christopher fry playwright (36 risultati)

Both items in good condition, lightly aged. PAMPHLET: 12pp, 8vo. Stapled in green wraps, printed on both sides of covers, and with drawing of Shaw by Hadfield, dated 1974, on front cover. Containing a few autograph emendations. Inscribed on front cover: 'To Christopher Fry, | from | Alan Hadfield, | Greetings! | Feby 1975'. A quirky and highly personal response to Shaw, combining anecdote, reminiscence and original poetry. A 'BACKWORD' reproduces two communications to Hadfield from Shaw, both from 1941, the first commending his 'neo-Elizabethan lilt', the second commending a bust he had sent him ('Whatever you do, don't be a gentleman-artist, or you will eat your heart out, and starve.'). The only copy of the pamphlet on OCLC WorldCat at the British Library. LETTER. Conclusion of Autograph Letter Signed ('Alan Hadfield'), presumably to Fry, on one side of 19.5 x 9.5 cm piece of paper. Numbered 3. Regarding sculptress he knew when living and teaching English in Jamaica, 'some dozen years ago', the wife of Norman Manley. Concludes: 'I should be greatly honoured if I could attempt a worthwhile portrait of you yourself, in the near future - | either here, or there!' From the Christopher Fry papers.

1p, 4to. In good condition, lightly-aged. Folded three times. Sixteen-line poem, neatly typed (with one error overtyped an autograph proof mark separating two words) titled 'For Andrew Young. 1885-1971.' Signed at bottom 'Richard Church.' A charming poem, which was published in the Cornhill Magazine in 1971. In two sections, the first of which reads: 'Dour old Scot from Edinburgh, | Whose theology was thorough | From Presbyterian first stage, | Then gentle in a vicarage.' (Young was a Church of England minister.) In the second section of the poem Church presents Young as 'A mystic amongst flowers and birds', who 'would turn | To worship at a wayside burn | Where some water-weed might serve | As thurible', and who 'could observe | His Maker in a buttercup, | And hold a humble daisy up | To bless his congregation'. From the papers of Christopher Fry, a friend of Young's son-in-law Edward Lowbury, poet and physician.

See the two men's entries in the Oxford DNB. In good condition. 11.5 x 9 cm card, without illustration. Printed in red at head: 'MICHAEL REDGRAVE.' The message concerns the London production of Fry's 'The Lark' (a translation of Anouilh's 'L'Alouette'), which opened at the Lyric Theatre, Hammersmith, on 11 May 1955. Redgrave would star in Fry's next play, 'Tiger at the Gates' (a translation of Giraudoux's 'La guerre de Troie n'aura pas lieu'), which premiered in New York on 3 October 1955. Written out in an elegant calligraphic hand, and reading: 'My dear Christopher: / This is rather late for the first night but I hope better than never. / The show goes well, I think. / Yours / Mike.' See Image.

All three items in good condition, with both letters lightly-creased at the foot. ONE: TLS. Signed 'John Mortimer'. 11 November 1995. 1p, 8vo. He was delighted to receive Fry's letter and would 'like to visit a writing group with which you're connected. If I'm free on May 10th I'll come. I'm just waiting to hear about a trip to Florida so do let the committee write to me. I'll know by then more clearly what I'm doing.' TWO: TLS. Signed 'John', with Mortimer deleting the typed word 'sincerely'. 1 March 1997. 1p, 8vo. He found it 'a delight' to hear Fry's 'lecture at the RSL'. He would 'love to come and see you, but March is very full up. Could we ring one another at the end of the month and talk about April?' He points out that Fry did meet his daughter, 'but she might be working in Bristol'. THREE: ACS. Signed 'John/'. Undated. Card with printed letterhead, otherwise blank, with Mortimer writing on both sides. 'I was afraid my [?] was inadequate and am delighted you thought it OK. Have been travelling around a lot lately, Canada, America twice, Rome and Brussels in the last 2 months but wd love to see you. - Either in Chichester or ? here. Will ring and try and fix something. | Penny [his second wife] sends her love | ever. | John/'.

For the context of the letter see Pamela M. King's 2007 paper 'Twentieth-Century Medieval-Drama Revivals and the Universities', which states that at the time of the writing, there was in Canterbury 'to be a new play by Robert Gittings about St Alphege and the Danish invasion entitled Makers of Violence', and that at the Pilgrim Players in Norwich planned to put on, at the church of St Peter Mancroft, a production of Fry's 'Sleep of Prisoners'. 2pp, 8vo. In fair condition, lightly aged, with a little light damp spotting. Folded once. Begins: 'Dear Kit, I have just sent Fitzgerald the proof of my article, which I have gone through with some care, and which he is putting in the July World Review.' He hopes that the article will 'add right it has to prevent anyone 'printing any more unauthorised comments about you.' He is also enclosing 'the draft of what I have written for Canterbury', which is to be discussed 'at Bob's lunch on Tuesday'. He does not know whether it has been accepted, but has already 'warned Laurence Irving about its contents'. He is meeting Fry's 'translator, Feist, at Portsmouth for about an hour this afternoon [] He keeps suggesting I should go all over England to meet him, and I still can't quite understand why he wants to see me. He says (among many other things) that as he has been exclusively translating your plays, he feels it might be a betrayal to translate mine.' He will give Feist 'a copy of The Makers since he wants to see my work. He also wants me to wear a real rose in my buttonhole, but roses don't grow here. I think I shall try a rhododendron on him. Garden Gods is an idea. Is Gods and Men one? [he quotes a couplet from Shelley] I must get on with it. There's the [?] book looming up for Heinemann too.' He asks Fry if he is sure he should look up 'John Guest', whom he would 'very much like to see'. He concludes with reference to the play by Fry which will become 'The Dark is Light Enough', lamenting that he does not know 'how to write plays and even think of their titles for other people. Isn't it awful? I wish the exact plot of your play were plainer to me. Would a very plain title like Revolution 1848 (on the lines of Amphitryon) be any good, I wonder? The word Revolution has a nice sound and plenty of meanings.'.

