[ Pusey; Oxford Movement ] Thirteen (13) Pamphlets and Leaflets by or relating to Pusey and the Oxford Movement.

Author: 
E.B. Pusey [ Edward Bouverie Pusey (1800 – 1882), Churchman, one of the Promoters of the Oxford Movement ]
Publication details: 
All printed by Baxter, Oxford, and published in 1843.
£350.00
SKU: 22984

All in good condition, with occasional foxing and staining.1. [To Mr. Vice-Chancellor] Two pages, bifolium (second leaf blank), cr. 8vo, petition asking for Pusey to have a hearing. Multiple Signatories include H. Cary, Newman, Mark Pattison. List of signatories concludes with date, Oxford June 8, 1842. Baxter Printer.2. E.B. Pusey, Protest. Christ Church, June 2, 1843. No imprint or colophon.3. A Bachelor of Divinity, To the Reverend the Vice-Chancellor, two pages, cr. 8vo, bifolium, second leaf blank. Re the proceedings […] with regard to Dr. Pusey. Letter protesting condemnation of P's sermon. Magdalen College, June 5, 1843. Baxter Printer.4. [To Mr. Vice-Chancellor] One page, cr. 8vo, about his wanting a hearing. Christ Church, 6 June 1843. Signed (printed) E.B. Pusey. Baxter Printer.5. Anon., Present Position of the Six Doctors, one page, cr. 8vo. Oxford, June 6, 1843. Baxter Printer.6. A Resident Member of Convocation, Dr. Pusey and Dr. Hampden, three pages, bifolium, cr. 8vo. Oxford, June 13, 18437. Protest agreed upon […] 28th June 1843 […], one page, cr. 8vo, signatories mainly Oxford obscurities. Baxter, Printer, Oxford.8. The Statute interpreted by University Practice, one page, cr. 8vo. Oxford, June 7, 1843. Baxter Printer.9. [ William George Ward ] One Word on the Actual Constitution of the Anglican Establishment, pamphlet, 4pp., 8vo, fold mark. No colophon or imprint.10. [Headed] Oxford, June 8, 1843. One page, cr. 8vo. Canon Law cited, ending with the question, Is the Vice-Chancellor's admission consistent with these rules? Baxter Printer.11. Anon., The Plea of the Six Doctors Examined, 13pp., 8vo. Oxford, Printed by W. Baxter, 1843.12. Torquemada the Younger, A Letter to the Rev. The Vice Chancellor of the University of Oxford and the Learned Doctors who assisted him on a late Occasion, from Torquemada the Younger, pamphlet, 18pp., 8vo, disbound, London: Printed for J.G.F. & J. Rivington, 1843.13. A Bachelor of Divinity, To the Reverend the Vice-Chancellor, two pages, cr. 8vo, bifolium, second leaf blank. Re the proceedings […] with regard to Dr. Pusey. Magdalen College, June 5, 1843. Baxter Printer.14. The Revived Statute, Oxford, June 3, 1843. One page, cr. 8vo. Baxter Printer.~350~PAMPHLET E.B. PUSEY OXFORD MOVEMENT JOHN HENRY NEWMAN~ ~0~Relig. eph 2~ ~ ~ ~ ~ 22982~29/03/2020~False~Florence Bell [ Florence Eveleen Eleanore (née Olliffe), Lady Bell, wife of Hugh Bell, ironmaster, step mother of Gertrude]~[ Florence Bell; Winter Garden ] Autograph Letter Signed Florence Bell to unnamed male correspondent about her brainchild the Winter Garden in Middlesbrough.~[Headed] 95 Sloane Street, S.W., 2 July 1908.~Three pages, 12mo, foxing and faint staining, text clear and complete. I am much obliged for your letter of June 30th, which reaches me here this mornig. I am delaghted at the interest you express in the Winter Garden, and should be very glad, if, as you kindly suggest, I may from time to time forward communications to you on the subject, - or on any other of the same kind.- It must of course be a great help to the Movemment that a morning paper with a large circulation should give sympathy and support to it. [...][Postscript] It has of course been a great satisfaction to me that the Winter Garden has gone so well during the first season. Winter Garden, later the Lady Florence Bell Garden, established 1907 (demolished 1963, leaving only a blue plaque).~45~AUTOGRAPH MANUSCRIPT WINTER GARDEN MIDDLESBROUGH GERTRUDE BELL~ ~0~OL59~ ~ ~ ~ ~ 22985~02/04/2020~False~Mrs Braddon [ Mary Elizabeth Braddon (1835 – 1915), novelist ]~[ Mrs Braddon ] Autograph Signature M.E. Braddon with sentiment (as letter), place and date.~Richmond, 17 January 1885.~Signature etc on paper, c.9 x 11cm, sl. grubby with words slightly faded but legible. Yours very truly | M.E. Braddon || Richmond | January 17th 1885. NOT cut from a letter.~23~AUTOGRAPH MANUSCRIPT VICTORIAN NOVELIST SIGNATURE~ ~0~OL59~ ~ ~ ~ ~ 22980~29/03/2020~False~R.N.D. Wilson [ Robert Noble Denison Wilson (1899-1953) ], poet~[ Robert Wilson, Irish poet, associated with Yeats circle ] A large archive of Wilson's letters, manuscripts and typescripts preserved by his brother, MLawrence.~1918-1952~Iseult, - into your nameSo great a wonder came,As I said it, there, on the hillThat I seem standing still,Watching your loosened hair,On the beaten top of the hillStream in the crying airCall to the crying wind-'Who can love for the mind?' R.N.D. Wilson, from 'The Hill' (Holy Wells of Orris)A large archive of Wilson's letters, manuscripts and typescripts (with other related material including a draft of his will) preserved by his family. It casts light on the life and work of a poet who could be described as of the Yeats school, and whose reputation has perhaps suffered from the absence of the information within the archive summarised here. And who lived through interesting times.Letters from him, mainly to his mother, 1918-1952 (none for 1923, 1929, 1930, 1939-1949inc., 1951), total number (inc. a few lettercards and postcards) 180, 8vo and 