y. Black lettering on front cover but gilt lettering on backstrip. pp.[v]-vi: dedicatory letter to George Plumpton McCulloch. A38

THIS MONSTROUS REGIMENT OF WOMEN

First edition:

37

[1913]

A38-39 THIS / MONSTROUS REGIMENT / OP WOMEN / BY / PORD MADOX HUEPPER / AUTHOR OP "THE SOUL OP LONDON3" "THE FIFTH QUEEN," / "ANCIENT LIGHTS," ETO. / [rule] / ALL RIGHTS RESERVED [no publisher or date] "First edition. 28 p. Brown paper wrappers. Published by the Women's Freedom League, price sixpence. Written for the suffragettes, probably in 1913·" 7 1/8 χ 4 5/8. Illustrated by pictures of Queen Victoria and Queen Anne. Dated as "1913" by the Subject Index in the Britis Museum. In Aug.,1962, Miss Pamela Rose of Camborne, Cornwall, England, kindly sent me information regarding this pamphlet: "The publisher was: The Minerva Publishing Co. Ltd., 2, Robert Street, Adelphi, London W.C. The date of publication appears to have been sometime in the period January-March. 1913. I have deduced this from adverts, in 'The Vote,' but cannot date more exactly. I can find no information about no. of copies,- an advert in 'The Vote' of Sept. 19,1913 offers the pamphlet, previously published at 6d, for 3d per copy. " Miss Rose also observes that she doesn't know of "any other suf­ fragist writing by Ford [other than items I had mentioned to her, see particularly D121,129,135*138,184,188, also the seventh chapter of The Critical Attitude] but note that his 'Mr Pleight' ... was reviewed in very complimentary terms in 'The Common Cause' for Aug.1,1913 . . . " In Return to Yesterday (N.Y., p.349) Ford claims that "at the time of the Suffragette agitations I wrote a great deal that Miss Pankhurst published, where and how she liked." This implies that much of Ford's writing on the subject was published anonymously. On p.408 of Return to Yesterday Ford speaks of having given the suffragettes "all the help I could both in writing and with suggestions. I wrote for them a pamphlet called This Monstrous Regiment of Women. It is the only work of mine that I care to mention by name in these pages ... and proud of it still.'" A39

MR. PLEIGHT

1913

First edition: MR. / FLEIGHT / BY / FORD MADOX HUEFFER / [two quotations] / LONDON: HOWARD LATIMER, LTD. / GREAT QUEEN STREET, KINGSWAY / MCMXIII "First edition. [viii], 306 p. Brown cloth with gilt lettering, bottom edges untrimmed. Violet Hunt's copy, with her signature ('Violet Hueffer') on the flyleaf." 7 1/2 χ 5. 6s. Probably published on Apr.30,1913. p.[v]: dedication to R.B. Cunninghame Graham. Dubieties of Publication: Ford refers (without naming the book) to the publicity campaign carried on by R.B. Byles in behalf of this book, Return to Yesterday, N.Y., pp.237-238. Concludes: "In the event, the book was seized by the sheriff's office because Byles's firm could not pay its printer's bills, so that it was never actually published." Goldring, in Trained for Genius, p.171, quotes a letter from Ford to the same effect. "... I do not remember ever having seen a copy other than that of the Colonial edition . . . " On the same page Goldring quotes a "reply to a letter asking for informa­ tion, which appeared in The Times Literary Supplement of September 11th, 1948 . . .: Ί have in my possession a copy

38

A39-41 of "Mr. Fleight" published by Howard Latimer Limited under the author's then name Pord Madox Hueffer. This has on the title-page [verso, no doubt] "First published April 30th, 1913, second impression May 19th, 1913, third impression June 14th, 1913·"'" (There is a copy of this edition in the Huntington Library with an inscription by Violet Hunt: "To Mary Austin / an 'angel-awares' / from Violet Hueffer. / 1921") Prom a letter from William A. Bradley to Ford, dated Jan.20,1929 (in the collection of Mrs. W.A. Bradley), it ap­ pears there may have been yet another "edition" of Mr. Fleight. "I have just had the following letter from Bell, apparently confirming my guess as to the origin of that publisher's edition of MR. FLEIGHT. 'The facts about our colonial edition of MR FLEIGHT are these: On January 23rd, 1918, we concluded an arrangement with Mr. Howard Latimer ... by which we bought 5°0 sheets of the book, together with the colonial rights . . .'" Film Rights: On p.209 of Trained for Genius Goldring remarks: "I learn from an American source that he ... received ^250 for the film rights of Mr. Fleight. " See Ford's article, "The Movies" (D265), which asserts that by 1915 he had al­ ready seen a cinematic version of one of his novels. I lack any other confirmation that Mr. Fleight was dramatized and produced. A40

THE DESIRABLE ALIEN

1913

First edition: THE DESIRABLE ALIEN / AT HOME IN GERMANY. BY VIOLET / HUNT. WITH PREFACE AND TWO / ADDITIONAL CHAPTERS BY FORD / MADOX HUEPPER [five type ornaments] / [publisher's device] / LONDON. CHATTO AND WINDUS / IN ST. MARTIN'S LANE. MCMXIII "First edition. 1 leaf, xiii, [l], 327 p., 32 p. of inserted advertisements. Title-page in blue and black. Purple cloth with gilt lettering. Design on cover by Pickford Waller, whose copy this was." 7 1/4 χ 4 5/8. 6s. Probably published in Sept.,1913p.[v] : dedication to Mrs. Oswald Crawford. Ford's share in this collaboration seems clearly defined: the "additional chapters," Chapters IV and XVI, were both previously published (Saturday Review: see Dl48). In addi­ tion to the preface and the two signed chapters there are initialled footnotes by Ford to these pages of Violet Hunt's contribution: pp.3,12,21,22,26,28,35,39,42,105,111,112,125, 135,137,149,175,190, 207,209, 228,238, 250, 255,256, 262,268,282, 295. Many of these footnotes are quite long and most correct "erroneous" statements about German customs and culture in the text. A4l

THE YOUNG LOVELL

1913

First edition: THE YOUNG LOVELL / A ROMANCE / BY FORD MADOX HUEFFER / [quotation] / LONDON / CHATTO & WINDUS / 1913 "First edition. [iv], 31° p., 1 leaf with publisher's device on recto (verso blank), 32 p. of inserted advertise­ ments. Title-page in red and black. Red cloth with gilt lettering.

39

A41-42 Presentation copy: To Bridgit FMH October 9th MCMXIII The recipient was probably Bridgit Patmore. See South Lodge, p.68." 7 1 / 4 x 4 5/8. 6s. Probably published in Oct.,1913 (the first review I have seen being on Oct.11,1913)· The "Bridgit" of the inscription should probably read "Briglt, " the person in question probably, as the quotation supposes, being Brigit Patmore (see F170). In the Naumburg Collection is a letter from Ford (who was then at the Hotel de Provence, St. Remy-de-Provence, Bouches du Rhone) to J.B. Pinker, dated Mar.17 (the receipt stamp identi­ fies this as 1913), giving a synopsis of The Young Lovell: "... the book will be, when it is done a pretty big and serious historical work, rather like 'The Fifth Queen1 but, in a sense, more romantic. I don't want to let it go to just any publisher because, if it is anything at all, it is really literature and I have spread myself enormously over it . . ." However, see "Letters of Ford Madox Ford," S.R.L., Aug.2,1941; the commentat< Paul A. Bartlett, notes that Ford omitted this novel from the list when he came to propose a collected edition of his works. Manuscript: See Ci(8) for the manuscript in the Loewe Col­ lection. A42

RING FOR NANCY

[1913]

First edition: RING FOR NANCY / A SHEER COMEDY / BY FORD MADOX HUEFFER / AUTHOR OF / LADIES WHOSE BRIGHT EYES, ETC. / ILLUSTRATED BY / F. VAUX WILSON / INDIANAPOLIS / THE BOBBS-MERRILL COMPANY / PUBLISHERS "First American edition. [x], 350 p. Blue cloth with gilt lettering. It was later reprinted under the Grosset & Dunlap imprint the same year." 7 3/8 χ 4 3/4. $1.25. Probably published in Oct.,1913 (the first review I have found being on Oct.25,1913). p.fv]: dedication repeated from The Panel (A36), of which Ring for Nancy is a revised and expanded version. Revision of "The Panel": In the Naumburg Collection is a letter from Ford (who was still at the Hotel de Provence) to J.B. Pinker, dated Mar.13,1913, which says in part: "I enclose four sets of alterations for 'The Panel'--pages 1-46-159-and 327 (the end). If you will just ask Messers Bobbs Merrill to insert them in the copy from which they print that ought to do the trick. If that isn't enough, just let me know and I will do some more, for I am not expert in this particular kind of devil, or rather pirate dodging." Such alterations as Ford made in The Panel for Bobbs-Merrill seem thus motivated: rather than being changes made for an American audience or, with one possible exception, improve­ ments which arose from second thoughts, they serve apparently only to make the American edition "different." The exception is Ford's clarification of what in The Panel seemed a deliberati confusion in naming Major Brent Foster's loved one: there she had appeared alternately as Mary Savylle and Nancy Savylle; here she appears as either Mary Savylle or Nancy Jenkins, the

40

A42-43(a) Indispensable lady's maid. Reprint: The Grosset and Dunlap reprint mentioned above is also in the Naumburg Collection and is identical with the Bobbs-Merrill copy except for the cover (light blue cloth with black lettering) and title-page: RING POR / NANCY / A SHEER COMEDY / BY / PORD MADOX HUEPPER / AUTHOR OF / LADIES WHOSE BRIGHT EYES, ETC. / ILLUSTRATED BY P. VAUX WILSON / [design] / GROSSET & DUNLAP / PUBLISHERS . . NEW YORK [1913] This was a cheaper edition, priced at $.75. A43

COLLECTED POEMS

[1913]

a. First edition: COLLECTED POEMS / BY / FORD MADOX HUEPPER / LONDON / MAX GOSCHEN LIMITED / 20 GREAT RUSSELL STREET W.C. / 1914 "First edition. 227 P- Title-page in red and black. Blue cloth with gilt lettering. The collection includes 'High Germany,' 'Songs from London,' 'From Inland,' 'The Pace of the Night, ' 'Poems for Pictures,' and 'Little Plays. ' Presentation copy, inscribed: With all good wishes from Ford Madox Hueffer Xmas 1913 Prom the date of the inscription, it may be presumed that the book was actually published in 1913 and post-dated. " 8 1/4 χ 5 3/8. 5s. net. Probably published in Nov.,1913 (the first review I have found being on Dec.6,1913). See Goldring's Trained for Genius, p.172: "The issue of the Collected Poems was an act of piety on the part of the writer LGoldring] who was then acting, like Byles, as a publisher's manager. It was well produced and printed, but the sales, alas, were negligible. " Also in his autobiography, Odd Man Out, p.Ill, Goldring explains that the journal which he edited, The Tramp, "died owing Ford^30 [see Ford's con­ tributions, Mar.-Jul.,1910], so I hit on this ingenious way of handing him the money. We paid an advance of £30, but the book had not much sale." CONTENTS: Preface. I. High Germany -- II. Songs from London -- III. From Inland -- IV. The Face of the Night -V. Poems for Pictures -- VI. Little Plays. The poems were arranged generally in reverse order of publi­ cation. Previous publication: The preface was written specially for this collection, but it represents a slight revision and amalgamation of previously published essays (see Dl60-l6l). The first five sections do not in every case represent a full and exact reprinting of the poems from those editions of the same titles. All the poems from High Germany are here but in a different order (and see the alteration in "The Exile"). All the poems from Songs from London are also here (except "The Gothic Woman's Love Song" and "Every Man: A Sequence") and in the same order. Many of the poems from Prom Inland are either omitted or ap­ pear elsewhere under different headings. All the poems from The Face of the Night are included, but 41

A43(a)-44 three have been shifted to the "Little Plays" section ("The Mother: A Song Drama," "Perseverance d'Amour," and "The Face of the Night: A Pastoral"). These poems are in a slightly different order. All the poems from Poems for Pictures are here except: "In Adversity," "'Du Bist die Ruh,'" and "For the Bookplate of a Married Couple." Three of these poems appear under the head­ ing "Little Plays," four under "From Inland." (The author's note on p.137, prefaced to the "Poems for Pictures" section should read "1900" instead of "1897-") b. Second "edition": COLLECTED POEMS / OF FORD MADOX HUEFFER / LONDON / MARTIN SECKER / NUMBER FIVE JOHN STREET ADELPHI / MCMXVI "Printed from the same plates, same pagination. Gray cloth, paper label on backstrip. Presentation copy, inscribed: Mr. and Mrs. Herbert Gorman very gratefully Ford Madox Ford New York Halloween MCMXXVI On the back flyleaf and end paper Ford has written and signed a poem 'Aupres de ma Blonde,' dated 'Fifth November MCMXXVI.' A typewritten version is also pasted in. This poem appeared in New English Poems, ed. by Lascelles Abercrombie, London, V. Gollancz, 1931." 7 5/8 χ 5 1/2. A letter from Seeker, Dec.15,I960, explains the history of this "second edition": "Seeker acquired the rights and 500 copies in sheets and 226 bound copies from Goschen in May 1915 and appears to have begun selling the bound copies immediately. 500 cancel titles and 500 labels for the bindings were printed and 105 copies (presumably of the Goschen-bound copies) were sold to America (name of publisher not given) in August 1915. Total sales including the American sale had reached 222 copies by December 1920, so presumably it was about then that the Goschen copies were exhausted. I see, however, that Seeker bound 100 copies, presumably including the cancel titles, as early as April 1916. The last sale recorded was in October 1935* when the sales had reached 304 copies. 238 copies in sheets were destroyed by bombing in the war." The poem referred to in the above quotation, "Aupres de ma Blonde," also appeared in Ford's New Poems and his last edition of Collected Poems in 1936; this typewritten version is a bit different from the final version. See A76, "Earlier Version of the 'Buckshee1 Poems." A44

HENRY JAMES

[1914]

First English edition: HENRY JAMES / A CRITICAL STUDY / BY / FORD MADOX HUEFFER / LONDON / MARTIN SECKER / NUMBER FIVE JOHN STREET / ADELPHI / MCMXIII "First edition. 191, [l] p. Black cloth with gilt lettering. The book was reprinted in 1918 by Seeker, in boards with paper label. Published in America by A. & C. Boni (1915) and Dodd Mead (l9l6). Laid in Is a long letter from Ford, dated Ί8.8.18.' It mentions several of his novels and the possibility of Seeker's publishing a collected edition of his novels." 42

A44-45 8 1/2 χ 5 1/2. 7s.6d. net. 1,000 copies published on Jan.l, 1914. According to the publisher, in a letter of Dec.15,1960, some of these copies went to America: see below, "Other 'editions.' " The volume was presumably intended as a celebration of James's seventieth birthday, in 1913. p.[5]: dedication to Mrs. Edward Heron Allen. In the Naumburg Collection is a letter from Ford to Eric Pinker, dated Mar.25,1930, which deals interestingly with the imperfections of the relationship with the publishers, Martin Seeker. See CIi(6) for a corrected proof copy in the Loewe Collection. Other "editions": The publisher's letter mentioned above explains the various "republications," English and American: "105 American copies were supplied in August 1914 to Boni, 210 in October 1914, and 244 copies in June 1915- It is not quite clear from these old records whether these were sup­ plied in sheet form or bound form, though it rather looks as if they may have been supplied bound. The total sales of this edition including the copies for the U.S.A. had reached 886 copies by May 1917, after which no further sale is record­ ed. [See above, re the "publication" by Dodd, Mead of N.Y. in Sept.,1916: the publisher informed me on Jul.8,i960 that "we imported an edition, bound from Martin Seeker of London. This amounted only to 260 copies."] A reset edition of 1000 copies priced at 3/6d. was published in March 1919 · · · Only 500 of these were ever bound, and by February 1930 437 copies had been sold. No sales were recorded after that, and the remaining sheets were destroyed by bombing during the war." The "reset" edition may have been published, as mentioned above, in 1919, yet a copy in the U. of London Senate House Library is dated "1918. " Title-page identical except for publisher's address: XVII BUCKINGHAM STREET / ADELPHI (no date). Facing title-page: "First published 1913 / New Edition (re-set) 1918" 6 3/8 χ 4. 174, [l] p. This copy was rebound. Dedication verso title-page. A45

ANTWERP

[1915]

First edition: ANTWERP / BY FORD MADOX HUEFFER / THE POETRY BOOKSHOP 3d. NET [no date] "First edition. 4 leaves. White paper wrappers, the front wrapper serving as the title-page. Cover design by Wyndham Lewis, as well as heading to Part III and the design at the end. Two copies are represented here, the regular edition, and a proof copy in a different shade of red ink, and unstitched. Exact date of publication unknown. Later reprinted in On Heaven and Other Poems Written on Active Service." 8 5/8 χ 6 3/4. Probably published in Jan.,1915 (the first review I have found being on Jan.7,1915). The cover design is of a stylized soldier with a rifle. The poem is in six sections, each headed with roman numerals. Colophon: "London: The Poetry Bookshop, 35 Devonshire St., Theobalds Road, W.C." Manuscript: See Ciii(7) for the manuscript in the Loewe Collection. Subsequent publication:

In the acknowledgments at the head

43

A45-46(a) of Collected Poems, 1936, appears the statement, indubitably by Pord, that Antwerp "was also circulated as official propa­ ganda by H.M. Ministry of Information in 1914-15." The review of Antwerp in New Witness, E276, implies that this poem was sent out as Christmas cards by Ford to his friends. In the republications of On Heaven and Collected Poems (1936) the fourth section of the poem was changed somewhat: the first nine lines of the fourth section were preserved intact. Line ten of the reprinted versions has "an honourable word," whereas the original had "an honourable name." Also in the original there are four lines which do not appear before the tenth line in the later versions: And you will say of all heroes: "They fought like the Belgians.1 " And you will say: "He wrought like a Belgian his fate out of gloom." And you will say: "He bought like a Belgian His doom. " A46

THE GOOD SOLDIER

1915

a. First edition: THE / GOOD SOLDIER / A TALE OF PASSION / [rule] / BY / FORD MADOX HUEFFER / AUTHOR OF "THE FIFTH QUEEN," ETC. / [rule] / "BEATI IMMACULATI" / [rule] / LONDON: JOHN LANE, THE BODLEY HEAD / NEW YORK: JOHN LANE COMPANY / MCMXV "First edition. 294 p., 16 p. of inserted advertisements in which this book is listed under the title 'The Saddest Story.' Title-page enclosed by a single-line border. Red cloth lettered in white on cover and in gilt on backstrip. The circumstances of the change of title are told in the preface to the 1927 American edition, published by A. & C. Boni. The story is also told by Violet Hunt in I Have This to Say, p.295. The book first appeared in the magazine Blast, June 20, 1914. The first edition is represented by two copies, the first with a presentation inscription: Joseph Conrad from Ford Madox Hueffer Iu March Ί5Ϊ5 The second has, pasted to the front end paper, the letter from Ford to John Lane printed in my foregoing article [PULC, IX, 111 (April,1948)--asks for "the fifty pounds that became due to me on the delivery of the ms. of 'The Saddest Story.'"]." 7 3/8 χ 4 7/8. 6s. (N.Y.: $1.25) Published on Mar.17, 1915 in England and probably simultaneously in America. Previous publication: The beginning of the novel, in some­ what different form, was published as "The Saddest Story"; see the quotation above and my entry for Blast, Jun.20,1914 (D207). Manuscripts: See Ci(9) for three manuscripts of the novel, two complete, none of three being the manuscript of which Violet Hunt speaks in The Flurried Years, p.244 (she claims that she found the manuscript "in the dustbin ... in a hundred pieces, and it took me a week to mend each one separately and send to a publisher"). In his "Dedicatory Letter" to the 1927 edition, Ford says he "sat down to write this book—on the 17th of December 1913 ...," his fortieth birthday. "I fully intended it to be my last book."

44

A46(a-d) Sales: A matter of interest, with regard to the letter men­ tioned above, is another letter (Deerlng Library, Northwestern U.; dated Jul.26,1920) from the publisher, John Lane, to J.B. Pinker: "... on 'The Good Soldier' Mr. Hueffer has earned κ 67.11.11, and I have lost £54.10.0, which does not tend to prove that Mr. Hueffer gave me his book at a cheap price." The publishers informed me on Nov.24,I960, that The Good Soldier underwent a second impression in 1915. b. Second American edition (also in Naumburg Collection): THE GOOD / SOLDIER / [rule] / A TALE OP PASSION / BY FORD MADOX PORD / [rule] / "BEATI IMMACULATI" / [rule] / ALBERT & CHARLES BONI / NEW YORK [publisher's device] MCMXXVII 7 3/8 χ 4 7/8. $2.50. The first review I have seen is in Apr.,1927. [χ], 260 p., 1 leaf. Green cloth with gilt lettering; green and white figured end papers. Title-page enclosed in double line of rules and single line of type design; in green and black. "Dedicatory Letter: To Stella Ford": first printed in this edition and incorporated into most editions, dated "NEW YORK, January 9, 1927." In this preface Pord says he has been "lately forced into the rather close examination of this book, for I had to translate it into French." There is no record of this translation, either in manuscript or publication; a translation by another hand was published in 1953 (see below, "f"). "Limited edition": Mr. Edward Naumburg, Jr. gives me this information about another copy of the above edition: "This edition, printed on Rag Laid double edge paper and signed by the author, is limited to 300 numbered copies for sale & 25 copies for presentation, of which this is #95· " The limited "edition" is apparently a limited issue of the regular 1927 American edition. c. Second English edition (in the British Museum): THE GOOD SOLDIER / A TALE OP PASSION / BY / FORD MADOX PORD / "BEATI IMMACULATI" / JOHN LANE / THE BODLEY HEAD LTD [1928] 7 x 4 1/2. 3s.6d. net. "Week-End Library" edition, published on Feb.24,1928. xii, 3l6 p., 8 p. of advertisements on book stock paper. Red cloth with gilt lettering; top edges maroon, all edges trimmed. Signature on front cover: "P.M. Pord" Title-page enclosed in ornamental border. Contains the "dedicatory letter" first published in 1927, with an erroneous footnote: "This letter was written as a special introduction to The Good Soldier in the collection of the author's works published in America." No collected edition of Ford's works had been published by that date. d. Third English edition (also in Naumburg Collection): THE / GOOD SOLDIER / A TALE OP PASSION / BY / FORD MADOX FORD / "BEATI IMMACULATI" / [publisher's device] / PENGUIN BOOKS / HARMONDSWORTH MIDDLESEX ENGLAND / 245 FIFTH AVENUE NEW YORK U.S.A. [1946] 7 1/8 χ 4 1/4. Is. net. Probably published in Aug.,1946. 234 p., 3 P- of advertisements, no flyleaves. Orange, white and black paper covers (standard Penguin Fiction edition). Contains the dedicatory letter with the erroneous footnote first published in the 1927 edition.

45

A46(e-g) e. Third American edition (also in Naumburg Collection): PORD MADOX PORD / THE GOOD SOLDIER / A TALE OP PASSION / "BEATI IMMACULATI" / WITH AN INTERPRETATION BY / MARK SCHORER / [publisher's device] / ALFRED A. KNOPP: NEW YORK / 1951 7 1/2 χ 5. $3.00. Probably published in Sept.,1951 (the first review I have found being on Sept.16,1951). 2 leaves, xxii, 256 p., 3 leaves (colophon verso first leaf). Black cloth, black lettering stamped on front cover, gilt lettering on backstrip. "First Borzoi edition." Distributed in Canada by McClelland and Stewart of Toronto. 5,500 copies were printed; as of Jul.18,I960, 4,905 copies had been sold. Schorer's "Interpretation": On p.xv a note is appended. "The first version of this essay appeared in an issue of The Princeton University Library Chronicle (April 1948) devoted to Pord Madox Pord. In a slightly altered form, it appeared again, in Horizon (August 1949). This third version, of 1951, differs from the others chiefly in that today one need no longer make the kind of appeal for readers of Pord that was necessary only three years ago." The 1927 dedicatory letter (without erroneous footnote) is printed on pp.xvii-xxii. f. French translation (also in Naumburg Collection): QUELQUE / CHOSE / AU COEUR / PAR / PORD MADOX PORD / TRADUIT DE L'ANGLAIS / PAR JACQUES PAPY / LE CLUB FRANCAIS DU LIVRE / 1953 8 1 / 8 x 5 1/8. 65Ο fr. [viii], 251, [l] p., 2 leaves (publisher's imprint verso first leaf). Gray cloth with gilt lettering. Photo of Ford faces title-page. Does not contain the 1927 dedicatory letter. 12,000 copies were printed. This is a presentation copy, inscribed: Edward Naumburg Tn" Memory of Ford Janice Biala This is apparently the first and only French translation of The Good Soldier, although Ford speaks, in his 1927 dedicatory letter, of having been "lately forced into the rather close examination of this book, for I had to translate it into French." Also see Return to Yesterday, N.Y., p.410, where he again mentions this translation (though not by name): "I had begun to make it in BeOourt-BeOordel Wood in July 1916." Mrs. Janice Biala Brustlein informs me that this translation was reissued in the fall of 1961. g. Fourth American edition (also in Naumburg Collection): FORD MADOX FORD / THE GOOD SOLDIER / A TALE OF PASSION / "BEATI IMMACULATI" / WITH AN INTERPRETATION BY / MARK SCHORER / VINTAGE BOOKS: NEW YORK / 1957 7 1/8 χ 4 1/4. $1.25. Substantially the same as the 1951 Knopf hard-cover edition, a.v. (this is the "first Vintage edition"). 1 leaf, xxii, 256 p., 3 leaves (biographical sketch and colophon verso first leaf). Black, white and orange "paper covers, design on front by Stephen Greene. Back cover: endorsement by fifteen "distinguished critics." By Jul.18,i960 this edition had achieved the largest sales of any noncollaborative work by Ford, 19,631 copies (27,609 had

46

A46(g)-47 been printed); the edition was then still in print. Distribut­ ed in Canada by McClelland and Stewart of Toronto. h. First Italian translation (also in Naumburg Collection): PORD MADOX PORD / IL BUON SOLDATO / LERICI EDITORI MILANO [I960] 8 5/16 χ 5 ΐΛ· 1,500 lire. 283, [l] p., 2 leaves (index recto first leaf; printer's imprint recto second leaf giving date of printing—February,i960). Heavy paper boards on front and back; crimson, with black lettering on front cover; black lettering on white backstrip. Some copies have a black paper publicity band around the cover, which contains, on the front, a photo of Pord and a quotation attributed to Lawrence Durrell: "rischia di essere il romanzo piu importante dell'epoca moderna." Recto first end leaf: On brown ribbed paper, a summary of The Good Soldier and brief biography of Pord. p.[4]: Includes authorization of translation and only ap­ pearance of name of translator. "Unica traduzione autorizzata dall'inglese di Mario Guerra." pp.7-11: 1927 Dedicatory Letter. i. Second Italian translation (also in Naumburg Collection): PORD MADOX PORD / IL BUON SOLDATO / ROMANZO / PELTRINELLI EDITORE MILANO [i960] 7 1/16 χ 4 1/4. 300 lire. 24l, [l] p., 3 leaves of ad­ vertisements, no end leaves. Paperback; brightly coloured pictorial front cover with black lettering; black lettering on white backstrip; back cover contains summary of the plot and brief biography, both different and briefer than the similar items in the first Italian translation. p.[2] (facing title-page): Name of translator and date of publication. "Traduzione dall'inglese di Guido Pink . . . Prima edizione nell''Universale Economica': settembre i960." Does not contain the 1927 Dedicatory Letter, p.[242], bottom: Printer's imprint, dated Sept.10,i960. [j. German translation: Mrs. Janice Biala Brustlein informed me on May27,1962 that a German translation had "just come out" in Sweden (the translator being Otto Walter, the publisher, Tidens; a German-Swiss publication).] k. Fourth English edition (in my collection): THE BODLEY HEAD / PORD / MADOX FORD / VOLUME I / THE GOOD SOLDIER / SELECTED MEMORIES / POEMS / [publisher's seal] / THE BODLEY HEAD / LONDON [1962] 7 1/2 χ 4 1/2. 25s. See A8l for other materials in this volume and a description of Volume Two. Published in Jun., 1962. Edited and introduced by Graham Greene. 38Ο p. (Greene's introduction is on pp.7-12; The Good Soldier is on pp.15-220). Blue cloth, slightly nubby; gold lettering on backstrip only. Dust jacket is lighter blue with red and black lettering. Lacks the dedicatory letter. A47

WHEN BLOOD IS THEIR ARGUMENT

First edition: WHEN BLOOD IS THEIR CULTURE / BY / FORD AND STOUGHTON / NEW "First edition,

/ ARGUMENT / AN MADOX HUEFFER / YORK AND2 LONDON xxiv, 35 + P-, 1 kl

1915

ANALYSIS OF / PRUSSIAN [quotation] / HODDER / MCMXV· leaf. Red cloth with

A47-48 black lettering. The American edition, with the same titlepage as above, was issued in black cloth with red lettering, and has the imprint of George H. Doran Company at the foot of the backstrip." 7 1/4 χ 4 3/4. 2s.6d. net (N.Y.: $1.00). Probably published in England in Mar.,1915 (the first review I have found being on Mar.25,1915); published in New York on Mayl5,1915 (this American edition is also in the Naumburg Collection). Quotation on title-page is the passage from Henry V, Act IV, Scene I, from which the title is taken. p.v: dedication. "To / Our much loved friends / Therese and Emile--/ who, / being of--on the frontier of Belgium, / disap­ peared from the knowledge / of the outer world on / the third of August MCMXIV, / the first of mankind / to experience the effects / of Prussian culture, / this / with affection if they / be spared to enjoy this witness / of affection. / Their names / I dare not inscribe / lest the inscription / ensure for them the final culture of death." pp.321-343: appendices. The Huntington Library of San Marino has a copy of the book with two title-pages in succession, both the same except for the second page, which prints the publisher's location thus: LONDON NEW YORK TORONTO The first page lists only London and New York, as does the Naumburg copy. This is presumably, however, the same English edition. A corrected proof copy is in the Loewe Collection (Cii[7])· Previous publication: Much of the book first appeared in weekly installments of Outlook (London) between Oct.3 and Dec.19,1914 and between Feb.6 and 27,1915, ^. v. A48

BETWEEN ST. DENNIS AND ST. GEORGE

1915

First edition: BETWEEN ST. DENNIS / AND ST. GEORGE / A SKETCH OF THREE CIVILISATIONS / BY / FORD MADOX HUEFFER / AUTHOR OF / "WHEN BLOOD IS THEIR ARGUMENT" / [quotation] / HODDER AND STOUGHTON / LONDON NEW YORK TORONTO / MCMXV "First edition. 1 leaf, x, 297, UJ P1 leaf. Grayishbrown cloth with black lettering. A companion volume to When Blood is Their Argument. It was soon published in France: Entre Saint Denis et Saint Georges, Esqulsse de Trois Civilisations, traduit de 1'anglais par M LMarieJ Butts, Paris, Librairle Payot & Cie., 1916. This volume in paper wrappers is accompanied by a letter to Ford from C.F.G. Masterman to whose wife the book was dedicated. Referring to this transla­ tion, he writes: 'My dear Ford: These [evidently the transla­ tions] just came. Can send you some more copies if you like. . . . Let's see you on your way through town. Good luck and Heaven bless you. Ever affect yrs. C.F.G.M.'" 7 1 / 4 x 4 5/8. 2s.6d. net (N.Y.: $1.00). Probably published in Sept.,1915 (the first review I have found being on Sept.24, 1915); presumably it was either published or distributed in N.Y. shortly afterwards, as was When Blood is Their Argument. Quotation on title-page is the passage from Henry V, Act V, Scene II, from which the title is taken, p.vi: dedicatory preface, to Mrs. CF.G. Masterman, is dated "September 1915. " Previous publication: Part of the book had appeared in weekly articles in Outlook (London), Mayl to Jun.5,1915 (D247-252).

48

A48-49 French translation: 7 1/4 x 4 l/2. 3fr.50. Probably published in Sept.,1916 (the first review I have found being on Oct.1,1916). A matter of further interest with regard to the letter quoted above is another letter from Ford to Masterman, dated Sept. 10,1916 (quoted in Trained for Genius, p.192). Ford says that Entre St. Denis is "really rather booming among the lit. gents and official world of Paris and, to please Payot, I spent thirty-six hours in strenuous work, cutting it down and writing into it in French--a rather pretty epilogue which pleased Payot. " A fairly careful inspection reveals no "cutting down" of the English edition; also there is no "epilogue" in the Payot publication, the last chapter and the appendices being translated directly from the English original. There is an "Avant-propos," preceding Ford's original preface and unsigned. If this is Ford's writing, it is anything but an exercise in humility and is written by someone who had a more exact memory of Ford's previous literary career than Ford himself usually demonstrated. This "avant-propos" bears quoting here because of the scarcity of this volume outside France: "L'auteur de ce volume n'e'tant pas encore aussi connu en France qu'il m^rite de 1'§tre, nous croyons utile de fournir au lecteur quelques details sur sa vie et son oeuvre. " Speaking of Entre St. Denis, "Hueffer y re"vele une connaissance intime des caracte"ristiques de trois grands peuples, les Franeais, les Anglais et les Allemands. Il la doit sans doute a la penetration psychologique qui fait de lui un des romanciers anglais les plus en vue actuellement, mais aussi au cosmopolitisme de sa famille qui a des liens avec l'Allemagne comme avec la France et 1'Angleterre." Quotes in translation a review of When Blood is their Argument by H.G. Wells (Cassell 'a, May,1916; I have not been able to inspect this")! "Ce qui a perdu les Allemands, c'es't avant tout leur respect pour !'instruction, qui a fait d'eux !'instrument de la folie des Hohenzollern. M. F.M. Hueffer l'a prouve" de facon absolument concluante dans son admirable livre . . . " The anonymous prefator concludes by bringing Ford's career up to the present moment: "Vers la fin de 1 'anne"e 1915* Hueffer publia, en collaboration avec Miss Violet Hunt une collection de nouvelles historiques, savantes et raffine*es, dont Ie contenu fait un piquant contraste avec Ie titre, Zeppelin Nights [see A49J5 que leur ont donne" leurs auteurs, et qui prouvent que 1'artiste peut garder du gout et de la mesure au milieu de la tourmente. . . .Ford Madox Hueffer est lieutenant au 3 bataillon du regiment gallois (The Welsh Regiment). Il doit @tre heureux de prendre part a la lutte qui se terminera par la liberation du sol de cette France qu'il adore, et d'avoir pour freres d'armes les soldats de la glorieuse armee francaise dont les nobles traditions fonts vibrer son §me." See D268 regarding Ford's involvement in this translation. A49

ZEPPELIN NIGHTS

[19151

First edition: ZEPPELIN NIGHTS / A LONDON ENTERTAINMENT / BY VIOLET HUNT & FORD / MADOX HUEFFER / [two rules] / [type ornament] / [two rules] / LONDON: JOHN LANE, THE BODLEY HEAD / NEW YORKs JOHN LANE COMPANY: MCMXVI 49

A49-50 "First edition. [viii], 307 p., 28 p. of advertisements on book stock paper. Title-page enclosed by a double-line border. Light green cloth with yellow lettering. Laid in is a letter from Violet Hunt to John Lane. Presentation copy, inscribed: To Contie from Ford & Violet Hueffer Nov 1915 The inscription is in the hand of Violet Hunt. From the date it would appear that this, like several other books in the collection, was published near the year-end and postdated. " 7 1 / 8 x 4 5/8. 6s. (N.Y.: $1.25). Published on Nov.18, 1915J probably simultaneously published or distributed in N.Y. p.[v]: dedication to Ford's mother, Mrs. Francis Hueffer. Another copy in the Naumburg Collection has the same titlepage and pagination (except that the advertisements at the end are missing, apparently torn out). This copy has bright blue cloth with gilt on front cover and backstrip. Previous Publication and Collaborative Shares; Although there is nothing explicitly so indicated by the authors in this volume, most of it had been previously published by Ford. Violet Hunt's contribution is comparatively slight, seems to consist only in filling in the short gaps between the Decameronian stories told by "Serapion." All of these stories, which are historical vignettes, had previously appeared under Ford's name alone in Daily News (see D103) and in Outlook (see D159). This is particularly interesting considering the parts of the book attacked in the review of the book by "J.K. Prothero" (pseud, for Ada Elizabeth Jones, who later became Mrs. Cecil Chesterton, thus wife of the editor) in New Witness (E323). No records regarding this publication survive in the publisher's files. Republication: See D419 and E1053 for republication of ten of Ford's sketches. A50

ON HEAVEN

1918

First edition: ON HEAVEN / AND POEMS WRITTEN / ON ACTIVE SERVICE BY / FORD MADOX HUEFFER / LONDON: JOHN LANE, THE BODLEY HEAD / NEW YORK: JOHN LANE COMPANY MCMXVIII "First edition. 128 p. Light blue cloth with gilt lettering. Several of the poems were written under fire and all but five while Ford was serving in Wales, on the Somme, or in the Ypres salient. In Collected Poems (Oxford Press, 1936) the following note appears: 'On Heaven, written in 1913 was first published in Poetry of Chicago and was to have appeared simultaneously in Fortnightly Review but was withdrawn at the instance of the Home Secretary as being blasphemous. During the late war it was circulated by H.M. Department of Propaganda as being likely to make soldiers take a cheerful view of Death.'" 7 1 / 4 x 4 7/8. 3s.6d. net (N.Y.: $1.25). Published on Apr.11,1918, probably simultaneously in England and America.

50

A50 Ford's acknowledgments at the beginning of Collected Poems, 1936, include an acknowledgment to Dodd, Mead of N.Y. for this volume; I have found nothing to indicate that American distribution was handled by any other firm than John Lane, p.[13]: dedication to Lt.-Col. G.R. Powell, "Sometime commanding / a Battalion of the Welch / Regiment / This / with affection." CONTENTS: Antwerp — "When the World was in Building" — "When the World Crumbled" — "What the Orderly Dog Saw" -The Silver Music -- The Iron Music -- "A Solis Ortus Cardine" -- The Old Houses of Flanders — Albade -- Clair de Lune -One Day's List — One Last Prayer — Regimental Records: I, II, III -- Footsloggers -- "That Exploit of Yours ..." -On Heaven — Appendix: Diversions of an 0/R. Manuscripts: See Ciii(8) for manuscripts of three poems in the Loewe Collection, including the title poem, and a transcription of a poem in the Lockwood Memorial Library of the U. of Buffalo. Previous publication: Ford's acknowledgments on p.12 note only five previous publications (those which he did not note are indicated below by an asterisk): "Antwerp": published as a pamphlet by Poetry Bookshop in 1915 (A45). *"'When the World was in Building'": Outlook (London), Sept.5,1914 (in part; see D219). *"'When the World Crumbled'": Outlook (London), Sept.5, 1914 (in part; see D219). "•What the Orderly Dog Saw·": Poetry, Mar.,1917. *"The Silver Music": Poetry, Apr.,19l8. "The Iron Music": Westminster Gazette, Sept.14,1916 (as "Nostalgia"; a few minor changes). "The Old Houses of Flanders": Blast, Jul.,1915 (lacks the third line of the book version). *"One Last Prayer": English Review, Apr.,19l8 (minor changes). *"'That Exploit of Yours ...'": Outlook (London), Sept.12, 1914 (as "Tristia IV. 'That exploit of yours ...'"; very minor changes; see Cvii[2] for an earlier "Tristia" sequence) . "On Heaven": Poetry, Jun.,19l4 (contains a considerable number of verses omitted from the book and from the later Collected Poems; see D202). ^"Appendix: Exhibit I. Sanctuary": Poetry, Apr.,19l8 (as "The Sanctuary"; minor changes). In Reference to the Naumburg Quotation Above: I find nothing to establish either the first statement ("Several of the poems were written under fire and all but five while Ford was serving in Wales, . . . " ) , which seems quite accurate, or Ford's statement about the censorship and final circulation of "On Heaven" as propaganda. Ford expands on this in Return to Yesterday, N.Y., pp.401-402; but it should be noted that nothing of the sort appears in the preface to On Heaven. There he speaks of his own determination to suppress "On Heaven" after seeing it in Poetry, because of its "sloppiness. " (And note his suppression of several of the lines that appeared there.) Subsequent publication: Reprinted in Collected Poems, 1936* 51

A50-51 except for the Appendix. The poems by Ford in the Appendix with their Latin translations by Ford's fellow officer, H.C James, (which also include a Latin translation of "The Silver Music" and a poem also in Latin addressed to Ford, "To F.M.H. Exit ad Galliam (ldibus Iulianis MCMXVl)") are perhaps less interesting as poetry than as tours de force on the part of both men. A further matter of interest is the use of this experience in No More Parades (pp.3l4ff. in Parade's End, N.Y., 1950). In 1962 "On Heaven," "Antwerp," and "'When the World was in Building'" were republished at the end of the first volume of The Bodley Head Ford Madox Ford (see A8l). A51

A HOUSE

1921

First edition (English) : A HOUSE / (MODERN MORALITY PLAY) / BY / FORD MADOX HUEFFER / [cut] / THE CHAPBOOK / A MONTHLY MISCELLANY / NO. 21 MARCH. . . . 1921 / LONDON: THE POETRY BOOKSHOP, 35 DEVONSHIRE ST., W.C.I "First edition. 24 p. Verso of covers have advertisements, as does a leaf before and after text numbered i and ii in front and iii and [iv] in the back. Decorated paper wrappers, sewn. In Collected Poems (1936) appears the statement, 'The House [sicJ, written in 1919-20 appeared first in Poetry of Chicago and was awarded that journal's prize as being the best poem of the year. ' Laid in the book is a letter from Ford to Edgar Jepson, dated '8/11/21, ' which says in part: 'Poetry of Chicago 111. has awarded me 100 lbs. prize for the best world poem of that year--for A House. It pleases me as the first public recognition I ever received—except from the Inst, de France, & that hadn't any $ attached.'" 8 1/4 χ 6 5/8. It was frequently the practice of Poetry Bookshop to devote one issue, as here, of Chapbook to one long poem or to poems by one author or a related group of authors. If the Poetry publication did precede this issue of Chapbook, it could only have been by a few days, since "A House" appeared in Poetry, Mar.,1921 (see D284). Manuscripts: See CiIi(IO) for two versions in the Loewe Collection. Subsequent Publication and Revision: The version which ap­ peared in New Poems and Collected Poems, 1936, was changed in minor ways throughout. Certain more important changes are worthy of note here (page references are to Collected Poems, 1936). p.27: Between lines 26 and 27 come these lines in the original: For my god is my God Of the tilth, of the sod, Of the warren and bog. p.28: Lines 27 through 30 appear in the original as: Goat: I am the goat. I give milk. Cat of the House: Enough of this stuff of dust and of mud.' I, come of a race of strange things, Of deserts and temples and kings and in the last line, "Old" instead of "Young" as descriptive

52

A51-52 of "she-gods." p.30: Line 12, "What on earth's the matter with the wax?" and lines 21 and 22, which follow, are not in the original: And then ... The Income Tax.1 and the last line appears in the original as: And we are the goats, Fed on bracken and heather, p.31: Line 24, "cornricks" was originally "barley-shocks." Lines 31 and 32 are omitted in the original, p.32: Lines 7-13 are not in the original, p.38: After the central ellipsis there is omitted a long passage (almost three pages in the original) of exchange between houseboy, maid and postman. "Poetry" Prize: See entry for Poetry, Mar.,1921 (D284). There is a letter from Pord to Harriet Monroe, in the Harriet Monroe Modern Poetry Library, U. of Chicago, dated Nov.7,1921, which bears reprinting here: "Dear Miss Monroe, I am really extremely touched and pleased by the award of your prize--I don't know whether more touched or more pleased. It is the first public—or 'buckshee,' to use an Army adjective—recognition that my writings have ever received, except from Prance. [I have not been able to find record of this French distinction, also mentioned in the letter quoted above and by Ford in more than one place.] And of course it is all the more to be valued when the recognition comes from those who use one's own tongue. For, in the immortal dictum: 'It is certain that my conviction gains immensely as soon as another soul can be found to share it. ' Will you please assure the anonymous donor [a secretarial scribble on this letter seems to identify the donor as Albert H. Loeb] that if his or her purpose was to encourage poetry by giving a measure of new courage to one poet the kindly plan has been a complete success in this case? I thought at first of returning the cheque to you and asking you to bestow it upon someone younger. But then I said: 'Hang it, No.' My need of perpetuating pleasant memories is at least as great as can be that of any youngster who will probably besides have longer years in which to accumulate them. I will buy myself an Alsatian wolf hound such as I have desired to possess for a great number of years and it shall be a reminder of the kindness from Chicago.' And so I will, as soon as I can find one good enough to serve as a memorial. Thanking you again for all you have done for poetry-and for me--these many years, I 'm Yours very sincerely, Ford Madox Ford." A52

THUS TO REVISIT

1921

First English edition: THUS TO REVISIT / SOME REMINISCENCES / BY / FORD MADOX HUEFFER / AUTHOR OF "ANCIENT LIGHTS" / [quotation] / LONDON / CHAPMAN & HALL / MCMXXI "First edition. [viii], 231 p. Red cloth, bottom edges untrimmed."

53

A52 2

8 5/8 x 5 Ι/+· 16s. net. Probably published in May, 1921 (the first review I have found being on Mayl0,192l). p. [ill]: dedication to Mrs. G.D.H. Cole, pp.225-231: index. Author's Name and Title: See It Was the Nightingale, Philadelphia, pp.136-137, in reference to Ford's continued use of the name which he had changed by deed poll in 1919. ("I had intended to keep the change of name as a strictly private matter and to continue to write, if I ever wrote again, as Hueffer. . . . But one day Mr. Gerald Duckworth said to me: 1 If only you'd sign your books "Ford" I might be able to sell the beastly things.'") Hence his new name appeared for the firs time on the cover and title-page of The Marsden Case in 1923. The title, "Thus to Revisit, " Ford had already used for a series of articles in Piccadilly Review (see D278), a series which was not incorporated into this book. Manuscript and Proof Copy: See Cii(lO) for an incomplete manuscript and an interesting corrected proof copy in the Loewe Collection. Previous publication: A considerable part of the book had already appeared serially in Dial and English Review. See D28l and 2o2 for correspondence with the book. Also the article published in two installments in N.Y. Eve. Post Literary Review (D285) became with minor changes pp.102-113 of Thus to Revisit. An interesting letter regarding this transformation from articles to book was sent by Ford to Alec Waugh of Chapman and Hall on Jul.26,1920 (quoted in Frank MacShane's "The Literary Career of Ford Madox Ford," Oxford D.Phil., 1955; from the collection of Paul A. Bartlett, U. of Virginia): "As for 'Thus to Revisit, ' I had not thought to turn it into a book—if you look at the last few pages of the proofs enclosed, you will see that they are rather occasional and more written with a purpose--to boost you young things.'—than with the repose that a book should have. . . . However, I could easily turn it into a book and would gladly do it for you--write into it, I mean, and add onto it and make it, possibly a little more serene--and possibly a little more malicious, or at least teasing ... to the self-important. It would make a sort of continuation to my 'Ancient Lights,' which your firm published and it might sell better as being concerned rather with today than yesterday." Subsequent partial republication: Portions of Part II, chapter IX ("Henry James, Stephen Crane and the Main Stream") were republished with virtually no change in Return to Yester­ day,. Pp.113-120 top, 120 bottom to 122 top, 123-125 of Thus to Revisit became pp.205-211 top, 211,212-213 in the N.Y. edition of Return to Yesterday. American edition: According to catalogues, E.P. Dutton of N.Y. published an edition of Thus to Revisit, priced at $6.00, in 1921 (probably in Jul., the first review I have found being on Jul.17,1921). Letters from the English publisher (Arthur Waugh, for Chapman and Hall) to J.B. Pinker, in the Deering Library, Northwestern U., reveal that this was not a publication but a distribution. The first letter, dated Mar.7,1921, says that the American firm would buy five hundred bound copies. The second letter, dated Mayl9,1921, states that "the copies only left last week."

54

A53-54 A53

THE MARSDEN CASE

First edition: THE / MARSDEN CASE / A ROMANCE / BY / P.M. PORD / (PORD MADOX HUEPPER) / AUTHOR OP "THE SOUL OF LONDON," " THE CRITICAL ATTITUDE," / ETC., ETC. / [publisher's seal] / LONDON: DUCKWORTH & CO. / 3, HENRIETTA STREET, CO VENT GARDEN. "First edition. [viii], 337 p.* 1 leaf, 16 p. of adver­ tisements on book stock paper. Green cloth with white let­ tering, all edges trimmed. The author's new name with the old in parenthesis appears on cover and on backstrip. The book was dedicated to Edgar Jepson. The following papers relating to the dedication accompany this copy: (1) Prospective title-page in Ford's writing. (it bears the date 1923, omitted on the actual title-page.) (2) Prospective dedication page in Ford's writing. (it differs from the actual page in having the place where the book was written 'Coopers Bedham Sept 1921' in place of 'Sussex, Sept. 1921.') Numbered '2' in Ford's hand. (3) A letter from Ford to Jepson asking permission to dedi­ cate the book to him, dated '28/1/23, St Jean Cap Ferat': 'Dear Jepson: I hope you will permit me to print No. 2. Yrs. P.M.F.• (4) A letter from Ford to Jepson, '8/5/23' from Tarascon: 'Dear Jepson: I'm sending you a copy of The Marsden Case. I hope you'll like it. I believe that, as 'treatment' it's the best thing I've done, --but the subject is not a very good one, though it's the one that has haunted me certainly ever since I was eighteen on & off. It's the story of Ralston, the first translator of Turgenev--a man I like very much. At any rate, that suggested it to me. . . .'" 7 1/4 χ 4 5/8. 7s.6d. net. Probably published in May,1923 (the first review I have found being on Mayl0,1923). Manuscript: See Ci(IO) for the Loewe manuscript. Ford and Duckworth: Two letters from Ford to Edgar Jepson are also quoted in Goldring's Trained for Genius, p.2l4, and are of interest with relation to this publication and future publications by the firm of Duckworth. The first is dated Aug.15,1922 (this is Goldring's paraphrase): "Refer­ ring to his own prospects in Great Britain he states it as his firm resolution to have nothing to do with any publisher who will not take up his work for good." The second is dated Nov.25,1922: "He reports that he signed 'yesterday' a contract with Duckworth to take over all his work, future, present and past as the copyrights revert to him. 'This is what I have been waiting for all these years, so I am rather pleased--and you will see my next book in an English frock.' " Unfortunately many of the Duckworth records were lost in bombing raids in the war, hence this association, longer than most of Ford's associations with publishers, lacks the firm's documentation. See below, A65(a). Other edition: Catalogues list another publication by Duck­ worth in 1925, with this description: "Cr. 8vo; 7 1/2 χ 5; 345 p.; 5s. net." A54

WOMEN & MEN

1923

First edition: WOMEN & MEN / BY / FORD MADOX FORD / (P.M. HUEPPER) / [device] /

55

A54-55 PARIS / THREE MOUNTAINS PRESS / 1923 "First edition. 1 leaf, 6l p., 2 leaves (with printer's imprint on recto of first leaf). Tan paper wrappers, onlytop edges trimmed. Edition limited to 300 numbered copies on Rives hand-made paper." 10 1/4 χ 6 3/4. (8s.6d. net in England; $2.50 in America). Printer's imprint: "Printed at Paris / by William Bird / April, 1923. According to catalogues this volume was distributed in London by William Jackson and in N.Y. by the Chaucer Head Book Shop. The first English review I have found of Women & Men is on Jul.5,1923. Cover has black lettering except for the publisher's devioe (a three-peaked mountain with motto: "Levavi oculos meos in montes") which is in red; red floral design border. The Naumburg Collection houses two copies, numbered 3 and 110. Three Mountains Press: See Robert E. Knoll, "Robert McAlmon: Expatriate Publisher and Writer," E990, for a description of the combined printing and publishing venture that was Three Mountains Press and Contact Editions (of which this is one). Manuscript: See Cii(l2) for the manuscript in the Loewe Collection. Previous publication: These essays appeared in Little Review, Jan.,Mar.-May,Jul.,Sept.,1918. See Ezra Pound's Letters, p.133, for a letter to the editor of this review dated Apr.3, 1918: "Hueffer's stuff was done five years ago." See the Little Review series entry (D270) for a yet earlier appear­ ance, in The Heart of the Country, of much of the same material. The book itself was in Ford's mind as early as 1911, as a letter from Ford to Pinker, dated Jan.31,1911, in the Huntington Library, reveals. "Would you care to attempt to arrange for me the whole rights of a book I want to write called 'Men and Women [sic]'? This would be a sort of philo­ sophical discussion on the relations and the differences be­ tween the sexes. --Something in the note of my soul of London. Or equally, something in the note of my Reminiscences [he was about to publish Ancient Lights]--you know the sort of nonsense, a mix up of anecdotes and fatuous moralizing. I reckon it to take about forteen [sic] chapters of 5°00 words of [sic] each, each chapter to be capable of appearing as a separable article--or say ten of them. I want to make about /¢500 out of the book. . . . The point is that the book would be really [as opposed to Ancient Lights] Reminiscences of undistinguished people I have met . . . " An undated letter from Ford to Pinker in the Deering Library, Northwestern U., says that he is "asking Miss Hunt to forward to you the first two chapters of ... 'Women and Men' . . . The point to make about it is that, whilst it is deeply serious it is also wildly amusing and it will be bought in large quantities by my large following of suffragettes. . . . I am writing ...at about the rate of a chapter a week so that the book will be finished in July [probably 1911] . . . " Another letter in the Deering Library, from O.K. Mann of Constable to Pinker, dated Jan.24, 1912, asks to see the complete manuscript of the book, evidently finished by then. Ezra Pound's obituary (E875) assumes, apparently wrongly, that Women & Men was never finished. A55

MISTER B0SPH0RUS AND THE MUSES 56

[1923]

A55 First English edition: MISTER BOSPHORUS / AND THE MUSES / OR A SHORT HISTORY OF / POETRY IN BRITAIN / VARIETY ENTERTAINMENT / IN FOUR ACTS / WORDS BY / FORD MADOX FORD / MUSIC BY / SEVERAL POPULAR COMPOSERS / WITH HARLEQUINADE, TRANSFORMATION / SCENE, CINEMATOGRAPH EFFECTS, AND / MANY OTHER NOVELTIES, AS WELL AS / OLD AND TRIED FAVOURITES / DECORATED WITH DESIGNS / ENGRAVED ON WOOD BY / PAUL NASH / DUCKWORTH & CO. / 3 HENRIETTA STREET, LONDON, W.C. "First edition. 126 p., 1 leaf. Decorated gingham-like cloth. Illustrations on various tints of paper pasted in. One of 70 copies on rag paper, untrimmed, with six of the designs by Paul Nash on tinted handmade paper. Of the 70 copies, 60 were for sale, numbered and signed by the artist. There was also a trade edition. It was published in Poet Lore in Boston in 1923, Vol. 3^, PP- 532-613. Laid in is a letter from Ford to Edgar Jepson, dated 'Paris 25/11/22,' reading in part: 1I have also just finished an immense Poem--3,000 lines or more.' --wh. is to be serialized in Munroe's [sic] Chapbook.' & afterwards to be published with illustrations by Paul Nash. It will, I fancy, annoy quite a number of people. . . . Ezra is here, going very strong. Joyce going rather weak; my brother Oliver enormously fat and prosperous; but there is very little French stuff of much value coming out, & Proust's death has cast an extraordinary gloom on literary parties—tho' he was pretty generally dis­ liked personally. I just missed seeing him & had to content myself with solemnly attending his funeral, which was a tre­ mendous affair: Stella being the only person in the church who did not shake hands with the next of kin. But her shyness made her bolt out a back door whereat the venerable Suisse nearly wept.'" This anecdote is corroborated on pp.89-90 of Stella Bowen's Drawn from Life. 9 7/8 χ 7 1/2. 30s. net. Probably published in Nov.,1923 (I also have a note--from what source I have not discovered— to the effect that Ford presented James Joyce with a copy on Nov.8,1923). Composition dates on p.126: "Sussex: October 1922— Tarascon: June 1923." Top edges gilt. The Naumburg copy is number 13. Manuscript, Etchings, and an Earlier Venture: See Ciii(ll) for a manuscript supposedly owned by Anthony Bertram, friend of both poet and illustrator. Four of Nash's etchings for the book are in the Loewe Collection. Two letters from Paul Nash to Ford, n.d., in the Loewe Collection, indicate an earlier but never achieved collaboration between poet and artist. Evidently Ford wished to issue poems from On Heaven and "A House" with illustrations by Nash. Nash was enthusiastic about the project: "It is very good--this poetry--it appeals to me. Antwerp got me years ago--the first war poem I read . . . Footsloggers I care for because of its sentiment—'the love of ones [sic] land, ' that is a sure draw with me.' A House is really a 'stunner' and a great thing to make pictures for. " Other editions: A correction in the Naumburg quotation must be made. The "trade edition" was not ρνΛΙΙβηβά by Poet Lore but is a cheaper edition by Duckworth. The Poet Lore publica­ tion took place in the Winter, 1923 issue (D293), and there were no illustrations.

57

A55-56(b) There was no publication either in Chapbook or in Poetry (a letter from Ford to Harriet Monroe, in the Harriet Monroe Modern Poetry Library, U. of Chicago, dated Dec.5»1922 mentions the proposed Chapbook publication but also offers the poem to Miss Monroe's magazine). Cheaper Duckworth Edition: Also represented in the Naumburg Collection. (it probably was priced at 10s.6d. net.) Has the same pagination and title-page. Size: 9 3/4 x 7 1/4. Gray paper boards, partial title and cut by Paul Nash on front cover in black; black cloth in backstrip. The illustrations are not in color and are printed on paper uniform with the other pages. A56

SOME DO NOT

[1924]

a. First English edition: SOME DO NOT . . . / A NOVEL / BY / FORD MADOX FORD / AUTHOR- OF "THE MARSDEN CASE," " MISTER BOSPHORUS / AND THE MUSES," ETC., ETC. / [publisher's device] / LONDON: DUCKWORTH AND COMPANY / 3, HENRIETTA STREET, COVENT GARDEN, W.C. 2 "First edition. 352 p. Green cloth with white lettering., The first of the Tletjens novels. The book appeared serially in the transatlantic review, beginning with the first number in January, 1924. The American edition was published by T. Seltzer, 1924. The English edition went into at least three editions. The New York edition by Seltzer had at least two printings. A later American edition published by A. & C. Boni (1925) went into at least four printings. There was a cheaper Grosset & Dunlap reprint in 1926. Accompanying the book are some proof sheets with corrections said to be by Ernest Hemingway who was associated with Ford at the time at the Paris office of the transatlantic review. There is also a different ending, set in type with Ford's directions to the printer, and two sets of typewritten sheets with an altered ending." 7 1 / 4 x 4 5/8. 7s.6d. net. Probably published in Apr.,1924 (the first review I have found being on Apr.24,1924). Title : Apparently taken from his own Mister Bosphorus (p.57 in the limited edition): "The Gods to each ascribe a differing lot.' / Some rest on snowy bosoms.' Some do not.'" At the end of Chapter I, Ford makes his character Macmaster "misquote" these lines: "The gods to each ascribe a differing lot: / Some enter at the portal. Some do not.'" Manuscript: As well as the Transatlantic Review materials mentioned above the Naumburg Collection also houses the original holograph MS of this novel. Previous publication: See Transatlantic Review, Jan.-Jul., Sept.,Nov.,1924 (D298). Part One of the novel only appeared there. Sales: See Ford's comments on the comparative sales of this novel in England and America, It Was the Nightingale, Philadelp: pp.351-352. See also Goldring's Trained for Genius, p.215, re the difficulty of selling Ford's books in England; see below also, No More Parades. b. First American edition (also in the Naumburg Collection) SOME DO NOT ... / BY / FORD MADOX FORD / [publisher's device] / NEW YORK / THOMAS SELTZER / 1924 58

A56(b)-57(a) 7 1 / 4 x 4 3/4. $2.00. Probably published in Oct.,1924 (the first review I have found being on Oct.18,1924). [vi], 329, [l] p. Yellow cloth and black paper boards; black lettering on backstrlp. Seltzer-Boni: According to catalogues A. & C. Boni of N.Y. also issued the novel in 1924, very shortly after the original publication (priced at $2.50). Mr. Albert Boni told me over the telephone on Jul.26,I960 that his firm bought the rights to Ford's work from Thomas Seltzer, his uncle. He also re­ called that the first three novels published by his firm (Some Do Not, No More Parades, and A_ Man Could Stand Up) were quite successful commercially, selling over 10,000 copies each. The firm, he said, advanced Ford $5,000 a year for the creation of novels; this led to a final rupture in 1930 or 1931, for Ford was by that time producing essays and reminiscences, not the novels for which he had been paid. [c. Second English "edition": Catalogues list a reprinting by Duckworth in Feb.,1927 ("Cr. 8vo; 7 1/2 χ 5; 3s.6d.; popular edition."). This may be one of the number of impressions of the "Second Edition, " which supposedly took place in Jun.,1924. Authority for this "Second Edition" is verso title-page of a Duckworth file copy: "First published April, 1924 / Second edition, June, 1924 / Third impression, October, 1924 / Fourth impression, September, 1929." However, on the dust jacket of this copy (which is illustrated in red, black and white) appears the original price, 7s.6d. Catalogues list a further Duckworth reprint in Jun.,1935, priced at 3s.6d. net. There is nothing to indicate that any of these printings was actually a new edition.] d. Cheaper American reprint (not in Naumburg Collection): SOME / DO NOT... / BY / FORD MADOX FORD / AUTHOR OF "NO MORE PARADES" / [design] / [two rules] / GROSSET & DUNLAP / PUBLISHERS NEW YORK / BY ARRANGEMENT WITH A. & C. BONI [1927] 7 3/4 χ 5 1/8. Same pagination as first American edition. Blue cloth with orange lettering and light-blue design. p.[iv]: "First Printing September, 1924; Second Printing January, 1925; Third Printing March, 1926; Fourth Printing February, 1927." e. Cheaper English edition (also in Naumburg Collection): SOME DO NOT / A NOVEL BY / FORD MADOX FORD / [publisher's device] / PENGUIN BOOKS / WEST DRAYTON MIDDLESEX [1948] Standard Penguin fiction edition (see Penguin reprint of The Good Soldier). 304 p.; no flyleaves. Preface by R.A. Scott-James. Published in Feb.,1948, probably at the same time as No More Parades, also in Penguin edition. A57

THE NATURE OF A CRIME

[1924]

a. First English edition: THE NATURE OF A / CRIME / BY / JOSEPH CONRAD / AND / F.M. HUEFFER / [publisher's device] / DUCKWORTH & CO. / 3 HENRIETTA STREET, LONDON, W.C. [1924] "First edition. 119 p. Red cloth with gilt lettering on backstrip. Published simultaneously in America by Doubleday Page & Co. in decorated boards with paper label. The English edition bears Ford's old name 'F.M. Hueffer,' while the

59

A57(a) American edition reads 'Ford Madox Ford' with the old name In parenthesis. The English edition Is Inscribed: The preface to this book must be the last completed thing that Conrad wrote for the press [?J & the proofs were the last proofs he corrected. I wish I could remember more about it--how it was wrlttenT Ford Madox Ford TTew^York Dec MCMXXVI According to Keating's A Conrad Memorial Library (p.248), Ford's surmise that this was Conrad's last completed work is wrong, for his preface to The Shorter Tales of Joseph Conrad was his last. The Nature of a Crime first appeared in The English Review, April and May, Γ9"09, under the pseudonym 'Baron Von Aschendorf.' It later appeared in Ford's trans­ atlantic review in the first two numbers, January and February, 1924. The typescript used for this transatlantic review appearance, and two pages of galley initialed by Ford are in this collection." 7 1/4 χ 4 3/4. 5s. net. Probably published on Sept.26, 1924. The galley pages mentioned in the above quotation have in­ structions in French by Ford to the printer. Previous publication: See DIlO and 294 (the former entry con­ tains an argument for dating the collaboration and also an explanation of the pseudonym first used by the collaborators). The prefaces by both collaborators first appeared in Trans­ atlantic Review, Jul.,1924; Ford's appendix first appeared in the same review, Jan. and Feb.,1924. Responsibility for Republication: See Ford's comments in Return to Yesterday, N.Y., pp.186,194,195, 200. Ford states quite emphatically that he had nothing to do with the resusci­ tation of the story and even resented its publication; but see contradictory evidence in a letter from Ford to Conrad published by Paul A. Bartlett in S.R.L., Aug.2,1941(the letter shows Ford suggesting the republication to Conrad). The evidence of a typescript of "Working with Conrad," published in the Yale Review, Jun.,1929* and then subsequently incorporated into Return to Yesterday, indicates that Ford's original intention may have been perverted by a secretary or editor. The corrected typescript is in the American Literature Collection, Yale University Library (see Cii[22]). Certain lines of the original are there crossed out; I underline these below. See p.200 in the N.Y. edition of Return to Yesterday for the same passage, as altered. "For a reason that I won't go into, I was not myself very anxious that my name should be attached to that volume [The Nature of a Crime] even if that meant that the volume did not appear—though as at that time our collaborated volumes were being published in this country under Conrad's sole name it would have made very little difference. I accordingly wrote to Conrad and sug­ gested that that course should be pursued. " Pencilled arrows in the typescript indicate the change which found its way into Return to Yesterday, the last sentence to follow immediately upon "volume did not appear." In the next line there- is a pencilled insertion, "however, " between "He" and 'Wote, " to adapt the sentence to the changed sense. The original, admit­ tedly with some lack of clarity, states then that Ford did urge publication upon Conrad, since it "made very little 60

A57(a)-58(a) difference." The letter from Conrad which Ford quotes on the same page is in the Keating Collection (Cx[B2]). See F49, A Conrad Memorial Library: The Collection of George T. Keating (p.34b), for inscriptions and an incorrectly catalogued manuscript fragment. b. First American edition (also in Naumburg Collection): THE NATURE OF / A CRIME / BY / JOSEPH CONRAD / AND / FORD MADOX FORD / (P.M. HUEPFER) / [publisher's device] / GARDEN CITY NEW YORK / DOUBLEDAY, PAGE & COMPANY / 1924 7 3/4 x 5- $2.50. Probably published simultaneously with the English edition, on Sept.26,1924. [xv], 108 p. Mottled black and gold boards; green paper labels on spine and front cover; black cloth on spine. Erratum: Some copies have an erratum slip to p.98 with a crucial correction: "The line at the top of page 98, which now reads: 'Joseph Conrad in Italics; F.M. Hueffer in Roman type,' should read: 'Joseph Conrad in Roman type; F.M. Hueffer in Italics.'" Other copies, as the Naumburg copy, are printed correctly. Keating Collection Materials: See F49, A Conrad Memorial Library: The Collection of George T. Keating (p.349) for description of interesting materials relating to this book and notice of copies of English Review, inscribed by Ford, in which the story first appeared: ^Inserted is a 2p. autograph letter signed by Conrad to his friend and collaborator ..." This letter bears printing here for its relation to Ford's later novel, A Little Less than Gods; it is dated Dec.15,1921: "My Dear Ford: Thanks for your letter and enclosure. The novel I am writing [Suspense] (very slowly) now has ["nothing" is probably omittedj to do with the Restoration — o r anything so reasonable as that. The date is Jan. Febr., 1815, but all the action takes place in Genoa, and thereabouts, and does not touch upon affairs in France except in the most distant way. It ends with Nap's departure from Elba. We can't possibly clash. I am not surprised at your turning Cincinnatus [Ford was then farming in Sussex], You always had a love for Mother Earth, etc. Yours, J. Conrad" Keating appends this note: "This letter was presented by Mr.'Ford to be included in this library." [c. Second American "edition": Catalogues list a publication by Doubleday in 1926, priced at $2.00, of a volume which included as well the three dramatizations by Conrad," Laughing Anne," "One Day More, " and "The Secret Agent." Each had separate pagination. This was probably one volume of a collection of Conrad's works.] A58

JOSEPH CONRAD:

A PERSONAL REMEMBRANCE

[1924]

a. First English edition: JOSEPH CONRAD / A PERSONAL REMEMBRANCE / BY / FORD MADOX FORD / (FORD MADOX HUEFFER) / JOINT AUTHOR WITH JOSEPH CONRAD OF "ROMANCE," "THE / INHERITORS," "THE NATURE OP A CRIME," ETC. ETC. / [quotation] / [publisher's device] / 61

A58(a) DUCKWORTH & CO. / 3 HENRIETTA STREET, LONDON, W.C. [1924] "First edition. 256 p. Green cloth with gilt lettering on backstrip. The American edition was published by Little, Brown and Co. the same year. Three copies. The first is inscribed: For Edward Naumburg with good wishes Ford Madox Ford New York May 22 MCMXXXV Laid in this copy is a letter, typewritten, to Edgar Jepson, dated '15/9/21,' reading in part: 1I will certainly try to do something for [Sidney] Dark, but I sort of feel that I have written enough about Conrad in the course of a toilsome life; and to tell the truth his later work appeals to me so relatively little that I don't want to write any more about it. I mean, it's difficult to do so without appearing, and for all I know, being, ungenerous.' The second is inscribed: I wrote this book at fever heat--in an extraor­ dinarily short time for I had, as it were, to~get it out of my system. Nevertheless I see very little that I want to change in it & I think it remains a very accurate account of our relationship—Conrad's and mine. Ford Madox Ford New York Dec MCMXXVI The third is inscribed: Colonel Marston Elliott Drake with many thanks Ford Madox Ford Jan 14th 1927 Capt Edward Naumburg Jr. from his friend Marston E. Drake March 3rd 1947" 7 3/4 χ 5. 7s.6d. net. Probably published in Nov.,1924 (the first review I have found being on Nov.13,1924). Composition dates in preface (p.6): "Guermantes, Seine et Marne, August. / Bruges, October 5th, 1924." The quotation on the title-page is from Conrad's preface to The Nature of a Crime. pp.251-256: appendix. An article on Conrad by Ford written for Journal Litt^raire, Aug.16,1924 (see below, "Manuscripts"). "Something for Dark": The allusion to Sidney Dark in the letter laid into the first copy described above is explained in Goldring's Trained for Genius, p.213: "Mr. Sidney Dark was then editing John 0'London's Weekly and it appears from the context that he had expressed a desire for an article on Conrad." Ford did decide to write the article, which appears in the Dec.10,1921 issue (D286). Manuscripts and Conrad Letter: The original holograph and typescript manuscripts, with many interesting corrections and deletions indicated by the author, are in the Naumburg Col­ lection. A thorough study of the manuscript variations ap­ pears in an unpublished doctoral dissertation by John Hope Morey, written for Cornell University, i960 '(MIC 60-5199). In his first Appendix, pp.207-220, Morey reprints passages omitted or greatly different from the final version. 62

A58(a-b) In a manila folder with the Naumburg manuscript is a retyped letter from Conrad with Conrad's holograph instructions for revision superimposed. In the English edition of Joseph Conrad a facsimile of this letter faces p.11. On this manila folder in Ford's hand is this inscription: Joseph Conrad a Personal Remembrance frontispiece Letter of J.C. 18 Nov.'23 This~1etter dated !»/11/23 is the only of Conrad's let­ ters that I have sold, it being the property of the Trans­ atlantic Review C & I selling it for the benefit of contributors to Transatlantic Tales [Transatlantic Stories, B20J. I have given letters of Conrad to Mr. George Keating, Miss Elinor Wylie, Miss Ruth Kerr all of New York. Any other letters from Conrad to me that are not in my possession have been stolen from me & are wrongfully owned. Ford Madox Ford The Conrad letter was first printed in Transatlantic Review, Jan.,1924; the remainder of the letter there quoted formed part of the Appendix to The Nature of a Crime. Morey's doctoral dissertation mentioned above, also contains an appendix devoted to clarifying confusions, at least partly created by Ford, relating to this and other letters. He believes the correct date of the letter in the Naumburg Collection to be Oct.23,1923. On p.222 Morey states that "there are at least three different versions of it extant, and ... Ford seems purposely to have confused it with another letter (dated November 10,1923) . . . " This other letter was "a revision of part of an earlier letter," which is in the Keating Collection. On p.224 Morey says that the third version is "dated October 23, 1923, and appears in Jean-Aubry, H i p.323 [F46(c)]. . . . What appears likely is that Jean-Aubry, in preparing his 1927 edition of the Life and Letters, combined Conrad's copy of his original letter of October 13 to Pord with the revision which is the copy of the letter now dated November 18." Also in the Naumburg Collection is the holograph MS of the article Ford wrote upon hearing of Conrad's death for Journal LitteVaire and which Ford appended to Joseph Conrad (see D32l). On another page is the typescript of the intro­ ductory remarks in English to be placed before the French article in the book. See the description of an inscribed copy in A Conrad Memorial Library: The Collection of George T. Keating, pp.422-423"i p74~23~: "On the end papers Lof this copy J IVIr. Ford has written out in his handwriting the transla­ tion of the opposite page written in French quoted above. Laid in is a typewritten translation of the Appendix, originally printed in French, together with the comments of the trans­ lator, Frances Colbourne. " b. First American edition (also in Naumburg Collection): JOSEPH CONRAD / A PERSONAL REMEMBRANCE / BY / FORD MADOX FORD / (PORD MADOX HUEPPER) / JOINT AUTHOR WITH JOSEPH CONRAD OF "ROMANCE," / "THE INHERITORS," "THE NATURE OF A CRIME," ETC., ETC. / [quotation] / [publisher's device] / BOSTON / LITTLE, BROWN, AND COMPANY / 1924 8 1/2 χ 5 1/4. $2.50. Probably published at the end of Nov.,1924 (the first review I have found being on Dec.7,1924). [x], 276 p., 1 leaf. Blue cloth with light blue and black

63

A58(b)-59(a) paper labels on cover and backstrip; light blue top edges. Does not have the facsimile Conrad letter of the English edition; a different photograph of Conrad as frontispiece. Verso title-page of one copy: "Published December, 1924; Reprinted December, 1924; Reprinted January, 1925." According to the publishers, the rights were assigned to A. & C. Boni in 1927. A59

NO MORE PARADES

[1925]

a. First English edition: NO MORE PARADES / A NOVEL / BY / FORD MADOX FORD / [quotation] / [publisher's device] / DUCKWORTH / 3 HENRIETTA STREET, LONDON, W.C. "First edition. 319 p. Green cloth with gilt lettering on backstrip. The second of the Tietjens series. The American edition was published by A. & C. Boni, 1925· It was published also in Armageddon: The World war in Literature, by Eugene Lb*hrke, New York, Jonathan Cape andHTarrison Smith, 1930. It was published in Paris in 1933 under the title Finis [sic] les Parades, translated by Fernande Bogatyreff and Georges PTTlement. " 7 1/4 χ 4 3/4. 7s.6d. net. Probably published in Sept., 1925 (the first review I have found being on Sept.28,1925). PP.5-9: dedication to William Bird, the printer (of Three Mountains Press). Composition dates at end: "Paris, 31 October, '24— / Guermantes, 25 May,'25." Another copy is in the Naumburg Collection, identical except that it was Violet Hunt's copy and is inscribed in pencil: Violet Hueffer. Previous publication: The statement above in the quotation in reference to reprinting in the anthology, Armageddon is misleading, since only excerpts from the first chapter appear there (pp.243-268). A portion of the first chapter (roughly corresponding to these pages in the 1950 Knopf edition, Parade's End: pp. 291-top of 297; 301-304; 307-311), which appears to be an earlier version, was published in the Contact Collection of Contemporary Writers, Paris, Three Mountains Press, 1925, PP.57-74. (See BIb.) The most conspicuous difference between this early study and the later novel is the absence from these pages of Tietjens' preoccupation with Sylvia. Here also are more military details, as well as the naughty words which yielded to dashes in the finished novel. Sales: Goldring, in Trained for Genius, pp.244-245, quotes a letter from Ford to Percival Hinton, dated Feb.13,1928, which is of interest regarding the sales of this and the suc­ ceeding volumes of the Tietjens series: "He says that return­ ing from New York 'on Saturday' with the not disagreeable knowledge that in the United States 50,000 people had bought Last Post within a fortnight of its appearance, he found his English publisher's statement and Mr. Hinton's letter side by side, awaiting him. Duckworth's statement informed him that Just under 1,000 people had bought the English edition of No More Parades and just over 1,000 A Man Could Stand Up. He adds that 'when you consider that 400 copies of each were ordered before publication by New York purchasers of first

64

A59(a-d) editions, and at least 100 by Americans in Paris--well, you perceive what feet of clay the image has in our? country.'" Before one accepts the accuracy of these figures, it might be wise to consult the anecdote told by David Garnett in The Golden Echo, p.38 (see F77). Catalogues list a reprint (priced at 3s.6d.) by Duckworth in Jun.,1935b. First American edition (in U. of Washington Library): NO MORE PARADES / A NOVEL / BY / FORD MADOX FORD / AUTHOR OF "SOME DO NOT," " JOSEPH CONRAD, A PERSONAL / REMEMBRANCE," ETC. / [quotation] / ALBERT & CHARLES BONI / PUBLISHERS NEW YORK [1925] 7 3/8 χ 4 7/8. $2.50. Verso title-page of this copy: "Published, November, 1925 / Second Printing, December, 1925 / Third ditto, January, 1926 / Fourth ditto, February, 1926 / Fifth ditto, April, 1926." The first review I have found is on Nov.22,1925. [x], 309, [l] p. Dark brown cloth with orange lettering; top edges red. This copy is autographed by Ford on the front end paper. Other printings: Catalogues list another printing of the novel by Boni in 1926: "Verso of title-page: 'Published Nov. 1925. 4th printing, Feb.1926.'" There may also have been a cheaper reprint in 1928 by Grosset and Dunlap. c. French translation (in the Bibliotheque Nationale); FINIES, / LES PARADES / PAR / FORD MADOX FORD / TRADUIT DE L'ANGLAIS / PAR / FERNANDE BOGATYREFF ET GEORGES PILLEMENT / [quotation] / [rule] / PARIS / LIBRAIRIE DE LA REVUE FRANCAISE / ALEXIS REDIER, EDITEUR / 11, RUE DE SEVRES, II / [ruleJ / 1933 Editions "les Grands Etrangers, #4." l8fr. Published on Feb.22,1933. [vi], vi, 384 p. Blue and white paper covers with black lettering. pp.i-vi: preface by Georges Pillement (see F173). A German translation, as a letter in the Firestone Library, Princeton University, testifies, was once contemplated. The letter is a carbon from Ford to Gerald Duckworth, Mar.9,1926. "I don't much like the idea of presenting to the (late) Huns a work that might have the aspect of discrediting England . . . I have decided to let them have N.M.P. if they will undertake to publish a translation of the one I am doing now [A Man Could Stand Up]--which is rather nasty to the said H's, redressing the balance." See All(e) regarding contracted but probably never achieved translations by Ford of six of his novels into French, one of which might have been No More Parades ("I am doing the translation myself in the case of the three modern ones and the translation of the historical ones in collaboration with [Philippe] Soupault"). d. Second English edition (also in Naumburg Collection): NO MORE PARADES / A NOVEL BY / FORD MADOX FORD / [publisher's device] / PENGUIN BOOKS / WEST DRAYTON MIDDLESEX [1948] Standard Penguin Fiction edition. ls.6d. net. Published in Feb.,1948, probably simultaneously with the Penguin, edition of Some Do Not (see A56[e]). [xivj, 24T,"TT] p.; no flyleaves. Contains the same preface by R.A. Scott-James that opened the Penguin edition of Some Do Not.

65

A60-6l(a) ΑβΟ

A MIRROR TO PRANCE

[1926]

First English edition: A MIRROR TO PRANCE / BY / PORD MADOX PORD / AUTHOR OP "NO MORE PARADES/' "SOME DO NOT 3 " ETC. ETC. / [publisher's device] / DUCKWORTH / HENRIETTA STREET, LONDON "First edition. 290 p., 1 leaf. Green ribbed cloth with gilt lettering on backstrip. Presentation copy, inscribed: Mr. & Mrs. Herbert Gorman very gratefully Ford Madox Ford New York Halloween MCMXXVI The American edition was published the same year by A. & C. Boni." 7 3/4 χ 4 7/8. 8s.6d. net. Probably published in May,1926 (the first review I have found being on May20,l926). Illustration by Stella Bowen facing title-page. p.[6]: dedication to Gertrude Stein. Composition dates at end: "ST JEAN-CAP-PERRAT, 1st March 1923. / TOULON . . 18th January 1926." Catalogues list a reprint by Duckworth in 1929, priced at 5s. net. Previous publication: On pp.9-10 Ford says that he will reprint here part of a book "long out of print now," Between St. Dennis and St. George. This reprinting begins on p.3b and extends to all but the last paragraph of the first chapter, on p.57 (pp.199-221 of Between St. Dennis). The reprinting is virtually exact, omitting certain brief passages which refer specifically to the war. Also the last chapter, "Prom the Grey Stone," was published under that title in Criterion, Oct.,1923. American "edition": This was printed in America and published by A. & C. Boni of N.Y., probably in Aug.,1926 (the first review I have found being on Aug.24,1926). Probably printed from the plates of the English edition; same pagination, measure­ ments and title-page. Priced at $2.50. Mauve cloth with green lettering. A6l

A MAN COULD STAND UP

[1926]

a. First English edition: A MAN COULD / STAND UP - - / A NOVEL / BY / FORD MADOX FORD / AUTHOR OF "NO MORE PARADES," / "SOME DO NOT," ETC., ETC. / [publisher's device] / DUCKWORTH / 3 HENRIETTA STREET, LONDON, W.C. 2 [1926] "First edition. [x], 275 p., 1 leaf. Green ribbed cloth with gilt lettering on backstrip. The third of the Tietjens series. The American edition was published the same year by A. & C. Boni." 7 1/8 χ 4 5/8. 7s.6d. net. Probably published in Oct., 1926 (the first review I have found being on Oct.10,1926). Binding uniform with the Duckworth edition of No More Parades. pp.[v-vii]: dedication to Gerald Duckworth, the publisher; dated "Paris, May 18th, 1926." Composition dates on p.275: "Toulon, January 9th, 1926. / Paris, July 22nd, 1926."

66

A6l(a)-62 Manuscript: See Cl(l3) for the manuscript In the Loewe Collection. Catalogues list a reprint by Duckworth in Jun. .,1935* priced at 3s.6d. net. See Ford's remarks, quoted In A59(a), regarding the compara­ tive sales of the English and American editions. b. First American edition (also in Naumburg Collection): A MAN COULD / STAND UP - - / A NOVEL / BY / FORD MADOX FORD / [publisher's device] / ALBERT & CHARLES BONI / NEW YORK MCMXXVI 7 3/8 x 4 7/8. $2.50. Probably published soon after the English edition (the first review I have found being on Oct.24,1926). [vii], 1 leaf, 347 p. Brown cloth with green lettering; top edges light green. Verso title-page of one copy: "Published, October, 1926. / Second printing, December, 1926." Unlike the English edition, advertisements for Ford's books face titlepage. Catalogues list a $1.00 reprint by Grosset and Dunlap of N.Y. in 1928. c. Second English edition (also in Naumburg Collection): A MAN / COULD STAND UP / A NOVEL BY / FORD MADOX FORD / [publisher's device] / PENGUIN BOOKS / HARMONDSWORTH MIDDLESEX [1948] Standard Penguin Fiction edition. Published in Apr.,1948, probably simultaneously with the Penguin edition of Last Post. 207 p., I p . of advertisements; no flyleaves. Contains the R.A. Scott-James preface first published in the Penguin edition of Some Do Not (A56[e]). A62

NEW POEMS

1927

First edition: NEW POEMS / BY / FORD MADOX FORD / [type ornament line] / [design in red: fanciful rendering of Ford's initials] / [type ornament line] / WILLIAM EDWIN RUDGE / NEW YORK / 1927 "First edition. 1 leaf, 38 p., 2 leaves (with limitation notice on recto of first leaf). Decorated boards with label in gilt on front cover only. One of 325 copies printed in January, 1927 and signed by the author on blank page opposite the title-page. Accompanying the book is the original holo­ graph manuscript, consisting of 32 pages, signed on the first and last pages, and dated December 11, 1926. With the manuscript is a note on the stationery of the Hotel Lafayette, New York, reading: 'New York Poems. This is the final ms that was printed for me by Rudge. I changed the title & the order of the poems at the suggestion of Miss Elinor Wylie a note to whom will be found on p. v. F.M.F.' The note, almost undecipherable, reads: 'Dear Elinor Wd you look at these? I don't feel certain about the order. Don't you think it might be better to insert A House & Winter Night Song? Irlta thinks [- -] New Poems [- -] wd be better than New York as only two were actually written in N.Y. F.M,F.' ~(The dashes indicate undecipherable words.) The book was not published in England." 8 7/8 χ 5 7/8. $7.50. Probably published in Jan.,1927.

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A62-63(b) Manuscripts : The original holograph manuscript mentioned above has since been presented to Princeton University. See above, A43(b) for two versions of "Aupres de ma Blonde" still In the Naumburg Collection (the typescript version dated Nov.5,1926). See also Ciii(12) for manuscripts of poems in the Loewe Collection. CONTENTS: To E.J. [i.e., Esther Julia, daughter of Ford and Stella Bowen] — A House — Two Poems in an Old Manner: I. Brantigorn; II. Aupres de ma Blonde — Seven Shepherds (To E.J.) -- To Petronella at Sea -- Winter Night-Song. Previous publication: 'Ά House": published separately as a complete issue of Chapbook, Mar.,1921 (note the differences in A51 from this version). "Seven Shepherds (To E.J.)": Spectator, Sept.16,1922; Living Age, Nov.U,1922 (titled "Seven Sleepers"); Poetry, Jun.,1923"(correctly titled). "Winter Night Song": N.Y. Herald Tribune Books, Jan.23, 192"/ (see D335; may not represent a "previous" publication). Subsequent publication: All were republished in Collected Poems, 1936. A63

NEW YORK IS NOT AMERICA

[1927]

a. First English edition: NEW YORK IS NOT / AMERICA / BY / FORD MADOX FORD / AUTHOR OF "A MIRROR TO FRANCE," ETC. / [publisher's device] / DUCKWORTH / HENRIETTA STREET, LONDON "First edition. 244 p. Dark green ribbed cloth with gilt lettering on backstrip. Binding uniform with A Mirror to France. American edition published the same year by A. & C. Boni." 7 3/4 χ 4 7/8. 8s.6d. net. Probably published in Jul.,1927 (the first review I have found being on Aug.6,1927). Composition dates on p.244: "New York, 15th Oct. 1926-- / Toulon, 9th April 1927: Manuscripts: See CIi(16 and 18) for a manuscript of "My Gotham" supposedly owned by Mrs. Irita Van Doren and a type­ script of the book in the Loewe Collection. Previous publication: "Traveller's Tales":' Harper's, Apr., 1927. "My Gotham": N.Y. Herald Tribune Books, Dec.19,1926. "The Lordly Dish^: Harper's, Jun.,1927. "Regions that Caesar Never Knew": pp.226-240 of this chapter appeared in N.Y. Herald Tribune Books, Jun.5,1927 (as "Chicago"). There is no acknowledgment in the book of these earlier ap­ pearances. Note that all four of these essays reappeared in New York Essays. b. First American edition (in U. of Washington Library): NEW YORK / IS NOT / AMERICA / [rule] / BEING A MIRROR TO THE STATES / BY FORD MADOX FORD / [rule] / [quotation] / [rule] / ALBERT & CHARLES BONI / NEW YORK [publisher's device] MCMXXVII 7 3/8 χ 5. $2.50. "Avignon Edition." xiii, 292 p. Green cloth with gilt lettering on cover and backstrip. Green and white patterned end papers.