Scarce: the only copy located on WorldCat and COPAC at the Tate Library, London. Unpaginated stapled and duplicated pamphlet: 16pp, 4to. Cover illustration by John Graham. No wraps called for. In good condition, lightly aged and creased. In Vanson's autograph, at top right of cover: 'For Christopher - | affectionately | Frederic | 3. 84.' The second page carries a poem ('The Rodings') by Graham, beneath the following introduction: 'These images are the result of my invitation to the artists taking part in the exhibition: "Seven Essex Painters", to provide drawings suggested to them by a selection of the poems by Frederic Vanson, to be read in the Gallery one evening during the exhibition. | I realise that the relationship between word and image is sometimes best left unattempted, as my own Essex poem suggests, but I hope this experiment will in some small way link the arts.' Six poems by Vanson ('The End of the Line - Shoeburyness', 'The Stour below Flatford', 'In Wanstead Park', 'Stallion in Retirement', 'Women in a Market Place', 'Stubble Burning'), together with seven accompanying illustrations: three by Gwen Dymond, two by David Lee, and one apiece by Vanson's wife Olive Bentley and Alan Burgess. Vanson's poem 'Stubble Burning' was singled out for praise in David Gaskin's obituary of Vanson, Independent, 27 July 1993. From the Christopher Fry papers.

Vintage reference photograph of Michael York and Joan van Ark from the 1975 play, which premiered at the Ahmanson Theatre in Los Angeles. With a mimeo snipe with the logo of Ahmanson Theatre on the verso. Based on Jean Anouillh's 1947 play "Invitation to the Castle," a satire following a cold, callous playboy and his sensitive, lovesick twin brother. 10 x 8 inches. Near Fine, with light edgewear to the top edge.

A total of 8pp of closely-typed text. In good condition. Also present are an additional four-page copy on pink paper of the first letter and its enclosure. First letter signed 'Kevin Bailey', two others signed 'Kevin B.' aq2 One letter lacks its last page and signature. Long discursive letter, with Bailey discussing: his first meeting with Fry at the Actors Centre, Swindon; his sense of inadequacy in the face of Fry's other correspondents ('that letter from Lord Olivier is now firmly fixed in my memory'); a trip to Oxford bookshops; his discovery of Fry's work as a student at York; his admiration for the film maker Peter Greenaway; his desire that Fry might send 'a poem or two for use in the next issue of HQ' ('I can offer you a good audience. HQ has a most appreciative readership here and abroad and is taken by university and institutional libraries: New York, California, Moscow. even HMP Norwich (sent free of charge, just in case I ever need friends on the inside)'; his retirement from 'education work' ('at the age of forty-four I felt that twenty years of compromise between wage-slavery and editing and writing was enough') and pension; his recent poetry and editing work ('Shimon Weinroth, the Prof. of English at the University of Jerusalem has engaged me to check-over [sic] and edit his book of new poems due out next year. Small stuff but it pays a bill or two.'); his work at the Actors' Centre; his interest in astronomy ('often meeting Patric Moore at Meetings of the British Astronomical Association'); his 'part-time job with the charity MENCAP'; his friend the 'fine and innovative poet' Mike Hogan, an admirer of Fry's work ('Faber have just taken up his six-book poem'); Gary Bills, 'who is being published by Harry Chambers at Peterloo next year'; the recognition of a magazine's poets being a 'sign of maturation'; his 'cash flow hit' and the 'realities of tyrying to be a "proper" writer'; his desire to visit Fry; his 'faith' ('a private matter and very much sans "religion"'); his belief in 'the Art first and the ego second'; his admiration for 'Edward Thomas (I have a bush of Old Man taken as a cutting from the original and given to me by "Annie" Thomas, daughter the younger, at Eastbury - I am a Berkshire man; born at Wallingford and farmers for half a millennium at Yattendon. Robert Bridges was, I think, my paternal Grandmother's great uncle.)'. In the first letter (11 November 1998) he asks Fry, with his 'lifetime of experience to share', to 'set down, say, five golden rules for the poetic playwright [.] I feel like Morgana le Fey asking Merlin for the secret of Making. I promise to use the magic wisely.' The first letter is accompanied by two pages of dialogue between 'Edward' and 'Helen', with autograph note: 'A small selection from one of my still-born "Verse" plays. | K. B.' (Copies of the letter, dated 10 November 1998, and enclosure, are present.) In the second letter, 11 February 1999, Bailey thanks Fry for sending the poem 'Caedmon Construed' for publication in his magazine. He is 'very willing to use it', but 'would still like to use the speech from "Venus" - partly because I happen to think it very good indeed but also because I wanted to encourage HQ readers to seek out the play, and from that your other plays. As you know, although HQ, like all small press magazines, has a relatively small circulation, it is read by the "right" people in the right places all over the world. It is taken by a number of UK and US university libraries and "others". It never does any harm to advertise ones work. I'm pretty sure it would generate interest from American and Indian subscribers (strangely enough recently I have had a lot of correspondence from India, Turkey, and Goa and can only assume that HQ's equivalent of Typhoid Mary - an enthusiastic reader - is journeying in the Middle East and spreading an infectious enthusiasm for the magazine. Even a letter from Prof. R. K. Singh head of the Indian School of Mines in Dhanba.

24pp, 4to. Stapled pamphlet. Aged, and with spotting to covers, creased closed tear at foot of spine, and slight loss to bottom out corner of back cover. With one vertical fold. The cover is printed in black, with a charming cartoon by 'C. F.' in red ink of five happy birds singing and flying around with musical scores in wings, with one bird on box with conductor's baton tapping a music stand. The five leaves at the front of the pamphlet, and the five at the back on shiny art paper, mainly filled with local advertisements; the two central leaves, carrying the programme proper, on watermarked laid paper. The seventh page carries a list of 'Patrons', details of officers of the 'Barnardo Helpers' League | Tunbridge Wells Habitation', and a half-page article (by Fry?) on 'Agra House (1)', beginning: 'Do you know Agra House? Whenever I pass down the road, I see passers-by craning their necks to look over the fence at the children playing in the garden.' The four central pages, with the programme, describe the piece as having 'Words and Music by CHRISTOPHER FRY | Dances arranged by THE TEWSON SCHOOL OF DANCING'. The revue is in two parts, each with twelve pieces, followed by details of the crew and props, ending: 'Telephone kindly lent by the G.P.O.' Details of the cast of each of the twenty-four pieces are given, as for example, from Part One: '7. "What's Wrong With Mabel?" | SCENE: The Star's Dressing Room in a West-End Theatre. | Ivy . . . CHRISTINE RUSH. | Mabel . . . VIOLET GOULD. | The Manager . . . GEOFFREY QUAIFE. | "Ovalvitaquick."' Also, from Part Two: '2. "Breakdown in Boo-loo Boo-loo." | Lady Trudge, the lady explorer . . . VIOLET GOULD. | Her Secretary . . . RENEE TORRIANO. | The Native . . . ROGER ELAND. | "My Heart's in Darkest Africa."' The most elaborate of the pieces, itself in two parts ('The Committee' and 'The Performance') is 'Coronation Pageant.' Loosely inserted in the volume is an 8vo leaf printed on one side in purple ink with a 'Dr. Barnardo's Homes' 'Coronation Enrolment' subscription application, illustrated with drawing of the royal couple George VII and Elizabeth. In Fry's autograph on reverse: 'Sorry I have not had time to send this off but we had no envelopes to fit, as wrappers. | Many thanks for lovely long letter. | Its a lovely day.' No other copy traced on OCLC WorldCat.