4to, from one to 12pp. (1-12) in a neat, readable hand, with good varied content from family matters, his time at Trinity College, his travels, his writings and association with major Irish literary figures, his career (eventually a teacher), etc., some with original poems._____________________________________A. LettersBreakdown of number of letters per year, and number of pages: 1918 (61; 286pp.); 1919 (14; 75pp.); 1920 (2; 20pp.); 1921 (6; 35pp.); 1922 (10; 42pp.); 1924 (2; 12pp.); 1925 (1; 8pp.) 1926 (1; 2pp.); 1927 (2; 8pp.); 1928 (1; 12pp.); 1931 (5; 16pp.); 1932 (18; 73pp.); 1932 (18; 73pp.); 1933 (10; 34pp.); 1934 (12; 32pp.); 1935 (17; 40pp.); 1936 (4; 19pp.); 1937 (6; 25pp.); 1938 (1; 8pp.); 1950 (3; 15pp.); 1952 (2; 7pp.). With some others (undated etc).N.B. Only the substantial quantity of letters written in 1918 have been fully described. See APPENDIX.. Subject essentially his wartime experiences.He sends the letters from a multitude of places including: Army Barracks, Hanover Gardens Coleraine, the University Philosophical Society (Trinity College, Dublin; many), Waterford, County Book Depository Sligo, Rosslare, Hotel Ivanhoe Dublin, Hospital, various London addresses (especially Adelaide Road Hampstead), Edinburgh, Helensburgh, Rendcomb College (many), Rathcane Hospital Coleraine, etc etc.Subjects:a. Student life at Trinity Dublin inc. lecture schedule, items needed by a student, expenses, exams, etcb. Life in Dublin during the civil unrest of 1921 (1922) inc. personal experience of Black and Tan oppression.c. Acquaintance/friendship with mentor, W.B. Yeats.d. Times spent with the literary and political circles of Dublin and London, inc. Iseult Gonne and Francis (and his godchild); Madame Maud; AE; Paul Henry; Stephen Gwynn; Dorothy Macardle, Mrs Despard, Countess Markiewicz, Sarah Purser, Austen Clark, Nina Hamnett, Lennox Robinson, Nancy Cunard, Herbert Read,e. His work on a biography of Constance Markiewicz, involving collaboration with Sean O Faolain who later published the biography under his name only in 1934.f. His readingg. His poems - including texts of poems he has just written.h. Publications (initially poems in periodicals, later his Holy Wells of Orris, 1927, books for children, Equinox in 1937, etc)i. His futurej. Catholicismk. Friendships l. Extensive travel.m. Theatre visits (inc. Yeats's Oedipus at Colonus at the Abbey which he reviews, 18.9.27)n. Teaching; a school dayo. Etc etcSamples:1. Yeats's response to a lecture in the Abbey by Prof. Howely giving a brief explanation of the Catholic attitude to spiritistic [sic] phenomenon. [Yeats ] gave a wonderful lecture on his public conception of the world of spirit illustrating it from the lives of the Saints, from the folk lore of Ireland, and from his own experience - for he like AE has seen faeries in Connaught. (3 Feb. 1919)2. Noise of guns firing outside College: his belief in Ireland […] for my country is being crucified […] (1 March 1921)3. Things in Belfast are in a horrible state, but here are comparatively quiet. I am inclined to be pessimistic about the situation but Griffiths & Collins are both fine men.a and will come out of it all right in the long run.2 (8 Feb. 1922).4. Thank you for your references to my meeting Yeats. It is indeed a great delight to me to think that I am on the threshold of the Arts. I have not been writing anything but I know that soon I shall - there is so much in me, struggling to get into words - only they must be the right words […]'I want to find | that holiness of simple things' find it suddenly is a poem singing itself on to paper, as well as in life around me. 4 Dec. 1922)>B. Miscellaneous MaterialONE: Manuscript Notes (by Wilson's mother?) on the childhood of Wilson and his brother. 18pp, 16mo. On letterheads of Ashbrook, Coleraine, folded to make a packet, with 'Reminiscence of Robert & Lawrence as Children on cover. Entries dating from 18 March to 14 April 1906.TWO: Infant autograph 'Programe [sic] for Play & Concert', 'Little Red Riding Hood | R. W. [sic] L. W', with the 'Dramits [sic] Personae' comprising family members.THREE: Manuscript (autograph?) copy of 'The Ashbrook Gazette Edited by R. N. D. W.', 'New Edition - No 1 - January 1911'. 3pp, 4to. Includes first chapter of 'New Serial Story | The Lost Diamond | By the editor', feature on 'Christmas Parties!!!', and another on 'Childrens Party. At Ashbrook'.FOUR: 'Bits from the Bagwash | The First Folly-on'. Mimeographed magazine. Stated to be 'copy No. XVI of a limited edition of thirty copies'. Editor jokingly named as 'Samuel Smiles'. 30pp, 12mo. Stapled in pink covers which carry the title and limitation. An adolescent miscellany of light verse and prose.FIVE: 'Paris and What we did there | Some Notes by R. N. D. W.' Autograph Journal, with title-page dated from 37 Rue de la Tour, Passy, Paris, 16 July 1914. 39pp, 16mo. In exercise book with waxed black covers. A detailed account, with full-page 'Plan of Journey' and 'Notes' on versos.SIX: 'Dots and Dashes'. Autograph account of bicycling excursion in the area around Trowbridge and Frome, dating from the period of Wilson's army training in 1918. 8pp, 16mo.SEVEN: 'Spain April 1935'. Autograph pencil account of visit. 