68

A63(b)-65(a) Title-page In green and black, enclosed In a line of type design and a double line of rules. p.xiii: Beneath the "Author's Advertisement," which is dated "Off Nantucket, 24th Feb., 1927," is a dedication to Jeanne M.. Foster: "My Dear Jeanne: Here I am back after all, just in time to dedicate this New York edition to the kindest of New Yorkers. Yours gratefully and with affection. F.M.F. New York, Oct.25th, 1927." Composition dates on p.292 differ from the English edition: "NEWYORK, 1st D e c , 1926. /TOULON, 9th Apr., 1927." The first review I have found is on Dec.19,1927. A64

NEW YORK ESSAYS

1927

First edition: NEW YORK ESSAYS / BY FORD MADOX FORD / [rule] / [Rudge's monogram design] / [rule] / NEW YORK / WILLIAM EDWIN RUDGE / 1927 "First edition. [iv], 106 p., 2 leaves (with limitation notice on recto of first leaf). Bright yellow boards with gilt lettering on black cloth backstrip. One of 750 copies, signed by the author, published in October, 1927. Author's autograph is on the half-title. The book was not published in England." 9 1/4 x 6· $5.00 Probably published, as the colophon in­ dicates, in Oct.,1927. p.[l]: "NOTE. / The essays here printed were all written in New / York between October 1926 and March 1927. / They were first printed in The New York Herald / Tribune, / Harper's Magazine, Vanity Fair, and / Poetry of Chicago. I have to make the usual acknowl- / edgements to the editors of these journals." In addition to periodical publication, -those essays preceded by an asterisk had also appeared in New York is Not America (A63). ^ M y Gotham": N.Y. Herald Tribune Books, Dec.19,1926. "And on Earth Peace": N.Y. Herald Tribune Books, Dec.26, 1926 (as a review of Trollope's The Chronicles of Barsetshire). "Stevie and Co.": N.Y. Herald Tribune Books, Jan.2,1927 (as a review of the Works of Crane). "Ezra": N.Y. Herald Tribune Books, Jan.9,1927 (as a review of Personae: The Collected Poems of Ezra Pound). "Some American Expatriates": Vanity Fair, Apr.,1927. •"Chicago": N.Y. Herald Tribune Books, Jun.5,1927. •"Travelers' Tsic] Tales": Harper's, Apr.,1927. *"The Lordly Dish": Harper's, Jun.,1927· Manuscripts: See CiI(16) for manuscripts of two of these essays supposedly owned by Mrs. Irita Van Doren. A65

THE LAST POST

1928

a. First American edition (also in Naumburg Collection): THE / LAST POST / [quotation] / FORD MADOX FORD / THE LITERARY GUILD OF / AMERICA / NEW YORK [publisher's device] MCMXXVIII 7 l/2 χ 5. Probably distributed to members somewhat earlier than the A. & C. Boni edition, hence probably entitled to the distinction of "first American edition." The first review I

69

A65(a-b) have found Is on Jan.15,1928. My reasons for dating both American editions earlier than the first English edition include the earlier review dates, the earlier date of completion Pord affixed to the A. & C. Boni edition, and interpretation of the revisions Ford carried out in the English edition. Ix, 285, [l] p., 1 leaf. Tan and cream cloth with paper labels on cover and backstrip. Title-page in red and black, enclosed in a double line of rules and a line of type design, pp.v-ix: "A Dedicatory Letter to Isabel Paterson," writer for N.Y. Herald Tribune Books and reviewer of many of Ford's books. Ford says it was at her instigation that he decided to continue the Tietjens saga in this volume (see Ε53^,5δθ). Dated on p.Ix: "New York Oct.13th,1927·" The typescript and galley proof of this letter are in the Naumburg Collec­ tion. See composition dates below, "b." Manuscript; See Ci(15) for the manuscript materials in the Loewe Collection. Differences from the Text of the English Edition: A few differences between the American and the English editions ap­ pear to indicate that Ford revised the former slightly before its English publication. His motive may have been in part simply to make the English edition "different," but most of the changes seem to be in the direction of greater clarity or stylistic improvement. Few simply adapt the novel for an English audience. The only considerable revisions occur on pp.18-19 (l4-l6 in the Eng. ed.), 265-269 (272-27½ in Eng. ed.); there the changes are so numerous that they can not be detailed here. Other interesting.changes : p.116 (118): In the Eng. ed. "Papist" appears before "Marie." p.135 (139): "listened to his views" becomes "acquiesced in the justness of his views." p.l60 (165): "He had said" becomes "Mark had said." p.l62 (167): In the Eng. ed. a phrase is inserted after "as a rule"--"a rule so strong that it had assumed the aspect of a regulation." p.189 (192): Two of General Campion's honors listed on this page erroneously as one in the American edition ("M.P.V.C") have been set right in the Eng. ed. ("M.P., ... V.C."). p.190 (193): "French hairdresser's widow" becomes "French prostitute." p.213 (218): "That Sylvia had been able to bear" becomes "That she had been able to live down." p.219 (223): "And the Countess liked to preserve the inno­ cence of young American women" becomes "And the Countess probably liked to protect her innocence." p.255 (261): In the Eng. ed. the paragraph ends with "splash over the garden hedges" and the phrase in the American ed. ("... in order to keep Christopher alive and sane.'") is omit­ ted. As might be expected, later English and American editions followed the text first published in their respective countries (the differing titles were as well preserved). b. Second American edition (in my collection): THE / LAST POST / [rule] / A NOVEL BY / FORD MADOX FORD / [rule] / [quotation] / [rule] / ALBERT & CHARLES BONI / NEWYORK [publisher's device] MCMXXVIII 7 3/8 χ 5. $2.50. "Avignon Edition, " uniform with the 70

A65(b-d) Boni edition of New York is not America. ix, 285, [l] p. Slightly ribbed green cloth with gilt letter­ ing on cover and backstrip. Green and white patterned end papers. Title-page in green and black, enclosed in a line of type design and a double line of rules. Composition dates on p.285 differ from those of the English edition: "PARIS 7th July--AVIGNON & S.S. MINNEDOSA / --NEW YORK 2d NOVEMBER 1927" The dust jacket represents, as does the jacket of the first English edition, though not identically, the bugle call which gave the novel its title (see p.109). c. First English edition: LAST POST / BY / PORD MADOX PORD / [quotation] / DUCKWORTH / 3 HENRIETTA STREET, LONDON [1928] "First edition. 292 p., 3 p. of advertisements on book stock paper, printer's imprint on verso of third page. Light green ribbed cloth with lettering in gilt on the back­ strip. The fourth and final of the Tietjens novels. Publish­ ed in America by the Literary Guild of America, 1928, and by A. & C. Boni under the title The Last Post." 7 1/4 χ 4 3/4. 7s.6d. net. Probably published in Jan.,1928, but later than the American edition (the first review I have found being on Jan.26,1928). See above, A65(a), for revisions which most probably took place between the American and the English publications. Composition dates on p.292: "PARIS, 7th June--AVIGNON, 1st August--ST. LAWRENCE RIVER, 24th / September--NEW YORK, 12th November. --MCMXXVII." Catalogues list a reprint by Duckworth in Jun.,1935> priced at 3s.6d. net. Problems of Publication in England: A letter from Pord to Gerald Duckworth, publisher of this volume, in the Firestone Library, Princeton University, announces a decision about English publication, and publication with Duckworth specifically, that Pord later must have rescinded (see A Little Less than Gods, published by Duckworth in Oct., 1928J. The letter is dated Feb.13,1928. The "injustice" to which Pord is objecting is the income tax on royalties accrued by British writers living abroad. ". . . I have quite decided that I will give up publishing in England at all rather than submit to such a pettifogging injustice. And indeed, it would really pay me not to publish in England, for the English editions coming out before the American ones really do skim the cream of the American market, and extinguish the Paris one for the American editions on which my royalties are larger. . . . I propose to write to your firm asking them to consent to the ending of our agreement ... this which I do with a great deal of grief ... We have always, as I have ventured to say over and over again worked together with all possible cordiality . . . " Correspondence shows that Ford actually tried to the end of his life to find a publisher in England who would take on all his new work and perhaps publish his collected works (he ap­ parently found such a publisher in Allen and Unwin in the 'thirties; no collected edition, however, was produced in his lifetime). d. Second English edition (also in Naumburg Collection): LAST POST / A NOVEL BY / FORD MADOX PORD / [publisher's 71

A65(d)-67(a) device] / PENGUIN BOOKS / HARMONDSWORTH MIDDLESEX [1948] Standard Penguin Fiction edition. Published in Apr.,1948, probably simultaneously with the Penguin edition of A Man Could Stand Up (A6l[c];. 205, [lj p., 1 p. of advertisements; no flyleaves. Contains the same R.A. Scott-James preface which heads the other three Penguin volumes in the Tietjens series. A66

A LITTLE LESS THAN GODS

[1928]

a. First English edition: A LITTLE LESS THAN GODS / A ROMANCE / BY / PORD MADOX PORD / DUCKWORTH / 3, HENRIETTA STREET, LONDON "First edition, ix, [l], 310 p. Light green cloth with gilt lettering on backstrip. The American edition was published the same year by the Viking Press." 7 1 / 4 x 4 3/4. 7s.6d. net. Probably published on 0ct.l8, 1928. pp.v-lx: dedication to "Rene Katherine Clarissa David" (dated "Off Nantucket / 28th July, 1928.") Composition dates on p.210: "New York, 9th Jan. / Paris— New York— / Carquelranne, 27th August, 1928. " Ford's "Suspense": For Ford's discovery of the germ of the story in Philadelphia in 1906, see Return to Yesterday, N.Y. pp.193-195· According to Ford this subject was to have been developed in collaboration with Conrad, but when he parted with Conrad and went to the Front in 1915 or 1916, both decided to let Conrad go on with the subject, the eventual result being the incomplete Suspense. Ford seems to have been contemplating his own version of the Napoleonic novel, however, soon after he got out of the Army (see the letter from Conrad to Ford, from the Keating Collection, in my entry for the first American edition of The Nature of a Crime, A57[t>])· Also in support of the war-time decision on collaboration see the somewhat veiled account by Violet Hunt in The Flurried Years, pp.262-263. b. First American edition (not in Naumburg Collection): PORD MADOX FORD / A LITTLE LESS / THAN GODS / [design] / NEW YORK / THE VIKING PRESS / MCMXXVIII 7 3/8 x 5. $2.50. Probably published simultaneously with the English edition (the first review I have found being on Oct.28,1928). 1 leaf, x, .361 p., [l], 1 leaf. Purple cloth with gilt lettering. Half-title only on p.[i]: "A Napoleonic Tale." Title-page enclosed in two frames, each of a double line of rules. According to the publishers, Jun.30,i960, Viking "issued only two printings, the first of 5,000 and the second of 1,000, and not all of these were necessarily sold." A67

THE ENGLISH NOVEL

1929

a. First American edition: [design] / THE ONE HOUR SERIES / THE ENGLISH NOVEL / FROM THE EARLIEST DAYS TO THE / DEATH OF JOSEPH CONRAD / BY / FORD MADOX PORD / AUTHOR OF / "JOSEPH CONRAD': A PERSONAL REMEMBRANCE" / ETC. / PHILADELPHIA & LONDON / J.B. LIPPINCOTT COMPANY / 1929

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A67(a)-68 "First edition. 149 P-, 1 leaf. Orange cloth with black lettering. Presentation copy, inscribed: To Herbert Gorman Ford Madox Ford N.Y. May 1929 The English edition was published in 1930 by Constable & Co. It contains an 'Author's Apology' to Hugh Walpole, and bears a note, on a page before the table of contents, reading as follows: 'The book was written in New York, on board the S.S. Patria and in the port and neighbourhood of Marseilles during July and August, 1927· For the purpose of rendering it more easily understood by the English reader I have made certain alterations in phrases, in Paris during the last four days of 1929 and the first two of 1930.'" 7 x 4 1/4. $1.00. Probably published in Mar.,1929 (the first review I have seen being on Apr.6,1929). According to the publisher, Jul.13,I960, 5,000 copies were printed and 2,135 sold. Previous publication: First appeared serially in Bookman (N.Y.J, D e c , 192«, through Mar., 1929 (D362). b. First English edition (also in Naumburg Collection): THE / ENGLISH NOVEL / FROM THE EARLIEST DAYS / TO THE DEATH OF / JOSEPH CONRAD / BY / FORD MADOX FORD / LONDON / CONSTABLE & CO / 1930 7 3/8 χ 4 3/4. 5s. net. Probably published on Mayl5,1930. [xvi], 141, [l] p., 1 leaf with advertisements on verso. Blue cloth with gilt lettering on backstrip; top edges trimmed. See above quotation re "Author's Apology" and note in this edition; the alterations made for the English reader are minor. A68

NO ENEMY

1929

First edition: NO ENEMY / [two blue rules] / A TALE OF / RECONSTRUCTION / [two blue rules] / BY FORD MADOX FORD / AUTHOR OF / NO MORE PARADES / SOME DO NOT / ETC. / [two blue rules] / THE MACAULAY COMPANY "First edition. [ii], 302 p. Light blue cloth with silver lettering on cover and backstrip. This book was not published in England." 7 3/8 χ 5. $2.50. Probably published in Nov..1929 (the first review I have found being on Nov.17,1929). p.[3]: dedication to Esther Julia Madox Ford; dated "New York, 21st June, 1929." On the reverse of this page is the first section of his poem which first appeared in On Heaven, "Foot­ sloggers. " Other war poems from this volume appear in the book ("The Old Houses of Flanders" facing p.l47; "Clair de Lune," first section, on pp.290-292). pp.293-302: a letter in French which "Gringoire" (Ford) says was published during the war (l have not been able to trace this). See also below, "Previous publication." Typescript: An original typescript, presumably of this novel or of part of it (see below, "Previous publication"), is listed in the collection of the late Crosby Gaige (sold

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A68-69(a) In N.Y.C. on Mar.25,1950): "'English Country, Or Gringoire 1 s'en va-t-en Guerre. Ill pp., inscribed on the title page: 'Ford Madox Ford for Crosby Gaige, New York, 1938. ' " See also Cl(17) for the manuscript in the Loewe Collection. Previous publication: Pp.25-46 are quite close to a series of essays'] titled "English Country, " Ford contributed to New Statesman (D275). Also, pp.204-216 seem to be an earlier version of an essay written in review of H. Gaudler-Brzeska, 1891-1915, "Henri Gaudier: the Story of a Low Tea Shop," contributed to English Review (D276). Letters Concerning Circumstances of Composition and At­ tempted English Publication: DT considerable interest is a letter from Ford to Eric Pinker, from Paris, on Sept.11, 1929, trying to get the "novel" published in England. This letter is in the Naumburg Collection and says in part: "It was written as to one chapter, in the front line, and as to the rest just after peace was declared. I thought at the time that it was too personal to publish at once and de­ termined to keep it for ten years which have just elapsed. It won't appear in New York till November." A later letter in the same vein was sent to Hugh Walpole (dated May28,1930; in the possession of Rupert Hart-Davis, quoted in MacShane's Oxford D.Phil. 1955 thesis, "The Literary Career of Ford Madox Ford," pp.334-345), saying in part: "Pinker declares that no English publisher that he has approached will touch it which rather astonishes me for it has had quite a remark­ able reception in the United States where they say it is a monument of prose which it probably isn't but when you con­ sider that it is the war-reminiscences of the only British novelist of anything like, say, my age who actually took part in hostilities as an infantry officer it seems singular that no one should want to print it as a document. " A69

RETURN TO YESTERDAY

1931

a. First English edition: REMINISCENCES 1894-1914 / RETURN TO YESTERDAY / BY / FORD MADOX FORD / LONDON / VICTOR GOLLANCZ LTD / 14 HENRIETTA STREET COVENT GARDEN / 1931 "First edition. Ix, [l], 438 p. Black cloth with gilt lettering on backstrip. The American edition was published in 1932 by Liveright." 8 1/2 χ 5 1/4. 18s. net. Published on Nov.2,1931. A letter from the publishers, Dec.13, I960, says in part: "We ... printed 1250 copies at the price of 18/-. We sold 1121 copies at this price. We remaindered 87 copies at the price of 6d. in 1935· (The remaining copies were given away before publication for review.)" pp.vii-ix: dedication to Dr. Michael and Mrs. Eileen Hall Lake; dated "Cap Brun, 14th July, 1931." Composition dates on p.436: "50 West 12th Street New York 4th November MCMXXX / Cap Brun, 8th August MCMXXXI." pp.437-438: index of names. Manuscript: Both correspondence and a manuscript in the Berg Collection of the New York Public Library prove that al­ though the American edition was published after the English, it was actually written earlier. See Cii(26) for the Berg manuscript, which contains materials omitted from both

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A69(a) editions. See below for the correspondence that further establishes the priority of the American manuscript. Letters in the Victor Gollancz Piles: Feb. YJ,1931, Gollancz to Ford: "Mr. LHughJ Walpole has kindly sent me the first few chapters of your Reminiscences. I find them most inter­ esting . . . It would be necessary, of course, to re-write the thing slightly here and there for the English market, as at present it is addressed to Americans." See below, first American edition, for some of the changes made. MaylO,1931, Ford to Gollancz, re the title: "I have several vague suggestions in my mind. Here are some of them: ALARUMS & EXCURSIONS LET US NOW PRAISE famous men and our fathers before us. I SAW THRONES (Revelations) HERE'S ROSEMARY--that's for remembrance. REMEMBRANCE OF THE WISE--For there is no remembrance of the wise more than of the fool. Ecclesiastes. UNDER THE SUN For what hath man of all his labour—where­ in he hath laboured under the sun. do. NOR YET RICHES I returned and saw under the sun that the race is not to the swift nor the battle to the strong, neither yet bread to the wise nor yet riches to men of understanding, do. or BREAD TO THE WISE might be best of all. . . . I propose to carry it up to the 4th August 1914. I have written so much about the war in one way and another that I could hardly write about it again with any freshness and my later experiences have been so exclusively American that they would hardly inter­ est the English reader. " Jul.4,1931, Ford to Gollancz: "The American publisher insists on calling the book RETURN TO YESTERDAY. I do not think this a good title for America but it is not so bad for England. (80 per cent of Americans hate to think of Yesterday.)" Ford approached Gollancz in a letter of Jan.3,1932, about publishing his work from then on. Gollancz replied on Jan. 23 that "there is a prima facie likelihood of my being Interested." The correspondence does not disclose why this relationship was not established, but the following excerpt from a letter to Ford from the firm, dated Feb.1,1932, may point to one of the reasons: "... we are sorry to say that RETURN TO YESTERDAY has only just earned the advance [£l50]-in fact the royalties actually amount ΐο£7·8·10 under the advance. " See also the excerpts from correspondence in this file re­ lating to the disturbing reference to the King in Return to Yesterday (see E665). This anecdote appears in both English and American editions. Previous publication: Ford remarks in the dedicatory pre­ face that "you may here find things I have written before." There are, besides many echoes from earlier works, particularly Ancient Lights and Thus to Revisit (see entry for this book for virtual duplication of certain pages), two chapters reprinted, with very little change, from earlier published periodical articles. Chapter II, "Personae": Scribner's, Oct.,1931 ("Three Americans and a Pole"). Chapter III of Part Three, "Working with Conrad": Yale Review, Jun.,1929 (under the same title).

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A69(a)-70(a) Ford makes no explicit acknowledgment of these earlier publi­ cations. In addition the sketches of Meary Walker and Meary Spratt in Chapter I, Part Three, first appeared in his Women and Men (see A54). Subsequent publication: In 1962 passages from Return to Yesterday were selected by Graham Greene for publication in the first volume of The Bodley Head Ford Madox Ford (A8l). Since he did not there identify the source of his selections (and mixed them with passages from other volumes of reminiscence it is necessary here to cite the page references in Return to Yesterday (N.Y. edition, being the only one available to me77 accompanying them with Greene's heading for each selection: 15-17 ("Mr James and Mr Kipling"); 26-39 ("A Settlement of Aliens*); 70-71 ("Walter Crane's Gloves"); 78-79 ("My Nurse, Mrs. Atterbury"); 86-87 ("The City of Dreadful Night"); 141147 ("'Meary'"); 177-179 ("A Kind of Criticism"); 196-198 ("Collaborating with Conrad: I"); 204-214 ("The Old Man"); 225-228 ("A Literary Party"); 287-289 ("Collaborating with Conrad: II"); 296 ("A Novelist's Credo"); 343-345 ("A Shame­ ful Episode"); 347-349 ("Portrait of the Artist as a Dandy"); 350-356 ("The Marconi Commission"); 359-360 ("Mixing up Names"); 363-371 ("Starting a Review"); 373-375 ("Enter Ezra Pound"); 410 ("Alas."'). b. First American edition (also in Naumburg Collection): RETUKN / TO YESTERDAY / [rule] / FORD MADOX FORD / Γ rule] / [publisher's device] / [rule] / NEW YORK / HORACE LIVERiGRT . INC. / 1932 8 5 / 8 x 5 1/2. $4.00. Probably published on Jan.15,1932 (see notice in N.Y. Times for that date). [xii], 417 P. No index. Gray cloth with black lettering, author's signature in black on front cover. Title-page en­ closed in double-line of rules, pp.v-viii: dedication as above. Composition dates on p.4l7 (note difference from above): "50 West 12th Street New York 4th November MCMXXX / Cap Brun July 1st MCMXXXI." Differences between the English and American editions are slight. Two chapter headings were changed (Part IV, Chapt. T,, V, Little Old New York'" to "Gotham"; Part V, Chapt. II, "Alarums and Discoveries," to "Reviews"), and two of the "Part" headings were slightly altered. A70

WHEN THE WICKED MAN

[l93l]

a. First American edition: [type design] / WHEN THE WICKED MAN / BY / FORD MADOX FORD / AUTHOR OF SOME DO NOT, NO MORE PARADES, /ETC., ETC. / [publisher's device] / HORACE LIVERIGHT, INC. / NEW YORK / [type design] 'First edition, 1 leaf, [vi], 352 p. Black cloth, blindstamped, gilt lettering. The English edition was published by Jonathan Cape in 1932." 7 3 / 8 x 4 7/8. $2.50. Probably published May20,1931. Facing title-page is the biblical quotation from which the title is taken (Ezekiel XVIII.27). p.[v]: dedication "To Blanche." Composition dates on p.352: "Paris, 17th December, 1928; New York, 15th May, 1929; / R.M.S. Mauretania, off the

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A70(a)-7l(b) Scillias, 1st December, 1930." A letter from Ford to Victor Gollancz in the Gollancz files, dated Jun.6,1931, is of interest re the above publication: "I have just heard from New York that my novel which was published on May 20 was reprinted on May 23." b. First English edition (in the British Museum): WHEN THE WICKED MAN / BY / FORD MADOX FORD / AUTHOR OF SOME DO NOT, NO MORE PARADES, ETC.,ETC. / [publisher's device] / [quotation] / JONATHAN CAPE / THIRTY BEDFORD SQUARE / LONDON [1932] 7 5/8 x 4 7/8. 7s.6d. net. Published on Jun.13,1932. 320 p. Orange cloth'with white lettering on backstrip only. Bottom edges untrimmed. "Author's Note for the English Reader": pp.9-10. "I publish this novel in England only with reluctance and under the action of a force majeure as to whose incidence I cannot here be explicit. I must, therefore, in conscience insist upon the fact that this book is in no sense a picture of American, and still less of New York, manners. It is nothing more than a lucubration on an individual problem such as besets most men at one period or another, of their lives. . . . The background ... happens to be New York, because Gotham is the only city with which the writer has to-day any intimate acquaintance—in which, that is to say, he feels completely at home. . . . " Dated on p.10: "Paris, 6 March MCMXXXII." Sales: A letter from the English publishers, Nov.23,i960, gives these figures: "Number printed: 2984. Number sold: 1396. Distributed for sales promotion purposes: 88. Sheets wasted (indicating that there was no sale for these copies and that the sheets were in fact pulped): 1500." Catalogues list a reprint by Cape in Oct.,1934, which was more likely a cheaper re-issue (priced at 2s.6d. net). A71

THE RASH ACT

1933

a. First American edition: THE RASH ACT / A NOVEL / BY / FORD MADOX FORD / AUTHOR OF "SOME DO NOT," / ETC., ETC. / [quotation] / [publisher's device] / RAY LONG & RICHARD R. SMITH, INC. / N E W YORK . . . . 1933 "First edition. [iv], 380 p. Title-page in orange and black. Orange cloth with blue lettering. Cover design on dust wrapper by Biala. Published in London by Jonathan Cape the same year." 7 3 / 4 x 7 5/8. $2.50. Probably published in Feb.,1933 (the first review I have found being on Feb.26,1933). According to Frank MacShane, the MS is owned by Mrs. Janice Biala Brustlein (see Ci[l8]). b. First English edition (in the British Museum): THE RASH ACT / A NOVEL BY / FORD MADOX FORD / [publisher's device] / [quotation] / LONDON / JONATHAN CAPE 30 BEDFORD SQUARE / & AT TORONTO [l'933] 7 1 / 2 x 4 7/8. 7s.6d. net. Published on Sept.4,1933. 348 p., 2 leaves. Brownish-red cloth with black lettering on backstrip only. Bottom edges untrimmed. Sales: A letter from the publisher, Nov.23,i960, gives these figures: "Number printed: 1496. Number sold: II56. Distributed for sales promotion purposes: 90. Sheets wasted

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A7l(b)-72(b) (indicating that there was no sale for these copies and that the sheets were in fact pulped): 250." Catalogues list a reprinting by Cape on Jan.3I51936, but this, like the 1934 "edition" of When the Wicked Man, seems to be merely a re-issue at 2s.6d. net. A72

IT WAS THE NIGHTINGALE

1933

a. First American edition: IT WAS THE / NIGHTINGALE / [quotation] / FORD MADOX FORD / PHILADELPHIA & LONDON / J.B. LIPPINCOTT COMPANY / 1933 "First edition. 38l, [l] p., 1 leaf. Title-page has a decorative border in orange. Black cloth with gilt letter­ ing on cover and backstrip. The English edition was published in 1934 by Heinemann, and is represented by a proof copy in paper wrappers. Accompanying these books is the original holograph manuscript of the book, written on 98 pages, and bound in full morocco. The bodk was called Towards Tomorrow. The title-page bears this note in Ford's hand: 'This is the ms. of It Was the Nightingale wh. it was at first proposed to publish as above F.M.F.' It is signed on the same page, 'Ford Madox Ford, Villa Paul Cap Brun, Toulon, Var.' It is dated 'Paris Jan 12th' and 'Toulon June 11th 1933' on the last page. Compari­ son with the book shows many changes, probably made on the galleys. With the manuscript is the proof of the dust wrapper for the Lippincott edition, inscribed 'Proof of cover design F.M.F.' and with the signature of Biala, the artist. " 8 1 / 2 x 5 1/2. $3.00. Probably published in Oct.,1933 (the first review I have found being on Oct.21,1933). Quotation on title-page gives the passage from Romeo and Juliet from which the title is taken. PP.5-L12]: dedicatory preface to Eugene Pressly, dated on p.[12] "CAP BRUN / ON THE FEAST OF ST. EULOGIUS / MCMXXXIII" Composition dates on p.371: "PARIS, Jan. 12th-- / TOULON, June 11th, 1933" PP.375-f382]: index. A letter from the publisher, Jul.13,I960, informs me that 2,960 copies were printed and 2,930 sold. Manuscripts: The Naumburg manuscript mentioned above has since been presented to Princeton University (see E1031). See Cii(28) for a later manuscript in the Loewe Collection. Previous publication: There is no acknowledgment of this, but pp.31-57 represent a virtually exact reproduction of the essay "Contrasts: Memories of John Galsworthy and George Moore, " Atlantic, May,1933 (reprinted, as "John Galsworthy and George Moore," in English Review, Aug.,1933). b. First English edition (also in Naumburg Collection): [quotation] / [double line of rules] / IT WAS THE / NIGHTINGALE / FORD MADOX FORD / [publisher's device] / LONDON / WILLIAM HEINEMANN LTD. [1934] 8 1/2 χ 5 1/4. 10s.6d. net. Published on May28,1934. xi, [l]j 354 p. Dark blue cloth, gilt lettering on back­ strip only. Title-page enclosed in a double line of rules. Presentation copy, inscribed: Claire & Herbert Gorman from Ford Madox Ford

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A72(b)-74(a) TOULON 16 VI. MCMXXXIV The proof copy in the Naumburg Collection has gray paper wrappers with black lettering, and on the front the words "Proof Copy" below the title. Otherwise it is virtually the same as the final copy. Unlike the American edition, there is no table of contents. Otherwise the English and American editions seem to contain identical material. According to the publishers, Feb.15,1961, only one edition, of 2,000 copies, was published. A73

HENRY FOR HUGH

1934

First edition: [line of type ornaments] / HENRY FOR HUGH / A NOVEL / BY / FORD MADOX FORD / PHILADELPHIA / J.B. LIPPINCOTT COMPANY / LONDON / 1934 / [line of type ornaments] "First edition. 333 p., 1 leaf. Red cloth with silver lettering on cover and backstrip. This book was not published in England." 8 x 5 3/8. $2.50. Probably published in Oct..1934 (the first review I have found being on Oct.13,1934). This novel forms a sequel to The Rash Act. A letter from the publishers, Jul.13, I960, informs me that 2,690 copies were printed and 2,597 sold. Manuscript: See Ci(19) for the manuscript in the Loewe Collection. A74

PROVENCE

1935

a. First American edition: PROVENCE / FROM MINSTRELS TO / THE MACHINE / BY FORD MADOX FORD / ILLUSTRATIONS BY BIALA / [cut] / PHILADELPHIA / J.B. LIPPINCOTT COMPANY / LONDON / 1935 "First edition. 371. [l] p., 2 leaves. Tan cloth with blue lettering on cover and backstrip. Presentation copy, inscribed: For Edward Naumburg Jr. Ford Madox Ford 25 April 35 and also autographed by the illustrator, Biala. Pasted in is a catalogue of the exhibit held at the Passedoit Galleries in April and May, 1935 of Biala's paintings of Provence and the originals of the illustrations for this book. This leaflet has a note on Biala by Pierre Lamure. The book was published in England by Allen and Unwin, Ltd. in 1937." 8 1/2 χ 5 1/2. $3.00. Probably published in Mar.,1935 (the first review I have found being on Mar.24,1935)· p.[5]: dedication "To / Caroline Gordon / who chronicles another South / and to / Allen Tate / who came to Provence and / there wrote to 'that sweet land' the poem called / 'The Mediterranean' and / where we went in the boat / was a long bay / F.M.F. and B" pp.361-[372]: index. Manuscript: See Cii(29) for the manuscript in the Loewe Collection. Ford's Last "Trilogy": From Frank MacShane, "The Literary

79

A74(a)-76 Career of Ford Madox Ford," Oxford D.Phil., 1955, pp.277278: "These two works [Provence and Great Trade Route] were supposed to be part of 'a trilogy in which I project-for what it is worth—my message to the world.'" Quotation from letter by Ford to Stanton Campbell, Aug.24,1938 (in Campbell's possession). The third volume of the trilogy was never completed, if it was ever begun (see A77[a]). According to the publishers, Jul.13,I960, 3,350 copies were printed and 2,547 sold. b. First English edition (in the British Museum): PROVENCE / FROM MINSTRELS TO THE MACHINE / BY / FORD MADOX FORD / L.L.D. / ILLUSTRATIONS BY BIALA / [sketch by Biala] / LONDON / GEORGE ALLEN & UNWIN LTD [1938] 8 1/2 χ 5 3/8. 12s.6d. net. Published on Nov.1,1938. [ii], 368 p. No index. Blue and orange cloth with silver lettering on backstrip. Top edges blue, all edges trimmed. The only color illustration faces title-page. The "L.L.D." beneath Ford's name on the title-page was an honorary degree from Olivet College, conferred upon him in 1938. Slightly revised from the American edition; the first para­ graph is omitted. Illustrations are the same, except that the thirty-first illustration here was the last one in the American edition. The title of the first chapter is here "World Route" as opposed to "On the Latest Route." According to the publisher, Dec.2,1960, 1560 copies were printed, 1226 sold and 15 destroyed by bombing. A75

VIVE LE ROY

1936

a. First American edition: VIVE LE ROY / A NOVEL / BY / FORD MADOX FORD / PHILADELPHIA / J.B. LIPPINCOTT COMPANY / LONDON / 1936 "First edition. 34l, [l] p., 1 leaf. Light blue cloth with white lettering on cover and backstrip. The book was published in England by Allen and Unwin, Ltd. in 1937·" 8 x 5 3/8. $2.50. Probably published in Apr..1936 (the first review I have found being on Apr.11,1936). According to the publisher, Jul.13,I960, 2,547 copies were printed and 2,498 sold. b. First English edition (also in Naumburg Collection): VIVE / LE / ROY / FORD MADOX FORD / GEORGE ALLEN AND UNWIN / 40 MUSEUM STREET LONDON [1937] 7 5/8 χ 5. 7s.6d. net. Published on Jul.20,1937. 321 p., 2 p. of advertisements on book stock paper. Light blue cloth, silver lettering on backstrip only. According to the publisher, Dec.2,I960, 1,510 copies were printed, 1,160 sold, and 225 destroyed by bombing. A76

COLLECTED POEMS

1936

First edition: COLLECTED POEMS / BY / FORD MADOX FORD / WITH AN INTRODUCTION BY / WILLIAM ROSE BENET / NEW YORK / OXFORD UNIVERSITY PRESS / 1936 "First edition, xvi, 348 p., 2 leaves. Green cloth with gilt lettering on backstrip." 8 1/2 χ 5 1/2. $3.00. Probably published in Oct.,1936 (the 80

A76 first review I have found being on Oct.31,1936). A letter from the publishers, Jul.6,1960, says in part: "750 copies were printed, of which 550 were bound. There was no second edition. The book was declared out of print on the 7th of January, 1944. On the 17th of February, 1944, 195 unbound sheets of the book were destroyed." CONTENTS : pp.3-17: "On Heaven" (from On Heaven, 1918). pp.18-22: "Antwerp" (from On Heaven, 1918; see earlier separate publication), pp.351-51: New Poems (first published in 1927). pp.55-83: the rest of the poems, except for the Appendix, from On Heaven (see above, pp.3-22). pp.87-289: Collected Poems, first published in 1913, except for "A Masque of the Times ο'Day" (omitted from the "Little Plays" section), pp.293-319: "'Buckshee': Last Poems," first printed in Oct.,1931, in New English Poems, ed. Lascelles Abercrombie (B36): subsequently printed in Poetry, Feb.-Mar.,1932 (D373). The long poem, "Coda," which ends this section had only ap­ peared previously in London Mercury, Sept.,1936 (see D398;. Earlier Version of the "Buckshee" Poems: Four of the eight poems previously published in New English Poems show here frequent, if usually minor, revisions. Tn three instances titles have been changed: the title for all eight poems in the 1931 anthology, "Buckshee: Poems for 'Haitchka in France," followed by Ford's bracketed explanation of "buck­ shee," served there as title for the first poem ("Buckshee" in Collected Poems); the title of the fifth and eighth poems differ, "L'Interprete—au Caveau Rouge" appearing here as "At the Caveau Rouge," "Vers l'Oubli appearing here as "L'Oubli--, Temps de SeOheresse." There are minor differences in punctuation and stanzaic separation between the versions of each poem, but the only interesting and important differences occur in the third, fifth, sixth and eighth poems. "Fleuve Profond": on line 5, p.177, the distinguishing italics in "But ... hear them SING." have been neglected on line 2, p.298 ("But ... Hear them sing.'"); similarly on line 17 of the same page, the italics and the verb have been changed, from "But hear them rolling along. " to, on line 15J "But hear them trolling along.'"; above on the same page, line 10 (line 7 in Collected Poems), "Almost to the chin; peeping, a-shiver, sideways," has been changed to "Peeping, a-shiver, sideways, from the chin." "At the Caveau Rouge": on p.l80 of the 1931 version, four verses preface the "Sonnet de Ronsard": They sing too fast for you? I will interpret. That aged, faded, leonine-faced carle In dim old tights and frayed, striped gaberdine Now quavers the famous sonnet. This is it: Three verses instead serve the same purpose in Collected Poems : They sing too fast for you? Well, I'll Interpret. That faded, aged leonine old carle Quavers the famous Sonnet. This is it: The second and third lines following the Sonnet in the original are: "Possess that knowledge. I've the trick at 81

A76 times / Give me the subject. I will find you rhymes." In Collected Poems: "Do know it. I've a trick at times. / Give me a theme and I will find you Rhymes ..." A change occurs three lines later: "Might make you cry if you had any heart," becomes "Would make you cry if you had half a heart." The following song, "Plalsir d'Amour, " has several changes in wording. Most interestingly, these lines follow the song in the 1931 version to introduce the previously published "Aupres de ma Blonde" (both these lines and the succeeding poem are here omitted, though "Aupres de ma Blonde" is included in the "New Poems" section); Now here's your favorite she's going to sing. Knowing, it's said, what gentlemen prefer She's flaxen locked, but once was brune piquante And Prix du Conservatoire. Poor thing, she'll write Her autograph on your programme if you smile at her. But she's a lovely voice. "Champttre": in line 4, "debris" becomes "dishes"; "Sixth" in line 6 becomes "Vl": "With the Channel at our backs" becomes, in line 11, "The sun at our backs"; the next line, "Across the strip of blue, the pink-blue cliffs of Prance," becomes "Over the strip of sea, on the cliffs of Prance." "L'Oubli--, Temps de SeOheresse ": line 17, p.l88, "They call the mistral once again burn up the face of our hill," becomes on p.306 "They call the mistral / Again burns up the face of the hill"; in line 6, p.l89, "and gages" follows "quinces" in the 1931 version but is omitted here; in line 12 "they say" precedes "they never care" in the original but not here; "plants" in line 14 is changed to "fruits"; "vineprunings" in line 18 becomes here "vine-branches"; the last line of p.l89 and first of p.190 are reversed in the later version, appearing originally in this order: "And the sky an infinite number of subtle greys / And the mistral sings an infinite number of lays in Latin--"; the last word of line 3, p.190 becomes in line 1, p.308, "bare" instead of "cruel. " Other differences are minor. Manuscripts: See Ciii(l3) for manuscripts of "Buckshee" poems in the Harriet Monroe Modern Poetry Library of Chicago and in the Loewe Collection. Prefatory Acknowledgments: Erroneous in some details. See the statement about On Heaven in A50. His observation that "nearly all the poems here printed appeared first in journals nearly all of which have disappeared" is nothing if not casual. Poems for Pictures was published in 1900, not "1897" (the same mistake was made in the 1914 edition). The "1911" Preface: On pp.323-342 is an appendix containing the preface to the "1911" (sic) edition of Collected Poems (see A43[a]). On p.342, a ""postscript" by Pord dated "Paris 1st May 1936": "The foregoing preface was written exactly a quarter of a century ago. I do not see much to alter it as far as my own views are concerned. If I had to re-write it I might modify the frivolity of the phraseology--and I do not know what German poets are doing today. But for the rest I remain impenitently of the opinion that poetry, like everything else, to be valid and valuable, must reflect the circumstances and psychology of its own day. Otherwise it 82

A76-77(a) can be nothing but a pastiche." pp.345-348: Index of first lines. A77

GREAT TRADE ROUTE

1937

a. First American edition: GREAT TRADE ROUTE / BY / PORD MADOX PORD / [quotation] / OXFORD UNI"VERSITY PRESS / NEW YORK. TORONTO / 1937 "First American edition. [viii], 408 p. Gray-blue cloth with gilt lettering on backstrip only. Early copies are said to have had the illustrator's name (Biala) omitted on dust wrapper and title-page as in this copy. Published in England by Allen and Unwin, Ltd. in the same year. 8 1 / 2 x 5 1/2. $3.00. Published in Jan.12,1937. Colored frontispiece by Biala. pp.[v-vl]: dedication to Jean Nicolas Le Son. According to the publisher, Jul.6,1960, "2971 copies were printed, of which 1500 were bound. Again, there was no second edition. On the 3rd of November, 1939, 405 bound books and 1467 unbound sheets were jobbed. I have been able to find no trace of who the purchaser was. . . . the book was officially declared out of print on the 31st of October,1941." Previous publication: Apart from earlier published materials which bear considerable resemblance to passages in this book (see my entries for N.Y. Times, Feb. 14,1935,· American Mercury, Apr. and Aug.,1935), there is an actual republication. "See They Return," Esquire, Jun.,1935> became with little revision part of Chapter Three. Ford's Last "Trilogy": A letter of considerable interest relating to this book and the other "two" of his proposed trilogy (mentioned above in A74[a]) is in the George Allen and Unwin files and quoted in Prank MacShane's "The Literary Career of Ford Madox Ford," Oxford D.Phil, thesis, 1955, pp.277-278. This is a letter from Ford to Sir Stanley Unwin, dated Oct.28,1936: "The point to be made about the GREAT TRADE ROUTE is that it is not the book of a meditative gentleman who stands before ruined temples and pours out mournful soliloquies on old unhappy things but as it were the testament of a man usually of action who has spent a long life not only on writing and study but on digging, editing, carpentry, cooking, small holding, fighting both literally and metaphorically and in every kind of intrigue that could advance what he considers to be the cause of good letters. . . . and particularly on running round the part of the world here treated and observing with disillusioned eyes politicians and public men of every type and shade. In the series of books to which this belongs—which besides this includes PROVENCE and one which will deal with Burgundy, North France, the English South Coast, the Southern States below Baltimore, returning to Marseilles by way of all the Mediterranean coasts from Jaffa north--and westwards--he deals with a certain erudition of most of the things that make for the happiness of mankind. . . . cooking, reading, farming, fighting, the Fine Arts, the Stage. . . . how they all--and particularly politicians—should be handled if the civilisation which we know and which is founded on the civilisation of the Mediterranean is to have any chance of continuing. It is in short a book

83

A77(a)-78(a) of advice from a man of wide experience and a remarkable memory who is without any illusions and no irons in any fire to men of reason, good will and common sense who desire that the present tumults which overfill the world should be suppressed so that they can get on with their jobs in peace. And the series of books contains passages of equal enthusiasm for the Greek Anthology, the Maison Carree as for the sea foods of New Orleans or Marseilles, for the paintings of Clouet, the military genius of Stonewall Jackson, the inten­ sive cultural possibilities of the Tidewater and Piedmont districts of the Old Dominion and the climates of the countries that run round the world along the 40th North parallel. It is in short what in the old days would have been called humane literature." b.

First English edition, proof copy (in Naumburg Col­ lection) : FORD MADOX FORD / GREAT TRADE ROUTE / WITH DRAWINGS BY / BIALA / [quotation] / LONDON / GEORGE ALLEN & UNWIN LTD / MUSEUM STREET [1937] 8 3/8 χ 5 1/2. 12s.6d. net. Probably published on Jan.12, 1937. 448 p., no flyleaves. Brown paper wrappings. Apparently a trial or proof copy, though there is no marking to that effect. No list of illustrations as in American copy. The title of the "Coda," "To Nowhere" in the American edition, is here "Towards Nowhere." pp.[441]-448: index. The final, published, edition is bound similarly to the Allen and Unwin edition of Provence : Green and orange,cloth with black lettering on backstrip; otherwise identical with the above proof copy. According to the publisher, Dec.2,1960, 1,500 copies were printed and 1,385 sold; final account was rendered in 1944. A78

PORTRAITS FROM LIFE

1937

a. First American edition: FORD MADOX FORD / [rule] / PORTRAITS / FROM / LIFE / MEMORIES AND CRITICISMS OF / [list of authors] / ILLUSTRATED / BOSTON. HOUGHTON MIFFLIN COMPANY. NEW YORK / THE RIVERSIDE PRESS CAMBRIDGE / [rule] / 1937 "First edition, vi, [4], 227 p., 1 leaf. Light blue cloth with silver lettering on cover and backstrip. Published in England in 1938 by Allen and Unwin, Ltd. under the title Mightier than the Sword: Memories and Criticisms." 9 1 / 4 x 6 1/8. $3.00. Published on Mar.23,1937. The "list of authors," appearing on title-page and omitted above is as follows (not representing the order of the es­ says on those authors in this volume): "Henry James / Joseph Conrad / Thomas Hardy / H.G. Wells / Stephen Crane / D.H. Lawrence / John Galsworthy / Ivan Turgenev / W.H. Hudson / Theodore Dreiser / Algernon Charles Swinburne" Photo of W.H. Hudson facing title-page; illustrations, appropriately placed in the book, for all the authors except James, Wells, and Swinburne. pp.v-vi: dedication to Paul Palmer, editor of American Mercury, in whose pages all but the last chapter appeared.

84

A78(a-b) (Ford does not make this explicit acknowledgment.) Composition dates on p.227: "New York: Toulon: / Paris: New York: / March MCMXXXVI / to Jan. MCMXXXVII" According to the publisher, Jul.1,1960, this volume is out of print (but see recent republication below, "c"),· 2,500 copies were printed originally. Previous publication: All except two chapters or essays were previously published. One chapter, on Theodore Dreiser, ap­ peared in Apr.,1937 in American Mercury; the other, the last chapter, "'There were Strong Men'" was written specially for the book. Chapter One: American Mercury, Nov., 1935 (as "The Master"; only the ending is different; see D389); London Mercury, Nov., 1935 (also as "The Master"; see D389 also). Chapter Two: American Mercury, Jan.,1936 (as "Stephen Crane"; see the single change, D39l). Chapter Three: American Mercury, Mar.,1936 (as "W.H. Hudson"). Chapter Four: American Mercury, Jun.,1935 (as "Conrad and the Sea"); London Mercury, Jul.,1935 fas "Decennial"). See Cii(30) for the Naumburg Manuscript. Chapter Five: American Mercury, Jun.,1936 (as "D.H. Lawrence"). Chapter Six: American Mercury, Aug.,1936 (as "Thomas Hardy"). Chapter Seven: American Mercury, May,1936 (as "H.G. Wells"). Chapter Eight: American Mercury", Apr.,1936 (as "Galsworthy"). Chapter Nine: American Mercury, Sept.,1936 (as "Turgenev, the Beautiful Genius", with a few differences; see D397). Chapter Eleven: American Mercury, Jan.,1937 (as "Swinburne"; a few differences, see Du-Ol). b. First English edition (also in Naumburg Collection): MIGHTIER THAN THE SWORD / MEMORIES AND CRITICISMS / OF / [list of authors (same as above)] / BY / FORD MADOX FORD / ILLUSTRATED / LONDON / GEORGE ALLEN & UNWIN/LTD [1938] 8 1/2 χ 5 1/4. 10s.6d. net. Probably published on Feb. 22, 1938. 1 leaf, 292 p., 4 p. of advertisements. Green and crimson cloth, gilt lettering on backstrlp. Same illustrations as Portraits from Life, same ordering of chapters. No composition dates at end. Advertisements at end include two for Ford's books, Great Trade Route and Vive Ie Roy, with a synopsis of the latter. According to the publisher, Dec.2,i960, 1,500 copies were printed; 1,290 copies were sold up to Dec.,1953> at which time the book was still in print; 20 copies were destroyed by bombing. Subsequent publication: In 1962 passages from Mightier than the Sword were selected by Graham Greene for publica­ tion in the first volume of The Bodley Head Ford Madox Ford (A8l). Since he did not there identify the source of hTs selections (and mixed them with passages from other volumes of reminiscence), it is necessary here to cite the page re­ ferences in the Bodley Head edition, accompanying them with Greene's heading for each selection and, in parentheses, the chapter in the earlier volume from which they were taken: 254-257, "The Pines, Putney" ("Swinburne"); 257-260, "A Mr Hardy" ("Thomas Hardy"); 295-299, "W.H. Hudson" ("W.H. Hudson"); 302-304, "The Apotheosis of John Galsworthy" ("Galsworthy"); 320-327, "... and D.H. Lawrence" ("D.H.

85

A78(b-c)-79(b) Lawrence); 365, "Maupassant and the Naked Lady" ("The Master"). c. Second American edition (in my collection): PORTRAITS PROM LIFE / PORD MADOX PORD / MEMORIES AND CRITICISMS OP / [list of authors] / A GATEWAY EDITION / HENRY REGNERY COMPANY CHICAGO [i960] 6 3/4 χ 4. $1.95. vii, [5], 301 p., 3 leaves. Black lettering on white paper covers, seven-colored design on front cover. "6059" appears at bottom backstrip. Opposite half-title appears a quotation from Paul Palmer, Senior Editor, Reader's Digest (editor of American Mercury when Ford contributed iliese essays). A79

THE MARCH OP LITERATURE

1938

a. First American edition: THE MARCH OF / LITERATURE / PROM CONFUCIUS' DAY TO OUR OWN / BY / FORD MADOX PORD / [publisher's device] / THE DIAL PRESS / NEW YORK. 1938 "First edition, vii, [3], 878 p. Title-page in reddishbrown and black, with a quintuple-ruled border. Coarse gray cloth, publisher's device on cover, title on backstrip in reddish-brown." 9 1/4 χ 6. $3.75. Probably published in Oct.,1938 (the first review I have found being on Oct.8,1938). pp.v-vii: dedication "which is also an Author's Introduction To / Joseph Hillyer Brewer and Robert Greenlees Ramsay / President and Dean of Men, Olivet College, Michigan"; dated "Olivet College, Michigan / 14 July mcmxxxviii" (signed "F.M.F., D.Litt.": Ford had received the honorary degree that year from Olivet). pp.851-861: "Appendix / Synchronized Tables of Nineteenth and Twentieth Century Authors" pp.865-878: index. Manuscript: See CiI(29) for the manuscript in the Rare Book Room, Yale University Library. b. First English edition (in the British Museum): THE MARCH OP / LITERATURE / PROM CONFUCIUS TO / MODERN TIMES / BY / FORD MADOX / FORD / D.LITT. / GEORGE ALLEN AND UNWIN LTD / MUSEUM STREET / LONDON [1939] 8 3/4 x 5 3/4. 16s. net. Published on Sept.26,1939. [xiv], 878 p. Green cloth with gilt lettering on back­ strip only. Title-page enclosed in ornamental border. No essential difference from the American edition. Sales: Prom a copy of a letter sent to Prank MacShane, Dec.1,1953 (sent on to me by Sir Stanley Unwin on Dec.2,1960): "First edition l600, subsequent reprint of 8200 which included 6200 for Readers Union. Total sales, including the 5200 to Readers Union approximately 7970; 190 destroyed by enemy action. . . . the royalties are of course fairly substantial." Title: In the Allen and Unwin files is a letter from Ford to Stanley Unwin, dated Oct. 13,1938 (quoted in Frank MacShane's "The Literary Career of Ford Madox Ford," Oxford D.Phil., 1955* P-312), in which Ford shows his objection to the title "History of Literature" (though MacShane says Ford "always in correspcndence before its actual publication referred to it as his 'History' of literature"). "... the objection to cal­ ling it a History of Literature is that that would imply a 86

A79(b)-8l history of all literature whereas practically I only treat of those literatures that have had an influence on the European and American literatures of today. " A80

PARADE'S END

1950

First edition (also in Naumburg Collection): FORD MADOX FORD / PARADE'S END / WITH AN INTRODUCTION BY / ROBIE MACAULEY / [publisher's device] / ALFRED A. KNOPF: NEW YORK 1950 8 1/4 χ 5 1/2. $7.50. Published on Sept.18,1950. xxii, 2 leaves, 836 p., 1 leaf (colophon verso this leaf). Black cloth, black and gilt lettering on partially red background on backstrip; title and author's initials blindstamped on front cover. The first publication of the entire "Tietjens tetralogy" in a single volume: pp.3-288, Some Do Not; pp.291-500, No More Parades,- pp.503-674, A Man Could Stand Up,· pp.677-836, The Last Post. The component novels had been published in TW47l525TT526 and 1928 respectively (see A56,59,61,65). pp.v-xxii: Robie Macauley's Introduction (expansion and revision, with particular application to the Tietjens novels, of two earlier published essays; see E921 and 94l). Also in the Naumburg Collection is the publicity pamphlet distributed by Knopf in advertisement of this book. Sales: The only sales information I received from the publisher, in a letter of Jul.18,1960, is that 10,585 copies were printed and 10,034 sold. A considerable part of this "sale," though, must have come from remaindering the volume. Title: Ford seems to have been the first to suggest the title, "Parade's End." In "Letters of Ford Madox Ford" (S.R.L., Aug.2,1941), Paul A. Bartlett writes: "Mr. Barton was his correspondent in 1930 and to him he wrote about his famous 'Tietjens Saga. ' . . . Ί strongly wish to omit The Last Post from the edition. I do not like the book and have never liked it and always intended the series to end with A Man Could Stand Up . . . I do not like the title Tietjens Saga because in the first place 'Tietjens' is a name difficult for purchasers to pronounce and booksellers would almost in­ evitably persuade readers that they mean The Forsyte Saga, with great damage to my sales.' For a general title he sug­ gested Parade's End, with the 'Tietjens Saga' for a sub-title.' Hence at least one of Ford's wishes found fulfillment in this volume. Book club reprinting: In Feb.,196l, the Mid-Century Book Society of New York reprinted 9,000 copies of Parade ' s End for distribution to subscription members only. The members' price was $5-50. See the Society's publicity leaflet, The Mid-Century, for Feb.,196l, which contains an essay on Parade's End by W.H. Auden (E1028). Italian translation: Mrs. Janice Biala Brustlein informed me on May27,19b2 that a two volume translation of the Tietjens novels was about to be published in Milan by Feltrinelli (see that publisher's i960 translation of The Good Soldier, A46[i]). A8l

THE BODLEY HEAD FORD MADOX FORD

87

1962

A8l First edition: See above, A46(k), for a description of Volume One of this two volume collection of previously published works. Description of Volume Two follows here, itself succeeded by information about the contents of both volumes. THE BODLEY HEAD / FORD / MADOX FORD / VOLUME II / THE FIFTH QUEEN / PRIVY SEAL / THE FIFTH QUEEN CROWNED / [publisher's seal] / THE BODLEY HEAD / LONDON [1962] 7 1 / 2 x 4 1/2. 25s. Published in Jun.,1962. Edited and introduced by Graham Greene (introduction in Vol.1 only). 592 p. Blue cloth, slightly nubby; gold lettering on backstrip only. Dust jacket is lighter blue with red and black lettering. Contents of Volume One: Greene's introduction is on pp. 7-12, The Good Soldier on pp.15-220 (again, see A46[k]). On pp.223-35° Greene publishes, under the heading "Selected Memories," assorted passages from four non-fictional works. The four books are identified verso the title-page and on the half-title preceding the section, but the separate passages are not identified by source. Such identification will be found elsewhere in this bibliography under the original publications: The Heart of the Country (A17[b]),· Ancient Lights (A32[a]); Return to Yesterday (A69[a])j Mightier than the Sword (A7blbJ). At the end of this volume four poems are printed, three from On Heaven (see A50) and one from Songs from London (see A29~7· For excerpts from Greene's introduction, see F90. Contents of Volume Two: The entire volume is devoted to the Fifth Queen trilogy (see The Fifth Queen, Al6; Privy Seal, Al9; The Fifth Queen Crowned, A25J, being the first one volume edition to incorporate these books.

88

Section B

CONTRIBUTIONS TO BOOKS BY OTHER WRITERS (INCLUDING TRANSLATIONS BY FORD)

89

Bl-3

B. CONTRIBUTIONS TO BOOKS (INCLUDING TRANSLATIONS BY FORD) (Single asterisk signifies this volume is in the Naumburg Collection; there is no quotation here from the 1948 Naumburg check-list, but for this section's formal debt to that list, see the Introduction, p.xv.) Bl -^Exhibition of the Works of Ford Madox Brown Held at the Grafton Galleries, 8 Grafton Street, London, 1897. Pamphlet. Introduction by Ford; notes to some of the pictures signed by his initials, p.4 of Introduction: 'Another defect in the otherwise excellent selection of his works at the New Gallery was the lack of descriptive episodes in the Catalogue. To set a picture so full of 'literary ideas' as the 'Cromwell on his Farm' unexplained before a public not overprone to trouble itself to discover motives is to court misconception. This I have remedied by quoting in extenso the excellent descriptive passages of MacTox Brown himself, or by supplying descriptions of my own for pictures most needing it. It must then appear how excellent a story-teller and pithy a thinker Madox Brown was." See Ancient Lights, p.13; Ford speaks of "organizing" this exhibition himself. The Brown exhibition was apparently held in Jan.,1897. See below, B5· B2 *Stories from De Maupassant. Translated by E. [Elsie] M. [Martindale] Preface by Ford M. Hueffer. London: Duckworth, 1903. pp.vli-xxiii: Ford's preface. The translator was his wife (Elsie Martindale being her maiden name). Probably published in Oct.,1903, and according to Goldring's Trained for Genius (p.9k) it was published "through the good offices of Edward Garnett, who had recently become Duckworth's literary adviser." See the same passage in Trained for Genius for Joseph Conrad's interest in this translation; several letters from Conrad to Ford and his wife relating to the translation are also in the Keating Collection, Yale U. Library (see Cx[A]). See "A Check List of Additions to A Conrad Memdrial Library, 1929-1938." Yale University Library Gazette, XIII, 38 (Jul.,1938); an unbound edition of this book is listed there, 'corrected throughout in ink by Joseph Conrad." Another edition was published in 1927 in London by Jonathan Cape, in the "Traveller's Library." In that edition Ford's preface, unaltered, appears on pp.9-23· B3 *Dirge for Aoine and Other Poems. By Nora Chesson. London: Alston Rivers, 1906. pp.xi-xvi: Introductory note by Ford to Vol.1 of five vols. Here Ford claims to have known the poet "some years ago." Letters in the Huntington Library indicate that Ford's 91

B3-5 involvement in this volume was considerably greater than the writing of an introductory note and that this volume was probably the first of a projected series devoted to the publication of virtually unknown poets. In a letter to Pinker, dated Apr.10.1906, he mentions without further clarification a "series for which he has responsibility; he returns to Pinker the manuscripts of a Miss Bellerby as being unsuitable for this series. A letter of Apr. 25,1906 deals directly with the Chesson poems: "In a rash moment you promised me a guinea for my Taubmann fund [I find no information about this fund]. . . . I propose when the statuette is disposed of to devote the money it makes to publishing a selection of Mrs. Chesson1 s poems for the benefit of Chesson [the poet's widower]." On Apr.26 Ford gives a partial explanation of the fund: " . . . the fund is intended for literary etc people . . . What I had proposed to do was to pay Chesson a small sum for preparing an edition of his wife's poems & then to return the proceeds of the poems themselves to the fund." Letters of May 5 and n.d. mention the poems of W.H. Pollock, Barry Pain, and someone named Davis, all prospects for "my series of books." I have not discovered any continuation of this "series," but R. H. Mottram was another poet invited to contribute (see Fl6l). B4 The Book of Living Poets. Edited by Walter Jerrold. London: Alston Rivers, 1907. pp.166-174: poems by Ford. Three were first published in The Face of the Night ("Thanks Whilst Unharnessing," "Grey Matter 7"" and" "Wisdom"). The last, which is the second printed here, "Every Man: A Sequence," was first published in Saturday Review, Mar.18,1905, and then in Songs from London. See Goldring's Trained for Genius, p.62 and elsewhere, regarding the early friendship between Ford and Jerrold. See also F117. B5 Catalogue of an Exhibition of Collected Works by Ford Madox Brown. With a Preface and Notes by Mr. Ford Madox Hueffer. Ernest Brown & Phillips. The Leicester Galleries. Leicester Square, London. June-July, 1909· Pamphlet; see Bl, of which this is not a republication, pp.9-15: Ford's preface. Notes to the pictures signed by Ford are on pp.24,27,31,40,44,46,49-54,55-56. Neither the preface nor the notes are the same as the 1897 catalogue. A copy of this catalogue is in the Huntington Library. In the Rare Book Room of the Yale University Library is a carbon copy of the preface accompanied by a TLs from Ford to George T. Keating, n.d. (Dec,1929): "l enclose as a Christmas souvenir a microscopic piece of writing of mine that is rather rare and, as it is being reprinted [I have seen no sign of such reprinting], I have added a little bit of which I also send the typescript." The 3 p. uncorrected typescript is signed on the last page: "Ford Madox Ford / for George T. Keating / Xtmas 1929" The added matter is dated "Paris 20th Nov 1929" 92

B6-9 B6 *London Town Past and Present. By W.W. Hutchings. With a Chapter on the Future in London by Ford Madox Hueffer. London: Caasell, 1909. 2 vols. Vol. II, pp.1094-1110: Ford's chapter, p.21: Hutchings quotes from Ford's The Soul of London. Probably published Sept.18,1909 and distributed or printed simultaneously by Cassell in N.Y. B7 *The Governess. By Mrs. Alfred and Violet Hunt. With a Preface by Ford Madox Hueffer. London: Chatto & Windus, 1912. pp.[vii]-xvlii: Ford's preface; dated "March 1912." This preface refers, on p.xvii, to Violet Hunt as "Mrs. Hueffer." For the trouble caused by the publicity paragraph which drew upon this preface, see the paragraph itself in Throne, Apr.,3,1912 (E223), and the newspaper reports of Feb.7 and 8,1913 (E235-238). See also Goldring's South Lodge, pp.lOlff., though Goldring seems unaware that the publicity paragraph was based on Ford's preface. B8 *Des Imaglstes. An Anthology. New York: Albert and Charles Boni, 1914. PP-47-50: Ford's poem, "In the Little Old Market-Place",· first published in High Germany. p.62: Ford's poem, unsigned, written in English but with Greek characters and "footnotes" in English, "Fragments Addressed by Clearchus H. to Aldi." This spoof is addressed to Richard Aldington, whose parody of Ford's "On Heaven" immediately precedes this poem in the anthology (see F4) . p.63: Ford's Collected Poems ("1914",· actually published in Nov.,1913) mentioned in the "Bibliography." Pes Imaglstes is a bound form of the Feb.,1914 issue of the short-lived N.Y. periodical Glebe, which was also published by A & C. Boni from the Washington Square Bookshop. The English "edition" was distributed by Poetry Bookshop, with imprint to that effect on the title-page. First published as a book on Mar.2,1914. For an interesting history of Pes Imaglstes and Glebe see Charles Norman, Ezra Pound, pp.lOb-115· [B9 Their Lives. By Violet Hunt. London: Stanley Paul, [1916].] PP·[3-4]: preface indubitably by Ford, signed "Miles Ignotus." Opens: "SOMEWHERE IN BELGIUM / September, 1916. / I took the proofs of this book up the hill to read. From there I could see the gas shells bursting in Poperinghe; it was a very great view, but I am prohibited from descanting on it." Last sentence, which further dates this preface: "Truly, Our Lord and Saviour Christ dies every day--as he does on every page of this book, and in every second of this 7-9-16. ' See Cvi (2) for an unpublished manuscript in the Loewe Collection, written in the same month and year as the preface to Their Lives, and using the same pseudonym.

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-16 BlO The New Poetry. An Anthology. Edited by Harriet Monroe and Alice Corbin Henderson. New York: Macmillan, 1917. pp.138-143: Ford's poem, "Antwerp," in the 1915 version see A45 for differences from later versions). In the new and enlarged edition" of 1923 and 1924, another poem by Ford was added, "Footsloggers" (sections I and II and "L'Envoi"); this poem had appeared previously in On Heaven. BIl *The Trail of the Barbarians, being "LOutrage des Barbares." By Pierre Loti. Translated by Ford Madox Hueffer. London: Longmans, Green, 1917· Pamphlet. Published actually in Jan.,1918; probably distributed in N.Y. by Longmans, Green, pp.v-vi: "Translator's Note"; signed "Ford Madox Huef,fer, / Lieut. 3rd / attd. 9th Battalion, / The Welch Regiment. / 9th August 1917." B12 New Voices. An Introduction to Contemporary Poetry. By Marguerite Wilkinson. New York: Macmillan, 1919· pp.260-26l: two poems from On Heaven, "The Iron Music" and "The Old Houses of Flanders?" p.250: Editor's commentary on these poems. B13 Modern British Poetry. Edited "by Louis Untermeyer. New York: Harcourt, Brace, 1920. pp.102-105: two poems from On Heaven, "Clair de Lune" and "'There Shall be More Joy ...'" (third English poem in Appendix to On Heaven). Only the second poem was reprinted in the "revised and enlarged" edition of 1925 (pp.I67-I68). B14 The Golden Book of Modern English Poetry: 1870-1920. Selected and Arranged by Thomas Caldwell. With an Introduction by Lord Dunsany. London and Toronto: J.M. Dent, 1922. p.211: Ford's poem, "To Christina at Nightfall," first published in Athenaeum, Oct.26,1901, and subsequently in The Face of the Night. Later editions 11923,1926,1930,1935) contain as well Ford's poem, "The Portrait," first published in Academy, Jan.6,I906, and then in From Inland. B15 Shorter Lyrics of the Twentieth Century, 1900-1922. Selected, with a Foreword, by W.H. Davies. London: Poetry Bookshop, 1922. pp.119,136: two poems by Ford, "Consider" (first published in Country Life, Mayll,1907, and then in Songs from London) and "The Unwritten Song" (first published in Christina's Fairy Book and then in From Inland). Bl6 Verse of Our Day. An Anthology of Modern American and British Poetry. With Studies in Poetry by Margery Gordon and Marie B. King. New York: Appleton, 1923·

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B16-22 pp.204-205,290-291: two poems from On Heaven, "The Old Houses of Flanders" and "The Iron Music?" B17 The Magic Carpet. Poems for Travellers. Selected by Mrs. Waldo Richards. Boston and New York: Houghton Mifflin, 1924. pp.238-239: poem from On Heaven, "The Old Houses of Flanders." Bl8 Contact Collection of Contemporary Writers. [list of writers represented]. Colophon, p.[339]: "Printed at Dijon by Maurice Darantiere. M.CM.XXV." Advertisement on back cover identifies this as a publication of "Contact Editions, Three Mountains Press, 29, Quai d'Anjou, lie Saint-Louis, Paris." For interesting commentary on Contact Editions, see E990. PP·57-74: part of the first chapter of No More Parades (see A59[a], "Previous publication"). B19 The Golden Treasury of Modern Lyrics. Selected and Arranged by Laurence Binyon. New York: Macmillan, 1925. pp.222-223: poem by Ford, "To Christina at Nightfall" (see above, Bl4, for previous publication). B20 *Transatlantic Stories. Selected from The Transatlantic Review. With an Introduction by Ford Madox Ford. London: Duckworth, [1926]. Published also in 1926 in N.Y. by Dial Press,.according to catalogues. pp.vii-xxxi: Ford's introduction; dated "Paris, June, 1925." See Cvi(5) for a manuscript in the Loewe Collection. Some of the authors published here are Nathan Asch, Djuna Barnes, A.E. Coppard, John Dos Passos, Ernest Hemingway, and Dorothy Richardson--all contributors to Transatlantic Review under Ford's editorship in 1924. See A5b(a), where Ford speaks of the only letter by Joseph Conrad he ever sold, "I selling it for the benefit of contributors to Transatlantic Tales [sic]." B21 *The Left Bank & Other Stories. By Jean Rhys. With a Preface by Ford Madox Ford. New York and London: Harper, [1927]· pp.7-27: Ford's preface, "Rive Gauche." According to the English Publisher, Jonathan Cape, this volume was first published in London in Mar.,1927, and a number of copies were sold to Harper. For the relationship between Ford and the author see FI98; see also below, B27. B22 *Love in Chartres. By Nathan Asch. London: Robert Holden, [1927]. pp.vii-xi: Ford's introduction. A letter from Nathan Asch to Frank MacShane (printed on' p.303 of the letter's "The Literary Career of Ford Madox

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B22-26 Ford," Oxford D. Phll.,1955) shows that author's gratitude to Ford: "I first knew Ford In Paris In 1924, and he published the very first two stories that I wrote. He got me my first agent, he found publishers for me; when he liked people's work he really helped them." Published in England in Nov.,1927. B23 *Vasco. By Marc Chadourne. Translated by Eric Sutton. With a Preface by Ford Madox Ford. New York: Harcourt Brace, [1928]. pp.7-13: Ford's preface; dated "New York / On the Feast of St. Stephen / MCMXXVII" Also published in 1928 by Cape in London. B24 *The Sisters. By Joseph Conrad. With an Introduction by Ford Madox Ford. New York: Crosby Gaige, 1928. Conrad's unfinished story which had first appeared in Bookman (N.Y.), Jan.,1928. pp.l-lb: Ford's introduction. This is an amalgamation and expansion of two earlier published articles: "Tiger, Tiger: Being a Commentary on Conrad's The- Sisters" and "On Conrad's Vocabulary," (D350 and 354JT Colophon verso leaf at end: "926 copies on handmade and 9 copies on green paper / printed by Bruce Rogers / at the press of William Edwin Rudge. / Distributed in America by Random House, N.Y." The Naumburg copy is on handmade white paper. Re the genesis of these articles by -Ford, see Burton Rascoe, We Were Interrupted (FI92); re "The Sisters" and Ford's interpretation, see John Dozier Gordan, Joseph Conrad: The Making of a Novelist, Cambridge, Mass., 1941, pp.199-200, Thomas Moser's Joseph Conrad: Achievement and Decline (Fl60), and Albert Guerard, Jr.'s Conrad the~Novelist (F93). See also A Conrad Memorial Library: The Collection of George T. Keating, pp.442-443, for descriptions of copies of the Fook and of the Jan. issue of Bookman inscribed by Ford. B25 The European Scrap Book: The Year's Golden Harvest of Thought and Achievement. New York: Wm.H. Wise, 1928. pp.47-48: excerpt from New York is not America (prefaced by editorial comment). p.57: Excerpt from Ford's obituary essay on Thomas Hardy, N.Y. Herald Tribune Books, Jan.22,1928 (D35l)· pp.222,227: Excerpts respectively from "Pax!" and The Lordly Dish," Harper's, Sept.,Jun.,1927 (0343,32H)B26 New Paths on Helicon. A Collection of Modern Poetry. Edited by Henry Newbolt. Part I. London, Edinburgh, and New York: Nelson, 1928. pp.115-124: poems by Ford. "Canzone a la Sonata (ToE.P.)," from High Germany; "From Inland," first published in Academy, Jan7b,190b, and subsequently the title poem of a published volume; "Grey Matter," "From the Soil" (first monologue only), and "To Christina at Nightfall" from The Face of the Night.

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B26-30 pp.200-202:

editorial commentary (see F166).

[B27 *Perversity. By Francis Carco. Translated by Ford Madox Ford. Chicago: Pascal Covici, 1928.] Apart from the title-page, a letter in the Loewe Collection from Carco to Ford, dated Jan.7,1926, seems to prove that Ford was responsible for this translation: "Je vous adresse par ce courrier un exemplaire de Perversity sur lequel vous n'aurez qu'a souligner les mots qui peuvent vous g£ner pour votre traduction. Et Je vous remercie encore de tout coeur de votre tres grande et tres pr^cieuse proposition de faire connaitre ce livre en Angleterre." But laid into a copy of Perversity in the Naumburg Collection is a strange disclaimer, a letter from Ford to Edward Naumburg, Jr., reading in part: "The translation of Perversity was not by me at all but by a lady called Jean Rhys [see B2l]. The publishers fraudently [sic] attributed it to me, I suppose, because they thought it would sell better and I had the book suppressed and never heard anything more about it--I mean I don't know whether it was reissued with the proper name of the translator." The book was, however, republished at least twice in cheap paper back editions which perpetuate the alleged error of naming Ford as translator. Two of these are in the Naumburg Collection (Avon Publishing Co., I95O, and Berkeley Publishing Co., 1956, both of N.Y.). The quality of the translation itself seems to support Ford's disclaimer: it is quite possible that Ford, during his intimacy with Miss Rhys, convinced both author and publisher that he was making the translation. B28 *Morrow's Almanack for the Year of Our Lord 1929. Edited by Burton Rascoe. New York: Wm. Morrow, [1928]. pp.304-308: "In Vino," a short essay by Ford warning American tourists against expensive French wines. Not, to my knowledge, previously or subsequently published elsewhere, seeming to support the editor's claim on the title-page that the articles in this volume had "never before [been] seen in print." B29 *A11 Else is Folly. A Tale of War and Passion. By Peregrine Acland. With a Note by Way of Preface by Ford Madox Ford. New York: Coward-McCann, 1929. pp.vii-xiii: Ford's preface. Also published in 1929 by Constable in London. B30 *A Conrad Memorial Library: The Collection of George T. Keating. New York: Doubleday, Doran, 1929Limited edition of 501 copies, descriptive of the collection now in Yale U. Library. pp.74-83: chapter by Ford, titled "The Inheritors," describing the circumstances of collaboration on that novel. See Cii(23) for manuscripts of this chapter in the Loewe and Naumburg Collections. The holograph and typescript in the Naumburg Collection contains material later omitted from the Keating book.

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B30-36 See the Index, under "Keating," for mention or use of the many interesting materials pertaining to Ford in this volume. See also Ci (1,2),11 (5,29),* (A),xi (B), for Ford manuscript material in the Keating Collection, Rare Book Room, Yale University Library. Finally, see F49 for transcription of some other materials of interest. B31 Twentieth Century Poetry. An Anthology Chosen by Harold Monro. London: Chatto and Windus, 1929 and 1930. pp.l6l-l63: .two poems, "The Starling" (first printed in Fortnightly, Dec.,1911, and then in High Germany) and "'When the World was in Building1" (from On Heaven). p.200: another poem from On Heaven, "'When the World Crumbled.'" B32 *The Life and Strange Surprising Adventures of Robinson Crusoe of New York, Mariner. By Daniel Defoe. With the Illustrations by Edward A. Wilson and the Intro­ duction by Ford Madox Ford. San Francisco: Grabhorn Press, 193Ο. A Limited Editions Club edition, distributed, according to the publisher, to members in Aug.,1930. In the Naumburg Collection is the typescript of Ford's introduction. [B33 The I93O European Scrap Book. New York: Forum, (1930).***] According to Edward Naumburg, Jr.'s check-list in P.U.L.C, Apr.,1948, this volume contains an essay by Ford titled "America's Chief Attraction," on pp.175-176. B34 *Imagist Anthology 1930. New York: Covici, Friede, [193O]. Recto first leaf: "The first edition of this book con­ sists of one thousand copies." pp.13-21: .foreword by Ford, dated "New York / Aug. 1st, 1929," "Those Were the Days." Glenn Hughes also contributed a foreword. pp.167-169: poem, "Winter-Night Song" (first contributed to N.Y. Herald Tribune Books, Jan.23,1927, then in New Poems; see ϋ335Ή pp.171-173: two poems, "Two Songs" ("1. To the tune of Rokehope; 2. To the tune of Nicolette au clalr Visage"), never, to the best of my knowledge, published elsewhere. For the curious history of this volume, see F107 and E632. The volume was published on Mayl3,1930 in London by Chatto and Windus. In the English edition Ford's foreword is on pp.ix-xvi, his poems on pp.115-120. B35 Armageddon. The World Eugene Lohrke. New Smith, 1930. pp.243-268: Excerpts Parades. B36 *New English Poems. A

War in Literature. Edited by York: Jonathan Cape and Harrison from the first chapter of No More Miscellany of Contemporary Verse

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B36-JU Never Before Published. The Collection Made by Lascelles Abercromble. London: Victor Gollancz. [1931]. pp.172-192: poems by Ford which later, with the addition of the long "Coda," made up the section, "'Buckshee': Last Poems," In his Collected Poems (1936). See my entry for that collection, A76, for Ford's revision of these poems. (The 1931 version of these poems appeared again in Poetry, Feb.-Mar.,1932; see D373.) Ford's contribution to this anthology conforms to the sub-title, "A Miscellany of Contemporary Verse Never Before Published," with one exception: the fifth poem, here titled "L'Interprete—au Caveau Rouge," includes the poem "Aupres de ma Blonde," which was previously published as a separate poem in Ford's New Poems. New English Poems was published on Nov.9,1931. B37 Great Short Stories of Detection, Mystery and Horror. Edited by Dorothy Sayers. Second Series. London: Victor Gollancz, 1931. PP.752-777·· Ford's story, "Riesenberg," which first appeared in English Review, Apr.,1911. Reprinted in the numerous reissues of this volume, also in America by Coward-McCann and Blue Ribbon Books. B38 *The English Review Book of Short Stories. Compiled by Horace Shipp. With a Foreword by Ford Madox Ford. London: Sampson Low, Marston, [1932]. pp.vii-xi: Ford's foreword. Not all of these stories, by any means, were published during Ford's editorship of the English Review. B39 *A Farewell to Arms. By Ernest Hemingway. Introduction by Ford Madox Ford. New York: Modern Library, [1932]. pp.lx-xx: Ford's introduction; dated "Paris / January, 1932." Hemingway had been assistant editor of Transatlantic Review in 1924 (and actually edited one number while Ford was away in the U.S.). It is of these Parisian experiences that Ford treats here. B40 The London Book of English Prose. Edited by Herbert Read and Bonamy Dobre"e. London: Eyre and Spottiswoode, 1932 and 1955. pp.55-60: Excerpt from the Armistice Day episode of Ford's A Man Could Stand Up. B4l *The Cantos of Ezra Pound. Some Testimonials by Ernest Hemingway, Ford Madox Ford, T.S. Eliot, Hugh Walpole, Archibald MacLeish, James Joyce and Others. New York: Farrar and Rinehart, 1933· pp.l3-l6: Ford's "Testimonial" for this publicity leaflet; dated "St. !Catherine's Day, I932" and written in Provence. Ford appears to have been the organizer of this tribute. In the University of Buffalo Library is a letter from

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B41-47 Ford to Joyce, dated Aug.29,1932, asking James Joyce for a contribution. In the Firestone Library are materials which amply demonstrate Ford's involvement in this enterprise: 13 copies of letters by Ford, undated, to A.R. Orage, Victor Gollancz, Hugh Walpole, T.S. Eliot, Carl Van Doren, James Joyce, Ernest Hemingway, Paul Morand, Basil Bunting, Edmund Wilson, Stuart Anderson, William Carlos Williams, and Elizabeth Madox Roberts; letters in answer, dating from Aug.l8 to Nov.21,1932, from Orage, Eliot, Williams, Joyce, Wilson, Van Doren, and Hemingway; and, according to Frank MacShane, a manuscript of an essay on Pound by Ford that may be his "Testimonial." B42 The Book of Modern English Poetry: 183O-I934. Selected' by Edwin Markham. New York: Wm.H. Wise, 1934. PP.2658-266O: poem, "Clair de Lune," from On Heaven. B43 ^Portraits and Self-Portraits. Collected and Illustrated by Georges Schreiber. Boston: Houghton Mifflin, 1936. PP-39-40: accompanying the portrait, an autobiographical sketch by Ford; at the end, "Paris, France." Reprinted in First Person, #1, 42,44 (Fall,196o), with photo. B44 Authors Take Sides on the Spanish War. London: Left Review, [19371p.11: Ford's reply to the question posed to the 148 contributors: "Are you for, or against, the legal Government and the People of Republican Spain? Are you for, or against Franco and Fascism? For it is impossible any longer to take no side." The majority of the 148 take their stand, as does Ford, against Franco and Fascism. The list of contributors is headed by Louis Aragon, who perhaps organized this pamphlet. B45 *The Survivors. By Rene B^haine. Translated by Edward Crankshaw. Preface by Ford Madox Ford. Boston and New York: Houghton Mifflin, 1938. pp.i-xix: Ford's preface. According to the American publishers, this volume was imported from Allen and Unwin, who published it the same year, and published on Sept.6,1938. B46 Four Winds. A Poetry Anthology. Compiled by Jean Edwards. With an Introduction by Kenneth Muir. Book II. London: A. & C. Black, [19391· p.91: poem, "The Gipsy and the Townsman," first published in Speaker, Apr.1,1899, and subsequently in Poems for Pictures. B47 The Book of a Thousand Poems. Edited by J. Murray MacBain. London: Evans, [19421. p.526: "The Unwritten Song," a poem first published in Christina's Fairy Book and then in From Inland. 100

B48-53 B48 Modern British Poetry. A Critical Anthology. Edited by Louis Untermeyer. Fifth Revised Edition. New York: Harcourt, Brace, 1942. Short introduction by the editor to these poems by Ford, pp.205-207: "Grey Matter," first published in The Face of the Night. p.2077 "'There Shall Be More Joy...'" (see B13 for previous publication). pp.207-212: "A House" (first part only); first pub­ lished separately in Mar.,1921 by Poetry Bookshop. B49 Vogue's First Reader. Introduction by Frank Crowninshield. New York: Julian Messner, 1942. pp.104-IO9: "Dinner with Turbot," first published in Vogue, Sept.19,1939 (see D415) . B50 The Question of Henry James: a Collection of Critical Essays. Edited by F.W. Dupee. New York: Henry Holt, 1945. London: Allan Wingate, [1947]· ΡΡ-47-53 (N.Y. edition), 64-70 (London edition): Excerpt from Return to Yesterday, N.Y. pp.202-211, deal­ ing with Henry James, here titled "The Old Man." p.xvi: "The editor has given the title ... 'The Old Man1 to the excerpt from Return to Yesterday ..." B51 The Lesson of the Master. Compiled by Simon NowellSmith. New York: Scribner's, 1948. pp.8,43-44,75,78,99,160: Excerpts from various reminis­ cences about Henry James by Ford. See editor's comments in F211; he explains why he saw fit to include so little, comparatively, of Ford's writings. B52 The Little Review Anthology. Edited by Margaret Anderson. New York: Hermitage House, 1953· All these materials were previously published in Little Review. pp.150-159: Excerpts from "Women and Men" (D270). Editorial comment: "In January 1918 Ezra [Pound] sent us, for serial publication, Women and Men. . . . Most of it is so uninteresting, as I reread it, that I will include only episodes V and VI, under the sub-title of 'Average People.'" pp.287-295: "W.H. Hudson: Some Reminiscences." Editorial comment: "Our May-June number, 1920, was devoted to W.H. Hudson, and was entirely composed by Ezra." See D279· pp.38I-383: Ford's reply, published in the May,1929 issue, to a questionnaire sent out by the editor to former contributors. See D364. B53 The Stature of Theodore Dreiser. A Critical Survey of the Man and his Work. Edited by Alfred Kazin and Charles Shapiro. With an Introduction by Alfred Kazin. Bloomington: Indiana University Press, [19551pp.21-35: "Portrait of Dreiser"; first published as a chapter of Portraits from Life (subsequently in American 101

B53-57 Mercury, Apr.,1937; in England, a chapter of Mightier than the Sword). B54 D.H. Lawrence: A Composite Biography. Edited by Edward Nehls. Volume One, 1885-1919. Madison: University of Wisconsin Press, 1957· pp.106-121,151-152,288: Excerpts from Ford's reminiscences about Lawrence in Return to Yesterday and Portraits from Life (Mightier than the Sword). B55 Novelists on the Novel. Edited by Miriam Allott. London: Routledge and Kegan Paul, 1959· New York: Columbia University Press, 1959· pp.102-103,235-236,245,251,273,284,297,321-322: Excerpts from Joseph Conrad and Pt Was the Nightingale. B56 Discussions of the Novel. Edited with an Introduction by Roger Sale. Boston: D.C. Heath, i960. PP-53-54: "The Lordly Treasure-House," excerpt from Thus to Revisit (pp.41-44 in the English ed.), in which Ford places the theories that he and Conrad developed in collaboration into the context of English literary history. B57 Sinclair Lewis: A Collection of Critical Essays. Edited by Mark Schorer. N.Y.: Prentice-Hall, 1962. pp.100-101: Ford's review of Dodsworth, first printed in Bookman (N.Y.), Apr.,1929 (see D3b3).

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Section C

MANUSCRIPTS, LETTERS, MISCELLANEA

103

MANUSCRIPTS, LETTERS, MISCELLANEA Study of all the Ford manuscript materials now known to exist would involve much travelling and some disappointment that so much yields so little. Ford was not usually given to the "agonizing reappraisals" of his first thoughts that dis­ tinguish the manuscripts of such writers as Joseph Conrad and Dylan Thomas. His letters, like Joyce's, generally reveal that his compositional energies were spent elsewhere, though they do testify to the breadth of his literary acquaintance, to his unusual involvement in the careers of other writers. Yet no Ford scholar can overlook the possibility that these materials may clarify many obscurities regarding the man and his craft. The most extensive and valuable manuscript collection I have examined is owned by the daughter of Ford and Stella Bowen, Mrs. Julia Loewe, who lives in Pasadena, California. There are letters in this collection as well, but the largest private collection of letters is owned by Mrs. Janice Biala Brustlein and is on deposit at the Firestone Library of Princeton University. Mrs. Brustlein, who lives in Paris, is Ford's literary executrix. Most of the letters in this col­ lection are accessible in the Firestone Rare Book Room (Deposit 9320 [Brustlein]), but a locked trunk containing manuscripts of published and unpublished material has not, during the compilation of this bibliography, been accessible to anyone. Professor Frank MacShane of the University of California at Berkeley did at one time have access to the materials in this trunk, probably before they were deposited at Princeton. He was kind enough to allow me to inspect his Oxford D. Phil, thesis, "The Literary Career of Ford Madox Ford," written for New College, June, 1955 (Bodleian MS. D. Phil., d.15^5), which lists without description these manu­ scripts and also includes study of two unpublished novels found in the Brustlein Collection, That Same Poor Man and Professor's Progress. Also thanks to Professor MacShane's diligence I am able to list many private and a few public collections that I have not been able to inspect. (His bib­ liographical contribution to E.F.T. [see Ξ1043] in most 105

respects duplicates listings in his Oxford thesis but in a few instances is more descriptive.) Unless otherwise noted, however, all information that appears in Section C is drawn from my immediate experience of manuscript materials. Mention must be made here of two other outstanding manuscript collections: those of Edward Naumburg, Jr. of New York City and of the Yale University Library. Manuscripts in this section are divided into the published and unpublished, and both categories are subdivided by genre and ordered chronologically (as exactly as it has been possible to determine dates of composition). Full descriptions of manuscripts were impossible, but enough information about each item is usually provided to indicate its interest and value. The following sub-section devoted to letters is ordered differently, by collection instead of chronology. No description of these hundreds of items, other than dating, numbering, and naming of correspondents, was possible, but every use in the bibliography of material drawn from these letters is acknowledged in this section.

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MANUSCRIPTS OF PUBLISHED WORKS I. Fiction 1. Romance: See All(a), "Manuscript Materials," for portions of the "original autograph manuscript" of Romance auctioned from the library of John Quinn in 1923. Some of these portions have found their way into the Keating Collection, Rare Book Room, Yale University Library, but that library contains only one page in Ford's hand, an early version of a page from the end of the "Casa Riego" section. See All(a) also for other original materials listed as sold in Jun.27,1924. 2. Nostromo, by Joseph Conrad: The Keating Collection at Yale houses 14 pp. of the manuscript of this novel in Ford's hand. There is ample reason to believe that Ford's claim to have written passages of the novel in Return to Yester­ day (pp.189-190, N.Y. ed.) is substantiated by this col­ lection. A thorough scholarly examination of these pages, correlating and comparing them with the appropriate por­ tion of the novel as serialised in T. P.'s_ Weekly and with the first English edition--the only such study, to my knowledge--appears in John Hope Morey's "Joseph Conrad and Ford Madox Ford: A Study in Collaboration," an unpublished Ph.D dissertation written for Cornell University in I960 (MIC 6Ο-5199). Morey devotes an appendix, pp.228-311, to this study. On p.120 he says that 'the portion of the man­ uscript which is in Ford's hand was printed in T.P. 's_ Weekly, April 8,1904 . . . approximately six and one-half pages of Ford's original manuscript have been lost." Morey finds that the pages at Yale comprise "not a copy of any earlier text, but ... both a first and a last draft of the text as it appeared in the April 8, 1904 issue . . . [p. 128]" On pp.126-128 he gives evidence that the pages were most probably not dictated. He also finds that the first English edition "provides a tighter, better-written text" than the manuscript or serial portion, "but the variations are not significant [p.1351." The 14 pp. at Yale are num­ bered 588-603 (p.590 is missing) and comprise pp.145-154 of the first English edition. There are a few corrections on most pages, also in Ford's hand. 3. "Tomorrow, by Joseph Conrad: 43 pp. of the dramatization of this story (called in the final version, "One Day More," in this version, "Tomorrow"), written entirely in Ford's hand, are in the Loewe Collection, Pasadena. The existence of these pages compounds the mystery of two letters by Conrad printed in Life and Letters, ed. G. Jean-Aubry, Vol. II, pp.17,20 TTo~Sidney Colvin, Apr.28,1905; To Ford, May9,1905). It appears that turning Conrad's story into a play originally either devolved upon Ford or was conceived as a collaboration. The letter to Colvin devotes a long first paragraph to a strange disclaimer of Fordian influ­ ence: "The facts are that Hueffer, a good and dear'friend, helped me by spending a whole day in taking out the dia­ logue of the story in a typewritten extract for my use and reference. The play, as can be shown by the MS., has been written entirely in my own hand . . . " In the above letter 107

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4.

5. 6. 7.

8.