Possibly the author's first book (see below), from the Christopher Fry papers (despite the ownership inscription). 54pp, 12mo. Stapled into green printed wraps (title and words '(ALL RIGHTS RESERVED)'). Tiny ownership signature in initials ('R. G.') in top right-hand corner of title-page. No details of publication or date, other than the printers' slug at bottom left of title-page. At the foot of the title-page, where the name of the publisher usually sits, is: '(ALL RIGHTS RESERVED) | Requests for permission to perform this Pantomime should be made to the publishers.' Aged and worn, in like wraps, with lightly-rusted staples. A humorous piece in prose and verse, with humour and colloquial dialogue pointing to Fry's future achievements. Scarce: the only two copies on OCLC WorldCat at Oxford and the British Library, the latter copy being dated to 1934. Consequently one of Fry's earliest published works (it is stated on the title-page that the work has 'publishers', see above), if not his first, appearing around the same time as the 1934 'She Shall Have Music', written with Monte Crick and F. Eyton. According to Fry's entry in the Oxford DNB: 'After a brief spell as an actor in Bath and a schoolteacher in Surrey, in 1934 he became director of a repertory theatre in Tunbridge Wells, where he staged the first English production of G. B. Shaw's Village Wooing.'.

Seven volumes, the first three in 4to, the last four small 4to, ranging in length from 32pp to 44pp. Each stapled into coloured printed wraps, the first six carrying a stylised drawing of a boy doing a jump (from a springboard). In fair condition, on lightly aged and worn paper, with rusted staples. Each volume is filled with prose, poetry, illustration and photographs by a number of different contributors, including pieces taken from public school magazines. The only unattributed items are the book reviews, which are clearly the work of Fry himself. Of particular interest, given Fry's subsequent career, is the full-page review (Vol.1 No.5) of Auden and Isherwood's 'The Ascent of F6', beginning: 'It may be that the history of poetic drama is repeating itself, that we are back at the morality play, a reaction to the play of immorality of the last decade, and that eventually the new Elizabethans will put poetry on a commercial footing. The central figure is no longer God or Religion, but Politics and the Happy Band of Brothers; the source of inspiration is not the Bible or the Church, but the Amalgamated Press, Ltd., T. S. Eliot and the Dailies.' The previous number (Vol.1 No.4) contains a long review of T. S. Eliot's 'Collected Poems'. Vol.3 No. 1 and Vol.3 No.3 both contain a twelve-page section titled 'The Barnardo Bulletins', including articles, with photographs, including 'Evacuation' by 'Eye-Witness', 'The William Baker Technical School' (two parts), 'The Barnardo Farm School', 'Essays by Barnardo Boys', 'Reminiscences of an Old Boy' by O. L. Siebold (parts 1 and 3); 'The Children in the Streets' by Donald Fitzjohn ('With Original Photos by the Author'). Vol.1. No.2 contains on its first page 'A new Poem by EDMUND BLUNDEN', titled 'A Town I know', as well as the poem 'Europe' by Robert Gittings. Loosely-inserted in the same volume is an attractive 8vo bifolium advertisement ('For Barnardo's | Be a Pal and lend a hand'), with an illustration of Father Christmas in green and black on the front cover, and a double page illustration of a Christmas Tree in full colour covering the central two pages. Vol.3 No.3 carries a label printed in red affixed to the front cover, reflecting its production during wartime: 'We are glad to announce that "Springboard" is to be re-issued, as a supply of paper has now been secured.' Fry's entry in the Oxford DNB makes no mention of his association with Barnardo's. The only entry for this title on OCLC WorldCat or on COPAC is what appears to be a complete run at the British Library, from Vol. 1 No. 1 (Summer 1935) to Vol. 3 No. 7 (Summer 1942). From Christopher Fry's library.

Original typescript draft for the 1954 play. With brief manuscript annotations throughout, mostly by a proofreader. Laid in note addressed to Alec Clunes, manager of the Arts Theatre in London, submitting script for review. First performed at the Aldwych Theatre in London May 1954, and then again in the US at the ANTA Playhouse in New York City, debuting on February 23, 1955 and closed on April 23, 1955, for an extended preview season total of 69 performances, starring Tyrone Power, Christopher Plummer, and Sydney Pollack, with incidental music by Leonard Bernstein. The third in a quartet of 'seasonal' plays by Fry, representing winter, preceded by 1948's "The Lady's Not For Burning" representing spring and 1950's "Venus Observed" representing autumn, and preceding 1970's "A Yard Of Sun," representing summer. Black untitled wrappers. Title page present with credits for playwright Christopher Fry. 42 leaves, with last leaf of text numbered 39. Typescript. Pages Very Good plus, wrapper Near Fine, bound with two staples.