24pp, small 4to. In 'Escolar' exercise book with 'R N D W Spain 1935' on cover. Descriptive account in pencil and ink. No political content (but a year later Wilson did contribute a poem to Nancy Cunard's series of pamphlets, ' 'Les Poetes du Monde defendant le Peuple Espagnol'.)EIGHT: 'The Artist and Nature'. Autograph Paper for 'the University Philosophical Society' (at Trinity College, Cambridge?). 18pp, 4to, with preliminary address to 'Mr President'.NINE: 'My Education: as it was, and as I wish it had been'. Autograph article. At head of first page: 'From: - R. N. D. Wilson | 74 Adelaide Road. N. W. 3.'TEN: Will and Testament, 1952. Autograph copy of 'the last will & testament of Robert Noble Denison Wilson'. The text of the will is written out in blue ink by Wilson, but the following is not by him: 'signed Robert N. D. Wilson | on 29th. January 1952'. The signature of the witness, 'Mary Teresa Lynch', does appear genuine. 5pp, 12mo. Possibly a draft, as the witness is also a beneficiary. Of interest: 'I bequeath my Paul Henry picture at present in his keeping to J. C. James Esq. Of Rendcomb College Cirencester Glos. I bequeath the two small oil paintings at 54 Finchfield Lane, one a sketch by Grace Henry of green & white Christmas trees to my sister in law Winifred [Marsh?] of Lealands Cottage Box Stroud'. Also: 'I appoint Mr. George Buchanan of Roe Park to be my literary executor.'ELEVEN: Fourteen black and white photographs of (North African?) scenes, in envelope with long (8pp, 4to) undated ALS from Wilson to his mother, written on board ship from the 'Mid-Mediterranean', while 'off on our last stage to Alexandria'. The photographs and letter may be unrelated.ITEM: Two carbon copies of the same long TLS from Wilson to his mother. 19 May 1926, no place. 7pp, 4to. Providing 'some sort of record of our trip' in France and Italy. Both with the same minor autograph deletions.ITEM: ALS from Wilson to his 'Darling Mother'. 9 June 1936, from Rendcomb College, Cirencester. 7Pp, 4to. Giving the text of his 'latest poem […] about a garden on the coast of Morocco', titled 'Rio Martin' ('Light falls, the amethystine seal | of mountain cataract to this coast | torpid with heat.'). The poem, which 'needs to be read aloud, rythmically [sic]', is two pages long, and was 'written for Kees after bathing with him at Rio Martin near Tetuan (Morocco). | It is very modern as regards English verse technique. But not so as regards French.' (He explains the point with a quotation from Verlaine.) 'It is quite devoid of intellectual or moral content. And you will not understand it. | It is (I think) very beautiful.' He also includes another two-page poem, 'Vultures at Ronda' ('At the cliff's edge | (but cliff is not the word) | Tajo, the savage, the gingered rock | incredible, loved of the cactus'), 'as being more intelligible'.ITEM: Fifteen press cuttings relating to Wilson. From the 1920s, and including printing of his work and reviews of it. Some from a cuttings agency.ITEM: Manuscript score of three musical accompaniments (by Wilson?). First: Irish poem 'Fainne geal an lae' with English title 'The Dawning of the Day'. Score on piece of card, accompanied by 'Lit. trans. By P. W. Joyce', In envelope addressed to Wilson's father. 1p, 12mo. Second: 'Daisy . . . . . | Poem by Francis Thompson'. 4pp, 4to. Third: 'Dixie-Land - for 3 male voices'. 1p, 4to.ITEM: Army 'Pass', with Wilson's particulars, dated 22 June 1918, and signed by Major R. E, Brown of the R. G. A. Officers Cadet School.ITEM: Detailed autograph map of 'Road Traverse by Prismatic Compass', signed 'Robert N. D Wilson', dating from his army training, 1918._____________________________________________C. THE POEMS:R. N. D. Wilson: draft poetry in autograph and typescriptTwo collections of Wilson's verse, containing a total of 52 poems, were published during his lifetime: in 1927 appeared 'The Holy Wells of Orris and other poems' (London: John Lane The Bodley Head); and ten years later, in 1937, with author named as 'Robin Wilson', 'Equinox' (London: Thomas Nelson & Sons). A third volume, containing twenty poems selected and edited by Wilson's brother, appeared three years after his death, with the author once again named as 'Robin Wilson', titled 'Raghley, O Raghley: and other poems' (Edinburgh: Privately printed for Lawrence Wilson by Robert Mitchell and Sons, 1955).The present collection comprises 140 of Wilson's manuscript and typescript copies and drafts of poems. It contains a total of around 110 different poems, with 30 or so variant drafts and duplicates of the same. (In editing his 1955 selection, Laurence Wilson noted how Wilson would engage in 'writing and re-writing with his usual fastidious care'.) The collection contains versions of almost all of the 72 poems in Wilson's three published volumes. The presence here of around 40 unpublished poems is of particular interest in the light of the implication of Wilson's statement (in Item G below) that he wished 'to leave in print and accessible what I had intended for other eyes to see'. As will be seen from the list below, many of these autograph and manuscript poems carry dedications, place and dating not present in the published version. Of particular interest are a number of poems addressed to Yeats's muse Maud Gonne (one as 'Madame Gonne') and her daughter Iseult. Wilson was associated with Iseult and her husband Frances Stuart (see the issue of Aengus, Item J below), and appears to have been one of the many men who fell under Iseult Gonne's spell: several of the poems in Wilson's 1923-1928 notebook (Item B) are clearly written about or to her( for example 'The Hill'). Also present, in the 1920-1922 notebook (Item A) is a long short story with a dedication to Iseult Gonne as 'Maurice', in which Wilson describes his artistic ideals. At the end of an early version of the poem 'All Souls' Day', under the title 'Lux perpetua luceat eis . . .' , Wilson has noted: 'Written for Maude [sic] Gonne on the day we heard of the deaths of the Hunger Strikers in Cork.' (The published version only has the note: 'For those who died on hunger-strike'.)The present description is divided into the following sections:A. Notebook, 1920-1922B. 