9.

to Ford Conrad appears to give reasons for dissociating the play from Ford: ". . . if I inquired what you wished done re play, it was mostly from the feeling that you did not like the thing anyhow. And as I feel also it's going to fail in the end, I could not without your distinct authorization associate you with what I believe will be a sort of 'four.'" (An item of interest is to be found in the Maggs Bros, catalogue #460 for 1925, p.477: "The original typescript" of "One Day More," "corrected by the Author, from which this play was printed . . . He has made numerous alterations in the text, in all substituting about 200 words.") The Fifth Queen: An incomplete holograph and typescript including several versions of some portions, with numerous corrections on most sheets and many differences from the final publication, is in the Loewe Collection. Parts One and Two of the novel are represented here. Privy Seal: The complete holograph manuscript, 179 PP., here titled "The Fifth Queen Shewn," is in the Loewe Collection. An English Girl: A nearly complete holograph manuscript, here titled "The Reformers," is in the Loewe Collection. "Riesenberg": Two copies of the typescript of this story, first published in English Review, Apr.,1911, are in the Loewe Collection. One copy is corrected but not in Ford's hand. This copy is 40 pp., the other, 24 pp. The Young Lovell: A nearly complete corrected holograph and typescript, 296 pp., is in the Loewe Collection. Accompanying these pages is a later, virtually clean, typescript of Part Two (Chapters I-IV and most of VIIl), incorporating the corrections made in the corresponding pages of the above holograph and typescript. A proof copy of the novel, uncorrected by the author, also is part of the collection. The Good Soldier: Three versions of the novel, two apparently complete, are in the Loewe Collection. In all versions the title is "The Saddest Story." None is in Ford's holograph; none is so early as the Jun.20,1914 contribution to Blast (see D207), but none is identical with the first English edition. They appear here in their likely chronological order. a. An apparently complete version, in typescript and in several hands, none of which is Ford's (though most pages have a few corrections in Ford's hand). 368 pp. Probably the version from which "b" and "c" were typed. On the title-page: "MS. the property of / Ford Madox Hueffer / South Lodge / Campden Hill / W." But crossed out below this is: "M.S. the property of / W. L. Farley / l6,rue de la Paix / Paris" Farley apparently acted for a short time as Ford's amanuensis, for the first 79 pp. are in his hand. b. An uncorrected typescript, 42 pp.; evidently the first pages typed from the "a" version, incorporating changes made there. c. An apparently complete typescript with occasional corrections, 306 pp. Called on the enclosing folder "Printer's Copy," but it is not identical with the first English edition, though considerably closer to it than the above two versions. 108

Ci(l0)-il(2) 10. The Marsden Case: A complete holograph and typescript of mixed numbering, closely corresponding to the first English edition, are in the Loewe Collection. See A53 for materials in the Naumburg Collection. 11. Some Do Not: See A56(a) for the holograph and type­ script in the Naumburg Collection. 12. The Nature of a Crime: See A57(a) for typescript and galley proof holdings in the Naumburg Collection. 13. A Man Could Stand Up: A complete typescript, with the dedicatory letter plus 249 pp., is in the Loewe Collec­ tion. There are numerous, rather minor, corrections by the author. Inked inscription by Ford on the first sheet: "This is the typescript / --my own typing--from / wh. the novel was / printed / FMF" 14. "A Mascot': The complete holograph manuscript of this story, first published in London Mercury, Dec.,1927, is in the Berg Collection, New York Public Library. 16 pp. with a few corrections and insertions. 15. The Last Post: A complete typescript, 200 pp., with a few minor corrections, is in the Loewe Collection. On the title-page is this inked inscription by Ford: "This is the original typescript—my own typing—from which the English edition was printed. F.M.F." Also in the col­ lection are several typescript versions, some in dupli­ cate, of the beginning of Part Two of the novel (pp.192240 in the first English edition). See A65(a) for a typescript of the dedicatory letter. 16. Ά Miracle": A complete typescript of this story, first published in Yale Review, Winter, 1928, is in the American Literature Collection of Yale University Library. 15 pp., signed by Ford on the last page, with only editorial cor­ rections. 17. No Enemy: An uncorrected typescript of a portion of this "novel," called here "English Country," is in the Loewe Collection. Only part of Part One, Chapter I, and (in duplicate) Chapter V are represented. See also A68 for typescript materials that are probably different from the above. According to a letter in the Huntington Library, Ford sent Pinker the "complete m.s." on Oct.9,1919. 18. The Rash Act: According to Frank MacShane, the manuscript of this novel is in the Firestone Library, Princeton Uni­ versity, in the collection of Mrs. Brustleln. 19. Henry lrfor Hugh: A complete typescript of the novel, here titled As Thy Day," is in the Loewe Collection. 331 pp. with a few corrections and little difference between this and the first American edition. The quotation from which this version got its title is on the title-page: "And learn the truth of that gracious promise: / 1As thy day so shall thy strength be!'" II. Non-fictional Prose 1. "The Making of Modern Verse," "Christina Rossetti": An incomplete holograph and typescript of what appears to be an amalgamation of these two articles (the first published in Academy, Apr.l6 and 26,1902; the second, in Fortnightly, Mar.,1911) is in the Loewe Collection. 26 pp., corrected. 2. The Soul of London: An incomplete holograph and typescript of this book, here titled "London," is in the Loewe Collec­ tion. Included are an unpublished "General Synopsis," the 109

Cii(2-13) Preface, and Chapters I, IV and V. Corrections on both holograph and typescript. Synopses of two additional chapters ("in case this did not seem long enough to make a volume"--inked inscription by Ford on first sheet of the General Synopsis) form part of the unpublished prefatory papers. Materials mentioned in these synopses found their way into the later Spirit of the People. 3· The Heart of- the Country: The complete holograph manu­ script, 19T PP-, with numerous corrections, excisions and additions in Ford's hand, is in the Loewe Collection. 4. The Spirit of the People: An incomplete holograph of Chapter III is in the Loewe Collection. 15 pp.; verso p.l is a letter from H. Hamilton Fyfe of the Daily Mirror, May 17,1906, sympathizing with Ford for the loss of an uniden­ tified manuscript, probably The Benefactor; verso pp.5-8 is an apparently unpublished essay "On Letters in England"; verso pp.9-10 is another holograph manuscript portion, possibly from The Simple Life Limited. Also included is a letter about The Spirit of the People from the publisher. 5. Catalogue of an Exhibition of Collected Works by Ford Madox Brown (Τ9Ό9Τ: See B5 for information about the Yale type­ script of this pamphlet. 6. Henry James: A corrected proof copy of this book, dated by the publisher's stamp as Sept.2,1913, is in the Loewe Collection. 7· When Blood is Their Argument: A corrected proof copy of this book, dated by the publisher's stamp as Feb.22,1915, is in the Loewe Collection. 8. Between St. Dennis and St. George: A corrected proof copy of this Fook^ undated by the publisher, is in the Loewe Collection. 9. Letter to the editor, Athenaeum: A proof copy of this letter, with a few corrections, is in the Loewe Collection. The letter was printed in the Jul.16,1920 issue (see D283). 10. Thus to Revisit: A proof copy with numerous corrections and additions by Ford and in the hand of Stella Bowen is in the Loewe Collection. There is an interesting holograph note included which indicates Ford's intention (unfulfilled in the final edition) to print as an Appendix H.G. Wells' letter to the editor of the English Review, Aug.,1920 (Ξ357), and his own reply, which was not to be a retracta­ tion. Also in the Loewe Collection is an extensive but incomplete holograph and typescript of the book, partly dictated. 11. "'Ulysses' and the Handling of Indecencies": A complete typescript of this article, which was published in English Review, D e c , 1922, is in the Loewe Collection. 22 pp. with numerous excisions and corrections. 12. Women and Men: A complete typescript, 102 pp., with a few minor corrections, is in the Loewe Collection. Ford's address on the first page is his pre-war residence, South Lodge. See A54 concerning Ford's early work on this book. 13. Unsigned Transatlantic Review materials: In the Naumburg Collection are typescripts of a. The first installment of "Stocktaking: Towards a Re-Valuation of English Literature," published in the Jan­ uary issue; signed Daniel Chaucer. See D295· b. The second installment of the above, published in the February issue; 2 pp. only. Again, see D295. 110

Cii(l3-26) c. Ford's first editorial, with instructions to the printer in Ford's hand. See D296. 14. The Nature of a Crime: See A57(a) for the Naumburg typescript and galley proof holdings; appeared in Transatlantic Review, Jan. and Feb.,1924. 15· Joseph Conrad: See A58(a), "Manuscripts and Conrad Letter,'' for the Naumburg holdings. 16. "My Gotham," "And on Earth Peace": According to Frank MacShane, the manuscripts of these two articles (which appeared in N.Y. Herald Tribune Books, Dec.19 and 26, 1926; the first subsequently published in New York is not America and both in New York Essays) are in the possession of Mrs. Irita Van Doren. 17. Letter to the editor, N.Y. Herald Tribune Books: An incomplete, 2 pp., typescript of this letter, published on Feb.20,1927 (see D336), is in the Loewe Collection. The letter is here dated Feb.15,192718. New York is not America: A virtually complete typescript is in the Loewe Collection. 153 PP- with very few corrections, virtually identical with the final edition. 19. Introduction to Conrad's The Sisters: 1 p. of a holograph fragment is in the Loewe Collection. See B24 for information regarding this essay. 20. "Not Idle": An uncorrected typescript, 9 pp., of this article, published in N.Y. Herald Tribune Books, Jul.l, 1928, is in the Loewe Collection. See D358^ 21. Review of Josephine Herbst's Nothing is Sacred: An uncorrected typescript, 2 pp., of this review, published in Bookman (N.Y.), Sept.,1928, is in the Loewe Collection. See D359. 22. "Working with Conrad": A typescript of this article, published in Yale Review, Jun.,1929» and subsequently in Return to Yesterday, is in the American Literature Collection of Yale University Library. 21 pp. with a few corrections and insertions by Ford, many made also by another hand. See A57(a), "Responsibility for Republication," for the most interesting difference between this typescript and the final article. 23. "The Inheritors," from A Conrad Memorial Library: The Collection of George T. Keating: See B30 for the Naumburg holdings. Tn the Loewe Collection there are 5 pp. of what is apparently an earlier typescript with few corrections but many minor differences from the final version; incomplete . 24. Review of George Slocombe's Paris in Profile: A 5 pp. corrected typescript of this review, published in N.Y. Herald Tribune Books, Dec.8,1929* is in the Loewe Collection. 25. Introduction to Defoe's Robinson Crusoe: See B32 for this Naumburg holding. 26. Return to Yesterday: A complete holograph and typescript, with additional materials, is in the Berg Collection, New York Public Library. Title-page: RETURN TO YESTERDAY/ MEMORIES OF LETTERS & THE LEFT / BY / FORD MADOX FORD / VICTOR GOLLANCZ LTD / MCMXXXI Ford's inked inscription at lower right corner: "My own corrected typescript from which the English Edition was printed together with five chapters in my handwriting--all that I wrote by hand / Ford Madox Ford" Ford's inscription does not account for 111

Cil(26)-iil(l) the miscellaneous additional materials also included (typescript pp. numbered 262-264,337-339,345-346,351,397; the first three pp. embodying material not published in either edition, the others being versions of pages in the chapter "Revues") nor for the fact that much of the typescript is in carbon copy, both corrected and uncorrected. There are a few corrections on most pages, often with the purpose of adapting the American edition for the English public (see A69(a), "Letters in the Victor Gollancz Files"). Portions of the manuscript in Ford's hand, and usually accompanied by a carbon typescript, are (references are to the American edition): all of Part Two, Chapters I-III of Part Three, and Chapter I of Part Four. 27. The Cantos of Ezra Pound. Some Testimonials . . .: See B41; Ford's testimonial may be the manuscript of a Pound essay that, according to Frank MacShane, is in the Firestone Library of Princeton University. 28. It Was the Nightingale: See A72(a) for a description of the holograph manuscript formerly in the Naumburg Collection. A later typescript of the book, 342 pp. with few corrections, is in the Loewe Collection. As is the Naumburg manuscript, this version is called "Towards Tomorrow." 29· Provence: A typescript is in the Loewe Collection. 335 pp.; on the first page: "Copy corrected for Printer / English rights and M.S. the property of Esther G. Bowen" There are numerous minor corrections throughout. On the title-page, besides the title, "Provence: A Paralleling of Civilisations," are several "suggested provisional titles": From the Courts of Love, The Great Trade Route, Nothing Good Comes from the North, That Sweet Land, and From Minstrels to the Machine. At the bottom of the page: •"Philadelphia /Tippincotts Inc / MCMXXXIV" 30. "Conrad and the Sea": See D385 for the Naumburg typescript of this essay which appeared in American Mercury, Jun.,1935. 31. Transcript of the Meetings of the Conference on Literature and Reading in the South and Southwest: Ford participated in a 1935 conTerence under the auspices of Louisiana State University at Baton Rouge (see Fl65[c]). According to Frank MacShane, Ford's remarks are included in a typescript which he now possesses. 32. "Stephen Crane": An uncorrected proof copy of this essay, published in American Mercury, Jan.,1936, and subsequently in Portraits from Life, is in the Loewe Collection. 33. The March of Literature: A typescript, complete except for the appendices which are omitted, is in the Rare Book Room of the Yale University Library. 934 pp. On the top sheet is this inscription by Ford: "This copy of typescript of the March of Literature is the author's first draught with author's own corrections. / Ford Madox Ford / 23 Jan 1939" Despite Ford's word, this manuscript does not have the appearance of a first draft: there are few corrections, and a substantial part is in carbon copy (this is particularly true of Book II). Signed at the end: "Finished at Olivet [College], Mich. / 14th July 1938 / Ford Madox Ford." III. Poetry 1. Poems for Pictures:

A holograph of "The Peasant's Apology" 112

Ciii(l-3) (here titled "Prologue: Down Near the Earth--") is in the Loewe Collection. 1 p., uncorrected but different from the published version. Also in the Loewe Collection (in the "Little Plays" section) is "King Cophetua's Woo­ ing," 14 pp. of holograph with no corrections and virtually identical with the published version. 2. "On the Road": A typescript of this poem, published only in Outlook (London), Aug.22,1903 (see D32), is in the Loewe Collection. 2 pp. with corrections, untitled. 3. The Pace of the Night: Versions of every poem published in this volume, except for the first and sixth poems of "A Sequence," "Perseverance d1Amour," and "An End Piece," are in the Naumburg and Loewe Collections. The Naumburg versions are included in a 26 pp. typescript titled "Poems in Two Keys (Little Plays and Poems for Music)." Most of the nine poems here appear to be earlier than their coun­ terparts in the Loewe Collection, an appearance reinforced by information on the second sheet: "The property of / F. M. Hueffer / Aldington / Hythe, Kent." Ford lived at Stocks Hill, Aldington from Nov.,1898 to early 1901, and then moved to the Bungalow, Winchelsea, where he resided continuously until the spring of 1904. The table of con­ tents prefacing the poems in the Loewe Collection (called there Poems and Little Plays") is written on Ford's Win­ chelsea stationery. The Naumburg table of contents lists three "Little Plays" ("The Union," "The Mother," and " Perse" ν France d'Amour') and seven poems ("The Mother: Epilogue," "At the Fairing," "Lavender," "Wisdom," "On the Road [see above, #2], "To Christina at Nightfall," and "A Question. Wife to Husband") that are not repre­ sented in the typescript. On the second page of the typescript is a quotation from "At the Fairing" (identifi­ able by reference to the Loewe Collection). A list of the poems in the Naumburg Collection which were published in The Face of the Night follows: a. The fifth poem of "A Sequence": here titled "The Lover's Prayer to Autumn," a few slight differences from the published version. b. "On the Hills": here titled "Joy upon the Sheep Downs," a few differences from the published version. c. "Thanks Whilst Unharnessing": a few differences from the published version, including two lines later omitted. d. "Children's Song": a few differences from the published version. e. "Old Man's Even Song": here titled "Old Man's Road Song," a few differences from the published version. f. "From the Soil: Two Monologues": here titled "Geomorphism (The Field Labourer to the New Parson)," numerous differences; the end of the poem, "The Small Farmer solil­ oquizes," is lacking here. See below, in the section for unpublished poetry, the three poems in the Naumburg Collection that are apparentlyunpublished. See All(a) also for another interesting Naumburg holding, a printed version of the dedicatory poem published in Romance . The table of contents in the Loewe Collection lists twentyseven poems and "Little Plays," of which one play ("Perseve'rance d'Amour" and four poems ("'When all the little Hills...," "On the Hills," "Lavender," and "The Small 113

Ciii(3) Philosophy") are not represented. Not only is this collec­ tion much larger than the Naumburg "Poems in Two Keys," but also it is much less formally cohesive, every stage of composition being represented, holograph and typescript, complete and incomplete, and including several versions of some poems. A list of the poems in the Loewe Collection which were published in The Face of the Night follows: a. "The Pace of the Night: A Pastoral""": heFe titled "A Pastoral." 5 PP- holograph with a few corrections. Incomplete; lacks the explanatory paragraph that prefaces the published version, and there are other differences throughout. Ends with "And loosely tied her girdle . . . " (p.283 in the 1936 Collected Poems). b. The second poem of "A Sequence": two versions, both called "Belle et Blonde et Colorize," both 1 p. holograph and uncorrected, the second being closer to the final version. c. The third poem of "A Sequence": one complete version, which is closest to the final version, and three incomplete versions. 1 p. holograph each; the complete version is titled "Silverpoint. Minor differences from the final version in all four. d. The fourth poem of "A Sequence": two versions, 1 p. holograph, 1 p. typescript (nearly identical with the final version), both uncorrected. Titled here "C'est toi qui dors dans 1' ombre, © sacre' souvenir. " e. The fifth poem of A Sequence11": two versions, the first called "Like an Old Song," and the second, "Lover's Prayer to Autumn." Both 1 p. typescript, uncorrected, the second virtually identical with the final version. f. "The Great View": 1 p. holograph with numerous correc­ tions but few differences from the final version. g. "Sidera Cadentia": untitled here, 1 p. typescript with corrections which bring the poem virtually into line with the final version. The first two lines are scratched out but legible. h. "Night Piece": two versions, the first untitled, the second called "The Problem." The first version is holo­ graph, the second, typescript, which is much shorter and closer to the final version. The omitted portion of the holograph is reproduced on a separate typescript, as if it were intended as a separate poem. i. "Thanks Whilst Unharnessing": 2 pp. holograph, with corrections and many differences from the final version, j. "Grey Matter": untitled here, 3 pp. holograph with corrections and many differences from the final version. Incomplete: begins with "It matters little [p.176 in Col­ lected Poems, 1936]." Έ". ""Children's Song": 1 p. uncorrected typescript. Incomplete: only the first seven lines of the final version. 1. "Old Man's Even Song": here called "Old Man's Road Song." 1 p. holograph with corrections and many differ­ ences from the final version. m. "From the Soil: Two Monologues": k pp. holograph, 1 p. typescript, each separate and unrelated. Corrections and many differences from the final; incomplete, n. The Mother: A Song Drama": 11 pp. typescript with few corrections, virtually identical with the final version. 114

Ciii(3-4) 1 p. of earlier holograph is also included. o. "Wisdom": two versions, the first 1 p. untitled holograph, the second 1 p. typescript. The first version only is corrected, the second being identical with the final version as far as it goes, which is only the first stanza. p. "The Posy-Ring": two versions, the first 1 p. holograph, the second 1 p. typescript. Both are corrected, and the second is virtually identical with the final version. q. "To Christina at Nightfall": 2 pp. typescript, uncorrected, with only minor differences from the final version. r. "Wife to Husband": 1 p. uncorrected typescript, virtually, identical with the final version. s. 'Two Frescoes": 12 pp. holograph, 2 pp. typescript. Most of the poem is represented, much in several versions, with numerous corrections on eight pages and many differences from the final version. t. "Volksweise": two versions, the first 1 p. holograph, the second 1 p. typescript, both uncorrected, and the second very close to the final version. u. "And Afterwards": 1 p. uncorrected typescript with many differences from the final version; gives the impression of having been part of another poem. v. "On a Marsh Road": 1 p. holograph with a few corrections and minor differences from the final version. The second part, separated by a line of asterisks, does not appear in the final version. See below, in the section for unpublished poetry, poems probably included originally under the heading of "Poems and Little Plays" but not published in The Face of the Night or elsewhere. Accordin~ to~rank MacShane, a manuscript of the sixth poem of 'A Sequence" (called by him "To a Tudor Tune," the title under which it was first published) is in the possession of Gerard Tetley. 4. Songs from London: Six poems published in this volume are rn-the Loewe Collection. a. "Finchley Road": two versions, both uncorrected and 1 p. holograph, the first called "The Castle in Spain," the second, "Castles in the Fog" (the only correction being in the title, which was first apparently the same as in the earlier version). Minor differences from the final poem throughout. The second version is now in my possession, through the kindness of Mrs. Loewe. See D49. b. "The Three-Ten": 1 p. holograph with few corrections, minor differences in the first stanza, major differences in the second from the final version. c. "Club Night": 1 p. uncorrected holograph with numerous minor differences from the final version. Untitled here. d. "The Dream Hunt": 1 p. holograph with a few corrections, minor differences from the final version. Untitled here. Below Ford's signature is a fragment of another poem. e. "In the Stone Jug": four versions, 1 p. holograph each, none given the final title. The version closest to the final is titled "Song Before Suicide." This version repeats the first stanza after the fourth and then adds a stanza that does not appear in the final version. Many differences in all versions. f. "Every Man: A Sequence": two versions, 2 pp. corrected

115

Ciii(4-12) holograph and 3 pp. uncorrected typescript. 5. High Germany: Four poems published in this volume are in the Loewe Collection. a. "Autumn Evening": here titled "in High Germany," 1 p. typescript, uncorrected, with a line omitted from the final version and a different last line. b. "in the Train": 2 pp. uncorrected typescript, with minor differences from the final version. c. "The Exile": 1 p. typescript with one correction and minor differences from the final version, except that here the first four lines are repeated at the end. d. "The Feather": 1 p. typescript, lacking the first two stanzas, but otherwise few differences from the final version. 6. Collected Poems: A proof copy is in the Loewe Collection, dated Sept.4,1913. 7. Antwerp: A corrected typescript of this poem, called here "October 1914," is in the Loewe Collection. 6 pp. Not the version from which the poem was printed but not far from it. 8. On Heaven: Three poems published in this volume are in the Loewe Collection. a. "Clair de Lune": 2 pp. holograph of a draft of this poem are in Ford's Army scratch pad. Uncorrected; frequent minor differences from the final version. b. "Footsloggers": 6 pp. typescript, 2 pp. in a hand not Ford's. On the stationery of the Third Battalion of the Welch Regiment, "REDCAR." c. "On Heaven": 11 pp. of typescript, with only a few corrections which were incorporated into the final version. Accompanied by 9 PP- typescript of earlier studies for the poem, called 'Just Heaven" on one tentative first page, Of Heaven" on another. See below, in the section for unpublished poetry, for earlier studies for poems included in On Heaven and in the Loewe Collection. The Lockwood Memorial Library of the University of Buffalo has Ford's transcription, made in 1936» of part of "'When the World was in Building.'" Accompanying this fragment is a letter by Ford, dated by the library as Dec.13,1936, in answer to Charles D. Abbott: "I'm very sorry: I don't keep my mss. so I can't send you one much as I am flattered by the request. But I transcribe a little verse below--if it is of any use to you." 9. "Immortality: An Elegy on a Great Poet, Dying Abroad": 7 pp. of uncorrected typescript, accompanied by corrected proofs, of this poem which appeared in Harold Monro's Chapbook, Jul.,1920 (see D28O), are in the Loewe Collection. 10. "A House": two versions, 22 pp. holograph with a few corrections, 15 pp. of final typescript, are in the Loewe Collection. Miscellaneous pages of earlier versions accompany the above. Inked inscription: "For my dear Stella / First draft finished 5/6/20 / Final copy ... 10/6/20" 11. Mister Bosphorus: According to Frank MacShane, the corrected typescript of this dramatic poem is in the possession of Anthony Bertram. Four etchings by Paul Nash for the book are in the Loewe Collection. 12. New Poems: See A62 for the Naumburg manuscript now in the Firestone Library, Princeton University. See also A43(b) for two versions of "Aupres de ma Blonde" still in the 116

Ciii(l2)-iv(4) Naumburg Collection. What appear to be all the possible stages of composition of "Three Rhymes for a Child," two of which were published in New Poems (the dedicatory poem, "To E.J." and "Seven Shepherds") are in the Loewe Collection. This collection includes: 6 pp. typescript ("Seven Shepherds," "Flight into Egypt," and "To Julia [Who shall be a Poet]"); the unpublished second poem in three versions (see below, under unpublished poetry); two versions of the dedicatory poem, the first titled "Lyra Domestica III," the second, "Rhymes for a Child / III / To Julia (who shall be a Poet)." 13. "Buckshee": 13 pp. of galley sheets of this sequence, published in Poetry, Feb.-Mar.,1932, but earlier in New English Poems (see B36), are in the Harriet Monroe Modern Poetry Library, University of Chicago. Stamped as received, Oct.13,1931. Part of the first poem of the sequence is in the Loewe Collection (l p. uncorrected typescript). UNPUBLISHED MANUSCRIPTS IV. Fiction 1. The Land of Song: A Phantasy: 65 pp. holograph of a tale set in the Viking period are in the Loewe Collection. On the first page: "by / Ford Madox Hueffer / Author of the / 'Brown Owl,' 'The Questions at / the Well.' / &c. &c. / Kindly return to / F. M. Hueffer / Bonnington / Hythe / Kent" Ford lived in Bonnington during the first years of his marriage, Jun.,l894 to the end of 1896. 2. A Romance of the Times Before Us: An incomplete holograph and manuscript by another hand of this novel is in the Loewe Collection. 171 pp. with several versions/of some parts, some pages corrected. This may have been a collaboration, perhaps with his wife, Elsie Martindale Hueffer, or else one or the other writer acted simply as amanuensis. Ford's poem, "Auctioneer's Song," published in Poems for Pictures, prefaces "Part I." Written while Ford was living at the Pent (ca. Dec.,1896 to Jul.,1898). 3. "The Other": 4 pp. uncorrected typescript of a probably unpublished children's story is in the Loewe Collection. Written between 1898 and 1901 (Ford's address here is given as "Stocks Hall [sic; should be "Hill"], Aldington, Hythe." 4. The Life and Times of Henry VIII: A synopsis and sample chapter of this projected but never completed (see Return to Yesterday, N.Y., pp.167-168) "Life" is in the Loewe Collection. The synopsis is 3 PP·* the chapter, 25 pp. typescript, interestingly written on the backs of a fragment of uncorrected Romance typescript. The first page of the synopsis is on Winchelsea stationery, which gives the temporal lie to Ford's anecdote in Return to Yesterday (he lived at Winchelsea several years after he began collaborating with Conrad and more since he had begun to work on Seraphina, the earlier version of Romance). See F46(a) for a I9OI letter by Conrad which mentions Ford's research on Henry VIII. Portions of the synopsis are of interest: "As the title should indicate this is intended to deal with Henry VIII as a central figure, not to be a history of the country during the reign of that King. The author will attempt to make Henry 'live' as vividly as do the 117

Civ(4-7) characters In a work of fiction or as he does in his portrait by Holbein. . . . It will be an attempt at as careful a psychological & picturesque analysis of the King as may be possible. The writer may lay claim to a fairly intimate acquaintance with the subject, based upon the great series of 'Letters & Papers of Henry VIII' published by the Rolls Office . . . Whilst in no way agreeing with theories of Henry's character which represent him as a Protestant hero of incredible immaculateness, the writer is in even less danger of adopting the Roman Catholic view of him. . . . It would seem to be well adapted to make a large & expensive illustrated work. It should contain reproductions of all the Holbeins which are at Windsor Castle, at Hampton Court & in other places at home & abroad. . . . in all 150-175,000 words of which a certain proportion would go to notes & Appendices to which the more solid & less picturesque matters would be relegated." 5. "The Dark Forest: Part II": An incomplete portion of a novel, perhaps written in collaboration with Violet Hunt, is in the Loewe Collection. On the folder appears this proprietary note: "Ford Madox Hueffer, 17th February 1911, Giessen." But pp.192-205 are in Violet's hand; only pp.205(bottom)-206 are in Ford's holograph. The rest of the manuscript is in typescript or in a hand neither Violet's nor Ford's. 6. The Wheels of the Plough: An incomplete holograph, typescript, and manuscript in the hand of Stella Bowen, of what appears to be the first novel Ford wrote after the war (excepting No Enemy, see above Ci[l7lj which does not commodiously fit the novel category) is in the Loewe Collection. See below, That Same Poor Man, for a later reworking of this novel. 78 pp. in Stella Bowen's hand, 198 pp. in Ford's holograph, 60 pp. typescript. A letter from Ford to J.B. Pinker, in the Huntington Library, dated Jul.15,1920, says that he is "just finishing" the novel. Another letter to Pinker, in the Berg Collection of the New York Public Library, dated Oct.21,1920, says that Ford is sending Pinker "the M.S. of THE WHEELS OF THE PLOUGH. I suppose you will be sending it to Waugh [of Chapman and Hall] right away. . . . I have been hammering at it now for about eighteen months and I am nearly ruined by building here [at Coopers, Bedham, Sussex]." 7. True Love and a General Court Martial: 106 pp. holograph and typescript of this war novel are in the Loewe Collection. A few corrections; most exists in duplicate. In the Huntington Library are letters that help to date the manuscript and to explain why it was never published nor perhaps ever finished. On Aug.14,1921, Ford sent Macmillan's of New York "synopses of, or notes on, several books that I have in various stages of in-hand-ness. . . . I think I could now begin on any one of the books foreshadowed in that fascicle and carry it to a fairly speedy conclusion." The synopses are unfortunately not in the Huntington collection, but subsequent correspondence makes it clear that True Love and a General Court Martial, The Marsden Case, and perhaps the unpublished Towards a Historyof English Literature were included in that "fascicleT" A letter from H.S. Latham of Macmillan's, Sept.6,1921, 118

Civ(7-10) indicates that firm's preference for True Love ("There would seem to be a tremendous opportunity ra:r-this book in this country."). Ford, on Sept.27, indicated his own preference for The Marsden Case. Evidently Macmillan's yielded to Ford~prel'erence;out a letter from Ford to Eric Pinker, Ju1.6,1922, states that "Macmillans ..• have just signified that they don't want my novel THE MARSDEN CASE'. " 8. "Enigma": A 10 pp. typescript of this short story is in the Loewe Collection. A few minor corrections. The first page is on Coopers, Bedham stationery, which would date the manuscript sometime between 1920 and 1923. 9. That Same Poor Man: A typescript of this novel, which appears-to be a slight re-working of The Wheels of the Plough (see above, civ[6]), i$ in the Loewe Collection. 440 pp. with a few minor corpections; the remaining pages are housed with The Wheels of the Plough. On the titlepage is the quotation from Ecclesiastes, IX, 14-15, from which the title was taken. According to Frank MacShane, another manuscript of the same novel is in the Firestone Library of Princeton University. He also lists the presence there of a manuscript of Mr. Croyd, which must be another version of the same novel,-ror-the title is the name of the central figure in That Same Poor Man. A letter from Ford to William A. Bradley-rrD Mrs. Bradley's Ford file), dated Jul.25,1928, seems to indicate that Ford waited until 1928 to revise The Wheels of the Plough: "I have arranhed [sic] with the Vikings to rewrite partly one of the novels Iwrote just after the war as to which, having read it, they are extremely enthusiastic. It will be called THAT SAME POOR MAN and they are to pay me $700 for five months." A copy of a letter from Ford to George Oppenheimer of Viking Press (which had just published his A Little Less than Gods) is in the Firestone Library, dated N"ov.9,192s:--"ram mortified to find that Bradley only seems to have got about half of THAT SAME POOR MAN typed, for I had wanted to send it to you long before now." The Deering Library of Northwestern University possesses a letter from Bradley to F.C. Wicken of J.B. Pinker and Sons, dated Aug.22,1929, which states that this is the "only book of his of which I have placed British Empire (without Canada) rights ... with Cape . . . " Finally, a letter from Ford to Pinker in the Naumburg Collection, dated Sept.ll,1929, speaks of continued, if half-hearted, efforts to publish the novel. "I have, by the bye, another novel which I don't like and don' [sic] want to publish if I can help it though the Viking have bought it in the U.S.A. It is called THAT SAME POOR MAN and the ms; [sic] is in the hands of either the Viking or Brandt [his N.y:-agent]. I don't want to do anythin~ about it at present, but of course it would come in lomission: "handy"?] if I died or had apoplexy or anything of the sort. It isn't an ignoble book but I just do not like it. I daresay I shall rewrite a good deal of it one day and then it will be all right." 10. "Honoria Mary Lalage": A 30 pp. uncorrected typescript of this short story is in the Loewe Collection. A letter from Carl Brandt, Ford's agent in New York, accompanies the manuscript, telling of unsuccessful efforts to place

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Civ(l0)-vi(2) the story with five magazines. The letter is dated Mar. 11,1930. 1 11. Professor s Progress: According to Frank MacShane, an incomplete novel by this name, with portions in several versions, is in the Firestone Library, Princeton Univer­ sity. The novel, also according to the same source, was composed very late in Ford's career. V. Plays 1. "The House of Hohenfelsen": An 85 pp. holograph of this play ("A drama in three acts") is in the Loewe Collection. 2. 'Katharine Howard": An incomplete holograph of this blank verse play is in the Loewe Collection ( Little Plays" sec­ tion) . 10 pp. 3· "!Catherine Howard": Holograph and typescript of what appears to be a complete play, different from the above, is in the Loewe Collection. The pages are not in order. Ford's inscription on the first page: "This is really a superior play in the Elizabethan mood: It contains two mad scenes & one Beef Eater! Likewise one lyric & one speech about divinity of kings, & one wooden heroine; one scene of comic relief &c.&c. This may be an earlier version of the play, supposedly written in collaboration with F. Norreys Connell and drawn from The Fifth Queen Crowned produced in London in 1909 (see ΕΙ51Ή An interesting letter possibly referring to this play is in the Huntington Library, n.d. (but Ford's address is given as Winchelsea, a residence which he main­ tained continuously until 1904 and then sporadically until I9O9). The letter is to his agent, J.B. Pinker: "Gran­ ville Barker--of the Court Theatre--is 'anxiousish' to see a play of mine. Would you in a day or two ... forward him that one I sent you. &--would you impress him with the idea that it's merely in a sketchy [indecipherable] & that C. [Connell, probably] & I would work it up any amount if there were a definite chance of production . . . " See also Ci(3) for another possible application of this letter ("C" possibly being Conrad). 4. The Panel: Act IV": Part of the dramatization of Ford's novel is in the Loewe Collection. 18 pp. with a few cor­ rections; typed by Dramatic Typing of London. See A36, "Dramatization." 5. "The Alcestls of Euripides (Freely Adapted for the Modern Stage)": Two versions of this play are in the Loewe Col­ lection. The first is 51 pp. typescript, with a few minor corrections. See I_t Was the Nightingale, Phila., pp.l48151. Ford there states that the translation had been com­ missioned by Nigel Playfair just before the war and that he finished it in Mar.,1919. Ford's explanation of the failure to bring the play to production, i.e., that the manuscript was lost, is highly dubious, considering the existence of the above two versions. VI. Non-fictional Prose 1. "On Letters in England": See above, under published works, The Spirit of the People. A letter from W.L. Courtney of Fortnightly Review refusing an essay by this name is in the Deering Library, Northwestern U., dated Jan.5,1906. 2. "A Day of Battle": A 19 PP- holograph, signed "Miles 120

Cvl(2-9) Ignotus (see B9), Is In the Loewe Collection. Inked inscription on first sheet: "Written on the Ypres Salient: 15th Sep 1916" See D268 for an article Ford probably wrote on a leave taken in Paris just four days before this date. These are some impressions on the phenomena of battle, and reflections on the psychology that received these impressions. 3· Towards a History of English Literature: An incomplete typescript of this critical volume is in the Loewe Collection. 200 pp. typescript, roughly, with several versions of Parts One and Two. There is an interesting letter regarding this manuscript in the Huntington Library, from Ford to Pinker, dated Jun.3,1921: "Could you get one of the younger and more wild publishers to commission a ' SHORT HISTORY OF ENGLISH LITERATURE by yours truly? . . . This would be an attempt to produce a really readable account of works by English authors from Chaucer to the present day. I should propose to do it in two volumes of between 50 and 75,000 words each, publishing first the one later in date--say from l800 to 1914. You might say that it will contain as much of the history of literature as a gentleman ought to know; or in the alternative that it will be an account of English literature by a man of the world for men of the world—not a handbook with condensed annotations by a half dead don." In the Loewe Collection is a letter (dated Feb.2,1924) from T.S. Eliot, then editor of Criterion, expressing eagerness to see this manuscript. 4. "Lecture delivered at Univ. College London": A 33 pp. typescript with this pencilled note on the first page is in the Loewe Collection. Addressed to a group of young ladies, this lecture was probably given between 1919 and 1923· One statement is particularly interesting: "The last lecture that I gave before the war I gave by invitation at the University of Jena--I lectured on Modern English Literature." The London lecture is devoted mainly to advice to young writers, particularly on the subjects of finding a 'Master" and of artistic integrity in the face of popular success. 5. "Lecture delivered at Sacre du Printemps": A 22 pp. corrected typescript with this note pencilled on the first page is in the Loewe Collection. On the last sheet is the notation, "Paris, June, '25." Similar to Ford's preface to Transatlantic Stories (see B20). 6. Unidentified lecture on the writer's discipline: An incomplete holograph, 4 pp., is in the Loewe Collection. Probably delivered after 1924 to an American audience. 6 pp. of notes, in an enlarged script probably not Ford's and drawing upon some of the materials in the above typescript, accompany this lecture. 7. "Notes for a Lecture on Vers Libre": According to Frank MacShane, Herbert Weinstock possesses these notes for a lecture given in New York, probably on Jun.23,19278. Review of H.M. Tomlinson's Gallion's Reach: A 2 pp. uncorrected typescript of this review is in the Loewe Collection. I have not been able to find its publication, which would probably have taken place in D e c , 1927. 9. "Citizen or Subject: Why I shall never become an American citizen": An incomplete, 3 pp., typescript of this essay 121

Cvi(9)-vii(2) is in the Loewe Collection. Probably written in 1927 or after, perhaps for the N.Y. Herald Tribune Sunday Magazine. The two objections to becoming an American citizen which appear in this fragment are the high cost of living and the legal security he possesses as a foreigner living in New York ("if I get into any trouble with Authority—say with the police--I am at least sure that my king as represented by his Embassy will do their level best to get me out of it"). 10. "Years After": A typescript of this short essay commemorating the outbreak of World War I and the British who died for Prance is in the Loewe Collection. 2 pp. of uncorrected carbon. Written in Paris probably in Aug., 1929· I have not been able to find its publication. 11. A History of Our Own Times: According to Frank MacShane, an incomplete" manuscript in several volumes is in the Firestone Library, Princeton University. An interesting letter relating to this enterprise is in the Huntington Library, from Ford to Eric Pinker, Sept.26,1929 (32 rue de Vaugirard, Paris): "I am forwarding you now under another cover the MS. of the first two Chapters of A HISTORY OF OUR OWN TIMES. . . . There will be three volumes. I from l880 to 1901, death of Queen Victoria. II from 1901-19l8--signing of Armistice. Ill from 1918-1930. . . . As far as England is concerned I should wantX400 a year net ... for the three years in which the book will be writing . . . " Another letter in the Huntington Library, Aug.1,1930, states that Ford was mailing to Pinker "by this post under another cover the complete revised manuscript of the HISTORY OF OUR OWN TIME." A letter from Ford to H.G. Wells in the H.G. Wells Archive, University of IllinoiE Library (from Paris, dated Jul.28,1930), reveals that the "complete revised manuscript" above must have been that of "the first of four volumes." VII. Poetry 1. Naumburg Collection: Three poems in the Poems in Two Keys typescript (see above, Ciii[3]) are apparently unpublished. Other versions of each are in the Loewe Collection. a. "Young Man's Road Song" b. "The Ballad of a Suicide": A thorough revision of the first part of "Hope," which appeared in Questions at the Well. c. "Towton Field" 2. Loewe Collection: Versions of eighteen poems probably written before 1904, the date of publication of The Face of the Night, are in this collection. a. 'tTYoung Man's Road Song": 1 p. holograph, corrected, untitled. Accompanied by an incomplete, titled, version in typescript. b. "FeIo de Se": 2 pp. uncorrected typescript of another version of "The Ballad of a Suicide" (see above, Naumburg Collection). c. "Towton Field": 6 pp. typescript and holograph, with corrections on the holograph. d. "The Mother (A Psalm...)": 1 p. typescript. This may be the poem listed on the table of contents of the Naumburg typescript, Poems in Two Keys, but not there 122

Cvii(2)-viii(A) Included: "The Mother: Epilogue." e. "At the Fairing": three versions--two typscript (the first titled "The Humble Chapman Cries his Wares at a Pairing") and one holograph (untitled and with corrections) . Listed but not represented in the Naumburg typescript. f. "Stripping Underwood": two versions--1 p. incomplete later typescript, and 2 pp. corrected holograph titled Felling Underwood." g. "Vanellus Cristatus": 1 p. uncorrected typescript, h. "Young Wife's Song": 1 p. uncorrected holograph, i. "The Year of the Last Omens": 1 p. holograph, 1 p. typescript, both corrected. j. Eight poems without titles, many incomplete; both typescript and holograph are represented, k. "The Wood-Hunter's Dream": 1 p. in another hand, possibly not by Ford and uncorrected. Also in the collection is a 15 pp. corrected typescript of a sequence called "Tristia." Some of the poems are in several versions; some are earlier and quite different versions of poems published in On Heaven (such as "'When the World was in Building,'" and "'When the World Crumbled'"). Probably composed during the early months of the war (see D219 and 220). Finally, there are three poems in the collection written after the war. a. "Serenada (Your Poet & Some Nightingales)": miscellaneous pages, with several versions of part, all holograph. Some of the pages are written on the back of holograph of Thus to Revisit. On the first page: "From Ford to his dear Stella for the 16.5.20" b. "An Inventory": 2 pp. typescript, second section in triplicate. c. 'Notre Dame du Chateau (Letter to S.)": 2 pp. holograph. 3. Look to Your Ends": Verso a letter to Harriet Monroe in the Harriet Monroe Modern Poetry Library, University of Chicago, is a holograph of this poem with numerous corrections. The letter is dated Jul.6,1926 (from 84, rue Notre Dame des Champs, Paris): "if it's a mere 'autographed' autograph that's wanted pray give yr. nephew this—the first draft of a ballad I amused myself by writing last night." LETTERS BY AND TO FORD VIII. Private Collections A. Edward Naumburg, Jr., New York City: This is not the largest of the private collections but contains some of the most interesting letters by virtue of its selectivity. Some 75 letters are represented, both by and to Ford. Also of interest are a number of letters by Violet Hunt to such correspondents as Ethel Colburn Mayne and Edgar Jepson, largely concerning Ford. J.B. or Eric Pinker is the most frequent addressee of the Ford letters. Other correspondents represented: Violet Hunt, John Lane, Edgar Jepson (numerous letters), Joseph Conrad, Edward Naumburg, Jr., the Editor of the New York World, Herbert Gorman, Douglas Goldring, and William Jackson, Ltd. One letter 123

Cvlii(A-C) from Thomas Hardy is included. For quotation or use of information from these letters, see these portions of the bibliography: Al(a), 4, 6(a), 13, 17(a), 18(a), 28, 31, 41. 42, 44, 46, 48 49, 51, 53, 55, 58(a), 68; B27; Civ (9); D33O; F25, 208. Three letters from Ford Madox Brown are also in the collection. B. Mrs. Janice Biala Brustleln (being held on deposit at the Firestone Library, Princeton University): Approximately 300 letters both by and to Ford are now accessible. Time has prevented me from inspecting more than 94, but within that number no letter is dated earlier than Apr.,1924, and the letters I have seen extend as far as Nov.,1933. The correspondents in these letters are: Joseph Conrad, Gerald Duckworth, W.H. Thompson, William A. Bradley, George Oppenheimer (of Viking Press), Carl Brandt (Ford's N.Y. agent), a Miss Baumgarten (of Brandt and Brandt), Sue Jenkins (of Macauleyj, T.R. Smith (of Liveright), Leane Zugsmith (of Liveright), Victor Gollancz, Ruth Kerr (a N.Y. agent), Harriet Monroe, Ray Long, Katherine Anne Porter (a great number of letters from her); see B40 for letters by and to Ford regarding Pound's Cantos; Archibald MacLeish, Theodore Dreiser, Ezra Pound, Gerald Bullett, John Chamberlain, and Eugene Pressly. Frank MacShane, who had earlier (and perhaps in a different place) inspected these letters, lists these additional correspondents: Lascelles Abercrombie, Leonie Adams, Sherwood Anderson, George Antheil, Nathan Asch, W.H. Auden, Djuna Barnes, Rene' B^haine, Anthony Bertram, John Peale Bishop, Louise Bogan, Louis Bromfield, Heywood Broun, Pearl Buck, William C. Bullitt, Gelett Burgess, Mary Colum, Padraic Colum, Edward Dahlberg, Hilda Doolittle, Irving Fineman, Isa Glenn, Graham Greene, Richard Hughes, Aldous Huxley, Orrick Johns, Sinclair Lewis, Maxim Litvinov, E.V. Lucas, William McFee, Henry Miller, Marianne Moore, Isabel Paterson, Georges Pillement, Samuel Putnam, Ernest Rhys, W.H.D. Rouse, Horace Shipp, Jean Stafford, Irita Van Doren, Hugh Walpole, Robert Penn Warren, H.G. Wells, Eudora Welty, Marjorie Worthington, and Lin Yutang. For quotations and information drawn from letters in this collection, see: All(b), (e), 59(c), 62, 65(a); B41; Civ(9); P13C. Mrs. Julia Loewe, Pasadena: 78 letters to Ford, 12 letters to Stella Bowen, and one ANs by Ford (not counting his published letters to editors) are accessible in this collection. These are the letters of outstanding interest: 7 ALs to Ford from A.E. Coppard, Sept.14,1922 to Mar.9,1927; 2 ALs, 3 TLs from T.S. Eliot, Feb.4,1923 to Feb.2,1924; 4 AIs, 3 ANs from James Joyce, Oct.1,1923 to Apr.8,1924; 5 ALs, 1 ANs from Paul Nash, 1921 to May,1923; 5 ALs, 14 TLs from Ezra Pound, I92O to ca. 1923; 3 ALs, 4 ANs from Gertrude Stein, only one dated (Jul.12,1927). Other correspondents are Margaret Anderson, George Antheil, Natalie C. Barney, Louis Bromfield, Francis Carco, E.E. Cummings, Theodore Dreiser, Louis Golding, R.B. Cunninghame Graham, Thomas Hardy, Gibson W. Harris, Edgar Jepson, Gwen John, Walter de la Mare, John Masefield, Harold Monro, Harriet Monroe, Paul Morand, Cedric Morris, J. Middleton Murry, Henry Newbolt, Mrs. Ezra Pound, Lawrence'Marsden Price, Herbert Read, Edward Shanks, J.C. Squire, Alec Waugh, Arthur Waugh, H.G. Wells, and Pierre Rany [?]. The 124

Cviii(C-E) collection spans the years from 1919 to 1927, with the only exception being three ALs from Pound to Stella Bowen, all written in 19^7- For quotations or information drawn from these letters, see: A55; B27; Cii(4), iv(io), vi(3); D268, 319. D. Mrs. William Aspenwall Bradley, Paris: Mr. Bradley acted as Ford's transatlantic literary agent in the 'twenties; both Bradleys were good friends as well of Ford and Stella Bowen. Time permitted me to inspect only about fifty letters in Mrs. Bradley's Ford file; probably about 200 letters in all are to be found there. The letters I inspected extend from Mayll,1928 to Sept.10,1933, including an agreement for separation drawn up in French between Ford and Stella Bowen, dated Mar.1,1928. These are mainly business letters (see quotations A39 and Civ[9]); those I have not inspected are mainly earlier and more personal. E. Other private collections: Frank MacShane lists other private collections, none of which I have seen, usually without description as to number, date or relative importanc'e. The most interesting and important of these seem, however, to be those owned by David Garnett, Mrs. Katherine Hueffer Lamb (daughter of Ford and Elsie Martindale Hueffer), Sir Herbert Read, and MacShane himself. 1. Carlos Baker: letters concerning Ford, from Ernest Hemingway to Carlos Baker. 2. The Revd. H.R. Barton: letter from Ford to Thomas Seccombe. 3. Anthony Bertram: About 20 letters from Ford to Bertram and to Paul Nash and about Ford from Nash to Bertram. 4. Mrs. Charles Bramley: letters from Ford to Arnold Bennett and from Bennett to Ford. 5. Stanton Campbell: letter from Ford to Campbell (see A74(a)). 6. Douglas Cooper: letters from Juan Gris about Ford to Gertrude Stein and D.H. Kahnweiler (probably published in the Gris Letters, F9l). 7. Estate of A.E. Coppard: letter or letters from Ford to Coppard (see D337). 8. Rupert Hart-Davis: letters from Ford to Hugh Walpole and concerning Ford from Archibald Marshall to Walpole (see A68) . 9. David Garnett: letters from Ford to Edward and Richard Garnett (see A6(a) and EIO33). 10. Percival Hlnton: letter from Ford to Hinton. 11. Mrs. Katherine Hueffer Lamb: over 75 letters from Ford to Mrs. Lamb, from Ford to Joseph Conrad, and concerning Ford from Conrad to Elsie Hueffer. 12. Frank MacShane: letters from John Galsworthy to Ford, and, from various correspondents, approximately 300 letters concerning Ford to MacShane (see E.F.T., IV, #2, for a partial listing). 13. Mrs. C.F.G. Masterman: letter or letters from Ford to Mrs. Masterman. 14. Mrs. Ianthe Menges: letter or letters from Ford to Walter Jerrold (in 1961 MacShane mentioned only letters to C.F.G. Masterman). 15. Sir Herbert Read: letters from Ford to Read (some of which were published in Read's Annals of Innocence and Experience, F193; see also D278(III)).

125

Cvlil(E)-x(A) 16. John Rodker: 3 letters from Ford to Rodker. 17. Peter Russell: letter from Ford to Olive Garnett. 18. Arthur Spingarn: letters from Ford to Spingarn. 19· Gerard Tetley: letter or letters from Ford to Tetley; these may now be In the Alderman Library, University of Virginia. 20. Mrs. Irita Van Doren: letters from Ford to Mrs. Van Doren (who was editor of N.Y. Herald Tribune Books during the period when Ford was a frequent contributor). 21. Eudora Welty: letter from Ford to Miss Welty. 22. Kenneth Young: letter or letters concerning Ford from Mrs. Florence Wynne Finch (a relative of Arthur Marwood) to Young. IX. Publishers' Files A. Victor Gollancz, Ltd.: This publisher produced only Ford's Return to Yesterday, but there is much of interest in the letters here. See A69(a) and A70(a) for material drawn from the Gollancz files. 1. Agreements and correspondence relating to Return to Yesterday and the proposed publication of other books by Ford: 9 letters by Ford to Gollancz, 15 letters by Gollancz to and concerning Ford, dated from Feb.17,1931 to Jul.10,1935. 2. 1 letter each from Stella Bowen and Violet Hunt to Gollancz concerning Ford. B. George Allen and Unwin, Ltd.: This publisher produced the last five books that Ford brought out in England. For brief comment on this relationship between author and publisher, see F222. Frank MacShane has inspected this firm's Ford file, which includes letters from Ford to Sir Stanley Unwin and from Unwin to Ford, as well as their Edward Crankshaw file, which includes interesting letters concerning Ford by that writer who was then reader for the firm. For material drawn from MacShane's inspection of the Ford file, see A77(a), A79(b). X. Library Holdings A. Yale University Library: Of the two collections in this library which house Ford correspondence, the second is the more interesting and important. 1. American Literature Collection: 57 letters dealing with contributions by Ford, some never accepted, to the Yale Review. This correspondence dates from Aug.2,1920 to May 31,1929, and includes 9 letters from Ford (8 TLs and 1 ALs; addressed usually to Wilbur Cross, editor of the review), 1 letter from Henry Seidel Canby to the Yale Review concerning Ford, 16 letters on Ford's behalf from his New York agents (Brandt and Kirkpatrick, then Brandt and Brandt) to the Yale Review, and 31 letters from the Yale Review to Ford or his agents. Also in this collection is an ALs from Ford to Sinclair Lewis, dated Nov.25,1938. Frank MacShane lists materials in this collection which I have not seen: letters by and to Ford from Ezra Pound and Robert Penn Warren; letter or letters from Ford to Gertrude Stein; 25 letters concerning Ford from Ezra Pound to Wyndham Lewis, Stella Bowen to Gertrude Stein, and Esther Julia Ford (now Mrs. Loewe) to Gertrude Stein. 2. Keating Collection, Rare Book Room: In this collection 126

Cx(A-D) are 2 letters from Joseph Conrad to Elsie Martindale Hueffer (the 1938 gift of George T. Keating), 10 letters from Conrad to Ford (from the estate of Gabriel Wells, 19^7), and 4 letters from Ford to George T. Keating (housed separately from the Conrad manuscript material). For materials drawn from the collection, see All(b), (e), 57(a), (b), 66(a); B2, 5; ^9The letters from Conrad to Mrs. Hueffer, n.d. (probably 1902-1903), mention Ford but are mainly concerned with her translation of Maupassant for which Ford wrote a preface (see B2). The letters from Conrad to Ford extend from Dec. 6,1921 to May22,1924. The 4 TLs from Ford to Keating date from D e c , 1929 to Jun.20,1938. One long letter, undated but written in D e c , 1936, concerns Conrad and the writing of Some Reminiscences; the others mainly concern his own literary career. Frank MacShane also lists letters by Ford to James T. Babb, the editor of N.Y. Herald Tribune Books, and the editor of the N.Y. Times, as being in this collection; I have not been able to confirm this. B. Ashley Library, British Museum: This collection contains 1 letter to Ford from Rudyard Kipling, 8 letters from Joseph Conrad to Ford, 1 letter from Conrad to Mrs. Elsie Hueffer concerning Ford and herself, 1 letter from Conrad to Violet Hunt which indirectly concerns Ford, and 2 letters to T.J. Wise concerning Romance. The letters from Conrad to Ford date from 1900, approximately, to Aug.30, 1915 (Ashley 2923* and 2945)· The letters to Mrs. Hueffer and Miss Hunt are dated Aug.8,1906 and Feb.19,1912 (Ashley 2923*). The letters to T.J. Wise are from Richard Curie (dated Mar.25,1922; Ashley B.2967) and R.S. Garnett (dated Feb.20,1924; Ashley B.2967). For material drawn from this collection, see All(a). C. Henry E. Huntington Library and Art Gallery: 316 letters, mostly from Ford to his agent, J.B. Pinker, are in this collection. There are 307 ALs, TLs, ANs, telegrams, etc by Ford to Pinker, dating from 1901 to Aug.22,1933, with greatest concentration in the pre-war years. These are mostly matters of business; very little of the personal creeps in. The letters by Ford are numbered 2, 4, 5, 6, and 14 through 316. The other letters include 1 letter from Pinker to Ford, 1 letter from W.A. Bradley (verso Ford's letter #129), 1 letter from Walter T. Boodle, 1 letter from Hewitt Howland of Bobbs-Merrill, 1 letter from Violet Hunt (signed "Violet Hueffer"), and 4 letters from H.S. Latham of Macmillan. For material drawn from these letters, see: All(a),(e), 14, 16, 17(a), 36, 54; B3; Civ(6,7), v(3), vi(3,ll); D51. D. Deering Library, Northwestern University: Another collection of "Pinker letters" is housed in the Rare Book Room of this library, but unlike the Huntington letters above, these are mostly to_ Ford or concerning Ford to_ Pinker. There are 216 letters, only 9 of which are from Ford to Pinker (dating from Apr.7,1906 to Mar.19,1929)· Of the remaining 207, 6 are by Violet Hunt. There are a number of letters from Ford's other literary agents, particularly Paul Reynolds and William A. Bradley, but most of the letters are from publishers. These letters extend from Dec. 5,1904 to Jan.5,1933. For materials drawn from this correspondence, see: Al4, 16, 18(a), 20, 24(a), 25(b), 30, 127

Cx(D-I) 32(a), 36, 46(a), 52, 54; Civ(9), vi(l); DIlO, 115. E. Alderman Library, University of Virginia: I have not inspected the Ford material supposedly in this library, but according to Frank MacShane, there are 90 letters from Ford to J.B. Pinker in the collection of Paul Alexander Bartlett and 59 letters from, to, and concerning Ford Madox Brown, Oliver Madox Hueffer, and Ford-himself in the collection of Gerard Tetley, both collections being housed in this library. Bartlett was presumably quoting from these letters when he published excerpts of Ford-Pinker correspondence in S.R.L., Aug.2,1941. But at least one of these letters has somehow escaped from this collection: the letter which I quote in Al4 is in the Huntington Library collection noted above (letter #35)· For material quoted from either the S.R.L. publication or from MacShane's use of the Bartlett letters, see: All("Film Rights"), 14, 27, 31, 41, 52, 57(a), 80; DIlO. F. H.G. Wells Archive, University of Illinois Library: This collection contains 36 letters from Ford to H.G. and Mrs. Wells, written from about 1900 to 1939, with the greatest concentration being in the English Review period and relating to Wells' contributions and to disputes that arose from the publication of Tono-Bungay. There are 4 letters written on Ford's behalf to Wells by Ford's secretary during the English Review period; also a typescript of a financial prospectus for the English Review and sketchy outlines, probably all in Ford's hand, for the contents of several numbers of the English Review. From Wells there are 2 letters written in 190b and 1909, with also one copy and a draft of a letter by Mrs. Wells. There are, finally, 3 letters concerning Ford and the English Review, 2 from Duckworth and Company and 1 from Wells to Duckworth. For materials drawn from this collection, see: Cvi(ll); D104, 327; F243G. Harriet Monroe Modern Poetry Library, University of Chicago: 15 letters from Ford to Miss Monroe in her capacity as editor of Poetry are in this collection, as well as 1 ALs to a Mr. Jason (?). There are 10 TLs and 5 ALs, dating from Nov.12,1913 to Jul.,1936. For material drawn from these letters, see: A51, 55; Cvii(3); D284, 373; Fl8l(a), 189(b). H. Lockwood Memorial Library, University of Buffalo: I have inspected 6 letters by Ford, 3 ALs and 3 TLs, in this collection. The library also lists 4 letters to William Carlos Williams which I have not seen (dated Jun.30,Jul.5, 1929; Jan.28,Feb.lO,1937). There is 1 ALs to "The Director of Libraries, University of Buffalo" (identified for me as Charles D. Abbott, the letter dated Dec.13,1936), 1 ALs to Iris Barry (Jul.4,1918), 3 TLs and 1 ALs to James Joyce (Jul.29,1924; Apr.7,1928; Mar.9,1931; Aug.29,1932). For materials drawn from this collection, see: B4l; Ciii(8); F69(b),(c), 119(a),(b). I. Houghton Library, Harvard University: Apart from the Henry James letters, which were inaccessible to me during the preparation of this bibliography, there are 3 TLs from Ford and 2 ALs to Ford. The addressees of the TLs are T.S. Eliot (Oct.8,1923), H.V. Marrot (Sept.1,1935), and Henry Goddard Leach (Mar.1,1937)· The writers of the ALs are Max Beerbohm (n.d., but between Apr. and Jul.,1907) 128

Cx(I)-Xi(D) and Joseph Conrad (Feb.2,1912). For materials drawn from this collection, see: D151; F76(b), 110. J. University of Pennsylvania Library: According to Frank MacShane, 6 letters from Ford to Theodore Dreiser are in this library. K. Berg Collection, New York Public Library. 4 letters from Ford to Pinker and 5 letters to Pinker concerning Ford are in this collection. The letters from Ford include 1 TLs, 1 ALs, and 2 letters written for Ford (l signed by Ford), extending from 1911 to Oct.21,1920. The other letters are from Henry Hyde, Tillotson's Newspaper Literature, Methuen, and W.L. Courtney of Chapman and Hall, dating from Sept.14,1904 to Jun.15,1927- For materials drawn from this collection, see A32(b) and Civ(6). MISCELLANEA XI. Inscribed Copies A. Naumburg Collection: In number of interestingly inscribed copies this collection is outstanding. See these portions of Section A for reproduction of these inscriptions: 1, 2(a), 5(copy#3), 7, 8, 9(b), 11(a),(e), 12, 14, 15(a), 16, 17(a), 18(a). 22, 25(a) 26, 28, 29, 30, 32(a), 33(a), 35, 41, 43(a),(b), 46(a),(f), 49, 57(a), 58(a), 60, 67(a), 72(b), 7^(a). B. Keating Collection, Rare Book Room, Yale University: Most of the inscriptions in these copies of the collaborative works and in Ford's Joseph Conrad were printed in A Conrad Memorial Library: The Collection of George T. Keating. See notations to thTs~efi'ect in A9"Ca),(b), lT(a),(b), 57(a),(b), 58(a); D330. Inscriptions by Ford are to be found in the first American and a first English edition of The Inheritors, in a first English edition of Romance, in one copy of the American, two copies of the English edition of The Nature of a Crime, and in two copies of the English edition of Joseph Conrad. An inscription on the half-title of the English edition of The Inheritors was not published in A Conrad Memorial Library and hence bears reproduction here: This is the first issue of the first English edition—without the dedication to "Borys & Christina.'1 This dedication was Inserted in later copies at the urgent instance LsIcJ of Conrad. I remember hearing him ask Pawling I of"Heinemann'a) to see that this was done. Ford Mad ox Ford (,HuefferJ Douglaston L.T7 "Sep 30 1927 The inscription in the American edition has also not been published and follows here: This is a copy of the second issue of this book. It will be observed that this page is gummed in to this volume. The real first issue has the inscription "To BOYS & Christina" Ford Madox Ford" "for the information of James Babb New Haven Oct 15th 1927 C. Loewe Collection: A number of copies of Ford's books, inscribed usually to his daughter, are in this collection. D. Other collections: See Al, 9(a), and 39 for inscribed copies in Widener Library, the Richard Curie Conrad collection, and the Huntington Library. Also in the Berg

129

CxI(D)-XlI Collection of the New York Public Library are supposedly two items worthy of notice which it was impossible for me to see. The first is a copy of the first English edition of Romance with an inserted ALs to J.B. Pinker dated Feb. 20,1903. The second is a copy of the American edition of Return to Yesterday inscribed by Ford for W.T. Howe, with an inserted Ls to Alfred Goldsmith, dated Mar.29,1932. XII. Other Items A. A press-cuttings scrapbook is in the collection of Mrs. Julia Loewe, the book inscribed on the first sheet "The English Review / December, 1908." Most of the cuttings, loose and attached, refer to various issues of the English Review. A few reviews of Ford's books, published after the English Review period, are also included, often with inadequate identification. B. Edward Naumburg, Jr. maintains a Ford scrapbook with many items of interest, including press-cuttings. Another curiosity in the Naumburg Collection is the Catalogue of Sale of First Editions, Inscribed Copies & Autograph Letters oT Joseph Conrad, The Property of Mrs. lElsie Martindale] Ford Madox Hueffer, sold by the American Art Association Inc. of New York, Nov.21 through 23, 1928.

130

LIST OP PERIODICALS CITED IN SECTIONS D AND E (Abbreviations, wherever used, are explained below.) Academy--London Adelphl--London Amerlca--N.Y. A.L.A. Booklist (American Library Association)--Chicago American Literature—Durham, N.C. (Duke U.) American Mercury--N.Y. American Quarterly—Philadelphia, Pa. (U. of Pa.) American Review--N.Y. Argus—Melbourne, Australia Artist--London Arts and Decoration--N.Y. Athenaeum--London Atlantic--Boston Audience--Cambridge, Mass. Author--London B l a c k f r i a r s - - O x f o r d , Eng. B l a c k w o o d ' s - - E d i n b u r g h & London Blast--London Boekenschouw--Amsterdam Bookman--London Bookman--N.Y. Bookman's Journal (and Print Collector)--London Books and Bookman--London Boston Transcript--Boston (also Boston Evening Transcript) Boston University Graduate Journal--Boston B.U. (Boston University) Studies in English--Boston Bruno's Chapbook--N.Y. Bruno's Weekly—N.Y. Bulletin of the N.Y. Public Library--N.Y. Bystander--London Cambridge Review--Cambridge, Eng. Catholic World—N.Y. Chapbook--London (Poetry Bookshop; also as Monthly Chapbook) Cerebralist--London Chicago Daily Tribune—Chicago (also Sunday Tribune) Chicago Evening Post—Chicago Chicago Tribune (Paris) [Sunday Magazine Section]--Paris Christchurch Press—Christchurch, N.Z. Christian Science Monitor—Boston Criterion--London College English--U.S. (National Council of Teachers of English) Collier's--N.Y. Commonweal--N.Y. Contemporary Review—London Cornhill--London Coronet--Chicago Country Life--London Critic—N.Y. Criticism—Detroit (Wayne State U.) Current Literature--London Current Opinion--[London] Daily Chronicle—London 131

Daily Express—London Daily Herald—London Daily Mail—London (also Daily Mail Books Supplement) Daily Mirror—London Daily News--London Daily Telegraph—London De Telegraaf—Amsterdam Dial—N.Y. Dickensian—London Direction #1—Norfolk. Conn. (New Directions) Dublin Mag. (Magazine)—Dublin Edinburgh Review—Edinburgh Egoist—London Encounter--London Englische Studien—Leipzig E.P.T. (English Fiction in Transition)--Lafayette, Ind. (Purdue U.) English Journal—Chicago E.L.H.—Baltimore (Johns Hopkins U.) English Review (ed. Crosland)--London (published a few years before the next review, edited by Ford) English Review—London squire—N.Y. tudes Anglaises--Paris European--London Evening Standard—London Exlibris—Paris First Person—Rockport, Mass. Footnote--[Richmond, Va.] Fortnightly (Review)--London Forum—N.Y. Furioso—New Haven, Conn. Glasgow Evening News--Glasgow Glebe—N.Y. (Washington Square Book Shop) Golden Hind--London Greenwich Village--N.Y. Harper' s—N.Y. Harper's Bazaar—N.Y. Hindu—Madras Horizon--London Hudson Review—N.Y. Illustrated Sunday Herald—London Independent —N.Y. Intransigeant—Paris J.E.G.P. (Journal of English and Germanic Philology)— Urbana, 111. John 0'London's Weekly--London Journal Litt4raire—Paris Jubilee—N.Y. Kenyon Review—Gambler, Ohio (Kenyon Coll.) Kirkus—[U.S. (Bulletin from Virginia Kirkus' Bookshop Service)] Library Journal—N.Y. Life and Letters—London Literary Digest—N.Y. (also L.D. International Book Review) Literary World—London Little Folks—London Little Review—Chicago Living Age—Boston

E

132

Lock Haven Bulletin—Lock Haven, Pa. London Magazine—London London Mercury--London Longman's--London Los Angeles Daily News--Los Angeles Los Angeles Times--Los Angeles McClure's--N.Y. Macmillan's—Cambridge, Eng. Magazine of Art—London Manchester Evening News--Manchester, Eng. Manchester Guardian—Manchester, Eng. Mercure de Prance--Paris Mid-Century--N.Y. (Mid-Century Book Society) Minnesota Review—Minneapolis, Minn. Modern Fiction Studies--Lafayette, Ind. (Purdue U.) Modern Language Quarterly—Seattle (U. of Washington) Modern Philology—Chicago (U. of Chicago) Modern Review—Calcutta Morning Post--London Nation--London Nation—N.Y. Nation & Athenaeum—London National Review—London New Age--London New Cambridge--Cambridge, Eng. New Freewoman—London New Ireland—Dublin New Republic--N.Y. New Review—Paris New Statesman—London (also New Statesman and Nation) New Weekly—London New Witness--London N.Y. Eve. (New York Evening) Post Literary Review—N.Y. N.Y. Herald Tribune--N.Y. (also N.Y.H.T. Books) N.Y. Sun--N.Y. N.Y. Times—N.Y. (also N.Y.T. Saturday Review; also N.Y.T. Book Review) N.Y. World—N.Y. New Yorker—N.Y. News Leader—N.Y. Newsweek—N.Y. Nimbus--London Nine—London and Tunbridge Wells, Kent Nineteenth Century and After—London North American Review—Boston Nouvelles Litt^raires—Paris Observer--London Out1ook--London Outlook—N.Y. Oxford Magazine--Oxford, Eng. Pacific Spectator--Palo Alto, Calif. (Stanford U.) Pall Mall Gazette—London Pall Mall Magazine—London Piccadilly Review—London Poet Lore—Boston Poetry—Chicago Poetry and Drama—London Poetry Review—London Prairie Schooner—Lincoln, Neb. (U. of Nebraska) 133

Princeton University Library Chronicle (sometimes abbreviated "PULC")--Princeton, N.J. P.M.L.A. (Publications of the Modern Languages Association of America)--N.Y. Publisher's Weekly--N.Y. Punch--London Putnam'S--N.Y. Quarterly Review--London Reader's Review--London Review of Reviews--London Revue Anglo-AmeVicaine—Paris Revue des Deux Mondes--Paris Revue Historique--Paris Rhythm--London San Francisco Chronicle--San Francisco Saturday Revlew--London S.R.L. (Saturday Review of Literature)—N.Y. Savoy--London Scotsman--Edinburgh Secretary's News Sheet, Bibliographical Society of the University of Virginia—Charlottesville, Va. Sewanee Review—Sewanee, Tenn. (U. of the South) Shenandoah—Lexington, Va. (Washington & Lee U.) Sketch--London South Atlantic Quarterly—Durham, N.C. (Duke U.) Southern Review--Baton Rouge, La. (Louisiana State U.) Southport Guardian—Southport, Lanes. Speaker—London Spectator--London Spectrum--Goleta, Calif. (U. of Calif., Santa Barbara) Springfield Republican—Springfield, Mass. Studies—Dublin Studies in Philology--Chapel Hill, N.C. (U. of North Carolina) Sunday Times--London T.P.'s Weekly--London Tablet—London Talks--N.Y. (Columbia Broadcasting System) Temps—Paris Theology--London This Quarter—Paris Throne--London (also as Throne and Country) Thrush—London T i m e — N . Y. Time and Tide--London Times--London T.L.S (Times Literary Supplement)--London Tomorrow—N. Y. Torch—London Town and Country — [ N . Y . or London] Townsman--London Tramp--London Transatlantic Review—Paris (distributed in N.Y. and London; edited by Ford) Transatlantic Review—London and N.Y. (more recent than Ford's review; still printing) Tribune--London University of California Chronicle—Berkeley, Calif. University of Nebraska Studies—Lincoln, Neb. Vanity Fair—London 132+

Vanity Fair--N.Y. Virginia Quarterly Revlew--Charlottesvllle, Va. (U. of Virginia) Vogue--N.Y. Vote--London (Women's Freedom League) Week-End Revlew--London Weekly Westmlnster--London Westminster Gazette--London Wilson Bulletln--N.Y. World Review—London Yale Revlew--New Haven, Conn. Year's Work In English Studies--London Yorkshire Post--Leeds

135

SECTION D

CONTRIBUTIONS TO PERIODICALS A triple asterisk after a citation signifies that the item has not been inspected by the bibliographer. See the Introduction, pp.xv-xvll, concerning techniques used in this Section.

Dl-6

CONTRIBUTIONS TO PERIODICALS 1. [Poem. "The Wind's Quest," Torch, 1891.] Ford's note appended to this poem, which appears on 1 p.227 of Collected Poems (191 O= "These lines the first I ever wrote, were printed in the Anarchist Journal, The Torch, in 1891." The British Museum only houses the series from Aug.,1894 to Jun.,1896; the poem is not to be found in this series. Ford refers to the poem's pub­ lication on p.84 and quotes it on p.112 of Return to Yesterday (N.Y.). The poem was published in Questions at the Well, From Inland, and Collected Poems (1914 and

1935ΤΓ

2. Poem, [pseud. "Fenll Haig"] "The Wind's Guest," Living Age, CIC, 258 (Nov.4,1893)· Apart from the title, which is an obvious misprint, and minor punctuation changes, this is the version of the poem that appeared in Questions at the Well (note there, under "Subsequent Publication,'"-the one significant change made in the poem for inclusion in Poems for Pic­ tures) . 3. Poem, [pseud. "Fenil Haig"] "Down There Near The Gare du Nord/ Living Age, CIC, 322 (Nov.11,1893)· This title of the poem is the first line of a poem in Questions at the Well, "The Story of Simon Pierreauford"; this abbreviated version of that poem follows. Down there near the Gare du Nord At the corner of the street, Where the double tram-lines meet, Bonhomme Simon Pierreauford, And his nagging wife, Lisette, Kept their cafe, he and she; He lets life slip carelessly, She a sleepless martinet. He in posing, portly rest, Stands forever at the door, Glancing at his waiters four, Or chatting with a well-known guest; She, with tongue that never stops, Scolds the sweating cooks for waste, Makes the panting waiters haste, Wipes the marble table-tops. 4. Review of W.M. Rossettl's_ D.G. Rossettl: Letters and a Memoir. "Longman's, XXVII, 465-474 (Mar.,189b)· Less a review of the book than a commentary on D.G. Rossettl himself. Reprinted in Living Age, CCIX, 53-59 (Apr.,4,1896). 5. Poem. "The Song of the Women: A Wealden Trio," Savoy, #4, 85-86 (Aug.,1896). Published also in Poems for Pictures and Collected Poems (1914 and 1936). 6. Letter to the editor. Times, 13 (Jan.30,1897). Objects to a paraphrase of part of his Ford Madox Brown made in an article about the Brown exhibit at the 139

D6-14 Grafton Galleries. (See article, Times, 12 [Jan.28, 1897].) 7. "The Younger Madox Browns," Artist, XIX, 49-53 (Feb., I897). Reminiscences of Lucy, Catherine (Ford's mother), and Oliver Madox Brown. 8. "The Work of William Harrison Cowleshaw," Artist, XX, 432-436 (Sept.,1897). Cowleshaw, Ford says, was the designer of the cover of Ford Madox Brown as well as the architect who built Edward Garnett's House. The Cearne. (See Return to Yesterday, N.Y., p.172;. "I carry my love for the enduring and old into every department of life, preferring old clothes built after my own design, and suiting my own habits, to the most seemly showy garment designed with a view to the uniformity of the human species and destined to change with the waning of the moon." 9. "William Hyde: An Illustrator of London," Artist, XXI, 1-6 (Jan.,1898). Hyde was illustrator of The Cinque Ports. 10. "The Millais and Rossetti Exhibitions," Fortnightly, LXIII, 189-196 (Feb.,I898). The exhibitions were being held at the Royal Academy and the New Gallery. 11. ["Madox Brown's Designs for Furniture," Artist, XXII, 44-51 (May,I898).] Though unsigned, this article is probably by Ford. 12. "Sir Edward Burne-Jones," Contemporary Review, LXXIV, 181-195 (Aug.,I898). Reprinted in Living Age, CCXIX, 110-121 (Oct.8,1898). Begins: "Some little time since I chanced to be at sunset in a long and many-windowed west-facing gallery. As the sun swung round and down towards the horizon, the brilliant light died out in window after window. Finally, and, as it seemed, with disturbing suddenness, the last was obsoured, and dusk settled down in the place. It occurred to me then that this gallery typified our century. In a Versailles we may chase for a time the sunlight frQm room to room, but in our outside world Fate, with a rare artistic instinct, seems to round off the period a thought mercilessly, and leaves us with a few of the familiar faces, the old and trusted landmarks." 13. Poem. "The Cuckoo and the Gipsy," Speaker, XVIII, 232 (Aug.20,1898). Reprinted, with a few minor changes, as "The Gipsy and the Cuckoo," in Poems for Pictures and in Collected Poems (I914 and 19361"! A~lso reprinted in the 1900 version"," in Living Age, CCXXVI, 808 (Sept.29,1900). 14. Poem. "Love in Watchfulness on the Sheep Downs," Speaker, XVIII4 672 (Dec.3,I898). Some major changes took place in its publication in Poems for Pictures and hence in Collected Poems (1914 and i93oT; therefore, the poem is here in its entirety as it appears in Speaker. Sail, oh sail away,

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15.

16.

17.

18.

Oh sail, you clouds above my face Here where I lie, Trail, oh trail away, Oh you minutes, and give place To hours that fly. Up here I've watched the road And seen the shadows play Half the day. Oh, when I hear an echo mutter Soft up the slope of gorse's gold, I shall hear my heart a-flutter: Oh, when I see a distant kerchief spread And see a spot of white beyond the farthest fold, And see the sheep all scattered at his tread, Above the shrouds And gliding veils of mist, above my head, You'll trail away, You hours and clouds. Poem. "In Adversity," Speaker, XIX, 51 (Jan.14,1899). Reprinted in Poems for Pictures and From Inland; since it does not appear-in Collected Poems, the poem follows as it appears here. ----"Cold hands, warm heart?" Then let the wind""""5IOw chill On our clasped hands who fare across the hill. "Hard lot. hot love?" Then ret our pathway go Through lone grey lands, knee-deep amid the snow. The poem was also reprinted in Living Age, CCXX, 468 (Feb.18,1899) . Poem. "Aldington Knoll," Speaker, XIX, 154 (Feb.4,1899). Reprinted in Poems for Pictures and Collected Poems (1914 and 1936).--rhe second stanza here is omitted in later republications; the third stanza of later versions is here omitted; and the fifth stanza here is omitted in later versions. Here follow the second and fifth stanzas: I' Aldington Knoll, when we was cubs, Use Iter mark where we'd sunk the tubs: Get it in line with Romney Church, They revenue chaps was left in the lurch." "For that 01' knoll is watched so well By drownded men kept outen hell, They guards it well an' keeps it whole For a sailor's mark, the goodly knoll." Other revisions than those cited above are minor. Poem. "The Gipsy and the Townsman: A dialogue pendant to 'The Gipsy and the Cuckoo,'" Speaker, XIX, 371 (Apr. ,1899). Reprinted with only minor changes in Poems for Pictures and Collected Poems (1914 and 1936). -Poem. "A Ballad of an Auction," Speaker, XIX, 661 (Jun. 10,1899). Became, with minor changes, "Auctioneer's Song" in Poems for Pictures and Collected Poems (1914 and 1936). 141

D19-28 1 9 . Poem. " F o r t h e B o o k p l a t e of a Married C o u p l e , " Academy, LVIII, 493 (Jun.,9,1900). Previously published in Poems for Pictures: reprinted in From Inland but not in Collected Poems (1914 or 1916Ή Also reprinted in Living Age, CCXXVI, 427 (Aug.18,I9OO). 20. Poem. "The Pedlar Leaves the Bar Parlour at Dymchurch," Outlook (London), V, 627 (Jun.16,1900). Previously published in Poems for Pictures; only one minor change here ("cater" becomes "canter"). Subse­ quently published in Collected Poems (1914 and 1936). 21. Poem. "A Lullaby," Living Age, CCXXVII, 14 (Oct.6,1900). Previously published in Poems for Pictures (in the fourth stanza "chicks" is substituted for ''lambs"). Subsequently published in From Inland and Collected Poems (1914 and 1936). 22. Poem. "The Mother: A song-drama," Fortnightly, LXIX, 741-746 (Apr.,19OI). Published in The Face of the Night and Collected Poems (1914 and 1936). See Ford's comment on Fortnightly Review in Return to Yesterday, N.Y., p.177· 23. Poem. "A Great View," Outlook (London), VII, 820 (Jul. 27,1901). Became "The Great View" in The Face of the Night and Collected Poems (1914 and 1936); only a few differences in punctuation. 24. Poems. "To a Tudor Tune" and "Night Piece," Academy, LXI, 179 (Aug.31,1901). These poems appeared in The Face of the Night, the first as the sixth poem of '1A Sequence.11 Minor changes. "To a Tudor Tune" was also printed in Living Age, CCXXXII, 64 (Jan.4,1902); and in Current Literature, XXXII, 576 (May,1902).*** 25. Poem. "At the End of a Phase," Pall Mall Mag., XXV, 192 (Oct.,1901). Became with quite a few minor changes, "An End Piece" in The Face of the Night. Subsequently published in CollecteTToems"TT914 and 1936) . Also reprinted in Living Age, CCXXXIII, 128 (Apr.12,1902). 26. Poem. "The Small Philosophy," Outlook (London), VIII, 376 (Oct.19,1901). Reprinted in The Face of the Night as the fourth poem in "A Sequence"; also thus subsequently published in From Inland and Collected Poems (1914 and 1936)· This line, omitted in later versions, heads the poem: "Cest toi qui dors dans 1'ombre, 6 sacrd souvenir." This poem, with the introductory line in French, was later printed on the dedication page of Romance. 27. Poem. "To Christina at Nightfall," Athenaeum, #3861, 558 (Oct.26,I9OI). Reprinted in The Face of the Night, Christina's Fairy Book, From Inland and Collected Poems (1914 and 1935Ti 28. "The Making of Modern Verse," Academy, LXII, 412-414, 438-439 (Apr.19 and 26,1902). 142

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30.

31. 32.

"A minor poet [himself, though he does not reveal this) once let me somewhat far into the secrets of his methods of work. He had, a day or two before, written the verses that I shall quote lower down [the first poem of "A Sequence" in The Face of the Night). He thus described their evolution:- ~.rr--Here-rollows a most interesting, if at times incredible, exposition of the genesis of that poem. Particularly interesting in the connection it shows between poetry and music in Ford/s mind, in theory and in practice. "Wordsworth ... , who was essentially a poet of Temperament, wrote just as many lines as any poet of importance; and his passages of supreme excellence are as difficult to discover among his wastes of words as are his hamlets among the Yorkshire scars. For that reason one classes him with Coleridge, and to some extent with Shelley . . . . Every poet must write a certain amount for mere practice sake . . • . [This poet places his faith not in:) a timid chiseller and mosaicist, instead of a master craftsman who has gained skill through many failures • . . . The poet has to choose whether he will remain an unread poet of importance like Wordsworth or a poet of temperament like Christina Rossetti. If he choose the latter, a public contemptuous of his solicitude in saving them trouble, will reward him with the style and title of a minor. Or he may take his place anywhere between the two extremes." In the collection of Mrs. Julia Loewe of Pasadena is a 26 pp. typescript which appears to be a later amalgamation of this essay and of the essay "Christina Rossetti," which appeared in Fortnightly, Mar. ,1911. Poem. "Silverpoint," Outlook (London), X, 182 (Sept.13, 1902). Reprinted, with only minor punctuation changes, as the third poem of "A Sequence" in The Face of the Night, From Inland and Collected Poems (1914 and 1936). - Story. "The Baron; (A Love Story)," Macmillan/~, LXXXVII, 304-320 (Feb.,1903). A twenty-two year old Englishman ("in the War Office") visits his German relatives; told in the first person. See Return to Yesterday, pp.115ff. Story. "The Difference," Cornhill, XV, 276-288 (Aug., 1903) . Poem. "On the Road," Outlook (London), XII, 84 (Aug.22, 1903) . This poem appears nowhere else, to my knowledge, and is hence reproduced here. A poem by this title appears in the table of contents, but not elsewhere in the 26 pp. typescript titled Poems in Two Keys (Litt~e Plays and Poems for Music)--in the Naumburg Collectlon. A corrected typescript of the poem is in the Loewe Collection, Pasadena. Sweet, we must never meet and part again, 'Twere too much pain; We needs must go our journey through this life Without much grief or strife for fear we walk too slow 143

-36 And we have far to go. Sweet, you and I must never meet and kiss, 'Twere too much bliss; We have to go our journey soberly Without much ecstasy for fear we walk too fast And miss the way at last. Sweet, you and I must follow separate ways And pass our days And not too much remember nor forget Too utterly, for yet, remains the unknown Inn Wherein (All our wayfaring being past and done) At set of sun After the shine and rain We take our ease, and maybe meet again. 33. Story. "The Old Conflict," Macmlllan's, LXXXIX, 120-131 (Dec, 1903) . The "old conflict" is shown in an encounter between composer and performer, between a romantic Austrian composer, "Karl Maria von Wilnau," and a French, Napole­ onic virtuoso violinist named "Boucher." Reprinted in Living Age, CCXL, 353-363 (Feb.6,1904). 34. Review of The Poetical Works of Christina Georglna Rossetti (Edited by Wm.M. RossettlT Fortnightly, LXXlT, 393-405 (Mar.,1904). 35. Poem. "Every Man: A Sequence," Saturday Review, IC, 348 (Mar.18,1905)· The only collected edition in which this poem appeared was Songs from London. Also reprinted in Living Age, CCXLVI,"2"JJuI.1,1905). 36. Poem. "The Philosophy of a Lover and Gentleman," Academy, LXIX, 685 (Jul.1,1905). Reprinted in Living Age, CCXLVI, 642 (Sept-9Λ905) · Since this poem appears nowhere else, it is here reprinted in its entirety. A flower, a kiss, a tear—and there's our life. Long flowers of doubt; short taste of fruit; the knife Of parting; then the mourning cloths of Death. That lasts for ever. This handkerchief I wear against my heart Once dried a tear of yours. Now it bides here, And shall till I am summoned to depart. ... How odd the things that we find comfort in! I have picked violets--in that dreary year When all my life was doubt—picked them because I had the longing for you in my mind So powerful, so painful and so sweet, it seemed Some savour of your presence must pervadeThe buds my ©yes dwelt on--and so these flowers Fading to dust within my pocket book. Now you have kissed me and I have witheld For a long day my lips from speech and food, To leave them yours alone till set of sun, A foolish whim. ... But you did kiss me. AhJ 144

D36-42 What shall enshrine remembrance of a kiss Or hold its ghost from dawn to set of sun For me, who have so many hours to live, Or let my heart recall the mighty throb That came when you said 'Dear!' from your deep chest With wavering fulness? So you shed one tear Since all was done. Then came the handkerchief ... Why, that's the shroud that wraps the Past. That's al 1 Remains for me to take some comfort in: This is the catalogue: Some dust of flowers, A linen cerecloth, and a vanished kiss And all's summed up.--Save that I live in hell And have no rest.-But that's another mood Here we talk gently, being gentlefolk Without much show of passion, rise of breath, Quaver of voice, hard eyes, or touch of fever. A flower, a kiss, a tear—and there's our life. Long flowers of doubt; short taste of fruit; the k

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39.

40.

41.

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Of parting; then the mourning cloths of Death. That lasts for ever. Poem. "The Portrait," Academy, LXIX, 829 (Aug.12,1905). Published in From Inland and Collected Poems (1914 and 1936)· Quite a few differences between this and the version in From Inland; the latter is more concise. Poem. "A Suabian Legend," Academy, LXIX, 1126-1127 (Oct. 28,1905). Published as "A Legend of Creation" in From Inland and subsequently as "A Suabian Legend" in Collected Poems (1914 and 1936). Quite a few minor differences between this and the version in From Inland. Poem. "From Inland," Academy, LXX, 14 (Jan.6,1906). The title poem of From Inland, reprinted also in Collected Poems (1914 and 193b)· "The Heart of the Country," Tribune, 4,4,3,3,3,3,3,3,3 (Feb.22; Mar.1,8,15,22,27; Apr.2,9,26,1906). This series of articles became, with minor changes, a large part of The Heart of the Country. Titles of installments: "I. Between the Hedgerows; II. The Wandering Men; III. Autocrats on Wheels; IV. Poverty Pride; V. The Cottagers; VI. Country Character; VII. Country Faith; VIII. Suspects of the Village; IX. The Exodus." Poem. "The Old Lament," Saturday Review, CI, 296 (Mar. 10,1906). Published in Songs from London and subsequently in Collected Poems (1914 and 193b). Also reprinted in Literary Digest, XXXII, 535-536 (Apr.7,1906), with a slight change (in the fourth stanza, "Why need 'ee" and "What made 'ee" are reversed); and in Living Age, CCXLIX, 578 (Jun.9,1906), in the Literary Digest version. Letter to the editor. Tribune, 2 (Mar.15,1906). Refers to Tribune's review of The Fifth Queen (Mar.14, 1906). "I am far from despising the aid to a realistic

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D42-48 novel of a romantic plot, and I think that, when the whole story comes to be unfolded ... he will see that I have not had any intention or wish to keep that sacred and beautiful thing Romance out of my trilogy." 43. Review of Charles Doughty1S The Dawn in Britain (vols. I and II). Tribune, 2 (Mar.21,190b). ". . . we may say that the 'Dawn in Britain' is an attempt to do for words what the music-drama of Wagner did for the operatic stage. . . . I may add that I have never met and shall probably never meet Mr. Doughty, but having come across his two books almost by accident, I have felt a desire to signal, as widely as I could, the fact that here is a projection of life calculated to give pleasure to such men as may be of good will." On pp.365-366 of Return to Yesterday Ford tells of a charge brought against him oT"^being a "multiple reviewer"; he accepted the justice of this charge in only one instance, the reviewing of Dawn in Britain; I have not been able to find his other reviews of this work. Ford did review, however, Doughty1s Wanderings in Arabia in Tribune (Jan. 25,1908). 44. "A Heart for London," Tribune, 3 (Apr.19,1906). On building a Town Hall for London. 45. "Dr. Richard Garnett: In Memoriam," Bookman (London), xxx, 89-91 (Jun.,1906). This is the third of six essays here in memoriam Richard Garnett. "There are certain deaths that stir us beyond tears. . . . for many years I was used to ask Dr. Garnett for all sorts of advice upon all sorts of matters for my grandfather, and insensibly I began to ask him questions for my own purposes . . . " His own purposes were presumably various historical research projects In the British Museum. 46. Story. "On the Edge," Bystander, XI, 81-84 (Jul.ll.1906). r 'No. 31 of Our Series of Worldly Short Stories. 47. Story. "Below the Stairs," Bystander, XI, 337-342 (Aug. 15,1906). "No. 36 of Our Series of Worldly Short Stories. Violet Hunt contributed to the next issue "No.37." 48. Poem. "Midwinter Night," Country Life, XX, 815 (Dec.8, 1906). Reprinted in Living Age, CCLII, 578 (Mar.9,1907); and Literary Digest, XXXIV, T 3 5 (Mar.16,1907). Since it does not appear in any collected edition, here is the poem in its entirety. Now cometh on the dead time of the year: Meadows in flood and heaths all barren are. Across the downs and black, tempestuous leas Blow the dull boomings of deserted seas. No horsemen fare abroad: no shepherds watch, And shivering birds cower within the thatch: But up the wind, around and down the gale Steeple to steeple, bell to bell doth hail: "Rest ye: Thro1

'tis well."—Thus in the black 0' night rainy distance, hid from touch and sight 146

D48-52 Man unto man doth make his kinship known And cries from bell-throats: "God doth own his own, Being manJ" Lo, in the warmths and golden lights Sheltering by hearths, 'neath roofs, thro' these fell nights Home from the barren heaths and hungry seas We voyage bravely toward awakening: Since dead o' the year leads on to distant spring, Sleep toward daybreak, and old memories Unto new deeds to do. So bell to bell Calleth across the folds: "Rest ye: 'tis well. Christes [sic] Man and King: Night's dead, they teITT Winter hath lost her sting, the Scriptures tell." 49. Poem. "Castle in the Fog," Daily Mail (Books Supp.), 3 (Jan.19,1907). Became "Finchley Road" in Songs from London; subsequently thus reprinted in Collected Poems (1914 and 1936). See Archibald Marshall's Out~and~~About, pp.131132: When Edmund Gosse was editor of this literary supplement, "one writer I suggested to him he wouldn't have at any price, and that was Ford Madox Hueffer . . . I rather more than suspect, though, that Gosse did print a poem of his without knowing it." This may be the poem, though his explanation of how it may have come to be printed makes it rather dubious: he implies that the poem was accepted through the editor's confusion of the identities of Ford and his brother Oliver. 50. Poem. "After All," McClure's, XXVIII, 444 (Feb.,1907). Previously published in Poems for Pictures; subsequently published in Collected Poems (1914 and 1936). This version lacks the last eleven lines of the collected version and the author's middle name is spelled "Maddox." 51. ["Literary Portraits: I. Mr. Swinburne," Daily Mall (Books Supp.) 3 (Apr.20,1907).] This article and the succeeding thirteen "literary portraits" are most probably all by Ford, though none of them are signed. An article characteristic of this series is described below (Jun.22,1907)· See Return to Yesterday, N.Y., pp.251ff., and Archibald Marshall's Out and About, pp.137-140,142-143,145-152. (Marshall was Edmund Gosse's successor as editor of the literary supplement.) In the Huntington Library there is a letter from Ford to Pinker, n.d., expressing an intention that never became a reality: "l want to make the Lit. Portraits I'm writing for the Mail, into a book with Max's [Beerbohm's] caricatures." 52. Poem. "The Proconsuls," Daily Mail (Books Supp.), 3 (Apr. 20,1907)· Reprinted only in Literary Digest, XXXIV, 808 (Mayl8, 1907). Since the poem does not appear elsewhere, it is reproduced here. Lo! Former days did see the Consuls come 147

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53. 54.

5556. 57· 58. 59. 60. 61. 62.