See Fry's entry by Michael Billington in the Dictonary of National Biography. His brother survives as a rather shadowy figure: he was certainly alive in 1978, when Fry referred to him in the account of his family background 'Can You Find Me / A Family History' (OUP). In that volume Fry describes his 'brother Leslie' as a baby 'growing sturdily', noting that 'though he was later called by his first name Charles, he was Leslie for many years to come'. The four years of diary entries that are present here are short and factual and rather uneventful, but they have a double interest: at once casting light on the family background of one of England's finest twentieth-century playwrights, and giving a picture of the development of an average English middle-class schoolboy around the period of the First World War, as he rises to position of 'Head of School' at Bedford. The four volumes are in fair condition, aged and worn, with the 1916 diary sprung from its covers at the gutter of the rear endpapers. The four volumes are uniform in embossed brown cloth, (described by the publisher as 'Art Linen'), each with back loop for pencil. Each volume provides space for four days' entries per page, with numerous preliminary printed pages with the customary useful information, including endpapers and other matter reflective of the conflict, with maps of the Europe theatre, illustrations of medals and of a 'soldier-' and 'sailor-boy hero of the Great War', the last volume carrying a 'Message from Admiral Sir John Jellicoe to the Readers of "The Schoolboys' Diary'. In the first three volumes Harris writes in pencil, filling in the diary assiduously from 1 January 1916. In the final volume, by May of 1919, the entries become intermittent, and on 15 August 1919, they cease entirely. In additional to the daily record, Harris also provides details of 'Pocket Money', personal information (including 'Size in Hats') and memoranda (dates of significant events, such as 'Promoted to Lance-Corporal in the O.T.C.', 'Received 1st XV colours' and, on 24 July 1919, 'Made HEAD OF SCHOOL.'). Loosely inserted are a few postal order counterfoils and Chatham bus tickets. The entries begin in 1916 with Harris on his school holidays, doing errands for his widowed mother and reading to her, and entertaining his brother 'Arthur' (i.e. Christopher Fry), for example by taking him on walks (to town for a haircut) and helping him with his stamp collection. The monotony of school begins (repeated entries in early volumes start with 'School as usual') and the entries reflect the rounds of sport (he is captain of the 'Wasps' cricket team in 1916), cadet corps, bible classes, exams, trips to London (2 January 1919: 'Went over St Dunstans in morning with Jack / Uncle Walter took Jack, girl, Madeleine & myself up to the "Old Vic" to see Shakespear's "Macbeth" 2.0-5.0. Jolly fine performance though a bit tragic / Left & returned by train took 1 hr each way.'), his health (recurring toothache, mumps, etc), the weather, involvement (for the war effort?) in agriculture (11 September 1918: 'Another dismal day all by myself. Have quite made up my mind to chuck farming if this goes on, especially as when I was happily walking home at 4.30, I ran into more work & had to load wheat till 7.9.'). By 1918 the entries begin to loosen up a little. On 19 March for example: 'Rotten, wet beastly, muddy, miserable day, with a boil on my chin about the size of an egg & a Corps Inspection 2.30 by Lieut Col Pilkington on top of that. The rest may speak for itself. Also EII beat WII by 1/4 length.' And on 10 September; 'G [his friend Gerald, often referred to] & I shocked barley all the morning & then ditched until 5.30. Shocking barley is qute a decent job.' The signing of the armistice, 11 November 1918, is greeted with 'Flags all over the town, bells, etc. Bands in afternoon; town packed.' And on the following day 'Whole Holiday for Armistice / Thanksgiving Service in Hall instead of Prayers.' Final.

A very nice artefact relating to a beautiful Rampant Lions production, published in 1975. Printers' dummy, produced to indicate the intended layout of the book, consisting of duplicated typed leaves, with emendations and printing instructions in manuscript, showing the intended arrangement of the 125 pages of letterpress (and including an alternative version of p.78), with eleven illustrations loosely interleaved. In good condition, lightly aged and worn. A bifolium of watermarked grey wove paper, carrying a proof of the duotone title ('Root & Sky' in mustard yellow, the rest in black), is loosely inserted at the front. The typed leaves are laid down onto 33 x 25 cm leaves of thick wove paper, all in bifoliums, loosely collected into nine sections, with each section numbered at the front in pencil, and with 'C. F.' in red ink at top of first page of each of the nine sections. 'Christopher Fry' in pencil at the head of the very first page. Ten of the eleven illustrations are printed in pairs, from the contents it is clear that loose illustration, facing p.54, should have a conjugate one facing p.43. In worn brown card folder, with elastic clasp and manuscript label on front: 'CHRISTOPHER FRY DUMMY | ROOT | and | SKY'.

2pp, landscape 12mo. In good condition, lightly aged. Begins: 'Dear Christopher Fry, | I am sorry to contradict you, but I showed my co-editor, the poet Rodney Pybus, your poem "For Edmund Blunden", and we both [last word underlined] feel it should be published, and that we would like to publish it. Please.' In the hope that Fry will agree, he asks him to 'sign and return an acceptance form and send us the biog. note you would like to print alongside the poem'. He continues: 'I do hope you'll agree. I knew Blunden, and have written about his poetry in my [central?] book on the First World War poets Out of Battle which Macmillan are to bring back into print this year'.

Both items in good condition, lightly aged, as is an enclosure to the second letter, a photocopy of Lowbury's pamphlet 'A Letter from Hampstead'. ONE: 24 September 1969. 2pp, 12mo. In envelope addressed to Fry at his East Dean home The Toft. He is grateful for Fry's letter praising his collection of poems 'Figures of Light'. He continues: 'Several people have asked me about the red light; I am half sorry now that I did not include a footnote to explain the obscure reference (though perhaps it gains in other ways by giving the reader a bit of a puzzle!) One friend asked me if I meant a hospital, a cinema, a brothel, a psychiatrist's house, - or Death? By a curious paradox (disturbing to me as a doctor!) I did have Death as well as the Doctor in mind when I wrote those lines.' He is considering rewriting the poem 'if it is to appear in print again', but is glad Fry 'liked it in spite of the obscurity'. He concludes on a personal tone, regarding his wife Alison and her brother and Lowbury's father-in-law 'Andrew', i.e. the Scottish poet Andrew Young (1885-1971), and a party at Yapton. TWO: 24 November 1987. 2pp, 12mo. He begins by explaining that he is sending Fry a copy of his 'little book, VARIATIONS ON ALDEBURGH, which the Mandeville Press brought out in April: it has some attractive drawings by Donald Fairhall'. (The book itself is not present.) He continues with reference to a book which was published by the Keepsake Press on the same day as the other, titled 'A Letter from Hampstead'. Both books have sold out, but he was sent the copy of the first by the publishers. He explains that he is sending Fry a photocopy of the second book (which is present here). He explains that it is 'the fourth in a series of "apocryphal letters", the others being by (supposedly by) historical characters', whom he names. He explains that the previous volume, regarding 'Queen Caroline Matilda of Denmark the youngest sister of George III, married to the mad King Christian vii [] is illustrated by John Bratby, with some rather nightmarish pictures!' He ends in anticipation of 'receiving the material for me to send to the actors, after we have discussed "casting", etc. for 15 December'.