'Poems of Robert N. D. Wilson': Notebook, 1923-1928C. Material written in Ratheane Nursing Home during Wilson's final illness, 1952D. Separate Autograph items, 1918-c.1952E. Separate Typed Items, 1932 and undatedF. Rough drafts, undatedG. 'Pencilled fragments' by Wilson regarding the editing of his work, c.1952H. Prose-poem in a Joycean style, undatedI. 'Two Poems written in Dublin', printedJ. Issue of Francis Stuart's 'Aengus' magazine, with '3 Poems by R. N. D. Wilson'A Notebook, 1920-192267pp, 8vo. Ruled exercise book in covers of waxed black cloth. A couple of leaves loose. Filled with autograph material comprising: thirty-one autograph poems, mostly signed and dated fair copies, but with occasional emendations (see 'Her Name' and 'Finis'); a seventeen-page short story, with a dedicated to Iseult Gonne as 'Maurice'; transcriptions of a poem apiece by Yeats and Claudel.In the order in which they appear, the items in the volume are:'When you are changed . . . .' ('When you are changed, knowing the stars have wrought | Your destiny beyond the headlong sky') At end: '14 February 1920. Writing through the night into Sunday morning.'Prophecy. ('Then having watched the night grow beautiful | Star after star, one from the altar hill') Initial quotation of a line of verse by 'H. Stuart', i.e. Iseult Gonne's husband Francis Stuart (1902-2000). Signed 'R N D W.'Spring-Wonder. ('There is not anything but holds for me | Some secret written deep within the heart.') At end: 'Easter Monday.'Ritual. ('Though on thy pale prophetic brow | I see the solemn thorn') Dated 8 October 1920.Rush lights. ('In Orris green with rushes | Beside the still still lake')The Lover. ('He loved her for her pure white brow, | And all night long he stood') Signed 'R. N. D W.'.'As wind upon the water'. ('As wind upon the water | Love comes, and love is gone,')[The next six pages carry transcriptions of 'Chanson D'Automne' by Paul Claudel, and 'A Prayer for my Daughter' by W. B. Yeats]Five Poems. (I, 'Upon the day that love had died, | She came, and standing at my side'; II, 'There are old songs whose beauty still can make | Our hearts half-passionate for memory's sake.'; III, 'A year ago, if one had said to me: - | When the next autumn steals from tree to tree'; IV, 'I have no peace because of a story that I read | At the full moon, holding my book to the light.'; V, 'All I have written seems to be | No more than some dark prophecy,') Signed and dated from St Stephen's Green, 8 October 1920.[Short story.] The Crucifixion. Signed by 'Robert N. D Wilson. | + | In Nomine Patris . Et Filii et Spiritus Sancti | October | 1920.' 17pp., preceded by full-page dedication' to 'Dear Maurice', by 'Robert N. D. Wilson. | Dublin. October. 1920.' The dedication concludes: 'I have need of a great reverence, for the images about which I write are born of an ancient and sacred tradition, and yet they are not more holy, I think, than those images that are mine because of you.'Her Praise. ('One said She is more beautiful | Than a white willow mirror'd in a pool | And praised her face, and praised her hands for she | Was beautiful exceedingly.'). Signed: 'For Madame Gonne. | R. N. D W. | All Saints Day. 1920.' [no apparent differences]Martyrs. ('We have come to the hour, when memory can but make | Us weep because of the Beauty that's in death -') At end: 'Terence Macswiney | Kevin Barry | R.I.P. | 1st. Nov. 20.'The Hawk. ('The trees are crying to the lake | And the wild birds in the air') Signed 'R. N. D W.'Her Beauty. ('Too beautiful for life she seemd, | For life is cruel to the fair,') At end: 'For Iseult. | 21st Nov 1920.'Lux perpetua luceat eis . . .' ('We will talk no more, here in this quiet room | Where evening comes - we will talk no more of the dead',') At end: 'Written for Maude [sic] Gonne on the day we heard of the deaths of the Hunger Strikers in Cork.' [Another version here titled as the published version 'All Souls' Day'. Published version has 'this silence is the best' for 'this quietude is best']Her Name. ('Your name was spoken first on cloud at waters | And the dawn heard it, and the early sea:') Signed 'R N D W.' Last two lines with emendations.Lines written to a certain lady, during the Revolution. ('She might have written plays in a Shakespearean manner | If she had not run, | From one court-martial to another,') Signed 'R. N. D W.'Friends . . ('All day I have watched the thorn bees in the rain') Signed and dedicated at end: 'To H. Stuart. [i.e. Francis Stuart] | R. N. D W. | 11th. Dec. 1920.)To A Young Writer ('Because you have written out of jest') Dated and signed: '11th. Jan. 1920 R. N. D W.'A Lonely Thing. ('Go where th'e' [sic] imperishable thorn | On the high hill cries in air') Dated: 'Crannagh Hill | 12. 