From distant regions to Imperial Rome-Eagles and legions, axes, fasces band Betwixt the marble palaces, to stand Brass-helmed, gold-mailed, tempered by snows, or tanned By desert suns--in dreams we see them come-Still to the palaces of vanished Rome. But Rome's a ruin, a'll her standards down, See the Proconsuls come to London Town. Where are the emblems? What the tokens shown Of pomp imperial, where the banners thrown In sign of rule o'er hill and dale and flood? Why here's no emblem.' Through the London mud Under the sleety sky our consuls come. Shall not old ghosts laugh amid ruin'd Rome? I wonder! when the centuries have rolled And Ages—iron, marble, or of gold — Are dead, and you and I, Roman and British Peace, Alike receded, fade and pass and cease, Where Sidons, London Towns, and marble Romes Alike house fantoms and alike are tombs Of vanished pasts--I wonder, will men say Which was the greater: Pax Brittanica Or deep-based sway of Rome; brick of to-day Or gold and bronze or marble; London mud, Axes and brands, or ties of home and blood? Or shall they say: "Ay, that old sway was good And this in turn was good that made them come Black-garbed and peaceful to this later Rome." "Literary Portraits: II. Mr. H.G. Wells," Daily Mail (Books Supp.), 3 (Apr.27,1907). ["The Art of Turgenieff," Daily Mail (Books Supp.), 3 (May4,1907).] Like the "literary portraits," this article is unsigned but most probably by Ford. "Literary Portraits: III. Mr. Zangwill," Daily Mail (Books Supp.), 3 (May4,1907). Poem. "Consider," Country Life, XXI, 651 (Mayll,1907) Published in Songs from London and Collected Poems (1914 and 1936). "Literary Portraits: IV. Mr. W.W. Jacobs," Daily Mail (Books Supp.), I (Mayll,1907). "Literary Portraits: V. Mr. Frederick Harrison," Dally Mail (Books Supp.), 3 (Mayl8,1907)· "Literary Portraits: VI. Mr. Hilaire Belloc," Daily Mall (Books Supp.), 3 (May25,1907). See reference to this article in Return to Yesterday, N.Y., p.367. "Literary Portraits: VII. Mr. W.D. Howells," Daily Mail (Books Supp.), 3 (Jun.1,1907). "Literary Portraits: VIII. Mr. George Bernard Shaw," Daily Mail (Books Supp.), 3 (Jun.8,1907). "Literary Portraits: IX. Mr. William de Morgan," Dally Mail (Books Supp.), 3 (Jun.15,1907)·

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D63-68 63· "Literary Portraits: X. Mark Twain," Daily Mail (Books Supp.), 3 (Jun.22,1907)· Perhaps the most interesting and flamboyant of the 'literary portraits," yet it is typical of these articles, which are less works of criticism than flights of fancy and reminiscence, less serious than his later series for Tribune and Outlook. Anonymity seems to have tempted him to a greater extravagance in some of these articles than is to be found even in his own published reminiscences. "A great many years ago there was a huge, rather Bohemian, party held in an enormous house in Fltzroy Square. The house was the mansion in which Colonel Newcome is said to have lived: the drawingroom in the days of this party was used as a studio . . . And this party was attended by personages of European celebrity. There was Wagner and Liszt, and Tourgue'nieff and Browning and Rossetti and Sir Frederick Leighton and Burne-Jones and William Morris and Bret Harte and—in the red shirt, revolvers, and top-boots of a Nicaraguan filibuster-there was Joaquin Miller. And, with a cigar held between his teeth, with a low collar leaving free a welldeveloped neck, with rather long hair that bushily suggested bunches of grapes, with a thick moustache that had the lines of being blown back by a wind, with keen eyes veiled a little by half-closed lids, as if they, too, were peering into a stiff breeze, silent, observant, with the chin always pushed forward, there stood Mark Twain." Says he also happened to run into Twain again in New York. See the considerably modified version of this tale in Ancient Lights, p.36: "I can dimly remember the face of Mark Twain—or was it Bret Harte?--standing between open folding doors at a party, gazing in an odd, puzzled manner at this brilliant phenomenon [i.e., the attire of Joaquin Miller]." 64. Poems. "June in Town: I. The Three-Ten at Kilburn; II. Four in the Morning Courage," Country Life, XXI, 959 (Jun.29,1907). Published separately and without the prefix, June in Town," in Songs from London and Collected Poems (1914 and 1936) . 65. "Literary Portraits: XI. Father Hugh Benson," Daily Mail (Books Supp.), 3 (Jun.29,1907). 66. "Literary Portraits: XII. Mr. Thomas Hardy," Daily Mail (Books Supp.), 3 (Jul.6,1907). 67. "Literary Portraits: XIII. Mr. S.R. Crockett," Daily Mail (Books Supp.), 3 (Jul.13,1907). 68. "Literary Portraits: XIV. Miss Marie Corelli," Daily Mail (Books Supp.), 3 (Jul.20,1907)· This was the last issue of the literary supplement, hence the last installment of Ford's "literary portraits." See Return to Yesterday, N.Y., p.252-: I transferred my weekly article on books to an eccentric paper which was edited and owned and run ... by ... Thomassen . . . " This was the Tribune; the first of Ford's "literary portraits" contributed to that newspaper appears immediately below. The fact that Ford "transferred" this series to the Tribune only upon cessation 149

D68-70 of the Daily Mail literary supplement casts doubt on his supposition (also on p.252 of Return to Yesterday) that "it is possible that this transference was what irri­ tated Lord Northcliffe." 69. "Literary Portraits: I. Mr. Hall Caine," Tribune, 2 (Jul. 27,1907). First of a weekly series slightly different in inten­ tion from the series in Daily Mail and from the succeed­ ing series in Outlook (which begins on Sept.13,1913). This series is signed; each "portrait" is usually of some writer of whom Ford has some personal acquaintance and includes some comment on his person or personality as well as his literary output; like the Outlook series most "portraits" end with some comment on the writer's latest work. Most of these articles are a bit more serious critically than those in Daily Mail, and a bit less so than those in Outlook. "Mr. Hall Caine lives in a castle; he speaks very weightily and slowly, with a pause between each word. Some years ago the writer was amusing himself at Mr. Caine's house with talking, in the presence of Mr. Calne and some half a dozen Manxmen, who sat, silent and respectful, round their distinguished countryman's sofa. . . . And for quite a long time the writer talked what he thought was brilliant paradox, but what was probably merely young nonsense--about Anarchism as an ideal. At last Mr. Caine spoke ... 'Anarchism,' he said, 'may--be--very--dangerousl' It may be observed that Mr. Caine uttered no very original views, and that the pauses between his words were devoted to finding no very startling phrases. The weightiness of his manner may have been merely a courtesy ... It is very probable that that accounts for the slight singularity of Mr. Caine's manner. He erects it round him; he takes refuge behind it; whilst his mysterious eyes, dark, large, lus­ trous, remote and humorously guileful, wander from your face to the bookshelves . . . He protects himself, in fact, from bores by uttering platitudes slowly while he thinks his own private thoughts. And what can they be-the private thoughts of this conspicuous man? . . . Mr. Caine's books appeal to the hero that is in all of us . . . he differs from most of his popular rivals in really knowing what Literature is. But, at about that date [of publication of The Deemster], he took the defi­ nite plunge--away from the goats and into the sheepfolds. . . . At one time he wrote carefully, turned his sen­ tences, selected his words, and avoided meretricious 'situations' and 'effects.' Nowadays he does nearly exactly the reverse. . . . And, since the results [in sales] are so prodigious, who shall blame him?" 70. "Literary Portraits: II. M. Anatole France," Tribune, 2 (Aug.3,1907). "We may say frankly that writers with large sales xn England have practically no literary merit. . . . The French writers of the largest sales ... have had no par­ ticular literary merit . . . But, whereas in England the large sales of these non-literary writers seem inevitably to kill all interest in real literature, in France it has always been otherwise. . . . no French writer, however 15Ο

D70-72 great and however conscious of his greatness, is too snobbish to make a popular appeal . . . . [re Anatole France:] just because he is an aristocrat he is scrupulOus, and just because he is scrupulous he is just. · . • The beauty of his style comes from the clearness of his statements; if he introduces Tha1s the courtesan, he is very careful to explain just who and what Tha1s was; he invents incidents and objects that are calculated at once to strike the attention of every man." Praises the French writers for, unlike the English, keeping political writings separate from imaginative writings. Comments on France's Vers les meilleurs Temps and Sur la Pierre Blanche. ---- ------71. "Literary Portraits: III. Mr. John Galsworthy," Tribune, 2 ~Aug.lO,1907). 'The novel in England occupies, rightly or wrongly, the position of a suspect--as it were a thing from which nothing can be learned and over which much time may be wasted • . . • But it is possible to imagine a novel so true to life that it may have certain sociological value, and yet so well written and constructed that it may make pleasurable reading . . . • Mr. Galsworthy is all the better as a subject for examination in that he is so typically--I almost said so bewilderingly--English. • •• The Englishman--and Mr. Galsworthy with him--is never content to be physically within the pale and mentally without it. The English education is directed towards giving a man settled manners, settled ideas, settled beliefs, and a standard of probity. It is directed remorselessly against his developing any independent thought • . • . Mr. Galsworthy's 'unsound man'-Mr. Galsworthy himself--is a striking instance of the dangers of individual thought . . . . But the English reader need not be alarmed. Mr. Galsworthy is English; he is not the man to stop at Art; he will go on to being useful to the Republic. That malaise, that restlessness which drove him to writing as a refuge from social boredom--that restlessness has developed far beyond the mere stage of desiring to be an artist. It has taught Mr. Galsworthy to become a splendid champion of the oppressed, the needy, and the downtrodden--a generous and romantic literary figure." Presumes that the drama is more sympathetic to his "art" than the novel. 72. "Literary Portraits: IV. Herr Gerhardt Hauptmann," Tribune, 2 (Aug.17,1907). "I am inclined to doubt whether any good could result to an English writer from studying German prose works-I mean from the point of view that prose-writing is to be considered as a fine art . • • • if I select Hauptmann as a subject for analysis rather than Herr Sudermann or FrMulein Viebig it is simply because he is a poet and a dramatist, not a prose writer . • • In Germany, even more than in England, there is a written language and a spoken. The spoken language is direct) forcible, and simple; the written is involved, pompous, and full of archaisms." Comments on "The Weavers" and "The Sunken Bell." "He is a great poet. He is a minor dramatist. • •• we must seek in the best German work atmosphere, 151

D72-75 not form; poetry, not story; decoration, not outline . . what the English writer needs is precisely what the German cannot teach him . • . But that is far from saying that the English reader should avoid German literature." 73. "Literary Portraits: V. Mr. J.M. Barrie," Tribune, 2 (Aug.24,1907). "One of the most interesting subjects in the world is the cause of Popularity . . • • Let us now examine the work of an artist who has found a huge popularity without sacrificing an atom of his real self . . . . Sentimentalism is a form of Realism--or rather it is a personal factor that biases the Realist in what he selects to describe . . • • in acknowledging the existence of meanness, cowardice, want of imagination, or cruelty, the Realist is accepting a good deal from the rather wornout Romantic formulae of villainy and heroism. The Sentimentalist, on the other hand, sees nothing but poor humanity very much as it is. It accords to its villains the Right to Live . • . • It is impossible .•. to imagine Mr. Barrie hating any character as Flaubert hated Homais the chemist in 'Madame Bovary.' . . . But Mr. Barrie is the least priest-like of mortals: he is the eternal layman, as every true Sentimentalist must be." 74. "Literary Portraits: VI. Miss May Sinclair," Tribune, 2 (Aug.31,1907). "It is a little difficult for me to believe that Miss Sinclair is not hugely, colossally, even tryingly, eminent, for I have heard the work of Miss Sinclair discussed [in the U.S., on his 1906 visit; see Return to Yesterday, N.Y., p.317] as if she had at least the philosophic significance of Browning together with the wit of Mr. Meredith . . • • The 'Divine Fire,' indeed, was not everything. It was 'well-written.' The American Public likes well-written books because, in a certain type of work, the flash of the writing conceals the lack of real matter. Real matter is disturbing. The American Public likes to be tickled: it hates to be moved . . . . the English Public rather likes to be moved, if the moving is done in the right way . . . . though I love fairytales, and love realism, cheese and sherbet do not mix. The 'Help-Mate' is an advance along the lines of realism . • . • When you are treating of a rather unusual personage, very important to your story, you must be careful to account for her idiosyncrasies." 75· "Literary Portraits: VII. Mrs. Mary E. Mann," Tribune, 2 (Sept. 7 ,1907). "I said last week that the conscientious writer of novels must be an exact scientist. The novelist, as a rule, is that too seldom nowadays . . • • She [Mrs. Mann] has written one of the very best books of its kind that we have--the 'Fields of Dulditch.' Here '" she has given us an intimate and an absolutely satisfying picture of life as it is lived by the poor cottager. Its Art is very valuable--but as data, as a means by which the public might get to know something of the life lived by a little-known portion of the body politic ... it is of an 152

D75-78 extreme value . . . . She seems to have lost the touch-for want of encouragement--and to-day she is giving us work that is a little poorer, at once as Art and as a projection of fact." Comments on her latest, The Sheep and the Goats. "The story must be told convincingly. rr-is no~ugh for Mrs. Mann to sneer at the dulness of society; she must show us why it is dull." 76. "Literary Portraits: VIII. Mr. Joseph Conrad," Tribune, 2 ~SePt.14,1907). , .•. the object of a work of art is to carry convic-, tion . . . Its mission is to soothe, to solace, to excite, to move--to do anything that will make us forget our squalid lives • • . Personally, I take an extremely gloomy view of Literature in England at the present day --of Literature judged from this standpoint. I can find very few books that will carry me out of myself . . . . Of these few writers one is Mr. Conrad. In his person he had the two absolutely necessary qualifications of the writer: he has lived a real life, and he has a passion for self-expression. . . . He is whole-souled raconteur • . . . he presents us with facts, not theories. That is why, though his literary standard ..• is so high, he has so wide an appeal . . . • he is the exact scientist--the real servant of the Republic • . • . He writes to give the unprovincia1 man the impression of having had a real experience . . . • His excellences are the reality and force with which he makes his characters live and react one on another; his principal defect is that he over-elaborates because he is profoundly sceptical. His latest book, the 'Secret Agent,' is less over-elaborated than most of his former works; in comparison, indeed, it is singularly clear and direct in the way the story is tOld . . . . those who are not interested in works of art .•. will find it a work of great informative value . . . . It is over such work that the Artist and the Moralist find in astonishment their hands meeting • • ." 77. "Literary Portraits: IX. Mr. Anthony Hope," Tribune, 2 (Sept.21,1907). " ••• a people with gentle diversions is an educated people, so that if our imaginative writers can brighten the standard of our diversions they will be aiding in the education of the Republic . . • . I admit to my private garden all the poets, seers, tellers of idle tales, weavers of the fabrics from which are made Utopias [as well as the Realists]. But I bar out the hybrids. I include Mr. Anthony Hope . . • I consider as traitors to the Republic those who set up false ideals of the possibilities of life . • . Mr. Hope ... is one of our sheer entertainers • . . . Mr. Hope's chief defect is a want of strenuousness." Comments on his latest, Tales of Two People. ----- -- --78. "Literar1. Portraits: VIII. [sic; should be "X."] Maxim Gorky, Tribune, 2 (Sept.28,19 0 7). "The eloquent and generous rhetoric of the article by Count Tolstoy published last week in THE TRIBUNE naturally turns one's thoughts back to the day when Count Tolstoy had not developed into the splendid pamphleteer, 153

D78-81 but was still an imaginative--and how very exact a-renderer of human passions and vicissitudes." Spends ~uch of the article in praise of Turgenev. Re Gorky: . • • he rages against human nature. In that he is the poorer workman. . . • most of his hUman beings appear .•• overdrawn." Comments on his latest, Com~. "His ends are not in any particular sens-eliterary, but, as a peasant of genius telling impassioned tales of injustice and heroism, he certainly achieves his own ends." 79. "Literary Portraits: IX. [sic; should be "XLii] Mr. Dion Clayton Calthrop," Trrti"une, 2 (Oct.5,1907). There is a "huge need for these imaginative writers whose function it is to spread a power of rationalized appreciation which is called culture . . . . We are always self-conscious. And that is dismal . . . . if Mr. Calthrop had a great following he might do much better work . . . But in spite of what I have said against the 'Dance of Love,' it remains one of the few books of its genre that this season will bring us. For the talent of conveying irresponsible joy is a rare one . . . " 80. "Literary Portraits: XII. Mr. Edward Garnett," Tribune, 2 ~Oct.12,1907). ' • • . it is one of the capital defects of the life we lead that, in the large, we have no acquaintance with 'les emotions fortes'--with the emotions that arise from the essential truths of life . . . . Very opportunely for my purpose there has arisen this week the quarrel between Mr. Garnett and the Censor [over Garnett's play, "The Breaking Point"] . . . . As a critic--and above all as a discoverer of talents .•. Mr. Garnett has habitually shown a preference in the books that he published or praised for either the irresponsibly joyous or the genuinely tragic . . . . there are very few writers of any real worth that do not owe something to his support . . His odd eruditions, his singular belief that the business of a critic is to evolve standards, his, as if inverted, PUritanism he owes no doubt to his Yorkshire ancestry and to his descent from distinguished scholars. His Irish blood accounts, no doubt, for his love for the emotional and the genuine in literature." Of the play under censorship: "Judged as a book it is earnest, strenuous even, and certainly without a trace of grossness. Its defect is that it is without relief . . . . the technique of the stage is the exact reverse of the technique of the book. . . . hordes of eminently dubious plays that he tolerates, the Censor should have singled out Mr. Garnett's tragic morality for censure--that fact would be eminently comic." 81. "Literary Portraits: XIII. Mr. Richard Whiteing," Tribune, 2 (Oct.19,1907). See Return to Yesterday, N.Y., pp.283-287, for the anecdote about-rhe dispute between Conrad (whom he does not name in the article) and Whiteing about the commercial nature of writing, which took place at a dinner given by Mrs. Clifford. "Mr. Whiteing is the writer of polemics, the preacher, before anything else." Comments 154

D81-84 on No.5 John Street and his latest, All Moonshine. "Their-author assumes a high and benevolent mission, which, in his view, justifies him in the commission of certain sins against reality." 82. "Literary Portraits: XIV. Mr. Maurice Hewlett," Tribune, 2 (Oct.26,1907). See immediately above; Hewlett was also at that dinner and acted as mediator, as Ford recounts here. "A quick appreciation, a power of observing, or perhaps of feeling, are patent in all his works, just as they are obvious in his person. . • . If we fail in ~uickness of apprehension we fall short of being modern.' Criticizes his historical novels. Comments on his latest The Stooping Lady. "But we want Mr. Hewlett to be his real self ... We want ... Mr. Hewlett's image of the possibilities of [modern] life; we do not nearly so much want to know what life might have been like had there been giants in the old days." 83. "Literary Portraits: XV. The Author of 'Father and Son,'" Tribune, 2 (Nov.2,1907). Hints at but does not name the author, Edmund Gosse. "In Mr. Edward Garnett I treated of the Critic of the new school; let us now consider one--I won't say of the old, but of the more established type . . . . He has never let himself go over an original author . . . " Tells an anecdote about his father's suggesting to Gosse the composition of a timely poem on a subject of national interest, which Gosse supposedly composed to order. "I do not know if this legend be strictly true; at any rate it is symbolical of our Author's progress. It shows his quickness to seize an opening and his power adequately to fill it." Remarks on Gosse's achievements, the last of which was to edit Dailr ~ Books Supp. (which Ford does not mention by name. It is .•. -cad to consider that this Critic, too, began as the champion of the new. One of the earliest books that I can remember is his 'Studies in Northern Literature,' another is his volume of graceful and scholarly verse, 'On Viol and Lute.' . . • [the former] introduced me to the figure of Walther von der Vogelweide "Ford also remembers Gosse's introduction to an audience of Hubert Crackenthorpe. Re Father and Son: "The book is a human document, and not only does it cast light on the mental vicissitudes of this struggle [between father and son], but it explains why, voyaging into new fields, for many years this self-possessed critic was once a discoverer and an adventurer amidst unknown talents." 84. "Literary Portraits: XVI. Mr. Leonard Merrick," Tribune, 2 (Nov.9,1907). Recalls his only meeting with Merrick, fifteen years ago in Paris. 11 • Mr. Merrick's progress towards Fame has been unreasonably slow. That is probably because of the quality of his work. He writes the true conte, not the anecdote dragged in to enforce some moral or other . . . . American literature divides itself sharply into two classes: there is that which has sprung out of the soil of States more or less Southern and Western. There is that which has, in the rarefied 155

D84-88 air of New England and the other Eastern States, preserved its continuity, its Apostolic succession, from days when Europe was still an influence. It is of this latter fragile and precious vine that Mr. Merrick's work is a graceful shoot." 8 5 . "Literary Portraits: XVII. Father Hugh Benson," Tribune, 2 (Nov.16,1907). ' . . . a polemical pamphlet, a tract, a novel with a purpose: how dangerous a thing it is! It endangers alike the cause for which it is writing and the cause which it combats." Of Benson: "He is a priest and a novelist; he is a polemician and a clear-sighted man. . . . a man of the world. He has the methods of the Modernists--the literary methods--whether he have sympathies with them or not . . . For the methods of the Modernists were simply these: they studied their opponents, the Scientists' work; they assimilated their doctrines; they said, 'We can accept all that, say Darwin, wrote, but it disproves nothing of Catholic teachings.1 . . . he sees very clearly that the battle of to-day is no longer between Catholicism and the Protestants, but between the forces of belief and the forces of unbelief." Comments on his latest: "'Lord of the World' is a fantastic--but realistically detailed --projection of the Future. It is the converse of, say, Mr. Wells's 'Anticipations,' spiritually the converse, but spiritually only. Like Mr. Wells Father Benson predicts the rise of Socialism: he deduces the death of Faith. . . . As literature the book is rough, ragged, and careless. But it is full of emotion . . . As a writer, I wish that Father Benson had other aims . . . " 86. "Literary Portraits: XVIII. Major Martin Hume," Tribune, 2 (Nov.23j1907). '. . . the foremost of our Popular Chroniclers," as opposed to the Scientific Historian. "He has grubbed ..., not to discover the dry bones of Truth, but with an infinite industry he has sought for the fragments of tinsel and Toledo steel that are characteristic and picturesque, that cast light not on Nations in the grey mass, but on figures gay in scarlet and rustling in taffetas'. . . . if the Gods have given to Major Hume many gifts ... they have withheld from him ... the gift of sympathetic insight into the hearts of his opposites." Comment on his latest, Court of Philip IV. 8 7 . "Literary Portraits: XIX. Virgo Cantla and Two Perambulators," Tribune, 2 (Nov.30,1907). "It was Lambard—the gravest of Perambulators—who first styled Kent--the first and fairest of the counties —'Virgo Cantia,' Kent the Maid." A "correspondent" has written him, supposedly, in praise of Walter Jerrold's Highways and Byways in Kent (c[.v.; dedicated to Ford and contains two of his poems--he does not mention this in his article). This correspondent, quoted at length, sounds very much like Ford himself. 88. Poem. "To Katharine at Christmas," Country Life, XXII, 810 (Dec.7>1907). Since this poem is printed nowhere else, it is 156

D88-91 reproduced below. My littlest child, come hither here: Part the fine curls about your ear: Lift up your head that you may hear Some talk of Christmas Day:-On Ha11owe ' en you cracked your nuts And said your prayers for those no more: Now, in Kings I palaces and huts And little ships along the shore Men sing No~l, and stay Their hands from work and say: "Take ease: let come what may." For in the dark, still time of year Remembrances of those held dear Are fittest and the Saints best hear Prayers from chi1dren ' s lips: But Christmas lets to-morrow in: These last few weeks the leaves fall fast, But now the seedlings do begin To rear their green and tender tips, And they do step the new-hewn mast on many harbours I ships. And on a time shall come a year When I no more shall stroke your hair Nor from this old-accustomed chair Stand up to bear my part: That Ha11owe ' en remember me And in the days that lie between Till Christmas comes: then let me be Along with those that have not been Nor ever did depart: Sweep out and garnish then with green the chamber of your heart. 89. "Literary Portraits: XX. Authors I Likenesses and a Caricaturist, II Tribune, 2 (Dec. 7,1907) • " . . . I am inclined to shrink from looking at portraits of literary men. For the writer is expressed by his books, and within the four-square of them his whole personality is contained . • • • with [portraits of] lesser men perhaps we gain something." Comments on Maclisels portraits and on Beerbohm's latest volume, with particular comment, favorable, on Beerbohm's caricature of Henry James. 90. Story. liThe Rendezvous," Bystander, XVI, 3-7 (Dec.11, 1907). 91. "Literary Portraits: XXI. The Town of Gloucester and her Annalist," Tribune, 2 (Dec.14,1907). " . • . somehow the 'Gloucester Fleet' is the most storm-tossed-romantic of the world. We have nothing like it in the Old Country . • . • I am describing their lives [i.e., those of the fishermen] as I got the impression from Mr. [James B.] Conno11y ' s IThe Crested Seas l . • . " Gives a few details about the authorls varied achievements; see Return to Yesterday, N.Y., pp. 320ff., and Conno11y ' s own Sea-Borne, for a fuller explanation of this friendship wnrcn evidently began on Ford's 1906 visit to the U.S. 157

D92-94 92. Story. "A Saviour," Country Life, XXII, 904-907 (Dec. 21,1907). 93· "Literary Portraits: XXII. London Town and a Saunterer," Tribune, 2 (Dec.21,1907). ''The recent trial for murder [evidently the "Camden Town Murder"] at the New Bailey brings very poignantly before the mind the question ... of how people really live in London. . . . For the significance of the trial is the way in which it reveals the poverty of opportunities for joy in this immense city. . . . if Literature has lost touch with Life, Life assuredly has in revenge lost touch with Literature. . . . We are all--or nearly all of us who write—either snobs or provincials--the provincials not of small towns, but of small Cultural Societies . . . I have been reading with a great deal of pleasure the latest book of Mr. G.S. Street ('The Ghosts of Piccadilly1 ...) . . . he is the flfneur—the saunterer. And as a saunterer through old streets he writes for a small circle that like him have sauntered through old streets and old books. He writes hominibus bonae voluntatis, and exquisitely he does it. . . . And, after all, like Mr. Street, I, alas! write for a small circle of men of goodwill." 94. "Literary Portraits: XXIII. The Year 1907," Tribune, 2 (Dec.28,1907)· "This literary year that is in articulo mortis presents itself to my mind as a lady of bountiful proportions, amiable disposition, and of few marked 'characteristics. I picture her as tranquil, matronly, a little disgusted with this world, where there are too many motor-cars, and willing to retire somewhere. Her trouble is that, in England, she has so few places to which to retire. . . . In the beginning of this year a dear friend told me that he was getting together English novels that dealt with modern English life as it is lived. His idea was to select the half-dozen best and to them to devote an article in one of the quarterlies. This morning ... I asked him how his article had fared. He had as yet found but two books . . . At the same beginning of the year when all was hope and busy stir I suggested to a friend that he should gather together--in the hope cf proving that poetry is not yet dead--an anthology of modern verse. Now ... it lies before me. ('The Book of Living Poets.' Edited by Walter Jerrold [£.v.; contains four poems by Ford]). No, Poetry is not dead, but she has 'retired,' She lives in cloisters and old formal gardens." He praises the poem by Hardy in particular. "An incredible deal of it [the anthology] is given up to the Eternal Celt. . . . When I consider the selection from my own verse I am bound to say that it is as derivative and un-modern as anyone else's. . . . The other night I was going eastward upon the top of a 'bus. It was just outside the Tottenham Courtroad Tube Station. In front of us was a tongue of deep shadow, the silhouetted forms of 'bus-tops, dray-tops, drivers' hats, all in a pyramidal mass of darkness, and a stimulating, comfortable, jangling confusion. Before us was a blazing haze of golden light, on each side the golden faces of 158

D94-96 innumerable people, lit up by the light that streamed from shopwindows, and up along the house fronts the great shafts of light streamed heavenwards. And the gloom, the glamour, the cheerfulness, the exhilarating cold, the suggestion of terror, of light, and of life . . . It was not Romance--it was Poetry. It was the Poetry of the normal, of the usual, the poetry of the innumerable little efforts of mankind, bound together in such a great tide that, with their hopes, their fears, and their reachings out to joy they formed a something at once majestic and tenuous, at once very common and strangely pathetic. But of that I find little in the work of living novelists, and less or nothing in the work of living poets." 95. "Literary Portraits: XXIV. The Year 1908," Tribune, 2 (Jan.4,1908) . "In this series of papers I have, with some few digressions, adhered pretty closely to my original design of descanting upon Literature and its functions in the Republic. This has excluded to some extent any treatment of Literature as an art . . . . technique is the science of appeal . . . . the serious book has ceased to be literature, because it has fallen into the hands of the specialist . . . . The 'Revue des Deux Mondes' has been publishing a series of appreciations of British novelists of to-day." See "Le Roman Anglais en 1907" (see El17~ which comments on Ford's Katherine Howard novels. ' . • . the writer, M: Wyszewa [sic], gives of us a very flourishing account. Seated as-! am in the 'belly of the ugly enterprise,' I cannot be so cheerful . . . . My mentor leaves out the name ... of the novelist .•• Mr. H.G. Wells . . . It is for me a cause of lamentation that this author devotes ... his time to Utopias and airships . . . . what we so very much need is just such a book as 'Kipps,' purged of some of the defects of 'Kipps' ... and longer, weightier, dealing rather with the fortunes of groups than the vicissitudes of a single individual." Intimates that one is on the way, as it was, for Wells's Tono-Bungay was soon to appear in the pages of English ReVIew. Mentions other novelists from whom books are to be expected this year (interesting, in the light of future relations between them, is his mention of Archibald Marshall and his flattering comparison of Marshall with Trollope). "Will the turn of the tide come in 1908?" 96. "Literary Portraits: XXV. The Face of the Country," Tribune,2 (Jan.ll,1908). " . . • how many of us, I wonder, really represent the country habit of mind? . . . the country is not the place for intellectual contacts . . • the year 1907 .•• has given us three or four books of value concerning the real life of the country today." Two of these novels he had reviewed before, one by Galsworthy, which he does not name here or in that "review" (Aug.10,1907), and one by Mrs. Mann (Sept.7,1907). The other two are about "the agricultural labourer. These are Mr. Bourne's 'Memoirs of a Surrey Labourer' and Mrs. Muirhead Bone's 'Children's Children.' Mrs. Bone is a li'~eral'y

159

D96-99 artist . . . Her work reminds me, for Its style, of the work of Mr. W.H. Hudson . . . " Her book gives a rendering of the spiritual isolation and the bereavements of a peasant's life to-day." 97. "Literary Portraits: XXVI. Mr. Owen Wister," Tribune, 2 (Jan.18,1908). Recounts an anecdote he later retold about an embarrassing encounter with an Anglophobic Irish policeman in front of Washington's statue in Boston Common. "The United States are rather more foreign to us than France . . . The American is no longer an Anglo-Saxon; he is a queer, wild, exciting and excited product of fermenting exiles from Europe." Speculates on the replacement of Washington by Lincoln in the popular hagiolatry. " . . . Walt Whitman is obscuring the image of Ralph Waldo Emerson. . . . In matters of technique, of analysis, and of criticism I should say that the United States are very superior to England . . . I am for the moment only concerned in tracing what has become of the English tradition in American letters, and this clue leads me at once ... up against the figure of Mr. Owen Wister. To say that Mr. Owen Wister is the most sympathetic figure in American letters that I have come across is to say too little, for I have come across very few (Mr. James can only be called un-American). . . . He is quiet, gentle, analytic, humourous, unassuming . . . Mr. WIster's latest attempt to find the thoroughly sympathetic American has brought him up against the figure of George Washington as surely as my attempt to find the survival of the Concord influence has brought me up against Mr. Wister. The 'Seven Ages of George Washington' ... is a delicate and delightful study of a distinguished English gentleman." 98. "Literary Portraits: XXVII. Mr. Charles Doughty," Tribune, 2 (Jan.25,1908). "My old schoolmaster ... had a habit. He interfered with us singularly little for a schoolmaster, but he had a few maxims . . . One of these was: 'Schreib wie du sprichstl' . . . What a glorious but impracticable counsel. . . . I write thus energetically because this is the moral that I wish to append to this series of articles. . . . Moreover it emphasizes the praise that I wish to lavish on Mr. Doughty. I detest his style; I revel in his books. His 'Dawn in Britain' was a revelation [see his review in Tribune, Mar.21,1906] . . . His style is the product of wrongheadedness--of a want of logic." His latest, "'Wanderings in Arabia' ... is a work of great value. Its value lies in the number of sensations that it conveys. . . . a real projection of life . . . " This was the last of the "literary portraits" in this series. See the next series, in Outlook, beginning Sept.13,191399. Letter to the editor. Daily News, 4 (Mar.20,1908). Protests against an expensive physical memorial to Shakespeare: ". . . it is ... to the benefit of the drama in London that ... the ^200,000 should be applied. . . . at no playhouse at present open in London is there any play which any thinking man or any healthy-minded l60

D99-104 navvy could feel more than a languid desire to see. . . . If I had this sum at my command, I would erect on the site of the Globe Theatre ... a new, fine, national --an international—theatre . . . To this theatre we should invite in turn the players of Moliere, of Goethe, of Calderon, and even of Gogol . . . Thus we should have an institution in tone with the spirit of the age; demo­ cratic ... international . . . " 100. "Shylock as Mr. Tree," (review of the current performance of "The Merchant of Venice"), Saturday Review, CV, 461-462 (Apr.11,1908). 101. Story. "The Individualist," Saturday Review, CV, 591592 (May9,1908). Reprinted in Living Age, CCLVII, 76Ο-762 (Jun.20,1908). 102. Poem.· "The Happy Travellers," Country Life, XXIII, 724 (May23,1908). Became, with slight alteration ("how strange" is here "how pleasant") "How Strange a Thing" in Songs from London and Collected Poems (1914 and 1936). 103. "A Pageant," Daily News, 3,3,3,3,3,5,3,5,3,3,5,5,3 (Sept.5,12,19,2b;^5c~t.3,10,17,24,31; Nov.7,14,21,28, I9O8) . Thirteen historico-fictional sketches, all on the same pattern. In each he finds in some period of history an event which happened, or might have happened, on a day of the month which is very close to if not identical with, the date of publication of the sketch. In most, with varying success, he uses the conclusion of the sketch to point something resembling a "moral"—usually to the effect that what happened way back then can hap­ pen or should happen today. All of these vignettes were repeated in Zeppelin Nights (along with those later con­ tributed to Outlook, beginning Apr.19,1913). The titles are printed below with page references to the book in brackets. "I. The Crowning Mercy. Sept.3rd, 1658. [pp. I8I-I89]; II· Modernism. September 11th, 1520. [pp.107H l ] ; III. Clubs. 15th September, 1644. [pp.149-158]; IV. No Heroes. 29th September, B.C. 490. [pp.17-29]; V. The Napoleonic Legend. October 3, 1804. [pp.224-2331; VI. Contact with History. October 12th, 1899· [pp.272283]; VII. In Times of Plague. October 11th, 1665. [pp. 171-181]; VIII. Trafalgar. October 21st, 1805. [pp.233240]; IX. The Battle of Portus Lemanis. October 24th, A.D. 421. [pp.48-61]j X. A Closing Show. Oct. 31st-Nov. 1st, 1792. [pp.214-224]; XI. Ladies and the Mayoring. I.M. November 9th, 1453· [pp.89-97]; X H . An Enemy of Society. November 18th, 1792. [pp.190-197]; X I H . A Golden Legend. 25th Nov., 1491- [pp.98-106]" The liter­ ary editor of Daily News at the time was R.A. ScottJames; see his article on Ford in South Atlantic Quar­ terly, Spring, 1958. 104. Editorial, [pseud. "E.R."] "The Functions of the Arts in the Republic," English Review, I, 157-160,319-322, 565 -568,795 -798 (Dec, 190« to Mar., 1909) · Became, with little modification, the second chapter of The Critical Attitude. Installment headings: "I. I6l

D104-109 Literature; II. The Drama; III. Music; IV. The Plastic Arts." See Ford's "history" of the English Review, its genesis and accomplishments under his editorship, in Return to Yesterday, N.Y., pp.362ff. An interesting letter regarding Ford's financial involvement in the review is in the H.G. Wells Archive, U. of Illinois Library. The letter, on English Review stationery but dated Apr.2,1910, is evidently written to explain to yells why Ford is not responsible to pay to Wells the X250 allegedly owing him for his contributions to the review. In November 1908 Marwood and I started the Review, he having a two-fifth share and I three-fifths. Of the lL 5,000 that we spent on the Review he paid 3fe2,2000 [sic] and Ij£ 2,800 I being generally liable for the debts of the undertaking beyond that sum. I con­ sidered that one fifth share should be set aside for cohtributors who did not ask for payment, that share being taken from my three. In August 1909, this sum being spent and feeling disinclined to continue labours that were extremely arduous and unrequited Marwood and I decided to discontinue the Review. After however I had given orders to the printers to discontinue a spec­ ulator [Sir Alfred Mond, found by Violet Hunt] who had been in waiting came forward and offered to continue it upon exactly the same lines. The terms that he proposed were as follows: Marwood received 800 one pound shares and I nothing. I was however to continue editor at a nominal salary which, by the bye, after a time was not paid. Before that, however I resigned the editorship [but whether formally or not, Ford appears to have func­ tioned as editor through the Feb.,1910 issue]. I was dissatisfied with the suras that were paid to contributors and still more dissatisfied with the party tone that the new proprietors forced upon the periodical. Really needy contributors I paid out of my own pocket sufficient sums to make up what I considered fair payments. Of the busi­ ness affairs of the English Review Limited I have no cognisance at all. They wound up on the 17th December last. . . . I owe nobody anything at all and have nothing at all to do with the Review. I am its principal cred­ itor for salary and work done but I hardly expect to be paid for these things. The only motive that Marwood and I had for spending our money was the desire to establish an organ in which the better sort of work might see the light." 105. Review of Stephen Reynolds' A Poor Man's House. English Review, I, l6l-l64 (Dec . ,19087T106. Poem. "To Christina and Katherine at Christmas," Country Life, XXIV, 791 (Dec.5,I9O8). Published in Songs from London and Collected Poems (1914 and 1936)· 107. Story. "4692 Padd," Bystander, 3-7 (Dec.9,1908). In the Christmas Fiction Supplement. 108. [pseud. "E. Roterodamus"] "The House of Orange," English Review, I, 36Ο-362 (Jan.,1909). 109. [pseud. "E.R."] Review of Georg Salntsbury's A History of English Prosody. English Review, I, 374-37b {Jan., l62

D109-113 1909)· "Professor Salntsbury cannot write. He cannot write so as to make himself reasonably intelligible, and this is a nuisance. . . . But that is very little to the point. Professor Saintsbury is giving us a work perhaps the most valuable, certainly the most salutary, that could have been written at this period of English literature. For there was never a day when the technical side of the Art of Letters was more neglected or so jeered at. . . . The English language is the perfect vehicle of poets; as a medium for prose it is too vague and too rich. . . . We wish that every Englishman would read the portions of Professor Saintsbury's book in which he deals with blank verse. . . . it is the statement not the line that is the unit." 110. Story. With Joseph Conrad [pseud, for both "Baron Ignatz von Aschendrof"], "The Nature of a Crime," English Review, II, 70-78,279-301 (Apr.,May,1909)· First publication of this story, reprinted in Transatlantic Review and as a book with additions, in 1924, £.v. There is nothing here except internal evidence to indicate the date of the collaboration. That evidence which is to be found in the striking similarity of the opening of the story to Ford's poem "Views," indicates that this collaboration probably took place some time after Romance and possibly not long before the story's appearance in English Review. It is not possible to date the composition of the poem exactly, but a letter from the editor of Fortnightly Review to Ford's agent, J.B. Pinker, dated Jun.23,190b (in the Deering Library, Northwestern U.), expresses interest in the poem. "Views" later became the opening poem of Songs from London. Further support for this "date" of collaboration is to be found in Frank MacShane's "The Literary Career of Ford Madox Ford," Oxford D. Phil., 1955, P-79MacShane, on the authority of a letter from Ford to Pinker, n.d. (in the Paul A. Bartlett Collection, U. of Virginia), says: "Early in the century The Nature of a Crime was submitted for publication in book form, but evidently it was refused." The pseudonym devised by the collaborators (or possibly by Ford alone) combines a Polish first name with a version of the baronial title Ford fancied he might bring back from Germany, having re-established his familial connections there. (See Goldrlng's Trained for Genius, p.l6l: the name there is "Aschendorf"; note how the above version lends itself more easily to being read backwards.) 111. ["F."] "The Critical Attitude: Blue Water and the Thin Red Line," English Review, II, 135-1W (Apr.,1909). A political article, on the German danger. See Return to Yesterday, N.Y., P-393: " . . . the first political article I ever wrote." 112. ["E.R."] "The Work of W.H. Hudson," English Review, II, 157-164 (Apr.,1909)· 113. "Algernon Charles Swinburne: Born April 5, 1837: Died April 10, 1909/' English Review, II, 193-194 (May, 1909)· 163

D114-122 114. ["F."] "The Critical Attitude: Little States and Great Nations," English Review, II, 355-364 (May,1909). 115. "The Fascination of London," Putnam's, VI, 213-215 (May, 1909). "Coming a Londoner to New York by way of the continent of Europe I am made to look back upon my great city that is so far away, as if I saw it through a mist of impressions of cities . . . Elsewhere I have had occasion to write of the fascination of New York [ ? ] . . . wandering about these great new streets one feels always, at the back of one's mind, the phrase: 'This is all very well, but it isn't London.1 . . . the fascination of London is very certainly due to its simple inexhaustibility. . . . it is only the great cities that offer us the chance to bathe in humanity. And to the general man all the world over, it is only humanity that is really and vitally fascinating." This article seems to have been written in New York, on his visit in 1906; further strengthening this supposition is a receipt by the Evening News office of Bolton, Lancashire, (dated Aug.15,190b, in the Deering Library, Northwestern U.), for money sent for "serial copyright" of "The Fascination of London." 116. ["E.R."] "George Meredith, Born February 12, 1828: Died May 18, 1909," English Review, II, 409-410 (Jun., 1909)· Short memorial essay. 117. "The Critical Attitude: Finance," English Review, II, 581-586 (Jun.,1909). 118. ["E.R."] "The Critical Attitude: Splendid Isolations," English Review, II, 761-766 (Jul.,1909). On international politics. 119. Editorial note. English Review, II, 824 (Jul.,1909). "[We regret that owing to the serious illness of Mr. Joseph Conrad we are compelled to postpone the publication of the next instalment of his Reminiscences.]" According to Jocelyn Baines, Joseph~Conrad, p.349, this "dramatic note" was a "great annoyance'1 to Conrad, who was only suffering from an attack of gout. 120. Story. "A Call: A Tale of Passion," English Review, III, 93-134,282-314,460-476,629-652 (Aug. to Nov., I9O9)· Correspondence to the book, which was published in 1910: Aug.--pp.3-105 (Parts One and Two); Sept.--pp. 109-l85"TPart Three); Oct.--as far as middle of p.229; Nov.--as far as p.292. The "Epistolary Epilogue which completes the book is omitted here. 121. ["E.R."] "The Critical Attitude: 'Militants Here in Earth,'" English Review, III, 137-142 (Aug.,1909). On Suffragettes. 122. ["E.R."] Review of C.F.G. Masterman's The Condition of England. English Review, III, l82-l84~TAug.,1909). -" . . . we wish that, letting to his literary and his social side, he had given us a more emotional, a more keenly analytical picture of the great people. . . . 164

D122-131

123.

124.

125.

126.

Mr. Masterman's analysis of the literary life of the day takes too much account of the literature of the Immediate present. A despised person, finding his market almost solely In that same vapid, aimless class [i.e., "Society"], the imaginative writer of to-day pays little attention either to his art or to the means by which he can stir the deeper emotions. If he attempts either of these last he cannot exist for there will be no market for his work. . . . very agreeably and sympathetically written." "The Critical Attitude: The Two-Shilling Novel," English Review, III, 317-323 (Sept.,1909)· Became the sixth chapter of The Critical Attitude. "The Critical Attitude: English Literature of To-day," English Review, III, 481-494 (Oct.,1909). Unsigned. Became, with minor changes, the third chapter of The Critical Attitude. ["E.R."] "The Critical Attitude: English Literature of To-day," English Review, III, 655-672 (Nov.,1909)· Became, with minor changes, the fourth chapter of The Critical Attitude. ["E.R."] "The Critical Attitude: The Passing of the Great Figure," English Review, IV, 101-110 (Dec, I9O9). Became, with minor changes, the fifth chapter of The Critical Attitude.

127. "Modern Poetry," Thrush, I, 39-53 (Dec.,1909). Reprinted as Chapter VIII of The Critical Attitude. Also reprinted in Living Age, CClxTV, 17b-lb4 (Jan.15, 1910). In several places, notably in the 1927 Dedicatory Letter to The Good Soldier, Ford said he "took a formal farewell of literature in the columns of ... the Thrush. . . . " The Thrush was long dead before the date of this supposed farewell (1914 or 1915)· The closest thing to a farewell" is a remark in "On Impressionism," Dec.,1914, £.v. 128. Story. "A Silence," Bystander, XXIV, 681-684 (Dec.29, 1909)· 129. "The Critical Attitude: Women's Suffrage--The Circulating Libraries—The Drama—Fine Arts, etc.," English Review, IV. 329-346 (Jan.,1910). Begins: Could anything be more depressing than the present state of public affairs?" 130. ["E.R."] "The Critical Attitude: On the Objection to the Critical Attitude," English Review, IV, 531-542 (Feb.,1910). Became, with minor changes, the first chapter of The Critical Attitude. 131. [pseud. "Didymus"] "A Declaration of Faith," English Review, IV, 543-551 (Feb.,1910). Highly Fordian declaration of political faith. For the last twelve years I have possessed from three to four votes [see Jessie Chambers Wood's D.H. Lawrence: A Personal Record, p.lT0, where Ford said more modestly that he had two votes and would not use them until women 165

D131-138 got the vote]. I have never voted once. I have never ... been in a position to feel assured that one party or the other would be the better for the nation. . . . In common with the great bulk of my fellow-countrymen I am by temperament an obstinate, sentimental and oldfashioned Tory. . . . I am for Mr. Balfour right or wrong. But I mistrust Mr. Balfour's party even more than I mistrust the mixed majority which supports Mr. Asquith." 132. "The Old Circle," Harper's, CXX, 364-372 (Feb.,1910). The first chapter of Ancient Lights (which is there called "The Inner CircleT^ Illustrated with some of the same photographs and portraits that appeared in the book. 133. Detective serial. "Fathead," Tramp, I, 107-115,216-223, 315-324 (Mar.,May,Jun.-Jul.,1910). Douglas Goldring was the editor of this short-lived magazine. Ford may have written these stories two years earlier, for in Jan.,1908, he sent "another detective story" to his agent, J.B. Pinker, saying he could write "ten to a dozen of these." (Collection of Edward Naumburg, Jr.) 134. "Some Pre-Raphaelite Reminiscences," Harper's, CXX, 762-768 (Apr.,I9IO) . Chapter Two of Ancient Lights (there titled, "The Outer Ring"). 135. "The Woman of the Novelists," Vote, II, 213-214,225, 237 (Aug.27JSept.3,10,17,1910lT_ This series became, with very little change, Chapter VII of The Critical Attitude. 136. "William Holman Hunt. O.M.," Fortnightly, LXXXVIII, 657-665 (Oct.,1910). Part of this article reappeared in Ancient Lights. 137. "A Group of Pre-Raphaelite Poets," Harper's, CXXI, 778785 (Oct.,1910) . Chapter Three of Ancient Lights (there titled, "Gloom and the PoetsT^ 138. Letter to the editor. New Age, VIII, 356-357 (Feb.9, 1911). On woman suffrage; in the previous issue there had been a symposium on the subject. " . . . the reasons for giving women the vote ... assail me on every side. But I suppose that the chief reason ... is personal. I have, sir, in common with most men, suffered enormously at the hands of women. I have suffered a good deal at the hands of men, but men I have been able to get rid of. But the poor are always with us--and so are women, because they are poor. . . . Let me ... take up my stand upon the ground that woman is_ the inferior, is the bothersome animal. Let that be conceded and we have at once the most powerful reason·in the world for giving her a sense of her civic responsibilities. . . . So here splendid—generous et filius generosl, homo Europaeus Sapiens--I stand with those five [women--wife, wife's maid, female relatives and female secretary] all carefully doing my dirty work, and, of course, they are 166

D138-143 low-minded creatures. . . . Their business in life is to do my dirty work. . . . They read my postcards, they lie, and their only arguments are woman's arguments. That is why they must not have the vote. That, of course, is the point of view of the true Briton. But, alas, I am not a true Briton. . . . I am sick of women as they are. I want them changed; that is why I want women to have the vote." 139. "Christina Rossetti," Fortnightly, LXXXIX, 422-429 (Mar., 19II). Became with some modification, Chapter Four of Ancient Lights, "Christina Rossetti and Pre-Raphaelite LoveT" See reference to a typescript, D28. 140. "Masters and Music," Harper's, CXXII, 617-626 (Mar., 1911). Became Chapter Five of Ancient Lights, "Music and Masters," with a few revisions. This is the last of the four installments of Ancient Lights printed in this periodical. 141. Story. "Riesenberg," English Review, VIII, 25-45 (Apr., 1911). Two typescripts of this story are in the collection of Mrs. Julia Loewe, Pasadena. 142. "The Pace that Kills," Atlantic, CVII, 67Ο-673 (May, I9II). "In New York the thing that most impressed the newly arrived stranger--coming at any rate from London--ls the pace set by foot-passengers in the streets." But he is surprised that the pace of pedestrians on Broadway (between Ninth Street and Bowling Green) is actually slower than on the Strand in London. It is the compara­ tive lack of speed that surprises him. New York "has produced a fine individualism; it has not yet, it seems to me, evolved a system of getting from each individual his very best in the interest of the whole machine of the state. . . . in Europe we have evolved a leisure class, which is a good thing. America is in the way to evolve a much better thing: not a class, but a race with leisure; not a race that does no work, but one that gets rid of the necessary daily toil, with a minimum of wasted effort, in a minimum of time. For the man who does this is indeed the free man." See his article "The Fascina­ tion of London," Putnam's, May,1909. This article also may have been written in 1906 in New York. There is no evidence that Ford visited New York between 1906 and 1911. 143. Letter to the editor. Outlook (London), XXVII, 574-575 (May6,19H). Replies to William M. Rossetti's letter (see E190). This reply by Ford is followed in the May 6 issue by a final reply from Rossetti dealing with the inaccuracies in Ancient Lights. "The whole tenor of my book should have gone to prove that Madox Brown delighted to relate picturesque anecdotes. He did not intend that they should be taken as serious contributions to history. Neither do I. . . . As a matter of fact, what inspired me in writing the whole of this particular book was a 167

D143-151 memorable preface of Mr. Rossetti's own. . . . [In this preface] Mr. Rossetti ... states that be does not intend to speak the whole truth and nothing but the truth. . . . I wished, as a filial duty, as an expiation, to make the Pre-Raphaelites appear like men. I had it on my conscience that I had written at least one--and probably three—of the dullest books that were ever written. In these books I had represented the PreRaphaelites as pompous demigods." Replies to each of Rossetti's factual corrections. "I remain, in short, absolutely impenitent, and with as affectionate a regard as ever for my so voluntary and so amiable critic." Letter sent from Giessen, Germany. 144. "D.G.R.," (essay on Dante Gabriel Rossetti), Bookman (London), XL, 113-120 (Jun.,1911)· 145. Letter to the editor. Spectator, CVI, 964 (Jun.24,1911). On the subject of the Spectator's attack, in their Jun.10.1911 issue, on the English Review, which had mainly centered on the immorality of the opinions of Prank Harris there printed. "It may be taken that the English Review is, on the one hand, a party organ. . . . Its politics, I may state, I dislike as strongly as yourself can do. But, on the other hand, it professes to be, let us say, an arena in which all moralities may contend. . . . Mr. Harris has stated the ordinary and commonplace British point of view, for who ... will be found to deny that most Britons, most Europeans ... believe that it is beneficial, or at least necessary, for a young man to sow his wild oats?" Says that Spec­ tator once accused Ford of being a blackmailer; the editor denies this in note appended to this letter. 146. Review of five German novels. Dally News, 3 (Jul.12, 1911). " . . . the German man in the street is intellectually infinitely superior to his English brother." Ford is writing from Germany. 147. Academy, LXXXI, 125 (Jul.22,191l). Ford's name appears on a list of signatures appended to a protest against the attack on English Review in Spectator, Jun.10,1911. See above, D145. 148. "High Germany: I. How it feels to be members of subject races; II. Utopia," Saturday Review, CXII, 421-422, 454-456 (Sept.30 and Oct.7,191Tj: Became Chapters IV and XVI in The Desirable Alien (Α4θ). 149. Story. "What Happened at Eleven Forty-Five," Throne, V, 142-143 (Oct.25,1911). #1 of a series, "Tales of True Life." Begins: "The following story, which is exactly true, I will try to relate in as unvarnished terms as I possibly can: . . . " Note at end of p.l42: "Copyright in the United States of America by Ford Madox Hueffer." 150. Review of Trollope's Phineas Finn, the Irish Member and Phineas Redux. Daily News, 4 (Nov.1,1911). 151. "Joseph Conrad, " English Review, X, 68-83 (Dec, 1911). " . . . these things—darkness, death, honour, and a careless chivalry are the constant pre-occupations of 168

D151 Conrad. In the one particular of honour he differs from the Elizabethans . . . [He brings in the analogy of Dostoevsky's Razumov.] Of course this labouring of, this pre-occupation with the idea of the point of honour is very foreign . . . It is a thing wholly individualistic and wholly of the aristocrat. And that is what the Poles are . . . the artist drawing life, sombre more of less according to its latitude, is the true, is the only moralist. All the rest are only moralisers: they say what they like, not what is. . . . There is one technical maxim that jumps at the eye all through his work. It is this: Never state: present. . . perhaps an exact lay rendering of the maxim would be 'Never comment: state.' . . . I knew at one time very well a writer who collaborated with Conrad in one or two books, and has very kindly presented me with the manuscript of these works. I transcribe two passages [from Romance], underlining the words that are by Conrad: . ."T" The first passage is the first page and part of the second page of the novel. It is interesting to note that, in reproducing the same passage (plus a few more paragraphs) in the Appendix to The Nature of a Crime, Ford's division of authorship is not identical. This is also true of the next passage he quotes here, which formed the last two pages of Romance: "The second passage contains no description at all except the description of moods, but it is none the less instructive since it shows Conrad's desire for actualities, for hard and characteristic phrases set against his collaborator's more vague personality, so that it stands out in strong relief: . . . every word of description is by the other writer, and every word of action is by Conrad. This is a very curious fact, for it would be absurd to ascribe to the other writer greater powers of description, and certainly that apportionment of the task was never consciously made between the two. . . . We can most of us describe, some of us can get atmospheres—but it is only the very great writer who can so interpenetrate his characters with the seas and skies, or the houses, fabrics, and ornaments that surround them. For that is what Conrad seems to do. . . . Conrad's eye is so formed that it does not notice anything save what carries the story forward. . . . For myself I can only say that not one of his works have ever seemed tedious. I like one subject more than another, but the keen pleasure of observing the incidents, the certainty that every incident—that every word, however superfluous they may appear, will in the end show necessary and revelatory--this pleasure I am never without. . . . if our age can have raised up such a conscience in any walk of life, and if our country can have attracted him to live amongst us, our age and our country must have in it something that is good . . . if Conrad has not earned any huge material success, he has secured a recognition, even from the more Academic, that few men of his greatness have ever secured in their age and their own day." Conrad may have been referring to this essay when he wrote Ford on Feb.2,1912: I know you like what I write, but you have an ever fresh and encouraging way of saying it to me Thanks. It cheered 169

D151-158

152.

153. 154. 155·

a man who has no longer the consciousness of doing good work." (Houghton Library, Harvard U.) Poem. "In High Germany: The Starling," Fortnightly, CX, 1069-1071 (Dec.,1911). Published as 'The Starling" in High Germany and Collected Poems (1914 and 1936). Story. "The Case of James Lurgan," Bystander, XXXII, 535-545 (Dec.6,I9II)· Story. "The Incorruptible," Throne and Country, V, 422-425 (Dec.13,1911) . "The Investiture of the American Cardinals," Collier's, XLVIII, 10-12 (Dec.16,I9II)· Editorial introduction: "Mr. Ford Madox Hueffer ... was commissioned by COLLIER'S to describe this ceremony and sent from London to Rome for that purpose." "We are a great family, we Catholics, and I was in the private room of the head of us all, and I had the right to be there, and we all had the right to the blessing of the good and kindly head of our family . . . " See It Was the Nightingale, Philadelphia, pp.178-179: "I went back to London in September 1922. . . . Someone had asked me to a dinner at the Kettner's to meet Mr. Sinclair Lewis and his wife. . . . The dinner was--of coursei--given by Mr. Harry Forman, the editor of Collier' s Weekly who sent me to report the Cardinals' Consistory at Rome. He had a great admiration for my style--years ago. . . . not only did he ask me ... to that dinner, but years after he asked me to his house on Reading Ridge [Long Island]." The Consistory was also attended by the American athlete-sailor-writer James B. Connolly. See Connolly's Sea-Borne: Thirty Years Avoyaging, Garden City, N.Y., 1944, pp.l84-l«5. See also Return to Yesterday, N.Y., p.320.

156. Review of Hedwig Sonntag's Max Von Bahring und Seine Freundinnen. Daily News, 3 (Feb .13,1912). " . '. '. a pleasant and innocuous novel dealing with musical life in Germany and in England. . . . Her picture of the Weimar of Liszt's day is very convincing, and very exactly what I know it to have been . . . " Repeats the Liszt anecdote he had told in Ancient Lights. 157. Story. "The Fun of Genius," English Review, XIII, 52-63 (Dec,1912) . 158. Review of H.M. Tomlinson's The Sea and the Jungle. Rhythm, II, iv-vii (Dec .,1912TTRecalls Tomlinson's appearance at the English Review office and his subsequent publication in the review. Tells here the anecdote he later repeated whenever he wrote about Tomlinson, i.e., that Tomlinson had never heard of Conrad. "There are certain books, such as Bates' on the Amazon and Waterton's 'Wanderings,' that exercise a sempiternal appeal to the imaginations of all men who have ever so much as thought of travelling. . . . Now, of course, since Bates and Waterton went after poisons and wild beasts, whilst Mr. Tomlinson was mainly interested in the hearts of men, it is not to be expected that Englishmen will set Mr. Tomlinson's book on the 170

D158-159 shelf beside Bates, to use the professional reviewer's phrase. . . . Mr. Tomlinson of Wapping is curiously allied to Mr. Korzeniowski of the Government of Kief— allied by a common passion for humanity. . . . He is not a great artist like Conrad, but he is an artist, and his methods are much like Conrad's ... a very fine book 159- "Historical Vignettes," Outlook (London), XXXI and XXXIi, 539-540,576-577,013-614,648-650,678-680,713714,744-746,784-786,818-819,850-851,885-886,14-15 (Apr.19,26; May3,10,17,24,31; Jun.7,14,21,28; Jul.5, I913). These are different from the vignettes published in Daily News (starting Sept.5,1908) but on the same lines, if a bit more polished than those productions. All except the twelfth installment were republished in Zeppelin Nights, as were the vignettes written for Daily News. The titles of the installments are given below along with page references to the book in brackets. I. April the Twenty-Third, [pp.128-136] II. Saint Mark's Day, April Twenty-Fifth, [pp. 34-431; I H . May 3 to 5, 1821. [pp.263-272],· IV. May 9, 16J1. [pp.159-167]; V. May 19, 1536. [pp.118-127]; VI. May 26. [pp.62-71]; VII. May 30, 1431. [pp.73-83]; VIII. June 7, 1780. [pp.200214]; IX. June 19-23, l6ll. [pp.140-149]; X. June 21, 1815. [pp.255-263]; XI. June 29, 1809. [pp.248-2551; XII. July 3, 1913: The Product of It All.: I had been worrying my head ... as to what would be the subject for the conclusions of a set of papers on history. . . . It occurred to me at first that, as far as I could see it, the feudal system being the most satisfactory form whether of government or of commonwealth, I might most fittingly draw a picture of the blessings of an enlightened age. . . . yesterday morning I chanced to find somewhere about the house a very remarkable book [D.H. Lawrence's Sons and Lovers] . . . You must remember that on February 17, 1070, the Elementary Education act was introduced into the House of Commons, and that on August 9 of that year it received the Royal assent. That is forty-odd years ago, so it is time that we were perceiving some of its fruits . . . But, upon the whole, Mr. Wells- and Mr. Bennett deal more with the lower middle classes, with the products of grammar schools: Mr. Reynolds deals rather more with the type of poor man who is a child of Nature and sets little store by what is to be had from primary education; and Mr. [George] Bourne's Surrey labourer is a product, kindly, shrewd, and clever enough, of pre-education days. With Mr. Lawrence's book we plunge right into the heart of things. Let me set aside at once any pretensions to criticise Mr. Lawrence as an artist. I do really consider him to be one of the remarkable geniuses of our time . . . But ... let us consider the picture of life in a miner's cottage with which Mr. Lawrence has presented us . .· . what is impressive about all these people is that they are not in the least strained or agonised or starving or filled with class-consciousness. . . . The miner's home as rendered for us by Mr. Lawrence is a perfectly stable thing—a thing much more stable than most middle-class homes. 171

D159-162 . . . The sons move up the social scale with quietly assured bearings. Why should they not? They are better educated than the middle classes. . . . and this then is the formidable product of Caxton, of Henry V, of Thomas Cromwell, of Edward VI, of the Gordon Riots, of the social disturbances of the last century, and of the Education Act of 1870." See Ford's essay on Lawrence (Mightier than the Sword, pp.l03ff.) which repeats some of these sentiments. ΙβΟ. "impressionism—Some Speculations," Poetry, II, 177-187, 215-225 (Aug.,Sept.,1913)· The two installments are very similar to the later preface to Collected Poems (191¾); the second installment particularly is almost identical with that part of the preface. See Ezra Pound's Letters (Pl8o), p.20. 161. "The Poet's Eye," New Freewoman, I, 107-110,126-127 (Sept.l and 15,1913)· See above, Dl60; this is very similar also to the preface to Collected Poems. 162. "Literary Portraits—I. Mr. Compton Mackenzie and 'Sinister Street,'" Outlook (London), XXXII, 353-35^ (Sept. 13,1913). The first of weekly articles which Ford contributed almost without interruption until he went into the Army in Aug.,1915. Most follow this pattern, a discursive essay based, often tenuously, on the person and/or his other writings, followed by a short review of the book in question. See his earlier series of "literary portraits" (051,53-55,57-63,65-68; 69-87,89,91,93-98); the Outlook series represents a more serious effort in the direction of literary criticism as well as personal impressionism. See Return to Yesterday, N.Y., p.3^9: ". . . I wrote a weekly causerie about anything I liked to write about for the Outlook whose editor, Mr. Oliver, was very sympathetic to me, he let me write whatever I liked about any subject under the sun. As I was never a very good conversationalist, I enjoyed getting my say without interruptions." This "portrait" begins: 'Some years ago I contributed to an extinct ... organ, the Tribune, [see above, also the Daily Mail (Books Supp.) which he seems to have forgotten], a series of articles under the above heading. I take them up again partly because I had not, at the time of that paper's death, finished saying all that I wanted to say; partly because the personnel, or at any rate the aspect of the personnel, of the literary world in this country has undergone a very considerable change. At that date the outlook was full of hope; there were writers like Mr. de Morgan who were just beginning careers; others like Messrs. Wells, Bennett, and Galsworthy who were lions young enough, but already emitting ... formidable roars; there were the established artists in their vigorous primes, like Mr. Conrad and Mr. Henry James; there were the still living writers who appeared to have almost classical positions, like Mr. Meredith, Mr. Swinburne, and Mr. Hardy . . . Mr. James, having published his definitive edition, has ... taken classical honours; Mr. Conrad is the undisputed Prince of Prose . . . And the outlook ... 172

Dl62-l64 is full of hope . . • there is Mr. D.H. Lawrence .•• ; there is Mr. Stephen Reynolds ..• ; there is Mr. Pound • Men however, and however young, don't matter much . • . For it is only by movements that literature ••. can be carried forward . . . Mr. Wells, Mr. Bennett, and Mr. Galsworthy ... did really continue their historical labours almost to the exclusion of the 'storytelling' vein, and thus the reproach to the English novel of being a merely negligible collection of desultory anecdotes began to pass. For if the novel, as literature, is to have any serious claim to the position, of a saviour of society ..• the novel must be a picture of manners, a chronicle of movements, or of parts of movements. From this point of view .•. you could not well have a better book than Sinister Street • . . I have indeed never read a more carefully documented study of real life in boyhood and in early adolescence --or, at any rate, ..• one that was so documented and yet so interesting . . • I don't mean to say that Sinister Street has not got its artistic faults • . . -rshould want myself to get a little more of haze between the definitenesses; a little less of the continual definition of material objects." 163. "Literary Portraits--IL: Mr. W.B. Maxwell and 'The Devil's Garden,'" Outlook (London), XXXII, 383-384 (Sept.20,1913). "I have for years liked Mr. Maxwell's books, just as for years I have entertained a warm personal l+king for Mr. Maxwell . . . . Whence ••. does our author get his extraordinary knowledge ..• of blouse shops, country emporia, the hearts of women, the post-offices of country boroughs? . • . Yet with all his likeability, with all his mastery of detail, with his assured mastery of handling, Mr. Maxwell has never assumed on the one hand the air of a 'realist,' or on the other that of pontifical greatness that certain other writers get conferred on them." Mentions the ridiculousness of the banning by public libraries of Sinister Street, The Devil's Garden and a novel by Hall Caine. "It might be possibTe by a stretch of an evil imagination to read something objectionable into Sinister Street as far as about three pages and twenty lines are concerned. But Mr. Caine's book is such rubbish that it could not hurt a fly, and The Devil's Garden is so straight and so moral that orthodox morality could only gain from its wide dissemination. • . . I flatter myself that my own books have contained more jocularly indecent passages than those of any other English writer, for I cannot bring myself to regard questions of sex as alluring monstrosities, and just put down whatever I want to. Yet the only library that ever banned one of my books was the Southend municipal library, which discovered an improper passage in a book dealing with Henry VIIL" 164. "Literary Portraits --III. : Mr. H. G. Wells and the 'Passionate Friends, I " Outlook (London), XXXII, 414415 (Sept.27,1913). "When you are irritated or exasperated with him--and that happens upon occasion; when, for instance, he writes 173

Dl64-165 to the papers or wastes his time with a shillelagh at the Fabian Society--you exclaim, 'This man is a damned journalist!' When however you come across one of his books you find yourself reading it and all unconsciously, from time to time, saying to yourself: 'This fellow is a simple genius!' . . . he is, I suppose, the greatest influence in England of to_day!" Praises Tono-Bungay. "1 sometimes wish that the grateful nation would present him withi190,OOO a year, a dukedom, precedence before the Archbishop of Canterbury and the Roman Cardinals, and Buckingham Palace, crammed from roof to cellars with costly and interesting toys, for a home. Mr. Wells would like all these things; he could get more out of them than ever could you or I or any created being. And they might keep him quiet . . . . He would then go on writing his so beautiful, his so tenuous, his so moving and so convincing fairy-tales. But I don't know . • . A world without 'H.G.' to bang it about would be a dull place . . . • Passionate Friends has a great charm . . . For the difference between Mr. Wells imagining and Mr. Wells remembering past bitterness is the difference between the poet and the man with a grievance; the difference precisely between a pure genius and a damned journalist . . . Mr. Wells is just a poet --and he has found it out." 165. "Literary Portraits--IV.: Mr. Arnold Bennett and 'The Regent, ,II Outlook (London),. XXXII, 463-464 (Oct.4, 1913). "1 pride myself on having been the first person to take Mr. Arnold Bennett really seriously . . . . years ago ••• I happened to pick up in Mr. Joseph Conrad's study a book that Mr. H.G. Wells had dropped in that room. . . . on reading the first page of this book I felt an absolute conviction that its writer had about him the correct, austere, authentic touch of the real writer. The book was The Man from the North. Mr. Bennett .,. like all the rest OIIQs is homo duplex: He has a talent that kicks up a devil of a row in the world, and he has a real genius, which is a much qUieter affair . . . . I think indeed I have seldom experienced a greater sensation of pleasure than came to me at reading Matador of the Five Towns in MS . . . . Naturally Mr. Bennett quarrelled with me about the price I paid his agent for this piece of work." See Bennett's reaction to this in a letter to the editor, Outlook, Oct.ll,1913· "He persisted in saying that his work was worth many, many hundreds of pounds, and I retorted that he had chosen to send it to me through an agent, and that the price was agreed . . . . Anyhow, in making our Author's acquaintance beneath this cloud of grotesquerie, I had the sensation ••. of coming into contact with a being of extraordinary wisdom . . . Mr. Bennett's w~sdom is that deep, stable, tranquil knowledge of the values of life (hominibus bonae voluntatis!). It doesn't matter that his values are purely materialistic. That is a better outlook than any idealism compounded of platitudes, banalities, confusions of values, and accepted ideas . . • . The Regent is another nuisance. I don't know why Mr. Bennett wrote it--to fulfill a contract?" 174

D166 166. "Literary Portraits--V.: Miss Violet Hunt and 'The Desirable Alien,1" Outlook (London), XXXII, 497-498 (Oct.11,1913). "Miss Hunt's literary figure is very pathetic: it would indeed be infinitely tragic if it wasn't in its odd, distracted way, so perfectly happy. I select Miss Hunt's figure for treatment here because it seems to me to illustrate a factor that I can't find elsewhere among purely English men of letters . . . The factor is that of pure irresponsible Gothic and macabre genius, without a trace of selection, of self-consciousness, of idealism. Years ago, when I was still writing the series of Literary Portraits for the late Tribune, I was walking up Bedford Street when our author suddenly jumped out at me from the door of No.32, and exclaimed: 'I say: Mr. H ... n, the publisher, says that you have made the fortune of So-and-So by writing a Literary Portrait of him. Why don't you do one of me?' . . . I had at that date (except for passages in a pre-Raphaelite infancy) only met the lady once--the day before . . . I should certainly have 'done' the portrait if the Tribune had not stopped. . . . Of her fairly large output White Rose of Weary Leaf in the revised edition; some pages of the Wife of Altamont; three stories in Tales of the Uneasy, represent alone this author's curious and macabre and very real genius . . . I do not mean to say that our author has not had her successes. About four times a year, in one piece of writing or another, Miss Hunt will perpetrate an epigram--about divorce, marriage, haremskirts, or feeding-bottles. Then the shocked reviewers rejoice and take to themselves their scissors. . . . That passes for success!" He mentions being with her "a fortnight ago'1 in Cologne, but does not enlarge upon his connection with her. Re The Desirable Alien: "For the last two months in Germany I have been reading with breathless interest the immensely lengthy reports of the 'Fall Knittel'--the trial of a German judge and officer who voted for a Pole in an election to the Diet, and also attended vestry meetings at which Poles might have been present . . . This of course is real Germany; these are the real pre-occupations of our Empire-in-the-making. But of this you will find nothing in The Desirable Alien. . . . she gives you a great deal about sit-down teas, calling and being called upon, servants, insurance, dress, cooking, and storks. . . . But Miss Hunt likes writing that sort of thing which strikes me as comparatively valueless; and already the corners of English newspapers are rejoicing in her epigrams as to the (really non-existent) law-abidingness of the German. But in addition to these facile observations of provincial modernity, The Desirable Alien contains several chapters of characters of small German Courts. In these her Gothic imagination shines forth. . . . In addition to these Gothic playfulnesses, The Desirable Alien contains, written very obviously against the grain, some very beautiful pages of writing about the deep Rhine, and one chapter about the fair, gracious Mosel, that is worth all the rest of this author's writing put together. Could these latter passages be Ford's own? He does not 175

D166-169 mention his participation in the book. 167. "Literary Portraits--VI.: Mr. John Galsworthy and the 'Dark Flower'" Outlook (London), XXXII, 527-528 (Oct.18,1913). "it is the curse of cynicism, just as it is the curse of handling social grievances in terms of Art, that, as if they were acids working on alkalis, the satirical characters of any novel utterly destroy the virtuous protagonists of the author in his constructive moods. The virtuous protagonists, on the other hand, invariably destroy the effect of the book altogether. . . . Mr. Galsworthy is the best man in the world. . . . He is also the best satirist in England . . . I don't know any other dramatist who, for me, really counts. I say this advisedly, though in my moments of irritation with our irritating author I am apt to call him a dreary nuisance. For the feeling of almost mad rage, that comes to one when Mr. Galsworthy shouts soliloquies bang in the middle of something really fine and dramatic--just when you want to forget that his crew of doctrinaire humanitarians exist in this distracting town--that feeling of exasperation is apt to persist in the form of sullen resentment ages and ages after one has left the playhouse. . . . satire is in itself constructive. For, as certainly as when you cut down underwood in a copse the wood flowers spring up in your introduced sunlight, so surely does satire clear out the dark forest that is the hearts of men, so that the decencies and kindnesses that there are in that soil do find the happy sun. But you must let the bluebells grow in their own way . . . " Can't write about his new novel because the publishers haven't sent a copy. 168. "Literary Portraits—VII.: Mr. Percival Gibbon and 'The Second-Class Passenger,'" Outlook (London), XXXII, 571-572 (Oct.25,1913). "The writers of whom I have latterly treated ... have been rather concerned with modern Occidental life as we live it than with romance or art. In a sense they are all of them sociologists, rather grave, rather depressed, not markedly full-blooded, concerned rather to read the solution of some riddle suggested to them by the baffling grey pattern that our life is than with telling good tales in a rattling way. Yet, really, the whole concern of art is the telling of a good tale in a rattling sort of way. . . . The technical essentials of the French school of fiction ... were not so many mysteries of a priesthood. They were just gropings after methods of interesting l'homme moyen sensuel. Comments on the current state of literature in France, Germany and Russia. "The Second-class Passenger is a book of good short stories. ... That is a great relief. . . . traces of Mr. Gibbon's artistic aspirations are visible on every page . . . has none of the meretricious omniscience of Mr. Kipling . . . " 169. "Literary Portraits—VIII.: Professor Saintsbury and the English 'Nuvvle,'" Outlook (London), XXXII, 605606 (Nov.1,1913)· "I have not the distinguished honour of Professor 176

D169-170 Saintsbury's acquaintance, therefore any portrait that I might draw of him must needs be imaginary. . . . forms up in line with the Victorian Great, contentedly, resignedly, or proudly. . . . I think I am taking no liberty in identifying our author with the Victorian Great who used to terrify me as a boy. . . . The art of the novel is one that ... is only just beginning its career, having been born to consciousness with the year 1892 or thereabouts in this country, and having in this country exactly two exponents, Mr. Henry James and Mr. Joseph Conrad, with the obvious addition of Mr. George Moore. Everything else, from Blackmore back to John Buncle and from Thackeray back to Apollonius of Tyre, I am apt, in an absent-minded way, to call, for the sake of. convenience, 'nuvvles.' . . . you do not read them, ybu read in them. . . . I might want to destroy him [Saintsbury], if the worst came to the worst — just as I might want to destroy Samuel Johnson, who was the great­ est of Englishmen. It seems to me that at some points these are two evil men. They do harm, good Tories though they may be, but not through foolishness. . . . Romance, for me, is ethically wicked, a cause of national deterioration of character, of selfishness, of cowardice. The statement of morals, the formulation of ethical codes appears to me to be no business of the novelist. His business is to draw pictures of possible --of as far as he can normal—conditions; the reader's business being to draw the morals. . . . the great novel of the English future will be compounded of the render­ ing of observation, with selection and with poetry--with humour too, if you like, but not with the hitherto obtaining English humour, which always strikes a for­ eigner as so cruel . . . And poetry, again, is not romance ... No; poetry arises from observation which does not exaggerate the good fortune or the vicissitudes of poor humanity in the course of 'those exactions of life which, though neither unjust nor unkind, are burden­ some ..." . . . however 'evil' I may find some of this formidable critic's pronouncements, it remains for him to be the first writer of considerable eminence to claim for the novel its just place . . . How much more satis­ factory would the history of the English nuvvle have been if we could sweep away the big peaks of the chain— the Thackerays, Fieldings, Scotts—and even Dickens—and if we had only Smollett, Jane Austen, Beckford, Marryat, and Trollope.' I70. "Literary Portraits--IX.: Mr. Thomas Hardy and Ά Changed Man.'" Outlook (London), XXXII, 641-642 (Nov.8,1913;· Tells his anecdote about Hardy's startling confession at a party (see Mightier than the Sword, p.139), only here Hardy confesses not that he was a faithful member of the Church of England but that he believed in ghosts. "I suppose that, if I may be permitted to stand for anything, if I have been permitted to preach anything in these columns, it would, on the face of it, be some­ thing to which the art of Mr. Hardy would be anathema. . . . But I can't myself get cold-blooded enough to say these things in face of the charm, the sweetness, the 177

D170-172 entire goodness that is caused to come up within me by the remembrance of certain novels by our author and of certain verses by this great poet. . . . Some time ago, during a period of long illness—a period lasting years, characterised by great depression--I read firstly the whole works of Samuel Johnson, including Boswell; then the whole works of Tourgenieff, and then all the novels and poems of the author of the Return of the Native, one after the other. Johnson meant for me a return to interest in the facts of life; the Russian author again gave me the rest, the happiness, and ... all the bliss of connection with, of the observation of, a supreme Art at work. But Mr. Hardy's books gave me a sensation as strong as either—a sensation of dark charm . . . Art is nothing more nor less than the faculty, conscious or unconscious, of engrossing the attention of passers-by. And here I have Mr. Hardy's latest volume to support me in this theory. . . . I am pretty certain that the quality of charm of this great poet is authentic, founded in the hearts of men, and enduring." 171. "Literary Portraits--X.: Mr. Clement Shorter and 'Borrow and His Circle,'" Outlook (London), XXXII, 677-678 (Nov.15,1913). The several correspondents who have honoured me with attacks [see E250] encourage me to continue my iconoclasm . . . With Mr. Shorter himself I am pleasurably acquainted; of Mr. Shorter's works I am till now shamefully ignorant. . . . I cannot for the life of me find, in Mr. Shorter's voluminous and careful book, any trace of Borrow's having continuously conversed with any literary person of his day upon any sort of literary topic as to the 'how' of writing. Now conversations as to the 'how' of writing are the only things that really bind writers together in a close and decent bond. . . . I think Borrow was rather a sneak, rather a liar, and rather a hypocrite. That at least is the impression one gets from Mr. Shorter." 172. "Literary Portraits—XI. : 1 Mr. R.A. Scott-James and 'The Influence of the Press, " Outlook (London), XXXII, 718-719 (Nov.22,I913)· "For years the Daily News, Mr. Scott-James being its literary director, was a sort of oasis for authors. I do not mean to say that one flourished in its pages, but that one knew where one was." See reviews of Ford's work in Daily News, also Ford's contributions in 1908 and 1911; see also R.A. Scott-James, South Atlantic Quarterly, Spring, 1958. "But prolonged contact with the Daily" News cannot be very good for anyone. You cannot say D--n! in its columns . . . Historically, Mr. Scott-James and his school represent unorthodox Protestantism, Cambridge, Whiggery, sound doctrine, and common sense; the people who are voiced, I hope, in these columns stand more or less for historic Toryism, a sort of Papistry, universities profaner than Cambridge, and sheer empiricism. . . . one knows the circle of hell reserved by Dante for the impartial; . . . it is obvious that those members of the ruling classes who will not say, 'We are the ruling classes and we'll govern all the rest 178

Dl72-l74 of you how we think best and hang the consequences!' are the very meanest of individuals . . . . And that criticism underlies everything . . . It is, I suppose, enthusiasm against prudence--aristocracy, if the fatal word must be uttered, against the precedent that broadens down to precedent, and so on . . . . A highly important book it is, when its Whiggery is discounted . . • . the only possible title for Mr. Scott-James's book is The Loss of the Influence of the Press . . . . When I was-a boy--and boys are always taught any old-fashioned Whig stuff that may be knocking about--we used to be taught to talk about the 'blessings of the printing press.' . . . But the Boer war and the affair of the Chinese legations knocked all that into a cocked hat . . . . In 1904 the Daily Mail and its kindred competitors were the Yellow-Press--to-day they are the Press; they are fate; the dispensers of reputations . . • from the days of the Nuremburg Chronicle to now, with each cheapening of the modes of production the public has seemed to read rottener and rottener books; whilst, because of the increase in the costs of publicity, it has become daily more impossible for the better books to obtain a hearing. 173. "Literary Portraits--XII.: Herr Arthur Schnitzler and 'Bertha Garlan,,11 Outlook (London), XXXII, 753-754 (Nov.29,19l3). liThe Prussian is the self-made man of the world, and, as such, is generally detested; by no one more than by the South German. . . • the Viennese--those are the real Parisians. They wrestle, of course, with an almost impossible language; but desperately they continue their gay dance of death on the edge of sempiternal volcanoes . • . • For centuries ... all the poets of Germany have been South Germans . . . . German is a good enough language for verse--a better, really, than English. The female rhymes are frequent and commodious, the vowels are less ugly . . . . Arthur Schnitzler ..• is one of the clearest stylists that ever used the German language for the expression of his thoughts . • . Vienna differs from Paris in that it has never had a French Revolution. Its civilisation is therefore very old, quite blas~, and very minutely evolved. It is the reflection of this civilisation that Schnitzler has given to the world II

174. "Literary Portraits--XIII.: Viscount Morley and 'Politics and History, ,II Outlook (London), XXXII, 790-791 (Dec.6,19l3). " • . . the book that most has influenced me upon the whole was Morley's Life of Diderot . . • I think ..• he was the only one of the gods of those days [his early youth] whose existence I did not, as a mutinous small child, bitterly resent . . • I became therein qcquainted with Diderot's fictions--with Rameau's Nephew and The Parasite. Those works caused in me a-sort of awakening to the technical possibilities of fiction . . . when I try--which I do seldom enough--to write grave, weighty, and not at all vernacular English, I fall into the trick of trying to imitate Mr. John Morley's sentences. And immensely difficult it is." 179

D175-177 1

175. "Literary Portraits--XIV.: M. Anatole France and L' Affaire Dreyfus,'" Outlook (London), XXXII, 826-827 (pec.13,1913). . . . in the Affaire Dreyfus, M. France found his limit of negationalism, since with that affair he took sides. . . . The Dreyfus case was perhaps the most important affair of the modern world; possibly it was the most beneficent, since it shook up the moral values of the whole of thinking human society. . . . it is a tremendous thing for the Church that M. France, who was always a thorn in the side of constructive reaction, should have definitely labelled himself militantly antiCatholic and militantly atheist. It robs M. France of nine-tenths of his influence, since it makes the reader aware that the great author will be apt to colour his statements. . . . But still, when all is said, M. France remains the Prince of Prose, not for France only but for all Europe . . . Beside M. France at his best Flaubert is like a great schoolboy at the elbow of a man of the world . . . For Flaubert had almost none of M. France's equipments of scholarship; of learning; of pedantry to mock at; of hatred with which to destroy. . . . M. France ... was inspired with a hearty contempt for humanity and with a no less hearty hatred for the God Who made man after His likeness. . . . But aren't we all M. France's admirers?" 176. "Literary Portraits—XV.: Mr. R.B. Cunninghame Graham and Ά Hatchment,'" Outlook (London), XXXII, 859-86Ο (Dec.20,1913). First part is an entertaining conversation with Ford's friend, "Mr. Blood," (the name of a character in Mr. Fleight; also he resembles here Arthur Marwood) who flamboyantly defends Graham; he doesn't see why "you writing fellows don't have Cunninghame Graham for a sort of titular King." See Return to Yesterday, N.Y., p.45, for a different version of this opinion. "Mr. Blood may be right or may be wrong; but even if he is quite wrong I cannot help feeling that there is a great deal to be said for the idea that the Literary Man needs tone. I do not think however that we shall ever have a Prince de la Prose in this country . . . I think he [Graham] makes, more than anything else, the forgotten things of this world live again . . . As far as I am concerned, the most memorable work in the English lan­ guage is Mr. Graham's book called Mogreb-el-Acksa. . . . The fact is that Mr. Graham plays on the English language as if it were a violin . . .' 177. "Literary Portraits--XVI.: Mr. Arthur Symons and 'The Knave of Hearts,1" Outlook (London), XXXII, 89O-89I (Dec.27,1913). Quotes a Symons poem. "I think it is a sin and a shame that the author of these lines is not a great name, on the lips of every Englishman, the Prince of Verse, President of the Academy . . . And I think it a sin and a shame that I have never thought it very beau­ tiful stuff before. . . . Mr. Symons's poems convey to me the effect of being delicate and decorative fabrics, silken layers that rustle one upon another, without, 180

Dl77-178 thank heaven! much significance, but with a lovely purr of images, colours, sounds . . . . I suppose it is derivative • • • . But what is remarkable, what is consummate in the Knave of Hearts derives almost certainly from Christina TNOSSettiJ, from Verlaine, from Mallarm~ --the three great influences of that time, and the only three that have left any trace on the vigorous tide of poetry that is uprising to-day in France and England." 178. "Li terary Portraits --XVII. : Nineteen-Thirteen and the Futurists," Outlook (London), XXXIII, 14-15 (Jan.3, 1914) . " • • . when I started a periodical of my own, there was only one contributor who did not signify to me, in writing or otherwise, that the venture was ruined by inclusion of the works of everyone of his fellowcontributors • . . I think that what we want most of all in the literature of to-day is religion, is intolerance, is persecution, and not the mawkish flap-doodle of culture, Fabianism, peace, and good will." See Florence Gay's approving letter, E261. "If we could get up the energy to burn a Futurist poet, now! . . • I must confess to rather inclining towards them--just because they want to smash things . . . At any rate it is pretty certain that we of 1913 are a fairly washed-out lot and that we do desperately need a new formula . . . . I have been trying to write a semi-Futurist poem and ••• I should like to print it here." This amusing effort is called "The Abstract Thinker and His Tower"; excerpts from it fOllow. ~ Seven things fill me with indignation and rage-The sea, the wind, and the Five Wiles of Women! For none of them can you reduce t@ principles.

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To be rid of these seven things I journeyed far: I tried the Outlook Tower in Edinburgh In the topmost storey

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West London was as bad and Bermondsey not better; Paris was worse and Labrador • . • Oh Hell!

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And so I built this tower On a rock, in the sea, off the north-west coast of France

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in my SyntheticCosmic Philosophy I postulate The non-existence of the Deity. In the midst of the sea I best shut out the sea; In the wind, the wind. But for the wiles of women I'm not sure.

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I have it: In a haberdasher's shop, Where I'd sell corsets, powder puffs, red garters, And lambs wool spencers, I could live it down!

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In the seventh storey of this topless tower I'll build a counter, drawers, and pigeon-holes, Hang strings across for stockings, put up mirrors,

181

D178-180 * # * * * Thus antitoxined against female wiles, * # * # # I shall pursue my meditations. To work! To work! Give me the shopping guide! Post-haste for Hampstead! 179. "Literary Portraits—XVIII.: Mr. A.G. Gardiner and 'Pillars of Society,'" Outlook (London), XXXIII, 46-47 (Jan.10,1914). "I have always thought that of the queer things in this queer world the queerest of all must be to write political or social articles for the Daily News . . . I gave it up [see his contributions in 1908 and 1911] because of its treatment of Suffragette news. But its delicate treading; its bright niceness; its feeling of unreality—all these things were due to Mr. A.G. Gardiner. Mr. Gardiner is, of course, the worst type of nasty Radical; but the feeling of unreality that his workings convey gild, for me, his personality. . . . I never can believe that any of these chaps are really in earnest. How can a man, an educated man, a man ex-officio a member of the ruling classes—or any man who can read at all—hold the vast number of contradictory opinions that are necessary to a 'Progressive' of to-day?" 180. "Literary Portraits--XIX.: Gerhart Hauptmann and 'Atlantis,'" Outlook (London), XXXIII, 77-79 (Jan.17, 1914). "The German writers adore truth, but cannot stomach it; the Latins have no philosophic respect for the quality, but they can't exist without it. . . . I am not sure that there is not something after all in the English-German idea that if one saw the whole truth of things ... one would go mad. . . . And that is why we have to-day Gerhart Hauptmann, who is one of the great poets of the world, presenting us with a German fairytale which he tried to hoodwink the peoples of four continents into believing is a novel. . . . to give you some idea of what it is to be a German, a national great man, and a poet, I will try to give you the atmosphere of another poet ["Dreizehnlinden" Weber] whom I visited many years ago [in Westphalia] . . . Prose ... is a matter of looking things in the face. . . . No Frenchman would dare to treat such a theme unless he were one of the neo-Prench disciples of Mr. Hall Caine. . . . But your good brave German poet, being less civilised is also more adventurous. . . . Atlantis, though it takes place at sea and in New York, is a story of adventure in a dark forest. The dark forest is the hero's neurasthenia. He plunges into it in a way that no English writer or reader could conceive of. . . . a brave good German rag-bag of a book; a rather formless story of modern adventure beneath the mists of a soul. And, since it is written by a great poet, and since it gives such a very brave rendering of the good German, as opposed to the atrocious Prussian, spirit one might be very glad if it might really achieve immense fame in four continents." Prints a Hauptmann poem, "Col di Rodi: ein Spaziergang," which he says had been 182

D180-183 contributed to English Review but which he finds impossible to translate; offers a prize for its translation. 181. "Literary' Portraits--XX.: Mr. Gilbert Cannan and 'Old Mole?' , Outlook (London), XXXIII, llO-lll (Jan.24, 1914) . Answers the objection raised by P.P. Howe (E263) to Ford's treatment of Dostoevsky in Henry James. "Let me try to define what 'form' means for myse~Laying out a novel is much like scheming out a campaign at auctionbridge, when you see both your own hand and the dummy's, and you may put it that every word in a novel should help the story forward towards the taking of that last trick which is your final effect . . . . I cannot for the life of me see how the elaborate passages, the magnificently strong scenes, in the monastery of the Karamazov book help on anything . . . . the 'strong scene' is the curse of the novel . . . . What we need, what we should strive to produce, is a novel uniform in key, in tone, in progression, as hard in texture as a mosaic, as flawless in surface as a polished steel helmet of the fifteenth century . . . . of course I know that there is the danger of becoming too flawless, arid, soulless, and so on. But '" it is not of that cold, clear flame that in these countries, we need stand in dread . . . . I suppose it is because I am not really English that I have never been able quite to get the hang of Mr. Cannan's literary personality . . . . The book is a fairytale--an English fairy-tale, just as Herr Hauptmann's Atlantis ... is a German one. And it is very interesting to mark the differences . ... Neither author of course deals with the material necessities of life . . . . Mr. Cannan however has a very good gift of English character drawing • . . . " 182. "Literary Portraits--XXI.: Mr. W.L. George and 'The Making of an Englishman, ,,, Outlook (London), XXXIII, 142-143 (Jan.31,1914). Opens with a few critical remarks about English Literature examinations; his daughter was preparing to be examined on the Faery Queene. By contrast to the English approach: " . . . the French logical mind will not let the philogical study of obsolescent words be considerec as the whole equipment of the young mind for its appraisement of works of the imagination, or for the expression of its own time in terms of the individuality practised upon." His review of The Making of an Englishman is tongue-in-cheek (for he finds it a tongue-in-cheek book). " . . . an atrocious book, and, if I were an Englishman, I should try to kick Mr. George sixty times round Leicester Square for writing it . . . . He is a wicked man." Poems. "In the Little Old Market-Place" and "Fragments Addressed by Clearchus H. to Aldi," Glebe, I, 47-50, 62 (Feb.,1914). -This issue was soon after bound as Des Imagistes: An Anthology; Glebe was edited by Alfred Kreymborg. The second poem is-a-spoof in answer to the parody by Aldington which immediately precedes it (see Richard Aldington, "Vates, the Social Reformer," Des Imagistes, pp.59-61). Ford's poem is written in English but with Greek 183

D183-185 characters; appended are "footnotes" in English. "In the Little Old Market Place" previously appeared in Hi~h Germany and subsequently in Collected Poems (1914 an 1936). -184. "Literary Portraits--XXII.: Mrs. Alice Herbert and 'Garden Oats, ,,, Outlook (London), XXXIII, 173-174 (Feb.7,1914). Comments favorably on women writers. "If I say that Christina Rossetti is the only poet of the nineteenth century much worth inquiring into, it isn't that I want to perpetrate a smartness; it is that I want to draw the attentions of the more active intelligences of such gentlemen as Mr. P.P. Howe and Mr. Frank Swinnerton. • • • what upon the whole differentiates all these women's work from the works of us men is a lack, not so much of the sense of adventure, as a sense of the value of adventure as one of the ends of life . . . . it seems to her that ... security is the one necessity of life." 185. "Literary Portraits--XXIII.: Fydor Dostoievsky and 'The Idiot, ,,, Outlook (London), XXXIII, 206-207 (Feb.14, 1914) . "I must confess to having formed no settled opinion about Dostoievsky. [See Frank Swinnerton's letter (E268) criticizing Ford's approach to Dostoievsky shown in his "literary portrait" of Jan.24] . . . I don't in the least mind being disliked--j'en ai soupe . . . . what I want to get up is a sort of Ki'lkenny row about 11 terature • • . • when it comes to a matter of form I must a little stick to my guns . . . The Brothers Karamazov as it stands is in fact merely the pedestal to an immense statue. What I stupidly said is that the pedestal bulges out too much upon one side . . . . the essence of my self-appointed task is to record my own time, my own world, as I see it. In that sense, and in that sense alone, I can say something about this great writer. · • • I suppose that what is at the bottom of my feeling of weariness, of my aversion from Dostoievsky, is just the feeling of Bertin, the painter, of Fort comme la Mort. It is the feeling that one is getting on in-rife, and that one's successors must be upon the horizon. • • • It is the Romantic Movement coming back. . . . whatever Dostoievsky may be, he certainly isn't a Realist. His characters are extraordinarily vivid; but they are too vivid for the Realist School. They are too much always in one note; they develop little; they are static. His strong scenes are strong to the point of frenzy, but they are too full-dress: everybody has to be in them at once • • . . the author very frequently doesn't trouble himself to prepare them . . . . Frankly speaking, I am tired of variations of the Christ legend. Or no, ... I simply never liked them at all . . . . I may be entirely wrong in my diagnosis of Dostoievsky. He may rrot be a reversion; he may be a step forward towards a region of other-worldliness--of the other-worldliness that so de~­ perately to-day we need • . . . The only thing that I can imagine as an ideal is a book so quiet in tone, so clearly and unobtrusively worded, that it should give the effect of a long monologue spoken by a lover at a 184

0185-189 little distance from his mistress's ear--a book about the invisible relationships between man and man; about the values of life; about the nature of God--the sort of book that nowadays one could read in as one used to do when one was a child, pressed against a tall windowpane for hours and hours, utterly oblivious of oneself, in the twilight." 186. "Literary Portraits--XXIV.: Mr. William de Morgan and 'When Ghost Meets Ghost, ," Outlook (London), XXXIII, 238-239 (Feb.21,1914). Reprinted in Living Age, CCLXXX, 818-821 (Mar.28, 1914). Recalls nostalgically his early acquaintance with Morgan and his work but also pokes fun at his own nostalgia. 187. "Literary Portraits--XXV.: Monsignor Benson and 'Initiation,'" Outlook (London), XXXIII, 278-279 (Feb.28,1914) . Remembers "an Anglican friend for whose intellect I had a great admiration and for whose character I had a very real respect" saying "'My mother was a saint!'" The friend sounds much like Arthur Marwood, one of the models for Ford's Tietjens. "I know that my friend's poets were Herbert and Crashaw and Vaughan; that his poem--the one that gave him intimate satisfaction--was: Sweet day, so cool, so calm, so bright

* * *

[See A Man Could Stand Up, N.Y., 1926, p.133; or p.565 in ParadeTs End, N.Y., 1950.] And I think I rather hate those poets and that poem, as indeed I think I hate all sad things . . . . if a day is worthy to be the bridal of the earth and sky, it can't die; and our duty, as I see it, is not so much an austere preparation for a future life as so to live and play with our toys and pictures and reliquaries that, at almost any moment ..• we may trot away for a little into the more real side of the earth. . . . Monsignor Benson however has very little of this consciousness of the historic oppressions of the centuries . . . . And, if I am disappointed with Initiation, it is still not from any lack of powers of observation or of rendering--it is simply that, in the construction of the book, the author seems to have been a little tired." 188. "Literary Portraits--XXVI.: Miss Amber Reeves and 'A Lady and her Husband, ," Outlook (London), XXXIII, 310-311 (Mar.7,1914). " . . . if anyone in the world ought to know the extent to which Fabianism has penetrated the solid middle and suburban classes of this country it should be the lady who writes as Miss Amber Reeves . . . . I don't know this class at all . . . If Miss Amber Reeves is to be trusted, a change is working in those very stucco palaces that seem to form the backbone of England --a change that is coming about through the entry of women into social consciousness." 189. "Literary Portraits--XXVII.: Mr. George Moore and 'Vale, ," Outlook (London), XXXIII, 358-359 (Mar.14, 1914) . 185

D189-192 ". . . I have always tried to force myself to like the idea of this writer. But I never could. . . . Perhaps it is only really a matter of race. One of us is a Celt getting an immense mastery ... from a close study of French models; the other is a Saxon getting such tricks as he knows from a study of the same models. . . . But Vale is very good reading and very lovely writing, even when it is most frigidly and most mysteriously didactic." 190. "Literary Portraits—XXVIII.: Mr. Morley Roberts and 'Time and Thomas Waring,'" Outlook (London), XXXIII, 390-391 (Mar.21,1914). "I have often wondered what might have been the artist's education of George Gissing. (It is Mr. Morley Roberts' own fault if one identifies him with the author of Demos and if he does not like it.) . . . For Gissing is an important figure in ... [literary] history . . . I have often wondered what could account for the peculiarly unattractive quality of Gissing's work, for its peculiar hidden ugliness, for its want of inspiration. . . . when I met Gissing I found him attractive ... a rather flame-like individual. . . . I am inclined to think that he has turned out a book much more significant than any of Gissing's or any of Mark Rutherford's or than any of the English school of realists. . . . the English school of realism is for me a thing singularly ugly, or at any rate singularly pedestrian, and I have been very much moved by Mr. Roberts' book. . . . His composition strikes me as singularly bad. . . . We know that you must have relief, and that if conversation A be about the immortality of the soul and the higher morality, conversation B must be about the Home Rule Bill, though its more subtle bearings will carry the subject of conversation A a stage further. . . . it is by sheer power of his subject that Mr. Roberts attains to this achievement. . . . it is rather an epic matter — an epic of our everyday life." 191. "Literary Portraits --XXIX.: Mr. Henry Baerlein and 'London Circus,'" Outlook (London), XXXIII, 421-422 (Mar.28,1914). Remarks on his friendship with the author. "One never takes Mr. Baerlein very seriously . . . he asks for attention as a satirist . . . I don't like works with a purpose. I would give almost all the works with a purpose that ever were written for the most indifferent of satires. . . . But at the same time I am bound to confess that ... whereas many works with a purpose have done something towards changing the hearts of men, no satire ever did much more than irritate the evildoer, and so harden his heart. . . . another main defect of satire is that almost invariably the satirist presupposes in his reader an acquaintanceship with the persons or the circumstances treated of. And this is a grave artistic defect. . . . in the character of Derunje, Mr. Baerlein has drawn with the silver-point of a real poet the picture of a real saint; and it is always good for the populations of these islands to read Legenda Aurea." 192. "Literary Portraits—XXX.:

186

Mrs. Belloc Lowndes and 'The

D192-195 End of Her Honeymoon,'" Outlook (London), XXXIII, 459-460 (Apr.4,1914). Contrasts amusingly ("futuristically") his impres­ sions of the conditions under which Belloc and his sister write. " . . . the literary figure of our authoress reminds me irresistibly of a French housewife. She is in her work so neat, so unremorseful, so almost pitiless. . . . One can see that, if Mrs. Lowndes would run her stories upon the emotional--or even upon the merely atmospheric--plane of life, she would turn out some extraordinarily moving stuff. . . . I am regretting ... that we have not got in these islands a writer who can see that frames of mind are indicated best by merely concrete things . . . " 193. "Literary Portraits—XXXI.: Lord Dunsany and 'Five Plays,'" Outlook (London), XXXIII, 494-495 (Apr.11, 1914). "The Irish are a queer people . . . for the producing of an illusion there is nothing like an Irishman. . . . I think that Lord Dunsany is one of the best poets that Ireland has yet produced—he and Mr. Yeats are enough to justify that distressing humbug of a country of its existence. . . . as I understand it, in the considerable Irish group that now exists ... Lord Dunsany imagines himself to represent the revolt against realism. . . . He is so much of a realist that he produces an effect of mysticism . . . It is perfectly true that we have had too much of the purely economic school, the imbecile Fabian Society, the Rationalist Press Association, and all that cretinism. We want to get back to the divine right of kings, metaphorically speaking. But I rather doubt if that is most efficiently done by dreaming about the world before the fall of Babylon; it is possible that it would be nearer the mark to present the laying of drainpipes in Connemara or the trees in Soho Square." 194. "Literary Portraits—XXXII.: Mr. Conal O'Riordan and 'Rope Enough,·" Outlook (London), XXXIII, 526-527 (Apr.18,1914). Amusing account of his difficulties in understanding Irishmen. Ford used to know the author as "Norreys Connel," a relatively "sane" man. In fact, though he does not mention it here, Connel helped dramatize The Fifth Queen Crowned, performed at the Kingsway Theatre in Mar.,Ί909 (see E151). " . . . but Rope Enough is an English play . . . It has that peculiarly tacky quality of English life—the quality of being helpless, of being disinterested the moment an unusual--and particularly a sexually unusual—disorganisation of normal life turns up." 195. "Literary Portraits—XXXIII.: Mr. Sturge Moore and 'The Sea is Kind,'" Outlook (London), XXXIII, 559-560 (Apr. 25,1914). "Poetry, in these pages, has too little occupied my pen. . . . Rhetoric, politics, hypocrisy, and business are the preserves of that which is not poetry. . . . Poets ... should have made a bold bid and should have insisted on capturing prose for themselves at the start. 187

D195-198 . . · For all this business of vers libre, and all the business of us prose writers trying to evolve cadenced paragraphs, is nothing but the attempt of the two schools of poets to join hands across the gulf opened by imbeciles between the two peaks which are one and the same mountain—the mountain of poetry. . . . Marlowe, perhaps, ... was the first to perceive the danger of the schism . . . nowadays I really think that poetry is once more beginning to be worth the attention of the man in the street. . . . there is quite a crowd of young men who are turning out a lot of queer stuff. . . . there is the quite considerable Old Guard too . . . He [Moore] is a person of a very delicate mind; he is almost the only critic in this country. . . . But as a poet he is of a school different from my own or from any with which I am much in sympathy . . . Mr. Sturge Moore is a gentle­ man of classical, of Hellenic tastes; and I want the poetry of cafes, of automobiles, of kisses, and of absinthe. . . . though I may quarrel a little with his vocabulary, which is a little too refined and a little too emasculated ... almost alone among the poets of the less young generation, he realises that the poetic frame of mind is induced solely by the rendering of concrete objects. He practically never writes about emotions Il

196. "In Memoriam. Helen George," New Weekly, I, 204-205 (May2,19l4). Impressionistic essay on the late wife of W.L. George. " . . . the thought of the loss to one's craft seems immense. I suppose we shall never even know now from what place she got her gifts . . . there was never any French work ... more assured, more clear, more consum­ mate than 'The Clay's Revenge.'" 197. "Literary Portraits—XXIV.: Miss May Sinclair and 'The Judgment of Eve,'" Outlook (London), XXXIII, 599-6ΟΟ (May2,19l4). " . . . none but a man with the seeds of lunacy in him can write a really good conte. . . . cruel at least a short-story writer ... must be. . . . a long short story may contain digressions. . . . But the real short-story writer must be at it with the screwdriver all the time . . . The short-story writer is in fact a giver of news. So ... is the novelist, since all art is merely a means of communication between one soul and another. But whereas the novelist is the comparatively tender-hearted person who cannot communicate news without breaking it as gradually as the tenderness of his temperament will permit, the writer of contes is just a brute . . . In this gift of cruelty Miss Sinclair has been hitherto somewhat lacking . . . a settled habit of misliking for one's kind, for one's circumstances, or even for certain individuals, or certain races--that is of more avail than all the optimisms of the world, if only because it will make you more observant." 198. "Literary Portraits--XXXV.: Les Jeunes and 'Des Imagistes,'" Outlook (London), XXXIII, 636-653 (May9, 1914). 188

Dl98-199 I suppose that, if anything characterises this day of ours, it is a discontent—a discontent not so much with existing conditions as with existing modes of thought. . . . the trend of all these discontents is almost uniformly reactionary. . . . The 'eighties, poor dear things, are finally dead. Mind, I am not saying that Marinetti and the Cubists are devout Catholics. . . . But they represent a frame of mind that, scientifically speaking, is religious--that is, at least, other-worldly. . . . Personally I am entirely on the side of Les Jeunes. . . . One wants to be reckless nowadays . . . one end of this volume is Hellenic, the other extremely Sinetic, if that be the proper term for things which show a Chinese influence. The middle regions contain the very beautiful poems of Mr. Flint, which are upon the whole most what I want, since they are about this city. . . . This poem ["Liu Ch'e"] however by Mr. Ezra Pound is more valuable as an example of what Imagisme really is . . . It is odd to me to observe how a longish poem of my own that these young men have appropriated for their collection appears amongst this abstract and refined verse like a Gothic gargoyle introduced amongst the Elgin Marbles . . . the only poem that is rhymed is my own. My own attempts at verse are longish things, and I suppose that what I am aiming at is to produce the hobbling, jolting metres of the Gothic ages. And the reason why I adopt rhyme is that it quickens up the form. . . . I seem to find that the justification of vers libre is this: It allows a freer play for self-expression than even narrative prose; at the same time it calls for an even greater precision in that self-expression. . . . the unit of vers libre is really the conversational sentence of the author. As such it is the most intimate of means of expression. . . . this tiny anthology ... contains an infinite amount of pure beauty . . . Quotes from it. 199. "Literary Portraits—XXXVI.: Les Jeunes and 'Des Imagistes' (Second Notice)," Outlook (London), XXXIII, 682-683 (Mayl6,19l4). "It is interesting—it is like a dim reflection of the early 'nineties—to consider that in the new movements of which I am writing there are two distinct strains that, it would appear, must become hostile with the bitter hostility characterising the struggles between Socialists and Anarchists in the year 1893. ... For, on the one hand, whilst all the literary, all the verbal manifestations of Futurism are representational ... all the plasticaesthetic products of the new movement are becoming more and more geometric, mystic, non-material, or what you will. The Futurist painters were doing very much what novelists of the type of Flaubert or short-story writers of the type of Maupassant aimed at. They gave you not so much the reconstitution of a crystallised scene in which all the figures were arrested—not so much that, as fragments of impressions gathered during a period of time, during a period of emotion, or ... travel. . . . The Cubists are however ... [not] impressionists. They are, if you will, emotionalists. Looking at the leaves on a tree, at a man's head, or at a petticoat makes them want to draw

189

D199-202 certain patterns, and they go and draw them. . . . My Imagiste friends fall ... into the category of realists. . . . The fact is that any very clear and defined rendering of any material object has power to convey to the beholder or to the reader a sort of quivering of very definite emotions. In its very clearness and in its very hardness it seems to point the moral of the impermanence of matter . . . the more formal your conversation may be the more characteristic will your cadences become—the more characteristic, that is to say, of your mood at the time. . . . And that seems to me to be the importance of the vers libre of this volume. . . . verse which is cut to a pattern must sacrifice a certain amount ... of the personality of the writer." 200. "Literary Portraits—XXXVII.: Mr. Archibald Marshall and 'Roding Rectory '" Outlook (London), XXXIII, 715-716 (May23,19l4). "The commercial novel, the ordinary product of dayby-day fiction, distinguished by no particular attributes, whether of passion, of desire for perfection, of the rage for self-expression, and of madness ..., this ordinary novel has received less attention in these particular columns, than perhaps is fairly its due. . . . Mr. Marshall's books stand out to me amongst the run of ordinary novels by reason of acquaintanceship . . . I am not denying to Mr. Marshall's book ... a sort of queer, almost bovine, charm." 201. "Literary Portraits—XXXVIII.: Mr. W.H. Mallock and 'Social Reform,'" Outlook (London), XXXIII, 751-752 (May30,19l4). "I should be tempted to call him the only actively reactionary propagandist that we have . . . here and there in colleges, in vicarages, in surgeries, and in odd houses there are two or three men with cool, unhurried, sceptical, cynical minds of the type that is peculiarly English, and that I must confess to finding quite attractive. What I really so desperately want is to see a good Tory history in use in the schools of this country . . . The Tory Party has a very proper contempt for men of letters. ... it is just as stupid as kicking your cook in the face. . . . Mr.Mallock has set himself the task of destroying one of the greatest historic fallacies ... [the fallacy that:] under the system of capitalism the rich are daily growing richer and richer and the poor daily growing more and more poor. . . . There are no poor in the sense that there were poor in the year l801." 202. Poem. "On Heaven. (To V., who asked for a plan for a working Heaven)," Poetry, IV, 75-94 (Jun.,1914). See Violet Hunt's The Flurried Years, pp.2l6-2l8, re_ her request and the composition of the poem. See also correspondence regarding the poem's submission in Ezra Pound's Letters, pp.34-36,37. Also, according to Stanley Coffman1s Imagism: A Chapter for the History of Modern Poetry, Norman, OkIa., 1951, p.2b, "On Heaven" was refused by the publishers of Some Imagist Poets (1915). The Poetry version contains lines omitted from the 190

D202-203 publication in On Heaven and Poems Written on Active Service (pp.79-110; the page references which follow are to this 1918 version): p.103. After the line, "Or to the other saints, we sat in solitude," these lines follow in Poetry: And quietly, quietly walking, there came before us a woman-That woman that no man on earth or in Heaven May not divinely love and prize above All other women; even above love. That woman, even she, came walking quietly, And quietly stood by the table before us, So near that we could almost hear her breathing, p.104. After the line, "To taste to the full. . . . " come these lines: . . . And then that woman, standing by our table, So near that we could mark her quiet breathing And the tranquil rise and fall of her breast beneath the woolen cloak, And the tender, lovely and mild, dear eyes that looked at my dear— That woman spoke, in her soft, clear, certain tone: 'It is so very good to have borne a son; It is sad that you have no child!' There went by an old man carrying many carven gourds, And, as if it gave her the thought of a pilgrimage, 'To Lourdes,' She said, "is not so very far; go there tomorrow And there shall come much joy and little sorrow With the coming of a son very slender and straight and upright, With a clear glance, and fair cheeks red and white With our suns of France, And a sweet voice, very courteous and truthful; Surely, you shall rejoice!' And, as she went, looking back over her shoulder, with eyes so sweet, so clear, and so ruthful, 'Go there,' she said, 'when you have quietly slept, And kneel you down upon the green grass sod, And ask then for your child; my word shall be kept. For these are the dear, pretty angels of God, And of them there cannot be too many.' And so I said to my dear one: 'That is our Lady!' 203. "On Impressionism," Poetry and Drama, II, 167-175,323-

33^

(J\xn.,Oec.,191^T.