Both items in good condition, but the postcard (of a Viennese street scene) with stamp torn off. ONE: ALS. Signed 'Walter (Rilla)'. Vienna; 7 November 1966. 1p, 8vo. Twenty-six lines of text, in a neat close hand. An affectionate and intimate letter, addressed to 'My dear Christopher Fry' and beginning: 'The reason I am not calling you by the abbreviated & more intimate form of your Christian name the one I used to call you by eighteen years ago when we travelled up & down the Rhine together is the same that prevented me from calling on you when I was in London recently & happened to pass through Little Venice. Eighteen years is an appallingly long time (my old enemy, Time, my old friend) - & you might not remember me any more. But when to-day I read about you in the Atticus column of the Sunday Times, and saw your picture, & learned that you were "the world's most desirable screenplay writer" but still "a very restrained, reticent, self-effacing man of fifty-eight" - - - Good Lord, fifty-eight, & I am sixty-seven, & what is eighteen years after all, & I once felt very close to you & have never forgotten you & the sound of your voice, & a year or so ago I even saw you on TV in my home in the Bavarian mountains, giving Houston [the film director John Houston, for whose 1966 biblical epic 'In the Beginning' Fry wrote the screenplay] his ones through a megaphone on the set of Noah's Ark well, I thought I must drop you a line & send you love & greetings for old time's sake.' He invites him to visit, and meet his wife, 'For I am married again, for nearly eight years now my wife is not only young & beautiful but a very gifted writer [the French writer Alix Degrelle-Hirth du Frênes] - & I must be the happiest man on earth.' He ends with details of the play he is acting in in Vienna. TWO: ACS. Signed 'Walter'. 26 November 1966. Begins: 'Thank you very much, my dear Kit, for your letter it was good to hear from you after all these years & see your familiar handwriting again which hasn't changed at all'. He is delighted to learn that Fry is working on a new play, and adds: 'I haven't seen Curtmantle, only read it & liked it very much!' He asks him to remember his address, as he and his wife Alix would be delighted with a visit.

As a pacifist of Quaker stock the recipient Christopher Fry would have been sympathetic to Gandhi's goals. See Fry's entry in the Oxford DNB. The three items in good condition, lightly aged and with slight creasing along one edge. All three 1p, 4to, and signed 'Arun Gandhi' and folded twice. ONE: 6 October 1993. He thanks him for his 'positive response' to the invitation to 'contribute a statement for our forthcoming book WORLD WITHOUT VIOLENCE', to be published to commemorate his grandfather's 125th birthday. He concludes with details of an extended deadline. TWO: 15 November 1994. He thanks him for agreeing to write an essay for the book: 'Your words of wisdom for or against Gandhi's vision will significantly enhance the value of this book'. He continues: 'It may interest you to know we have received more than a hundred manuscripts from eminent people like the Secretary General of the UN, Mr. Boutros Boutros Ghali, Senator Bill Bradley and others.' He ends with details of 'one final extension of the deadline just for you'. THREE: 24 March 1994. 'We could not find a publisher in the United States for the book "World Without Violence". We have decided to publish it ourselves. You will receive a promised complementary copy as soon as the book is out.' There is a 'proposed Conference on October 1 and 2', to be 'hosted by the Wellesley College in Massachusetts, and co-sponsored by the Harvard Divinity School and the Peace Abbey', and he hopes Fry will 'plan to attend'. The book 'World without Violence: Can Gandhi's Vision become Reality?' was published in New Delhi and London in 1994. From the Christopher Fry papers.

Pas de couverture. Condizione: Très bon. Rare original photo signed in February 1999. The photo is also signed by the photographer Robert S. Harris (1996). Size : 10x15 cm. Condition : please see scans. Provenance : personal collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

1p, 8vo. In good condition. Folded twice. With secretarial note in blue pencil, recording response by 'C.F.' The letter concerns Fry's screenplay for the 1966 film 'The Bible: In the Beginning.', produced by Dino De Laurentiis and directed by John Huston, which recounts the first 22 chapters of the Book of Genesis. Stallworthy wonders whether Fry remembers 'that, "in the dark backward and abyss of time", the OUP wanted to publish your screen-play for the film of Genesis, but the film company's lawyers wouldn't allow it. John Bell [(1922-2008), senior editor at the Oxford University Press] and I were desolated, and over the years I have so often remembered/half-remembered/mis-remembered your opening stage-direction description of the first days of creation that I'm writing to ask whether, by any happy chance, you have a copy of those pages that I could see and show to deserving friends?' He ends by stating that his brother-in-law 'Jim Thompson (Bishop of Bath and Wells), for one would like to see it almost as much as | Yours ever, | Jon'.

1p, 8vo. In fair condition, lightly aged. On Croxley Script cartridge paper. Folded three times. Typed at top left: 'For Andrew Young'. From the Fry papers, with the playwright apparently stating that he found the typescript in a copy of Robert Frost's poems. Hassall's poem is apparently unpublished (but see below). It is divided into two sonnets, numbered I ('Yours is the Wildern World beyond my door') and II ('Speak for us to the earth, interpreter -'). At the end, in type: 'Christopher Hassall | November, 1939.' There are four minor autograph emendations to the first sonnet, two in ink and two in type (one being the substitution of the word 'met' for 'dared', another the deletion of 'But' at the beginning of a line). The second sonnet ends well: 'We bruise, but never bless; our knowledge grows | Vaster, and vainer yet: the tiniest rose | That ever made white marriage with a thorn | Puts all our chilly intellect to scorn. | Yes, you have spoken to the earth, and what | She taught, you teach, and shall not be forget.' At top right is a pencil note in Fry's close neat hand: 'C. H. & A. Y. marrying C & E. Christening. | C. would have been reading. | Through C I meet A. | Christmastime 1956. Stonegate Vicarage. | [Worked?] through Into Hades | 2 sonnets in copy of Frost.' The note appears to say that Young married Hassall and his wife Eve ('C & E.') and christened their daughter (Imogen). And that through Hassall Fry met Young, spending Christmas 1956 at Young's Stonegate Vicarage, where Fry worked through Young's book-length poem 'Into Hades' (1952). Fry also appears to be saying that the typescript of the present '2 sonnets' were found in a copy of the poems of Robert Frost. The internet does not indicate that either sonnet was published, but good old-fashioned reference to the 1957 tribute volume 'Andrew Young Prospect of a Poet: Essays and Tributes of Fourteen Writers' may show that they are the work that Hassall contributed.