1. 21.' [In published version first line reads: 'Go, where the solitary thorn'The Resurrection. ('In Tirrion the thorn-trees break | To blossom once again,') Signed: 'R. N. D. W | 28. II. 21 | Recordare Iesu'To Maud Gonne. ('Because you had no part with those | Who had bargained for a nation's sake') Signed: 'R. N D W. | 24. IV. 21'In the Phoenix Park. ('Though hazel, and beech, and willow, strew the ground') At end: 'For E. C. W. | R. N. D. W. | 12 Nov 1921'On looking into her eyes . . . . . (I, 'To sacred hills, the Saints of Candlemas', signed 'R N. D W. | 20th. Nov. '21'; II, 'Do not, because proud childlessness')Cockcrow. (Humoresque) ('For three nights we have heard | The cock-crow before dawn,') At end: 'To Clare & Emer. | 14. III. 22.' Quotation of one line of verse by Yeats at beginning.The Stag. ('O not in indolence | Or listless dream is beauty born') At end: 'R. N. D W. | 24. XI. 21 | For Clare'Lines written to a Certain College Society in reference to a recent remark . . . ('My book lies open, I have read | The epic of some race long dead') At end: 'R. N. D W. | For T. C. D. | [?] Dec 1921'In Winter ('Let us keep tryst, under the windy stars | We who have laughed at Autumn, let us go | By wet roads to the hills, and watch the showers | Threaten the desolate west, our blood aglow') At end: 'To Clare 20th Dec. 1921.'Finis. ('I think, one night, that Harlequin | Tired of the dance, the motley shed') Dated 14 February 1922, and with addendum of two final stanzas signed 'R N. D W.'A Prayer. | To be said in the house of a certain friend. ('With a lit candle, this short prayer | And the day's memory I come.') Signed 'R N. D W. | 19. Feb. 22.'Enemies. ('These are my enemies: | Hard faces, hearts content | With dull securities,') At end: 'For Clare | R N. D Wilson. | 21. Feb. 1922.'Au loin - | The Stranger. ('White spring, a stretch of road whiter than skies | Or almond blossoms, some Provençal town | On days of festival, the rocks that rise') At end: 'To Clare. | R N. D Wilson. | 2nd. March. 1922'The Beggar. ('Whoever ye be, that read this song, | If ever ye loved before') 'For Clare. | R. N. D Wilson | 15. III. 1922.' Last stanza reworked.B. 'Poems of Robert N. D. Wilson': Notebook, 1923-192866pp, 12mo. On ruled paper torn from an exercise book. Forty-one poems, preceded by an autograph title-leaf, the recto of which reads: 'Poems | of | Robert N. D. Wilson.' The verso of the title-leaf reads: 'To | Clare - | ...... Because the mountain-grass | Cannot but keep the form | Where the mountain hair has lain. | W. B. Y.' Occasional emendations, minor apart from in 'The Holy Wells of Orris' and 'The Lover'. As the leaves are loose, there may be some disturbance to the sequence, but the material appears to be divided into three sections (the first two in blue ink and the last in black ink), and the manuscript title would appear only to appy to the first section (29pp), which runs from the 'A Lonely Thing' to 'Alba', with poems dated 1923 and 1924; all of the poems in the second section (24pp), from 'The Stag' to 'Her Praise', are undated; the third section (11pp) from 'Woodcut' to the uncompleted 'Winter-in-Gordano', has poems dated 1927 and 1928. Additional to the 66pp, but from the same notebook, are a further 6pp transcribing poems by Ezra Pound (including 'Praise of Ysolt' [sic]), Francis Macnamara and William Wordsworth.A Lonely Thing. ('Go, where the solitary thorn | On the high hill cries in the air')As wind upon the water . . . ('As wind upon the water | Love comes and love is gone.')The Stranger. ('White Spring, a stretch of road whiter than skies | Or almond-blossom, some Provençal town | On days of festival, the rocks that rise')Prayer | To be said in the house of a certain friend. ('With a lit candle, this short prayer | And the day's memory, I come')Enemies. ('These are my enemies, | Hard faces, hearts content, | With dull securities')The Beggar. ('Whoever ye be that read this song | If ever ye loved before,')Song. ('Over the white-thorn branches | So silently, and far,')At Baravore. ('At Baravore the white road dips to the river | Bottomed with stones a hundred years have worn') At end: '(unfinished)'Fragment. ('I would find that hidden place | That secret place where love')The Castle ('On a green rockery hill | The castle stands.')Cockcrow. ('For three nights we have heard | The cock crow before dawn') Quotation of one line of verse by Yeats at beginning.[Each of the next four poems is on a page headed 'Translations.']La lune blanche . . . ('The low moon | Gleams in the woods') At end: '(After Verlaine)'Antony and Cleopatra. ('Under the splendid azure depths of day') At end: '(After Heredia.)'Clair de lune. ('Like a lost landscape is your face') At end: '(After Verlaine)'L'Odeur. ('Should you dream of love, or death-enamoured gaze') At end: '(After De Regnier)'Ireland, February. 