June: "impressionism is a frank expression of personality . . . I have a certain number of maxims, gained mostly in conversation with Mr. Conrad which form my working stock-in-trade. . . . Always consider the impressions that you are making upon the mind of the reader, and always consider that the first impression with which you present him will be so strong that it will be all you can ever do to efface it, to alter it or even quite slightly to modify it. . . . the first speech of a character you are introducing should always be a 191

D203-2C4 generalisation—since generalisations are the really strong indications of character. . . . I suppose that Impressionism exists to render those queer effects of real life that are like so many views seen through bright glass—through glass so bright that whilst you perceive through it a landscape or a backyard, you are aware that, on its surface, it reflects a face of a person behind you. For the whole of life is really like that, we are almost always in one place with our minds somewhere quite other. . . . any piece of Impressionism, whether it be prose, or verse, or painting or sculpture, is the record of the impression of a moment; it is not a sort of rounded, annotated record of a set of circumstances . . . those Futurists [painters] are only trying to render on canvas what Impressionists tel que moi have been trying to render for many years. (You may remember Emma's love scene at the cattle show in Madame Bovary.)" December: "It seems to me that one is an Impressionist because one tries to produce an illusion of reality . . . the Impressionist author is sedulous to avoid letting his personality appear in the course of his book. On the other hand, his whole book, his whole poem is merely an expression of his personality. . . . Writing up to my own standards is such an intolerable labour and such a thankless job, since it can't give me the one thing in the world that I desire—that for my part I am determined to drop creative writing for good and all. [This may be the "formal farewell to literature" to which Ford often refers (with erroneous citations) notably in the 1927 Dedicatory Letter to The Good Soldier.] . . . the first business of Impressionism is to produce an impression, and the only way in literature to produce an impression is to awaken interest." Re_ the impressionists' audience: " . . . the intellectuals are persons of very conventional mind, and they acquire as a rule simultaneously with the ABC of any art the knowledge of so many conventions that it is almost impossible to make any impression upon their minds. . . . And the whole of Impressionism comes to this: having realized that the audience to which you will address yourself must have this particular peasant intelligence, or, if you prefer it, this particular and virgin openness of mind, you will then figure to yourself an individual, a silent listener, who shall be to yourself the homo bonae voluntatis--man of goodwill. ... write always so as to satisfy that other fellow. ... You must not write so as to improve him . . . " 204. "Literary Portraits--XXXIX.: Mr. W.B. Yeats and his New Poems," Outlook (London), XXXIII, 783-784 (Jun.6, 1914). Mr. Yeats's figure has always singularly intrigued me. . . . I must confess to having for seven-eighths of my life ... regarded Mr. Yeats as almost a grotesque. ... I want poets to be natural creatures . . . I hated, and still do hate, people who poke about among legends and insist on the charms of remote islands. And all that I read of Mr. Yeats's work was The Countess Kathleen ... and a poem which began, 1I will arise and go

192

D204-207 now.' . . . I have certainly acquired a great respect for Mr. Yeats. . . . It was probably Mr. Yeats as the­ atre director that first impressed me. . . . having acquired considerable personal respect for Mr. Yeats, it began to occur to me that his Celticism might be genuine, or might be a pose, but that in any case it did not matter very much beside the importance of the personality. . . . And in his new poems Mr. Yeats shows more and more signs of coming out of Celticism. . . . it is a very good thing that Mr. Yeats has come out into the world. . . . He seems to strive after harsh effects, harsh words, harsh consonants. . . . I rather fancy that in these last two particulars he is mistaken. . . . harsh verbiage I rather fancy is always a mistake, simply because it stops the run of the eye and gives a sort of dramatic effect where dramatic effect is a nuisance. . . . I suppose that the person of whom I am always thinking [as his own model] is in the end Heinrich Heine in his most satirical moods." 2Ο5. "Literary Portraits--XL.: Vernon Lee and 'Louis Norbert,1" Outlook (London), XXXIII, 815-816 (Jun.13, 1914). " . . . Italy has exercised a curious effect upon the inhabitants of this country. . . . And the effects of Italy upon the Germans is deplorable . . . It renders them greasily sentimental, as if they had bathed them­ selves in macaroni; it renders them vegetably material­ istic . . . If the effect of Italy is to render an Englishman a devil incarnate, the effect upon a German is to turn him into an animated confectionery-pig. . . . Wandering amongst the beautiful groves, meditating amongst the so graceful ruins, the Englishman acquires something of the truly classical frame of mind along with something of an ingenuity that is purely devilish. Vernon Lee, for instance, strikes me as much more of a wizard than a comforting human being upon whose shoulders one might want to cry. . . . I have always disliked ... this author's writings. . . . they seem to offer me a sterilised atmosphere like that to be found in the work called John Inglesant or in the writings of the late Walter Pater" ". '. . but I can perfectly well see the adroitness of the workmanship. I can also perfectly well see the culture of mind, the erudition of the his­ toric still-life . . . There is so much restraint that it would appear as if Vernon Lee were incapable of passion." 206. Letter to the editor. Outlook (London), XXXIII, 823 (Jun.13,1914)· Very brief reply to the letter of Harold Sutton, E273· 207. Story. "The Saddest Story," Blast, 87-97 (Jun.20,1914). The phrase or half-title, "Beati Immaculati," appears here under the title. Differs throughout, though not greatly, from the corresponding part of The Good Soldier,. More important differences are here noted. The first sentence of The Good Soldier is omitted. On p.8 of The Good Soldier (all references here are to the first

193

D207-208 English edition) this sentence appears, "The reason for poor Florence's broken years was a storm at sea upon our first crossing to Europe . . ."; in Blast this appears, "The reason for poor Florence's broken years may have been in the first instance congenital, but the immediate occasion was a storm at sea . . . " The ages of Ashburnham and Leonora differ also on p.8. The phrase of p.10, "one of those tall ships with the white sails upon a blue sea" is omitted in Blast. On p.12 appears "the storm that seemed irretrievably to have weakened her heart"; this is in Blast "the storm that irretrievably weakened her heart." On p.15 "the sort of person you could trust" appears in Blast "the sort of person you would trust." On p.17 "great moon" first appeared as "bright moon" and "immense was not prefixed to "pinnacle" in Blast. On p.23, "For it is perhaps important that you should know what the old gentleman was; he had . . . " was in Blast, "For it is perhaps important that you should know what the old gentleman was since, of course, he had . . . " On p.24 old Mr. Hurlbird dies "just five days before poor Florence" but in the original, "five days after." The paragraph on p.29 beginning, "Yes, that is how I most exactly remember her . . ." is omitted in Blast. On p.33 "I swear that was all" was merely in the original "what there." On p.34 "He said it very stiffly" was in Blast "He said it very shily." "Avati," incorrectly spelled on p.41, is correctly spelled in Blast and in modern editions of The Good Soldier. In Blast no roman numeral announced Chapter Four. 0~n p.42—"what characterised our relationship" was in the original "what characterised our relationships more than anything else." The Blast contribution ends with the sentence, on p.47 of The Good Soldier (in Chapter Four): "But, you understand, there was no objection." "To be continued," but it was not continued in this journal, for the reasons stated in the second issue of Blast (Jul.,1915): "Because of the year's lapse since the last number of 'Blast' appeared, and seeing also that for some months now it has been out in book form, Mr. Hueffer's novel 'The Saddest Story' will not be continued. We deeply regret the circumstances that have prevented us from printing the whole of this admirable story, which in its later portions is,, if anything, finer than in that early part we printed. We may draw attention to the fact that Mr. Hueffer has produced a 'Blast' of his own in his book 1 on the German spirit, 'When Blood is their argument. " 208. "Literary Portraits--XLI.: Mr. Richard Curie and 'Joseph Conrad,1" Outlook (London), XXXIII, 848-849 (Jun.20,1914). " . . . the difference between a person who is a poet and a person who is not a poet is the possession or the non-possession of a point of view--and the possession of a point of view not as to morals or economics, but as to the hearts of men. . . . the real secret of Mr. Conrad ... is not that he is a Polish mariner, but that he is an Elizabethan poet. . . . I am going perhaps to be 194

D208-209 ungenerous to Mr. Curie, and that may well be because he writes of myself with a contempt which I may deserve, but also with a familiarity of address which I dislike. I don't like being called Ford Hueffer. . . . In his monograph Mr. Curie has displayed spirit--in finding a publisher--industry, devotion, self-sacrifice of the one type, deep knowledge of the works of his subject; and he has made one point. Because Nostromo is a finer work than Lord Jim, just as L'Education Sentimentale is finer than Madame Bovary. . . . if I have anything to say against Mr. Curie it is simply that his own article in a deceased periodical called Rhythm ... about Conrad struck me as being so very much more readable than his book. . . . but I belong, for my sins, to a different school, even to a different race, from Mr. Curie. The first thing I aim at--the sacred duty of any writer writing about another writer--ls, in my view readability. . , . It is not the permanence of your monograph that counts . . . And the way to get Mr. Conrad read-which is really the only problem worth considering in England of to-day--is just to say that he is a great poet. . . . you cannot really apply analysis to a temperament that is the gift of the good God. You can only praise ... you can only write a poem yourself. . . What England needs more than anything to-day is a return to Elizabethan standards--is a return to a frame of mind that had only just left behind Papistry, the large sense of honour, the large sense of cosmopolitanism, the large sense of those attributes that are called loyalty, selfsacrifice, duty and chivalry. These are the fine things of life, and, although Mr. Conrad does not preach them, nevertheless in the world that he has created we recapture a whole dimension in which these things have their values again as they had then in 1558." 209. "Literary Portraits--XLII.: Mr. Robert Frost and 'North of Boston,'" Outlook (London), XXXIII, 879-880 (Jun. 27,191 1 O. "The United States is a queer place. It is queer because it seems to matter so extremely little . . . nothing there ever seems real but the farming." Tells of his own farming experiences in Pennsylvania; see Return to Yesterday, N.Y., p.l6l. "It is because of the revelatory light that it casts upon the nature of this queer population that Mr. Frost's book may well be of value to the general reader. Because it is as interesting as a book of travel . . . I have the privilege of knowing Mr. Frost quite well . . . Mr. Frost's verse is so queer, so harsh, so unmusical, that the most prosaic of readers need not ...be frightened away. . . . He seems to make people, or the narrator, talk with the abrupt sort of rhythms that do undoubtedly distinguish his compatriots north of Boston, and then to insist on jamming all the utterances into decasyllabic lines. . . . I am not in the least suggesting that Mr. Frost should write vers libre; I am only saying that it seems queer that he does not. . . . Mr. Frost's achievement is much finer, much more near the ground and much more national, in the true sense, than anything that Whitman 195

D209-211 gave to the world. I guess he is afraid of the liberty of vers libre; to shackle himself probably throws him into the right frame of mind. It is another form of the New England conscience. . . . he is not a remains of English culture grown provincial and negligible as were the writers that abounded near Concord, Mass. . . . He is not in fact a sentimentalist. Not to be a sentimentalist is to be already half-way towards being a poet —and Mr. Frost goes the other half of the way as well, though to describe what that other half is beats me." 210. "Literary Portraits--XLIII.: Mr. Wyndham Lewis and 'Blast,'" Outlook (London), XXXIV, 15-16 (Jul.4,1914). Amusingly tells of Lewis's first visit to the English Review office (see Return to Yesterday, N.Y., pp.309-390, for a more elaborate version)" As in his reviews of Pes Imagistes (D198,199) Ford espouses the cause of "Les Jeunes," if rather wistfully. " . . . its chance of permanence consists in the fact that its method in attack is the obviously right one of being amusing and taking an interest in its own day. . . . it is no good avoiding sensationalism in an affair, like that of the arts, whose whole purpose is sensationalism and appeals to the emotions. . . . it contains less dullness than any periodical now offered to this sad world. . . . I am not sure that Mr. Brzeska's is not the most pleasurable piece of writing of the lot. Mr. Pound's vortex does not so much appeal to me--it is too moral; but I like the little poem of H.D. with which he concludes his apostrophe. . . . Of work in the past method there is a magnificent nightmare by Rebecca West, and a portion of a novel by myself which appears unexciting when I see it in print. . . . I who am, relatively speaking, about to die, prophesy that these young men will smash up several elderly persons--and amuse a great many others." 211. "Literary Portraits--XLIV.: Slgnor Marinetti, Mr. Lloyd George, St. Katharine, and Others," Outlook (London), XXXIV, 46-47 (Jul.11,1914). "I have ... been wondering why I am not at this moment --why ten years ago I was not—occupying the position now held by Signor Marinetti. For there is not a single word of Mr. Marinetti's doctrines that I have not been preaching since I was fifteen. . . . It is probably because Mr. Marinetti, never weakening the force of his appeal by originating any ideas, has been able so to perfect the method of his utterances that no one who listens to his doctrines is for the moment unpersuaded. As a conf^render the Messenger of Futurism is unequalled. . . . In that Mr. Marinetti singularly resembles the Chancellor of the Exchequer or St. Katharine. . . . if Mr. Marinetti has converted thousands ... I guess it must be because I am a [sic] thought lugubrious, whilst Mr. Marinetti smiles and smiles. . . . Mr. Marinetti is in no sense an artist of a creative kind. His own poems are a nuisance . . . As long as the £lite of the nation ... have their minds exclusively fixed on distant shores or remote antiquities, the ordinary man of to-day will have a bad time. Mr. Lloyd George is such a nuisance, not because he is a Progressive, but because his mind is

196

D212-214 made up of the old-fashioned Ideas of Rousseau, of William Morris, of Henry George. . . . Our own day Is more of a Golden Age than any other age ever was . . . Slgnor Marlnettl In theory—like myself in practise--is a materialist. . . . Cubists, Vorticists, and the rest of them are in fact visionaries; Post-Impressionists, Impressionists, Futurists, and the rest of us are materialists. . . . But whichever side prevails ... there remains the uniting bond, the doctrine that a bowler-hat purchased in Oxford Street to-day is as good as the helmet of Pallas Athene." 212. "Literary Portraits--XLV.: Mme. Yo. Pawlowska and "A Child Went Forth,'" Outlook (London), XXXIV, 79-80 .(Jul. 18,1914) . '• "I have often wondered ... whether the estate of childhood, should not, for artistic considerations, be considered as a condition purely pathological, and as such to be neglected. . . . A pathological condition is not a subject for artistic rendering, because it is in itself so abnormal and in its mental products so arbitrary that it presents no kind of interest . . . the growing mind, being so sensitive, so passionate as a rule; and so devoid of a sense of normal values, is a thing not so much of system as of pure accident. And accident can hardly ever be the subject for the artist In fiction whose job, as far as he can, is to give to his comedies or tragedies an appearance of inevitability --of destiny." 213. "Literary Portraits--XLVI.: Professor Cowl and 'The Theory of Poetry in England.'" Outlook (London), XXXIV, 109-110 (Jul.25,1912O. ". . . to me, poetry is as indefinable as death, birth, or the force that keeps the planets swinging together. . . . I think we can say nothing about what poetry is, but we can say a good deal about how to produce certain effects. 214. "Literary Portraits--XLVII.: Mr. W.R. Titterton and 'Me as a Model,'" Outlook (London), XXXIV, 142-143 (Aug.1,1914). "Personally I have never had any use for Bohemianism . . . For crime, lawlessness, rebellion, and the like I have plenty of sympathy. . . . The Bohemian—if he exists --makes himself a nuisance, or at least makes himself noticeable, in general society, out of sheer irresponsibility. The man who, to me, is homo bonae voluntatis will interrupt or browbeat a tiresome person, in the politest circles, although he knows that it is bad form to do so--although he knows that he will not be invited to the same house again. The Bohemian will regard the host who does not re-invite him with contempt. My friend will accept the ostracism with contentment. . . . I want to pass unnoticed in the crowd that life is, because to be noticed interferes with my train of thought. . . . I think I too like forms and ceremonies. . . . I do not know what to make of it [i.e., Titterton's book, which purports to be a "document" of Bohemianism] . . . quite vilely written . . . "

197

D215-216 215· "Literary Portraits—XLVIII.: M. Charles-Louis Philippe and 1Le Pere Perdrix,'" Outlook (London), XXXIV, 174175 (Aug.8,1914). "I am sitting up here in Scotland [see Goldring's Trained for Genius, p.175, also Return to Yesterday, N.Y., p.414] . . . what is the good of writing about literature ...? [The War had just begun.] . . . when the world again has the leisure to think about letters, the whole world will have changed. . . . I am not in the least a pacifist. I do not mind who cuts whose throat. . . . The greater part of humanity is merely the stuff with which to fill graveyards; and if the preliminary for the grave be a shambles, with the rain falling and the clay sticky with oozing blood, I do not mind. . . . what is senseless, what is imbecile, are the ideas for which people are dying . . . I like the French so much; I like so much the South Germans and the Austrians. Whichever side wins in the end—my own heart is certain to be mangled in either case. . . . I should feel intensely any mortification to Germany; almost more intensely any mortification to France; and any blow to this country would cause in me emotions more horrible than any others in a life not wanting in horrible emotions. . . . what effects me even more depressingly is the want of chivalry in expressions of nationality. . . . I do not myself believe that Germany has the ghost of a chance . . . why I select Philippe's book ... this week is simply because it is a document that should make plainer this tenebrous and horrible situation. Charles-Louis Philippe is so consummate and so fine a writer that it is almost a crime ... to regard one of his books primarily as a document. Yet every really fine novel may be regarded as a document. . . . If England had mastered Le Pere Perdrix England would hardly have entered upon the Triple Entente. For Le Pere Perdrix explains why the electors of Mamers re-elected M. Caillaux immediately after his wife had murdered M. Calmette, and M. Caillaux is the villain of our enormous tragedy. . . . Germany and France are to-day at war because in July 1911 M. Caillaux became French Foreign Minister, having ousted the Briand Cabinet. The Briand Ministry had succeeded in outlining, and almost putting through, an immense commercial treaty with Germany for the amicable partition of North-eastern Africa. This treaty, had it been passed, would have almost irrevocably assured the peace of Europe . . . the fact is that French Governments are, and must be, thoroughly untrustworthy because of the nature of the electorate. . . . what I am now writing is no indictment of France . . . It is simply an indictment of the Parliamentary system and of democracy. For the present war, as I see it, is simply a product of the indefinite, mysterious, and subterranean forces of groups of shady and inscrutable financiers working their wills upon the ignorant, the credulous, the easily swayed electorate. . . . men have not rights --they have only duties. And if some millions of men die in the making clear of these things, their lives will have been well spent . . . " 216. "Literary Portraits--XLIX.: A Causerie," Outlook 198

D216-218 (London), XXIV3 206-207 (Aug.15,1911O · "What will be the future of literature? . . . Let us indulge in some speculations. . . . imagine Germany entirely wiped out. What would be the inevitable literary product? . . . an immense outpouring of rhymed, accentuated, and very patriotic verse--like Arndt's Sword Songs. And, along with that would go a revival of ideas of death, of the supernatural, of the romanticreligious. . . . Let us imagine the Slave triumphant. . . . [Also speculates on Italy.] It remains to be seen whether unrhymed unformal verse will hold its own. . . . the infinitely superior demeanour of the public compared with its foamings at the date of the Boer war in its early days may be due to the fact that in Mr. Kipling's ballads it got all that sort of things off its chest so completely that there is no more to come. . . . Do you see the ingredients--say for the year 1922, when the public will have gotten over the desire to read histories of the Great War and Illustrated Encyclopedias of Armageddon, and when the strong reaction will have set in? . . . There will be Slav macabre mournings; there will be Italian vers libre; there will be a touch of German sentimentality in the tail of each verse, and there will without doubt be slipshod English. I will write a couple of such poems for you right now . . . " Calls these "Gothicisms: I. The White Raven; II. The Mouldering Corpse." These poems, strictly occasional, were not reprinted elsewhere. 217. "Literary Portraits--L.: Another Causerie," Outlook (London), XXXIV, 237-238 (Aug.22,1914)· "The one thing that really strikes me whilst reading sedulously the daily journals in order to find a grain of truth or of interest is the appearance of imbecility presented by the addresses of leaders of armies or of sovereigns to their armies, to themselves, or to the world in general. . . . the beau geste has a technique all of its own . . . [Finds that the only good saying to come out of the war so far is "Business as usual. '] . . . the aspect presented by the English daily Press of to-day is about the most monstrous exhibition of Pharisaism and greed that has ever been presented to an impressed universe. [Refers to the monopoly, in that press, of war news, etc., over literature, etc.] . . . the English excel in one art ... that of living together peaceably in large masses. And, if they so excel, it is because of the exhortations of preachers, teachers, doctrinal novelists, and ethically minded poets." 218. "Literary Portraits--LI.: The Pace of Janus," Outlook (London), XXXIV, 270-271 (Aug.29,1914). See Return to Yesterday, N.Y., pp.349-350. Ford says this article "caused the paper to lose some readers." He refers to the article at greater length in his essay on Dreiser, Mightier than the Sword, p.219· "· · - I wish that, along with the otEer old-fashioned phrases, there could be revived one as old-fashioned--and surely as honourable — 'the gallant enemy.' . . . I think that our job in life--the job of us intellectuals at this moment—is to extract, for the sake of humanity and of 199

D218-219 the humaner letters, all the poetry that is to be got out of the war. . . . I hate Prussia with a deep hatred ... because, poetically considered, the Prussians are not Germans or Saxons at all; because they are semiTartars racially. And I hate them above all because ... [Prussia does not] contain the birthplace of a single poet, humanist, artist, or decent human being, from my point of view. I hate Prussia for her efficiency, for her commercial spirit, for her commercial dishonesty, for her growing Socialism. But even at that ... let us call them 'the gallant enemy.1 It is not for me to condemn my fellow-poets of this country; but I must confess to a deep depression ... when I read their poems about this war. It is all about mad dogs, and throttling fists and trampling heels . . . But the only good poem that I have read ...is that called 1If,' by Mr. Kipling. . . . it needs a great display of character at this juncture not to be obsessed by the war if you have the misfortune or the high honour to be a poet. . . . if no poet in the middle of a war can write about that war and produce poetry, he can very certainly, since he will be highly sensitised by the stirring of his emotions— ... write poems about things as to which he has previously reflected. And that is what Mr. Kipling has done. . . . The fact is that every decent German officer keeps his men at a jolly good distance from him except when he is playing football; so does every decent English officer. . . . I pray the Maker and the God of battles to give to this country a great and an abiding victory. But the name and the figure of the Almighty have been horridly absent from the outpourings of the imaginative writers of this country. . . . with the deepest and most earnest emotion I beg and implore the public of this great and generous nation to bring the force of public opinion to bear upon the proprietors of periodicals to keep things going.' 219· "Literary Portraits--LII.: 'Cedant togae . . ..'" Outlook (London), XXXIV, 303-304 (Sept.5,1914). Speaks of composing a poem "last night. ' The poem is, though not so titled here, "When the World Crumbled," which later appeared in On Heaven and Collected Poems (1936). See Cvii(2), "TristlaT" "l am interested enough in my own time . . . But the present period, for the moment, is too much for me. . . . When I get up in the morning, full, as the saying is, of beans, or when amongst my fellow-men I find it necessary boastfully to claim pre-eminence, I say loudly: 1It is I that am the stout fellow. Since this war began I have written twenty poems and two chapters of a novel [most probably The Good Soldier]!' But when I am alone and with God I get gradually less and less certain. I imagine myself to be ageing, intellectually petering out, and unable to stand the racket of my own day. The truth is probably halfway between the two . . . " Tells about scrapping his earlier, classically oriented, poem and writing the verses called "Eternity. Tempo Giusto." These became "When the world was in Building," printed later in On Heaven and Collected Poems (1936).

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D220-221 220. "Literary Portraits—LIII.; The Muse of War," Outlook (London), XXXIV, 33^-335 (Sept.12,1912O · ". . . if I say that I am unable—absolutely and helplessly unable—to write poems about the present war, I say it with shame. It is a confession of sheer impotence. . . . It is, I think, because of the hazy remoteness of the war-grounds; the impossibility of visualising anything, because of a total incapacity to believe any single thing that I read in the daily papers. . . . Now, if I walk down the village street I am apt to be insulted every two minutes--because of my German descent. [See Trained for Genius, pp.175-176] I do not wish to blame anybody; but it does not put me in the frame of mind to write poems about the present state of things. . . . When I was a boy at school I had a great passion for the poems of Ovid. . . . I have been trying to translate Ovid's case into modern terms. You see poets do not matter enough nowadays to be loved by members of Imperial houses." Prom this meditation came "That Exploit of Yours," which he prints below as "Tristia IV. 'That exploit of yours . . .'" The poem later appeared, with very minor changes, in On Heaven and Collected Poems (1936). 221. "Literary Portraits--LIV.: The Classic Muse," Outlook (London), XXXIV, 367-368 (Sept.19,1914). "I was lying in bed this morning reflecting on the death of Tibullus." Then he heard and saw what seems to have been a seaplane. "Against the sky and clouds it was as clear in outline and in illuminated beauty as is the Victory of Samothrace. . . . And suddenly I heard myself saying to myself: 'Well, thank God, there's an end of the German language.' . . . there are few people that more dislike or have more unceasingly preached against the language of Luther, Goethe, and the editorial writers of the Frankfurter Zeitung. (The language of Heine is another matter.; 7~. . I remember lecturing some years ago in the University of Jena [see Daily Mirror interview, Oct.21,19H] · · · Prussia is the enemy-BuT not the Prussia of militarism. For militarism has, or implies, many high qualities—the qualities of individual self-sacrifice, of collectivism, of discipline, of sobriety, and a sense of the body politic. . . . Prussia is the enemy because Prussia taught the world, for the first time, to value instruction more highly than the evolution in the young of a sense of values, the mysteries, and the joys of life. And for the English nation it is almost only an acquaintance with the Latin classics that can confer this vision . . . whenever the English language comes under German influence, it shows itself at the most intolerable; wherever, on the other hand, it has fallen under classical Latin, Italian, or French derivations it has been at its highest. You have only to think of the horrible jargons that were written by Carlyle and Meredith to see how true—and how pitiable this is. As a spoken language German has its beauties, its simpleness, and its masculinity. . . . And, because of this primitive simplicity the poems of Heine, which are written with absolute directness of phrase, are the most exquisite things in the World. . . . the German . 201

D221-231 imaginative artist has always some preoccupation. He is always worried about supermen, or moral polygamists, or man in a state of nature. . . .--and indeed the German never thinks. He adds by reflection to his armament of propaganda. . . . when I think, as I more often do, in French, I am more cynical, more clear, and much, much more hopeless." 222. "Literary Portraits--LV.: Trimalchio," Outlook (Lon­ don), XXXIV, 399-400 (Sept.26,1914). "To return to my attack upon German culture, by which I hope to do the State some service. . . . ["Digresses" about the Satyricon:] I like to think of my father and Algernon Swinburne discussing with heat the identity of Petronius Arbiter, or whoever he was. For that too is a picture of manners that I would very willingly see revived. . . . I am a very unfortunate man. For I came into, and took very seriously, English public-school life at a time when English public-school spirit--in many ways the finest product of a civilisation--was already on the wane. I took its public tra­ ditions with extraordinary seriousness--the traditions of responsibilities, duties, privileges, and no rights. . . . It is still engrained in my bones--the idea that I must give unceasingly all that I have to the world, and that in return some day, with luck, some one will spoil me a little. . . . That luck has not much come my way yet." 223· "Literary Portraits--LVI.: Germania," Outlook (London), xxxiv, 430-431 (Oct.3,1914). "Let us for a moment, seriously reflect upon the real case of Germany, regarded scientifically, and from the point of view of 'Culture.'" The next eleven install­ ments are not really "literary portraits" but comments on various aspects of Prussian 'Kultur." Since most of the sentiments expressed reappear in his When Blood is Their Argument, no quotation is necessary here. 224. "Literary Portraits—LVII.: Persecution of German Pro­ fessors," Outlook (London), XXXIV, 463-464 (Oct.10, 1914). 225· "Literary Portraits—LVIII.: Goethe as Superman," Outlook (London), XXXIV, 493-494 (Oct.17,1914). 226. "Literary Portraits—LIX.: Goethe as Superman (Con­ tinued)," Outlook (London), XXXIV, 531-532 (Oct.24, 1914). 227. "Literary Portraits--LX.: The Kulturmensch," Outlook (London), XXXIV, 562-564 (Oct.31,1914). 228. "Literary Portraits--LXI.: The Kulturmensch (contin­ ued)," Outlook (London), XXXIV, 593-594 (Nov.7,1914). 229. "Literary Portraits--LXII.: William II and the Plastic Arts," Outlook (London), XXXIV, 63Ο-632 (Nov.l4,19l4). 23Ο. "Literary Portraits--LXIII.: William II and the Plastic Arts (continued)," Outlook (London), XXXIV, 663-666 (Nov.21,1914). 231. "Literary Portraits--LXIV.: Mr. Shaw and 'Common-sense 202

D231-238

232.

233.

234. 235.

236.

about the War,'" Outlook (London), XXXIV, 693-695 (Nov.28,1914). "Literary Portraits--LXV.: Professors and Universities in Modern Germany," Outlook (London), XXXIV, 725-727 (Dec.5,1914). "Literary Portralts--LXVI.: Professors and Universities In Modern Germany (continued)," Outlook (London), XXXIV, 757-758 (Dec.12,1914)· "Literary Portralts--LXVII.: The Making of the German Official," Outlook (London), XXXIV, 790-791 (Dec.19, 1914). "Literary Portraits--LXVIII.: 'Et in terra Pax.1" Outlook (London), XXXIV, 822-823 (Dec.26,1914). "I went the other evening, for the fourth or fifth time, to see the Mariage de Mile. Beulemans, and at the end of the charming little play, with its deft performance, I had a very strong emotion. And then I remembered that to give me that very strong emotion a couple of million or so of human beings must die. . . . [it brought to his mind, that is, the present plight of Belgium.] . . . I wish that, if nowhere else, then at least in some deep inner chamber of the mind, we could hold a little armistice and think what peace is doing all this time--for peace, like truth, is at the bottom of a well, buried beneath the sort of lava flow of all these topics of war that . . . has swept over arid engulfed all the peace that was once in our poor hearts." "Literary Portraits--LXIX.: Annus Mirabilis," Outlook (London), XXXV, 14-15 (Jan.2,1915). "I have nothing but questions left in the world, though in the beginning of the year 1914 I would have dogmatised cheerfully in the columns of THE OUTLOOK as to any topic beneath the sun except the integral calculus or the sailing of schooners."

237. "Literary Portraits--LXX.: The Pace of the Future," Outlook (London), XXXV, 46-47 (Jan.9,1915)· "in myself I am conscious of a profound moral change. . . . looking at the matter as impartially as I can, I cannot get away from the conviction that the cause of the Allies is the cause of altruistic doctrines and views of the values of life . . . And what we shall have to settle deep within our minds to-day is not so much whether we shall have conscription or not have conscription, as whether in the future the conception of the State shall be that of a vast organisation squeezing out the last pennyworth of productive energy from a population of specialised labourers; or whether, again, life shall be a matter of some graces, of some pleasures, of some things of the intellect, and of some kindlinesses, supported by so much of labour as shall be necessary to provide material resources, and reasonably regulated by a State whose main function shall be the provision of means of communication." 238. "Literary Portraits--LXXI.: Enemies," Outlook (London), XXXV, 79-80 (Jan.16,1915)· 203

D238-240 "The Editor of thla Journal having signified to me that my lucubrations as to German culture and the nature of the Prussian State have grown monotonous to his readers—though to be sure he accompanies his edict with the flattering words: 'With your well-known versatility you can write about anything else'--I find myself as it were, awakening from a long sleep. . . . Anyhow, after mental processes upon which I will not now dilate, I occupied one entire sleepless night by re-reading by turns two books--Mr. Wells's War in the Air and the Golden Ass of Apuleius. . . . all-that seems to have come of it ... is some speculations as to the nature of hatred. . . . [After this "long sleep" of the antiPrussian articles, Ford "awakened":] to discover, or at any rate to pay attention to ... the facts that [I have] been seven times denounced to the British authorities as a German spy, and that the German papers clamourously demand the hanging of the poor present writer as a British variety of the observant tribe. . . . And I ask myself what I can have done to inspire those particular manifestations of hatred. . . . I suppose one irritates people by one's very insouciance which is meant to be tolerance. And indeed I have lately had an excellent instance of this. . . . The other day a very good friend of mine approached me at a children's party and told me with every manifestation of pleasure at seeing me that he had written a notice of my latest work for a prominent journal [see anonymous review of Antwerp, E276]--a presumably favourable notice. Full of joy at finding, at last, someone to appreciate me, I wait impatiently for the press-cutting that shall give me the so favourable words. . . . And I read that one of my best friends has styled my best work ["The Saddest Story," earlier version of the first part of The Good Soldier, printed in Blast, D207]--a work over which I sweated real drops of sweat and shed real drops of tears ... — 'irresponsible balderdash. ' , , . I know that I always take a great deal of trouble to please the writers about whom I write. And I remember taking particular trouble to please one writer of works of the imagination--I was writing about him in these columns. I even took trouble enough to ask four friends to read the article and search for any possible cause of offence. I cut out quite a lot—upon their advice. And then that writer told a friend that I had said about him the one unbearable thing. It was the 'irresponsible balderdash' note avant la lettre." 239. Greenwich Village, Jan.20 to Nov.,1915.*** The editor of this magazine was Guido Bruno. According to Frederick Hoffman et al, The Little Magazine, Ford was one of its contributors; I have not been able to corroborate this. 240. "Mr. Blood and Commonsense about the War," Outlook (London), XXXV, llO-lll (Jan.23,1915). See the earlier appearance of Mr. Blood" in Outlook, Deo.2O11913 (see also Mr. Fleight); the identity with Arthur Marwood is further established here. " . . . Mr. Blood ... if he had not been the head of a great Whig house and would have been a stern, unbending Tory; and

204

D240-244 if he had not been a purely negative philosopher he would have been a Die-Hard Peer. He was peculiarly English in his conviction that the English were decadent; he had a peculiarly encyclopaedic memory; he could floor you at any moment with a quotation from Mommsen; he was acquainted with the performances of every descendant of Eclipse, and at the same time he never went racing; he had the utmost contempt for racing men, and he considered Mommsen to be 'unsound.' It was nevertheless with a quotation from Mommsen that Mr. Blood floored me last Thursday evening • •• ' But where does it all work out at?' Captain Aaron Rothweil Fleight asked timidly of Mr. Blood, who, in spite of military excursions, remained that millionaire's preceptor. The voice however of Major the Honourable Harry Constantine Cland Wyndham-Loder-Wyndham cut into the opening words of Mr. Blood with the exclamation: 'Grub's absolutely putrid!' Mr. Blood's speech, as it reached us, was to the effect that every Socialist, every Labour leader, every person of foreign origin, every Englishman who had ever read a foreign book should be immediately interned." 241. "Borussia," Outlook (London), XXXV, 140-142 (Jan.30, 1915). "In order, as I have been requested to do, to draw for you a portrait--or rather some pictures from the career--of Prussia, I must first trouble you with some deductions as to civilisations. Let me, then, begin by imitating Mr. Hilaire Belloc, and present for your considerations a table of civilised nations--in order of merit. We have, then, amongst the combatant nations of the present war: A. The Gallo-Latin civilisation. B. The Anglo-Saxon civilisation. C. The Austro-German civilisation. D. The Borusso-Wendish semi-civilisation • . For me, the first element of Occidental civilisations is some tradition of Christianity, Eastern or Western. • • • whatever mayor may not be said against Russia, her fidelity to the Eastern Church at least cannot be questioned, and whatever mayor may not be said for Prussia her fidelity to any form of Christianity has always been extremely questionable." 242. "Hohenzollerns," Outlook (London), XXXV, 175-176 (Feb. 6 1915). fl The history of the Kingdom of Prussia is the history of the House of Hohenzollern--a history so discreditable that, even in the German schools of to-day, the tendency is to leave the history of Prussia comparatively unadumbrated." This and the next three articles express sentiments substantially represented in When Blood is Their Argument, hence quotation here is----

unnece ssary-:-

243. "Hohenzollerns--II," Outlook (London), XXXV, 205-207 (Feb.13,1915). 244. "The Rise of Modern Prussia," Outlook (London), XXXV, 237-239 (Feb.20,1915). 205

D245-249 245- "The Saxon Revolution," Outlook (London), XXXV, 270271 (Feb.27,1915)· 246. "A Literary Portrait: Chicago," (Review of Theodore Dreiser's The Titan, Outlook (London), XXXV, 302-303 (Mar.6,191577 "This is the most revolting book I have ever read— the most horrible, the most demoralising, the most, perhaps, immoral. . . . a book is horrible when it can reveal to a reader, not vastly squeamish, depths of cynical ill-doing such as that reader had never before conceived to lie in human nature. . . . that book can do unfathomed harm to the community which renders vice so attractive and engrossing that it may well damage for ever its reader's sense of proportion. I put 'perhaps ' before the word immoral because I am uncertain of Mr. Dreiser's purpose in writing the book. . . . I have not been able to finish the book, it makes me feel sick. . . . If you imagine the popular idea of the anti-morality of Nietzsche, grafted on the brutal immorality of Bernhardi and denuded of even the comparative decency of men who are ready to lay down their lives for a cause, however bad, you will have a pretty good idea of the point of view of this work. . . . I comfort myself with thinking that the United States and that Chicago herself are not such places as Mr. Dreiser would have us believe. . . . But somewhere in the interior of that vast continent there must lurk a disease of one sort or another, or there never could have appeared on the surface such a running sore as the book called The Titan. I have done Mr. Dreiser an injustice if I have given the idea that he does not present his narrative with at least the skill and raciness of a descriptive reporter in the police or divorce courts. . . . Heavens I here I am writing in favour of accepted Morality! . . . There must be something miraculous about The Titan." After this article, Ford's contributions seem to have been supplanted temporarily by those of Violet Hunt. See Ford's essay on Dreiser, Mightier than the Sword, pp.219-222 (". . . the Titan does not shock me today. It is just a rendering of normal life a few years ago when life was simpler and less corrupt.") 247. "France, 1915," Outlook (London), XXXV, 563-564 (May, 1,1915). 'Let us consider in this year of the hundredth anniversary of Waterloo how we may best repay some of the debts that humanity owes to the country of the lilies." First of six articles of "propaganda" for France. Since most of this material reappeared in Between St. Dennis and St. George, only occasional quotation is necessary. 248. "France, 1915 (continued)," Outlook (London), XXXV, 599-600 (May8,1915)· 249. "French Pictures," Outlook (London), XXXV, 63I-632 (May 15,1915). ". . . it is for me the finest view in the world, though I have seen the Camargue from Les Baux, the Seven Hills from a height in Rome, and the Hudson from 206

D249-255 West Point--because from that place in Kent one can best see into France." This is the view of his poem, "The Great View," which he quotes here; it had first been printed in Outlook, Jul.27,1901; then it appeared in The Face of the Night and Collected Poems (1914 and

19357T 250. "French Pictures (continued)," Outlook (London), XXXV, 666-667 (May22,1915)· 251. "1A Toutes les Gloires,'" Outlook (London), XXXV, 696697 (May29,1915)· 252. "Un Coeur Simple," Outlook (London), XXXV, 738-739 (Jun.5,1915). On the impossibility of translating the first sentence of Flaubert's story and of the illustrious language of its author. 253. "The Cloud of Witness," Outlook (London), XXXV, 768-770 (Jun.12,1915)· "The editor of this Journal has informed me through the usual roundabout channels that his readers are tired of my lucubrations as to the French genius; he adds that his readers are hungering for lucubrations about books of the day." The "books of the day" which he has been reading are pamphlets on the war, which he goes on to discuss . 254. "From China to Peru," Outlook (London), XXXV, 800-801 (Jun.19,1915)· "The interdict of the Editor of this Journal upon my writing about things as to which I know or care anything being still unremoved, I find myself reduced to writing about the Far East and the Far West; though it is true that this happens by hazard of book post. I have received, that is to say, during the last week ... Yerba Mat!, by Mrs. Cloudesley Brereton, Off icier d'Acade'mie, Member of the Royal Sanitary Institute, Fellow of the Institute of Hygiene; and ... Cathay, by Ezra Pound. . . . if these are original verses, then Mr. Pound is the greatest poet of this day. . . . The poems in Cathay are things of supreme beauty. What poetry should be, that they are. . . . In a sense they only back up a theory and practice of poetry that is already old--the theory that poetry consists in so rendering concrete objects that the emotions produced by the objects shall arise in the reader--and not in writing about the emotions themselves. . . . Man is to mankind a wolf--homo homini lupus--largely because the means of communication between man and man are very limited. I daresay that if words direct enough could have been found, the fiend who sanctioned the use of poisonous gases in the present war could have been so touched to the heart that he would never have signed that order. . . . Beauty is a very valuable thing; perhaps it is the most valuable thing in life; but the power to express emotion so that it shall communicate itself intact and exactly is almost more valuable. Of both these qualities Mr. Pound's book is very full." Much quotation. 255. "Sologub and Artzibashef," (review of Feodor Sologub's 207

D255-258 The Old House and Michale Artzibashef's Sanlne), UUtlook" (London), XXXV, 83Ο-831 (Jun.26,1915) . Quotes from both books. "It will be observed that the landscape of Artzibashef is more exotically rendered and more coloured than that of Sologub, just as his com­ paratively vulgar soul is more hotly expressed than that of the much greater artist that Sologub is. Sanine one may dismiss with a very few words. . . . [itsj popular appeal lies in the fact that it supplies justification for men to misbehave with other men's wives or women with other women's husbands. . . . most of the interest goes out of a story when it is a foregone conclusion that the hero always will do what he dam [sic] well pleases. . . . M. Artzibashef, if he is not an artist, and if he very certainly is not a master, is a consider­ able genius as a teller of artless and coloured stories. He is in short one more product of the Russian return to the Romantic movement. . . . [The Old House is:] a remarkable masterpiece in the art of telling. It so gets itself in, recapitulates, spots in a point here and there, is so misty and so extraordinarily real that-impatient as one may be in the reading of it--at the end and for days after one has been in Russia. . . . the secret of Russian lives ... is here. ... the power to endure that comes from the obstinate determination to ignore material circumstance, to live amongst visions and unrealities--to live, in short, obstinately in the kingdom of God that each of us has within him. . . . this at least should rid us of the fear of Russia as a militarist or an aggressive Power of the future. . . . It will be a great disgrace to the British public if it neglects this volume, on the accustomed plea that life is too sad already for one to read sad books. . . . I must add that Mr. Cournos [the translator] has done his work very exquisitely . . . " 256. Poem. "The Old Houses of Flanders," Blast, 37 (Jul., 1915). This version of the poem (later printed in On Heaven and subsequently in Collected Poems [1936]) lack's the third line of the later version. 257. Bruno's Chapbooks and Bruno's Weekly, 1915 to May,19l6. "JuT.719I5 to Sept., 19"TFT*** The editor of the magazines was Guido Bruno. Accord­ ing to Frederick Hoffman et al., The Little Magazine, Ford was one of their conlTribHtors. I have not found Ford's contribution in a series of Chapbooks inspected at the Huntington Library, a series that may not be complete. 258. "The Easy Gods," (includes a review of Henry Savage's Escapes and Escapades), Outlook (London), XXXVI, 14-15 (JuT73,l9l5). ". . . it is desirable for a poet to be a master of words, but it is still more desirable for him to be an ordinary man of the world of men. . . . I didn't suppose people, with the exception of M. Paul Fort, went on writing poetry in these days . . . We want a poet rather badly, but I fancy we could do very well without cleverness for a time, or for ever. At any rate, Mr. 208

D258-259 Savage has his chance. . . . But he must study with extreme care not merely well-worn metres, but the rare­ fied beauties of prose—and with extreme care he must get together a vernacular In which no single word is taken for granted; and he must go to work delicately ... and very humbly. . . . I hope the volume will have a success." Much quotation. 259. "A Jubilee," (Review of Some Imagist Poets), Outlook (London), XXXVI, 4 6 - 4 8 - ^ ! . 1ο;ΐ9ΐ5). Excerpts from this review were reprinted in Glenn Hughes' Imagism and the Imagists, pp.46-48. "It is as nearly as possible twenty-five years since I wrote my first review—in July l890j and the review concerned itself with a little book called Pinks and Cherries." I have not found this review in the organ Ford mentions. "So I permit myself this little festival to a man who, all his life, has lived as best he might, but has always trusted to good letters. My first review, I remember, contained some indiscretion of phrase or matter, and the kindly editor—Mr. Alexander Ireland, of the Manchester Courier—never asked me for further contributions. Poor dear omen! . . . If not to-day, then to-morrow, I hope to be up and away to regions where I shall be precluded from uttering injunctions to find Ie mot juste [he did get his commission in the Army on Aug.14,1915] . . . if any poor soul is heartily sick of my writing—and I suppose that there are such poor souls in plenty--he cannot be half as heartily sick as I of my writing. . . . I do not suppose that I have led a movement, though I dare say I have. [Supposes, for the moment, that he has led the Imagists, whose doctrine is:] Simply that the rendering of the material facts of life, without comment and in exact language is poetry and that poetry is the only important thing in life. . . . I differ ... from my Imagist friends in one very important particular. They dismiss 'prose1 with a sniff. That is wrong, since they only exist by descent from the great prose writers—and I will go so far as to hazard the dogma that the prose form is the only satisfactory vehicle for expressing the poetry of life. Attacks the anthology's preface on this point. "The fact is that cadenced prose is poetry, and there is no other poetry. Rhythmic prose, regular verse forms, and 'free-verse' itself as soon as Its cadence is 'more marked, more definite, and closer knit than that o f properly constructed prose—all these things are departments of rhetoric which is a device for stirring group passion. . . . Of the six poets printed in this anthology, only two—H.D. and Mr. P.S. Flint—have the really exquisite sense of words, the really exquisite tranquillity, beauty of diction, and insight that justify a writer in assuming the rather proud title of Imagist . . . Mr. D.H. Lawrence is a fine poet, but he employs similes--or rather the employment of similes is too essential a part of his methods to let his work, for the time being have much claim to the epithets restrained or exact. . . . Mr. John Gould Fletcher, Mr. Aldington, and Miss Lowell are all too preoccupied with themselves and their emotions to be really called Imagists. . . .

209

D259-261 Still, Miss Lowell is extraordinarily clever. . . . I suppose the real trouble with Miss Lowell is that she has no heart. Mr. Lawrence, on the other hand, has the touch of greatness. . . . it is a scandal and a shame that Mr. Flint is not the head and body of a national commission for making England understand Prance ... that Mr. Flint should be a power in Paris and unchronicled here; though we may put it to the credit of this out-of-joint world that it has produced H.D., who seems to have found what he desires. . . . I will transcribe the manifesto of this little group." 26Ο. " 1 Of the Twenty Steeples,'" (review of Emile Cammaerts' Belgian Poems: Chants Patriotiques et autres Poemes), Outlook (London), XXXVI, 7«-79 (Jul.17,1915)· "M. Cammaerts ... tender, simple, and touching poet that he is, is the poet of his country--a people old, patient, and domestically visionary, a people of caril­ lons chiming from the belfries over the flat lands. About him, as about them there is little of the virtuoso in words or expressions. His poetry lives from the mere primary objects of life . . . a tradition of patience and of other-worldliness that to us is well-nigh incom­ prehensible . . . the fragments of translation that I have here given are my own." 261. "The Nigger," Outlook (London), XXXVI, 110-111 (Jul.24, 1915). An irate reply to F.J. Kingsley's letter (see E305) and commentary as well on Conrad's The Nigger of the "Narcissus." The connection between the two is that the "letter reminds me of the condemnation passed in my hearing on that work [The Nigger of the "Narcissus"], not by a person of the LivingstoneTKingsley [throughout he scornfully refuses to acknowledge he knows the cor­ respondent's name] type of want of importance, but by leading light of the literary world of this City of London. . . . 'The Nigger of the Narcissus is a worth­ less book. Because the CocToney character says "I ham" instead of "Hi em."' . . . it is obvious to me that Mr. Livingstone--or is it Kingsley?--is a Manchester man of the type that finished my grandfather. . . . it was individualism run mad . . . It is the individualism that is making this war so hard to win. It calls itself 'criticism,1 or fair criticism. . . . But it is just the expression of personalities rather loathsome. The silent bulk of this·nation is splendid. ...As one of those who are scrupulously silent as to the conduct of the war, I will give my life ... for the sake of this nation. . . . From the Middle Ages to the eighteenth century there used to be a tradition that any one of the King's soldiers who should seek a private quarrel with any other of the King's soldiers in time of war should be punishable with death. Today we are all the King's soldiers--every man and woman, in these islands. . . . the 'Nigger' is one of those group-romances, like Don Quixote or L'Education Sentimentale which, because they are great works of art, put their fingers upon the disease spots of nations or describe the diseases of civilisations. . . . The 'Nigger,' though it is without 210

D261-262 doubt Mr. Conrad's most perfect novel, Is less disliked than most masterpieces because of its fortunate accident of concerning itself with a ship's crew. It wrings therefore few withers, though in the real truth, upon this raft set in the sea, we too are a ship's crew, though we do not know it. . . . In the height of the gale, in the softest of soft winds, Donkin, the eternal Cockney agitator, the eternal Yellow Press journalist, with his hideous accents, his hideous voice, and his mean personality, moves through the book as the writing on the wall. . . . He is ... desperately alive himself, beneath his mean rags; but .for a ship, as for a country, he is the negation of life. . . . I do not know of any other book that can do so much for the nation at this date . . . a great allegory . . . " 262. "On a Notice of 'Blast,'" Outlook (London), XXXVI, 143144 (Jul.31,1915)· "A usually ingenious friend of mlne--at least I am told that, from his pen, a favourable notice of a book will sell many thousand copies, which argues a very enviable ingenuity--comes some very serious croppers in a notice of ... Blast ... appearing in an evening paper of July 23 [James Douglas, Star, p.4; he also pokes fun at Ford's poem (". . . A parody of himself by himself.")]. . . . In whatever trade, profession, or calling would the amazing phenomenon be found of men seriously and avowedly discountenancing experiment, adventure, or even innovation—in what other walks of life save those of literature or the arts? . . . One of the finest men that I ever knew was Gaudier-Brzeska. . . . it is this man whom my friend the critic selects to pour ridicule upon-pouring, indeed ridicule upon the very record of his death. He quotes from the review. "The first number of Blast ... was mostly larks. The second number is a much more serious affair. Of its contributors only Mr. Pound--who is, of course, a neutral--keeps much of his original jauntiness; and Mr. Lewis has discovered a new poet who shows signs of being very much after my own heart in Mr. T.S. Eliot . . . Upon the rest ... the pressure of these times leaves its solemn traces. And, indeed, they would be bad enough artists if it did not . . . I do not know that eclecticism ever found a more modest trumpeter [than Lewis whom he has just quoted], which makes the vindictiveness of my friend the critic of the evening paper still more inexplicable. . . . The ocular and phonetic break between to-day and the historic ages is incredible. To all intents and purposes the Kent of my childhood and adolescence differed very little from the Greece where Sappho sang. . . . I imagine that I should prefer to be where Christobel lowlieth and to listen to the song the syrens sang. But I am in London of the nineteen tens, and I am content to endure the rattles and the bangs--and I hope to see them rendered. And I certainly do not hope to see them rendered with the palette-effects of the late Lord Leighton or the verbal felicities of the late Lord Tennyson. I am curious—I am even avid--to see the method that shall make grass grow over my own methods and I am content to be superseded. . . . I think what I would like best in 211

D262-264 the world would be to know what form human expression will take in ten centuries from now • • . " 263. "The Characters of Spoon River," (review of Edgar Lee Masters' ~P116 River Anthology), Outlook (London), XXXVI, 17 ""("'AUg.'"7,1915). See Ford's reference to this review in It Was the Nightingale, Philadelphia, p.360, (says this the first review of Masters' work in England). "The writing of 'Characters' must be a pleasant occupation, and I sometimes wonder why it is not more pursued nowadays • • • It is pleasant to know from Theophrastus's Impertinent how many pillars supported the music theatre, or that in that day too a stranger, sitting at your table in a restaurant, might tell you a long, dull story in p~aise of his wife, or give an exact and particular relation of his last night's dream and the dinner that preceded it. I confess that it is these, the inner sides of history, that have always most interested me, qua historian. • • • I am moved to these meditations by coming across a very extraordinary book--the sPohn River Antholof Y• . • • I have not the slightest idea w 0 Eagar Lee Mas ers may be • • • It is the whole graveyard of a whole little town, rendered in incomparable epitaphs. I cannot do better than quote them • • • Here. then, is Cassius [Hueffer]--and his epitaph would do for me just as well as for my unknown namesake . . • I do not think that Mr. Masters misses any department of human life, whether cynical, fatalistic, or even affecting." Recalls Frost's North of Boston, which he reviewed on Jun.27, 1914. "Tfie'Se are a sort of complement to those affecting verses; the two Volumes are like one of those memento mori that the Renaissance so much loved, carvings representing, on the one profile a beautiful woman or a strong man, on the other a skull • • • . Mr. Masters is ••• capable of a very beautiful and tender strain of poetry • • • • it is a better historical record than most of the Notes of Professor Woodrow Wilson, since it makes one less worried to be in a world that contains the United States." 264. "The Learned Sock," (by way of review of Mrs. W.K. Clifford's A Woman Alone and John Galsworthy's A Bit 0' Love), Out~(London), XXXVI, 206-207 (Aug~l~ I"91;r."I wish my friends would not all take to writing plays • • • I prefer my own friends when barefoot and without cerulean footwear they are fitted to walk the dew-besprent slopes of the grasses below Helicon. For between poetry and the drama there is a terrible antagonism • • • I at least have never tried to write a play." But see the evidence of the collaboration with Norreys Connell in putting "The Fifth Queen Crowned" before one of Miss Ada Potter's Matinees at the Kingsway Theatre in Mar.,1909. ~ee also Cv for other unpublished plays.) Ford's version of this episode follows: "Once I was sitting hard at work over cadenced prose when a charming lady ••• burst in upon my musings and said she was going to put my play on. I remarked that I had never written a play; she perSisted that I had. It 212

was

D264-265 turned out that she had taken the, no doubt sonorous, dialogue from one of my novels and proposed to play that . . . . she put it on. I refused to go to a rehearsal • . . But I know I went to the first performance--and spent the time underneath the bar in the pit refreshment saloon • . . • Mrs. Clifford dragged me out from that place of retreat, but I returned to it as soon as she had her hands off me. I am not any longer a shy man ••• but I was one of the shyest boys that ever existed . . . . A Woman Alone is a good acting play • . . And that means-to say that; by comparison with Aunt Anne [a non-dramatic work by Mrs. Clifford], it is-nacked-out work, qUite masterfully hacked out, but still by comparison indelicate. It has even its message • . . Mr. Galsworthy's characters are always in one note. The flux and ~eflux of passlon that he would get into the rendering of a divorce case in a novel is simply absent from A Bit O'Love . . • As for 'J.M.,' who writes to the Eaitor Ts~308] to com~lain of my praising the work of a certain poet [PoundJ and to represent that the poet has made fun of the dead, I can only say that, if I like 'J.M.'s' classical prose drama as much as I like the 'Letter of an Exile' in the volume called Cathay I will praise the prose drama as highly. • . • As for the episode of the dead poet I know nothing about it; but 'J.M.' knows as well as I do that a magazine, and more particularly a quarterly, goes to press a long time ahead. If 'J.M. IS' bugbear had done what 'J.M.' accuses him of having done I would avoid his society for the rest of my days; but I do not think he has. 1I 265. liThe Movies,1I Outlook (London), XXXVI, 239-240 (Aug.21, 1915) • IIBy a natural progression from lamenting the fact that nearly all my friends have taken to writing plays I had proposed to write about the new novel of my friend Mr. Somerset Maugham, who, for the time at least, has abandoned the stage to produce a very excellent prose romance [Of Human Bondage]. However some writer more eloquent and-oetter qualified carried away from under my nose, at any rate as far as this journal is concerned [see pp.211-212 of the previous issue], that work • . . considered as a form, 'The Play' is a coarse, grotesque, and barbarous thing. . . • I do not see why we should not ..• leave the filling in of our plays to actors. · •• I once saw the Irish Players, on two successive nights, give two entirely different renderings of The Playboy of the Western World. [See Return to Yesterday, N.Y., pp~1T=412.1 . • ~ our plays have-oecome so entirely stereotyped that, given the 'line,' you can tell without going to them exactly what the play will be • . . There is the drama of pity, produced by Mr. Galsworthy and his followers • . • . The dramas of epigram are probably in a different category and belong of right to the music-hall. The plays, that is to say, of Mr. Shaw and Sir J.M. Barrie, are not well-made plays and are not really dramas at all. They are strings of little sparklers, farcical or over-tender; we are, in our inmost 213

D265-270 selves, ashamed when we are well out of the theatre that we ever laughed at the one or wiped away a tear for the other. But still they are entertainments; having no truck with reality they aspire modestly to a lower rank and fill that rank with efficiency along with Miss Vesta Tilley and Mind Your Step. . . if the future of the drama transfers itself to the picture-hall it will be rather a good thing. . . . this art has a very great future for it. It deals at least principally in cutting out of unnecessary passages and episodes. Some time ago one of my secretaries passionately resigned my service because I asked her to write a letter accepting the handsome offer of a film-producing company for the use of one of my books." This may have been Mr. Fleight: Douglas Goldring says in a note to p.209 of Trained for Genius, "I learn from an American source that he ... receivedjf250 for the film rights of Mr. Pleight."n I have discovered no records of this transformation. . . . the intelligent producers have cut out nearly the whole of the book; and the results, if queerish, are entirely satisfactory." This was the last of the regular articles he contributed to Outlook; he had received his commission in the Army on Aug.14,1915· See Violet Hunt's contributions upon his departure, E311,312. 266. Story. "Fun!--It1s Heaven," Bystander, XLVIII, 327-330 (Nov.24,1915) · 267. Poem. "Nostalgia," Westminster Gazette, XLVIII, 2 (Sept.14,1916). This appeared in On Heaven and subsequently in Collected Poems (1936) as "Iron Music," with only a few minor changes. 268. "Trois Jours de Permission," Nation (London), 817-818 (Sept.30,1916). Comments on a weekend leave in Paris during the War. "And Paris ... appeared to be exactly the same as Paris always was in September." Reprinted in Living Age, CCXCI, 310-312 (Nov.4,1916). In the Loewe Collection is a draft of a letter by Ford (in his "Army Book 152A") to his Adjutant, dated Sept.7,1916, requesting leave in Paris. "I have the honour to request that leave of absence may be granted to me from 9/9/16 to 11/9/16 for the purpose of proceeding to Paris on urgent financial affairs--these being the publication in Paris of a work by myself entitled 'Entre St. Denis et St. Georges,' the said work having been written at the request of H.M Government for-the Government of the French Republic. My financial affairs having become exceedingly embarrassed owing to my having done this & other work without pay, for H.M. Government . . . " See A48, "French Translation." 269. Poem. "What the Orderly Dog Saw (A Winter Landscape; To Mrs. Percy Jackson)," Poetry, IX, 293-294 (Mar.,1917). This is followed by a poem by "Violet Hunt' Hueffer," "What the Civilian Saw." Ford's poem appeared in On Heaven and Collected Poems (1936)· 270. Essays. "Women and Men," Little Review, IV, 17-31,36-51, 214

D270-276 54-65,56-62,49-54,54-59 (Jan. ,Mar. ,Apr. ,May, Jul., Sept.,1918). First appearance of pages that later became a book (A54). See Pound's Letters, p.133, letter dated Apr. 3,1918: "Hueffer's stuff was done five years ago. ' Meary Walker had, in fact, made her first appearance in The Heart of the Country in the chapter "in the Cottages.'1 Ragged Arse Wilson appears in the chapter "Toilers of the Field" as "W — n." See also the reappearance of several of the pages involving Meary Walker, Meary Spratt, Ragged Arse Wilson, etc., in Return to Yesterday, (N.Y., pp. I39-I65). A republication of excerpts may be found in B52. 271· Poem. "One Last Prayer," English Review, XXVI, 289 (Apr.,1918). Appeared in On Heaven and subsequently in Collected Poems (1936) with only minor changes. 272. Poems. "The Silver Music" and "The Sanctuary," Poetry, XII, 19-20 (Apr.,1918). Both poems appeared in On Heaven, published this month. The second poem appears there, with minor changes, on pp.114 and 116 as "Exhibit I. Sanctuary," one of the poems subsequently rendered by Ford's fellow officer into Latin. A matter of interest regarding this Poetry publication is that on the next page follows a poem by Violet Hunt, "is it Worth While," which may be construed as auto-biographical. 273. Poems. "Ypres Salient," "The Iron Music" and "The Old Houses of Flanders" Literary Digest, LIX, 37 (Oct.5, 1918). All three poems were previously published in On Heaven; the poem here titled "Ypres Salient" there appeared under the title "A Solis Ortus Cardine." 274. Poem. "Clair de Lune," Current Opinion, LXV, 329-330 (Nov.18,1918). Previously published in On Heaven and subsequently in Collected Poems (1936). 275. "English Country," New Statesman, XIII, 518-519.542-543, 565-566 (Aug.23 to~S"ept.0,1919) · "I. Four Landscapes, i.e., Kensington Gardens in 1915 and three others which appeared to his mind's eye during the war. The second installment describes the experience of hearing of the death of Lord Kitchener. "III. Blue of Swallows' Backs": remarks on kitchengardening, war reminiscence, and more reverie about landscapes. This series was later incorporated in No Enemy, pp.25-45, with some adaptation to suit the narrative circumstances of that "novel." 276. "Henry Gaudier; the Story of a Low Tea Shop," English Review, XXVI, 297-304 (Oct.,1919). By way of being a review of H. Gaudier-Brzeska, I89I1915. "I suppose that, even then Lin Jul.,1914J, I was regarded as the 'Grandfather of the Vorticists'--Just ' as my grandfather was nicknamed the "Grandfather of the Pre-Raphaelites.' . . . Of his [Gaudier's] biography I have always had only the haziest of notions. . . . will 215

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always remain for me something supernatural. . . . All my life I have been very much influenced by a Chinese proverb--to the effect that it would be hypocrisy to seek for the person of the Sacred Emperor in a low teahouse. It is a bad proverb, because it is so wise and so enervating. It has 'ruined my career.' [This proverb, which appears very frequently in Ford's reminiscences, appeared at least as early as The Soul of London, p.117·] . . . it would be hypocrisy to expect a-Taste for the Finer Letters in a large public; discernment in critics; honesty in aesthetes or literati; public spirit in lawgivers; accuracy in pundits; gratitude in those one has saved from beggary, and so on. So, when I first noticed Henry Gaudier--which was in an underground restaurant, the worst type of thieves' kitchen--those words rose to my lips. I did not ... believe that he could exist and be so wise, so old, so gentle, so humorous, such a genius." Laments his death and urges people to buy this book. This "review" was virtually duplicated in No Enemy, pp.204-216. The "thieves' kitchen" was the Dieudonne' restaurant and the occasion a dinner celebrating the appearance of Blast (on Jul.15,1914). See Ezra Pound's Gaudier-Brzeska: A Memoir, p.55; also S. Foster Damon, Amy Lowe'lT: A Chronicle, pp.232-233· 277- [Poem. "After the Rain," Living Age, CCCIII, 187 (Oct. 18,1919).] Erroneously here ascribed to Ford; taken from the New Statesman which accurately ascribed it to Edward Davison. 278. "Thus to Revisit," Piccadilly Review, 6,6,6,6,6 (Oct. 23,30; Nov.6,13,20,1919;. This series of articles bears no resemblance to the later serialization, "Thus to Revisit," in Dial and English Review, nor to the book of that name. See It Was the Nightingale, Philadelphia, pp.25,65, where Ford refers to placing some articles with a short-lived "lunatic review. This review only lasted from Oct.23 to Nov.20,1919, the duration of Ford's contributions. "I. The Novel Ostensibly a review of Time and Eternity by Gilbert Cannan and Night and Day by Virginia Woolf. " . . . this series of papers is intended rather a's a friendly enquiry into how literature has survived Armageddon than as any browbeating disquisition. . . . Let us say that amorphous, discursive tales containing digressions, moralisatlons and lectures are Romances, and that Novels have unity of form, culminations and shapes. In the Romance it matters little of what the tale teller discourses, so long as he can retain the interest of the reader; in the Novel every word—every word—must be one that carries the story forward to the appointed end. . . . no proper man can to-day be dogmatic, since all proper men for the last five years have been shaken, earthquaked, and disturbed, to the lowest depths of their beings. . . . And Mere are Mr. Cannan, who before the war was one of les jeunes, and Mrs. Woolf, of whom I know nothing. . . . Mr. Cannan's book is a Novel, Mrs. Woolf's a Romance. Mr Cannan carries excision almost to extremes: in reading Mrs. Woolf one 216

D278(I-III) seems to hear of families and [sic] unmistakable voice of one's childhood. It is surely the voice of George Eliot--but it is the voice of a George Eliot who, remaining almost super-educated, has lost the divine rage to be didactic. . . . It is queer to find that, in these modern developments, Mrs. Woolf, who is the spiritual descendant of the George Eliots, the Ruskins, the Spencers, the Pollocks, and all the moral adornments of Victorianism, writes skilfully a moralless but very entertaining book which is all ado about nothing; and that Mr. Cannan, the literary descendant of the Maupassants, the Goncourts, and all the non-moral overseas writers has become an almost virulent and certainly an incoherent moralist." "II. The Realistic Novel" Includes reviews of Dostoievsky's An Honest Thief and George Stevenson's Bengy. Of1 the former^ "all the stories contained in the volume are excruciatingly bad, with the exception of 'The Honest Thief itself, and that is no great shakes. . . . That Dostoievsky who is ... a pure romantic, and only when it suits him to be, a sort of pseudo-realist—that Dostoievsky should have appealed so enormously to the English reader, and still more to the English writer, is only in the nature of things. The English writer is always trying to break back into romanticism. . . . Dostoievsky is a realist of the 1895 school inasmuch as he places his heroes in atmospheres of alcoholism, fog, kerosene, lamps, gaols, lunatic asylums and mortuaries. But his heroes ... always have vast empires in which they are the central figures--those empires being the kingdoms of their own minutely examined psychologies. Of the more unassuming, gentle, and probably more valuable school which you might call the English domestic school of realism—the school, or rather the tendency, which once gave us the works of Trollope, 'Janet's Repentance' by George Eliot, and 'Mary Barton' by Mrs. Gaskell, it is difficult now to discover much trace. . . . 'Bengy' ... is a good specimen of this type of work." "ill. The Serious Books." By way of review of Max Beerbohm's Seven Men and W.H. Hudson's Birds in Town and Village; begins with a tribute to Arthur Marwood, who was also a lover of Hudson's work. "For myself I love sweeping dicta; they awaken trains of thought; and, the more obviously sweeping they are, the less they need to be taken au pied de- la lettre and the more they may be refined down until tHe exact and balanced judgment is arrived at. If you wish to think, you must sketch in a rough design of the region that your thoughts may cover, so that you may proceed towards rendering it more exact and more precise." Quite amusing on the subject of Marwood's predilection for "Serious Books" as opposed to novels and on the proportion of reviewing space given to those frivolous Serious Books. On this subject see Ford's letters to Herbert Read written in this period, F193. "As written today, then, the Serious Book is generally teutonic in its origin—that is to say, it is produced by gentlemen more distinguished for their industry than for their gifts, insight, or love of their

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D278(III-V) subjects. That a serious book should possess form, imaginative insight, or interest for anyone not a specialist, would, generally speaking, be considered a very unsound proposition. . . . For the province of literature is to educate, so that the reader may be stirred to the perception of analogies or to the discovery of the sources of pleasure within himself. It is for that that you go to the Arts, and for no other purpose. It is this issue that the Teutonic mode of pursuing learning began so fatally to obscure in the latter years of Queen Victoria's reign . . . To read Mr. Beerbohm is to receive practically no instruction. But if you read Mr. Beerbohm at his best you receive a certain stimulation and, if you follow him, you will be led up to a point of view, which will enable you subsequently to be less subject to being overawed by solemn humbug. Of course, 'Birds In Town and Village' is not Mr. Hudson's best book any more than 'Seven Men' is Mr. Beerbohm's most valuable contribution to comparative sociology. But it is cheering to return to a world that might be full of sad surprises and to find that they are still there." On p.7 of the same issue is an unsigned but highly Fordian article, "Your Novels Should Cost You More." "IV. New Forms for the Old" Review of John Cournos' The Mask and Ezra Pound's Quia Pauper Amavi. Contains jovial, nostalgic and sometimes almost bitter pre-War literary reminiscence, in the vein of the later Thus to Revisit. "I should say that Mr. D.H. Lawrence was the greatest of the pur sang Impressionists of pre-war days. . . . Returning after a modest interval to these particular regions, it seems to me to-day that the only real interest in the ... literature of to-day is provided by the Imagists, Vorticists, Cubists or whatever they style themselves." Quite amusing on Pound. "If I praise him, he will bludgeon me for praising me wrongly; if I find fault with the shape of his columns, he will break my legs with rocks rolled down the summit of Mont Vedaigne. That is the right spirit for a young man mad about good letters." "V. Biographical Criticism" Review of Henry Festing1 Jones's Samuel Butler and Wyndham Lewis's The Caliph s Design. ~n~. '. . the gentleman who invented the Biography as applied to the artist or the thinker cursed humanity more than any soul before or since his hateful day. For there is no great man that is not belittled and rendered common by his biographer . . . Butler was the greatest Englishman the XIXth century produced, and the 'Way of All Flesh' is one of the four great imaginative works in the English language. . . . Butler is infinitely greater than the shivering and fearful wretch that Mr. Jones presents us with. . . . Your true parasite is the professor who gives us the lives of men he has never seen and whose works he has never loved. He calls the result criticism, and hates alike all real criticism which concerns itself with Art, and all real Art of which he himself is incapable. In a queer muffled, incoherent way this is what Mr. Wyndham Lewis does in his latest pamphlet [i.e., evidently, concerns himself 218

D278(v)-280 with art]--and he does It the more effectively In that he contradicts himself on each successive page. . . . smashing at those who have Inconvenienced, discouraged, publicly condemned him, Mr. Lewis voyages down the Ages. He Is, as far as I know, the only writer about the Plastic Arts of to-day who matters two-pence . . . And Mr. Lewis is one of those rare creatures who, sending out as it were lightning flashes, reveals to this para­ sitic class [the Academics] the awful precipice that is just at their feet." 279· "W.H. Hudson: Some Reminiscences," Little Review, VII, 3-12 (May-Jun.,1920). Reprinted in The Little Review Anthology, ed. Mar­ garet Anderson, pp.287-295, with the comment: "Our May-June number, 1920, was devoted to W.H. Hudson, and was entirely composed by Ezra [Pound]." Much of this essay reappeared in Thus to Revisit. 28Ο. Poem. "Immortality: An Elegy on a Great Poet Dying Abroad," Chapbook, III, 20-24 (Jul.,1920). Apparently this poem was published nowhere else; hence it appears here in its entirety. An uncorrected typescript and corrected proofs of this poem are in the Loewe Collection. I We read: You have died at a distance, And that's all: that is alii But it's queer That that should be all! You dying so lonely, The news not striking any ear With any insistence. ... It isn't one of those blows That falls on and mutes For an instant the hearts, brains or ears Of any mortal that one knows. It comes, rather, like a murmur of waves From a sea One hears very far in the distance Fretting insistently against cliffs, into caves, A reminder Of our mortality. II Heaven knows, you may well prove Immortal So consummate, consummately handled your prose is, And your poems the summit of Poetry. Only, Your death might so well, had you chosen, Have silenced some brutes Who deem that the odour and soul of the rose is Matter to cozen And barter about. As it is, they shall gloat And ape and contort all the exquisite words that you wrote Into gawds one might lay at the feet or the portal Of their opulent bawds. So your flawless, cold words Shall hinder Our poor mortality. Ill Why couldn1t you have left your pulse unheld Once: for a moment? Say, as the jaws of the grave 219

D280

Opened to receive yoU? Why wouldn1t you Just for a breath forget to hold Your breath; forget to be cold, Watchful, avised; for ever pausing to frame The sentence that froze And shrivelled a thought that was carelessly brave-The phrases you never could mould enough Or render cold enough? .•• Your pulse shall go slow enough and you lie low enough For ever, to-night when they leave you, Rigid and cautious and grave, Underneath mould enough, In a silent chamber; But never more frigid or cold or containedly grave Than of old you were, contriving your mayflies in amber . .•. IV Ah, why couldn't you? What a scroll, then, we might have upheld At once! To-day! On the first, swift rumour of your death; Before ever the foreign clay of your grave Was thrown up to receive you! A scroll Brave with the braveness of your fame, Warm with the warmth of your name! And, into the cold, shining webs you alone had the knowledge to weave-You, Yourself, with a failing, last generous breath Would have breathed such dyes and such tinctures of gold That, incarnadined, Not the most disintegrating autumn wind, No moth gnawing, nor no eatings up of rust Should have rendered them tenuous or, like your name Already filmed with thin dust. V For that's how it is Already. You, not yet beneath the earth, Yet here, at home, you could not find one hearth To crave your shadow falling from the ingle Towards the curtains. This is your own land And your face forgotten! Did you have a face, Eyes, heart to beat and circulate warm blood Through chilly limbs? Or, did you have a voice To make one hearer thrill with joy; a palate For meats or the juice of the grape? Could you rejoice Over a little money; did you ever know The ups and downs of fortune quicken your pulse, Engage in a wager; yearn for pleasant sin; Live lecherously or contrive delights From human passions? Were you crossed in love For a faithless harlot or the faithful wife Of another's bed? Oh, block of flawless jade, 220

D280 Had you even a dog to wag its tail for you? We do not know. ... I know you aimed at Fame Consummately. Once I lived with you Five years, day in day out; and one could gather So much from your unrevealing eyes and lips. And whilst you sucked the last few pence from our purses We know you made towards Immortality Consummately, by means of unstirred prose And stirless verses. ... You may get it yeti Only! Will there be a face to look up from your page Kindly and smiling into young men's eyes? Or a form that any woman would recognise And deem it like her lover's. ...As for us, We crave to be remembered, warm, in the flesh; If only as those who beat their wives and soaked Night-long in taverns; whom the crowing cocks Heard staggering homewards; bulbous, veined-nosed, Cut-pursey Falstaffs. ... I had rather that Than immortality of your frozen kind! Yes, even that. ... The grave is whist and lonely, One shivers at the image of dry decay In the roots of the grass. ... And I have sometimes thought That if we, being yeara-long buried, caused to arise In living minds, shapes of our shoulders, say, Since once we had great rolling shoulder-blades And found some Boswell; or if our kindly hands Seemed to give crusts to beggars, stroke old dogs, Or carry sonnets to enraptured maids, So that our vanished faces in our books Were such as woman thought she recognised, Deeming them like her lovers' known or imagined. ... Then, in our shoulders, drying in the earth, Our desiccated fingers, fleshless features A moment's tide of life might run again And be warm and tickling. ...Do you take me, you? Or is the thought too sordid? Only. ... Only, Your death that made us think upon our ends .. As, for sure it should do--makes us stretch our hands Towards that lure of Immortality. You wrote all your life for Immortality Of a Parnassian, most impersonal shape. But we, being bone and sinew, crave a kind, A human, less erasing sort of grave; A death less passionless, a shade less blind Than the great steam-roller you confronted; you Being no doubt more brave! We read: You have died at a distance, And that's all. That is all. If seemed queer At first when we learned That that must be all. You, dying so lonely Where that foreign river flows To its foreign sea, 221

D280-284 And we, finding the news not strike on the ear With any Insistence; No mourning hatchment hanging on the portal Of any mortal that one knows! Think only, Heaven knows, you may well prove immortal Having consummately earned Your Immortality! 281. "Thus to Revisit," Dial, LXIX, LXX, 52-60,132-141,239246,14-23 (Jul. to~Sept.,1920; Jan.,1921). Begins with what in the book is Part Two, "Prosateurs." Sections 7-9 of Part Two do not appear here. The last installment contains only the first section of Part Three, "The Battle of the Poets." This last installment is closer to the book version than the earlier installments, but there are minor changes throughout. 282. "Thus to Revisit," English Review, XXXI, XXXII, 5-13, IO7-II7,209-217,395 -4 04,5'06 -514,116 -121,216-222,311319 (Jul. to Sept.,Nov.,Dec,1920; Feb. to Apr.,192l). With minor changes throughout, these pages became what is in the book Part Two, section 1 through Part Three, section 4. These are not, therefore, identical with the installments printed in Dial. 283. Letter to the editor. Athenaeum, #4707, 93-94 (Jul.l6, 192Ο). A proof copy of this letter is in the Loewe Collec­ tion. See Jul.9 issue of this periodical for the review of Flint's Otherworlds which Ford here criticizes, "in your last issue the whole subject of Vers Libre is dis­ missed in a third part of an unsigned review. But such a matter cannot be so dismissed—so light-heartedly, summarily and flippantly. Neither can the poems of the most consummately exquisite and gentle master of the form that in England we have be so dismissed . . . It is as if, once more from your columns, we heard the voices of our dear old friend Norman Maccoll or our dear old preceptor Theodore Watts Dunton snuffling, as they and their contributors used to snuffle, when they were confronted by anything that had not the support of their close corporation . . . When I was still l_e jeune homme modeste and very, very innocuous, an odious old gentle­ man, having damned in your columns my Infant works, addressed to me the galling exhortation Patrem et avum habes; eos exorna! ... May I now return those words to your address? . . . Perhaps your Reviewer may never have come across really simple persons, peasants and the like at moments of great losses, great joys, great upheavals. In that case he will be surprised to hear that such elementals do not express themselves in rhyme. They do not. They come very near to the Vers Libre of the Translators." Gives examples. 284. Poem. "A House," Poetry, XVII, 291-310 (Mar.,192l). Also in Mar.,1921, one complete issue of The Chapbook: A Monthly Miscellany (published by Harold Monro's Poetry BOokshop in London] was devoted to "A House" (see A51). See Poetry, XIX, 112 (0ct.,192l), for announcement of 222

D284-287 the award given this poem: "The prize of one hundred dollars, offered by an anonymous guarantor for a poem, or group of poems, without distinction of nationality, is awarded to • • • " The donor seems to have been a Mr. Loeb, for pencilled on a copy of Fordls letter expressing his thanks (see A51) is the note, "Original sent to Mr. Loeb." 285. "Two Americans--Henry James and Stephen Crane," N.Y. Eve. Post Literary Review, 1-2,1-2 (Mar.19 and-2o, 1921)-.Became pp.102-113 of Thus to Revisit. 286. "Joseph Conrad," John O'London's Weekly, VI, 323 (Dec. 10,1921). PhotO:-- See my entry for Ford's Joseph Conrad (A58) re Ford's unwillingness to write anything more about Conrad. "Mr. Joseph Conrad is the only novelist now left in the Anglo-Saxon world; and he is that because he is the only poet. I do not mean that he has any metrical knowledge .•• but he has gradually elaborated the working knowledge that poetry consists in interest in men and women and in nothing else . • • • Writers of prose fictions divide themselves into tale-spinners, gentlemen on the make who are the carpet-baggers for some ethical or political doctrine--and novelists. And do not be led away into despising the tale-spinner--though you should despise the second category . . • the usual professional poet is an unread bore simply because he neglects the hard industry of the tale-teller even when he does not despise the small concrete things of human life • • • • a poem must catch you and never let you go. So it is with the novelist • . • • (I imagine that I am writing now for young novelists with the right aspirations; indeed, I seldom write for anyone else, that seeming to me the justification of criticism.)" The "later Conrad ••• has become much more the tale-spinner and much less the poet . . . • but you have only to consider how the obtruded knuckles coming through the curtain of 'Chance ' stick out and swear in the whole range of this writer's work to realize how seldom this indefatigable brain tires and how seldom the extraordinary skill fails • .•• The material story, then, is the body, as the story of mental progression is the soul, of a presentation of life • • • Mr. Conrad is the first writer in a still rather barbarous and stupid civilization to perceive that as much care must be devoted to the body and clothes--the plot and lanwuage--of a novel as to its soul, whatever that may be. 287. An answer to "Three Questions," Chapbook, #27, 14-15 (Jul., 1922) • On p.l of this issue the "three questions regarding the necessity, the function, and the form of poetry" are given: "1. Do you think that poetry is a necessity to modern man? 2. What in modern life is the particular function of poetry as distinguished from other kinds of literature? 3. Do you think there is any chance of verse being eventually displaced by prose, as narrative poetry apparently is being by the novell! and ballads already have been by newspaper reports?' Ford is one of 223

D287-288 twenty-seven who answered these questions, "l. Poetry always was, and always will be, a necessity for the human being. Verse-reading and verse-selling are no doubt temporarily in decline, and will so remain until verse-poets make their verses interesting to grown men. 2. The function of poetry in the Republic is still, always has been, and always will be to instil imagination--that is, sympathetic insight I—into the Human Brute that man is. It civilises. Rhythms or broken rhythms are a necessity for humanity. . . . 3. Creative prose is_ poetry . . . why drag in the newspaper reports as the villains of the piece? . . . Gossip is as much a necessity as oxygen for humanity . . . If the conductor of this periodical could secure a good, rattling account in rhymed verse of a late murder, with names of ladies of title hinted at with asterisks and startling insight into the psychology of the murdered unfortunate, and if the Poetry Bookshop has the distributing organisation and could do it for one penny, those rhymed verses would sell two million, six hundred copies. If, in addition, it was poetry, it would be an immortal masterpiece of the type of Kyd's Spanish Tragedy—or the Cencil" 288. "A Haughty and Proud Generation," Yale Review, XI, 703717 (Jul.,1922). "it is easy to say who are our British novelists of the first flight: they are Mr. Conrad, Mr. Hardy, Mr. George Moore, Mr. W.H. Hudson—and possibly Mr. Bennett. That I regard as indisputable if we may take the novel as giving us something more than the tale--as being a tale with a projection of life, a philosophy, but not an obvious moral, or propagandist purpose. First-flight novelists, then, will be those who have perfected their methods and are resigned. The second flight will be, in our literature, Pushkin's 'haughty and proud generation; vigorous and free in their passions and adventures' [see the quotation from Sardanapalus on the title-page of Ancient Lights, A32(a)J; they are such writers as Norman Douglas, P. Wyndham Lewis, D.H. Lawrence, Frank Swinnerton, Katherine Mansfield, Clemence Dane, Dorothy Richardson, and James Joyce. Your first flight will be wise, your second, dogmatic. One likes to thank them for what it is worth, with one's note of applause. But they will not thank you much in return because they are going on to the new adventures, the new explorations of method." Ford mentions most of these writers of the "second flight" again and gives Joyce finally precedence over them. "It is the perception of that fact that gives such great value to Mr. Joyce--and to the whole movement of the second flight. The mind of every man is made up of several—three or four—currents all working side by side, all making their impress or getting their expression from separate and individual areas of the brain. It is not enough to say that every man is homoduplex; every man is homo x-plex. And this complexity pursues every man into the minutest transactio'n of his daily life. . . . It is this tenuous complexity of life that has its first artistic representation in the works of our second flight—and it is this that makes one feel hopeful in the general depression of the English

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D288-29l(a) literary world. . . . The novel of today is probably the only intellectual, poetic, or spiritual exercise that humanity is engaged in performing. It is probably, too, the only work of exact and dispassionate science. 289. Poem. "Rhymes for a Child: Seven Shepherds," Spectator, CXXIX, 367 (Sept.16,1922). Only the title and minor punctuation changes distin­ guish this from the poem which appeared in New Poems as Seven Shepherds (To E.J.) [Esther Julia, his daughter]" and subsequently thus in Collected Poems (1936). The poem was also rprinted in Living Rge, CCCXV, 3θ4 (Nov.4, 1922), titled 'Rhymes for a Child: Seven Sleepers"; and again in Poetry, XXII, 122 (Jun.,1923), with the title "Seven Shepherds (Rhymes for a Child)/' 29Ο. "Third Rate Poet," Golden Hind, I, 15-20 (Oct.,1922). An essay on Shelley. ". . . I have always tried to abstain from attacking my brothers of the Humaner Let­ ters. . . . I do not remember ever having said that Shelley was a third-rate poet; but Mr. Bax [Clifford Bax, with Austin Spare, co-editor of Golden Hind], with whom I cannot have conversed about letters since the days when war sharpened men's tongues, says that once I did, and challenges me to justify the epithet. I sup­ pose it must be done: but with what unwillingness! . . . he [Shelley] was not in essence a writer: he panted to remove abuses . . . " 291· "'Ulysses' and the Handling of Indecencies," English Review, XXXV, 538-548 (Dec.,1922). "I have been pressed to write for the English public something about the immense book of Mr. Joyce. I do not wish to do so ... for four or five--or twenty-years, since a work of such importance cannot properly be approached without several readings and without a great deal of thought. . . . One may make a few notes, nevertheless, in token of good will and as a witness of admiration that is almost reverence for the incredible labours of this incredible genius. . . . even though the great uninstructed public should never read Ulysses, we need not call it a failure. . . . It is ... perfectly safe to say that no writer after to-day will be able to neglect Ulysses . . . The literary interest of this work ... arises from the fact that, for the first time in literature on an extended scale, a writer has attempted to treat man as the complex creature that man--every manJ--is. . . . On the whole I dislike pornographic, or even merely 'Frank' writing in English--not on moral, but on purely artistic grounds, since so rare are frank­ nesses in this language that frank words swear out of a page and frankly depicted incidents of a sexual nature destroy the proportions of a book. . . . But I cannot remember a single indecent passage in any literature that I read before I was twenty . . . My schoolfellows --at a great public school!—used to approach me, some­ times in bodies, I being reputed bookish, with requests that I would point out to them the 'smutty' passages in the Bible and Tom Jones. But I did not know these, and I remember being severely man-handled on at least one () occasion by ten or a dozen older boys, because I refused. 225

D29l(b) Ford tells a story he later retold on p.312 of Return to Yesterday, (N.Y.) about rejection of one of his novels, "Tudor in tone," by an American publisher because of an "indecent" phrase. Tells another story on the same theme: "One of my colonels, formally using his powers under King's Regs., prohibited the publication of one of my books." This may have been On Heaven; see A50 for Ford's comment on the publication oT the title poem. "He was of the opinion that it was obscene; besides, he thought that 'all this printing of books' ought to be stopped. He was a good fellow; he is dead now. My book he had not read. It was published by H.M. Ministry of Information over that officer's head—as British Governmental Propaganda, for recitation to French Tommies! Again: Years ago I had a contract with a very respectable Liberal journal [probably Tribune; see his contributions which begin with D69] to supply once a week a critical article. Being in those days a 'stylist,' I had inserted in my contract a clause to the effect that the paper must publish what I wrote and must publish it without the alteration of a word. I had occasion then to write of two of the characters of some novel: 'The young man could have seduced her for the price of a box of chocolates.' Late, late one night the editor of that journal rang me up on the telephone to beg me not to insist on his publishing tho.se words . . . After I had gloated over his predicament a little I told him that he might alter the words to suit his readers. . . . Before the war when I was less of a hermit but much more ingenuous, I used to be shocked by the fact that a great many ladies whom I respected and liked possessed copies of, and gloated as it appeared over, a volume of dream-interpretations by a writer called Freud—a volume that seemed to me infinitely more objectionable, in the fullest sense of the term, than Ulysses at its coarsest now seems to me. . . . Yet I find to-day that the very persons who then schwaermed over Freud now advocate the harshest of martyrdoms for Mr. Joyce. That is obviously because Mr. Joyce is composed, whilst Mr. Freud has all the want of balance of a scientist on the track of a new theory. Composure, in fact, is the last thing that our ruling' classes will stand in anything but games . . . if you expel Nature with handcuffs and the Tombs, it will burst forth on Broadway in pandemonium. . . . a book purporting to investigate and to render the whole of human life cannot but contain 'disgusting' passages. . . . But I am not prescribing the reading of Ulysses as a remedy to a sick commonwealth. Nor indeed do I recommend Ulysses to any human being. In the matter of readers my indifference is of the deepest. It is sufficient that Ulysses, a book of profound knowledges and of profound renderings of hymanity, should exist—in the most locked of bookcases. Only ...my respect that goes out to the human being that will read this book without much noticing its obscenities will be absolute; and I do not know that I can much respect any human being that cannot do as much as that." Quotes from the book. A corrected typescript of this essay is in the Loewe Collection. 226

D292-295(a) 292. "Prom the Grey Stone," Criterion, II, 57-76 (Oct.,1923). Became the last chapter of Mirror to France. 293. Extensive narrative poem. "Mister Bosphorus and the Muses," Poet Lore, XXXIV, 532-613 (Winter, 1923)· Has no illustrations as did the book version of the poem which was published at about the same time (see A55). 294. Long short story. (With Joseph Conrad) "The Nature of a Crime," Transatlantic Review, I, 15-36,15-35 (Jan., Feb.,1924). This story had appeared originally in English Review, Apr. and May,1909 (see DIlO); here it is under the names of the actual collaborators instead of the pseudonym there used. It was to appear in book form in Sept.,1924 (see A57(a)). See Ford's and Conrad's comments on this and the Romance collaborations which follow in the Jan. and Feb. issues (D297,300). See again A57(a) for materials relating to this publication in the Naumburg Collection. 295. [pseud. "Daniel Chaucer"] "Stocktaking: Towards a Revaluation of English Literature," Transatlantic Review, 1,11, 65-76,56-65,51-57,168-170,321-329,4424327BT-74.274-283,394-404,502-510 (Jan.-Jul.,Sept.Nov.,1924). Ford had used this pseudonym for two books. The Simple Life Limited and The New Humpty-Dumpty. Brief excerpts from these discursive essays: Jan.: (The typescript of this installment is in the Edward Naumburg, Jr. Collection.) "It is obvious that these years of the revision of all values must witness a revision of literary estimates. . . . We used before 1914 to have the simple old view 'Que toutes joies et tous honneurs Viennent d'armes et d'amour.' But upon those lines one could scarcely now conduct a life with much expectation of success. So, before 1914, in Anglo-Saxondom, gentlemen usually inclining towards portliness, read, or at any rate recommended such books as they considered to contribute to the makings of careers. They read the Self Help of the late Mr. Smiles in order to find hints for petty personal economies or technical manuals in order to pass examinations. People born before 1914 still do that; it is unlikely that our children will do the same, for if they do Anglo-Saxondom will no longer rule over six-sevenths of the habitable globe. And if Anglo-Saxondom can no longer do that it will be negligible indeed. . . . For how can a man conduct the delicate affairs of his fellows or lead his brothers to death if he have no acquaintance with the psychology of his time, and how can a man have acquaintance with the psychology of his time if he be unacquainted with the works of art of his day?" Feb.: Two pages of the typescript (pp.56-57) are in the Naumburg Collection. "How much knowledge of imaginative literature, then does it need to make a proper man? . . . It used to be said that a proper man was one who had built a house, planted a tree, begotten a son, written a book and something else ... played in a county