Five items in good condition, all lightly aged. ONE: ACS. Signed 'Kathy'. 1 March 1990. Clearly a covering note on sending the other material. Simply reads: 'Good to speak | love | Kathy'. TWO: Duplicated copy of typescript of speech by 'Fr. John Gilling'. Headed: 'REQUIEM MASS: St. Mary the Virgin, Bourne Street. 7th February 1990. | JONATHAN GRIFFIN'. 2pp, 8vo. (For information on 'Father John' Gilling (1925-2010), see his obituary in The Times, 11 May 2010.) Begins: 'In one of his poems Jonathan wrote "Religion will not go away." This was certainly true for him as for many who would call themselves agnostics. The people of this church would see him at Mass on Sunday and on the great holy days of the year: he would talk to them with affection and courtesy especially to strangers and young people who might feel shy or unwanted: Kate and Jonathan would welcome us to their home to meet their other friends, and would come and help support every kind of parish activity from Bible studies to opera productions.' He stresses that, 'however far he may have been from Christian orthodoxy, that he had a great sense of the holy, especially of the holiness of creation', and concludes with the claim that 'Jonathan was thus in the great English spiritual tradition of the affirmative way Julian of Norwich, Thomas Traherne, William Blake, Wordsworth, Hopkins, Muir that way which knows God through his creation. As we pray at this Mass for those who will feel his loss most deeply we pray for him that he may this day find what he sought "The love that moves the sun and all the stars."' THREE to FIVE: Photocopies of three obituaries: Guardian, 31 January 1990; Independent, 30 January 1990; Tablet ('Notebook'), 10 February 1990. The photocopy of the Guardian obituary carries a manuscript note, pointing out the inclusion on page of 'Correction to Independent Obit.'.

From the Christopher Fry papers. PLAY: [1] + 47pp, 12mo. Stapled into buff wraps printed in red, including the statement that it is the 'Friends of Canterbury Cathedral Edition'. In fair condition, lightly aged, in worn wraps, with a trace of rust to staples. This edition of the play (the first?) is uncommon: the only copies on OCLC WorldCat at the British Library and University of British Columbia. COPY LETTER: 4pp, 12mo. In good condition, lightly aged. Written out in two hands, Recipient not named. With salutation 'Dear Sir,' and valediction 'I am | Yrs truly,'. Begins: 'The Canterbury Festival has this year been ennobled by a poetic drama which states in stark sincerity and with unflinching courage the message of Christ. Would that in every cathedral and place of worship in our land there could be set up those lines from the closing passage of' at this point the text continues in another hand. A reference is made to 'The forces with which this urgent message must contend are well illustrated in the notices of the play. | Again, as those of us who saw it know, the play reaches at its climax a passionate force of most moving sincerity.' The writer(s) take exception to the view of the Times reviewer that the language at the play's climax 'reveals a want of emotional force'. The reviewer, 'having clearly shown that he has understood much of the play's purpose, proceeds, to adapt his own phrase, conscientiously and deliberately to decry and question Mr Fry's deep sincerity [] It is plain that to the dramatic critic of the Times the message of Christ is a dangerous idea.' The letter ends: 'May I, in closing, congratulate Mr Michael Golden on his fine interpretation of Cymen's great struggle against evil, and the other members of a memorable cast on their part in the performance of so significant a play'. Also present is a newspaper cutting of a review of the 'Festival Play At Canterbury | From J. C. Trewin'.

9pp, 8vo. Complete carbon typescript. On nine leaves, stapled together. Title at head of first page: 'THE BOAT THAT MOOED.' Fry's signature in blue ink at top left of first page: 'Christopher Fry:'. Fry has cut down the story by deleting and removing a passage. The lower part of the leaf carrying the sixth page of the story has been cut away, and the original seventh page has been removed, hence the typescript pagination 1-6, 8-10 has been amended in manuscript to 1-9. A lighthearted faux-naive story, replete with symbolism. Begins: 'Tom Crunch lived on a boat. All round the boat was water. There was water to the right, water to the left, water in front, and water behind. And also water underneath. Up above there was the sky. | Tom Crunch lived with his Uncle Jack. Uncle Jack was fat and sleepy. All day long he sat and fished in the water. Sometimes he was awake, and sometimes he was asleep. It was hard to tell which he was, because he looked just the same when he was awake and when he was asleep. He kept his eyes shut all the time, unless he was eating fish. Then he kept his eyes open, because of the bones.' There does not appear to have been an English edition of the book, which was published in New York by Macmillan in 1965, with pictures by Leonard Weisgard.

Contemporary duplicated typescript, from the Christopher Fry papers. 14pp, 8vo. Each page on a separate leaf. In fair condition, lightly aged. Fry's introductory talk is present in its entirety on pp.1-5, this is followed by an unpaginated page, then pp.8-15 with p.[10] also unpaginated. Hence p.6 or p.7, beginning the extracts from the play, would appear to be absent. On the front page, between the heading and transmission details is: 'Rehearsal: Thursday 4th June 1953: 10.00 onwards | Recording: Thursday 4th June 1953: 12.15 - 1.00 p.m. 3A | Recording of Insert: [BLANK]'. Fry's talk - apparently unpublished, astute and all the more revealing because addressed to a younger audience - is preceded by 'ANNOUNCER: This is the BBC Home Service for Schools. Religion and Philosophy. Today Christopher Fry speaks about his play "A Sleep of Prisoners". Mr. Fry.' Fry begins his talk: 'It's interesting - at least, it's interesting to me - what apparently accidental things go to the making of a play. I always begin by feeling it's very improbable that I shall ever write anything. My mind is a vacuum: and then nature, abhorring, they tell me, a vacuum, starts to fill it up: very slowly, usually; one little thing at a time; memories I had forgotten I possessed: a chance remark from somebody: all sorts of quite trivial things in my life gather together, fal into line as though they had always meant to, and gradually something which might be said to resemble a play shapes itself in my head. Which shows, perhaps, that nothing that ever happens to you is unimportant.' He proceeds to describe the 'things' that happened to allow him to publish 'A Sleep of Prisoners', with reference to: the 1951 Festival of Britain; Michael MacOwan; Oliver Cromwell; Fry's move during the war to a cottage in Oxfordshire. He describes his sudden suggestion to 'Mr. MacOwen': 'I should like the action of the play to be the dreams of the prisoners. Each man would dream in turn, and would dream of himself and the other men. Naturally each man's opinion of himself and of the others would be different: no two people have exactly the same opinion of you or of me; and so in this way, if we had four prisoners, each actor would have four versions of himself to act, each character would be seen from four different points of view. Tea-time came to an end, Mr. MacOwen had to leave, and that was as far as we had got.' He describes how, a few weeks later, on a single day he developed 'the whole story of the play'. He gives his assessments of the four characters, and describes the a section of the plot, before announcing in the final paragraph: 'The actors are going to play part of this dream for you. The character of Absolom, remember, is David's dream picture of Peter, Peter with all his infuriating qualities uppermost.' He continues his explanation, at one point stating: 'I have tried in this dream to mix the waking and sleeping world together. [.] So to us, the audience, Meadows is awake, and to David he is a figure in a dream. Now let us go into the dream. Absalom has been mocking his father from down in the shadows and now David begins to speak.' The nine-page reading from 'the dream' follows, and by reference to Fry's introduction together with the text of the whole poem it should be possible to establish what, if any, part is lacking.