1923. [Published in HWO as 'Civil War'] ('Have I not prayed that bitterness | Should never whet my mind, or make | Heart's quiet aught the less.') [Published version has 'Blind violence' for 'Blind hardness'][Untitled.] ('My love, bend closer, I am as the sea | Murmuring for a shore, I too would sleep')As I came down from Tirrion . . . ('As I came down from Tirrion | Upon Saint Michael's morn,') At head of page: '[Transcribed from an earlier M.S.]'The Holy Wells of Orris. ('I walk on the quiet roads, | With never a one beside, | The wind and the stars my company | The white veiled moon my guide,') First line of last four-line stanza deleted and replaced by a new line of verse.The Hill. ('Centuries and a wind - | The strong shafts of the sky - | Under the hill lay spread | A country's pageantry,')All Souls Day. ('We will talk no more, here in this quiet room, | Where evening comes, we will talk no more of the dead') At end: '(On the death of the Hunger-Strikers in Cork.)' [Published version subtitled 'For those who died on hunger-strike']Verses written for music. (I, 'Far off by secret ways and murmurous | Of many winds and waters, with the light | Of sudden skies comes Beauty unto us | As the stars unto the night.'; II, 'Who goes where the willow | Flaunt their nets of green?; III, 'When all is told is sung | When we have come | To that high place where wonder | Makes its home.') At end: 'R. N. D Wilson | For. E. N. H. | Sligo. Nov. 1923'.Alba. ('I have held my thought among white hills so long | That early Spring forgets her glittering ways.') Dated: 'Sligo. March. 1924'.The Stag. ('Oh not in indolence, | Or listless dream is beauty born, | But with a sudden violence | Out of the heart 'tis torn.')In the Phoenix Park. ('Though hazel, and beech and willow strew the ground | With fallen leaves, and the pale ash, alone') An alternative to the final two lines given at end.In Winter. ('Let us keep tryst under the windy stars, | We who have laughed at Autumn, let us go | By wet roads to the hills, and watch the showers | Threaten the desolate west, our blood aglow')The Resurrection. ('In Tirrion the thorn-trees break | To blossom once again,')The Magdalen. ('One cloudless day in Arderly | I saw the Magdalen. | Oh tell me why it is I cried | You live again with men?')Rush-lights. ('In Orris green with rushes | Beside the still still lake')The Orchard. ('A ruined orchard girds the shore | Whose winds and waves distress')The Lover ('He loved her for her pure white brow | And all night long he stood') The two four-line stanzas before the last stanza deleted.Saint John's Eve. ('Saint John's Eve in Andelys | Over the marshes came | Out of the low green singing seas | A ship without a name,')Rye. ('Beyond the marsh-lands, and the gleam | Of river-sands the red town climbs -') [Published as 'The Cinque Port']Five Poems. (I, 'Upon the day that love had died, | She came, and standing at my side'); II, 'There are old songs whose beauty still can make | Our hearts half-passionate for memory's sake'); III, 'A year ago, if one had said to me | When the next autumn steals from tree to tree'; IV, 'I have no peace because of a story I read | At the full moon, holding my book to the light'); V, 'All I have written seems to be | No more than some dark prophecy') At end: 'To Iseult.'Her Praise. | (For Madame Gonne.) ('One said She is more beautiful | Than a white willow mirror'd in a pool, | And praised her face, and praised her hands, for she | Was beautiful exceedingly.')Woodcut. ('A horseman riding | The wild plains of Eltrim | Sees three leagues before him | A great demesne-wall') Dated 'November 1927.'Frostbound. ('March sunshine treacherous as snow | A wind that whets the lake | To silver, thorny woods of sloe | Where the first buds awake') At end: 'March. 1928 | Because of the laurels of Colga.' ROR.Donegal Coast. ('I know that at the end, | obedient to the sea | I shall come | to this last utter coast | blinded with light.') At end: 'June 1928. | For | [Shire?] League.'Versailles. ('I have come by an electric train from Paris, | A sightseer to this place I know by hearsay | and now on the vast square before the palace | I feel as insignificant as a cobble on the pavement.' Dated: 'October 1928.' [Published version is dated 'Versailles, 1929'] At foot of last page: '(411 words)'Prayer for Snow. ('Sweet Christ whose whiteness was | A lamb on the world's grass, | Whose coming lit a star | Unknown before | To learnèd Astronomy | I pray Thee send us snow') At end: 'Clevedon. | Christmas 1928.' ROR, as 'A Prayer for Snow'Winter-in-Gordano. ('I am in love again with Gothic: | this ruinous quarry, | a gash of amethyst in the down, a riven | architectural hazard, | has led me | above its broken, abrupt and toppling niches | to the steep path that climbs through winter's purple | woodland hanging | over the valley of Gordano') Unfinished: three numbered stanzas only, followed by numeration 'IV.' but no text.C. Material written in Ratheane Nursing Home during Wilson's final illness, 1952Pencil drafts of around a dozen poems on seventeen loose leaves of ruled paper, wrapped in the loose covers of an exercise book. Vers d'esprit, probably written to pass the time.A Ratheane Holiday. ('A's Sister Ardilll so dapper and neat | She sees that you're given the right things to eat.') Twenty-six couplets, lettered A to Z, each relating to the Ratheane Nursing Home, Coleraine. Signed at end: 'R. N. D. Wilson 25 July 1952'.[untitled] ('Dear Nurse Jackson please Nurse Jackson | Whatever else you do | Walk not on the Portrush Golf Links | They might finish you - | Other games - less royal than antient | Have been played there too.')Christmas Agonistes ('As when some ussher [sic] or assistant master | On Football duty with the 1st. XV | Escorts his charges homeward on a bus | After some well fought contest, only won | Five minutes ere the final whistle went | And finds their energies reviv'd by tea,'.)The Portstewart Tram ('Waiting for the Emmett engine, on its siding at Cromore | Stands the double-decker tramcar - opposite the station door.')Nursery Rhymes. Three limericks; about 'Nurse Macpherson', 'Nurse Jackson' and 'Sister Erskine'.