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D295(t>) cricket match, let us say. At any rate the implication was: a civilised human being should devote a fifth of his time and thoughts to the arts and the humaner letters. . . . Literature of the imagination ... in AngloSaxondom is not a very thriving national affair because it has lost touch completely with racial life. Let how to get back be our study." Mar.: "it is possible that a change might come: in the general re-valuation that is taking place all the commercial considerations, the moral queasinesses, the Professors of Literature, Vorschungen, university curricula, honours examinations, all these phenomena commercial at base which stand in the way of the taste for and the honouring of our Literature, may be estimated at their true price. . . . one of our peoples may well evolve and re-erect in English a literature that shall be really of the masses, really national, really beloved and really great. It is probably from the United States that that movement will come: at any rate to-day the United States with her awakening consciousness has an opportunity such as she never had before of entering into the great comity of civilised nations. We, for the moment are too tired, too bound down by vested interests, too poor; bled too white--and of our best blood." . Apr.: "Literature exists for the Reader and by the Reader: that is Bolshevist doctrine or platitude according to the point of view. The quite natural tendency of the Intelligentsia is to make of literature as inconsumable a thing as may be, so that, acting as its High Priests, they may make mediocre livings and cement their authority over an unlettered world. It is an ambition like another but more harmful than most. The ambition of the writer as writer is to cast light; to make clear. His purpose is to make man, above all, clear to his fellow men; the purpose of the Intelligentsia is to suppress all such illuminations as do not conduce to rendering more attractive their own special class. . . . it is no business of the imaginative writer, the producer of Literature, to bother his head with creative systems of morality. No doubt he will have an instinctive morality of his own but usually, outside Anglo-Saxondom, and sometimes even within those bounds, he refrains from attempting to impose, except instinctively and without benevolence prepense, his own views upon his fellow men. . . . He is ... to the measure of the light vouchsafed him, reporter or Creator; he is never a prophet whether of good or evil." May: "in Roman Catholic countries or circles you do not of necessity ask your priest to dinner. At the altar he is sacred, in his presbytery awe attaches to him; but in Society: he may be the son of a cobbler, completely ignorant, with bad manners, with bad table manners . . . He on his part is vowed to a sacred profession; he eschews comfort, is devoted to poverty. Twice or four times a year you ask him to dinner--to do honour to God; and he comes, to do honour to man whether Caesar or Lazarus. But he is not your social equal: None the less he is your father in God. It is a very 228

D295(c)-296 proper arrangement, decent and fit for self-respecting men. It is to be wished that the world so treated its imaginative writers and that its imaginative writers were content so to be treated by the world." Jul.: Speaks of his classical education at any "ancient public school and the school preparatory for it." "So, it would appear, pure literature is today doomed, in Anglo-Saxondom. . • . Living for the artist of England has always meant lip-service to the Established--to the Established Church for a great portion of the three hundred years, to Established Social Systems, to Established Political Parties at various times; and always to Established Morality. Of these the Anglican Church, Social Systems and Political Parties if relatively unchanging have from time to time modified themselves. Established Morality alone in its essentials has remained fixed, and a dreary, lugubrious, dishonest, purely materealistic thing it has always been since first in the Alchemist Ben Jonson drew an artist's picture of, and warning as to, the Anabaptist elders." Oct.: "The quality that I ... ask of a style is that at TSrc] should be as clear and as simple as is consonant with the subject treated. Abstract thought for example will not bear the same simplicity of statement as concrete storytelling where the necessity is to get a situation in quickly and there is no strain on the mind . . • • Man is explicable by his imaginative literature alone. The man who has read the whole of written history and all the Essays about it knows nothing of man." Nov.: "Between Realism and the Allegoric stands however me Romantic: between ••• Pope and Flaubert stands Victor Hugo; between the eighteenth and the twentieth, another century! And it is quite possible that in Anglo-Saxondom a cleavage will come and that, whilst England returns to its diet of half-cold fish--at any rate on the surface, the United States may produce and immensely consume and immense, hybrid Romantic-Realist literature. For it is obvious that the United States with its mixed populations is not going to be limited or turned back to the diet provided by the Concord Group which represents the last activities of the 'English ' muse in America: ever since the days of Mark Twain and Whitman, and still more of Stephen Crane, it was quite obvious that America was going to have a literature of her own--and a literature nearer in spirit to the literature of the Continent than to the literature of the 'Mother Country. I " 296. ["F.M.F."] "Chroniques I: Editorial: Paris, December," Transatlantic Review, I, 77-85 (Jan.,1924). (The typescript of this editorial, with instructions to the printer in French in Fordls hand, is in the Naumburg Collection.) Explains how the review came to settle in Paris rather than London or New York; comments on the motto, "Fluctuat," an abbreviated, and as it turned out by the end of the year, an appropriate version of the Paris motto. Then he turns to the political commentary: "The doctrine that engrossment in onels work is the supreme joy, as it is the supreme virtue, of man is for

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D296-297 the moment anathema to our Extreme Left. . . . In those days [early days of the War] the writer, being pressed by a member of Mr. Asqulth's Cabinet to write what was called [sic] propaganda was definitely and officially assured by that gentleman that the peace-terms of His Majesty's then Government included the dismemberment (but not the subjection of any of the peoples) of the Empire of the Hohenzollerns and the creation along the Rhine of a Federation of free and neutral republics akin to the Federation du Rhin projected by Napoleon I--and of course as side issues the liberations of Poland and of Ireland. Without these definite assurances the writer would not have taken up the distasteful task of producing great quantities of the turgid printed matter that was then known as Information [presumably When Blood is Their Argument and Between St. Dennis and St. George]. It appeared to him then, as it appears now, that the safety of civilisation as we know it can only be assured by the resolution of the Empire of the Hohenzollerns into its constituent and reasonable units and the organisation of South Germany and the Rhineland as free and federated states none of which should owe allegiance to Prussia or to the Prussian monarch. . . . the Intellectual leadership of Great Britain fell, in the years just succeeding the Armistice, almost entirely into the hands of men who for one reason or other took no physical part in the actual warfare of the epoch. . . . the Left and middle Left press of Great Britain is dug into position and maintains itself solely by the pens of the British Intelligentsia. So Freedom shrieked again, She had fallen into the hands of the Tories. . . . Tories are admirable people. There is probably no more attractive member of the human race than an English Tory with his horse-sense, his scepticism, his individual honesty. . . . The Tory party will never ask any man of sense to write for it. It is the Stupid Party . . . " 297. "Communications," Transatlantic Review, I, 93-99 (Jan., 1924). Ford presides over the opening of the review and introduces well-wishing letters from notables. In saying that 'the birth is in truth a re-birth" and soon after speaking of "the old English Review" he makes some connection between the two enterprises. "It is held that Anglo-Saxondom cannot support a periodical purely literary in its aims . . . " Also a few notes on the contributors (this became a regular feature). The last "letter" is from his collaborator on "The Nature of a Crime." It is actually the greater part of the Oct.23, 1923 letter which appears on p.323 of Life and Letters, ed. G. Jean-Aubry, plus the part of a letter which Ford subsequently published on the first page of the appendix to The Nature of a Crime ("A Note on Romance"). The Ford paragraph which there follows the excerpted letter appears here, followed by the comment: "it had been the intention of the editor ... to include in the present number some specimen pages from Romance with phrases allotted to one or the other of the collaborators. . . . this must be deferred to a later number. Literary interest in the question of collaboration as such and the 230

D297-301 Interest of the public in this particular collaboration may be taken to warrant the labour." 298. Novel. "Some Do Not," Transatlantic Review, 1,11, 100119,90-104,86-98,177-195,330-344,453-467,80-93,313324,521-526 (Jan.-Jul.,Sept.,Nov.,1924). See Ford's Chronlques" for Aug.,1924 (D320), which explains the absence of Some Do Not, as well as of the usual contribution of "Daniel Chaucer," from that issue. On p.298 of the Sept. issue, in the Editorial (D322), Ford says: "We announced in our last number that if any large body of our readers should ask for a continuation of Some Do Not we should continue . . . Two readers have made that request. We therefore continue." In the Nov. Editorial, p.551 (D326), is this final statement: "if our sub-editors permit it the end of the first part of Some Do Not will appear in this number after which we do not propose to continue the publication. This work has by now appeared in book form . . . To such subscribers as will forward us to the Paris office their subscriptions for next year we--this editor--will send at once a copy of the book in question, leaving it to the applicants' conscience to decide whether they really do want to read it." See A56(a), which includes information on typescripts, now in the Naumburg Collection, of the novel as submitted to the Review. 299. "Chroniques," Transatlantic Review, I, 66-74 (Feb.,1924). "To the finer, more impracticable ideals of the Lefts of the world--those strains from the fiddle while Rome burns--we shall return later, afterwards and always in the belief that the salvation of the world can come only through the humaner letters and the finer arts, we shall devote some attention to the Rights of bodies politic." Also remarks on technical problems encountered in getting out the Review. 300. "Communications," Transatlantic Review, I, 84-89 (Feb., 1924). Includes the analysis of Romance Ford had promised in the previous issue (D297) and which later formed the appendix of The Nature of a Crime, with the first pages which had appeared in the Jan. issue (also D297)· The typescript of this analysis is in the Naumburg Collection. 301. "Literary Causerles: I. The Younger American Writers," Chicago Tribune (Paris), #1, 3 (Feb.17,1924). Photo of Ford with Joyce, Pound and John Quinn. Caption: "The big intellectual four who control the destinies of the new Transatlantic Review . . . " "Ten years ago English best-sellers swept across the United States with the swiftness of prairie fires; for the last five years those disastrous conflagrations have not so much as consumed the book-markets in England. On the contrary, American writers like Mr. Sinclair Lewis have run our Caines, Corellis and the rest, very hard in even the sacred cellars of our most established circulating libraries. The reader will say that this talk of sales and circulations is mere materialism. It is! But to go further and to say definitely and dogmatically that mere 231

D301-302 sales or the lack of them have no influence on the output of pure literature would be to dogmatize without consideration. The truth is that some writers are helped by success and some are not. . . . it is a good thing that whilst England and its commercial literature are meagrely apportioned out between academics, young men who regret that they are not epileptic so as the better to write like Dostoieffsky and young men and women whose gospels are the works of Sir James Barrie and Miss Daisy Ashford--it is a good thing that America has been enjoying the boom years of Mr. Sinclair Lewis, of Mr. Sherwood Anderson or of Mr. Hergesheimer. In England the Middle Classes must escape from their afterwar worries just as before the war they had to find palliation for indigestion in Peter Pan or in the pages of Punch. America is more vigorous. . . . To the English reader there must of necessity appear a note of ugliness in all late-American work. Nevertheless ... there has ... appeared a new sense in American literary work. . . . They possess the historic sense. One used in one's haste, and before the war, to say that Americans knew nothing--and they probably didn't and it did not help them. They pursued, as far as writing was concerned, knowledge along European, and mostly purely English lines. . . . when the mists that surround contemporary history have rolled together it will appear that the queer Little Review made the beginnings of real American literature a possibility. It was the trying over ground for all sorts of badnesses, outrages, tastelessnesses and experimentalisms that a literature must get out of its system before it can begin to live; and merely by its sporadic and thwarted attempts to put Mr. Joyce before the American writer the Little Review did immense things for America. . . . the note of post-war American writing is its complexity—the complexity of its handlings and its perception of the complexity of all modern problems." 302. "Literary Causeries: II. ViIl Loomyare," Chicago Tribune (Paris), #2, 3 (Feb.24,1924). "I have been lately impelled to some mystified and mild speculations as to the queer natures of us AngloSaxons by what I am told was the ceremonial removal of a periodical in which I am interested [probably the Transatlantic Review] from the waiting-room table of an Anglo-Saxon ladies' institution which decorates this city. . . . the decree has gone forth against a playlet of a distinguished French writer . . . " This was Georges Pillement. " . . . whereas England has produced not a few great books in her time England has no literary traditions, whereas in France there is always a great continuing stream of literary and of honour for literature that gives to the French writer a seriousness, a sense of having a backing and a belief that his work is worth taking trouble with. . . . There used to cover the United States when I was last there a cunning advertisement that read: 'Drink Moxie! You will not like it at first!' It is a good advertisement to remember when it is a matter of considering the works of young men who are abused by the middle-aged and the established. 232

D302-304 • . . I have been driven to these speculations by happening to look down the publishing list of the Three Mountains Press which consists of six works selected by my friend Mr. Pound (see A54) as marking the high-water mark of English literary psychology and execution of the present day--these works all having been published in Paris and being all by writers who have been profoundly influenced by the curious, indefinable, unmistakeable spirit of workmanliness that breathes in the Paris air • . • 11 Mentions and comments on Great American Novel by William Carlos Williams and In Our Time by Ernest Hemingway. - -- --IIChroniques: Paris, February," Transatlantic Review, I, 58-64 (Mar.,1924). "In the first number of this Review Mr. Conrad [in his first letter, S.v.] refused to credit the writer with any of the guile of the serpent. Let us however lay claim to a little • • . For it was not without a certain pawky guile that we arranged that on the very forehead of this periodical there should appear the poems of Mr. E.E. Cummings--uncapitalled, as if without bathing costume! . . . In the course of setting up the title 'transatlantic review' several times the writer, who in matters of printing likes a certain squareness, was struck by the fact that a 'T' and an 'R' sticking a long way up above the other letters of the title were to him at least distasteful. He said to the compositor: 'Try it without any capitals at all!' and thought the result rather pretty." See his rather different explanation in It Was the Nightingale, Philadelphia, p.324. But most credible is the letter from the printer William Bird himself to Frank MacShane, dated Mar.7,1954 (in MacShane's Oxford 1955 thesis, "The Literary Career of Ford Madox Ford ll ) : "It may interest you to know ... that No.1 (and possibly No.2, I can't recall) carried normal capitalization. Ford was not pleased with the way the printer had composed his title page, and asked me if I could not improve the typography. My Three Mts. Press had nothing but Caslon Oldface, and I found that the word 'transatlantic' would not fit into the measure with a capital T--unless, of course, we used a smaller size, which would not be bold enough. Ford agreed that we would leave the capitals out." 304. "Literary Causeries: III. --And the French," Chica~o Tribune (Paris), #3,3,11 (Mar.2,1924). "The Man of Letters in France is a Personality, with a definite rank, a very high rank, amongst professional men • . • the English man of letters has one only ambition--to be styled a gentleman and hidden among other gentlemen in the hope that he may pass. To that end he avoids his brother writers unless for commercial reasons. So his work suffers . . . . American conditions indeed begin to resemble those of the French and the resemblance grows daily closer. In or from the United States you have groups . . . " Comments on three works and their writers, Oxford et Margaret by Jean Fayard, A la D~rive by Philippe Soupault, and Lewis et Irene by Paul Morand "From the literary point of view M. Fayard's book is the

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D304-306 least satisfactory of the three; it is relatively form­ less and abounds in the author's comments which we were taught to regard as taking away from the vividness of the depiction. Nevertheless its insight into the life of the devious, divagating thing that is the British young soul of today is amazing. . . . M. Morand ... views the world from the more unconcerned--and more indulgent--armchair of the diplomatist who has travelled . . . If you compare it with, say, Antic Hay, of Mr. Aldous Huxley, a young English writer who is apparently coming to occupy, mutatis mutandis, something of the position occupied by M. Morand in France ...--if you make that almost impossible comparison you will see how infinitely more consummate in this literature of cynicism is the French method of which M. Morand is so admirable an exponent. It is Stendhal against Sir James Barrie, that terrible influence which together, again, with Dostoievsky, has so taken the quality of blind potency out of our British life of today. . . . M. Soupault, on the other hand, is a poet--and if any Frenchman's work of today can shew the influence of any English writer, M. Soupault's λ la_ Derive shews the influence of the author of Lord Jim. His book on account of its sheer writing--lucid, cadenced and tranquil--is singularly beautiful." 305. "Literary Causeries: IV. Escape..." Chicago Tribune (Paris), #4, 3,11 (Mar.9,1924). ". . . if you are at all worried your Literature of Escape must be such as will come out of its covers and grip you with the insistence of life itself." During the late war he had tested "the books that during all that other life I praised and championed with my pen" by re-reading. "I re-read Youth and Heart of Darkness in a regimental ammunition dump that had been dug out in the side of a hill in Becourt wood--on 15 July [l9l6] it was; What Maisie Knew, in and around the town of Albert during the 2 and 5 August and the Red Badge of Courage whilst we were in tents, in support, somewhere between Kemmel Hill and the small town of Locre." These anecdotes appear also in No Enemy and Pt Was the Nightingale. 3Ο6. "Literary Causeries: V. Revivals and Revivalists," Chicago Tribune (Paris), #5, 3,H (Mar.16,1924). ~~"~. I Γ nothing is more curious than the revival of Stendhal as a literary figure. . . . Now there comes a revival of interest in Stephen Crane--a very great writer who for twenty-five years or so had been almost entirely forgotten even in America. For the matter of that, even in England, one could witness between the 'eighties, the late 'nineties and the early teens, of this century, the almost complete eclipse and the great revival of Henry James." Retails anecdotes about James and Crane, most of which have appeared elsewhere. Com­ ments on Thomas Beer's biography of Crane, much in the same vein as in his review of that book (see D319)· "But great poets as a rule occupy themselves with their great poems--and Mr. Beer is the next best thing, since he is a true enthusiast for his subject." Repeats the 234

D306-308 "patronage" anecdote (see F23). "I suppose this air of patronage in my manner came from the fact ... that in making critical references to the work of my contemporary authors I try as a rule to compare them to the real masterpieces . • • . Nor perhaps, seeing him as I did as the Fortunate Youth with a nimbus of glory, did I sympathise with his Idisastersl as others may have done. For in Idisastersl as in literary merits there are degrees. Take Byron." This gives Ford occasion to comment on the Byron centenary and the publication of Roger Boutet de Monvells Vie de Lord Byron (see D311). "Literary Causeries: VI. The Herb Oblivion," Chicago Tribune (Paris), #6,3 (Mar.23,1924). 11 • • • I have often thought that the final--the only valid--condemnation of the generation of great Impressionist writers to which I humbly belong will be found in the pages of the few almost supremely great writers who can write about Birds and yet hold the attention of us who are negligent, tired and indifferent to the little brothers of St. Francis. For to write about birds demands an exactness of attention and an exactness of rendering that the Impressionist not only eschews for himself but condemns in others. I and my friends maintain that to get an impression--a true impression of the tenuous thing that Life is, you must make your record a thing of exact enough renderings; but they must be renderings of things that force themselves on your attention almost more than of the things that you really obser~e of your own will . • • . However I propose to write about W.H. Hudson as I knew him, next week or almost next week [see D313l and I was proposing to write, when I set out, about the dead. Oh, not the dead of the Marne, the Somme or the Arc de Triomphe; merely dead books, the dead of the Seine whose coffins, painted the colour of armoured cars or battleships, are clamped to the copings of all the Quays from the lIe Saint-Louis to the Chamber of Deputies . • • . I hate this Purgatorio of the bouquinistes . • . . I doubt if the lover of books as opposed to the book-lover will even have such an abominable apartment as a Library at all . • . . The Essayist goes [to the Seine book-stalls] to find lowpressure matter; the Reader goes to find bargains; the school-boy and the student for cheap school-books. The real writer and the real lover of books goes there only to be made humble." Laments the presence there of works by Harland, "a literary figure whose phantom brows should not be bound with the herb oblivion. II 308. II Literary Causeries: VII. Pullus ad Margaritam," Chicago Tribune (Paris), #7,3,11 (Mar.30,1924). IIDuring a little tour the other day we passed Ch~teau-Thierry of ghastly memories and to avoid touching on worse things we fell--French and Anglo-Saxons --to discussing La Fontaine who was born in that little town in 1621. For myself I must needs make the confession that La Fontaine and all his fables meant nothing to me . . . . There is then here set up an impenetrable barrier, temperamental, racial very possibly; certainly traditional . . . . whereas the real respect of the 235

D308-3H French writer is given to his prose all the real work that the Anglo Saxon does at literature is given to his verse—and all his passion and all his sentimentality at its best. . . . poetry in England today remains com­ pletely recognisable as a thinning stream of the KeatsShelley-Tennyson tradition—a thing of a certain sweet mistiness, like the diaphanous vapours of purples and yellows that with the opening of the buds comes over our coppice-lands in early spring. Poetry in France too remains on the whole brilliantish mosaic of hard, exactly chiselled words, each word meaning exactly what it says and no more so that there is nothing of the quality that we are accustomed to characterise as atmosphere. But if you think of the beginnings of American poetry with Whitman who had, it is true, no sense of words at all but seemed to have learned his language from a village dry-goods store catalogue; if you think then of the Black Riders of Stephen Crane who had all the hard exactness of language of a French writer but managed nevertheless to get into his vers libre a great deal of conversational fluidity; if you consider then the work of Mr. Pound and above all the influence of the work of Mr. Pound--and then of a whole school, like H.D., Miss Amy Lowell, Robert Frost, the author of Spoon River and so to Mr. E.E. Cummings or the young group that support a journal called Seces­ sion; and if you consider Mr. T.S. Eliot; you do arrive at a very active, vivid, and successful body of Poetry that has no blank-verse-Keats-Shelley-Tennyson tradition at all. . . . But a really satisfactory state of things can not come about until Anglo-Saxondom realises that the greatest of all vehicles, the supreme vehicle, for Poetry is prose. And I do not know that in that depart­ ment of thought America is any better than England ... the prose even of Mr. Eliot being singularly frigid and self-conscious whilst the prose of Mr. Pound is no more nor less than a national disaster." 309. "Chroniques: Paris, March," Transatlantic Review, I, 196-201 (Apr.,1924). "We fought to preserve a land [France] fit, not for heroes, but for imaginative artists. Having done it most of us set to work to extirpate them. . . . The We of the Transatlantic Review exists, a just man in Sodom, if possible to redress the balance. We are here to present on the table of our camera obscura as many of the art activities of the world as we can get in ... for that and no other reason." 31Ο. ["Literary Causerles: VIII," Chicago Tribune (Paris), #8, (Apr.6,1924).] I have not been able to inspect this issue. 311. "Literary Causerles: IX. Zoe Mou, Sas Agapo," Chicago Tribune (Paris), #9, 3,11 (Apr.13,1924). The essay on Byron he had earlier (in D306) promised. "Byron in short was so many things to so many men and was so Innumerably more things to himself that one has as it were to go through a whole wardrobe of dissimilar fancy dresses pushing costume after costume aside before . one arrives at the real Lord Byron, if even then one

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D311-312 arrives at anything real. . . . A very normal Englishman whose circumstances gave him almost unlimited scope for eccentricities, spleens and outrageousnesses. . . . Byron was expelled from England by public opinion in an age when Horror was the chief delectation of a bourgeoisie that was beginning to become the ruling class and that was beginning to lead very dull lives because of the growing security of the age. . . . even in his relations with women, a goodish, puzzled sort of a fellow, and it is a misnomer to attach even to them the name of dissipation, which is a working up of coldnesses to an abandonment of the equilibrium." Ford's portrait of Byron is reminiscent of Edward Ashburnham of The Good Soldier. "He was, I imagine, the only Englishman who by his works and figure changed the whole mentality of the occidental world. So I suppose he had to be English, at bottom, to the end, and beyond most of us." This refers back to his opening quotation from Parry's Last Days of Lord Byron: "I believe sincerely that there is no happiness in life but in domestic circumstances. No one on earth respects a virtuous wife more than I and the prospect of returning to live in England with my wife and daughter affords me a perspective of felicity such as I have never expressed . . . " 312. "Literary Causeries: X. Mystifications," Chicago Tribune (Paris), #10, 3 (Apr.20,1924). "Last week one of the most vivacious and entertaining Paris periodicals came out, in all the pomp of front page block capitals with an accusation against the most entertaining and vivacious of British novelists. ParisJournal was alleging against Mr. H.G. Wells that he had plagiarised plot, incidents, speeches even, of his New Macchievelli [sic] from a novel by M. Edouard Rod the English name oT~which is The Private Life of Michael Teissier. The accusation was made by M. Roger Allard and made with a vigour, an engrossment that might be taken to arise from a deep seriousness." Such is not the spirit of Ford's criticism. "The plots of the two books were set out in parallel half columns, and the plots of the two books being stated in each case in M. Allard's words came out surprisingly parallel. . . . At that time, then, Mr. Wells must have been suffering from a very serious nervous breakdown. . . . He, whose ordinary working brain bubbled in ten minutes with more ideas than would have supplied M. Rod with plots and conversations for five years of novels, was driven to obtain a plot—and such a very ordinary plot--and to transcribe the most commonplace of passages from a novel so well known that the plagiarism could not escape notice. . . . I wonder why it is that the French, who are usually so clearsighted, have in apparently all their bonnets, this bee of plagiarism. . . . If, in addition, the same Frenchman accused me of treating the same subject as is treated of in the books of both M. Edouard Rod and Mr. Wells I should display a similar proud indifference. I have treated the subject twice already, and, at the moment, I am treating it again [in No More Parades, presumably]. For the subject is no more than 237

D312-314 the subject of Paris and Helen of Troy; of Anthony and Cleopatra; of Charles Stewart Parnell and Mrs. OIShea-of you and of me. A brilliant young public leader, married for long enough to be tired of his wife, meets a young woman and, in spite of the remonstrances of his friends, elopes with her.11 See M. Allardls disclaimer and the letter of the actual author, Marcel Pagnol (E396). See also Fordls answer to Pagnolls letter in the same issue, D315. II • 313. Literary Causeries: XI. IHuddie) action of the narrator's mind as it gropes for the meaning, the reality of what has occurred. . . . The patent inadequacies of Dowell as a narrator have led critics of the novel to dismiss his version of the meaning of the events, and to look elsewhere for authority. . . . But the point of technique here is simply that the factors which seem to disqualify Dowell--his ignorance, his inability to act, his profound doubt--are not seen in relation to any norm; there is neither a 'primary author' nor a 'knower' (of the kind of James's Fanny Assingham or Conrad's Marlowe) in terms of which we can get a true perspective of either Dowell or the events of the novel. . . . The case for reading the novel as Schorer does [see Horizon, Aug.,19^9], as a comedy of humor, is based on the enormity of Dowell's inadequacies. There are two arguments to be raised against this reading. First, Dowell's failures--his failure to act, his failure to understand the people around him, his failure to 'connect'--are shared by all the other characters in the novel, and thus would seem to constitute a generalization about the human condition rather than a moral state peculiar to him. . . . Second, Dowell does have certain positive qualities which perhaps, in the light of recent criticism of the novel, require some rehabilitation. For instance, if his moral doubt prevents positive action, it also restrains him from passing judgment, even on those who have most wronged him. . . . And though he doubts judgment—doubts, that is, the existence of moral absolutes--he is filled with a desire to know, a compelling need for the truth to sustain him in the ruin of his life. . . . Dowell has one other quality, and it is his finest and most saving attribute—his capacity for love; for ironically, it is he, the eunuch, who is the Lover. . . . the novel is not a study of his particular limitations; it is rather a study of the difficulties which man's nature and the world's put in the way of his will to know. . . . Since the action of the novel is Dowell's struggle to understand, the events are ordered in relation to his developing knowledge, and are given importance in relation to what he learns from them. . . . The effect of this ordering is not that we finally see one version as right and another as wrong, but that we recognize an irresolvable pluralism of truths, in a world that remains essentially dark. There are ... certain crucial points in the narrative to which Dowell returns, or around which the narrative hovers. These are the points at which the two conflicting principles of the novel—Convention and Passion—intersect. . . . In the action of Dowell's knowing, he learns the reality of Passion, but he also acknowledges that Convention will triumph, because it must. . . . Yet in the end he identifies himself unconditionally with Passion . . . To know what you can't know is nevertheless a kind of knowledge, and a kind that Dowell did not have at the beginning of the affair. Of positive knowledge, he has this: he knows something of another human heart, and something also of the necessary and irreconcilable conflict which exists between Passion and Convention, and which he accepts as in the

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E1029(c)-1031 nature of things. Beyond that, it is all a darkness, as it was." IO3O. *Lid, Richard W. "Ford Madox Ford and His Community of Letters," Prairie Schooner, XXXV, I32-I36 (Summer, 1961). Similar to Lid's article, "Tietjens in Disguise," Kenyon Review, Spring,i960, in its emphasis on the Jamesean influence. 'He believed what today too many forget: that there is a community of letters and that literary production is essentially a communal process. Indeed, his own career, as critic and guide to the young, but more especially as novelist, is a testimony to that belief. For while, to use his own words, Ford was 'trained for genius,' it seems clear in retrospect that he had more talent than genius, and talent, to be maturely used, needs a teacher. . . . It was Conrad who turned Ford into a serious novelist, who in effect 'talked' him into the mainstream of twentieth century literature . . . Ford's passionate desire was to learn to write as well as he and a few others talked. It is not surprising, then, that he was to gravitate toward James, whose novels are constructs of overheard speech. . . . It is not necessary to suppose that Ford was hostile to James. On the contrary, The Panel is in part a satire on the mentality which cannot understand the novels of the master. But there is an ambiguity in Ford's attitude toward James, a tone that at times seems compounded of levity and malice, and which needs explanation. A good portion of the explanation lies in Ford's self-imposed tutelage under James, for in a later book on Conrad he remarks casually that in the past he had written 'two pastiches in the manner of Mr. Henry James.' The one was An English Girl (1907), Ford's attempt to handle the international theme; the other, A Call (1910) . . . The passion of A Call is a very tame affair, for the Jamesean manner prevents Ford from telling the story he wants to tell, and the novel collapses into a series of gestures and postures and preposterous conversations . . . The Jamesean method is incapable, except by suggestion and nuance, of dealing with a sexual theme, and this Ford was to learn. . . . To the reader who knows the works of the later Ford, A Call reveals in embryonic form almost the complete cast of his more famous characters: Dowell, Florence, Captain Ashburnham, Tietjens, Sylvia, and Valentine Wannop; and it also contains the characteristic 'affair' of his later fiction, 'one psychological progression involving two women and a man.'" IO3I. Ludwig, Richard M. "The Manuscript of Ford's 'It Was the Nightingale,1" P.U.L.C., XXII, 190-191 (Summer, 1961). "Edward Naumburg, Jr. '24 has presented to the Library a morocco-bound holograph manuscript, 'Towards Tomorrow,' signed by the author . . . Ford always believed fiction should render, not draw morals, and the impressions he renders here are vivid indeed . . . In April, 1948, Mr. Naumburg published in the pages of the Chronicle a catalogue of his extensive Ford collection accompanied by

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E1031-1033 photographic plates of manuscript pages. One of these reproduces the first page of 'Towards Tomorrow.' Bysimple collation with the published text, it was pos­ sible then to observe that Ford had made many changes somewhere between this holograph page and the first edition of It_ Was the Nightingale. Now that we have seen the whole manuscript, collation tells us much about Ford's writing habits. Ford scholars will want to inspect this manuscript closely." 1032. Jones, A.R. "Notes toward a History of Imagism," South Atlantic Quarterly, LX, 263-266,282 (Summer,

Ϊ95ΤΤ.

In his foreword to Imagist Anthology 1930 Ford "con­ fuses the history of Imagism to an extent that does credit to his imaginative powers . . . Ford shows him­ self to be hopelessly out of touch with a period in which these isms were felt to be irreconcilably diver­ gent by those who believed in them with such passionate conviction Yet Ezra Pound clearly asks us to take Ford seriously. . . . Ford says nothing here about poetry that had not been said, and said much more pre­ cisely, many times before by the young experimental poets who grouped themselves around T.E. Hulme from 1908 onwards. There is little or no evidence of Ford's having any direct influence on poetry, either on its practice or on its theory, and little or nothing, so far as objective evidence is concerned, to justify Pound's insistence that Ford 'did the WORK for English writing'--apart, that is, from Pound's insistence. . . . In spite of the achievement of Ford's much overpraised novel, The Good Soldier, neither his critical work nor his poetry nor his novels seem to support such extrava­ gant claims for him. . . . Ford had too great a respect for the established figures of literature, was too much of the literary and social snob, ever to have offended the accepted conventions and tastes of his time by turn­ ing the English Review into a platform for the new, experimental writing. Pound introduced him to some of London's younger and livelier poets and authors and managed to broaden his taste and outlook. Indeed, there is evidence that Pound effected a considerable and, in some ways, decisive influence on Ford and also managed to exercise some little influence on the English Review. Pound is the chief propagandist for the Ford myth. . . . However much Pound says he owes to Ford or to Guido or to Fenellosa, he owes the ideas behind the Imagist move­ ment to Hulme." 1033. *MacShane, Frank. "The English Review," South Atlantic Quarterly, LX, 311-320 (Summer,1961). ™~. '. ! EEi s magazine more than any other introduced contemporary literature to the world. . . . Even while engaged in the Conrad collaboration, Ford had approached his friend, Edward Garnett, then a London publisher's reader, with the suggestion that a series of books be published "... conceived on the broad general idea of making manifest, to the most unintelligent, how great writers get their effects, As distinct from the general line of tub-thumping about moral purposes, the number of 470

E1033-1034 feet in a verse, or the noble and amiable ideas entertained, by said Great Writers, of Elevating and of making the world a better place. ... Why couldn't one make some sort of nucleus, just some little attempt at forming a small heap on which people could stand and get a point of view with their heads a few inches above the moral atmosphere of these Islands.1 [Footnote: "Ford Madox Hueffer to Edward Garnett, dated by Mr. Garnett 19011904. In the possession of Mr. David Garnett."] . . . So long as Ford remained in complete control of the magazine, imaginative literature occupied most of its pages, and only a small number were devoted to reviews, criticism, and general articles. . . . Of the hitherto unknown writers whose first work was published in the Review, the appearance of D.H. Lawrence was probably the most important, while that of Wyndham Lewis was the most spectacular. . . . While consolidating and confirming the reputations of older writers, it also inspired new movements among the younger writers and was ultimately responsible for Imagism and Vorticism. But despite its literary success, the Review was an economic failure. Part of the fault must be attributed to Ford, who badly neglected the business details of his enterprise. . . . By August of 1909, his idealism had taken its toll: theX5000 [see D104] put up by Marwood and himself was exhausted and Ford decided to suspend operations. At this juncture, his brother-in-law, David Soskice, undertook to form a syndicate that promised to continue the Review without interfering with the editorial policy, and at the same time to pay Ford a salary as editor. To these arrangements Ford naturally agreed, because he still hoped the magazine would be able to provide space for distinguished writing. Soon, however, the arrangement became unsatisfactory. Ford discovered he was to be paid nothing for his services, and once, after returning from a brief journey, he found Galsworthy installed in his editorial chair. . . . However convenient it would be to blame the collapse of Ford's review on financial mismanagement, it would be an oversimplification of London literary life to do so. What happened was that many of the old guard, finding their positions under attack by the young, adopted a hostile attitude towards the Review, while the incompetents clubbed together to cry it down. . . . the failure of the English Review must, as Richard Aldington has said, 'be laid to the stupidity and genuine hatred of culture displayed by our countrymen.' 1[Footnote: "Richard Aldington to the writer, 17 May 195 +."] For petty squabbles cannot explain why the circulation of the Review hardly ever rose above 1000 copies a month." IO34. *MacShane, Frank. "A Conscious Craftsman: Ford Madox Ford's Manuscript Revisions," B.U. Studies in English, V, 178-184 (Autumn,1961). ". . . it is now possible to see in his manuscripts that Ford not only preached careful writing but practiced it in his own work. . . . In his own novels, Ford seems to have used both Flaubert and James as models for openings . . . " Briefly compares opening of The Wings of the Dove and of Some Do Not. " . . . four separate 471

E1034-1036 drafts of the opening of Ford's unfinished final novel, Professor's Progress, have been preserved, and these provide an Interesting study [which MacShane subsequently makes] of the way In which Ford tried to bridge the gap between the dramatic opening and the reflective opening." Comments on the manuscript ending, suppressed in publication, of Some Do Not. "This scene was discarded because of Ford's concept of form and because of his ideas concerning the role of the 'big scene.1" Prints the previously unpublished scene. "Had Some Do Not been designed to stand alone, this ending would have been admirable . . . " 1035. «"Memories of Ford Madox Ford," WBAI Program Folio, II, #22, 6 (Oct.30-Nov.l2,196l). Notice of a broadcast that took place on Nov.5 (repeated on Nov.10) over the New York radio station, WBAI. Description in Program Folio: "A documentary on the later years of the author of Parade's End and The Good Soldier, featuring recollections of Ford in New York, Nashville, and at Olivet College, Michigan, by Matthew Josephson, Allen Tate, Louise Bogan, Nathan Asch, Robie Macauley, and others." The "others" included: Robert Lowell, Ezra Pound, Harold Loeb, Joseph Brewer, Edward Naumburg, Mrs. Janice Biala Brustlein (Ford's widow and literary executrix), Mrs. Julia Loewe (Ford's daughter), Katherine Anne Porter, and Caroline Gordon. The program was produced by Richard Elman. All of those interviewed are Americans who knew Ford in varying degrees of intimacy. A brief introduction by a radio announcer prefaced the interviews; each participant in the program was apparently interviewed separately, and in the broadcast the interviewer's questions have been cut out, the miscellaneous recollections pieced together without conspicuous design. Interesting to the bibliographer was Robert Lowell's revelation that he took dictation during Ford's writing of The March of Literature; having considerable difficulty keeping up with Ford's oral delivery, he occasionally "guessed," and these guesses, he believes, found their way into the published volume. 1036. *Cassell, Richard A. "The Two Sorrells of Ford Madox Ford," Modern Philology, LIX, 114-121 (Nov.,1961). Expansion of pp.90-10fa of Cassell's Ford Madox Ford. "In 1935 Ford Madox Ford published an extensive revision of his novel Ladies Whose Bright Eyes, which had originally appeared in 1911. The changes reflect the modification in themes and fictional techniques he had developed in the twenty-four-year interval, during which he wrote his major novels . . . since his protagonist is a businessman who rediscovers the traditional basis of honor, the novel throws light upon several of Ford's main themes centering on the gentleman of honor and the man of commerce. The revised edition is of interest since its criticism is essentially the same as in the earlier, while the solution is significantly different." Mentions Ford's usual disdain for revision, citing examples. "in 1911 Sorrell [the novel's protagonist] was not ready to confront the twentieth century because Ford was not. 472

E1036-1037 . . . The stylistic revisions achieve more conciseness of expression and help to sharpen our perception of the action." More than in the corresponding passage of his book, Cassell comments on these revisions. "... Ford managed in the revised sections to omit the more obvious expository details, simplify sentences, split and condense paragraphs, omit unnecessary and burdensome words, phrases, and sentences, and to delete brief passages. He took greater care in adapting cadences to the action and to Sorrell's perception of events. . . . Perhaps the most valuable change is that Sorrell's character is shown more directly, is seen more clearly, and is developed more consistently. Often direct discourse has been shifted to indirect, and sentences have been fragmented or interrupted by ellipses to represent mental processes rather than statements about them. Intrusive, obvious remarks by the author-narrator descriptive of states of mind have been cut out. Sorrell ... has become a more convincing agent of Ford's message. . . . The 1935 version is a challenge to society. Instead of an escape, it offers a confrontation." IO37. *Cox, James T. "Ford's 'Passion for Provence,'" E.L.H., XXVIII, 383-398 (Dec.,1961). Critical examination of The Good Soldier, "it is thus the purpose of this paper to call attention to a single symbolic thread woven into the intricate and complex design of the whole: the conventions of the courtly love tradition. For Ford uses these conventions, which emerged in eleventh-century Provence, to characterize Edward Ashburnham as a tragi-comic courtly lover. . . . Romantic love, as symbolized by the 'great moon' of Provence, has been the chief cause of the events that have destroyed all of those who have sought such love. . . . he [Dowell] has unwittingly recognized from the beginning of his story that Edward Ashburnham and the mad troubadour Peire Vidal are one and the same, that the worship of woman in an adulterous relationship, as sanctioned in the courtly love tradition and preserved in romantic literature, results in a confusion of values that must inevitably end in tragedy, absurd tragedy, in the twentieth century. . . . The central concept of ennoblement through love, with its correlative exclusion of such ennoblement from the marriage relationship informs almost the entire story, serving both to explain and to render pathetically comic Edward's inability to love his wife, despite his awareness of her good qualities and achievements. . . . The 'irreligion of the religion of love' has manifestly engendered a pervasive confusion of divine and human love that has left no relationship among the characters unaffected. In fact, it would seem from the abundance of allusion to this confusion that Ford, like Flaubert, sees it as the chief source of the moral chaos in which these good people exist. . . . The pervasive presence of ironic allusion to the traditions of courtly love in The Good Soldier would thus seem to require more attention than it has received. Paradoxically, what this body of allusion seems to add is, first of all, a certain amount of confirmation for the widely divergent views of each of its major critics. It

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E1037-1038 confirms Schorer [see Horizon, Aug.,19^9] In his recognition of the predominantly ironic tone of the novel. It confirms Hafley [see Modern Fiction Studies, Summer, 1959] in his recognition of the orthodox Catholicism. It confirms Gose [see P.M.L.A., Jun.,1957] in his insistence upon Dowell's developing understanding in that it provides a framework at least for such a development. And it confirms Meixner [see Kenyon Review, Spring, i960] in his view of the end as a grim sad prophecy of the disappearance of past values--they're entirely too impracticable. What it clearly rules out is the persistent assumption that Edward Ashburnham is 'exactly like Christopher Tietjens.' . . . Christopher seems primarily the lord of the manor, and Edward primarily £he wandering, landless knight-errant or even troubadour . . . in the final pages of the novel ... Ford's 'passion for Provence' or his own emotional commitment to romantic love, as well as his inability to throw off his idolized image of himself as an English gentleman of good family --an image that is embarrassingly apparent throughout his pseudo-autobiographical works and confirmed by his biographer, Douglas Goldring--would simply not allow him to award to Edward Ashburnham the exposure that the framework and the persistent ironic comparisons to courtly lover promise. . . . the most mysterious thing about this rich and provocative novel is that it succeeds precisely where one would expect it to fail--with the voice of the author in defence of romance. For with this intrusion Ford by no means ruins his novel--he lifts it above the level of the totally controlled work of art. With his praise of passion at any cost, he voices a proud, defiant faith in the beauty and the dignity of man's struggle to realize his ideals, however hopelessly unrealistic and anachronistic they may be in the face of the deterministic forces aligned against him." IO38. *Ludwig, Richard M. "The Reputation of Ford Madox Ford," P.M.L.A., LXXVI, 544-551 (Dec.,1961). Mentions attacks on Ford by Oliver Edwards (see Times, Aug.8,1957), Jessie Conrad (in Joseph Conrad as I Knew Him), and Gerard Jean-Aubry (in The Sea DreamerJT "It is time to answer these charges against Ford, to inspect the facts, admitting Ford's ineptitudes but at the same time trying to see him whole. . . . Ford's relationship to the Pre-Raphaelite Brotherhood is quite authentic. . . . His meeting with Joseph Conrad in 1898 did much to affirm his conviction that impressionism was a valid literary method, that Flaubert and Henry James were the gods to worship. What is more, their meeting and subsequent events established Ford's second persona: collaborator and editor." Quotes from previously unpublished letters by Ford and Conrad relating to the collaboration. The Naumburg Collection, in New York City, is rich with further proof of Conrad's debt to Ford, both emotional and financial. It is difficult, in the light of these letters (the last dated 1923)» to swallow Jessie Conrad's contrived belittling and the parade of disparagers who imitated her pique, with even less cause, since Conrad's death. How much more

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E1038-1039 difficult it must have been for Ford to discover, in I925, in the Dent and Company collected edition of Conrad, that their collaborations, Romance and The Inheritors, were published without Ford's name on the spine, jacket, title page, or even in the cataloguebrochure. If Ford suffered over the Conrad affair ... his experience as a London literary editor led to much more than suffering. It altered his whole life. Here his hatred for facts was his undoing." Mentions the financial failure of the English Review and the disas­ trous liaison with Violet Hunt, as well as the poor timing and tactless title of The Good Soldier. Quotes from previously unpublished letters by Ford to C.F.G. Masterman and Herbert Read which, among other things, give varying explanations for his change of name in 1919. Mentions also the flurry caused by Violet Hunt in such writings as "Read, Mark..." (see Saturday Review, Aug.5,1922) and The Flurried YearjT rrWhat was left of Ford's reputation then was beyond salvage. Also quotes from a letter to him from Ford's literary execu­ trix: "'His true private life and the one far more difficult to write ... is his inner life, the one that produced the books, not the gossip.'" " . . . the Tietjens morality is the Ford ideal. . . . And after Flan­ ders, Ford, like Christopher, went back to the land, to Sussex and Provence, as small producer, where a man could stand up to his ideals. In the face of Ford's sometimes lurid public life, these ideals were fre­ quently hidden: dogged optimism, passive resistance, insatiable enthusiasm for simple joys, unlimited gener­ osity with his time, his influence, his money. . . . Ά great system of assumed personas' indeed he was, but if we begin with his Christopher Tietjens--where any good novelist would have us begin--we might just possibly discover the real Ford and, in time, the whole man. IO39. Mudrick, Marvin. "Character and Event in Fiction," Yale Review, L, 203-204 (Winter,1961). "Ford Madox Ford was one of the most intelligent and gifted men of letters during the past century: he was a great editor, a sympathetic friend to most of the first-rate poets and novelists of his time, and a dis­ tinguished and prolific writer on a variety of subjects in a variety of genres. His numerous autobiographical pieces include fascinating and characteristic anecdotes about writers he did in point of fact know well . . . Only it is clear ... that probably most and possibly all of the anecdotes he tells are false, that almost at every moment he is arousing and baffling our expectation of truth, that not merely what he reports James or Law­ rence to have said and done on particular occasions, but the alleged occasions themselves, are the product of his fertile and imaginative incapacity to recall and repre­ sent anything that actually happened. . . . Now it is noteworthy that, though Ford was also a novelist, this incapacity to tell the truth did not conversely amount to a talent for fiction; quite the contrary: the char­ acters and events in his carefully constructed and beautifully written novels seem at length, not distinct substantial creations, but muffled cries for help,

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E1039-1042 troubled preflgurlngs of some truth he Is trying to tell only about himself. The compulsion to lie derives, obviously enough, from an obsession with unpalatable truth; and, though both phenomena may properly engage the student of literary pathology, neither Is related to the talent for biography or the talent for fiction." This is by way of preface to a longer essay and is the only mention of Ford. 1040. Gerber, Helmut, ed. "The Editor's Fence," and "Bibliography, News and Notes: Ford Madox Ford," E.F.T., IV, #1, ill, 19-20 (1961). Re the MLA conference in Philadelphia, Dec.,1960: "Ford Madox Ford and, perhaps surprisingly, Virginia Woolf are the specific subjects of the two papers on the general topic 'Theories of Fiction: 1880-1920' to be discussed by the Conference." The Ford paper, given by Frank MacShane, is printed in this issue of E.F.T. Bibliographical notes on pp.19-20 list three articles and three reports of academic work. 1041. *MacShane, Frank. "Ford Madox Ford and His Contemporaries: The Techniques of the Novel," E.F.T., IV, #1, 2-11 (1961). Although 'Ford realised that all writing involved a certain amount of compromise," he "on the whole ... came down strongly in favour of technique. . . . By artistic temperament opposed to all that Dostoievsky represented . . . " The novelist's "moral standpoint," according to Ford, "may be acceptable to the majority of mankind, but if he tries to persuade rather than merely to show, he cannot be interested primarily in spreading understanding amongst people, for persuasion forces people to take sides. Remarks on the particular tenets of Ford's technical theories, such as "consistency in point of view," "aloofness," precise and not-too precise language, story interest. Brings in for comparison and contrast quotations and/or opinions of Conrad, James, Bennett, Galsworthy and Wells. 'In the end, a writer can do very little about his personality: that is his gift. But he can do something about using his talents and his personality to their best purpose, and for that purpose technical interests are of greater value than reliance on momentary inspiration or fineness of mind." Finds "one of the more interesting instances of compromise in fiction" in The Inheritors as elucidated by Ford in Joseph Conrad, "in the bulk of Ford's own novels, and indeed stretching over the whole of his career, the ... dichotomy between technique and conception may be observed. . . . in many of his novels Ford ... seems to have concentrated on what he called 'sheer writing' without first having conceived his situation with sufficient care or insight. . . . And yet it is certain that had Ford ignored the precepts of his art which he so carefully learned and practiced ... he would never have produced anything worth reading today. The secret therefore would seem to lie in the realisation that no one canon of art is the single right one . . . " 1042. Lid, Richard W. "On the Time-Scheme of The Good Soldier," E.F.T., IV, #2, 9-10 (1961).

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E1042-1046 " . . . the finely wrought structure of the novel hinges on Ford's use of a fragmented time-scheme; yet there is a series of discrepancies in Ford's use of time which should be cleared up, or, where that is impossible, at least noted, for in a novel of broken time segments the touchstones to chronological sequence are important. . . . The most important discrepancy in Ford's use of time is the date August 4, 1904. . . . What has happened is that Ford has used one date for two separate events. A minor series of errors follows in the wake of this . . . with the exception of August 4, 1904, the discrepancies cause surprisingly little trouble to the reader. What saves the sequence is very simply the fewness of important events around which the novel centers, and the use of one repetitive date, August 4th, on which, during various years, significant events occur. Ford never baffles the reader's sense of chronology deliberately . . . " 1043- *MacShane, Frank. "Ford Madox Ford: Collections of his Letters, Collections of his Manuscripts, Periodical Publications by him, his Introductions, Prefaces and Miscellaneous Contributions to Books by Others," E.F.T.. IV, #2, 11-18 (1961). Both public and private collections of manuscripts are listed; tnere is no description or enumeration of these materials. Any materials listed here are mentioned in Section C of this bibliography or in other appropriate sections. The list of articles by Ford is highly selective and does not excerpt any; a few articles are very briefly described. Ford's contributions to books by others are also not fully represented and are very briefly described. 1044. MacShane, Frank, and Helmut E. and Helga S. Gerber. "Ford Madox Ford: An Annotated Bibliography of Writings about him: Supplement," E.F.T., IV, #2, 19-29 (1961). "This bibliography supplements the one published in EFT, I, No.2 (Spring-Summer,1958), 2-19, as well as items about Ford published in various numbers of EFT since then." Both books and periodical items are listed; a few are briefly excerpted, most are epitomized by brief paraphrase. All items are listed either in Sections E or F of this bibliography. 1045. Gerber, Helmut, ed. "Bibliographies, News and Notes: Ford Madox Ford," E.F.T., IV, #3, 39-41 (1961). Editor's note at the beginning lists the various editions of E.F.T. that have published check-lists of works about Ford. All of the present items will be found in Sections E and F of this bibliography, with the exception of notice of dissertations in progress. 1046. Gerber, H.E. and E.S. Lauterbach, eds. "Bibliography, News and Notes: Ford Madox Ford," E.F.T., V, #1, 37-38 (1962). Five articles and one book are listed, all but two excerpted. Notice of the 1962 Bodley Head republication of Ford's novels and reminiscences appears, as well as notice of Richard Cassell's Ford Madox Ford.

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E1047-1048 1047· *Stevenson, Lionel. Review of Ford Madox Ford by Richard Cassell, E.F.T., V, #1, 59-63 U3E2T. In greater part an Interesting precis and commentary on Ford's literary career. "Though he was many years younger than such commanding figures as Gissing, Moore, and Wells, and certainly less of an original genius than any of them, his background and career combined to make him an epitome of the forces that shaped the changing identity of fiction from the l890's to the 1930's. . . . Undoubtedly Ford is one of the authors whose place in literary history has been jeopardized by excess of cleverness and versatility." On Cassell: "He works manfully to extract Ford-'s essential theory of fiction from all the extravagances and prejudices that encrusted it. . . . The three best pages in Professor Cassell's book are those in which he analyses the effect of the point of view [in The Good Soldier] . . . On the whole, Professor Cassell has contrived to write a dull book about an exceptionally lively and incalculable author. He organizes his material conscientiously, and provides summaries of Ford's novels for the convenience of all of us who are unlikely to read the whole thirty for ourselves. But he is not adequately equipped to cope with the vagaries of Ford's erratic and puckish talent. . . . One cannot help being aware of the naivete" of a critic who feels obliged to explain that Ford's novels 'are divided into parts; usually each part, whether titled or not, completes one segment of the action and prepares for the following one.' None the less, Professor Cassell' s book is useful as a basis for a tentative appraisal of Ford's merit. In spite of the deceptive variety of themes and moods in his stories, the fact emergep from this study that his heroes are always autobiographical, especially in their victimization by greedy, jealous wives, and that Ford's personal failure to find adjustment and satisfaction in life dictates the elusive note of self-pity that prevents his novels, as it prevents Gissing's, from achieving the full status of great fiction." 1048. *Lid, Richard W. "Return to Yesterday," Jubilee, IX, 37-40 (Mar.,1962). With photo and unidentified cartoonist's impression of Ford. Summary of biography, of literary career, and summary of plots and comment on The Good Soldier and Parade's End. "Personal fantasy, the adult fairy tale, became the mode of his fiction, and all his novels seemed to grow out of a single conflict: an inner strife in which the desire to retreat from society is at war with the humane desire to better it. . . . He became the polished man of letters long before he had anything really important to say in the pages he turned out so rapidly. In his haste to set down words, phrases, sentences, Ford seemed reluctant to stay over a page a moment longer than necessary, as if pausing would reveal the vacuity of what he was saying. . . . Ford's finest volume of reminiscence was Joseph Conrad: A Personal Remembrance, written during the immediate shock of Conrad's death. . . . Only today has modern scholarship begun to demonstrate the justness of Ford's claims to originality in 478

E1048-1049 the partnership. . . . When he finally broke free, to write The Good Soldier, Ford was forty; by the time he wrote his finest books, the Tietjens tetralogy, he was clearly a tired man and his prose shows it. . . . Conrad gave him the example of a man who, only a few years earlier, had given up the sea as a source of livelihood, burned all his boats on the shore, and dedicated himself solely to the art of fiction. . . . Ford and Conrad, each in their way, were aliens to England, and their 1 fictional strategy gave each of them a mask, a 'persona, behind which to hide when necessary; it also gave them, wonderfully when they needed it, the advantageous posi­ tion of insider. Conrad's narrator, Marlow, Ford's Dowell and his Christopher Tietjens, help to figure and justify the author's personal position outside the soci­ ety which is his subject. . . . The Good Soldier (1915) is a Madame Bovary told from the viewpoint of Charles Bovary . . . The basic situation of The Good Soldier is 'one psychological progression involving two women and a man.' This is the characteristic situation of all of Ford's novels. . . . No easy summary can do more than suggest the plot of Parade's End, for the thread of narrative runs in Christopher's mind, which like a seis­ mograph records the shocks and quakes of personal and public disaster. It is a mind very much like Ford's own --weary, sensitive, sentimental, above all, intelligent. But though Christopher is Ford's fictional counterpart, his dramatized self, reflecting many of Ford's concerns, including Catholicism, he is not merely the author thinly disguised. Such a figure is_ found in the poet Gringoire in No7 Enemy, a semi-autobiographical 'reconstructionary tale which reveals many of the same attitudes and some of the events of Parade's End. The point is worth making, for Ford's imaginative cast of mind was such that in his fiction he transcended the limitations of personal fan­ tasy. " IO49. MacShane, Frank. "'To Establish the Facts': A Commu­ nication on Mr. A.R. Jones and Ford Madox Ford," South Atlantic Quarterly, LXI, 26Ο-265 (Spring,1962). See Jones' article, "Notes Toward a History of Imagism," EIO32. ". . . Mr. Jones as author of The Life and Opinions of Thomas Ernest Hulme is apparently so anxious to demonstrate the importance of the subject of his biography that he soon abandons his pretensions of being an objective literary historian. . . . it is clear that Mr. Jones has overlooked the tone and intention of Ford's reminiscential piece [the foreword to Imagist Anthology 1930]." Attempts to correct some of the "facts" Jones had "established" to prove Ford's slight understanding of and influence upon the Imagist movement. " . . . Ford was important to Pound and the others ... [because], unlike Hulme, who was primarily a philosopher, Ford was a writer--poet and novelist both. . . . When he transferred to poetry the lessons he had learned in prose, he not only excited Pound but both directly and indirectly exercised an influence on Imagism, a form of poetry which above all was dedicated to the precise observation and rendering of images."

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E1050-105l(a) 1050. Lid, Richard W. "Ford Madox Ford, Flaubert and the English Novel," Spectrum, VI, 10-19 (Spring-Summer, 1962). "The language of The Shifting of the Fire is just as Victorian as its melodramatic plot and its gallery of nineteenth century types. . . . Ford's poetic manner [at this time] is more natural than artificial, more modern than fin d'e siecle. His prose style, on the other hand, is composed of derivative language, unnatural and fabricated, with a derivative cadence. . . . Yet Ford, who passionately desired to write as well as he and a few others talked, had to find for himself something very similar to the Mid-Victorian voice before he could develop the flexible style of The Good Soldier and Parade's End. In the years following The Shifting of the Fire Ford turned to the continent for models. While collaborating with Conrad on The Inheritors (1901) and Romance (1904), he fell under the spell of Flaubert. . . . They made it a tenet that the author should suppress himself, as Flaubert had done. --And here they ran into difficulty, neither Conrad nor Ford was temperamentally suited to suppressing himself, though for different reasons. . . . he turned to the novels of Henry James for model conversations. . . . Ford's basic mode of thought was reminiscence, and his basic tone was that of intimate and informed talk. Flaubertian realism was impersonal and objective; Ford's whole bent was personal and partial. How reconcile the two, if not through Jamesian talk? The answer lay, first with Dowell, the narrator of The Good Soldier, and later with Christopher Tietjens, the hero of Parade's End. With the introduction of Dowell and Tietjens, both somewhat Dickensian characters, Ford returned to the English tradition. For Ford's prose, just as much as Dickens', is written as if to be listened to, and the same theatrical tone is there. . . . Ford's ability to capture the authentic voices of Dowell and Tietjens, and, as a consequence, to portray, in The Good Soldier, the 'ruin of one man's small cockleshell,' and in Parade's End, the betrayal of an entire society, is the mark of his achievement." 1051. *"The Conscious Artist," T.L.S., 437-^39 (Jun.15,1962). Review of The Bodley Head Ford Madox Ford, edited by Graham Greene, and Richard Cassell's Ford Madox Ford, but mainly commentary on Ford himself. Sees Ford's career divided into two distinct periods," one before and one after the first World War. "The second life ... was the life of an alien and a wanderer. Ostracism must have hurt Ford deeply, for his first desire ... was to be an English Man of Letters--something between Edmund Gosse and Maurice Hewlett. . . . no irony was intended in the novels written before the war; none could have been intended, for Ford's aim was clearly to write about English society from within it. . . . certainly [in this first period] he did not write much of permanent value, excepting those historical novels in which the 'tone of an English gentleman' was not necessary." Of the collaboration: " . . . Conrad's letters suggest that he

480

E105l(b) regarded the arrangement as a necessary exploitation of a useful, expendable young man; but to Ford it must have seemed a ruinous expenditure of money, emotion, and talent." The Good Soldier "is the first novel to which Ford applied all the techniques that had evolved during his long association with Conrad ... and it demonstrates beyond question that his technical skills were of the first order. It is also the first work of Ford's alienation. . . . brings together the three principal themes which preoccupied Ford, and which run through his best work: passion and its relation to love; class and society; and the morality of independent action. . . . One may find these themes in Ford's work as early as The Benefactor ...; they are more fully developed in A Call .,., and most elaborately worked out in the intricate structure of Ford's massive tetralogy, Parade's End. Ford saw the passionate life as taking two possible forms, which he habitually represented in two contrasting women. One woman is warm and generous, self-abnegating, sacrificial. The other is passionate with a cold passion, and driven by an obsessive desire to possess . . . Between these two kinds of passion Ford stretched his typical hero--the suffering English Gentleman, a man who is drawn naturally toward the consolations of the sacrificial woman, but is at the same time tied to his destroyer by his own conceptions of honour and rectitude. . . . Ford's treatment of the problem of right action is thus not unlike Hemingway's--both writers start with the assumption that neither society nor nature offers standards of conduct which will at once preserve society and provide man with an opportunity to think well of himself --that is, to see his own actions as at once free and moral. . . . Whether Parade's End is as good as The Good Soldier depends on whether one prefers the limited, perfect performance or the large, imperfect one; certainly it is one of the great English novels of this century. . . . One might consider Parade's End among Ford's historical fiction, beside his other many-volumed masterpiece, The Fifth Queen. Both works are long and intricate, and both depend for their architectonic strength upon the framework of actual history, a fact which suggests certain limitations In Ford's creative powers. Impressionism, as Ford understood it, was a method of organizing consciousness--it could give precise definition to states of mind, but it could not, and did not, order exterior space and time. The order of The Good Soldier is memory, imaginatively created, and in that novel memory is sufficient; but memory is always in danger of falling into self-regard, or into irrelevance and garrulity, unless the objective world imposes its own limits. History provided Ford with such limits . . . It also provided him with defined personalities outside his own, characters with real existences independent of his memory, and thus preserved the aloofness which he regarded as a literary virtue. . . . Of the last fourteen books only two rise above triviality: The Great Trade Route ... and Provence . . . An evaluation of Ford's achievement must begin with a few flat statements: he wrote five novels--The Good Soldier and the 481

E105l(c)-1052 Parade's End tetralogy--whlch deserve a permanent place among the best of English fiction; he wrote the best historical romance of this century--The Fifth Queen; he wrote 'impressions' of his friends and his times which are charming and perceptive, if not always scrupulous about facts. But his importance does not stop with his writing. . . . He had a vision of what the craft of writing might be, and by his generous example he influenced generations of younger writers . . . English letters would be the poorer if he had not lived. . . . The Bodley Head Ford Madox Ford is a good start toward preserving what is permanently valuable from the seventyodd books Ford wrote. . . . Two further volumes should be added to make this edition include all the best of Ford: Parade's End, and a careful selection of his writings on the craft of fiction . . . Mr. Richard Cassell's study ... is a scrupulous, doctoral-dissertation sort of book, with good chapters on the major novels, and less good treatments of Ford's critical and philosophical thought . . . a worthwhile beginning. Still, much more will have to be done with Ford before a writer so complex and contradictory, so uneven in his achievement, so irritating, pompous, profound, superficial, and wise can take his proper place in that hierarchy to which he aspired--the community of English letters." IO52. Crankshaw, Edward. Review of The Bodley Head Ford Madox Ford, Observer, 26 (Jun.l7,19b2j. Praises as well the recent republications of John Cowper Powys and Italo Svevo. "Here are three writers, all of surpassing talent and at least a strong touch of genius, all as different from one another as it is possible to imagine, none having any demonstrable connection with this or that 'trend' or 'stream,' and all of them largely forgotten and allowed to fall out of print for no other reason than that they could not wear ready-made clothes." The Good Soldier "is certainly the most perfect" of Ford's novels. 1^Ut when it was published in 1915 belligerant euphoria was the prevailing mood--at least for civilians. . . . Certainly 'The Good Soldier' goes for today a good deal better than it went for 50 years ago. Here, exhibited in contrived isolation, is the flaw in the heart-wood, the infective canker, its deadly ramifications traced and revealed in conditions of clinical asepsis. . . . Technically, the achievement is hair-raising in its virtuosity . . . the disease was the lie in the soul--and not only in the soul of Edward Ashburnham. The autonomy of the lie forms a good part of the driving force of 'The Fifth Queen' too. . . . what Mr. Greene rightly calls 'a magnificent bravura piece,1 which is also a great deal more besides. . . . 'The Fifth Queen' may be read for fun, as an enthralling, racing, brilliantly lighted historical reconstruction, with scenes to take the breath away. But even in this comparatively early work, seriousness keeps breaking in. . . . Today it is easier to see what he was talking about. Very few of us are wholly evil; but My!—as one of Ford's Americans might say--how we hurt each other." 482

E1053 1053· *Foster, Richard. Foreword to "Stories from Zeppelin Nights," Minnesota Review, II, 465-467 (Summer,1962). See D419 for a description of the materials here republished. "Ford's wish, late in life, that Zeppelin Nights (1916) might be republished after more than twenty years would go a long way toward justifying republication of parts of it here. Although Foster does not so specify, a letter from Ford to George T. Keating, dated Jun. 20,1938, in the Yale U. Library is evidence of this desire to republish Zeppelin Nights (Ford asks Keating if he has a copy of the book, then says he finds "that the book was never published in the United States, which means that I could use the little separate sketches serially."). " . . . now that the long-overdue revival of interest in Ford's writing seems healthily under way, it would be less than historical justice if in the course of that revival his late wishes were not decently honored. But there are other justifications: Zeppelin Nights is simply a good book--charming, intelligent, delicately complex, often movingly humane. It is a minor masterpiece by a major writer . . . Ford published Zeppelin Nights with Violet Hunt, and though the book carries no indication of how the responsibilities were divided, evidence unearthed by Mr. David Harvey [see A49, D103, DI59] in an as yet unpublished bibliographical study of Ford's career indicates that while Violet Hunt was largely responsible for the connective material the tales were exclusively Ford's. . . . the style is Ford's everywhere. Its variety and suppleness, its magical capacity to express the stages of history and the strata of class without effort or obviousness or triteness, shows that the subtlety of his ear is finer even than James', perhaps second in subtlety only to Joyce's. But the whole of the book is finally Ford's, too, whatever Violet Hunt's incidental contributions to it may have been. . . . One recognizes the typically Fordian sense of the human condition as a tragic history of persistent and miraculous realizations of human value that are doomed at birth by the destructive compulsions of the fathering human heart itself. But one also recognizes Ford's faith in the individual human integrity created by the loves that can transcend hatreds and the consciences than [sic] can transcend even the precious selves that love itself creates." Does not mention the possibility that the responsibility for grouping the stories together for publication in 1916 may have been entirely Violet Hunt's.

483

Section F

BOOKS SIGNIFICANTLY MENTIONING FORD A single asterisk before the citation indicates that the item is of particular interest and/or importance. A triple asterisk after the citation indicates the item has not been inspected by the bibliographer. See the Introduction, pp.xvi-xviii, concerning techniques used in this section.

485

Fl-5

BOOKS SIGNIFICANTLY MENTIONING FORD 1. Abbott, Claude C., and Anthony Bertram, eds. Poet and Painter: Being the Correspondence between GordOn Bottomley and Paul NaSh: 1910-1946. London: Geoffrey-Cumberlege--Oxford U.P.~5~pp.161,163,165-166. p.161: Lett~r, dated Nov.9,1922, from Nash to Bottomley, mentioning Ford's desire to have Nash do the drawings for Mister Bosphorus (" . . . I should like it extremely as his verse pleases me a good deal."). pp. 162-163: Letter, dated Dec.31,1922, from Nash to Bottomley ("I am sending you a little later my book ... Places. Ford Madox Heuffer [sic] has already told me what he thinks of the prose pieces & I confess I quite agree-With him. But if they are largely nonsense they are more or less decorative nonsense . . . "). pp. 164166: Letter, dated Jan.27,1923, from Bottomley to Nash ("PLACES arrived safely and gave us great pleasure . . I don't know what Hueffer said against them; but he is usually fundamentally unsound, and when he is right it is for a wrong reason . . . "). 2. Acton, Harold. Memoirs of an Aesthete. London: Methuen, 1948. pp.98,173-174. p.98: "I never shared Brian [Howard]'s admiration for the free verse of Ford Madox Hueffer . . . The only younger poets I admired unreservedly were the Sitwells and T.S. Eliot." pp.173-174: "Montparnasse, where Bohemia attained its maximum intensity, was a rendezvous for boozy mutual admiration societies . . • Hemingway, Ezra Pound, Ford Madox Ford pontificated more or less among bevies of truculent women . . . I was suspicious of this vaunted virility . . . Their homespuns, tweeds and stetsons, their pugilistic sweaters and ponderous pipes, were generally the camouflage of timorous souls . . . They were utterly alien to France . . . " 3. Aiken, Conrad. Scepticisms: Notes on Contemporary Poetry. N.Y.: Knopf, 1919. pp.76-8~-"The Function of Rhythm: Ford Madox Hueffer," previously published in Dial, Nov.16,19l8, ~.~. 4. "R.A." [Aldington, Richard). "Vates, the Social Reformer," (Poem), Des Imagistes. London and N.Y.: Poetry Bookshop, and Albert and Charles Boni, 1914. pp.59-61. Parody of Ford's "On Heaven." See Ford's avenging parody of Aldington's poetry, p.62. First stanza of Aldington's poem is indicative: What shall be said of him, this cock-of-hoop? (I'm just a trifle bored, dear God of mine, Dear unknown God dear chicken-pox of Heaven, I'm bored, I say), but still--my social friend-(One has to be familiar in one's discourse) While he was puffing out his jets of wit Over his swollen-bellied pipe, one thinks, One thinks, you know, of quite a lot of things. 5. *Aldington, Richard. Life for Life's Sake. N.Y.: Viking, 1941. pp.lOl,104,133,136;I43~,149-159,162,165-166. 487

F5-6' Much anecdotal remlnlscence and assessment of Ford's personality; a few comments on his literary value. p. 136: " . . . a well-established author and we [the Imagists] liked his poems, though there was nothing very imagistic about them until he started to imitate H.D." pp.149-150: "Ford had many enemies, who took advantage of his weaknesses and misfortunes to attack him personally and to disparage his work. He had friends with more affection than judgment. So on the one hand you had a Mr. Hyde Ford and on the other a Dr. Jekyll Ford, to the complete detriment of truth and a human, lovable, absurd, vain, mendacious, gifted creature well worth the attention of the world. Though I steered clear of him after I got my second wind as an adult, I wouldn't have missed him for anything." First knew Ford when the latter was with Violet Hunt and having his marital troubles; later became his secretary, probably in late 1913, when Ford was writing his articles for Outlook, as well as When Blood is their Argument and The Good Soldier. p~:~ery morning Ford dictated andr-took down in longhand." p.156: " . . . if Ford embroidered on reality he did it extremely well. . . . We ought to be grateful to an artist who in our own lifetime so successfully revived the tradition of the commedia dell' arte." p.158: " . . . he and Norman Douglas made the EngIiSh Review the best literary journal issued in England in this century . . . . Ford had the rare merit of believing in the republic of letters." p.159: "But Ford's ideals, his way of looking at life and art, belong to a vanished world. In the catastrophe of chaos they have become meaningless." 6. Aldington, Richard. Portrait of a Genius, But ... (The Life of D.H. Lawrence, 1885-1930. London-:--Heinemann, 1950.--pp.38,67-68,69-72,95-90;98,104,etc. On Lawrence's association with Ford in the days of the English Review; historical account with some comment. pp.69-70: Expresses scepticism about Ford's reminiscences re his enthusiastic and immediate reception of "Odourof Chrysanthemums": "If he admired it so much, if it was that which caused him to accept Lawrence's work and announce him as 'a big genius,' why did he wait for a year before publishing it?" pp.70-72: "The manuscripts which Jessie Chambers sent to Hueffer were exactly the sort of writing to please him, and he was undoubtedly the only English editor of the time who would have sponsored Lawrence. For Hueffer was in reaction against the romantic, idealist movements of the 19th century . . . With all his faults Ford was a most kind-hearted man . . . Hueffer influenced Lawrence both by precept and example more than is usually conceded. These defunct but illustrious relatives of his gave Hueffer a position both in literature and in what was then called Society which might not have been so readily granted to his unaided talents." pp.95-96: "Thus at the very beginning of his career he [Lawrence] had scrapped all the heavy pedantry about the art and craft of fiction ... which were then ... fashionable among self-appointed critics. In those days it was often more a matter of theory than of practice." Uses 488

F6-10 Ford's theory and practice as a primary illustration. See Aldington's "Notes on the War Novel/' This Quarter, II, 542-543 (Jan.-Feb.-Mar.,1930), for more outspoken criticism of Ford and "Art in the Novel." ("Art is a 19th century superstition. A bas Flaubert and his faithless Achates, Ford Madox Ford . . . I have read 'No more Parades.1 It is poppycock, pure bunk, told with superb virtuosity.") 7. Aldington, Richard. Plnorman: Personal Recollections of Norman Douglas, Pino Orioli, and Charles Prentice. London: Heinemann, 1954. pp.62,bb-69. p.62: ". . . Norman went through a long period of search and apprenticeship before he learned to write such good English. Perhaps the German education may have been a handicap. Ford Madox Hueffer ... used to say that German was a danger to an English writer . . . " pp.68-69: Recounts Douglas's de"but in English Review as contributor and then as editor. Praises the Review under Ford. "Curious how little Norman says ... about his connection with The English Review, and I have not been able to find out even how long he worked for it." 8. Aldridge, John W. In Search of Heresy. N.Y.: McGrawHill, 1956. pp.100-102. Quotes for comment, the opening of Some Do Not: "From the opening line to the end, class work's consistently and simply to distinguish the characters of the scene from one another and then to document their differences." 9. *Allen, Walter. The English Novel: A Short Critical History. London: Phoenix House, 1951T! N.Y.: Dutton, 1955. PP-364-365,394-399. pp.364-365: Quotes from and comments on passage from Return to Yesterday on Conrad, pp.394-395= Comments on Ford's early career. "But the great achievement of this first part of his career is The Good Soldier . . . Like the TietJens novels ... it springs out of his own sufferings, so that in it the whole man is engaged. . . . Human life, as Ford reveals it in his novels, is meaningless, and his values are purely stoic. . . . In the midst of tribulation Ford can only put forward a code of conduct: the facade of civilized life must be preserved at all costs . . . Judged as a technical feat alone The Good Soldier is dazzling, as near perfection as a novel can be." p.396: "Ford was a man the conduct of whose life was marked by great unwisdom. One consequence of this has been that his novels have never received anything like the general recognition their merits deserve. . . . it seems pretty safe to say that he saw himself not as the world did but as he saw Tietjens . . . He had in fact been rendering such a character on and off ever since he wrote The Benefactor . . . We do not ... dream of referring these novels to the private life of their creator until we know something of his private life, for they are models of objectivity.' For pp.398-399, see his article on the Tietjens novels, New Statesman, Apr.20,1946. 10. Anderson, Sherwood.

Memoirs.

489

N.Y.:

Harcourt, Brace,

F10-13 1942. pp.479-^80. Part of the chapter, "Writers Sweet and Sour," of which Ford is in the former category. Previously pub­ lished in Coronet, Aug.,1940, q_.v. 11. Anderson, Sherwood. Letters. Edited by H.M. Jones. Boston: Little, Brown, 1953. Ρ·457. In a letter to Laura Lou Copenhaven, dated Feb.l, 1940, he explains what he "tried to convey in the Ford piece." See above for the "piece" in question. "Always the imagined world is more important than what we call •reality.•" 12. *Angeli, Helen Rossetti. Pre-Raphaelite Twilight: The Story of Charles Augustus Howell. London: Richards, 1954. pp.143-146,24«. " . . . Ford was my half-cousin through Madox Brown's second marriage . . . " Highly critical of Ford's PreRaphaelite reminiscences. " . . . truth and untruth about mere facts are so inextricably mixed that it is almost impossible to disentangle them. . . . He devoted himself with much verve to depicting the Pre-Raphaelltes, with whom he has in some very loose manner been incor­ porated (for surely no writer was ever less faithful to nature) and he is primarily responsible for many of the legends that have grown up about that S c h o o l . . . . Why Ford took up the peculiar, often derogatory, attitude towards the Pre-Raphaelites that characterizes his writ­ ings is a little puzzling. ... an attitude that brings him within the ranks of the romanticists--the modern psycho-analysable variety . . . In the effort to render him unconventional he was turned into a figure of fun, being actually made to wear parti-coloured hose so as to e*pater les bourgeois. This detail ... is entirely untrue: his mother dressed him very sensibly in a dark blue jersey suit of the type then commonly worn . . . Ford had a good deal to say about Howell in his talk and writings, and was too intelligent to head the rabble that has since decried C.A.H. . . . " 13. Antheil, George. Bad Boy of Music. N.Y.: Doubleday, I945. pp.1,90,129,139,14^-147· London: Hurst & Blackett, n.d. pp.12,118-119 (London edition only seen). pp.118-119: " . . . our flat was directly above Sylvia Beach's famous 'Shakespeare Bookshop' . . . The great writers of the day, French and English, took to dropping in and I can truthfully state that for one afternoon at least we simultaneously entertained James Joyce, T.S. Eliot, Ford Maddox [sic J Ford, Ernest Hem­ ingway, Wyndham Lewis ..., and Ezra Pound. . . . No one dressed even remotely like another. . . . Ford Maddox Ford draped himself in a tent-like suit of light grey tweeds . . . " Also describes Ford's speech. There is no mention here of "a libretto for a proposed opera by George Antheil" which Ford planned to' write "in the last years of his life [Frank MacShane, "The Literary Career of Ford Madox Ford," Oxford D.Phil, thesis, 1955; his authority was a letter from Antheil to Ford, n.d., in the possession of Mrs. Janice Biala Brustlein]." 490

F14-15 14. Aubry, G. Jean- The Sea-Dreamer: A Definitive Biography of Joseph Conrad. Translated by Helen Sebba. Garden UTty, N.Y.I Doubleday, 1957- p.232. Says that Conrad first met Ford at Stephen Crane's in Feb.,1898: ". . . he met a very gifted young man who was profoundly convinced of his own merits. . . . Being related to several outstanding writers among the Pre-Raphaelites, treated by the writers of this group as a spoiled child, tending, through a sort of Germanic romanticism, to take his conception of people, of things and of himself for reality, and, in addition, showing a passionate and sincere interest in literature, Ford Madox Hueffer attached himself to Conrad, did him a few favors, played up to him, and some years later on one [sic] occasion even became his collaborator. Their close relationship began in 1899, cooled by the end of 1902 and was broken around 1910. After the novelist's death, Ford Madox Hueffer ... felt no compunction in hinting that Conrad owed all his talent and a great part of his fame to him . . . These claims of a pathological liar are hardly worth refuting: facts suffice." See Oliver Edwards' note on the controversy over this sole reference to Ford in the book, Times, Aug.8,1957. 15. *Baines, Jocelyn. Joseph Conrad: A Critical Biography. London: Weidenfeld and Nicolson, 1959· See index. Includes a conscientious recording of the details of those parts of Conrad's life into which Ford entered. Gives a more thorough account, in the matter of detail, of these various encounters, including the collaboration, than any previously published, pp.214-215: Calls the meeting of Ford and Conrad in 1898 The most important event in Conrad's literary career." Notes, on pp. 216-217, that there is evidence to establish that the suggestion of collaboration came from Conrad. One piece of evidence in support of this is a letter from Conrad to W.E. Henley, dated Oct.18,1898, which he prints on pp.217-219. pp.220-221: "Conrad's reasons for wanting to collaborate with Hueffer emerge fairly clearly from his letter to Henley. Undoubtedly the main reason, without which he would never have made the suggestion, was his need for money. . . . Hueffer was subsequently to construct a mystique out of the collaboration but, although Conrad undoubtedly enjoyed it and profited from it, he clearly looked on it primarily as a material arrangement. . . . there can be no doubt that Conrad was still finding it extremely difficult to express himself fluently in English and hoped to acquire fluency through the experience of literary partnership. . . . Nor was literary collaboration such an astonishing phenomenon then as it is today . . . different though they were in temperament and character, there was much common ground between them." Discusses the collaborations separately and also the various Conrad productions in which Ford seems to have played some part: "Amy Foster," "Tomorrow," The End of the Tether, The Rescue, Nostromo, The Mirror of the Sea, and A Personal Record. Of Romance, he says on p.275, that it was1 "the only considerable product of the 'partnership ; but in relation to Conrad's main work it is of small importance. 491

P15-17 . · . The subject was originally Hueffer's and it is easy to see why the romantic adventures of the aristocratic young John Kemp would have appealed to him. But for anything of importance that he wrote Conrad needed a moral pivot, a problem of conduct, at the centre and in Romance there is none. . . . it would be unfair to assume that Hueffer was responsible for all the defects of the book." Calls The Nature of a Crime a "worthless fragment" and quotes from two previously unpublished letters from Conrad to Eric Pinker showing how Conrad "resisted Hueffer's attempt to use the negotiations over The Nature of A Crime as a pretext to renew the former intimacy.11—(pp.432-433) 16. Baker, Carlos. Hemingway: The Writer as Artist. Princeton, N.J.: Princeton U.P., 1952. pp.lfa,20-21, 23-24,39,142. pp.20,39: Mentions Hemingway's use of Fordian anecdotes in Torrents of Spring, £.v. p.22: "Hemingway calls his post on the transatlantic a real corve'e. It was indeed a hard job without visible recompense." Quotes a letter from Hemingway to him, written in 1951, describing his work under Ford. "'Ford asked me to read Mss. for him and I used to go down there and take a batch of them out on the Qua! and read them. Would make an annotation of what Ford was to say in refusal . . . Ford, without reading the stories would write the authors beautiful letters encouraging them in their literary careers.'" For a contrasting version, see It Was the Nightingale, Philadelphia, p.323. p.24: "His year with the transatlantic, corvee or no, probably helped as much as any of his other serious literary activities to get Hemingway's name and fame into general circulation around Paris. . . . It offered him a focus, a kind of responsibility, and a sounding board such as he had not had up to that time." p.l42n: Presumes that Hemingway found the title Men without Women by switching around Ford's Women and Men. 17. Barney, Natalie C. Aventures de 1'Esprit. Paris: Editions Emile-Paul Freres, 1929. pp.166,223-224. p.166: "J'ai vu Ford Maddox [sic ] Ford rouge de colere des heresies que lui e*noncait, au sujet de Landor, je crois, Valery Larbaud . . . " pp.223-224: "Ford Madox Ford fonda en France la Revue Transatlantique et fit souvent Ie voyage [to the U.S.J pour confgrencier la-bas sur 1'esprit d'ici. Il rapporta a chaque retour toute une cargaison d'auteurs inconnus qu'il fit connaitre dans sa revue. Comme c'est a lui que je devais de conna'xtre non seulement cet "e*tre rare Nancy Cunard, et d'autres poetesses aussi bien Anglaises qu'Ame'ricaines, mais une des jeunes femmes de lettres dont nous goCfterons 1'oeuvre dans un instant, je l'avais prle" de dire quelques mots sur elle. Il les dit peut•&tre, mais d'une voix si sourde que personne ne les entendit. Cependant Ie subtil auditoire presentit que quelque chose de rare allait se passer, par la fagon e'loquente dont Ford Madox Ford salt rougir--et qui est mieux qu'un £loge de circonstance: L'&ge ingrat des Anglais dure toute la viei Djuna Barnes, integre, 492

P17-21 intacte et fruste, de son coin pSlissait sous cet outrage d'honneur." 18. Baugh, A . C , et al. A Literary History of England. N.Y.: Appleton-Century-Crofts, 194b. p.1553η. As if in fulfilment of Mencken's prediction (American Mercury. Apr.,1925), Ford gets only part of a footnote here. 'Conrad wrote The Inheritors ... and Romance ... in collaboration with Ford Mad ox Hueffer. . ~ . Of Ford's many novels four on the First World War ... are the most noteworthy; but his fiction has failed to take a lasting place. His critical studies in art and liter­ ature are intensely personal." 19. Bax, Clifford. Some I Knew Well. London: Phoenix House, 1951. pp.121-122,13BT" pp.121-122: . . . the [English] 'Review' changed hands and became unremarkable when it attempted to be popular. Hueffer, like Yeats in after years, was influenced by the self-confident Ezra Pound. Both Pound and Hueffer were would-be literary law-givers, both were arrogant. . . . in drawing up a list of people who should be invited to a bout-rime' party in London, he [Ford] remarked airily, 'Then, of course, we must get old Tom.' Old Tom? Thomas Hardy . . . Here was an example of Hueffer's instinct for 'showing off,' like a child balancing along a breakwater." See It Was the Nightingale, Philadelphia, p.123, f ° r references to Bax. 20. Beach, Joseph W. The Twentieth Century Novel: Studies in Technique. N.Y.: Appleton-Century-Crofts, 1932. pp.14-15,341,359-36I. pp.14-15: In a bird's-eye view of the English novel from Fielding to Ford, the one thing that will impress you more than any other is the disappearance of the author. . . . This tradition [of author interference] has survived even in the work of a novelist so thor­ oughly of our time as Mr. Ford Madox Ford. At least in his dedicatory epistles . . . It is only there that he is the philosopher. Within the limits of his story, in his striking series of war novels, he does not appear at all." p.341: "Both Ford and Conrad were enthusias­ tic devotds of Maupassant and Flaubert . . . Their notions of style were not identical, Conrad being inclined, Ford thought, to make his writing trop charge'. This was one thing Wells admired in Conrad, and he begged Ford not to collaborate with him . . . But over and over again, especially in his earlier novels, before Ford came on the scene, one must feel that he would have profited by the critical spirit of the Englishman." PP.36O-36I: "It is very curious how little use of this method Conrad and Ford made in their novels written in collaboration, compared with the novels of Conrad alone ... and the novels of Ford written since the war." Regrets that he cannot comment here on these and on The Good Soldier. 21. Beach, Sylvia. Shakespeare and Company. N.Y.: Harcourt, Brace, 1959- pp.137-13«^ "He was a jolly creature, and popular with his fellow-writers . . . The first thing he and his wife ...

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F21-23 did was to invite 'the Crowd' to a party in' the big studio that had been lent to them. . . . Ford invited me to dance with him, first making me take off my shoes . . . I saw Joyce watching us from the side-lines with great amusement. On another occasion, Ford and Stella invited me to supper. . . . After supper, Ford paced up and down reading aloud to me a poem he had just finished. It was about Heaven and quite interesting, at least what I heard of it. I hope Ford didn't notice that I kept falling asleep." She thinks he may have wanted her to publish his work. 22. Beaumont, Comyns. A Rebel in Fleet Street. London: Hutchinson [1944]. pp.75-76. Beaumont was editor of Throne at the time of the libel action brought by Mrs. Elsie Hueffer against that periodical for describing, in a review of The Governess, Violet Hunt as "Mrs. Hueffer." (See the ofTending review, Throne, Apr.3,1912, and reports of the case in newspapers on Feb.7 and 8,1913J also Miss Hunt's version of the episode in The Flurried Years and that of Goldring in South Lodge.) Beaumont describes the case as a "futile action in which we were the victims of a marriage imbroglio without the least intent. It was not due even to a slip-up, which so often mulcts a paper of damages. . . . I was the more surprised because I had dined with Ford Madox Hueffer and his 'wife' at their Kensington residence, while Byles [Throne's business manager] was frequently their guest and knew both of them well. He saw them and assured me that all would be well, that Hueffer had obtained a divorce against his first wife and had married the authoress in Hanover. Hueffer had promised him, likewise the authoress, to give evidence in our behalf if the case came into court, although I was assured that this would not happen. The matter dragged on and we were in the difficult position of not being able to mitigate any damage by an apology because Hueffer claimed that his marriage was good. . . . since our defence was vitiated by the disappearance of Hueffer and his lady friend, the plaintiff obtained £400 damages [reported by the newspapers as i(300] and costs." Says that this case was responsible for the Throne going out of business. He wanted to start an appeal against this and future verdicts of a similar nature and tried to enlist the support of Clement Shorter of The Sphere. He found Shorter entirely unsympathetic, and he missed an opportunity to strengthen his case, for "I did not know then, as I learnt subsequently, that The Sphere had perpetrated the same error as we by calling the authoress 'Mrs. Ford Madox Hueffer.'" 23. Beer, Thomas. Stephen Crane: A Study in American Letters. London: Heinemann, 1921"! p.25T~"Once he [Crane] was worried because Sanford Bennett recalled some words of Ford Hueffer and he sent after the Canadian a last note: 'You must not be offended by Mr. Hueffer1s manner. He patronizes Mr. Conrad. Of course, he patronizes me and he will patronize Almighty God when they meet but God will get used to it, for

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F23-25 Hueffer is all right." Ford repeated this in all his extended writings on Crane. 24. Ben4t, William R. Introduction to Ford's Collected Poems. N.Y.: Oxford U.P., 1936- pp.vii-xi. "Mr. Ford professes to be ill-read in English poetry and not to care much about it. This is partly an atti­ tude. . . . even while he wheezes old wisdom at you--he will surprise you by a lightning-flash of quite contem­ porary defiance. He is romantic, sentimental--and at times direly realistic. His poetry--as he wrote it — began traditionally; yet even then the original twist appeared. He thinks his greatest early influence was Christina Rossetti. Browning can be also descried. The period of the Great War found him free of most influences. . . . An accomplished writer of prose, who desires to spurn the poetic 'device,' his natural ear for the subtle rhythm that makes poetry of the most direct statement, his possession of the depth of feeling that decrees to words an inevitable order, illuminate the commonplace. In his best poems the impact of what is not said, through the choice of what i_s said, is of great force. . . . He has followed his instinct. That instinct has frequently been most fortunate." Comments on his own personal associations with "On Heaven" (see S.R.L., Oct.21,1933)> also comments on several poems in particular. 25. *Bennett, Arnold. The Journal of Arnold Bennet: 18961928. Edited by Newman Flower. London: Cassell, Ϊ932-1933. (3 vols.) N.Y.: Viking, 1932-1933· (3 vols, in one) pp.323,349,354,359-361,363,370,403-404. p.323(Apr.7,1909): "Dinner at Ford Madox Hueffer's. John Galsworthy and wife there. Slight ggne on my part on first encounter with Galsworthy . . . Hueffer said that Henry James dictated so slowly that he insisted on his amanuensis having a novel open before her to read while he dictated. He said that Conrad was still as late as ever with his copy." p.349(Dec.5,1909): Tells of a fruitless attempt to reread Romance (see Arnold Bennett and H.G. Wells, ed. Harris Wilson, i960, p.106). p.354(Dec.31,190971 ^Hueffer came to lunch. He was genuinely pessimistic about commercial chances of the artistic novelist. He said that Conrad was in indi­ gence. He gave a lot of interesting particulars about Conrad." (A letter in the Naumburg Collection from Sidney Brooks to George Harvey of Harper's, Jan.1,1910, further indicates Ford's preoccupation at this time with Conrad's troubles and attempts to get more money from Conrad's publishers: "It seems that the poor fellow is desperately hard up, that his wife is dying, & that he is head over ears in debt to his literary agent . . . " ) . P-359(Jan.9,1910): "Letter from the new editor of the English Review asking me to contribute." A footnote identifies the "new editor" as Ford, but he was hardly new at this time. p.306(Jan.11,1910): Excited about a political article Ford had just asked him to write, p. 36l(Jan.l8,1910): "Hueffer came down [to Brighton] for the day . . . " Tells one of his anecdotes; Ford also told Bennett that Alfred Mond had bought the review.

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F25-30 The next few references are similarly anecdotal, the last one occurring in the entry for Jan.16,1911, describing a visit by Ford and Violet. 26. Berryman, John. Stephen Crane. N.Y.: William Sloane, I95O. pp.200,202,20b,251. Brief mention of Ford, either in Ford's reminiscences about Crane or in Crane's letters. 27· Bertram, Anthony. Men Adrift. London: Chapman and Hall, 1935. This novel is dedicated to Ford, p.[5]: "A master of the writer's craft, who encouraged me to write when I was young and is therefore partly to blame for my continuing to write—though not, God knows, for how I write--I dedicate gratefully and respectfully the first experimental novel which I have dared to attempt." 28. Bertram Anthony. Paul Nash: The Portrait of an Artist. London: Faber and Faber, 1955. pp.118-120". See the first entry in this section, Poet and Painter, for letters quoted here. See also Bertram's review of Mister Bosphorus, which was illustrated by Nash, Spectator, Dec.29,1923. 29. Bishop, John P. Collected Essays. Edited by E. Wilson. N.Y.: Scribner's, 1940. pp.283-286. The chapter, "Poems of Ford Madox Ford," was first published in Poetry, Sept.,1937, q.v. 30. *Bowen, Stella. Drawn from Life: Reminiscences. London: Collins, 192H. pp76T-l69,180,184-185,190-192, 197,244,251. The greater part of the book deals with her life while she knew and lived with Ford. An Australian painter, she met Ford during the war, having previously heard of his work, for "he was one of the writers whom Ezra [Pound] allowed us to admire. . . . He was the only intellectual I had met to whom army discipline provided a conscious release from the torments and indecisions of a supersensitive brain. . . . Ford was considerably older than the rest of our friends, and much more impressive. . . . I reacted violently against him at first on the grounds that he was a militarist. But I soon found that if he was a militarist, he was at the same time the exact opposite. When I got to know him better, I found that every known human quality could be found flourishing in Ford's make-up, except a respect for logic. . . . he could show you two sides simultaneously of any human affair, and the double picture made the subject come alive, and stand out in a third-dimensional way that was very exciting. . . . a great edifice which was plainly in need of more support than was inherent in the structure itself. A walking temptation to any woman, had I but known itJ To me he was quite simply the most enthralling person I had ever met. He began to tell me about himself ... he wished to place his person, his fortune, his future in my hands. Revealed himself as a lonely and a very tired person who wanted to dig potatoes and raise pigs and never write another book. Wanted to start a new home. Wanted a child. . . . I did not realize to what extent he would be

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31.

32.

33.