3pp, 4to. In good condition, lightly aged. A long and entertaining letter, beginning: 'Dear Mr. Fry, | Probably late in 1949, in a New York City duplex living room, two married couples lay prone on the floor, fanned out around a single copy of "The Lady's Not for Burning", the better to read aloud all its colorful roles. The couples were Alfred Drake (with whom I had played the previous season in my first Broadway play), his wife, my writer husband [i.e. Robert Presnell Jr] and I. Alfred had just come across "The Lady" and had to share his discovery with us.' The reading gave her 'a lifetime favorite play'. She describes how she had to 'miss playing in "A Phoenix too Frequent," being hard at work then in G. B. Shaw's "The Devil's Disciple" at the Royale Theatre'. The 'floor-reading foursome' attended a performance of 'The Lady' by the British cast at the same theatre, 'and were spellbound. I especially recall the mellow beauty of Pamela Brown's voice, and noting well the actor playing Richard, the copying clerk, also a Richard, last name Burton.' She describes a production she was in with Vincent Price, 'first at Southern California's La Jolla Playhouse, then at San Francisco's Alcazar Theatre': 'Audiences trooped backstage to thank us for the feast of language they had enjoyed a rare attention to text. Loving the play we all longed to take it on tour, but previous commitments forbade, and so the magic spell we'd been under was broken. But Vinnie Price and I did have one more go at it a few years later when his hometown, St. Louis, Missouri showed that middle-America could relish Christopher Fry just as much as did our east and west coasts.' She contrasts how Fry's words 'fly upward like the sparkling drops of an exuberant fountain' with how T. S. Eliot's speeches, 'in the simplest, barest of words, could leave the listener baffled as to what it was he was saying. I even had trouble learning those lines.' She ends by explaining that 'That very nice fellow-actor Ted Donaldson encouraged me to tell you what joy your writing has brought me and so many others, in these distant outposts. Your unique gifts have enriched all who have come across them. Thank you, oh thank you for sharing them with us.'.

ONE: ALS (signed 'James Kirkup'). Bath, 21 August 1970. 2pp, 8vo. In good condition, lightly aged. An excellent letter, beginning: 'Dear Mr. Fry, | I have often admired the great ingenuity of your translations on the stage, so please excuse my temerity in sending you my own exercise in ingenuity, a verse version of Paul Valéry's untranslatable la Jeune Parque.' Regarding Fry's 1970 play 'A Yard of Sun' Kirkup writes: 'The lightning-flickers [] made me think of "my" Valéry: though I am here for only a short while and could not see a production, I want to tell you how vivid and electrifying I found your text, full of wonderful rich dazzlements.' He believes he is to 'appear' with Fry in 'an Ibsen volume from OUP', and he is 'taking this as the qualification of "friendship" - you will notice I say my little book has been printed for my friends a very limited edition therefore.' He recalls one of his 'happiest memories of England [] connected with a poetry reading I gave, attended by [Fry's friend] Robert Gittings. It was just after the publication of my first book by OUP they have now disowned me The Submerged Village. Mr. Gittings brought me a message from you saying how much you liked it. I shall never forget that.' TWO: The pamphlet, by Orient Editions, Tokyo, 1970. [23]pp, 8vo. Perfect-bound in blue card wraps with title printed on front cover. In good condition, lightly-aged. Inscribed at head of title-page 'To Christopher Fry - | from James Kirkup'. Kirkup is perhaps best-remembered now for the 1977 action brought by Mary Whitehouse and the National Viewers' and Listeners' Association, against Gay News, for alleged blasphemy in publishing his poem 'The Love that dares not speak its Name'.

Dunn was a teacher (presumably at Dulwich College), Sussex naturalist and poet. Around 1984 he published his own poem 'Death of a Scarecrow' at his Poet and Printer press, Hatch End. The present collection, from the Christopher Fry papers, is in good condition, lightly aged. ONE: Autograph Letter Signed ('Ruby Dunn') to Christopher Fry. 1p, 12mo. She begins by asking him to accept a 'small token' of her thanks 'for a memorable occasion', presumably a memorial reading of Dunn's poems in which Fry was involved. She continues: 'I can think of no greater pleasure for me, Peter's widow. He wrote his last poems laboriously - too weak to type them.' She explains that the poems in the selection 'move backwards in time, and span a period of 45 to 50 years. Choosing and rereading them has proved a nostalgic and sad experience; and they represent a minute quantity of his full output over those years.' The process has 'strengthened' her in her 'determination to publish more, on his behalf.' Clearly angling, she appeals for help, 'as I am not the best judge, but trust it may come some day'. She signs off with 'best wishes and affection'. TWO: Fifteen pages of photocopies of Dunn poems. Each page printed on a separate leaf of yellow, green and blue paper. Five of the pages duplicate pp.2-11 of Dunn's 'Selection from Flowering Grasses' ('Printed by The College Press | Dulwich Village' [1956]), reproducing fourteen of his poems. Another six pages carry copies of a poem apiece in typescripts, some with duplication of manuscript emendation. The poems are: 'Convulvulus' (October/September 1957); 'Badger in the Suburbs' from November 1957; ''The Blackbird: on Easter Saturday' (Winning Poem, Sussex Poet of the Year Competition, 1984); 'For Derrick, born September 2nd. 1903' ('?1995'); 'From Shri Krishna in England. | Shyama dresses to meet Radha in early springtime' (undated); and 'Jackdaws at Beachy Head' (undated). The last four pages carry copies of manuscript poems: 'So no more tears' ('?1995'); 'Called In Feb 1998'; 'The Request' (April 1998); untitled, beginning 'One day | One of us | Will not be here | or there | or anywhere' (1998).