[untitled] ('Nurse Cooke has sailed off into the blue | On one of her famous voyages')Who's Who? A Ratheane Dilemma ('Dont tell me there's an Irish child | That ever went to school')[untitled] ('Mary Elder, Mary Elder | Once the auburn of your hair | Used to bring to mind Rossetti')[untitled] ('Where are you going to William William | And what have you got in your hand.') 4pp, 8vo. Bifolium.Untitled ('The nicest nurse I ever knew | Was little Macfortescue')[Untitled] ('Ballyscullion - Ballysally | Back & side go bar | While my Uncle the distiller | Tilts his padded [?]') [The following two items are religious prose poems, or drafts of sermons]A Meditation on the Agony in the Garden ('The tragedy began in a garden - The garden | more dangnerous than the wilderness. The garden the place of temptation. This agony was necessary because of the sin begun in the garden - now being expiated in the garden.')In Nomine Patris et Filii et Spiritus Sancti. Amen. ('The Last Supper is over. The Last Supper that was also the First Mass.')The folder also contains an autograph transcription of an article titled 'Vacationeers in Ulster', 'From The Northern Whig | 8 April 1952'.D. Separate Autograph items, 1918-c.195232 autograph poems and drafts, written at different times. On a total of 71pp, in different formats, all on loose leaves.Corpus Christi. 1918. ('O Sacred Host, a little while we come') 1p, 8vo. Prose quotation after title. Signed, with 'S. John. XIX. 31-34'. [referred to in a letter to his mother, 31 May 1918]The Lover. ('He loved her for her pure white brow, | And all night long he stood | Where underneath the castle-wall | There branched an apple-wood.') 6pp, 12mo. Signed and dated at end: 'R. N. D. Wilson. | 26. V. 20.'[untitled, but two other copies here titled 'To a Young Writer . . .'] First lines: 'Because you have written out of jest, | And mocked your own sincerity'. 1p, 12mo. Signed and dated at end: 'R. N. D W. | 11. I. 21.' Another version, present among the 'Unpublished or for consideration', is titled 'To A Young Writer . . .'For Hallows Eve. 1922. ('Now that the frost has made the leaves its prey,') 3pp, folio. Signed and dated 31 October 1921. A couple of minor emendations. With four folio pages of rough drafts of the poem, and another version of the first four stanzas, with a few variations (including an additional line), on two pages. The poem is clearly indebted to Yeats's 'All Souls' Night', written two years before, and features references to 'Pippo', 'Emer' and 'Donogh Bryce'.Enemies. ('These are my enemies: | Hard faces, hearts content | With dull securities, | The miser's moments spent') 1p, 8vo. At end: 'For Clare | R. N. D. Wilson. | 21. Feb. 1922.'The Stranger. ('White Spring, a stretch of road, whiter than skies | Or almond-blossoms, some Provençal town | On days of festival, the rocks that rise'). 1p, 8vo. At end: 'To Clare - | R. N. D. Wilson. | 2. III. 22.'At Baravore. ('At Baravore the white road dips to the river | Bottomed with stones, a hundred years have worn | With lapping water, and no footstep comes') 2pp, 4to. At end: 'For Clare. | 21. VII. 22 | R. N. D W.' The final six lines are not present in the 'unfinished' version in 'Poems of Robert N. D. Wilson' below.In Florence. ('Today in the Duono I caught my breath') 4pp, 12mo. 'For Beatrice. | Florence Easter 1925 | Edinburgh - June 1926'.Versailles. ('I have come by an electric train from Paris, | A sightseer to this place I know by hearsay,') 3pp, 4to. Signed at end: 'R. N. D. Wilson | October 1928.'The following two poems are the autograph ones from a group of ten poems marked by Wilson's brother as 'Unpublished or for consideration'. (See Section E for further details.)Night. ('When sleep forgets me, in that sweet exchange | Of being, and I take thee unpossessed | Into my arms; mind cries for its revenge') In Autograph. Signed and dated at foot: 'R. N. D. Wilson | 16. July 32'.To A Young Writer . . . ('Because you have written out of jest | And mocked your own sincerity') In autograph. Signed 'R. N. D. Wilson.'Lines written for a lady at Christmastime. ('Put holly round the wall') 1p, 8vo. Signed with initials. One minor emendation.Nemesis. ('She does not know,') 1p, 16mo. Signed with initials.[Untitled poem in five parts.] ('She holds you as she longed to hold you') 3pp, 4to.The Beggar. ('Whoever ye be that read this song | If ever ye loved before, | Ye never shall love, like those that loved | On Tirrion's white shore.') At end: 'R. N. D Wilson | To Clare -'. 3pp, 8vo.The Resurrection. ('In Tirrion the thorn-trees break | To blossom once again, | And the Saints of Easter keep their tryst | Within the holy glen,') 2pp, 12mo. Signed at end: 'R. N. D Wilson'.The Holy Wells of Orris. ('I walk on the quiet roads | With never a one beside | The wind and the stars my company | The white-veiled moon my guide') 1p, 12mo. Minor emendation to last line.On an Ulster Town. ('It is not because of any spirit that moves | In the minds of men, or any simple grace'). 1p, 8vo.The Stag. ('Oh not in indolence, | Or listless dream is beauty born, | But with a sudden violence'). 