34.

putting his clock back, whilst I put mine forward. I still believed happiness to be a kind of present that one person could bestow upon another . . . he filled the sky with an Immense ache that had the awful simplicity of a child's grief, and appeared to hold the same possibilities of assuagement. And in spite of our discrepancies or perhaps because of them, I think our union was an excellent bargain on both sides. . . . What I got out of it was a remarkable and liberal education administered under ideal circumstances . . . a privilege for which I am still trying to say 'thank you.'" What Ford "got out of it" may best be seen in his Dedicatory Letter to the 1927 reprint of The Good Soldier. Tells at considerable length but most sympathetically of her domestic burdens during the Sussex, Provence and Paris days with Ford, which she shouldered without complaint. "He needed more reassurance than anyone I have ever met. That was one reason why it was so necessary for him to surround himself with disciples." Eventually other emotional entanglements arose and they parted amicably. Ford's own artistic egotism also was an important factor in the separation: her own artistic ego had been for so long a time submerged in deference to his. Brinnln, John M. The Third Rose: Gertrude Stein and her World. Boston: Atlantic--Little, Brown, 1959pp.2517272,318. p.218: Quotes from a letter from Ford to Stein, date not given, urging her to come with him "this January" on an American lecture tour. Brooks, Van Wyck. The Pilgrimage of Henry James. N.Y.: Dutton, 1928. pp.59,103,147,151-152,150-157,162-163. All these citations are quotations from Ford's Henry James, which he does not criticize. Brooks, Vay Wyck. Opinions of Oliver Allston. N.Y.: Dutton, 1941. p.24On. "I find among Allston's papers ... this note on Ford Madox Ford: 'In 1925, when Ford was in New York, he called me on the telephone and asked me to have lunch with him. I was most flattered and grateful, and Ford was such a kind and good-natured man that no one could have helped liking him. I had known his books from of old. I had read his Pre-Raphaelite memories when I was a boy, and no writer was too young or too raw to attract his fatherly interest, his truly astonishing flair for the art of writing. But his mind was like a Roquefort cheese, so ripe that it was palpably falling to pieces, and I do not think he was a good mental diet for the young Western boys, fresh from the prairie, who came under his influence in Paris. . . . provided a diet of nightingale's tongues for boys who knew nothing of beef and potatoes; and the maternal Miss Stein and the fatherly Ford appealed to their filial instincts also— which made the authority of these writers all the more compelling." Brooks, Van Wyck. The Confident Years: 1885-1915.. N.Y.: Dutton, 1952. London: Dent, 1952. pp.307,

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F34-37 33^-335. p.307: Pound, "like Ford, ... was clearly a child of the aesthetic nineties as well as of the PreRaphaelite poets and painters." pp.334-335: Speaking of the Paris triumvirate of Pound, Stein and Ford, "Never before had Americans known such teachers of the literary art, teachers who cared for this and for this only, all but oblivious of the questions of content and concerned with method and form alone in the social and moral vacuum of the outlook of the present. . . . all three had a flair for talent and a spirit of eager helpfulness where young artists and especially young American writers were concerned." 35. Brooks, Van Wyck. Days of the Phoenix. London: Dent, 1957. pp.118-1207Ι5Τ-Ϊ55. pp.118-120: " . . . the great writer who had formed our minds had felt it was part of their task 'to improve the prevailing order of the world.' I am quot­ ing Ibsen, who also said that literature should be not only 'revelative' but 'redemptive,' a notion that was soon to vanish from the literary mind and that came to seem contemptible and even absurd. But certain as I felt myself that it was unassailable and destined sooner or later to re-arise, I remembered through all the coming time the great men who had stood for it . . ." Ford he cites as one of the opposition, quoting from Lt Was the Nightingale. "To render was the aim of the coming generation, just as to elevate was the aim of ours . . . How limited their notion was of literature and art as a game or a 'superior amusement'!" pp.l64-l65: Reiter­ ates his earlier stated fears of Parisian literary atmosphere for young American writers. 36. Brown, Curtis. Contacts. N.Y.: Harper, 1935· London: Cassell, 1935- pp.10-11,75,128. pp.10-11: At one time Ford tried to rent the Pent to Brown and his wife, but the latter found it too damp. Recounts a tall tale Ford regaled them with on the way, about why he had given up golf: he had made a hole-in-one and had subsequently said to himself: "When one can play as well as that, golf ceases to be a sport and becomes a mere matter of mechanics. . . . I felt that golf had no further charm for me, and I have now abandoned it for other pursuits." 37. *Cassell, Richard A. Ford Madox Ford: A Study of His Novels. Baltimore: Johns Hopkins, 19o"l. 307 PP· The first book-length critical study of Ford's works, with particular emphasis on his novels, pp.x-xi: "My study will try to place Ford's major novels in the con­ text of his lesser fiction. By reviewing his represen­ tative novels from 1892 to 1936 in the light of his literary background and fictional theory, I want to describe his major themes and to suggest the developing technical methods by which he rendered them. The mate­ rials are almost exclusively Ford's published criticism, reminiscences, and novels. The first chapter is a brief look at Ford the man, the second reviews the main aes­ thetic formulations in fictional craftmanship which he gathered from his Pre-Raphaelite background, from his 498

P37-39 years of intimacy and collaboration with Joseph Conrad, and from other writers he considered to be his literary models. The third chapter summarizes his conceptions of the function of the novel, the obligations of the artist, and the requirements he set for the novel so that the examination of several of his novels in the chapters which follow can be seen in a clearer and more reasonable perspective." pp.297-302: "Bibliography." Under the first head, "Ford Madox Ford: A Selected Bibliography," most of Ford's published books are listed and a few of his contributions to periodicals. Author's note to the second section, "Secondary Sources": "I note here only the references I have used." Not all of these sources bear directly upon Ford. Verso titlepage: "Distributed in Great Britain by Oxford University Press, London" 38. Churchill, R . C , "The Age of T.S. Eliot," The Concise Cambridge History of English Literature. Edited by George Sampson. Cambridge: Cambridge U. P., 1961. p.IOO5, and see Index. p.IOO5: Very brief biographical summary; mentions The Good Soldier and Parade's End but the only commentary is devoted to Ford's reminiscences "for which Ford had a particular flair, and parts of them must be among the most comical writing of the twentieth century. . . . such things may exasperate the serious biographer in their mixture of truth and invention, but they may well outlive most of the more serious works of their irrepressible author." 39. *Coffman, Stanley K., Jr. Imagism: A Chapter for the History of Modern Poetry. Norman, OkIa.: U. of OklahomaTress, 1951. PP-13-12* ,27-28,113-119,138-151, 154-155,183-185,etc. pp.27-28: "The first Some Imagist Poets appeared in 1915. Originally there were to have been seven contributors ... but the list was reduced to six when the publishers would not accept Hueffer's contribution ... 'On Heaven1 . . . " p.113: "Ford Madox Hueffer's claims to attention are stronger than Flint's, though his relationship to Imagism has in the main gone unnoticed. One need look no farther than Hueffer himself for an unqualified statement of his importance to the movement." Cites his 1914 article 1On Impressionism" and the preface to Imagist Anthology. Later quotes from The Critical Attitude, his 1910 article "Modern Poetry," preface to the 1914 Collected Poems and the articles Impressioriism--Some Speculations" and "The Poet's Eye." p.II7-II9: says of "in the Little Old Market Place": "The one poem of Hueffer's which appeared under the Imagist label is exactly what one would expect from his theory . . . Without direct statement of his own feeling, he recreated his impression, selecting a series of visual images which had contributed most strongly to it. He uses few metaphors or similes, nor does he employ the symbol . . . Like Hulme, Hueffer considered it expedient to take a hitch in poetry's belt. He wanted the poet to be less ambitious, to treat the fleeting, personal moods which he unquestionably can know ... and, above all, to

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-41 avoid the 'literary1 . . . Hueffer's Impressionism might be described as Hulme's Imagism without the eOlat of the clever analogy, though the distinction is one of degree . . . " p.139= "Hueffer's importance to Pound is much like that of the modern French poets: at a time when he was seeking ways of bringing new life to contemporary poetry, Hueffer through his criticism formulated an attitude and series of standards that were applicable to the problem of literature as Pound saw it. p.184: "it was Hueffer who exhorted the poet to render his own times and Pound who made the expression a catch-phrase of his criticism." Cole, Margaret I. Growing Up Into Revolution. London: Longmans, Green, 1949- pp.747^2-«3,127-12«. pp.82-83: "In the late autumn of 1920 we entertained Ford Madox Ford ... while his daughter was coming into the world in a nursing home; this was a more serious business than it sounds, for the baby's appearance was delayed and the actual birth prolonged and difficult, and Ford was sympathetically brought to bed with some chest-trouble which according to him demanded very special dieting." She had to send Ezra Pound up to London to buy a "sirloin-bone" for the ailing Ford. "It was one of the misfortunes which dogged Ford all his life, that the acts which he put on, his extravagant poses and gestures, were almost all out of timing with the currents of public opinion, and so earned him unpopularity. . . . he was an exasperating fellow. None the less, he was a real artist, a passionate lover of literature as a living force ... and a lover of freedom. Even at the time when he was groaning and wheezing away in the spare-room bed, he was directing, with the co-operation of ourselves and Johnny Rodker, a propaganda campaign against the Black-and-Tans and the English occupation of Ireland, which had certainly nothing phoney about it." Of a French tour in 1924: " . . . what remains most with me is neither of these trips, but the occasions when I stayed with Stella and Ford in Paris, picking up, as a truant matron, something of the poetpainter contacts I had missed since 1918. . . . I was always the philistine from across the water, representative of the smug and commercial civilisation whose unappreciative dust Ford had shaken from his feet, and I listened rather than talked. But I always enjoyed listening, and generally got much pleasure out of Ford, even at his most perverse." Connolly, James B. Sea-Borne: Thirty Years Avoyaging. Garden City, N.Y.: Doubleday, Doran, 1944. pp.l«4-l85. See Return to Yesterday, N.Y., pp.320ff.; Ford recalls meeting Connolly, his "Boston friend, again at the Cardinals' Consistory in Rome (see Ford's article in Collier's, Dec.16,1911). Connolly here describes at considerable length the same event. "Preceding and following that day of the Consistory were lesser though also interesting ceremonies. I sat and stood through them with Ford Maddox [sic ] Ford . . . I had known him for years before this in America [this must have been during Ford's 1906 visit; see Ford's review of a

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P41-44 Connolly book In Tribune, Dec.14,1907] and England. We agreed that we were learning things away from home. We swapped Information and matched perspectives; and we both mourned that we could not write of some things we knew--that Is, we could write them but editors would not dare to print them. Possibly later, yes. Ford, a Catholic, was covering the Consistory for Collier's, and he did take a wallop at one high prelate. T wouldn't care to be a curate in his diocese,' wrote Ford." 42. Conrad, Jessie (Mrs. Joseph). Personal Recollections of Joseph Conrad. London: Privately printed, 1924. pp. 46,51-62. p.46: "The early years, the home of which was Pent Farm, fall into two periods, the first one of four years marked by J.C.'s better health, and to which he always refers as his 'Blackwood' period . . . Into this period also fall the two collaborated novels with Mr. F.M. Hueffer, who was a very frequent visitor, staying with us sometimes for many days, while we used to drive often over to Winchelsea, where the Hueffers had a charming bungalow. We had rooms in a hotel, but we generally spent our days with them." pp.61-62: "Other­ wise Someries is memorable to me by the fact that the first number of the English Review was partly edited and actually put together there." (An almost identical version of this memory appeared in her article in Book­ man's Journal, Jul.,1925, ,112, 119,130,etc. p.95: ". . . it was in the l890's among the support­ ers of the Aesthetic Movement (and just at the time, incidentally, when critics such as Baring and Bruckner were launching their attacks) that Turgenev naturally found some of his most devoted adherents. . . . The centre of the cult perhaps was to be found in the group 572

F172-175 of writers fathered round Ford Madox Ford, 'the ConradJames-Crane school' as he once called it." Quotes from Ford. pp.112,119: Comments on Ford's statements about the influence of Turgenev on Galsworthy, p.130: On Ford's discussion of the influence of Dostoevsky and Turgenev on Under Western Eyes. "But Ford was right in speaking of Turgenev as the real shaping presence behind the book." 173· Pillement, Georges. Preface to the French translation No More Parades (Finies les Parades). Paris: Revue Franchise, 1933. "On pourrait s'^tonner qu'on ait attendu si longtemps a traduire et publier une oeuvre de Ford Madox Ford--mis a part ce chef-d'oeuvre, 1'Aventure [Romance], qu'il eOrivit en collaboration avec Joseph Conrad et dont Marc Chadourne donna il y a une dizaine d'ann^es [1926] une si jolie traduction—s'il n'^tait assez courant de voir n^gliger les oeuvres les plus originales au profit de celles qui peuvent atteindre plus facilement leur public. . . . Et puis, Ford n'est-il pas un grand et fidele ami de la France? Il nous l'a prouve' pendant la guerre . . . [Calls Joseph Conrad:] la meilleure dtude qui existe sur Conrad. . . . Ford est un des plus puissants temperaments de romancier de notre temps. . . . L'originality de Ford Madox Ford est aussi profonde que celle de James Joyce. Sans employer Ie monologue interieur d'une faijon systematique, on Ie volt suivre pas a pas, la pensee de ses personnages dans tous ses detours, dans tout son vagabondage. Finies les Parades nous apparait ainsi comme Ie plus extraordinaire des livres de guerre. . . . La guerre vue par Ie Marcel Proust anglais avec Ie fin d'un monde, d'une aristocratie avec ses rites, son c^rdmonial, ses parades . . . " 174. Porter, Katherine Anne. The Days Before. N.Y.: Harcourt, Brace, 1952. pp.109-110. "Homage to Ford Madox Ford," printed originally in New Directions: Number Seven, 1942. "I knew him for twelve years, in a great many places and situations [one of those being the summer writing conferences at Olivet College], and I can testify that he led an existence of marvelous discomfort, of insecurity, of deep and pressing anxiety as to his daily bread; but no matter where he was, what his sufferings were, he sat down daily and wrote, in his crabbed fine hand, with pen, the book he was working on at the moment; and I never knew him when he was not working on a book." 175. *Pound, Ezra. Pavannes and Divisions. N.Y.: Knopf, 1918. pp.101,107,111,129-137. pp.101,107,111, from "A Retrospect" (written in 1917): "Since March, 1913, Ford Madox Hueffer has pointed out that Wordsworth was so intent on the ordinary or plain word that he never thought of hunting for Ie mot juste. [Pound probably has in mind "impressionism --Some Speculations," Poetry, Aug. and Sept.,1913, an earlier version of his preface to Collected Poems.] . . . Ford Hueffer is making some sort of experiments in modernity. . . [Among "the few beautiful poems that still

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P175-178 ring in my head" are:] Hueffer's 'How red your lips are' in his translation from Von der Vogelweide, his 'Three Ten,' the general effect of his O n Heaven'; his sense of the prose values or prose qualities in poetry; his ability to write poems that will sing to music, as distinct from poems that half-chant and are spoiled by a musician's additions . . ." pp.129-137: "Mr. Hueffer and the Prose Tradition in Verse," previously printed in Poetry, Jun.,1914, £.v. 176. Pound, Personae. (First published in 1926). Norfolk, Conn.: New Directions, 1949. p.195. Section X of "Mauberley." See Hugh Kenner, The Poetry of Ezra Pound, pp.174-175; he makes a very credible supposition that these lines are modelled on Ford's immediate post-war career while he was farming in Sussex and had, according to later public statements, given up literature . Beneath the sagging roof The stylist has taken shelter, Unpaid, uncelebrated, At last from the world's welter Nature receives him; With a placid and uneducated mistress He exercises his talents And the soil meets his distress. The haven from sophistications and contentions Leaks through its thatch; He offers succulent cooking; The door has a creaking latch. 177. Pound, Ezra. ABC of Reading. London: Routledge, 1934. New Haven, Conn.: Yale U.P., 1934. London: Faber and Faber, 1951. Norfolk, Conn.: New Directions, 1951. p.90. After saying, on p. 89, "If you want to study the novel, go READ the best you can find. All that I know about it, I have learned by reading ..." (he gives a short list of novels from Tom Jones to Bouvard et Pecuchet), he then says, on p.90, "After that you would do well to look at Madox Ford's A Call." 178. *Pound, Ezra. Polite Essays. Norfolk, Conn.: New Directions, [1937J. London: Faber and Faber, 1937. pp.9-10,50,53,57-66,83,151. pp.9-10: From the essay on Harold Monro, Criterion, Jul.,1932, q.v. pp.50,53: From the essay, "1We have had no Battles, but we have all joined in and made Roads,'" dated (mysteriously) Dec.6,1914. "The revolution of the word began so far as it affected the men who were of my age in London in 1908, with the LONE whimper of Ford Madox Hueffer. His more pliant disciples were Flint, Goldring, and D.H. Lawrence. Hueffer ... read Flaubert and Maupassant in a way that George Moore did not. Impressionism meant for him something it did not for Mr. Symons. The cleaning up of the WORD had not got down to orthology or the severities we now read into that term. Aestheticism had not spared wholly our brother. It took Yeats and Symons one way, and Bro. Ford another. Nevertheless the literary historian will 574

P178-180 err If he tries to start the 'revolution of the word' a decade or so later with the emergence of Mr. Joyce's epigons and jejune admirers. Hueffer's ... succession is not in the new gongorism but in orthology, where I think Mr. Ford will dislike it. . . . It makes no difference whether we are writing of money or landscapes. Madox Ford's aim toward the just word was right in his personal circle of reference. He was dealing mainly with visual and oral perceptions, whereinto come only colours, concrete forms, tones of voice, modes of gesture. OUT of these you build sane ideogram. You build your congeries, in validity." p.83: Mentions, in 'James Joyce et PeOuchet"," written for Mercure de France, Jun.1,1922, Ford's "prose lucide." p.150: Mentions in "Prefatlo aut Cimicium Tumulus" from Active Anthology (1933), Ford's criticism of How to Read. 179. Pound, Ezra. The Pisan Cantos. Norfolk, Conn.: New Directions, T9~¥B. pp.10,bb,88,103. In Canto LXXIV: Lordly men are to earth o'ergiven these the companions: Fordie who wrote of giants . . . Mentions, among others that follow, Yeats, Joyce, Edgar Jepson. In Canto LXXX: speaks of Ford's efforts to impress him with the glories of nineteenth-century English tradition: which is what I suppose he, Fordie, wanted me to be able to picture when he took me to Miss Braddon's (I mean the setting) at Richmond [See It Was the Nightingale, Philadelphia, pp.88ff.] Orage, Fordie, Crevel too quickly taken . . . In Canto LXXXIIj contrasts the conversation of Ford to that of Yeats: and for all that old Ford's conversation was better, consisting in res non verba, despite William's anecdotes, in that Fordie never dented an idea for a phrase's sake and had more humanitas . . . 180. Pound, Ezra. Gaudier-Brzeska: A Memoir. London: Laidlaw, [19WT. pp.3-5,21,55,61,13b. pp.3-5,21: Quotes Ford's article in Outlook (London), Jul.31,1915, q-v., "On a Notice of 'BlastT711 p.21: "l spoil Mr. Hueffer's tribute by quoting it in fragments, but it interests me because Mr. Hueffer was, as I thought, more particularly interested in contemporary painting than in sculpture . . ." p.55= "The appearance of Blast was celebrated in due state at 'Dieudonne*' ...on July 15th . . . The feast was a great success, every one talked a great deal. It is this dinner to which Mr. Hueffer alludes in his description of Gaudier [in Outlook, see above; Ford alluded, in quite different terms, to this dinner in his article on Gaudier in English Review, Oct.,1919, £-v.]." p.6l: Letter to Pound from Gaudier, who was in the trenches, dated Nov.7,1914, referring (though the book is not mentioned by name) to When Blood is Their Argument: "Be

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Pl80-l8l(a) sure that Hueffer does not lessen the German aggres­ sions." p.138: Prom Pound's "Affirmations," New Age, Feb.11,1915 (most of this book seems to have been com­ posed at about this time, shortly after Gaudier's death): "I shall give these simple ideas of this decade as directly as I have given the ideas which seem to me to be the motifs of the Renaissance. I shall give the names of the men who embody them. . . . Ford Hueffer, a sense of the mot juste. The belief that poetry should be at least as well written as prose, and that 'good prose is just your conversation.' This is out of Flaubert and Turgenev and Stendhal, and what you will. It is not invention, but focus. . . . The common word is not the same thing as mot Juste, not by a long way. . . . Mr. Hueffer is the first man who has made enemies by insisting on these ideas in England." 181. *Pound, Ezra. The Letters of Ezra Pound. Edited by D.D.Paige. N.Y.: Harcourt, Brace, 1950. See index, p.20: to Harriet Monroe, May,1913. "I've been so fortunate as to get some prose from Hueffer. It is in a way excerpts from a longer essay and even so it is really too long . . . [This was "impressionism--Some Speculations," Poetry, Aug. and Sept.,Ί913.] It can't go in later than Sept. as it is going into a book here [became, with some revision, preface to Collected Poems.] . . . it will be the best prose we've had or are likely to get." p.22: To Harriet Monroe, Sept.23, 1913. "Lawrence, as you know, gives me no particular pleasure. Nevertheless we are lucky to get him. Huef­ fer, as you know, thinks highly of him." p.26: To Amy Lowell, Nov.26,1913. "Also I've resigned from Poetry in Hueffer's favor, but I believe he has resigned in mine and I don't yet know whether I'm shed of the bloomin' paper or not." A letter from Ford, Nov.12, 1913, in the Harriet Monroe Modern Poetry Library, U. of Chicago, shows Ford politely refusing to take over Pound's job: "l think it would really be much better for you to go on with Ezra and put up with his artistic irritations; because he was really sending you jolly good stuff. That is the main thing to be considered, isn't it?" p.28: To Isabel W. Pound (his mother). Dec. 24,1913. "Am down here [at "Slowgh (more or less) '] for a week with the Hueffers in a dingy old cottage that belonged to Milton. F.M.H. and I being the two people who couldn't be in the least impressed by the fact, makes it a bit more ironical. . . . 3 days later: Impossible to get any writing done here. Atmosphere too literary. 3 'Kreators' all in one ancient cottage is a bit thick. . . . Play chess and discuss style with F.M.H.1 p.33: To Amy Lowell, Mar.18,1914, suggests publishing an Egoist in Boston. "You can 'run' a paper in Boston and have a staff here [in London]. To wit me and Hueffer and anybody you've a mind to pay for." p.34: To Harriet Monroe, Mar.28,1914, re "On Heaven," which was finally published in Poetry, «Tun.,1914. "The Hueffer can't pos­ sibly wait past June. Both he and V [Violet] H [Hunt] have done nothing but fuss and plague me about the delay supposedly till June ever since I got the thing from them, and 'printing it in America is just like burying

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Pl8l(b) it.' And he has turned down Monro of Poetry and Drama . . . " p.37: To Harriet Monro, May 23,1914, re "On Heaven." "The Hueffer good? Rather! It is tEe most important poem in the modern manner. The most important single poem that is." p.44: To Harriet Monroe, Nov.9, 1914. 'No--you are not at liberty to say that she [Violet Hunt] is Mrs. P.M. Hueffer. You are specially requested to make no allusion to the connection." p.46: To Harriet Monroe, Nov.9,1914. "Wyndham Lewis, whose decorations of the Countess of Drogheda's house caused such a stir last autumn ...is now decorating the study of that copious novelist and critic, Mr. Ford Madox Hueffer. And, as I intimated in my note this morning, no, for gawd's sake don't connect Violet Hueffer with F.M.H. There have been enough suits for libel, etc." p.49= To Harriet Monroe, Jan.,1914. "When one really feels and thinks, one stammers with simple speech; it is only in the flurry, the shallow frothy excitement of writing, or the inebriety of a metre, that one falls into the easy--oh, how easy!—speech of books and poems that one has read." Footnote to this, written by Pound in Jun.,1937: "It should be realized that Ford Madox Ford had been hammering this point of view into me from the time I first met him (1908 or 1909) and that I owe him anything that I don't owe myself for having saved me from the academic influences then raging in London." p.60: To H.L. Mencken, May 2,1915· " . . . the quality of the Eng. Rev. then [under Ford's editorship] depended ... very largely on the sort of personal touch between the office and writers . . . The fact that some editor actually wants the best he can get is a very considerable comfort to me . .__." p.63: To Harriet Monroe, Sept.25, 1915· "Hueffer up in town on leave yesterday. It will be a long time before we get any more of his stuff, worse luck. He is looking twenty years younger and enjoying his work." p.64: To Harriet Monroe, Oct.2, 1915: T.S. Eliot had published "The Love Song of J. Prufrock" in Poetry, June, 1915. "You can take Hueffer's commendation of Eliot to back up mine, if it is any use to you." p.68: To Harriet Monroe, Jan.21,1916, re her anthology, The New Poetry, which included only Ford's "Antwerp' in its first edition. "Yeats and Hueffer both seem grumped about your anth. You did ask 'em for pretty big sections." p.70: To Harriet Monroe, Mar.5,1916, defends Ford as a Poetry contributor from the lowering of rates, p.100: To Wyndham Lewis, Jul.,1916. "Met Hueffer's brother-in-law on the plaisance. He said a shell had burst near our friend and that he had had a nervous breakdown and was for the present safe in a field hospital. Ford's brother Oliver is in the trenches.' p.Ill: To Margaret C. Anderson, ca. May, 1917. ". . . as things stand I can ask for money when Joyce finishes his next novel or if Hueffer ever gets his real book finished." This was probably Women and Men, which first began to appear in Anderson's Little Review, Jan.,19l8. p.114: To H.L.Mencken, Aug.12,1917, also probably re Women and Men. ". . . I have now got Hueffer's best ms. for T9T8 . . ." p.133: To John Quinn, Apr.3,1918. "Hueffer's stuff [Women and Men]

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Pl8l(c)-l84 was done five years ago." p.178: To Felix E. Schelling, Jul.8,1922. Mentions his critical debt to Ford. p.200: To William Bird, Aug.18,1925. "Mr. Ford Madox Ford is personally supervising the erection of a cenotaphary sarcophagus in his honour being erected by the Legion of Honour at Chantilly [?]." pp.212-213= To Glenn Hughes, Dec.26,1927. "... Lawrence was never an Imagist. He was an Amyglst. Ford dug him up and boomed him in Eng. Rev, before Imagism was launched." p.287: To Ronald Duncan, Jan.27,1937, ref. to English Review, p.296: To Michael Roberts, Jul.,1937^ ''The man who did the work for English writing was Ford Madox Hueffer . . . The old crusted lice and advocates of corpse lan­ guage knew that The English Review existed." p.297: To W.H.D. Rouse, Oct.30,1937. "F.M. Ford wasted 40 novels, as I see it, excellent parts merely buried in writing done at his second best." p.321: To Ford, Jan.31,1939, re_ Ford's initiation of the "Friends of William Carlos Williams" circle in New York. p.323: To Wyndham Lewis, Aug.3,1939, re his obituary article for Ford in Nine­ teenth Century and After (Aug.,1939). p.324: To Ronald Duncan, Aug.6,1939. "I think you shd. go find out what ole Fordie wuz drivin at; and eschew Mr. Eliot's affected and artyficial language." 182. *Pound, Ezra. Literary Essays of Ezra Pound. Edited by T.S. Eliot. Norfolk, Conn.: New Directions, 1951+. All this material relating to Ford has been previously published: "A Retrospect" in Pavannes and Divisions, 1918; "The Renaissance," "[Mr.· Hueffer and] the Prose Tradition in Verse," and the review of D.H. Lawrence's Love Poems and Others, in Poetry, q.v.j review of Henry James's The Middle Years in Little Review, Aug.,19l8, 2..V. 183. Pound, Ezra. Guide to Kulchur. Norfolk, Conn.: New Directions, 119551. PP-91,13^,261. p.91: "There are I believe scattered chapters in novels by F.M.H. which show civilization." p.134: "(The vast running sore which crosses England on the meridian of Manchester is not known to humanity.) . . . So far as I know Ford Madox Ford is the only living communicator of the Manchester Anschauung to the domain of outer-world consciousness. Ford has mentioned it in a book that a human being can read. I have forgotten what book. It may have been told me viva voce. p.26l: "Madox Ford used to talk very vehemently, but not very coherently, of the damage done in England by commutation of duty of overlords to their people into mere money payments." 184. *Pound, Ezra. Pavannes and Divagations. Norfolk, Conn.: New Directions, 1958^ ΡΡ-153-155· "Madox Ford at Rapallo: A Conversation between Ford Madox Ford and Ezra Pound (Translated by Olga Rudge)." "Editor's Note" on p.155 (the "editor" was possibly Olga Rudge but more likely Pound himself): From the original interview in Italian, appearing in 'Il Mare' of Rapallo at the time of one of Ford's visits. Pes­ tered the next day as to what a young writer ought to

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P184-185 read, Ford groaned: 'Let him get a DICTIONARY and 1 learn the meaning of words. " Acknowledgments at the beginning of this volume cite the first appearance of this translation as in "Mood, No.24,Fall,1950, St. Louis, Mo." Eustace Mullins, on p.182 of his This Dif­ ficult Individual, Ezra Pound, says that the interview was also printed in Western Review. I have not been able to consult either Il Mare, Mood, nor the last periodical. Introduction, possibly by Olga Rudge, to the interview: "Ford Madox Ford, 'grandfather of con­ temporary English literature,' founder of the English Review, the Transatlantic Review, friend of Henry James and Hudson, a collaborator of Conrad's, etc., passed through Rapallo the beginning of August, 1932. We were present when his friend Pound attacked him, verbally: [excerpts from this interview here follow] Pound: What authors should a young Italian writer read if he wants to learn how to write novels? Ford: (Spitting vigor­ ously) Better to think about finding himself a subject. Pound: (Suavely, ignoring Ford's irritation) Well, suppose he has already had the intelligence to read Stendhal and Flaubert? Ford: A different curriculum is needed for each talent. One can learn from Flaubert and from Miss Braddon. In a certain way one can learn as much from a rotten writer as from a great one. Pound: Which of your books would you like to see translated into Italian and in what order? Ford: I don't trust translations; they would leave nothing of my best qual­ ities. Some writers are translatable. . . . Pound: You have often spoken to me of 'fine talents.' Are some finer than others? (Ford tries to evade a comparison) Pound: 'Are there new writers on a level with Henry James and Hudson? Ford: (After qualifying Henry James' talent at some length) Yes. Hemingway, Elizabeth Roberts, Caroline Gordon, George Davis. Read 'The Opening of a Door' and 'Penhelly.' . . . Pound: Now for the term 'promising.' What makes you think a new writer 'promises'? Ford: The first sentence I read. When two words are put together they produce an overtone. The overtone is the writer's soul. When Stephen Crane wrote, 'The waves were barbarous and abrupt,' he presented simultaneously the sea and the small boat. Waves are not abrupt for a ship. 'Barbarous and abrupt'--onomato­ poeic, like 'Poluphloisboion' in Homer (when Cyclops throws the rock). Pound: (Concluding) How many have kept their promises since the English Review was founded twenty-five years ago? Ford: Stephen Reynolds is dead. Ezra has become hangman's assistant to interviewers . . . I don't know what Wyndham Lewis is doing. Norman Douglas. D. H. Lawrence is dead, but kept on 'till the end. Rebecca West. Among the successors: Virginia Woolf; Joyce in "The Portrait of the Artist as a Young Man'; the Hughes who wrote 'High Wind in Jamaica,' a dramatist's novel, not a novel writer's." 185. Pound, Ezra. Thrones: 96-109 d'e los cantares. N.Y. : New Directions, 1959. PP.94,Ψ>· In the 104th Canto Pound mentions Ford first among other dead friends and then in association with the end of his editorship of the English Review.

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Pl86-l89(a) 186. Pound, Reginald. Arnold Bennett: A Biography. London: Heinemann, 1952" N. Y.: Harcourt, Brace, 1953· pp.180-181,207,276-277. pp.l80-l8l: Quotes from Return to Yesterday, N.Y., p.I83, re Bennett: "1He disliked, it is true, the French Trom whom he had learned everything.' . . . a too reckless interpretation of his attitude, which was rarely more than moderately critical." pp.276-277: Retells the story about Ford's encounter with Bennett at the Foreign Office; see It Was the Nightingale, Philadelphia, pp.18-19; also Return to Yesterday, pp. 387-388. 187. Pound, Reginald and Harmsworth, Geoffrey. Northcliffe. London: Cassell, 1959. p.300. "His literary supplement," the Daily Mail Books to which Ford contributed, "was applauded by authors and publishers but it did not succeed, probably because he had put Edmund Gosse in1 charge of it. Gosse wrote to him after six months: In a less depressed time of the publishing trade, and when there are fewer distracting and depressing influences abroad, I am sure that our experiment would have had a commercial success. In younger hands than mine, it may yet have.' Gosse was followed by Archibald Marshall [see his Out and About], newspaper correspondent turned novelist, whose personal problems created office difficulties, and Ford Madox Hueffer, another staff man, added to Northcliffe's increasing boredom with the supplement." 188. Purdy, Richard L. Thomas Hardy: A Bibliographical Study. London: Geoffrey Cumberlege--Oxford U.P., 19W. PP. 139,3^0-341. p.139: Bibliographical note on "A Sunday Morning Tragedy" quotes from Hardy's reply of Sept.9,1908 to Ford's letter which had asked to print the poem. "Since you write so appreciatively I send it on. But please do not feel yourself under any obligation to print it; if you have the slightest doubt or dislike of it return it, and I shall not feel hurt, as it is my intention to open a volume of poems with it when I issue another." See Douglas Goldring's People and Places, p.276, for a description of the letter written to Hardy. 189. *Putnam, Samuel. Paris was our Mistress: Memoirs of a_ Lost and Found Generation. N".Y.: Viking, 1947· PP¥5770-72,75,«9-90,9a,110-127,11H3149. pp.118-127: "At the time I came upon the scene Ford Madox Ford ... was very much in the picture. Americans, particularly the Midwesterners, looked upon him as being, if not exactly one of their own, at any rate their advocate in the broader world of letters; and this despite the fact that he had the accent and all the mannerisms of an upper-class Englishman, complete with snort, sniffle, and gasping stutter. Just why Ford should have become so enamored of America, and especially of our corn belt, is something that may be left to a more intimate biographer to explain. . . . it may have been, simply, the insufferable dullness of most of his British contemporaries--for that he did find them 'a bit dull' 580

Pl89(b) he once confessed to me. . . . It was American vitality that seemed to attract him, American hardboiledness of the Hemingway variety . . . My acquaintance with him dates from those days when I was meeting the Twentieth Century Limited in Chicago and visiting Britishers were coming over in droves. The first interview took place on that same bench in the Blackstone Hotel lobby where not long before I had sat and talked to G.K. Chesterton. I could not help contrasting the two. There was an initial and striking resemblance in their 'corporations,' but that was as far as it went. . . . Ford, notwithstanding his stomach, had a certain slim nervousness about him that was possibly due to his soldiering ... fidgeted constantly for something he never seemed to find. And ,there was that ever recurring snort of his, which to me always suggested a cavalry charge. . . . As the talk turned to literature and Mr. Ford's contemporaries, he was careful to make one thing clear: 'When George Moore dies, I believe I shall be the dean of English novelists-. ' I was to hear him repeat this remark a good many times during the next few years . . . That same evening, in the Arts Club of Chicago, Mr. Ford gave a talk [see correspondence relating to this in the Harriet Monroe Modern Poetry Library, U. of Chicago; the talk was given soon after Jan.18,1927], a reminiscent one. . . . Later during his stay I had a chance for a real talk or two, and it was then I learned how very much concerned he was with our young expatriates ... in Paris. He was enthusiastic over Hemingway and insisted on being driven out to see the staid, ultrarespectable suburb of Oak Park which had produced such a phenomenon. He must also see the stockyards, which caused him to sniff more than ever, but he disdained the new boulevard-link . . . A short while after our arrival in Paris, Riva and I were wheeling the baby down the rue de Vauglrard, when whom should we, literally, bump into but Mr. Ford . . . Upon learning that I was giving up newspaper work, at least for the time being, he expressed his satisfaction . . . We soon formed the habit of looking in at Stella Bowen's studio at teatime, where Ford was always the centre of attraction. It was there that we first saw Stella's revealing portrait of him, a reproduction of which was published in the New Review [which he edited]: the one that shows him over a game of solitaire, gazing up abstractedly with his mouth drooping open. It was an extremely characteristic pose . . . [See previous descriptions of the portrait in Sisley Huddleston's Paris Salons, Cafe's, Studios and Nina Hamnett's Laughing Torso.J It was after he and Stella had separated that, in his new 'bachelor' apartment down near the Sorbonne, Ford started his Thursday afternoons, which were to become quite famous in the Quarter. The attendance was rather overwhelmingly feminine, with only the more serious ones among the other sex or an occasional old acquaintance like Pound, Aldington, or F.S. Flint [later tells of one of Flint's intrusions] putting in an appearance. As for the young women--the 'Ladies Whose Bright Eyes' as we named them--it is to be suspected that nearly every other one had a novel or a short story, possibly concealed 581

Pl89(c)-191 upon her person, which she hoped that the Dean of English Novelists would 'look at'; for Ford at that time was on a veritable spree of preface-and-blurbwriting, and as it seemed to happen, most of his discoveries were women. It is not to be assumed from this that he let chivalry interfere with his critical judgment; as a matter of fact, he did not. I have never known a man of letters who was more genuinely eager to be helpful to newcomers with any promise whatsoever, or who had more of a passion for literature as a great and fine art. . . . [However] this was a role he loved to play. . . . These afternoons were nothing if not decorous affairs. . . . Then there were those sonnet-writing contests, held on a Saturday night. Allen Tate and his wife were close friends of Ford, and Mr. Tate was a kind of major-domo on these occasions. . . . the genial pastimes of a lonely old man . . . Ford was apt to apply his fictionizing to the most inconsequential details of his life . . . It was traits such as these that endeared him to us. . . . My final impression of Mr. Ford is from the Riviera . . . " Tells how Ford's secretary, a young Greenwich Village novelist, didn't last long with Ford because Ford would not listen to him talk about Oscar Wilde and Ronald Firbank and also simply couldn't have "a secretary who doesn't know ripe figs Ir' 190. Complete Catalogue of the Library of John Quinn, Sold by Auction in "PTve Parts. N.Y.: Anderson Galleries, 192T: pp7l73.177-17«,179,184,428-429· See All(a), Manuscript Materials," for information given here on pp.178-179. 191. Rascoe, Burton. A Bookman's Day Book. N.Y.: Liveright, 1929. pp.192,257-25972F7. p.192: Entry for Jan.11,1924. "Ernest Boyd tells me that Hueffer and Douglas Goldring used to edit The English Review from a stall in a London music hall [see Goldring's Reputations, pp.217-219] . . . The magazine read as though it might thus have been edited; by which I mean that the stuff the editors printed read as though they had thoroughly enjoyed their job." pp.257-259: Entry for Jun.13,1924. "Ford Madox ... Ford ... came to lunch with me to-day. . . . He is now editing the Transatlantic Review, a magazine which I find unfailingly entertaining. It is modernistic, fresh and high spirited, and in reading it I am amazed at Ford's mental resiliency and receptivity, by which he keeps abreast of his time in three countries and brings a sympathetic appreciation to new work of merit among the younger experimenters. . . . He told me that he had come to America for a fortnight or so on business in connection with his magazine. He related an unusual experience. Some one had given him a card to a certain club, and by mistake he had gone into another club, across the street. Ford did not learn until that afternoon [several days later] and quite by accident, that he was putting up at the wrong club. . . . Gilda Gray, the dancer, as a publicity stunt, was giving a luncheon in honor of the albino monkey which has recently been added to the 582

P191-192 Hippodrome Toyland, and because I had been invited and privileged to bring a guest, I asked Ford if he would like to go. He was pleased by the idea. He discovered after he got there that he had known Miss Gray's husband, Gil Boag, in Paris. He sat between Miss Gray and Ada Patterson, the interviewer, and seemed to enjoy himself greatly, though at times he looked a little bewildered. He told me about the late Luke Ionides . . . Drove to the Anderson Galleries with Ford . . . " p.267: Entry for Jun.23,1924. " . . . C. Hartley Grattan, author of a brilliant study of James Russell Lowell in the May issue of The American Mercury, came to lunch to-day, and in the afternoon Hazel and I took him to a tea at the office of Horace Liveright. Ford Madox Ford, Hendrik Van Loon, Carl Van Vechten were there. 192. *Rascoe, Burton. We Were Interrupted. Garden City, N.Y.: Doubleday, 197TTT pp.142,184-186,227-230. p.142: Speaks of his co-worker on N.Y. HeraldTribune Books, Mrs. Isabel Paterson, and her own and the paper's partiality to Ford (see her many reviews of Ford's books). pp.l84-l86: Saw Ford again in Paris in late I924. 'After dinner we went to a bal musette near the Pantheon where Ford introduced us to Nancy Cunard, E.E. Cummings, Robert McAlmon, and ... to Mrs. Ernest Hemingway. Hemingway was there, but he and Ford were not speaking. Hemingway came up to me and introduced himself. After Ford had asked my wife and me and Mrs. Hemingway to sit at a table with him, Hemingway said to Mrs. Hemingway, 'Pay for your own drinks, do you hear.' Don't let him ... buy you anything.' What had happened was that Hemingway had attacked T.S. Eliot very savagely in the Transatlantic Review [in his article on Conrad, Sept.,1924 J. Ford had permitted the attack to appear, but when Eliot angrily protested, Ford apologized in the editorial columns of the magazine . . . Hemingway had thereupon severed his connection with the Transatlantic and ceased to speak to Ford, although night after night they met in the same gathering places; and Hadley Hemingway and the Fords remained on good terms." Describes the bal musette, pp.227-230: "After I became editor of the Bookman [N.Y.] I received from a literary agent the manuscript of The Sisters. . . . There was no indication of how the story was to develop. Ford Madox Ford was in town and I got an idea. . . . Why wouldn't it be a literary coup if I could engage Ford to complete the story in the Conrad manner? I knew that Ford had a memory in which fact was often mixed with fancy and that, although he had written some novels of his own which probably will survive as long as any of Conrad's, he had somehow missed the fame which Conrad finally achieved and, because of this, he was rather pathetically subservient to Conrad's reputation . . . There was at the time, a sort of tug of war between Ford and Richard Curie over the question of Conrad, as to which one had the better right to be identified with Conrad. I was definitely rooting for Ford, though I did not see why he should contend with such a minor literary hack as Curie and why he did not dissociate himself entirely from Conrad's memory . . . I was of the belief that Ford knew nothing 583

P192-193(a) of the existence of the manuscript of The Sisters, but that If I could Implant In his mind the idea that I believed he did, he would say that of course he knew all about the story and would consent to finish It, or at least tell the Bookman readers how Conrad intended to develop it." The latter of which Ford did, in the Jan.,1928 Issue. Rascoe tells of the lunch (E.E. Cummings was also present), during which Ford followed exactly Rascoe's predictions. "But Ford turned in such an interesting and plausible article about Conrad's intentions that I have never been able to decide to this day whether what he wrote is true or imagined." Tells of an amusing incident after that lunch, while he, Ford and Cummings were walking down Fifth Avenue. 193. *Read, Herbert. Annals of Innocence and Experience. London: Faber and Faber, 1940. pp.194-199. Includes several interesting Ford letters never published before. His close acquaintance with Ford began shortly after the war when Read was working for the Treasury and trying to decide whether he should make his living as a novelist. He had first met Ford in 1918: "I had discovered his name, much to my surprise and delight, in the list of officers attached to the Tees Garrison, whose staff I had joined in August or September of that year. Ford was busy trying to forget that he was a writer, but he welcomed the intrusion of a young and enthusiastic disciple, and for a few years we were very good friends. . . . Ford was not unwilling to adopt the role of mentor--had he not nursed Conrad himself from obscurity to fame! . . . The generality of his advice was always the same, and I found it entirely reasonable and sympathetic. [From a letter of Jun.ll, 1920:] 'Education Sentimentale is Stonehenge; but What Maisie Knew is certainly Stratford on Avon (though God forbid that the Old Man should hear me say so!). Le Rouge et Ie Noir is the perfect thing upon which to model one's style, if one does not model it on Coeur Simple—which is worth a wilderness of apes, monkeys, Times Literary Supplement reviewers and almost every other thing in the world. . . . But the Real Thing is nearly as good. Only Henry was just a little provincialpharisaic, whereas Flaubert was so large, untidy, generous—and such a worker!' . . . To model myself on Flaubert and Henry James at the fag-end of a busy day in Whltehall--on that physically impossible strain I finally broke." Speaks, however, of his great admiration for James. "Ford, with a persuasive charm that was difficult to resist, threw all his forces on the side of the novel. I still have a long letter which he wrote to me in September of that fateful year [Sept.19, 1920] . . . 'I don't know that I am the most sympathetic person to come to for one inclined to desert the practice of novel-writing for the indulgence of metaphysics. For, firstly, I never knew what metaphysics were and, secondly, I have for years and years and years held that the only occupation to which a serious man could seriously put himself was the writing of novels . . . I don't see what Yorkshire [footnote: "l fancy it was part of my plan to retreat to Yorkshire and become a 584

F193(t> )-194 regional novelist."] has to do with it—except that all Yorkshire people ... are singularly lazy and singularly self-sufficient . . . My friend Marwood ... was a case in point: he had the clear intelligence of a poet but, rather than trespass on his own shyness and shamefacedness he would spend days making corrections out of his head on the Margins of the Encyclopaedia Britannica. He just--peace to his ashes--wanted to bolster up his self-conceit to himself (he didn't boast of the achievement to any other soul), and, of course, to remain tres grand seigneur, Marwood of Busby, and so on. . . . That is at the bottom of most Yorkshire dislike of the Arts --a sort of shyness and love of easel . . . Don't let yourself undergo that hardening process; it is a very stupid one; and try to forget that you come from the Sheeres at all. . . . I can imagine no more terrible being to himself, than a Yorkshireman, true to type, and modelling himself on Mr. Beyle I . . . The end would be the most horribly costive neurasthenic you can imagine, with incredible sex obsessions sedulously concealed, swaddled up to the ears in red flannel for fear of draughts., and with more hypochondrias and phobias than are to be found in all Freud, Jung and the late Marie Bashkirtseff put together . . . You are unjust, rather, to Conrad. . . . He is a Pole, and being a Pole is Elizabethan. He has done an immense deal for the Nuvvle in England--not so much as I, no doubt, but then that was not his job, and he is of the generation before mine. I learned all I know of Literature from Conrad--and England has learned all it knows of Literature from me. . . . I do not mean to say that Conrad did not learn a great deal from me when we got going . . . But, but for him, I should have been a continuation of DANTE GABRIEL ROSSETTI--and think of the loss that would have been to you young things. . . .' This might be read as humorous bluffing, but not by anyone who knew Ford. . . . This falsity in Ford's claim, too obvious to be hidden from even friendly eyes, affected my reception of his advice. . . . I did not ... accept the view that an interest in metaphysics of 'the Serious Book' necessarily meant a loss of humaneness . . . My view was rather that the man, the person, came first; and that it was immaterial in which particular form he expressed himself . . . I remained in the Civil Service and my novels remained unfinished or unwritten." It is interesting to find Richard Aldington in "Notes on the War Novel" (This Quarter, II, 542-543 [Jan.-Feb.-Mar.,1930], £.v.) contrasting Ford and Read. 194. Read, Herbert. The True Voice of Feeling: Studies in English Romantic Poetry. London: Faber and Faber,

1953.

pp.iib-117":

"Ford was a stimulating personality and his fifteen months' editorship of The English Review made the years 1908-9 memorable. He had a great feeling for prose style . . . But his influence on the development of English poetry was negligible. He himself wrote a loose 'impressionistic' verse which shows no appreciation of the technical problems of free verse; and, Indeed, to be just to Ford, he never made any pretension of being a significant poet. . . . There is poetry in his own 585

F194-196 novels, but it is prose poetry: he never felt the need for any other literary form." 195. Retinger, Joseph H. Conrad and his Contemporaries. London: Minerva, 19TE pp.77'I7or. N.Y.: Roy, 19^3. PP.92-93. 'It must be admitted that Conrad was a somewhat capricious friend. . . . he often patiently endured the society of people who otherwise [apart from their admiration of him] did not mean much to him. I wonder if Hueffer ... belonged to that category? Son of a well known German physician [sic], on the maternal side a grandson of Maddox [sic] Brown . . . He was an expert adapter of the opinions of his friends, whom he knew how to choose. He soon sensed the genius of Conrad, and, a real connoisseur, even when the latter was still unknown, lauded him to the skies. Conrad's susceptible nature reacted easily to this homage and sincere flattery, and Hueffer became an intimate visitor at his house, collaborating with him in Romance and one or two other stories. . . . He dragged the opening chapters [of Some Reminiscences] from Conrad, while he was lying in bed with gout, and Hueffer wrote parts of it to the latter's dictation. Without having any tender feelings for him, Conrad felt obliged and grateful . . . About 1914 Hueffer ceded the editorship of the English Review to Austin Harrison, and during the War he became a champion of British jingoism. He changed his last name to Ford in order to obliterate entirely all traces of his German descent. The history of the English Review of old was remarkable. . . . Its rSle ... was similar to that of the Revue Blanche of Paris some ten years earlier, grouping together all talented men of letters of England without distinction of political creeds or artistic allegiance. Later it passed into the hands of Sir Alfred Mond (Lord Melchett), who transformed it almost entirely into a political organ representing the views of his own group.' Retinger's information is not very reliable. 196. Reynolds, Stephen. Letters of Stephen Reynolds. Edited by Harold Wright. Richmond, Surrey: Hogarth, 1923. pp.113,iih,115-116. p.113: To Edward Garnett, Nov.29,1908. "Hueffer has asked me to take on the Assistant Editorship of the [English] Review--not in place of Goldring, who remains sub-editor, but to look after the business part, advertising especially, and the initial stages of the literary part. As it means only a week a month up [in London], and gives one standing, and as, of course, I'm very anxious to see the Review succeed, I've taken it on for a while, though not without calling myself a damn fool for not sticking better to my last." p.114: To J.B. Pinker, Jan.10,1909, from Sidmouth. "Got back; heartily glad; and gladder every day I've given up that assistant editorship. I can't think what caused me not to see the situation when I was offered the j"ob, unless it was the flattery (to me) of being offered it. . . . being a decent fisher of fish, instead of contributors and advertisers, is ten times better to my mind. . . . I fancy 586

P196-198 that E.R. job was at bottom an attempt, kindly meant, like most evil attempts, to entice me out of this place now I am supposed to have got what I can out of it." pp.II5-II6: To Ford, Jan.10,1909, also from Sidmouth. Ί got home all right . . . Marwood and I had a long discussion over the assistant editorship, and at the risk of seeming damnably ungrateful, I adhered to my decision. My mistake was in allowing the flattery (to me) of the offer to obscure from me the fact that I cannot do it all. I've knocked up both times, and that is no good either to me or to you. If I can help you irregularly, let me try . . . unlike you I cannot chop from one kind of work to another in a day, nor yet in three." See Return to Yesterday, N.Y., p.373. 197· Rhys, Ernest. Everyman Remembers. N.Y.: Cosmopolitan, I93I. pp.243-246,249"At our house in Hermitage Lane ... we often had gatherings of young poets, informally resuming the nights at the old Cheshire Cheese of the Rhymers' Club. . . . The most memorable of these nights was one when the late D.H. Lawrence, then a completely unknown poet, came with Ford Madox Ford (who was then editing the English Review). He had written to say he had discovered a wonderful new poet in a young country schoolmaster somewhere in the Black Country, and wished to bring him along. When the two entered the room together, they made a curious contrast, for Ford always had the air of a man-about-town, well used to town occasions, while Lawrence looked shy and countrified; perhaps a little overwhelmed by the fanfaron of fellow poets heard in the room, with W.B. Yeats and Ezra Pound dominating the scene. . . . In his turn, Ford Madox Ford read us a witty burlesque, after which we persuaded D.H. Lawrence, who had been sitting silent in a corner, to read us some of his verse. . . . Lawrence's reading went on and on, seemed as if it might go on the whole evening, and the other poets became restive, and chattered sotto voce. . . . As the night grew late we tried to get Lawrence to give us one more lyric out of his black book, and impressed on him that one only would satisfy our ritual needs; but Madox Ford took him under his arm and marched him off murmuring wickedly, 'Nunc, nunc dlmittis.'" 198. *Rhys, Jean. Postures. London: Chatto and Windus, 1928. pp.9-12,50,62,65,76,81-82,84,86-87,93-95,107108,122,126,128,130,140,158-159,162,201-202,219. A novel obviously if tendentiously, based on the author's relationship with Ford and Stella in Paris. A valuable corrective to the extreme bias shown in this book is to be found in the humane treatment of its author in Stella Bowen's Drawn from Life, pp.l62ff.: [She does not name Miss Rhys, but it is clear to whom she is referring, in the light of Postures.] "He [Ford] required to be well entwined around the support of his choice, but in due course the roving tendrils began to attach themselves to other supports, without showing any disposition to release the first one. This created a situation which I found too difficult. . . . Ford had fallen in love with a very pretty and gifted [one

587

P198-201 realizes how high a compliment this is after reading Postures] young woman. . . . a really tragic person. . . . She lived with us for many weeks whilst we tried to set her on her feet. Ford gave her invaluable help with her writing, and I tried to help her with her clothes. I was singularly slow in discovering that she and Ford were in love. . . . I was cast for the rSle of the fortunate wife who held all the cards, and the girl for that of the poor, brave and desperate beggar who was doomed to be let down by the bourgeoisie. I learnt what a powerful weapon lies in weakness and pathos and how strong is the position of the person who has nothing to lose, and I simply hated my r6lej" The heroine of Postures, "Marya Zelli," is cast as a perpetual victim, mysteriously attracted to "Hugh Heidler," an "English picture-dealer man," whom she abhors; she is oppressed by the menage |_ trois, occasionally breaks away to visit her husband who is in jail, is finally dropped by Heidler and hustled off to the Riviera. The page citations given above draw attention to those passages which seem to confirm the identities of the participants of the sordid story. 199. Rhys, Jean. After Leaving Mr. Mackenzie. N.Y.: Knopf, 1931· London: Cape, 1931. pp.13,lb-18,30-33,35-36. See above, Postures, of which this is a sort of sequel, "Mr. Mackenzie" representing the same figure as that novel's Hugh Heidler, though it would be impossible to make this identification with Ford without having previously read Postures. Mr·. Mackenzie is here a retired businessman of forty-eight; his only connection with the arts is that "in his youth he had published a small book of poems." His victim here, whom he is paying to stay out of his way, is "Julia Martin," very much the same rootless personality as the Marya Zelli of Postures. He plays a much smaller part in this than in the earlier novel. 200. Richards, Grant. Housman: I897-I936. London: Oxford U.P., 1941. p.25"Fi W7Y. : Oxford U.P., 1942. From a letter of Housman to Richards, Dec.14,1931: "I once met Ford Madox Hueffer, as he then was, at Rothenstein's, but I am sure I neither did nor said anything which would take even one page to tell." See Return to Yesterday, N.Y., pp.330-332, where Ford tells an anecdote about a visit to Housman by Willa Cather and another lady from Pittsburgh. 201. Robertson, W. Graham. Letters from Graham Robertson. Edited by Kerrison Preston. London: Hamilton, 1953· p.492. Letter from Robertson to Preston, Aug.28,1942. "I'm delighted that you have the Madox Brown picture of Ford Hueffer as 'Tell 1S Son.' You wanted a Madox Brown to complete your group, and that should be a really interesting one. I have seen reproductions of it. -What a pity that such a nice little boy should have developed into such a singularly plain and (I thought) unattractive man. I met him when he was Mr. Violet Hunt and did not admire him."

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F202-205 202. Rossettl, William M. Some Reminiscences. 2 vols. N.Y.: Scrlbner's, 1906. London: Brown, Langham, 1906. Vol. II, pp.333,543-544. p.333: -Describes Ford's father, "in January 1889, aged forty-three, he died In London very suddenly. He left a widow and three chlldren--Ford, Oliver, and Juliet. Ford Is now an author of rising and deserved reputation . . . Madox Brown, though he was not the trustee appointed under Francis Hueffer's will, came forward with his unfailing warmth and energy of affec­ tion, and was the mainstay of the family for some try­ ing years following the father's death. pp.543-544: "I recur for a moment to the death of Madox Brown. Very soon after that event Mr. Longman the publisher was minded to bring out a biography of Brown, and he applied to William Morris as a person not unlikely to undertake it. Morris did not feel disposed to do so, and he suggested that Mr. Longman might address me. This he did: but I had reasons for not wishing to be the biographer; and I recommended Mr. Longman, before anything further should be done, to write to my wife at Pallanza as one of Brown's executors, and the most suit­ able of all persons to advise, and if requisite, to produce the book. My wife responded to this advance; and, notwithstanding the desperate condition of her health, she set about writing the biography. . . . What she wrote was not exactly inconsiderable in amount, but it could not be any more than a beginning. After learning of my wife's death, Mr. Longman again communicated with me. I mentioned Mr. Ford Madox Hueffer as being then the most obvious person to consult. He undertook the work, and did it well, composing the book, very hand­ somely got up and illustrated . . . " 203. Rothenstein, William. Men and Memories: Recollections; I9OO-I922 (Vol. II in a series of 3 vols., published at different times.) London: Faber and Faber, 1932. p.41. "Ford Madox Hueffer, coming in one day while I was drawing [W.H.] Hudson, suggested I should draw Conrad, and seeing Conrad shortly afterwards, for Conrad was living at the Pent ...he spoke to him about sitting. Whereupon Conrad asked me down for a weekend." This was ca. Oct.,1903. 204. *Schorer, Mark. "An Interpretation," preface to The Good Soldier. N.Y.: Knopf, 1951. pp.v-xv. p.xv: Note appended to this preface: "The first version of this essay appeared in an issue of The Princeton University Library Chronicle (April 1948) devoted to Ford Madox Ford. In a slightly altered form, it appeared again In Horizon (August 1949) [£·ν]. This third version, of 1951, differs from the others chiefly in that today one need no longer make the kind of appeal for readers of Ford that was necessary only three years ago." 205. Schorer, Mark, Foreword, Critiques and Essays in Modern Fiction: 1921-1951. Edited by John W. AldrIHge. N.Y.: Ronald, 1952. pp.xii-xiil. 589

F205-208 "Recently it was my unhappy experience to read through the contemporary critical evaluations of Ford Madox Ford's The Good Soldier . . . It is a highly self-conscious performance, told in the first person, and absolutely depending for even a glimmer of intelli­ gibility on a recognition of the limitations of that person. For over twenty-five years, Henry James had been exploring the possibilities of the dramatized point of view in the novel, yet in 1915 The Good Soldier could still be read by critics as though the narrator were to be taken, if not indeed for the author himself, at least as seriously as the author. [Quotes from the reviews in Nation, (N.Y.) and New Republic.] . . . Like many another modern novel, The Good Soldier is a work of enormous skill, but it is a great deal more besides. What it is besides the critic cannot know unless he can examine the operations of the skill, and how can he possibly know even whether a novel is skilful if he cannot see beyond its first technique to the meaning that that technique is analyzing and establishing?" 206. *Schorer, Mark, ed. Modern British Fiction: Essays in Criticism. N. Y.: Oxford U. P., 196ΤΓ pp.137-142: R.P. Blackmur, "The King Over the Water: Notes on the Novels of F.M. Hueffer," first printed in P.U.L.C., Apr.,1948, £.v. ρρ.14~3-159: Robie Macauley, "Parade's End," reprinted from his introduction to the tetralogy published in I95O, £.V. pp.I6O-I75: Richard A. Cassell, "Notes on the Labyrinth of Design in The Good Soldier." Pp.162-175 of this essay were reprinted in expanded form in Cassell's Ford Madox Ford (see pp.170,172,175-201). pp.l60-l6l: "Dowell's rambles through conscious memory, his telling events as they come to mind, his recalling earlier impressions, adding present ones, repeating certain scenes and seeing them somewhat differently each time, occasionally breaking down under the strain of recalling painful moments, intermittently posing questions he can­ not answer and then offering them to the reader to pon­ der, are not only artful devices to claim the close attention of the reader's thoughts and feelings, but also tools to mold the pattern of the novel. The dis­ cursive, associative patterns of memory create the rationale of the design, for the rambling is only appar­ ent; the succession of events and impressions is under remarkable control, as is the language which re-creates them." 207. Shipp, Horace, ed. The Second English Review Book of Short Stories. Foreword by Douglas Jerrold. London: Sampson Low, Marston [1933]. Dedicated to Ford; Ford is mentioned on pp. χ and 205. 208. Sinclair, May. The Creators: A Comedy. London: Constable, 1910. See Return to Yesterday, N.Y., p.357·' Also in a let­ ter to Edgar Jepson, Oct.28,1910 (in the Edward Naumburg, Jr. Collection), Ford says: "I am glad too that May Sinclair has put me into a book." If so, the book must be The Creators, judging only by the date of the letter, 590

P208-211 but there is no pronounced resemblance to Ford In any of the characters. 209. Skinner, Robert T. The Schoolmaster Looks Back. Edinburgh: Privately Printed by T. & A. Constable, 19^7- pp.22-23. See his obituary article for Oliver Madox Hueffer, Scotsman, Jun.27,1931J part of which is reproduced here. "Graduating Master of Arts on March 31, 1888, and resolved to be a teacher, I secured a post in Folkestone, the proprietors of the resident academy being Mr. and Mrs. Alfred Praetorius, from Frankfort-on-Main. . . . The grammar schools and universities north of the Tweed had young men of ability, but somehow or other things differed in the county of Kent--the establishment owned by a foreigner, the pupils the sons of English gentlemen, the conversation in German one day, in French the other. The boys had interests unlike ours; they were omniverous readers, they were talkers, they were frank, their enthusiasm for sport was infectious. Mr. and Mrs. Praetorius had at one time a girls' school near Hyde Park [which, according to p.31 of Goldring's Trained for Genius, Elsie Martindale, Ford's future wife, attended as well as the Folkestone school], but for health reasons the latter was advised to move to the seaside. We had Ford Madox Hueffer . . . " A list of his illustrious pupils follows. 210. Slocombe, George. The Tumult and the Shouting. N.Y.: Macmillan, 1936. p.22FI "Ford Madox Ford cut a considerable figure in Paris in these years . . . " Has little else to say about him. 211. Smith, Simon Nowell- The Legend of the Master: Henry James. London: Constable, 19^7- N.YT: Scribner1s, 1948. pp.xxiv,xxviii-xxxiii. pp.xxviii-xxxiii: Has just been discussing James reminiscences by E.F. Benson. "Ford Madox Hueffer ... was an even more repetitive and a much less rewarding author of reminiscence. I cannot claim to have determined in how many volumes he told anecdotes of Henry James. . . . The germ of every one of his stories of any interest about James appears in Thus to Revisit ... itself a re-hash of articles which had come in for a certain amount of criticism when they first appeared in the English Review [evidently the letters of H.G. Wells and Ethel Colburn Mayne in the Aug.,1920 issue]. . . . Hueffer, the reader of these books is likely to conclude, was pleased with himself as a writer and perhaps not less as a man. . . . Hueffer's imaginative inventions are often more plausible than the conscientious efforts at recollection of more sober historians. Such acknowledged fiction is legitimate--though one may as legitimately wonder why a man who more than once 'after reflection [laid] claim to a very considerable degree of intimacy with James1 should need to fall back on invention. . . . Sometimes it comes to inconsistencies so impalpable that belief is out of the question. One example is enough to explain why, though Hueffer contributed perhaps a greater volume of anecdotes—excellent stories many of them--to the James legend than any other 591

F211-213 writer, he is proportionately less quoted than any other writer in this book." He also finds Mrs. Conrad's let­ ter to the editor of T.L.S., Dec.4,1924, particularly her denial of Ford's "help in supplying Conrad with plots," to be "another reason for approaching Hueffer's statements with caution. . . . Hueffer makes an occa­ sional assertion or innuendo about James's private life for which I have found no confirmation elsewhere. . . . The testimony of Hueffer in default of confirmation from a more reputable source has not seemed worth including in this book." Ford is quoted on pp.8,43-44, 75,78,99,160. 212. Soskice, Juliet. Chapters from Childhood. London: Selwyn and Blount, 1921. pp.[ixJ,235-236. p.[Ix]: Says that these reminiscences were written a long time ago. "The fact that my mother, Mrs. Francis Hueffer, was, for the most part, ill and away during the period of my life herein recorded, and that my brothers Oliver and Ford Madox-Hueffer [sic], were boys at school older than myself, accounts for their being so little mentioned in these recollections." pp.235-236: " . . . one day my eldest brother [Ford] came to stay with us. He was a fair, clever young man, rather scornful, with smooth pink cheeks and a medium-sized hooked nose like my grandfather's, a high, intellectual forehead, and quiet, absent-looking blue eyes that seemed as if they were always pondering over something. I was nervous with him, because he was very critical and thought that nearly everyone was stupid and not worth disagreeing with. But he was very kind and liked to take me out to tea. He wore a black coat with a cape over the shoulders, and when we took hands and walked along it floated out a little way behind. Once he took me a long way to see a famous gentleman [footnote: "Prince Peter Krapotkin."] who lived outside London." This interview with Krapotkin seemed to be decisive of her religious belief. 213. Stein, Gertrude. The Autobiography of Alice B. Toklas. N.Y.: Harcourt, Brace, 1933- pp.20~3-264,274 . pp.263-264: "One day Hemingway came in very excited about Ford Madox Ford and the Transatlantic. Ford Madox Ford had started the Transatlantic some months before. A good many years before, indeed before the war, we had met Ford Madox Ford who was at that time Ford Madox Hueffer. [See Pt Was the Nightingale, Philadelphia, ρρ.179-ΐ8θ, for Ford's story of his vain pursuit of Gertrude Stein through the streets of Paris in 1913·] He was married to Violet Hunt and Violet Hunt and Ger­ trude Stein were next to each other at the tea table and talked a great deal together. I was next to Ford Madox Hueffer and I liked him very much and I liked his stories of Mistral and Tarascon and I liked his having been fol­ lowed about in that land of the french [sic ] royalist, on account of his resemblance to the Bourbon claimant. I had never seen the Bourbon claimant but Ford at that time undoubtedly might have been a Bourbon. We had heard that Ford was in Paris, but we had not happened to meet. Gertrude Stein had however seen copies of the Transatlantic and found it interesting but had thought 592

F213-215 nothing further about it." See Donald Gallup, "The Making of The Making of Americans," New Colophon, 1950. p.274: It was Ford wEo once said oFTTemingway, he comes and sits at my feet and praises me. It makes me nervous." 214. *Stein, Gertrude. Flowers of Friendship: Letters to Gertrude Stein. Edited by Donald Gallup. N.Y.: Knopf, 1953. PP-158-159,162-167,226. See Gallup's "The Making of The Making of Americans," New Colophon, 1950j much of this material is repeated from that article, p.158: "Ernest Hemingway had gone to Canada to work on the Toronto Star, but in January 1924, he returned to Paris. EzraTound had invited him to help Ford Madox Ford with his Transatlantic Review [see It Was the Nightingale, pp.295ff.J, then being financed chieTTy by John Quinn . . . " pp.162-163: Whole letter from Hemingway, Aug.9,1924, quoted here. Well the news is that the transatlantic is going on. I have a friend in town who ... I got to guarantee Ford 200 a month for six months with the first check written out and the others the first of each month with an option at the end of 6 mos. of buying Ford out and keeping him on as Editor or continuing the 200 a month for another six months. That of course was not good enough for Ford, who had hitherto stayed up all night writing pneumatiques and spent 100s of francs on taxis to get 500 francs out of Natalie Barney and that sort of business. Once the grandeur started working Ford insisted on 25,000 francs down in addition and then as the grandeur increased he declared he wanted no money at all till October if Krebs [Friend], this guy, could guarantee him 15,000 francs then! It is a type of reasoning that I cannot follow with any degree of sympathy. I got Krebs to back the magazine purely on the basis that a good mag. printing yourself and edited by old Ford, a veteran of the World War, etc. should not be allowed to go haywired. Now Ford's attitude is that he is selling Krebs an excellent business proposition and that Krebs is consequently a business man and the foe of all artists of which he Ford is the only living example and in duty bound as a representative of the dying race to grind he Krebs, the natural Foe, into the ground. He's sure to quarrel with Krebs between now and Oct. on that basis and Krebs was ready with the ft. pen and check book.'" See Gallup's I95O article for the rest of the letter. p.l64: Letter from Hemingway, Aug.15,1924. "The able bodied directors of the transatlantic meet today to elect Krebs President. He is going to be president and pay all the Bills. He has breakfast every morning at Ford's and things are going smoothly. I am so glad it is going to be published with a minimum of worry . . . " 215. Stevenson, Lionel. The English Novel: A Panorama. London: Constable, 19¾^ ΡΡ·439,476-4~77· pp.476-477: "A more remarkable writer [than E.M. Forster] who attracted attention in the same year [1924] was Ford Madox Ford." Brief biographical sketch. "Like Conrad and Forster, he regarded Henry James as the ideal novelist, and held to high standards not only of

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P215-217 psychological truth but also of structural organization. . . . Though now often termed Ford's masterpiece, The Good Soldier received little notice in the distracted days of 1915·" Of Parade's End: "The whole tetralogy ... forms a sort of disillusioned, post-war sequel to Mr. Britling Sees it Through . . . Like Galsworthy, Ford was fully "aware that he was chronicling the end of an epoch." 216. Sturgeon, Mary C. Studies of Contemporary Poets. (Revised and enlarged in 192UT"! London: Harrap, 1916. pp.122-136. N.Y.: Dodd, Mead, 1916. On Ford's Collected Poems, 1914, collectively and individually. "For reasons that we shall see, it is more liable than most poetic art to certain objections from those whose taste is already formed and who therefore, wittingly or unwittingly, have adopted a pet convention. . . . If they are the least bit sentimental ... they will be chilled here and there by an ironic touch, repelled by an apparent levity, or irritated at the contiguity of subjects and ideas which seem inept and unrelated. The classicist will grumble that the unities are broken; the idealist will shudder at a bit of actuality; the formalist will eye certain new patterns with disfavour; and even the realist, with so much after his own heart, will be graceless enough to be impatient at recurrent signs of a romantic temperament. ... the literary person of as many different types may find that he is just hindered from complete enjoyment of what he nevertheless perceives to be good work. If he be honest, however, and master of his moods, he will be willing to admit that it is_ good . . . One sees that the evident sincerity of the work, the attitude of that particular personality to life, the free hand and the right instinct in the selection of incident, and the use of language that is homely and picturesque, ought to be potent attractions to the reader who finds conventional poetic poetry stilted and artificial. . . . [Re the preface:] It is real generosity to give away the fundamentals of your art, to show as clearly as is done here the principles upon which you work and the exact means which are taken to give effect to them. . . . the complete significance of either [poems or preface] can only be appreciated when they are taken in conjunction." 217. Swinnerton, Frank. The Georgian Scene. N.Y.: Farrar and Rinehart, 1934. pp.12,149,239-240. p.149: His explanation of how Conrad came to collaborate with Ford. "In vain, having exhausted his first strength of inspiration, did he try new styles. He was tempted, in this hour of difficulty, to the difficult and treacherous craft of collaboration; and at first in extravagance and then in a joint rewriting of a sentimental romance conceived and partly executed by his friend, he worked with Ford Madox Hueffer." pp.239-240: "He has now changed his name to Ford Madox Ford; and under that name has for years continued to publish his oddly uneven work in considerable quantity and to give rise in the literary world to innumerable rumours. It was the word 'taste' which introduced memory of him to

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F217-219 my mind; for Hueffer is to me one of the enigmas of current literature. He has great talent, and much taste, to which he adds considerable coarseness of spirit and a carelessness of statement which constantly spoils a reader's enjoyment of his work. He has written remarkable poetry, some historical romances which just miss being excellent, many novels on modern themes and situations which with much skill and passages beyond the reach of most living authors combine the coldness of the mortuary, criticism which for a paragraph here and there seems very like revealed truth and then drifts off into perversity, and memoirs of his own life and the lives of others which seem all the time to be boasting of his own unpleasantness. He was editor of what was without doubt the most interesting periodical of our time . . . And yet the total effect created by Hueffer is less than the total effect created by men of insignificant talent; and it does not increase with the passing of years. I attribute this result to a deficiency on Hueffer's part in imagination and good taste (as opposed to aesthetic taste), to some aversion for the hackwork of revision and proof correction, to versatility; and to a lack of something for which I find no better name than conscience." 218. Swinnerton, Frank. Background with Chorus. London: Hutchinson, 1956. N . Y T : Farrar, Straus and Cudahy, 1956. pp.HT,126,145,171. p.117: Discussing Edward Garnett, says he, along with "Conrad, Galsworthy, Ford Madox Hueffer, and others who wrought their fictions as strong men twist iron bars," had much to do with the new seriousness of the novel, p.126: Re Joseph Conrad: "Ford Madox Hueffer snuffled hardly intelligible words in which ridicule, patronage, and enthusiasm were communicated." p.145: Mentions Ford's editorship of English Review, p.171: Knew Ethel Colburn Mayne, "the discreet friend of Violet Hunt, that interesting unhappy creature, once beautiful and always kind, whose perhaps legendary lovers were never any good to her, and who, when she pretended to have married the already-married Ford Madox Hueffer, was immediately proclaimed an imposter. She was no impostor; she was a romantic whose mind turned ever to love. . . . Hueffer sent her a telegram from the French Front, bidding her to regard the moon as he would be doing that night, so that their souls might be in unison. She did as he bade; but he soon treated her as superfluous, and she suffered therefore until her reason clouded." 219. Tate, Allen. On the Limits of Poetry: Selected Essays: 1928-1948. N.Y.: Swallow Press and Wm. Morrow, 194«. pp.707137. p.70: Brief laudatory comment on Ford's editorship of English Review in the essay, "The Function of the Critical Quarterly." See entry for Collected Essays, F220. p.134, in the essay, "Techniques of Fiction1, [which was reprinted in Forms of Modern Fiction, ed. Wm. Van O'Connor, Minneapolis, 19487 in Tate's The Man of Letters in the Modern World (Selected Essays, 192H-1955.)

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F219-222 N.Y.J 1955; In Tate's Collected Essays, Denver, 1959]: The only man I have, known in some twenty years of lit­ erary experience who was at once a great novelist and a great teacher ... was the late Ford Madox Ford. . . . it was through him more than any other man writing in English in our time that the great traditions of the novel came down to us. Joyce, a greater writer than Ford, represents by comparison a more restricted prac­ tice of the same literary tradition, a tradition that goes back to Stendhal in France, and to Jane Austen in England, coming down to us through Flaubert, James, Conrad, Joyce, Virginia Woolf and Ernest Hemingway." 220. Tate, Allen. Collected Essays. Denver: Alan Swallow, 1959. P.70. See above, F219, for materials shared by this volume. The Function of the Literary Quarterly" also appears here, with fuller commentary on Ford: "Ford Madox Ford had notable success with The English Review ... because he knew what men to bring to the front: he gave con­ centration of purpose, the conviction of being part of a literature, to at least half of the distinguished writers who survived the War and who have deeply influ­ enced our own age. He, more than any other modern editor, enrolled his contributors in the profession of letters—in a time when, under finance-capitalism, editors had already become employers who felt as little responsibility to their labor as manufacturers are able to feel towards theirs." 221. Tindall, William Y. Forces in Modern British Litera­ ture: 1885-1956. N.YT: Knopf, 1947. pp.290,309-310. (Vintage Books, 1956· pp.192,205-206.) p.290: " . . . Conrad, Dorothy Richardson, and Ford Madox Ford hailed James as master, and, with his example before them, embarked upon further explorations of the inner world." pp.309-310: "Of lesser writers [he has just been discussing Eliot, Joyce and Woolf], Ford Madox Ford was closest to mid-stream. [Refers to Return to Yesterday.] . . . Basing his method on that of What Maisie E e w , with hints from Conrad, Proust, and others, Ford wrote a tetralogy of Tietjens . . . [a few other books listed in a footnote] His stream of consciousness, unselected, complicated by the simultaneous flow of sen­ sation, thought, and memory, seems more immediate and completer, though less excellent, than James's decorous selections. From Conrad, Ford took structural obliquity and the technique of memory flash-backs, which permit past to jostle present in the flow of consciousness. . . . [Illustration from A Man Could Stand Up (omitted in the Vintage republicationJT . . . Another of Ford's entertaining autobiographies, It_ Was the Nightingale ... uses the time-shift to enrich the present with the past. Ford pauses on the curb at the beginning of the book with one foot in the air. Memory intervenes, and the foot descends in the last chapter." 222. Unwin, Sir Stanley. The Truth about a Publisher: An Autobiographical Record. London: Allen and Unwin, Ϊ95ΰ~. pp. 234-235'Ford Madox Ford was a name I had known since my 596

P222-226 childhood because as Ford Madox Hueffer he published a volume in T.Fisher Unwin's Children's Library [either The Brown Owl or The Feather] which I possessed . . . his own books, despite their unquestioned merits, did not enjoy a really remunerative sale. When, therefore, I heard from one of his many enthusiastic admirers that some financial assistance would help him I was interested. ., . . It is doubtful whether, until possibly the very end of his life he got the recognition that his work deserved. Another writer we backed at that time (enthusiastically introduced to us by Edward Crankshaw) was Rene' B^haine. Ford Madox Ford wrote: [quotes from Ford's preface to The Survivors] . . . Despite this glowing tribute ... it proved impossible to secure Behaine adequate recognition, let alone a remunerative sale." 223· Vines, Sherard. Movements in Modern English Poetry and Prose. Tokyo: Ohkayama, 1927- London: Humphrey Milford—Oxford U.P., 1927- pp.312-315,327pp.312-315: Re No More Parades. "it is a tragedy, with some of the machinery of the French farce,--i.e., of 'goings-on' in suddenly darkened hotels, and the irruption of more or less inebriated officers into ladies' bedrooms; but there is besides this blood, politics, and the helplessness of men caught up into the imperfectly functioning machine of a modern army. . . . The tragedy that befalls the rather Christlike Tietjens, whose wife is a sexual maniac, is again, good tragedy; his spirit of self-denial very rightly undoes him . . . [Contrasts to this novel the war novels of Mottram, of whom he says:] He is ironical without bitterness, always reasonable, never hysterical; the sighs and groans that were essential to the make-up of the elder propagandist are nowhere to be heard. Mr. Ford, on the other hand, is all tenseness and saeva indlgnatio--too protestant for the type of mind, now occurring pretty frequently, that objects to being impelled by an obvious emotional goad . . . Mr. Mottram1s coolness conveys more effectively the varied disasters of war . . . " 224. Wagner, Geoffrey. Wyndham Lewis: A Portrait of the Artist as Enemy. New Haven, Conn.: Yale U.P., 1957. London: Routledge and Paul, 1957- pp.l4,l6-l8,ll6, 130,141-142,209-210. Occasional brief mention of Ford; no assessment of the relationship between Ford and Lewis, pp.209-210: Criticism of the acceptance of Ford's veracity shown in Hugh Kenner's Wyndham Lewis, p.l, q.v_. 225. Walpole, Hugh. The Apple Trees: Four Reminiscences. Waltham St. Lawrence (Berks . ) : Golden Cockerel, 1932. p.51. re Henry James: The only good things about him have-come from Desmond MacCarthy and Ford Maddox [sic] Ford--neither of whom knew him well—and Ford's piece is a brilliant Hueffer-like caricature." 226. Walraf, Eva. Soziale Lyrik in England: 1880-1914. Leipzig: Tauchnitz, 1932. pp.Hl-«3Stephen "Phillips war der letzte Dichter des 19 597

F226-228 Jahrhunderts, der slch sozialen Problemen zugewandt hatte. . . . Die Lage der Landarbelter bildete, wle wlr wlssen ... noch 1913 elne ernste Sorge der engllschen Reglerung. In der Literatur erhob fur die Landarbelter der Dlchter Ford Maddox [sic ] Hueffer seine Stimme. Die Quellen liber Hueffers Leben ... sowle uber sein dlchterlsches Schaffen fliessen bis jetzt Susserst spSrllch. Uber seln Leben 1st noch so gut wle gar nlchts bekannt. [fn: "Who's Who, 1929, brlngt nur elne AufzShlung seiner bis dahln veroffentlichten Werke."] . . , [Speaks of his 1914 Collected Poems:] SIe enthalten frei gebaute Oden nach der Art Coventry Patmores und symbolische Gedlchte, die an Meredith erlnnern konnen. Hler beflndet slch auch das Gedlcht 'The Song of the Women,' welches Hueffer unter die sozialen Dichter einreiht. [Proceeds to discuss this poem:] . . . Die Formkunst, wie sie slch in dem 'Song of the Women' offenbart, lasst in dem Dichter einen Anhanger der 'vers libre'--Dichtung erkennen, die, von Prankreich ausgehencTJ auch unter den modernen englischen Dichtern zahlreiche Vertreter zahlt. Hueffers Weihnachtslied der Landarbeiterfrauen ist seit Davidson das erste soziale Gedicht in der englischen Literatur, das wieder von einem echten Empfinden getragen wird. Hler ist nichts von dem berechnenden Legen und Ordnen der Begriffe wie bei Binyon, nlchts von der kalten Oberflachlichkeit eines Phillips. Hier ertont die schlichte Sprache des Volkes, die mit den ihr zu Gebote stehenden Ausdrucken das soziale Elend in seiner ganzen Harte offenbart. Hier wird die Aussen- und Innenseite des Objektes gleichzeitig erfasst. In wirkungsvoller Weise macht Hueffer das Welhnachtsfest zutn Hintergrund seiner Schilderung der sozialen Not unter den Landarbeitern. Zu dem Licht und der Freude, die von diesem Fest ausstrahlt, steht die dunkle Sorge und Not der Frauen in eindrucksvollem Gegensatz." 227. Ward, A.C. Foundations of English Prose. London: G. Bell, 1931. p.110. "In the present century, STANLEY WEYMAN, MAURICE HEWLETT, CONAN DOYLE, and FORD MADOX HUEFFER are among an able company who might best be described as writers of historical romance--the romantic dominating the historical." 228. *Ward, Maisie. Gilbert Keith Chesterton. London: Sheed and Ward, 1944. pp.350-352. Letter from H.G. Wells to Chesterton and vice versa in reference to the review of Zeppelin Nights in New Witness (edited by Chesterton's brother), Jan.6,191b, q.v., and the consequent correspondence in that paper. The name of the book under question is not mentioned here, nor are the letters dated; consequently Goldring's assumption that this dispute was over a review of The Good Soldier (Trained for Genius, pp.l80-l8l), is perhaps logical, if not supported by further research. The first letter from Wells reads, in part: "This business of the Hueffer book in the New Witness makes me sick. Some disgusting little greaser named [obviously the reviewer, J.K. Prothero, who also answered some of

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P228-230 the correspondence caused by her article, £.v.] has been allowed to insult old P.M.H. in a series of letters which make me ashamed of my species. Hueffer has many faults no doubt, but first he's poor, secondly he's notoriously unhappy and in a most miserable position, thirdly he's a better writer than any of your little crowd and fourthly, instead of pleading his age and his fat and taking refuge from service in a greasy obesity as your brother has done, he is serving his country. His book [The Good Soldier evidently intended here, from the reference to correspondence which follows] is a great book and--[this would be "M.F.," who wrote a let­ ter to the editor, Feb.10,1916, q.v.] just lies about it --I guess he's a dirty-minded priest or some such unclean thing—when he says it is a story of a stallion and so forth. The whole outbreak is so envious, so base, so cat-in-the-gutter-spitting-at-the-passer-by, that I will never let the New Witness into the house again." Ches­ terton sent a conciliatory reply, showing he was not responsible for the review. Wells replied also in con­ ciliation: "I let fly at the most sensitive part of the New Witness constellation, the only part about whose soul I care. I hate these attacks on rather miserable exceptional people like Hueffer and Masterman. I know these aren't perfect men but their defects make quite sufficient hells for them without these public peltings." A further matter of interest in this dispute is the fact that "John Keith Prothero" was the pseudonym of Ada Elizabeth Jones, who later (in 1917) became the wife of Cecil Chesterton, brother of G.K. Chesterton and editor of New Witness. In her book, The Chestertons (London, Chapman and Hall, 1941, p.127) Mrs. Chesterton alludes to getting into "great hot water" with Wells over the review; but she says that later, when Wells met her, "he grew quite friendly." 229. Washburn, C C . Opinions. N.Y.: Dutton, 1926. pp. 53-68. First published as "Sophistication," Nineteenth Century and After, Oct.,1925, q.v. 23Ο. Watt, Ian. The Rise of the Novel: Studies in Defoe, Richardson and Fielding. London: Chatto and Windus, 1957. pp.281^202,266. Quotes from Ford's statements about Fielding in The English Novel, then comments: "Fielding's plot obviously does not punish the sexual transgressions either of Tom Jones or of the many other characters who are guilty in this respect so severely as Richardson, for example, would have wished. . . . There is therefore considerable justification for Ford Madox Ford's denunciation of 'fel­ lows like Fielding ..." Ford, of course, chooses to disregard both Fielding's positive moral intentions and the tendency of comic plot in general to achieve a happy ending at the cost of certain lenity in the administra­ tion of justice. . . . The happy·conclusion of the story, therefore, is very far from representing the kind of moral and literary confusion which Ford alleges, and is actually the culmination of Fielding's moral and literary logic ."