3pp, 4to, each page on a separate leaf. In fair condition, lightly aged and worn. Folded once. There is no indication that either item was published, nor even that the poem is connected to the 'programme'. (If unpublished the poem may have found its way into Fry's papers from Hassall's.) The 'programme' - with no title or heading - is two pages long (with slight damage from a small staple to corners of both leaves) and complete, being divided into six numbered sections. Section 1, as first typed, begins: After the first two pieces on the programme, we are taking the poems more or less chronologically, so that we can follow the way that Christopher Hassall went, in the search which every poet must take, for the voice which would say, what he wanted to say.' Fry has cut this in autograph to: 'After the first two pieces on the programme, the poems follow more or less chronologically.' He praises the 'furious innocence of concentration' of Hassall's early poem 'The Arrow', 'like a child staring: and with it, never very far away, the ironic comment of humour.' He describes how Hassall's takes time 'to master his individual voice, but when it came it was unmistakable'. Recurring themes in Hassall's work are his Christian faith and love of music. He quotes 'some lines in a poem remembering his boyhood days at a choir school in Tenbury Wells'. He turns to Hassall's love of the theatre, his career as an actor on leaving Oxford, and writing of 'popular lyrics for Ivor Novello's musicals at Drury Lane'. At this point he adds in autograph: 'And later, the libretti for operas: the first of all was perhaps the Troilus and Cressida for William Walton.' At the end of the first section Fry announces two readings from Hassall, showing his 'great flair for writing pieces for special occasions'. In the second section he discusses Hassall's 1939 Canterbury Festival play 'Christ's Comet', 'which was performed in the Cathedral chapter-house'. Part 3 announces the beginning of 'this second part of the programme', with Fry adding an autograph note about 'a cyle of 7 lyrics': 'They are all about ways of getting about, and with them we are in the atmosphere of the delightful poems for children which were to come later.' The fourth section points out 'a change in manner in some of the poems we are going to read now from the Red Leaf - a change partly brought about perhaps by Hassall's admiration for the poetry of D. H. Lawrence'. The fifth section names humorous and children's poems to be recited. The last section announces the eight sonnets from his posthumous collection 'Bell Harry' which end of the programme, with Fry explaining the Canterbury context, with reference to the 'old Manor House near Canterbury' in which Hassall ended his days. Accompanying the 'programme', on a leaf of thicker paper, is the typescript of an unattributed poem titled 'Pilgrim's Way' ('Pilgrims to the golden shrine | Under Canterbury towers, | Blessed by your wayfaring | Through the early English flowers.'), divided into two eight-line stanzas, each with the refrain: 'Every day a Holy day, | Riding over Pilgrim's Way.' The poem is presumably by Hassall, from the window of whose manor house could be seen the celebrated road to Canterbury. A pencil note at the head of the page states that the three leaves were found in Hassall's collection 'The Red Leaf'.

Nine items, all in good condition. All of the letters are signed 'Anthony', and four of them (two autograph and two typed) are each 1p, 8vo. The other letter, in autograph, is 1p, 16mo. With four items of material relating to Hostage Action Worldwide. The first letter (11 May 1989) accompanies 'our first reply to our first 350 donors we're hoping to build rapidly now'. He reports that 'The Archbishop of Canterbury has this week responded positively to us and appointed a man, John Lyttle to our Advisory Council. Two further M.P.'s have also joined.' Other letters relate to requests for signed copies of Fry's books. Fry and he being near-neighbours, Grey writes at one point: 'I will be glad to pop up and collect the signed book sometime if you'll telephone. No need to make a social occasion of it since I know how precious the writer's time is. You could leave it for my collection with Mary & Frank in the village shop if you'd rather'. On 9 April 1991 he asks if Fry 'might like to spare the time for a chat, for half an hour or so, some time. I am just finding my way into an important novel and, although I cannot precisely explain why, I feel I would like to talk to you briefly about some of the themes of your plays, and how you feel about some of them now. I don't want this to sound onerous, and I hope it would merely be an enjoyable and relaxing chat over a drink at your local pub or at "The Fox", or any other place you would prefer.' On 5 June 1991, in acknowledging the gift of two works, he states that he 'enjoyed our lunch together at the Half Moon enormously. Afterwards I drove to the top of the Trundle and there I read your lecture; I read the play later in the day. The lecture in particular I found very moving beautifully poetic despite its prose lecture form.' He is 'glad that we managed to spend an hour or two in one antoher's company at last' and reports that 'work on "TOKYO" is moving along slowly, but it is now beginning to speed up. | There are many things I could say about our conversation and although it was very brief, there was something in the companionship that, I felt, was ultimately inspiring.' On 3 August 1991 he reports that, while spending time at his 'home city' of Norwich he 'discovered' the mystic Julian of Norwich: 'She's wonderful the first woman (1320's) to write and publish a book in English'. He is 'surprised there isn't a Christopher Fry play set around her'. He is enclosing material relating to her, which he found, with 'the two full texts life-changingly illuminating'. He reports that he is 'off to New York [] doing lectures on the QE2 [] A nice free holiday, singing for one's supper! I think often of Caedmon and the splendid experience at Boxgrove.' The four items of HAW material include a circular letter, dated 2 May 1989, acknowledging a donation to HAW, signed by Grey as Chairman, 'Anthony'. At the head he has written: 'Christopher, | This is our formal letter to donors. I thought you might like to have it to see how we are progressing.' There is also a signed autograph postscript to Fry: 'Needless to say, much of the above is for information only. Frederick Forsyth, an old chum of mine, has also asked to become vice-president of the Charlton Foundation. We will check with you before finalising the headed note-paper.' Accompanying the circular are undated photocopied pages on separate leaves explaining HAW's 'Background' and 'Aims'. There is also a 'Draft Brochure' (3pp, 8vo).