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P231-232 231· Wells, H.G. Boon: The Mind of the Race, the Wild Asses of the Devil, and the Last Trump. (First published in 1915Ή Loncloh: T. Fisher Unwin, 1920. pp.91-92,123-124,132-133,250. pp.91-92: "I remember how Boon sat on the wall of his vegetable garden and discoursed upon James, while several of us squatted about on the cucumber-frames and big flowerpots and suchlike seats, and how over the wall Ford Madox Hueffer was beating Wilkins at Badminton. Hueffer wanted to come and talk too; James is one of his countless subjects--and what an omniscient man he is tooi--but Wilkins was too cross to let him off. . . . So that all that Hueffer was able to contribute was an exhortation not to forget that Henry James knew Turgenev and that he had known them both, and a flat denial that Dickens was a novelist. This last was the tail of the Pre-Raphaelite feud begun in Household Words, oh! generations ago." pp.123-124: At the great confer­ ence of the mind of the race: "Through all the jam, I think we must have Ford Madox Hueffer, wandering to and fro up and down the corridor, with distraught blue eyes, laying his hands on heads and shoulders, the Only Uncle of the Gifted Young, talking in a languid, plangent tenor, now boasting about trivialities, and now making familiar criticisms (which are invariably ill-received), and occasionally quite absent-mindedly producing splendid poetry." p.250: Mentions, without giving its title, When Blood is Their Argument. 232. *Wells, H.G. Experiment in Autobiography. N.Y.: Macmillan, lWW- PP325-52b,530-532. pp.525-526: After talking about Stephen Crane: "Two other important men of letters were also close at hand to present the ideal of pure artistry to me rather less congenially. They were Ford Madox Hueffer and Joseph Conrad, of whom the former—through certain defects of character and a copious carelessness of reminiscences-is, I think, too much neglected, and the latter still placed too high in the scale of literary achievement. . . . He [Conrad] came into my ken in association with Ford Madox Hueffer and they remain together, contrasted and inseparable, in my memory. Ford is a long blond with a drawling manner, the very spit of his brother Oliver, and oddly resembling George Moore the novelist in pose and person. What he is really or if he is really, nobody knows now and he least of all; he has become a great system of assumed personas and dramatized selves. His brain is an exceptionally good one and when first he came along, he had cast himself for the r&le of a very gifted scion of the Pre-Raphaelite stem, given over to artistic purposes and a little undecided between music, poetry, criticism, The Novel, Thoreau-istic hor­ ticulture and the simple appreciation of life. He has written some admirable verse, some very good historical romances, two or three books in conjunction with Conrad, and a considerable bulk of more or less autobiographical --unreality." pp.530-532: "In those days Hueffer was very much on the rational side of life; his extraordinary drift towards self-dramatization—when he even changed his name to Captain Ford--became conspicuous only later, 600

F232-235 after the stresses of war. . . . I think Conrad owed a very great deal to their early association; Hueffer helped greatly to 'English' him and his idiom, threw remarkable lights on the English literary world for him, collaborated with him on two occasions, and conversed interminably with him about the precise word and about perfection in writing. . . . All this talk that I had with Conrad and Hueffer and James about the just word, the perfect expression, about this or that being 'writ­ ten' or not written, bothered me, set me interrogating myself, threw me into a heart-searching defensive atti­ tude. . . . in the end I revolted altogether and refused to play their game." 233· Welty, Eudora. A Curtain of Green. Introduction by Katharine Anne Porter. N.Y.: Doubleday, 1941. pp. xvii-xviii. Letter from Eudora Welty to a friend, quoted in the introduction: "When I think of Ford Madox Fordi You remember how you gave him my name and how he tried his best to find a publisher for my book of stories all that last year of his life; and he wrote me so many charming notes, all of his time going to his little brood of promising writers, the kind of thing that could have gone on forever. Once I read in the Saturday Review [of Lit­ erature, Jun.10,1939, "Travel Notes: I. Return to Olivet"J an article of his on the species and the way they were neglected by publishers, and he used me as the example chosen at random. . . . Wasn't that wonder­ ful, really, and typical? . . . I did not know him, but I knew it was typical." 234. West, Katharine. Chapter of Governesses: A Study of the Governess in English Fiction: 1^00-19^ L"ondon: Cohen and West, 1949· pp.150-153p.150: Paraphrase of Ford's introduction to The Governess by Mrs. Alfred and Violet Hunt. Conclusion: "The result of this double authorship is not entirely happy. The Governess starts as a quiet, old fashioned study of a downtrodden governess which reminds us of Agnes Grey; and ends as a melodramatic murder story. It succeeds in neither of these genres . . . " 235. West, Rebecca. The Strange Necessity: Essays and Reviews. London: Cape, 192ΊΠ ppT229-230,245T~ pp.229-230 (in the essay, "Gallions Reach," on H.M. Tomlinson): "There is no end to the pleasant debts one owes to that Mr. Ford Madox Ford who passes among us breathing heavily because of deep dives, of prolonged natations, in perilous seas of faerylands forlorn, now as novelist, now as poet, now as historian, once--and it was then that many of those debts were contracted-as editor." All this by way of introduction to the English Review, which she praises, and to H.M. Tomlin­ son, who appeared in those pages. " . . . certainly I received the first news I ever had of him [Tomlinson] in an appreciation of him written there by Mr. Ford Madox Ford himself." A review by Ford of Gallion's Reach appears in typescript in the Loewe Collection, Pasadena (publication unknown). p.246: Again mentions Ford's editorship of English Review, in the essay "Two 601

F235-238 Kinds of Memory." 236. Whyte, Frederick. William Heinemann: A Memoir. London: Cape, 192B^ pp.136,142-147Much quotation from Joseph Conrad, called on p.136, "that queer mixture of enthusiasm and mockery" and on p.142 'one of the cleverest monographs ever written." pp.143-147: "Opinions may differ as to how far Conrad would have relished the way in which Mr. Hueffer has put in practice the ideas they held in common, but there can be no disputing that the result is a singularly entertaining and enlightening book . . . getting him [Conrad] on his legs was slow work, and such friends as Hueffer, Clifford, and Galsworthy had to do a lot of arduous log-rolling." 237. Wild, Friedrich. Die Englische Literatur der Gegenwart (Seit I87O). Wiesbaden: Dioskuren, 19287^ pp.19, 2δ"0=26ΐ, 292 -294,369 • p.19: "In der Dichtung machte Ford Madox Hueffer den Versuch, seine eigene Zeit in den Ausdrucken seiner eigenen Zeiten darzustellen." pp.260-26l: "Seit 1901 verband sich Conrad ofters mit dem um fast vierzehn Jahre jungersn Ford M. Hueffer zu gemeinsamer Arbeit: in der 'extravaganten Geschichte' The Inheritors ... und in der echten Abenteuererzahlung Romance . . . " Proceeds to repeat what the collaborators had said about the parts of Romance written by each. Also mentions The Nature of a Crime and Ford's contribution to "Amy Foster." pp.292-294: After discussing Mottram's war trilogy, 'Eine andere gute Kriegstrilogie stammt von Ford Madox Ford . . . [Comments on Ford's earlier treatment of war in Zeppelin Nights and The Marsden Case, and says that in the latter:] erzahlt er die Geschichte der Rehabilitierung des Lord Marsden, der vor dem Kriege wegen einer falschen Beschuldigung nach Deutschland fliehen musste: bei der Volkerbundversammlung in Genf erhSlt der neue Lord Marsden Genugtuung. F(Ir Hueffer, der selbst halbdeutscher Abstammung 1st, mochte das Thema doppelt interessant sein. . . . [Of the first three Tietjens novels:] Der ganze Roman ist ein Mosaik von Ereignissen, Gesprachen, Reflexionen, Ruckblicken, Befurchtungen, der ganze Krieg in ein geistiges BiId zusammengepresst. Das ist die Erzahlungsmanier Hueffers, von der er schon in The Saddest Story, die 1914 in Blast erschien, einen Vorgeschmack gegeben hatte: vortizistiche Kunst. Der Gesellschaftsroman, The Good Soldier ... zeigt die Schule Henry James." p.369: "Die romantische Art des Abenteuerromans, die durch Conrads und Hueffers Romance gekennzeichnet ist, wird von John Masefield welter gefUhrt Il

238. Wiley, Paul L. Conrad's Measure of Man. Madison, Wise: U. of Wisconsin Press, 1954. pp.7-0· "In the highly important special field of Conrad's literary methods and techniques Ford Madox Ford and Edward Crankshaw, both vigorous writers, have contributed enlightening ideas. . . . they have not exhausted the subject of his method; and they have left others to examine, in particular, the larger structural aspects of his objective manner of presentation. On the basis of 602

P238-240 what appears rather meager evidence. Ford and Crankshaw proceeded ... on the assumption that Conrad was a brilliant craftsman with a relatively simple view of experience; and by weighing the balance so heavily on the side of technique, they tended, perhaps unintentionally, to subscribe to the opinion that he is interesting chiefly from that point of view. This theory will not bear scrutiny . . . " 239· «Williams, William C. "To Ford Madox Ford in Heaven," (Poem), Selected Poems. Edited by Randall Jarrell. Norfolk, Conn.: New Directions, 1949. pp.ll6-117. First appeared in Furioso, Spring, 1940. Excerpts from the poem follow below. Is it any better in Heaven, my friend Ford, than you found it in Provence? A heavenly man you seem to me now, never having been for me a saintly one. It lived about you, a certain grossness that was not like the world. So roust and love and dredge the belly full in Heaven's name I I laugh to think of you wheezing in Heaven. Where is Heaven? But why do I ask that, since you showed the way? . . . Thank God you were not delicate, you let the world in and liedl damn it you lied grossly sometimes. But it was all, I see now, a carelessness, the part of a man that is homeless here on earth. 240. Williams, William C. The Autobiography of William Carlos Williams. N.Y.: Random House, 1951· pp.194195,200,213,299-300,319pp.194-195: Tells briefly of his first meeting Ford at a literary supper in Paris in 1924: "a mind wonderfully attractive to me, I could see that." p.200: Goes to a party at Ford's in Paris, p.213: Describes Ford thumbing his nose at the entrance of Nancy Cunard into a Paris party, pp.299-300: "Surely around these years sometime, maybe as late as '39, Ford Madox Ford came to New York with his wife, Biala, the painter, to establish residence here and become an American citizen. He lived at Ten Fifth Avenue, and was really, at that time, a sick man—gasping for breath on mild exertion-though he'd never if possible let you know it. One night, trying to get into a taxi, I thought his end had come. For some reason, unapparent to me, Ford had decided to back me up. He founded a group, 'The Friends of William Carlos Williams,' which, though it horribly embarrassed me, was an honor I had to accept out of courtesy to him· We met several times in some small restaurant in the Village (somebody must have had some coin, though when dinner was served the invited guests donated a dollar each, I think) and various speeches were given. I couldn't see it, didn't want it, other than as a courtesy to him, but so it went. He came 603

F240-242 several times to see us in Rutherford and tried hard to sell us one of his wife's pictures; but again, I couldn't see it. Maybe I hurt him. It couldn't be helped. One day we were invited to a supper to be cooked by the old boy himself, who always reminded me of my father. They lived then on the third floor over a commercial establishment on East Twenty-eighth Street—the apartment of Carl Van Doren, who never admired me. But that night, the fried plantain was fine, and we had a good time of it." p.319: Mentions Ford in a roster of his dead friends. 241. Williams, William Carlos. Selected Essays. N.Y.: Random House, 1954. pp.xvi,12,29,315-323· p.xvi: "I knew the wonderful Ford Madox Ford and learned much from him." p.29: "Yes, I prefer the man who will be influenced a trifle indiscriminately by the new, I prefer Hueffer to Wells." pp.315-323: Reprint of his review of Parade' s End, Sewanee Review, Jari.Mar.,1951, £.V. 242. *Williams, William C. Selected Letters. Edited by John C. Thirlwall. N.Y.: McDowell, Oblensky, 1957. PP60,127,177-179. p.60: Tells of meeting Ford in Paris in Feb.,1924 (see above, Autobiography, pp.194-195). p.127: To Ezra Pound, Jun.,1932. Yes, I have wanted to kick myself (as you suggest) for not realizing more about Ford Madox's verse. If he were not so unapproachable, so gone nowadays. I want to but it is not to be done. Also he is too much like my father was—too English for me ever to be able to talk with him animal to animal." pp.177-179: To Robert McAlmon, May25,1939. "Ford and Biala are leaving here for France next Tuesday, I went in to see them for a few minutes this afternoon, to say goodbye to them and found that they were expecting the Ezra. He however failed to arrive. . . . They have been arguing with him [Pound] in favor of lechery--or anything at all to keep him amused and distracted between poems. . . . To end this story of the Fords. They are taking a villa on the French coast near Le Havre for the summer and have invited us to stay with them in August. Damned thoughtful of them. I wish we could do it, but it would cost all of $500 for a two or three weeks'1 vacation. . . . We're having the 'Friends of W.C.W. [see Autobiography, pp.299-300] out here for a final party the evening of the first Tuesday in June, about 40 of them. Ford will be in France by that time or near it. The group, that is to say Ford, will be awarding a prize for a script, finished or unfinished, submitted before next January. I think the prize is going to be one thousand dollarsl . . . Somebody has donated that sum for us to award, some woman friend of Ford's I think. Oh well, why not? I confess it all means very little to me except as it relates to Ford. I've gotten to like the man. If I can be of use to him' toward the finish of his life, and let me tell you it is toward the finish of his life unless I'm much mistaken, I'm willing to let him go ahead. He understands perfectly well how I feel about 604

F243-244 243. *Wilson, Harris, ed. Arnold Bennett and H.G. Wells: A Personal and a Literary Friendship. London: Hart- — Davis, 19507 pp.lObn,153,155,161,162. p.106: Bennett to Wells, Jan.4,1904: "I do not think Romance is good. In fact it isn't, and I don't care who knows it." Footnote: "Wells thought very highly of it." p.153: Bennett to Wells, Oct.29,1908: Hueffer has written to me about his English Review. Will his panoramic view of literature be sufficiently eagle-eyed to lead him to review The 0.W.'s Tale in his reviews of a 'limited number' of Books, think you?" Wells to Bennett, Nov.,1908: "l am going to write about The O.W.T. (which I repeat is a great book) later. This is to say that Hueffer says there is to be a review in the second number (the first is being printed) by a competent hand and that he agrees about the greatness." p.155: Wells to Bennett, Nov.,1908, re the review of The Old Wives' Tale. "l wish it could have gone into the English Review. Well, I go round telling everyone I meet about it." p.l6l: Wells to Bennett, Dec.,1908. "That fool Hueffer too isn't doing a shout about it in the English Review. I did all I could (short of writing it myself] to get the book done for number 2, but he's got a discovery of his own, a man named [Stephen] Reynolds of about Edwin Pugh's calibre and apparently he's giving up the Famed Review to him." Footnote: "Wells and Hueffer were at this time in serious disagreement over the financing, editing, and publication of Tono-Bungay in the English Review." The letters between Wells and Ford in this critical period are in the U. of Illinois Library; Wells was terribly afraid that publication in English Review would hurt the book's sales. In Return to Yesterday, N.Y., pp.245-247,364-365, Ford tells of tEe quarrels of 1920 (see Wells's letter to the English Review) and during the English Review. He disguises Wells as a "politician," yet the Illinois letters make this identification quite clear. p.l62: Bennett to Wells, Jan.7,1909. "l think enough has been said about Stephen Reynolds for some time to come. But I put him very much higher than Edwin Pugh, and I have a great admiration for him. I don't know yet about Hueffer, but I'm sure the English Review won't last unless he alters it considerably. ITve written him an Al short story [Footnote: "'The Matador of the Five towns,' . . . ], which he had the wit to commission, so that I will partly forgive him for not trumpeting the book." 244. Wimsatt, William K., Jr-. and Brooks, Cleanth. Literary Criticism: A Short History. N.Y.: Knopf, 1957. pp.002-60-5,687,093,733 · Mainly quotation of Ford's critical writings, pp. 682-685: Of Conrad's and Ford's "method," as revealed by Ford's Joseph Conrad and other writings: "They wished to make the reader forget the writer altogether so that the story would seem to tell itself and develop with its own life. . . . The general tendency was back toward drama with the emphasis upon direct presentation rather than the mediation of a special expositor, and with a concomitant reliance upon the reader's power to infer, in Henry James's words, 'the unseen from the

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F244-248 seen, to trace the implication of things, to judge the whole piece by the pattern.' . . . It follows that two matters of special concern for critics of this school were those of the narrator and the point of view from which he 'sees' the action." 245- Wise, Thomas J. A Bibliography of the Writings of Joseph Conrad (l895-192T}~: Lond"on: PrivatelyTrinted by Richard Clay, 1921. pp.19-21,30-31,43,115. Describes on pp.19-21, without actually so specifying, a second issue copy of the first American edition of The Inheritors; also a first issue of the English editionT pp.30-31: Describes a first English edition of Romance, p.43: "Of the first edition of A Se_t of Six there are two distinct states or issues. These may •readily be identified. In the first issue the tenth item in the list of Conrad's works detailed upon the reverse of the half-title records — THE SECRET AGENT (with Ford M. Hueffer) suggesting, incorrectly, that this book was the joint work of Conrad' and Hueffer, whereas the novel was the work of Conrad alone. The error was observed when a few copies only of the sheet had been struck off, and was immediately put right. In its corrected form the list has the words WITH FORD M. HUEFFER in capitals placed between The Secret Agent and The Inheritors, thus signifying, correctly, that the two books which follow, The Inheritors and Romance, were the joint work of the two authors. With two exceptions, every copy of the book I have yet had the opportunity of inspecting belongs to the second issue." 246. Wise, Thomas J. Catalogue of the Ashley Library, Collected by Thomas J. Wise. Vols. II and IV. London: Privately Printed, l522~and 1923- pp.191.160. In Vol.11 are described a copy each of Ancient Lights and Thus to Revisit. In Vol.IV is described a 1 9 1 4 - ^ edition oT~Ttossetti. 247· Wolfe, Thomas. The Letters of Thomas Wolfe. Edited by Elizabeth Nowell. N.Y.: Scribner's, 1956. pp.754755. From a letter to Marjorie C. Fairbanks, May4,1938. "I had a very nice letter from Mr. Brewer [then president of Olivet College] inviting me to come to Olivet, and even suggesting a fee . . . [He decided not to lecture there.] Brewer tells me Ford Madox Ford is staying with him and is 'most anxious' to see me again, and although our acquaintanceship was very brief--a cocktail party, I believe, in Paris years ago--I might be able to do something to relieve an anxiety that has extended over all these years. I certainly have read some of Ford's books, and deeply respected the craftsmanship and skill that was in them, because they contained so much that I myself could wish to attain; but otherwise, I imagine we are at different ends of the writing stick." 248. *Wood, Jessie Chambers [pseud. "E.T."]. D.H. Lawrence: A Personal Record. London: Cape, 1935- pp.156-159, 163-164,168-176,179· Tells of the important role she played in the 606

P248-249(a) launching of Lawrence, sending in his poems to Ford as editor of English Review and then meeting Ford in person at his flat and subsequently lunching with Ford, Law­ rence, Violet Hunt, Ezra Pound (whom she calls simply "a young American poet"), and R.B. Byles, business man­ ager of Alston Rivers at South Lodge (the luncheon tak­ ing place in Nov.,1909). p.157: I looked through the poems Lawrence had sent in letters to me since he left home [he was now teaching In Croydon], picked out what I thought were the best, and copied them out one beauti­ ful June morning. I was careful to put 'Discipline' first, not because I thought it was the best, but hoping that the unusual title might attract the Editor's atten­ tion. In 'Dreams Old and Nascent1 I knew he was trying to explain himself to me; and 'Baby Movements' I sent because I love it . . . I enclosed also several other poems whose titles I don't remember. . . . [p.158] The reply came in August when the Lawrences were on holiday at Shanklin in the Isle of Wight. It said, as nearly as I can remember, that the poems were very interesting and that the author had undoubted talent, but that nowadays luck played1 such a large part in a literary career, and continued, If you would get him to come and see me some time when he is in London perhaps something might be done.'" See Ford's essay on Lawrence (Mightier than the Sword, pp.99-100) where Ford reacts to this book and also says that "E.T." also sent some prose, "Odour of Chrysan­ themums," which excited him more than Lawrence's poetry, p. 163: "Lawrence went to see Ford Madox Hueffer in September and wrote to me: '. . . He is fairish, fat, about forty, and the kindest man on earth.' Hueffer Introduced him to various literary and artistic people, and meeting them excited and tired him very much. . . . Hueffer interested himself also in Lawrence's novel." She and Lawrence visited Ford in his Holland Park flat the day after she arrived in London; on the way to South Lodge, she began to lose her shyness, pp.170-171: "l was shy, but not so shy as to be insensible to the charm with which Hueffer was talking to me. I suppose never before or since has anyone talked to me with quite such charm, making me feel in the most delicate way that what I said was of interest. . . . Hueffer's pleasant manner in addressing the maid-servant who opened the door to us was not lost on me. It confirmed my impression of gen­ uine kindliness." The event was not without its embar­ rassments, but (p.175) "whenever I recollect that leis­ urely Sunday afternoon walk ... I feel again the genial warmth of Hueffer's personality." See Ford's account of the "discovery" of Lawrence in Return to Yesterday, N.Y., pp.375ff., and in the essay in Mightier than the Sword. 249. *Young, Kenneth. Ford Madox Ford. (Bibliographical Series of Supplements to "British Book News" on Writers and Their Work; General Editor, Bonamy Dobre"e) . London: Longmans Green, 1956- [ϋ]»^3*[ΐ] PP· Pamphlet. Table of Contents: "Ford Madox Ford; The Man and the Writer; The Tudor Trilogy; 'The Good Soldier1; The 607

P249(b) Tietjens Tetralogy; Last Words; A Select Bibliography." A hurried sketch, covering quite a bit of territory in small space, giving a considerable amount of Ford's personal history (drawn almost entirely from Goldring's Trained for Genius and handled uncritically). An introduction to Ford's work useful to the general reader, though the emphasis on Ford's Tudor trilogy is rather eccentric and there is little new in the way of information or interpretation. Some of his interpretative remarks follow here. p.12: "it was exactly that 'conjunction with Conrad' that turned Ford from the storyteller into the great artist. . . . It was the talk that mattered [in the collaboration]; and some of it Ford recorded in Joseph Conrad, in Thus to Revisit, in Mightier than the Sword, and in The March of Literature. What follows is extracted from these booksT"" Later mentions Ford's connections with James and Pound, citing Hugh Kenner's book on the latter. Errs on pp.12 and 18 when he says that Ford's wife, Elsie, was a Roman Catholic (see her daughter's letter to the editor, T.L.S., Jun.28,1957). pp.20-21: "It was the trilogy of~Tudor novels ... which first suggested to the public between 1906 and 1908 that Ford was something more than the dilettante author of Pre-Raphaelitish fairy stories, or the junior collaborator of Conrad." pp.24-25: Still speaking of the historical novels. "Above all ... Ford makes us see. We are never in doubt as to where the characters are, where the light comes from, what they can see through the window . . . They are seen as though on a stage . . . both here and in his memoirs Ford lightens the theme by displays of almost delicious gift of the comic." p.26: Quotes from Mark Schorer's introduction to The Good Soldier (1951)· pp.27-28: "The reader who comes to The Good Soldier for the first time will be surprised and delightecL EiIt in the end he may be surprised once too often; he may find that the novel is too tightly constructed, the air we breathe in it too rarified. Yet that also may have been Ford's intention. To pass from The Good Soldier to Parade's End is to emerge from a room heavy with discharged passion into a city street full of vivid personalities . . . His registrations of the period 1910 to 1920 are as accurate as are his backgrounds . . ." p.32: "There is nothing, in the relations of Sylvia and Christopher, Valentine and Christopher, Edith Ethel and Macmaster, Mark and Marie LeOnie, of the mystical heights nor the crude depths of Lawrence; yet these thoughts of Christopher as he waits for the war to end are more like the sexual life as most men know it than Lawrence would ever admit, or perhaps could ever conceive . . . " p.35: Quotes from a letter from a member of the Marwood family which seems to establish a link between Mark Tietjens and Sir William Marwood, Arthur's brother, although he died in 1931+· PP34-37: "The most successful of the novels Ford wrote in the last decade of his life are, The Rash Act- . . . and ... Henry for Hugh . . . In them he deals with the people who, by means of great industrial wealth, had inherited the earth from the landed gentleman such as the Tietjenses, and whose heirs were already suffering from guilt 608

F249(c)-250 as a result of the corrupt methods by which their money had been made . . . here Ford is suggesting that somehow or other the new governing class can become as altruis­ tically concerned with mankind as was the Tietjens class before them. In these two novels he carries as far as it is possible to do the technique which he has spent his life hammering out; yet in so doing he shows up with startling clarity certain weaknesses that are evi­ dent even in his finest work. One is a tendency, visible even in Christopher Tietjens and Sylvia, for his charac­ ters to be either unbelievably good or quite incredibly bad; another is a dependence on coincidence . . . and sometimes, as in The Good Soldier, we long for some relief from the gloom and futility which is so skilfully and quietly built up in our minds. . . . Yet, once come under the spell of Ford and these objections fall away. . . . when all is said and done, it is the mind--subtle, kindly, never moralizing, never preaching, never- cen­ sorious--behind the works which attracts--or does not attract." pp.39-43: "A Select Bibliography" is, again, useful for the general reader. Sample entry of a Ford book: "THEBRGWN OWL (1892). (Hueffer). Children's story." Also lists a few "biographical and critical works" and a few books which mention Ford. Note at end: "Of the reprints by Penguin Books, only A Man Could Stand Up and Last Post are at present available from the publishers. Messrs. Allen and Unwin still have in print Mightier than the Sword, Provence, Vive Leroy [sic] and The March of Literature." Sir Stanley Unwin informed me on Nov.24,1950, that only Provence and The March of Literature were currently available. 25Ο. *Zabel, Morton D. Craft and Character in Modern Fiction. N.Y.: Viking, 1957. pp.209,253-263. p.209: From "Conrad in His Age." "Conrad, amateur though he was, and despite the uncertainty of his approach to literary professionalism, sensed the predic­ ament of his art at the outset. Though he was soon enlisted by James, Crane, and Hueffer in the cause of form, style, and the mot juste, he seems to have held these principles in considerable distrust." pp.253-263: "Ford Madox Ford: Yesterday and After," a composite of two previously published articles (Nation, Apr.6,1932 and Jul.30,1949, C[.v.) with certain additions. Here are some of the more important additions. p.254: "Through­ out his life in writing, Ford was conscious at every point of the program of events. He succeeded as did no other contemporary in reconciling his loyalty to the Victorian era which bred him, and of which he remained an isolated veteran, with a tireless avidity for novelty and insurgence. . . . His literary ambitions were super­ vised by a sponsoring host of distinguished relatives and near-relatives whom he was later to pay the tribute of acting as their grateful historian. The friendships and distractions of his crowded later .years never suc­ ceeded in persuading him to relinquish his projects in discipleship and reminiscence." p.259"· "(Mr. Robie Macauley's perceptive essay in the Kenyon Review, Spring 1949, and Mr. Mark Schorer's introduction to the 1952 [sic: should be "1951"1 reprint of The Good 609

Soldier, though they both Idealize rather drastically, will perhaps serve as points of departure for the serious assessment of Ford's achievement that may eventually arrive.)" pp.262-263: "He left a record of creative sympathy that refused to rely on vested Interests and prejudices but kept Itself alert to the risk and Independence that ensure the truth of moral insight. He carried over from the aesthetic radicalism of his Victorian sponsors a respect for the nonconformism that enlarges the boundaries of the imagination and of the arts that embody it. He allied himself consistently with the kind of energy that resists the stultification by habit or easy success by compromise with standardized taste. He never lost his confidence that the methods of fiction and poetry were still open to new possibilities of invention, style, and discipline. And with this openness to novelty and experiment he joined, with an authority few men of his generation could so effectively define, a sense of the continuity and integrity of a literary tradition . . . The distractions of his personal life, the fitful and erratic impulses of his writing, justified themselves at last in this: that his zeal for innovation was never without its respect for the continuities of craft and discipline; that his susceptibility to untried talent had schooled itself in the discoveries that had proved their worth in the past and had demonstrated there how the tests of art form a constant mediation between past and future in the living ordeal of present truth and sincerity. . . . Among so many books that seem to compromise his commitment and among the private misadventures that continually harassed it, he left two solid achievements and a lifetime's example of unprofitable generosity to testify to his refusal of complacency. It remains the task of his followers to recognize the evidence he left of what that refusal entailed, and, now that the necessary interval of posthumous probation has passed, to respect him for it."

610

INDEX OP NAMES AND TITLES

611

INDEX OF NAMES AND TITLES (For chronological order of Ford's books see list immediately preceding Section A, pp.xxi-xxiii; for periodicals cited throughout the bibliography see list immediately preceding Section D, pp.131-135.) Angeli, Helen Rossetti, F12 Abbott, Charles D., 0111(8), Anne, Queen, A38 x(H) Antheil, George, Cviii(B,C), Abbott, Claude C., F1 F13 Abercrombie, Lascelles, Antwerp, A45, A50,55, BIO, A43(b),76, B36, Cviii(B), E341, F100,158,165(a),169, D373, F97 181(b): manuscript, Acland, Peregrine, B29 Ciii(7)J reviews of, E276, Anton, Harold, F2 298 Adams, J. Donald, E920 Adams, Léonie, Cviii(B) Aragon, Louis, B44 Adcock, A. St. John, E321 Arlen, Michael, E473, F154 Adelberg, Julius, E831 Arnold, Aerol, E982,1007 Agar, Herbert, E706 Arnold, Matthew, Fl66 Agate, James, E815 Arns, Karl, E652 Aiken, Conrad, E349,633, F3 Artzibashef, Michale, D255 "Alcestis" (unpublished Asch, Nathan, B20,22, play in translation), Cviii(B), D372, E564,976, 1035, F140 Cv(5) Asquith, Lord Herbert, D131, Aldington, Richard, DI83, 296, F116 E639, F60,107,130,143, Atkins, John, E989 189(b),193; comment on Aubry, G. Jean-, All(e), Ford's work and personaliE991,993,1038, Fl4,48,51; ty, E297,627,1033, F4-7, Joseph Conrad: Life and 165(a-b); mentioned by Letters, F4b, A5«(a), Ford, B8, Dl83,259, F71 Ci(3;, D25T7344,354,E569, Aldridge, John W., F8,205 F51 Allard, Roger, 0312,315. Auden, W.H., A80, Cviii(B), E396 E1028 Allen, Charles, F101 Austen, Jane, DI69, E640, Allen, Mrs. Edward H., A44 F219 Allen, Walter, E906, F9 Austin, Mary, A39 Allott, Miriam, B55 Babb, James T., CX(A) Ancient Lights, (see also Bach, Johann, D384 Memories and Impressions, Baerlein, Henry, D191 32 Lb J, American edition), Baines, Jocelyn, D119, F15 A32(a), A21,52,54,69(a), Baker, Carlos, Cviii(E), Fl6 81, B1, D63,143,156,288, Balfour, Arthur J., D131 E190,359, F100,246; periBarker, H. Granville, Cv(3) odical publication, D132, Barnes, Djuna, B20, 134,136,137,139,140; reCviii(B), E400, F17 views of, E186,187,189, Barney, Natalie C., cviii(c), 191,194,196,199,201 F17,214 Anderson, Margaret C., B52, Barrett, C.R.B., A5 Cviii(C), D279,364, Barrie, J.M., D73,265,301, F181(b) 304, E308,324 Anderson, Sherwood, Barry, Iris, CX(H), E664,728 Cviii(B), D301, E395,894, Bartlett, Paul A., Cx(E), 971, F10,11 DUO, 4l4, E954, 976; Anderson, Stuart, B4l 613

publication of Ford letters in S.R.L., E896, A14, 27,31,41,52,57(aTT5o, Cx(E) Barton, Revd. H.R., A80, Cviii(E) Barton, Ralph, E460 Basso, Hamilton, E949 Bathurst, L.J., A24(a), F147 Baugh, A.C., F18 Bax, Clifford, D290, F19 Beach, Joseph W., F20 Beach, Sylvia, F21,159 Beaumont, Comyns, F22 Becker, May L., E735 Beckford, William, D169 Beer, Thomas, D306,319, E406, F23,52 Beerbohm, Max, Cx(l), D51, 89,278(111) B^haine, Rene, B45, Cviii(B), D367, F222 Bell, Nancy, E175 Bell, Robert, E666 Belloc, Hilaire, D59,192, 241, E842 Benefactor, The, Al4, Cii(4J, E130,97B7T051 (b), F9,76; reviews of,E75-78, 84 Benlt, William Rose, All(a), 76, E7O8,759, F24,165(b) Bennett, E. Arnold, E152,662 1041, F96,112,186; letters, Cviii(E), F243; evaluation of Ford's writing, A28, E174, F25,243; comment on Ford and English Review, EI65,167,245, F25,243; mentioned by Ford, D159,l62, 165,288, E565 Bennett, Sanford, F23 Benson, E.M., E6l6 Benson, Hugh, D65,85,187 Bentley, E.C., E102,205 Bernhardi, Friedrich von, D246 Berry, John, E1015 Berryman, John, F26 Bertram, Anthony, A55, Ciii(ll),viil(B,E), E383, Fl,27,28 Between St. Dennis and St. George, A4B7"AM,Cii(8), D25B7295, F92; periodical publication, D247-252; reviews of, E310,313-317,319, 325,331,333,335,340 Bickley, Francis, D380, E124 Bicknell, Percy F., E192 614

Binyon, Laurence, B19, F226 Bird, William, A54,59(a), D299,303, E990, F181(c) Biron, Chartres, E451 Bishop, John Peale, Cviii(B), D390, E803,830, 1026, F29,165(b) Blackburn, William, F51 Blackmur, R.P., E911, F206 Blackwood, William, F46(a,b),51 Blatchford, Robert, E355 Boag, Gil, F191 Bodley Head Ford Madox Ford, The, ABT, E1046; previous publication of works included, A16,17(b), 19,25(b),29,32(a),46(k), 50,69(a),78(b); Graham Greene's introduction, F90; reviews of, EIO51, 1052 Bogan, Louise, Cviii(B), D407, E1035 Bogatyreff, Fernande, A59(a,c) Bolles, Edwin C., F138 Bone, Mrs. Muirhead, D90 Boni, Albert, A56(b), E534, 990 Boodle, Walter T., c x ( c ) Bornhauser, Fred, E973 Borrow, George, D171 Boswell, James, E725 Bottomley, Gordon, F1,28 Bourne, George, D159 Bowen, Elizabeth, E749 Bowen, Stella, A46(b),55, 62, Cii(l0,29),iii(l0), iv(6),vii(2),viii(C,D), x(A), F21,40,94,95,106, 189(b); illustrations and paintings by, A60, D346, E649,884, F95,106,189(b); Drawn from Life, F30, A55, E897, F62785752,195~~ Boyd, Ernest, D4ll, E509, 824, F191 Boyle, Kay, D372 Bradbury, Malcolm, E1005 Bradley, William A., Al6, 20,27,39, Civ(9), viii(B,D),x(C,D) Bradley, Mrs. William A., A39, Civ(9),viii(D) Bramley, Mrs. Charles, Cviii(E) Brancusi, Constantin, FI56, 165(b) Brande, Dorothea, E710

Buck, Pearl, Cviii(B) "Buckshee" (poem sequence), A43(b),76, B36, Ciii(l3), D373,398 Budd, F.E., E895 Budgen, Frank, Fll8,119 Buel, Hubert, E945 Bullett, Gerald, Cviii(B) Bullitt, William C , Cviii(B), E541, Fl40 Bunting, Basil, B4l Burgess, Gelett, Cviii(B) Butcher, Fanny, E431,654, 675,751,769 Butler, Samuel, D278(v), E527 Butts, Mary, E400 Byles, R.B., Al4,18(a), E68, 681, F22,l47,248 Byron, Lord, D306,3H Caine, Hall, D69,163,180 Cairns, William B., E338 Calderon, Pedro, D99 Caldwell, Thomas, Bl4 Call, A, A28, E1030,1051(b), F132,177; publication in English Review, D120; reviews of, E169,171,173,174 Calmy, Jacques, E389 Calthrop, Dion C , D79 Cammaerts, Emil, D260 Campbell, 'Roy, E724 Campbell, Stanton, A74(a), Cviii(E) Canby, Henry S., Cx(A), E542 Candler, Edmund, E68 Cannan, Gilbert, Dl8l,278(1), E268 Carco, Francis, B27, Cviii(c) Carlyle, Thomas, D221 "Carneades, Junior", E274 Carter, Vivian, E83,94 Cassell, Richard A., A33(b), E1001,IO36,1046,1047,IO51, F37,206 Caselli, Vittorio, All(g) Cather, Willa, F200 Cazamian, L., E470 Cervantes, Miguel de, D26l Cestre, Charles, E545 Chadourne, Marc, All(e), B23, D356, F173 Chadourne, Paul, All(e) Chamberlain, John, Cviii(B), E655,707 "Chaucer, Daniel" (pseud. F.M. Ford), A3l,37, 011(13), D295,298,320, El84,l85,197, 231,981 Chekhov, Anton, D327,349 615

Brandt, Carl, Civ(lO), vlll(B),x(A) Brereton, Mrs. Cloudesley, D254 Brewer, Joseph H., A79(a), E826,872,1035, Fl65(a,b), 247 Brlckell, Herschel, E601,630, 946 Bridges, Robert, E375 Brlnnin, John M., F31 Brogan, D.W., E766 Bromfleld, Louis, Cviii(B,C), E449 Bromfleld, Mary, E898 Bronner, Milton, E332 Brooke, Rupert, E308,353 Brooks, Cleanth, F244 Brooks, Sidney, E25 Brooks, Van Wyck, E573, F3235 , ^ Broun, Heywood, CvIiI(B; Brown, Curtis, F36 Brown, E.K., E936 Brown, Ford Madox (Ford's grandfather), Al,3(a)., D380, El8, 22, 24, 87,187, F12,48,51,195,201,202; letters by, Al(a),6(a), Cviii(A),x(E); illustrations for Ford's books, Al, 2; Ford's notes for exhibitions of, Bl,5, Cii(5); Ford's biography of, A6 (see Ford Madox BrownTT mentioned by Ford, DIl,143, 411,412 Brown, Ivor, E636 Brown, Oliver Madox, D7 Brown Owl, The, Al, E64,800, F222724~9; reviews of, El-5 Brown, Slater, E795 Brown, T.B. Rudmose-, E852 Browning, Robert, D63, E259, F24,71,l66 Bruno, Guido, D239,257 Brustlein, Janice Biala (Ford's literary executrix), A46(f,j),80, E971, 1035, F84,240,242; paintings and illustrations by, A72(a),74,77, E695,733,772, 843,851,852, Fl65(b); manuscripts owned by, A7l(a), Ci(l8),ii(27),iv(9,H), Vi(Il),viii(B), F13 Bryant, Louise, F140 Brzeska, H. Gaudier-, A68, D210,262,276, E307,308, F60,135,l80

Chesson, Nora, B3 B2,24,25, Cii(19,23), Chesterton, Cecil, A49, F228 iv(4).v(3),xi(B,D), Chesterton, G.K., E323,330, xii (B) , D110,119,158,294, E231,250,252,296,302,319, F112,189(b),228 357,379,387,411,413-415, Christina's Fairy Book, Al8, 417,418,420-422,426,429, A12,21,29, B15,47, D27 430,432,433,435-441,443, Churchill, R.C., F38 444,446,447,450-453,455, Cinque Ports, The, A8, D9, 456,458-461,464,465,467, E1023, F43;51J reviews of, 469,474,495,520,529,533, E29-36 568,569,596-598,601,603, Clark, A. Melville-, E650 604,648,668,671,672,682, Clarke, George H., E463 860,866,874,899,900,908, Clifford, Mrs. W.K., D81,264 910,911,920,925,949,968, Clodd, Edward, D351 979,980,991,994-996,1006, Coffman, Stanley, D202, F39 1011,1012,1020,1023,1024, Colbourne, Frances, A58(a) 1029(b),1030,1033,1038, Colby, Vineta, F126 1041,1048,1050,1051(a,b), Cole, Margaret, A52, E89O, F9,14, 20,23,25,37,42-53, 995, F40 56-58,61,76,79,80,85,90, Coleridge, Samuel T., D28 91, 93, 98,101,110,120,121, Collected Poems (1913), A43, 123,125,133,135,143,151, B8, Ciii(6), F80,81,138, 153,160,168,172,173,184, 216,226; previous publica192,193,195, 203,211,215, tion of separate poems, A4, 217-219,221,232,236-238, 7,12,21,35, D1,13,14,18,20244,245,249,250; manu23,25-27,29,37-39,41,64, scripts of, All(a), 106,152,183,249,360; repubCi(2,3); letters by and lication, A76; Preface, A4, to, A58(a), B20, 43(a),76, D160,161, E1000, Cviii(B,E),x(A,B,L), F15, F39,155,166,175,181(a), 216; 46 -51, his comments on reviews of, E254-259,271, collaboration, A9(b), 11(a),57, E43, F46-49,51, 272, F175 57,58; comments on Ford's Collected Poems (1936), A76, Independent writings and Ciii(3), D390; previous personality, F45,46(b,c), publication of separate 47,48,51,61; Ford's unofpoems, A7,12,21,29,35, ficial contributions to 43(b),45,50,51,62, B36, D1, Conrad's books, Ci(2,3), 5,13,14;18,20-22,25-27,29, E461,1006,1012.1023,1024, 37-39,41,64,106,152,183, F15,43,45,46(b),125,237; 219,220,249,256,267,269, Ford's writings about, 271,274,289,335,373,398; A58,67,69(a),78, D151, Ben^t's Introduction, F24; 208,261, 286,321,323,344, reviews of, E759,76l,762, 350,35^,365,371,385; men767 tioned by Ford, D8l,l62, Collings, Ernest, F128 165,169,203,288,297,303Collins, Joseph, E459 305,313,322,330,336,349, Colum, Mary, Cviii(B), E494 356,360,387,390, E529, Colum, Padraic, Cviii(B) 547 Colvin, Sidney, Ci(3), F46(b) Connolly, Cyril, E578 Conrad, Mrs. Joseph, A8, Connolly, James B., D91,155 11(a),16(a),17(a),22(a), Conrad, Joseph (see also the E447,450,460,463,467, collaborative works, The IO38, F50,109; comments on Inheritors, Romance, and Ford, E46l,469, F42-44; The Nature of a Crime; in comments on Ford's Joseph addition, see Nostromo, Conrad, E430,1023, F43, The Sisters, and "Tomor211 row"), Ab(a;,8,9,11,14-17, "Conrad and the Sea" (essay), 22,25(a),26,46(a),57,58,66, 616

011(30), D385 Conway, Bertrand L., Ξ717 Cooper, Douglas, CvIIl(E), P92 Cooper, Frederic T., El62 Coppard, A.E., B20, CvIIi(CE), D337 Corelli, Marie, D68 Couch, A. Qulller-, Έ819 Cournos, John, D255,278(TV) Courtney, W.L., Cvi(l),x(K) Cowie, Alexander, E786 Cowleshaw, Lucy, Al8(a) Cowleshaw, William H., Al8(a), D8 Cox, James T., E1037 Crackenthorpe, Hubert, D83 Crandall, C P . , E957 Crane, Stephen, E361,406,668, 685,795,975,1006, Fl4,23, 26,44,52,61,184,232,250; Ford's writings on, A52, 64,78, Cii(32), D285,306, 319,333,371,391; mentioned by Ford, D295(c),305,308, 387,390 Crankshaw, Edward, B45, Cix(B), E914,1052, F53,222, 238 Crashaw, Richard, DI87 Crawford, John W., E485,527 Crawford, Mrs. Oswald, A40 Critical Attitude, The, A34, A17(b),24(bJ,38, ElOOO, IO13, F39,155; periodical publication of, D104,123127,130,135] reviews of, E214-218 Crockett, S.R., D67 Crosbie, Mary, E602 Crosland, T.W.H., E76,134 Cross, Wilbur, Cx(A) Crowninshield, Frank, B49 Cruse, Amy, F54 Cummlngs, E.E., Cviii(C), D2, 99,303,308,409, E494,1027, F55,101,192 Cunard, Nancy, F17,192,240 Cuppy, Will, E753 Curie, Richard, All(a), Cx(B),xi(D), D208, E410, 604, F56-58,192 Dahlberg, Edward, Cviii(B), D409, Fl65(b) Daiches, David, F59 Damon, S. Foster, D276, F60 Dane, Clemence, D288 Dangerfield, George, E659 Dark, Sidney, A58(a) Darwin, Charles, D85

Daudet, Alfonse, E842 Daudet, L^on, D367 Davidson, John, F226 Davis, Fitzroy, E942 Davenport, Basil, E740 Davies, W.H., B15 Davis, George, D372, Fl84 Davis, Harold E., E1006 Davis, Rupert Hart-, A68, Cviii(E), F6l Davison, Edward, D277 Davray, H.D., E219,325,546, F48 Dawson, Coningsby, E350 Defoe, Daniel, B32, Cii(25), D349 De la Mare, Walter, Cviii(c) Denoyer, Pierre, E465 Desirable Alien, The, A40, E249J reviewed by Ford, Dl 66 De Voto, Bernard, E586 Dickens, Charles, Dl69,349, E1050, F77(e),151,231 Diderot, Denis, D174 "Didymus" (pseud. F.M. Ford), D131 Dillon, George, D338, Fl65(b) Dimnet, Ernest, D383 Disraeli, Robert, E730 Dobr^e, Bonamy, B39, E702, 839, F249 Dodd, Lee W., E682 Dolmetsch, Arnold, F135 Doolittle, Hilda, Cviii(B), D210,259,308, F5,71,135, 165(a) Dos Passos, John, B20, E498, F137,170 Doestoevsky, Feodor, F151, 181,185,278(11),301,304, 328,349, E262,263,268, 1041, FI72 Doughty, Charles, D43,98 Douglas, A. Donald, E442 Douglas, James, D262 Douglas, Lord Alfred, E76, 134 Douglas, Norman, D288, E259, 277,701, F5,7,46(b),65,85, 184 Dowson, Ernest, F115 Doyle, Conan, F227 Drake, Col. Marston E.. A58(a) Dransfield, Jane, Fl65(b) Dreiser, Theodore, D218, E8l9,987; letters, CvIIi(B,C),x(j); comments

on Ford's work, E302; Ford's writings on, A78, B53, D246,406 Dreyfus, Capt. Alfred, D175, 326 Dripps, Robert, A7 Duckworth, Gerald, A52,61(a), 65(c), Cviii(B) Duncan, Ronald, Fl8l(c) Dunsany, Lord Edward, Bl4, D193 Dunton, W.T. Watts, A7 Dupee, F.W., B50, F66,67 Durrell, Lawrence, A46(b) Duthuit, Georges, F92 Edel, Leon, F110 Edgett, Edwin F., E437 Edward, Thomas, D387 Edwards, Jean, B46 "Edwards, Oliver" (pseud. Sir William J. Haley), E991994,996,1038, F14,68 Eliot, George, D278(l-Il) Eliot, T.S., B41, E495,963, 998,999, F13,69,135,149, 182(b.c),182,192;letters, Cvi(3),viii(c),x(l); comments on Ford's work, E34l, 344; mentioned by Ford, D262,308 Ellmann, Richard, F69,89,119 Elman, Richard, E1035 Emerson, Ralph W., D97, E127 England and the English, A20, A13,24(a); reviews of, E106,107,110,111 Engle, Paul, Fl65(b) English Girl, An, A22, E978, 1020.1030; manuscript, Ci(6); reviews of, E108, 109,113,114 English Novel, The, A67, "E623,986,1000, F61,230; serial publication, D362; reviews of, E6l2,6l4-6l6, 618,620,635-637,640-644, 647,650,652,673 English Review (under Ford's editorship;, A28,32(a),34, 57, B38, Cx(F),xii(A), D95, 104,294,297, E148,172,174, 243-245,357,384,389,646, 670,804,843,860,866,871, 900, 993,998,1003,1027,1032, 1038, F5-7,19,25,42, 46(b,c),49,65,71,77(b, c), 79-83,85,96,109,116,118, 125,129,132,135,144,170, 181(b,c),184,185,191,194197,218-220,235,243,248; 618

Ford's contributions to, B37, D104,105,108-114, 116-126,129-131; mentioned by Ford, B38, D158,l80, 210,351,357; reviews of issues, E129-147,150,152, 153,155,160,165,167; historico-critical studies of, E1005,1033 Espey, John J., E999 Evans, B. Ifor, E880 Face of the Night, The, M27~BT47T4, 2b,48, D249; manuscripts, Ciii(3), vii(2), previous publication of separate poems, All(a), D22-29; reviews of, E58,60,66 Fadiman, Clifton P., E497, 513,552 Fairbanks, Marjorie C., F247 Falls, Cyril, F70 Farley, W.L., Ci(9) Farrar, John, E457 Farrelly, John, E924,969 Fausset, Hugh I'A., E427, 637,806,879 Fayard, Jean, D304 Feather, The, A2,,Al(a), 3(a), E800, F222, reviews of, E7,9,11 Fielding, Henry, Dl69, El80, F88,111,230 Fifth Queen, The, Al6, Al4, — T7TaJ,19,25(a),81, D42, E231,1003,1051(b,c),1052, F75,90,113,147,248; manuscript, Ci(4); reviews of, E79-83,85-88,98 Fifth Queen Crowned, The, A25, Alb,19,HI, E1051(b,c),1052, F46(b), 90,249; reviews of, Ell8123; dramatization of, A36, Cv(3), D194,264, E151 Finch, Mrs. Florence W., Cviii(E) Fineman, Irving, Cviii(B) Fink, Guido, A46(i) Firbank, Ronald, Fl89(c) Firebaugh, J.J., E970 Firkins, O.W., E351 Fisher, Dorothy C., E511 Fitzgerald, F. Scott, E96O, 1027, F102,154 Flaubert, Gustave, E604,900, 963,1000,1020,1034,1038, 1048,1050, F6,20,48,53,79, 80, l4l, 165(c, d),178,180, 184,193,219; mentioned by

Ford, 073,175,199,203,208, 252,261,295(c),349,356,387 Fletcher, John G., D259, F60, 71,l65(b-c) Flint, F.S., D198,259,283, D314, E177, F72,155,178, 189(b) Ford Madox Brown, A6, D6,8, 5Tl, F202; reviews of, El626 Forester, C.S., E926 Forman, Henry J., D155, E424, 510 Forster, E.M., D349, F215 Fort, Paul, D258 Foster, Jeanne M., A63(b) Foster, Richard, 0419, EIO53 France, Anatole, D70,175,326 Frank, Waldo, D329 Franklin, John, E420 Frewer, Louis B., D417 Freud, Sigmund, D29l(b) Freudenberg, Anne, E976 Friend, Krebs, D327, F74,2l4 Frierson, William C., F73 From Inland, A21, Bl4,15,47, E254,3b5; previous publication of separate poems, A4, 7, Dl,21,26-29,37-39; reviews of, E105,112 Frost, Robert, D209,263,308, E849, F97 ,t Fyfe, H. Hamilton, Cii(4) Gaige, Crosby, A12,26,32(a), 33,68 Gallup, Donald C., D322, F74, 213,214 Galsworthy, John, A26, D96, E171,308,524,582,591,619, 910,951,952,1033,1041, F25, 46(a,b),51,75,76,91,112, 143,147,161,172, 215,218, 236; letters, Cviii(E), F75,76; Ford's writings on, A72(a),78, D71,167,377,393, F76; mentioned by Ford, D162,264,313,356 Gannett, Lewis, E75O Gardiner, A.G., D179 Garnett, David, A6(a),59(a), Cviii(E), E1033, F52,77,99 Garnett, Edward, A7, D8, E152,432,908,1033, F44,75, 77,93, H I , 127-132,147,158, 196,218; letters, Cviii(E), F47,75; responsibility for publication of Ford's early books, Al(b),6(a),21, B2; comments on Ford's work, E91,432,455,* mentioned by 619

Ford, D80,83,313,414 Garnett, Olive, Al8, Cviii(E), F77(b) Garnett, Richard, Cviii(E), D45 Garnett, Robert S., A8,ll(a), Cx (B) Garvice, Charles, Fll6,l48 Gaskell, Mrs. Elizabeth, D278(ll) Gay, Florence, D171,178, E250,261 Gelder, G. Stuart, F127 George V, King, E665,86o George, Lloyd, D211, E665 George, Henry, D211 George, W.L., Dl82, E586 George, Mrs. W.L., D196 Gerber, Helmut, E997,1001, 1002,1008,1010,1018,1022, 1040,1044,1046 Gettmann, Royal A., F78 Ghilini, Hector, E716 Gibbon, Percival, Dl68 Gibson, Wilfrid, F97 Gide, Andre, D349, F168 Gilbert, Stuart, F119 Gilchrist, Herbert, Al(a) Gilkes, Lillian, F52 Gill, Brendan, E962 Gilman, Lawrence, E370 Gingrich, Arnold, D390 Gissing, George, D190, E1047 Glenn, Isa, Cviii(B), D370, 39 0 Goacher, Denis, E986 Goesen, Frau Emma, A22 Goethe, Johann W. von, D99, 221,225,226 Gogol, Nicolai, D99 Goldbeck, Eva, E743 Golding, Louis, Cviii(C) Goldring, Douglas, D133, E901,903,992,1037, F120, 178,191,196; letters, Cviii(A); South Lodge, F82, A31,4l, B7,"E3H5, 454,857,882,934, F22,62, 83,84,104,164 (reviewed, E899,900,904); Trained for Genius (American title of The Last Pre-Raphaelite), FBzr,~ATT(i7732(k), 39,43(a), 48,53,56(a),58(a),59(a), B2,4, DUO, 215, 220, E323, 373,660,874,915,925,936, 949, F62,75, H O , 145,149, 164,209,228,249 (reviewed, E909,910,912-914, 916, 922-

924,926-933,935); other writings on Ford, A43(a), E347,670,671,882,902,905, 915,917,996, F79-81,83,85, 131,188,191 Goldsmith, Alfred, Cxi(D) Gollancz, Victor, A69(a), 70(a), B4l, Cii(26), viii(B),ix(A), E665 Good Soldier, The, A46, A80, BT, D127,203,219,311, E323, 326-329 380,474,623,648, 728,870,930,963,982,991, 993,1004,1015,1017,1020, 1026,1032,1035,1047,1050, 1051(b),1052, F5,9,20,30, 38,60,64,82,90, 91,102,112, 113,116,121,124,126,140142,146,149,215,228,237, 249,250; manuscripts, Ci(9); periodical publication, D207; mentioned byFord, D219,238, E547; reviews of, E278-280,282, 283,287,289-292,295,296, 299,302-304,552,958-960, 962,965,966; critical analyses of, E907,911,921, 934,968,987,1011,1019, 1025,1029,1037,1042,1048, F88,123,142,204-206 Gordan, John D., B24, D350, E98l Gordon, Caroline, A74(a), D372,390, E943,971,1021, 1035, F86-88,126,165(c), 184,189(c) Gordon Margery, Bl6 Gorky, Maxim, D78 Gorman, Herbert, All(e), 43(b),60,67(a),72(b), E544, F89; letters, Cviii(A); comments on Ford's work and personality, E588, 626, 911, 939; mentioned by Ford, D345 Gose, Elliott B., E984,987, 1037 Gosse, Edmund, D49,51,83, E105l(a), FI87 Gould, Gerald, E377,398,422, 434,472,517,518,581,688, F148 Graham, R.B. Cunninghame, A39, cviii(c), D176,387, E920 Gray, James, E952 Great Trade Route, A77, ~~A74(a),78(b),D381,386, 388,405, E774-776,809,835, 620

899,956,978,998,1051(b), Fl65(c); reviews of, E763-766,768-773,777, 782-784,791,794,796,802, 822 Greene, Charles, E1001 Greene, Graham, Cviii(B), D390, E917,958, F73; editorship of The Bodley Head Ford Madox Ford, A8l, F90, ATTTb), 32(a),46(k), WTa),78(b), E1051,1052; other writings on Ford, E749,768,800,844,870 883 Greene, Stephen, A46(g) Greenslet, Ferris, F91 Grlerson, H.J.C., E65O Gris, Juan, Cviii(E), E539, 675, F92 Gulrard, Albert, Jr., B24, D350, E908, F93 Guerra, Mario, A46(h) Gwynn, Stephen, F51 Hackett, Byrne, A7 Hafley, James, E1011,1037 Haggard, Rider, F90 "Haig, Fenil" (pseud. F.M. Ford), A4 "Half Moon," The, A27, Al6, 25(b), F100; reviews of, E149,154,157-159,161-164 Halicka, Alice, F94 Hall, Mordaunt, E56I Hamilton, Mary A., E401 Hamnett, Nina, D346, F95, 106,189(b) Hardy, Thomas, Al(b), E759, 760,800,811, F19; letters, Cviii(A,C); involvement with genesis of English Review, D351, F80,1««; Ford's writings on, A78, D66,170,351,396; mentioned by Ford, D94,162,288, 399 Harland, Henry, D307 Harmsworth, Geoffrey, FI87 Harris, Frank, Dl45, E991, 993, F96,157 Harris, Gibson W., cviii(c) Harris, Markham, E98O Harrison, Austin, E172, F195 Harrison, Frederick, D58 Harrold, Charles F., E818 Hart, H.W., E940 Harte, Bret, D63 Hartley, L.P., E533,585,603 Hartley, Marsden, Fl65(b) Hartmann, George, D340, E677,733

Harvey, David D., EIO53 Harwood, H . C , E4l4,477, 522, 613 Hassall, Christopher, F97 Haugh, Robert, F98 Hauptmann, Gerhardt, D72,l80181 Hauptmann Trial, D38l, E925 Hawkins, Desmond, E820 Hawthorne, Hlldegarde, ElIl Haycraft, Howard, F125 Haynes, E.S.P., E327 Hays, H.R., E620 Heart of the Country, The, A17, A13720,24,54,81, D270, E355,1003, P113,l6l; manu­ script, Cii(3), periodical publication, D40; reviews of, E89-92,94-97,99 Heine, Heinrich, D204,221, P71.155 Heinemann, William, Dl66, P128 Hemingway, Ernest, A56(a), B20,39,41, E400,407,IO26, 1027,1051(b), P2,13,16,69, 74,99,101.107,143,165(b), 170,189(b),192,213,214,219; letters, Cviii(E), Pl6,74, 214; mentioned by Ford, B39, D302,317,320,329,372, P184 Henderson, Alice C , BlO, E298,34l Hendricks, Caspar, All(f) Henley, W.E., E908, P15,93, 125 Henry VIII, Civ(4), E213, P46 (b) Henry for Hugh, A73, E978, P24"9; manuscript, Ci(l9); reviews of, E727-729,731 Henry James, A44, Cii(6), DlUl, E344,999, P32,66,147; reviews of, Ε26θ,262,264267,269,270,334,336-339 Henry, 0., D327 Herbert, Mrs. Alice, Dl84 Herbert, George, DI87 Herbst, Josephine, D359 Herndon, Richard J., .ElOOl, 1023 , Herriot, Edouard, D379 Heseltine, Philip (pseud. "Peter Warlock"), A29 Hewlett, Maurice, D82, E224, 1051(a), P227 Hichens, Robert S., E377 Hicks, Granville, E648,662, 907, Pl65(a) 621

Hield, Robert, E836 High Germany, A35, A43, B8, "25:,31, D103, E234,332,· manuscripts, Ciii(5)j peri­ odical publication, D152; reviews of, E221,222 Hilliard, John N., P52 Hind, C. Lewis, PlOO Hinton, Percival, A59(a), Cviii(E), E915 "History of Our Own Times, A" (unpublished MS.), Cvi(ll) Hoffman, Frederick, D239, 257, P101-103 Holbein, A15, AlO(a), E973; reviews of, E93,100,101, 277 Hole, W.G., E271 Holmes, John, E759 Holt, Edgar, E711 Hope, Anthony, D77 Ηορρέ, A.J., E994 Hoult, Norah, P82,104 Houpt, C. Theodore, E929 House, A, A51, Α55,6θ, E-48, E555,558, F124; manu­ scripts, Ciii(lO); peri­ odical publication, D284 Housman, A.E., F155,200 Howard, Brian, P2 "Howe, Anne", E632, P107 Howe, P.P., Dl8l,l84, E263 Howell, Charles Α., P12 Howells, W.D., D60 Howland, Hewitt, Cx(C) Howland, L.D., E464 Huddleston, Sisley, E506, 632,639,685, F69,95,105107,118,119,140,189(b) Hudson, Hendrick, E159,l6l Hudson, W.H., A12, E367, 685,812,921,1003, PlOO, 184,203; Ford's writings on, A78. B52, D112, 278(III),279,313,371,392; mentioned by Pord, D96,288, 307,387,390 Hueffer, Catherine E.M.B., (Ford's mother), Al(a), 6(a),49, D7, P212 Hueffer, Christina (Ford's daughter), A9(a),32(a), D106, E925,988 Hueffer, Elsie Martindale (Ford's wife), A4,ll(a), B2, Cxii(B), D7, E52,373, 860,988,1003, F42-44,48, 50,77(b),209,249; manu­ script, Civ(2); letters,

Cviii(E),X(A,B); legal actions taken by, B7, E166, 213,223,236-238,385,454, 860,902, F22,165(c) Hueffer, Francis (Ford's father), F202 Hueffer, Katharine (Ford's daughter, now Mrs. Lamb), A32(a), Cviii(E), D88,106, E925,988, F249 Hueffer, Oliver Madox (Ford's brother), A55, Cx(E). D49, E204,386,660, F181(b),202 209,211,232 Hughes, Glenn, B34, D259, E632,639, F107,108,181(c) Hughes, Richard, Cviii(B), F184 Hugo, Victor, D295(c) Hulme, T.E., E804,1032,1049, F39,121 Hume, Maj. Martin, D86 Hunt, Mrs. Alfred (mother of Violet Hunt), B7, E223, F234 Hunt, Holman, D380 Hunt, Violet, A28,33,35,37, 39,59(a), B7,9, D47,104, 246,269,272, E223,236,238, 243,385, F22,25,82,83,104, 127,132,135,149,170, 181(a,b),201,213,234,248; manuscript, Civ(5); letters, Cviii(A),x(B,C,D); collaborations with Ford (see The Desirable Alien and Zeppelin Nights~T, DT66, 419, E249,323,324,1053; The Flurried Years (i^ Have This to Say, American edition), F W , A31,33(a),36, 46(a),66TaT, D202, E446, 469,902,903,1038, F22,62, 77(c),82,84,145,149,158, 164; other comment on her relation with Ford, E213, 223,236-238,311-312,373, 385,454,899,901-904,1038, P67,77(c).82,104,112,132, 145,165(c),l8l(b),218; mentioned by Ford, A22,28,30, 31, B9, D166 Hutchings, W.W., B6 Hutchinson, Thomas, A4 Huxley, Aldous, Cviii(B), D304, F128,130,132 Hyde, Henry, A20, Cx(K) Hyde, William, A8, D9, E31 Hynes, Samuel, E1029 "Ignotus, Miles" (pseud, for 622

P.M. Ford), B9, Cvi(2) "Immortality: An Elegy on a Great Poet Dying Abroad" (poem), Ciii(9), D280 Inheritors, The, A9, Alllb,e;, E57,461,978, 994,1038,1041,1050, F18, 43,46(b),47-49,51,56-58, 77(b),151,237,245; mentioned by Ford, B30, Cii(23),xi(B); reviews of, E37-42,44,45 Ionides, Luke, D320, F191 Ireland, Alexander, D259, E305 Isaacs, Neil D., E1009 Isherwood, Christopher, E953 It Was the Nightingale, A72, All(g),52,56(a), B55, Cv(5), D155,263, 278,303,305,322,337,356, E359,812,860,864,990, F16, 19,35,62,69,96,140,141, 150,165(b),179,186,213, 214,221; manuscripts, Cii(28), E1031; partial periodical publication, D377, reviews of, E707710,712-715,717-726 Jack, Peter M., E677,741, 771,825 Jackson, Joseph H., E945 Jacobs, W., D57 James, H.C., A50 James, Henry, All(a),17(a), 44, B50,51, E67,108,174, 231,250,260,262,265, 270, 289,292,319,334,336-338, 348,375,474,552,648,657, 749, 768,800,810,811,844, 910,939,956,958,968,969, 973,999,1006,1020,1029(b), 1030,1034,1038,1039,1050, 1053, F25,32,53,66,67,80, 90,91,99,109,143,147,154, 161,182,184,193,205,211, 215,221,225,231,232,237, 244,249,250; letters, Cx(l), F109,110; supposed comments on Ford, F79(b), 116,147; Ford's writings on, A44,52,78, B50,51, D285,389, F192,211,371; mentioned by Ford, D89, 97,162,169,305,306,344, 349,390 James, R.A. Scott-. A56(e), 59(d),61(c),65(d), D103,

B24, Cii(23),xi(B), D322, 172, E79,118,132,1003, 330,344, F57; additional Flll-113 citations for Yale UniJameson, Storm, E619, P73,114 versity collection, A66(a), Jenkins, Sue, Cviii(B) 79(a), B2,5, Ci(l,2),xi(B), Jennings, Blanche, F132 D336, E1012,1053 Jennings, Richard, E904 Kehoe, Robert, E848 Jepson, Edgar, A51,53,55,58, Cviii(A,C), E152,373, F114, Kennedy, P.C., E479,526 Kenner, Hugh, E804,935,963, 115,148,179,208 968, F103,121-123,176,224, Jerrold, Douglas, F207 249 Jerrold, Walter, B4, Kennerley, Mitchell, E569 Cviii(E), D87,94, E159, Ker, W.P., A34 F117 Kerr, Ruth, A58(a), Cviii(B) John, Gwen, Cviii(c) King, Marie B., B16 Johns, Orrick, Cviii(B) Kingsbury, Edward M., E713 Johnson, Samuel, D169,170 Kingsley, F.J., D261, E305 Johnson, Willis F., E361 Kingsmlll, Hugh, E725 Jones, A.R., E1032,1049 Kinross, Charles, E993,994 Jones, E. Burne-, A5, D12,63 Kipling, Rudyard, Dl68,216, Jones, Edith R., E975, F52 218, E346, F90,136 Jones, Elizabeth Sparhawke-, Kitchener, Lord H.H., D275 Fl65(b) Knoll, Robert E., A54, E990 Jones, Ernest, E951,966 Knopf, Alfred, E252 Jones, Henry F., D278(v) Knowlton, Edgar C., E862 Jonson, Ben, D295(c) Krapotkin, Prince Peter, F212 Joseph Conrad: A Personal Kreymborg, Alfred, D183 Remembrance, A58, B55, Krutch, Joseph W., E419 Cxi(Bj, D286,321,323,330, Kunitz, Stanley, E858,864, E446,467,486,495,568,654, F62,124-126 908,979,991,1006,1023,1024, Lacretelle, Jacques de, D4l6 1041,1048, F47,53,105,121, Ladies Whose Bright Eyes, 151,173,218,236,244,249; A337 F146; reviews of, manuscript, Cii(l5); periE255-207,209-212,219,224, odical publication, D321, 739-742,745,746; comment 323; reviews of, E425,427on differences between 429,432,433,435-441,444, first and revised editions, 448,450-453,455-460,462E741,742,1036 465,470,475,546 La Fontaine, Jean de, D308 Josephson, Matthew, E1035 Joyce, James, A55, B4l, D301, Lafourcade, Georges, E823 Lake, Dr. Michael, A69 322, E348,471,485,495,716, Lamure, Pierre, A74(a) 853,963,1016,1027,1053, Lane, John, A31, Cviii(A) F13,21,53,69,118,119,121, 140,148,159,178,179,181(b), Last Post, The, A65, A59(a), ~TT(FT7~E5W759B7Sl3, 921, 184,219; letters, B4l, 957,984, Fl43,249; republiCviii(c),x(H), F69,119; cation in Parade's End, A80; Finnegan1s Wake and the manuscript, Ci(15T; reviews Transatlantic Review, D413, of, E570,572,574,575,577F69,89,106,118,119,140; 579,581-585,589-595 mentioned by Ford, D288, Latapie, Louis, F92 291,301,356,413 Latham, H.S., dv(7),x(c) Joyce, Stanislaus, F69,119 Laughlin, James, Fl65(c) Kahnweiler, D.H., Cviii(E), Lauterbach, E.S., E1046 F92 Lawrence, Ada, F127 Karl, Frederick R., E1012, Lawrence, C.E., E295 1024, F120 Lawrence, D.H., E8l2,1039, Kazin, Alfred, B53 F6, 109,118,127,149,157, Keating, George T., Cx(A); A 158,178,181(a,c),182,197, Conrad Memorial Library, 247,249; comments on Ford, B30,F49, A9,11,57,5(a), 623

F109,127-132; Ford's writings on, A78, B54, D159, 395; Ford's "discovery" of, E244,1033, F6,83,128,129, 131,132,158,197,247; mentioned by Ford, D162,259, 278(iv),288, F128,184 Lawrence, Frieda, FI58 Leach, Henry G., Cx(l) Lee, Vernon, D205 Legg, L.G.W., F62 Leighton, Sir Frederick, D63, 262 Lemperley, Paul, All(a) Lester, Thomas S., E763 LeSon, Jean N., A77(a) Levin, Harry, E777,778 Levinson, Andr6, E628 Lewis, P. Wyndham, A45, E348, 875,1033, F13,100,122, l8l(b,c),224; letters, Cx(A); comments on Ford, E275, F133-135; mentioned by Ford, D210,262,278(v), 288, Fl84 Lewis, Sinclair, B57, Cviii(B),x(A), D301,363, E426,957 Lid, Richard W., E1001,1020, 1025,1030,1042,1048,1050 Lincoln, Abraham, D97,405 Liszt, Franz, D63,156 Littell, Robert, E452 Little Less Than Gods, A, Abb, A57Tb),b5(c;, Civ(9), 105; reviews of, E597609,611 Litvinov, Maxim, Cviii(B) Llona, Florence, E874, F106 Llona, Victor, All(e) Loeb, Albert H., A51, D284 Loeb, Harold, E1035, F136 Loewe, Mrs. Julia (daughter of Ford and Stella Bowen), A62,68, D289,291(b),1035, F40,69,89,92; Loewe manuscript collection, A12,13, 16,17(a),19,22,24(a),29, 33(b),35,36,4l,44,45,47,5055,61,62,65(a),68,72(a)74(a), B9,20,27,30, Civiii,x(A),xi(c),xii(A), D28, 32,141,268,280,283,336, 358,359,368, E129-131,133136,138-148,150,152,153, 155,156,160,310,394,395,407, 431,508,542,547,565,591, F235 Lohrke, Eugene, B35, F137 Long, Ray, Cviii(B) 624

Longaker, Mark, P138 Loti, Pierre, Bll Lovett, Robert M., E502 Lowell, Amy, D259,276,308, F60,71 Lowell, Robert, E974,977, 985,1014,1035, F139, 181(a,c) Lowes, Marvin M., E748 Lowndes, Mrs. Belloc, D192, F116 Lubbock, Percy, E642 Lubow, Lily, F136 Lucas, E.V., Cviii(B), F46(b) Ludwig, Richard M., E1001, 1031,1038 Luther, Martin, D221 Lyman, Richard E., Jr., E528 Lynd, Robert, E910 Lynskey, Winifred, E1017 Mac Afee, Helen, E605 McAlmon, Robert, A54, D329, E400,990, Fll8,119,140, 192,242 Macauley, Charles, All(b) Macauley, Robie, A80, E921, 933,941,945,971,972,1019, 1035, Fl4l,142,206,250 MacBain, J. Murray, B47 McCarthy, Justin, E87 McCole, Camille, E686,767, 793 Maccoll, Norman, D283 McCormick, John, F143 McCulloch, George P., A37 McDonald, Colin J., E854 MacDonnell, A.G., E765 McFadyean, Andrew, E918 McFee, William, Cviii(B), E467,570,920, F49 McKenzie, Compton, Dl62,l63, F144 McKenzie, Faith Compton, F145 McLaughlin, Richard, E950 MacLeish, Archibald, B41, Cviii(B) Maclise, Daniel, D89 McNab, R.G.C., E888 MacShane, Frank (see introduction to Section C), Oxford thesis on Ford, A6(a),27,52,68,71(a).74(a), 77 a), B22,41, Ci(18), ii 16,27,31),iii(3,l'l), iv(9, ll),viii(B,E),ix(B), x (A,E, J), D110,383,337, E259,277,410, F13,l45,

165(c); published writings on Ford, D38l, E978,1027, 1033,1034,1041,1043,1044, 1049 Maeterlinck, Maurice, E60,503 Mais, Stuart P., F146 "Making of Modern Verse, The" (essay), Cii(l), D28 Mallarmé, Stéphane, D177 Mallock, W.H., D201 Man Could Stand Up, A, A6l, A55Tb7759(a),65T(d), B40, DI87, E542,547,610,623, 1006, F90,221,249; manuscript, Ci(l3); republication in Parade's End, A80; reviews of, E517-519,521528,531-533,537,538,540, 543,548,550,551 Mann, Dorothea L., E367 Mann, Mrs. Mary E., D75 Mansfield, Katherine, D288 Mansfield, Margery S., E554 March of Literature, The, A79, D411,417, E826, 882, 913,1000,1035, F88,249; manuscript, Cii(33), reviews of, E824,825,827-832, 834,838,840,849,862,878881,883,884,887-890,893,895 Marinetti, Filippo T., D198, 211, E275 Markham, Edwin, B42 Marrot, H.V., Cx(l), F76 Marryat, Frederick, D169 Marsden Case, The, A53, A52, Civ(7)T~El91, F237; manuscripts, Ci(10); reviews of, E376-380,382 Marsh, Edward, F97 Marsh, Fred T., E663 Marshall, Archibald, A13, Cviii(E), D49,51,95,200, F147,187 Marshall, Arthur Calder-, E749, F148 Martindale, Mrs. William (Ford's mother-in-law), A13 Marwood, Arthur, A25(a), Cviii(E), D104,176, 240, E148,1033, F44,96,147,196; as model for Tietjens, E984, F249; mentioned by Ford, D104,187,278(111), 344, F193 "Mascot, A" (story), Ci(l4), D347,352 Masefield, John, cviii(c), D330, E529, F237 ,, Masterman, C.F.G., All(g),48, 625

Cviii(E), D122, E89,109, 665, F112,149,228 Mastermanj Lucy, A48, Cviii(E), F149 Masters, Edgar Lee, D263, 308, F149 Matthews, T.S., E574,699 Maugham, W. Somerset, D265, F148 Maupassant, Guy de, B2, Cx(A), D185,199,327, E52, 979, F20,48,53,178 Mauriac, Francois, D356,358 Maurras, Charles, E842 Maxwell, Henry, E992 Maxwell, W.B., D163, F150 Mayne, Ethel C., Cviii(A), E358, FI65(c),211,218 Mégroz, R.L., F151 Meixner, John A., E1019, 1037 Meldrum, David S., F46(a,d), 51 Memories and Impressions ("American title of Ancient Lights, c[.v. ), A32(b); reviews of, E192, 1§5,198,200,202,203,208 Mencken, H.L., E458,495, 949, Fl8,181(b) Mendllow, A.C., F152 Menges, Mrs. Ianthe, Cviii(E) Mercier, Vivian, E928 Meredith, George, A8, Dll6, 162,221, E585, F226 Merki, Charles, E333 Merrick, Leonard, D84 Meyer, M.M., F153 Meynell, Alice, E67 Middleton, George, E337 Mightier than the Sword (English title of Portraits from Life, £.v. ), A7«(b),~nTbTT5T, B5l,54, D159,170,218,246,351,390, E975,1003, F76,157,158, 248,249; periodical publication of, D385,389,391397,401,406; reviews of, E805-817,819-821,823,873, 886 Millais, Sir John E., D10 Mille, Pierre, E310 Miller, Henry, Cviii(B) Miller, Joaquin, D63 Mills, Emma, F170 Milton, John, A33 "Miracle, A" (story), Ci(l6), D36l

Mirror to France, A, A60, W 5 7 E576,588, F92; partial earlier publication, A48, D292; reviews of, E501,504516,520,535,545,549 Mr. Apollo, A26, E978, F96; reviews of, E125-128 Mister Bosphorus and the Muses, A55, A56TaT, D293, Fl,28; manuscript and etchings, Ciii(ll); reviews of, E383,390 Mr. Flelght, A39, A38, D176, 240,265, E377,915,978, F54, 84,- reviews of, E239-243 Mitchell, F.H., E665 Mizener, Arthur, E964, F154 Mohan, Herbert, A33 Mo Here, Jean Baptiste, D99 Mommsen, Theodor, D240 Mond, Alfred, D104, F25,195 Monro, Harold, A55, B31, Cviii(C), E693, F8l,148, 155,178 Monroe, Harriet, B10, E341, 353,638, F156,165(b): letters, A51,55, Cvii(3), viii(B,C),x(G), F181; manuscripts in Monroe Collection, University of Chicago, Ciii(l3),vii(3), D373, Fl8l(a),189(b) Monstrous Regiment of Women, This, A38 Moore, George, A72(a), DI69, 189,288,377, E1047, Fl89(b),232 Moore, Harry T., F132,157,158 Moore, Louis, E496 Moore, Marianne, Cviii(B) Moore, Sturge, D195 Morand, Paul, B4l, Cviii(C), D304,369 Morey, John H., A58(a), Ci(2) Morgan, William de, D62,162, 186 Morley, Christopher, D355, E440,450,569, F165(c) Morley, John, D174 Morris, Cedric, Cviii(C) Morris, Lawrence S., E543 Morris, Lloyd R., E490,537, 923,948, F159,165(c) Morris, William, D63,211, E847, Fl66,202 Moser, Thomas, B24, D350, F93,160 Mottram, R.H., E591,623, F70, 147,161,223,237 Moult, Thomas, E421,428,475 626

Mudrick, Marvin, E1039 Muir, Edwin, E483,525,584, F162 Muir, Kenneth, B46 Muir, P.H., Al(a), F163 Mullins, Eustace, Fl64,l84 Mumby, Frank, E223,238 Mumson, GorhamB., E609,779 Murray, Gilbert, E390 Murry, J.M., c v i i i ( c ) , D314, E364 Nash, Paul. A55, Ciii(ll), viii(C,E), E383, F1,28 Nature of a Crime, The, A57, Cxi(B), D151,297,300,336, E387,452,469,569,994, F15, 46(c),49,58,237; manuscripts, Ci(12),li(14); first appearance of, D110; publication in Transatlantic Review, D294,300, 31»; reviews of, E409,410, 412-418,420-423,434,443, 457,468 Naumburg, Edward, Jr. (see Introduction), E1035, FI65(d); check-list of collection published in 1948, E9H, Al8, B33, Fl65(d); manuscripts, letters, inscribed and additional copies of Ford books in the Naumburg Collection, A1 2(a),8,10(a),12,14, 15(a),17(a),18,29,30.31, 33,41,42,44,46(b,f-i),47, 49,50,54,55,56(a,b),57(b), 58,59(a-d),61(b,c),62, 65 a ,67(b),68,69(b),72(b), 74(a),75(b),77(b),78(b), 80, B24, 27,30,32, Ci(10-12),11(13-15,25,28, 30),iii(3,12),iv(9), vii(l,2),viii(A),xi(A), xii(B), D32,133,294-296, 298,330,385, E976,1031, 1038, F25,208 Nehls, Edward, B54, F131 New Humpty-Dumpty, The, A37, A31, D295(a j, E97ST~reviews of, E228,230-233 New Poems, A62, A76, B34, 56, D348,^T5; manuscripts, A43(b), Ciii(12); previous publication of separate poems, A51, D289,335; reviews of E554,555,558 New York Essays, A64, A63; manuscripts, Cii(l6);

periodical publication, Ould, Hermon, E56O D332-334,339-342 Ovid, D220 New York is not America, A63, Pagnol, Marcel, D312,314, A64, 65(b), B25; manu315, E396 scripts, Cii(l6,l8); periPaige, D.D., Fl8l odical publication, D331, Pain, Barry, B3 339,341,342; reviews of, Palmer, Herbert, F169 E556,557,559,560,563,566, Palmer, Paul, A78(a,c) 567,571,573,576,586,587 Panel, The, A36, E231,978, Newbolt, Henry, B26, 1030; manuscript, Cv(4); Cviii(C), P166 revision published in Nichols, Robert, E536,609 America, A42 (see Ring for Nietzsche, Friedrich, D246 Nancy); reviews of, E226, Niles, Blair, E512 227,229,235 No Enemy, A68, Civ(6), D305, Panhuysen, J., E885 E97b,104b; manuscripts, Pankhurst, Christabel, A38 Ci(17),- partial periodical Papy, Jacques, A46(f) publication, D275,276; reParade's End, A80 (see sepviews o? E621,622,624-626, arate entries for compo630,631 nent volumes, Some Do Not, No More Parades, A59, No More Parades, A Man A56(a,b,e),b1(a), B35, Could Stand Up, and The D312, E522,525,531,547,551, Last Post), A59(a), DT87, 598,627,716,871,984,990, E939,9527978,1006,1020, P6,137,162,173,223; partial 1035,1038,1050,1051 (b,c), earlier publication, Bl8; P9,38,70,73, 90,103,112, republication in Parade's 113,121,125,126,137,163, End, A80; reviews of, E472, 215,249; reviews of, E937, 476-494,496-500,524, 910 938,940,942-956,961,964, Noel, Conrad, E171 969, F87; critical studies Norman, Charles, B8, FI67 of, E628,906,921,963,970, Northcliffe, Lord, D68, E68, 982,984,1009,1013,1028, 1048, F123,141,143,206, P75,187 241 Nostromo (by Joseph Conrad), Park, Frances, D390 Ci(2), E1012, P15,120,121, Parkes, H.B., E718 125,160,168 O'Brien, Justin, Pl68 Pater, Walter, D205 On Heaven, A50, A55,68,76,81, Paterson, Isabel, A65(a), B10,12,13715,17,31,42, Cviii(B), E486, 524,534, D273,274,291(b), E272,360, 541,580,676,695,709,742, 708,978, F100,149,155, 780, F192 165(a),175,I8l(a,b); manuPatmore, Brigit, A4l, FI70 scripts, Ciii(8),vii(2); Patmore, Coventry, F226 previous publication of Patmore, Derek, F170 separate poems, A45, BIO, Patton, John, D405, E770 D202, 219,220,256,267,269, Pawlowska, Mme. Yo., D212 271-272; mentioned by Payne, William M., E12,62 Ford, D219; E547; reviews Penzol, Pedro, F92 of, E342,343,345-347,349Perkins, Maxwell E., F171 354, F79 Phelps, Gilbert, F172 Oppenheim' E. Phillips, E757 Philippe, Charles-Louis, D215 Oppenheimer, George, Clv(9), Phillips, Stephen, F226 viii(B) Phillpotts, Eden, E819 Orage, A.R., B4l, E152, F179 Pickrel, Paul, E938 "O'Riordan, Conal" (pseud. Pillement, Georges, A59(a,c), Norreys Connell), Cv(3), Cviii(B), D302, F173 D194,264, E126,151 Pinero, Sir Arthur W., E312 Orwell, George, E890 Pinker, Eric, All(e),44,68, Osborn, E.B., E805 Civ(7),vi(ll),viii(A), Ouida, Al4 E471, F15,46(c) 627

Pinker, J.B. (Ford's English literary agent), All(a,b), F46(a,b); letters, All(a), 13,14,16,17(a), 18(a), 20, 24(a),25(b),26,28,31, 32(a,b),36,41.42,46(a),52, 54, B3, Ci(17),iv(6,9), v(E),viii(A),x(C,D,E,K), xi(D), D51,110,133, E676, F49,196 Piper, John, E645 Pirandello, Luigi, E701 Playfair, Nigel, Cv(5) Poems for Pictures, A7, A21, 43,7^T~B4b, D50, E53, F124; manuscripts, Ciii(l), iv(2); earlier publication of separate poems, A4, D5, 13,14,18-20,21; reviews of, E27,28 "Poems in Two Keys" (unpublished MS.), A12, Ciii(3), vii(l,2), D32 Pollock, W.H., B3 Pope, Alexander, D295(c) Poradowska, Marguerite, F50 Porter, Katherine Anne, Cviii(B), E971,1026,1035, Fl65(c),174,233 Portrait, The, A30; reviews of,178-181,183 Portraits from Life (American title of Mightier than the Sword, q.v.), A78 (a), B537 00i(32), D313,385,390, E775, F131; reviews of, E778,780,781,785-790,792, 793,795,818 Potter, Ada, A36, D264, EI51 Pound, Ezra, A13,28, B8,52, Dl60, 202,270,276,279,301, E297, 308, 324,329,471,632, 639,664,708,738,843,844, 881,935,963,986,998,1000, 1016,1027,1032,1035,1049, F2,13,19,30,34,39,40,69, 71,101,103,107,119-121,128, 135,143,145,155,156,164, 165(b),167,170,189(b),197, 214,242,248,249; letters, Cviii(B,C),x(A), Fl8l; comments on Ford, A54, E221, 234,244,257,272,307,348, 375,400,646,693,804.875, 986, F121,131,165(c),167, 175,177,178,180-184; mentions Ford in his poems, E891, F121,176,179; Ford's writings on, A64, B4l, Cii(27), D334,374; mention628

ed by Ford, D162,198,210, 254,262,264.278(IV),302, 308, F181(a) Pound, Reginald, Fl86,l87 Powell, Lt. Col. G.R., A50 Praetorius, Alfred, F209 Pre-Raphaelite Brotherhood, The, A23, E973 Prescott, Orville, E944,959 Pressly, Eugene, A72(a), Cviii(B) Preston, John Hyde, E443 Preston, Kerrison, F201 Price, Lawrence M., Cviii(C), E359,474,694 Pritchett, V.S., E724,773, 797,811,846,958 Privy Seal, A19,A16,25(a), 81, E1051(b,c),1052, F75, 90,249; manuscript, Ci(5); reviews of, E102104 "Professor's Progress" (unpublished novel), Civ(ll), E1034 "Prothero, J.K." (pseud. Ada E. Jones), A49, E323,324, 326-328,330, F228 Proust, Marcel, A55, E485, 487,605,716, F140,165(b), 173,221 Provence, A74, A7,77, D400, E770,9787558,1051(b), F249; manuscript, Cii(29); reviews of, E732-738,743,744, 747,748,833,835-837,839, 841-844,846-848,850-852, 873 Pugh, Edwin, E378,402,491, F243 Pulos, C.E., E1000 Purdy, Richard L., F188 Pushkin, Aleksandr, A32(a) Putnam, Samuel, Cviii(B), D346, F95,106,189 Queen Who Flew, The, A5, AlH(a77 reviews of, El4,15 Quennell, Peter, E705 Questions at the Well, The, A4, A7,12,21, E3557 manuscripts, Cvii(l)j periodical publication of separate poems, Dl-3; review of, E13 Quinn, John, All(a), Ci(l), D301,322, E1016, F69,74, 119,181(b),190,214 Radford, Dolly, Fl65(c) Raffalovich, Andr£, F150 Ralston, W.R.S., A53

Ramsay, Robert G., A79(a) Ring for Nancy (see The Randall, A.W.G., Fl65(a) PanelT, A42, A36,3^T"reRandall, James R., E1004 views of, E248,251 Ransome, Arthur, E191 Robbins, Frances L., E657 Rascoe, Burton, B24,28, D350, Roberts, Elizabeth Madox, E495,536,656, Pl60,191,192 B4l, D372, Fl84 Rash Act, The, A71, A73, Roberts, Michael, Fl8l(c) E729,978, F249; manuscript, Roberts, Morley, D190 Ci(l8); reviews of, E695Roberts, R. Ellis, Fl65(c,d) 706,711; Ford's comment on, Robertson, W. Graham, F201 D378 Rod, Edouard, D312,315, E396 Ray, S.N., E845 Rodker, John, Cviii(E), F40, Read, Herbert, B39, 88,119 Cviii(C,E), D278(lll), Rolo, Charles J., E947 E627, F193,194 Roman, F. Vinci, E4l8 Reade, Winwood, E765 Romance, All, Al(b), Cx(B), Redman, Ben R., E930 xi(B,D), D26,110,294,297, Reeves, Amber, D188 323,330, E231,414,436,467, R^gnier, Henri de, D4l6 529,561,871,994,1038,1050, Reid, Forrest, E379,417 F18,25,43,46-49,51,173, Reid, [Marjorie?], All(e) 195,237,243,245; manuRemarque, Erich Maria, F137 scripts, Ci(l),iii(3), Renny, Peter, E380,390,404 iv(4); mentioned by Ford, Retinger, Joseph H., F195 D151,300; reviews of, E53Return to Yesterday, A69, 57,59,61-65; critical comM11(b), 16, 17 (b),38,39, ment on, E1012, F15,56,58, 46(f),50,52,57(a),66(a),81, 120,121,133,151,160,168 B50,54, Ci(2),iv(4),ix(A), Rose, Pamela, A38 xi(D), Dl,8,22,30,43,68,81, Rosenfeld, Paul, D413, E853 91,104,111,155,162,176,209, Rossetti, A10, A15, D4, E973, 210, 215, 218, 265, 270, 291 (b), F246; reviews of, E46-51 357,412,415, E357,435,461, Rossetti, Christina, D28,34, 665,674,708,723,812,860, 177,184, E272, F24 1012,1023, F9,41,43-47,62, "Rossetti, Christina" (essay), 67,75,77(b),91,100,115,116, Cii(l), D28,139, E1000 131,147,186,196,200, 208, Rossetti, Dante Gabriel, 221,243,248; manuscripts, A6(a), D4,10,63,144, E49, Cii(22,26); earlier publi51,383, F51,96,193 Rossetti, William Michael, cation of part, Cii(22), Al(a),2(a),6(a),14, D34, D365,371l reviews of, E666143, E190,193, F202 669,671,672,675-687,694 Roth, Samuel, E471 Reynolds, Horace, E790 Rothenstein, William, E686, Reynolds, Paul, Cx(D) F200,203 Reynolds, Stephen, D105,159, Rouse, W.H.D., Cviii(B), 162, Fl84,196,243 Rhys, Ernest, Cviii(B), Fl8l(c) Rousseau, Jean J., D211 E686, FI58,197 Rhys, Jean, B21,27, E553,933, Routh, H.V., E651,673,886 Rudge, Olga, Fl84 F198,199 Russell, George ("AE"), F136 Rice, David, D4l4 Russell, Peter, Cviii(E), Richards, Grant, F200 Richards, Mrs. Waldo, B17 E983 Richardson, Dorothy, B20, Rutherford, Mark, D190 D288, E901-903,951, F143, Saintsbury, George, D109,169, 221 E250,642,849 Richardson, Samuel, E391, Sale, Roger, B56 F88,230 Sampson, Ashley, E726 Ricketts, Charles, F159 Sassoon, Siegfried, Fl43 "Riesenberg" (story), Ci(7), Satie, Eric, FI56 Dl4l Sauvage, Noel, E733 629

Savage, Henry, D258 Sayers, Dorothy, B37 Schelling, Felix E., Fl8l(c) Schmedding, Frau Laura, A19 Schnitzler, Arthur, D173 Schorer, Mark, B57, D363, E987, F206; critical com­ ment on The Good Soldier (including introduction to 1951 republication), A46(e,g), E 9 H , 93^, 1017, 1019,1029(t>),1037, P204, 205,249,250 Schreiber, Georges, B43, D4l8, E709,896 Scott, C.A.D., E270,5?3 Scott, Evelyn, Fl65(d) Scott, W.T., E955 Scott, Sir Walter, DI69, P H l Seccombe, Thomas, Cviii(E), E129,299,328 Seeker, Martin, A44 Seiden, Melvin, E1013 Seligmann, Herbert J., E409 Sell, Joseph, E812 Seltzer, Thomas, A56(b) Sevier, Gilbert, E487 Shakespeare, William, A47, 48,72(a), D99,100 Shand, P. Morton, D366 Shanks, E. Buxton, Cviii(c), E254,590,878,909,913, P155 Shannon, Charles H., F159 Shannon, Homer, D36O, E596 Shaw, George Bernard, DoI, 231,265, E256,319, P H 2 Shelley, Percy B., D28,290, E374 Shepard, Odell, E744 Sheppard, Alfred T., E608 Sherman, Stuart P., E426,44l Shifting of the Fire, The, A3, EbOUT reviews of, E5, 0T8,10,12; critical comment on, E1050 Shlpp, Horace, B38, Cviii(B), F207 Shorter, Clement, D171, F22 Shuman, Edwin L., E301 Shuster, George N., E736 Simple Life Limited, The, A31, 0 Π Τ 4 ) , D295, E5Sl; reviews of, E184,185,188, 197 Sinclair, May, A29, D74,197, P60,208 Sisters, The (by Joseph Conrad), B24, Cii(l9), D350,354,350, E568,569, 596,908,979, P49,93,151,

160,192 Sitwell, Osbert, 542, F6l Skinner, Robert T., E66O, F209 Slocombe, George, Cii(24), D368, F210 Smet, Joseph de, F48 Smertenko, Johan J., E503 Smith, Simon Nowell-, B51, P157,211 Smith, T.R., Cviii(B) Smollett, Tobias, DI69,349 Sologub, Feodor, D255 Some Do Not, A56, A59(d), ~6T(cT, D315, E387,472, 473,485,486,490,492,547, 654,707,914,1026,1034, P8,53 141,164,· manuscript, Ci(H), E1034; periodical publication, D298,320,326; republication in Parade's End, A80; reviews of, E391-394,397-399,401-405, 419,424,426,431,442,445, 449,524,910 Songs from London, A29, A43, 8l7 Β4ΤΪ5, D H O , E254; manuscripts, Ciii(4); earlier periodical publi­ cation, D35,4l,49,56,64, 102,106; reviews of, E170, 175,177,182 Sonntag, Hedwig, DI56 Soskice, David (Ford's brother-in-law), E1033, F77(b),181(b) Soskice, Juliet M. (n6e Hueffer; Ford's sister), Al(b),2(a), P77(b),202, 212 Soul of London, The, A13, A17Ti"), 20, 24 (a77~B6; D276,313, E90,95,96, 355,1003, F46(b),75,l47, l6l; manuscript, Cii(2); reviews of, E67-74,220, P75 Soupault, Philippe, All(e), 59(c), D304 Southron, Jane, E729 Spare, Austin, D290 Speare, Dorothy, E775 Spenser, Edmund, Dl82 Spingarn, Arthur, Cviii(E) Spirit of the People, The, A24, A13,17,20, Cii(2T7 E355,1025; manuscript, Cii(4); reviews of, E115, 116,124 Squire, J.C, Cviii(c),

E686 Stafford, Jean, Cviii(B) Stallings, Laurence, E758 Stallman, R.W., F52 Stein, Gertrude, A60, D322, 379, E395, F31,33,34,92,95, 102,133,140; letters, Cviii(C,E),x(A), F74,92, 214; mentions Ford, F213; The Making of Americans and the Transatlantic Review, D322, F74,101,213,2T5 Stendhal (pseud. Henri Beyle), D304,306,349, E426, 849,963, Fl80,184,193,219 Stephens, James, E810 Sterne, Laurence, E299,733, 773, F118 Stevens, George, Fl65(d) Stevenson, George, D278(ll) Stevenson, Lionel, E1047, F215 Stevenson, Robert Louis, E59 Stonier, G.W., E8l3 Strang, William; F159 Straus, Ralph, E397,482 Street, G.S., D93 Strindberg, Mme., D365 Sturgeon, Mary C., F216 Summerhayes, I.K., E843 Sutton, Eric, B23 Sutton, Harold, D206, E273 Svevo, Italo, EIO52, F69,119 Swete, E.L., A36 Swinburne, Algernon C., Al(a), 78(a), D51,113,162,222,401, E810 Swinnerton, Frank, Dl84,l85, 288, E242,268,789,799, F217, 218

Symons, Arthur, D177, E471, F178 Tate, Allen, A74(a), D390, E748,971,1014.1026,1035, Fl65(d),189(c),219,220 Taylor, Rachel A., E579 "Techniques" (essay), D387, E1000,1006 ' Tetley, Gerard, Clii(3), viil(E),x(E), E925,976 Thackeray, William M., Dl69, 349, E403,426,449,640 "That Same Poor Man" (unpublished novel), Cix(6,9), E547,978, F124 Thomas, Edward, E95,152,258 Thomas, Gilbert, E504 Thomason, John W., Jr., E822 Thompson, Dunstan, E912 Thompson, Sylvia, E498 631

Thompson, W.H., All(b), Cviii(B) Thus to Revisit, A52, ~KE9lJ), B5b, D27H7314, E357,358,406,441,677,708, F62,100,120,151,211,246, 249; manuscripts, Cii(lO), vii(2); earlier periodical publication, D279,28l,282, 285; reviews of, E362-372 Tindall, William York, F221 Titterton, W.R., D214, E498 Titus, Edward, E632, F107 Toklas, Alice B., F213 Tolstoy, Leo, D78,349, E262, F112 Tomlinson, H.M., Cvi(8), D158, E446, F235 "Tomorrow" (by Joseph Conrad), Ci(3), F15,46(b) Tourtellot, Arthur B., E789 "Towards a History of English Literature," (unpublished MS.), Civ(7), vi (3) Train, Arthur, FI71 Transatlantic Review (Paris, 1924, edited by Ford), All(a,e),31,56(a),58(a), B20, 39, Cvi (5), DUO, 301, 2?2> 502,503,530,544, 646,826,871,990, F17, 46(c),69,74,106,118,119, 140,159,170,184,192,213, 214; manuscripts relating to, Cii (13,14); Ford's contributions to, D294300,303,309,316-318,320, 322,323,325-327; reviews of and comment on, D327, 328,357, E384,387-389,395, 400,407,411,629,1027, Fl6, 101,107,191 "Tristia" (unpublished poem sequence), A50, Cvii(2) Trollope, Anthony, D95,150, 169,278(II),332, E849 Troy, W.E., E598,629,971 "True Love and a General Court Martial" (unpublished novel), Civ(7), E864, F124 Turgenev, Ivan, A53, E262, 263,811,1020, F78,172,180, 231; Ford's writings on, A78, D397; mentioned by Ford, D170,349 Twain, Mark, A33, D63,295(c), E206,211,746 Ulrich, Carolyn F., F101 "'Ulysses' and the Handling

of Indecencies," CIi(Il), D291 Untermeyer, Jean S., Fl65(d) Untermeyer, Louis, B13,48 Unwin, Sir Stanley, A77(a) 79(b), Cix(B), F222 Van Doren, Carl, B4l, E712, Fl65(b),240 Van Doren, Irita, A63,64, Cii(l6),viii(B,E) Van Doren, Mark, E371,44l Vaughan, Henry, DI87 Verlaine, Paul, D177 Vernon, Grenville, E687 Victoria, Queen, A38 Vines, Sherard, F223 Vise, Jennetta, Al8(b) Vive Ie Roy, A75, A78(b), F249; reviews of, E750758,797-801 Vogelweide, Walther von der, D83, P175 Wagner, Geoffrey, P122,224 Wagner, Richard, D63 Waldman, Milton, E484 Waliszewski, K., P48 Walker, Charles R., E453 Walker, Ryan, E408,538 Wall, Bernard, E842 Wallace, William, E5 Waller, Pickford, A40 Walpole, Hugh, A69(a), B4l, E536,542,705, F6l,ll6; let­ ters, A68, Cviii(B,E); com­ ments on Ford, E623, F6l, 225; mentioned by Ford, A67(a) Walraf, Eva, F226 Walter, E.V., E982,1007 Walter, Otto, A46(j) Walton, Eda L., E761 Ward, A . C , F227 Ward, Maisie, E323, F228 Warren, Robert Penn, Cviii(B),x(A), D390 Washburn, C C , E473, F229 Washington, George, D97 Watt, Ian, F230 Watts, Theodore, Al(a), D283 Waugh, Alec, A52, Cviii(c) Waugh, Arthur, A32(a,b),52, Civ(6),viii(C), E672 Weaver, Harriet, F69,89,H9 Weber, Carl, D399, E76O Weeks, Edward Α., E500 Weinstock, Herbert, Cvi(7) Weir, Charles, Jr., E927 Weitzenkorn, Louis, E436 Wells, H.G., D104, E127,128, 140,323,396,619,883,1041,

1047, F20,46(b),6l,90,112, 116,151,153,211,215,241; letters, Cii(lO),vi(3l), viii(B,C),x(F), F228,243; comments on Ford, A48, E357, F228,231,232,243; Ford's writings on, A78, D53,394; mentioned by Ford, D85,95,159,162,164,165,238, 312,313,315,327,415, E357 Welty, Eudora, CvUi(B,E), D414, F233 Wescott, Glenway, D372 West, Edward S., E723,88l, 882 West, Katharine, F234 West, Rebecca, D210, E289, 319,338, Fl84,235 Weyman, Stanley, F227 Wheelock, John H., F171 "Wheels of the Plough, The" (unpublished novel), Civ(6,9) When Blood is Their Argu­ ment, A47, A48, ClT(Ti D296", F5,70,180,231; ear­ lier periodical publica­ tion, D223-234,242-245; reviews of, E28l,284-286, 288,293,294,300,301,306 When the Wicked Man, A70, EcS96; reviews of, Et5B~3657,659,661-663,688-692 Whicher, George F., E829 Whigham, Peter, E998 Whiteing, Richard, D8l, E67 Whitman. Walt, D97,209, 295(0),308, E346 Whitmore, J.B., E919 Whitten, Wilfred, E67,317 Whyte, Frederick, F236 Wild, Friedrich, F237 Wilde, Oscar, D412, Fl89(c) Wiley, Paul L., F238 Wilkinson, Clennell, E68l Wilkinson, Marguerite, B12 William II, King, D229,230 Williams, Charles, E8l6,893 Williams, William Carlos, B4l, Fl65(b),181(c); let­ ters, Cx(H), F242; com­ ments on Ford, E892,956, Fl65(d),239-242; mention­ ed by Ford, D302,409 Williamson, Henry, E6l0 Wilson, Edmund, B4l Wilson, F. Vaux, A42 Wilson, H. E19 Wilson, Harris, F243 Wilson, Robert F., E466

Wilson, Woodrow, D263 Wimsatt, William K., F244 Winwar, Prances, D380 Wise, Thomas J., A9,ll(a), Cx(B), D336, F46(a),245,246 Wister, Owen, D97 Wood, Jessie Chambers, D131, P6,129,158,248 Woods, Katherine, E732,787 Wolfe, Humbert, E809 Wolfe, Thomas, P247 Woolcott, Alexander, E790 WooIf, Virginia, D278(l), F143,184,219 Women and Men, A54, A69(a), B52,~E875, PlB7T8l(b,c); manuscript, Cii(l2); periodical publication of, D270; review of, E38l Wordsworth, William, D28, E349, F175 "Working with Conrad" (essay), Cii(22), D365, E446,651, F46(c) Worth, George J., E979 Worthington, Marjorie, Cviii(B), D403 Wright, Cuthbert, E834 Wylie, Elinor, All(a),58(a), 62, E54l,708 Wyzewa, T. de, D95, E117 Yeats, William'B., E234,297, 375,685,882,935,986,998, F19,132,155,178,179,181(b), 197; mentioned by Pord, D193,204 Yeatts, M.W., E889 Young, Kenneth, Cviii(E), E988, F249 Young Lovell, The, A4l; manuscript, Ci(8); reviews of, E246,247 Young, Stark, E794 Young, Vernon, E920 Yutang, Lin, Cviii(B) Zabel, Morton D., E685,933, F250 Zangwill, Israel, D55 Zeppelin Nights, A49, A48, F22»,237; earlier periodical publication, D103,159; reviews of, E320,322,323, F228; partial republication, D419, E1053 Zugsmith, Leane, Cviii(B)

633