1p, 12mo.Raghley, O Raghley. ('O what should bid my lad to go | And sail away from me | The Paps of Steedagh nurtured him | And not the pirate sea.') 3pp, 8vo. RORRaghley O Raghley | A rhapsody. ('The restless ebb was in his blood, | Raghley O Raghley. | O green ridge riding in the flood, | O hill without a tree,') 2pp, 8vo. In pencil (by Lawrence) at head of first page: 'Excerpt for the passage [?] | This seems to be the earlier version.' With a number of emendations and interpolations. ROR, as 'Second, unfinished, poem'.[untitled, but with following in pencil (by Lawrence) at head of first page: 'RAGHLEY O RAGHLEY | (second, unfinished, poem).'] Begins: 'The restless ebb was in his blood | Raghley, O Raghley | O green ridge riding in the flood | A hill without a tree!' 4pp, 8vo. With emendations, including the interpolation of three lines.The Black Glen. ('The black glen from a vat of peat | Spumes its dark brew down! | Islands of foam in foam again | Foam against grey stone.') 2pp, 8vo. Early version, of eight stanzas, including the first seven of later version below. With emendations.The Black Glen. ('The black glen from a vat of peat | Spunes its dark brew down! | Islands of foam, in foam again, | Foam against grey stone.') 3pp, 8vo. Later version of eleven stanzas, with a few minor emendations, and three lines of a final twelfth stanza deleted.[untitled] Begins: 'O petulant lady of laughter | Whose lips are the flower of disdain'. 1p, 12mo. At end: '(With apologies to Swinburne.)'[untitled] Begins: 'How can I take her blessing | When I have not confessed | Or has my face betrayed my soul | And does she know the rest?' 1p, 12mo. Signed at end: 'R N D W.'The Changeling. ('Once by a hearthstone | Dreams I knew | And out of the firelight | A red rose grew.') 2pp, 8vo. At end: 'R. N. D W. | To Mother.'Poem. ('The low bright shore, | And these pale seabirds flying, | Waken no more | Dreams of the bitter tide,') 2pp, 8vo.[untitled] Drafts of poem beginning: 'Have you ever heard of Isabel Brown - the fighting pacifist? | You haven't. By the hokey, well, you don't know what you've missed'. 2pp, 4to. [The following three poems on 2pp, 4to.]Stop Thief. - ('A lonely figure drying clothes | Has robbed me of my dreams')Illusion fades Out. ('The yellow lanterns of delight | And the dim lanterns of despair')In Wicklow. ('In Wicklow where the wherry boats go by | With lapping and sail fluttering') Before final line: '(Delete)'.Carol. ('If I were a Shepherd | On Christmas Eve | The angels would come to me | I believe') 2pp, 16mo. From the handwriting, a youthful effort.[untitled extracts] 2pp, 12mo. One page is headed '(5)', and begins: 'O tainted lovliness [sic] that still dost keep | Enchantment strange as some unholy spell, | Why dost thou still torment my feverish sleep | With visions that no penitence quell?' The other page begins: 'What though I know each wild despair must bring | The slow decay, the weariness of lust,'. Another youthful effort.Hail! The Heavenly Twins! | (Hospital Hymnal 234) ('Hail! The Heavenly Twins united! | Sisters, nurses, handmaids Sing!') 2pp, 12mo. At end: '(May be sung to the tunes of Bright the vision that delighted or Through the night of doubt and sorrow)'. The subject matter and treatment indicate that this item dates from Wilson's final illness. (See the material in Section C above.)E. Separate Typed Items23 poems typed poems, written at different times. On a total of 31pp, in different formats, all on loose leaves.The Changeling. ('Once by a hearth-stone') 1p, 12mo. Signed in type.Chiltern Picnic. ('Let us go then, you and I,') 2pp, 4to. With autograph emendation and 'Notes' beginning 'The whole poem presupposes an acquaintance with Mr. T. S. Eliot's Love Song of Alfred J. [sic] Prufrock also his Waste Land.'. Signed in type.Decoration. ('All indivisibly') 1p, 8vo. Signature of initials in type.From the Chinese. ('I have talked winter away, scowling,') 3pp, 4to. Dated in pencil '[Mandesley?] - Sligo | April 1931'.In Stephens Green. ('I cannot leave the town') 1p, 8voLines written for a lady at Christmastide. ('Put holly round the wall') 1p, 4troLullay My Liking. ('Sleep my darling, such as you') 1p, 8vo. Signed in type. Autograph presentation: 'For Audrey | this copy | R.'Meditation for the First Sunday after Epiphany. ('Whenas the Spring in garden close') 1p, 8vo. Title and signature ('R. N. D W.') in autograph.Pasadena. ('When sailors come ashore we make things brighter -') 1p, 12mo. Signed in type.Promenade Sentimentale | For Dorothy Morland. ('The suitably vague landscape rolled -') 1p, 8vo. Signed in type. One minor autograph emendation.The Queen of Spain. ('One morning I was shaken by a wind,') 2pp, 8vo. Initial quotation from Yeats. Minor autograph emendations.To Iseult. ('If I should die') 1p, 8vo. Signed in type.[the following three items together][In a Sanatorium, Fragment I] 1p, 4to. Titled: 'Two fragments from a verse sequence entitled In a Sanatorium'. The first fragment only, numbered I, with first line 'I'm used to it now, the high road on the down', which was published in E as 'Sanatorium'. (The missing Fragment II may be the poem published in ROR, also under the title 'Sanatorium'.)Winter-in-Gordano. ('I am in love again with Gothic') 2pp, 4to. Typed 'Notes' at end. Signed in type.Equinox ('To-night, again, I have heard darkness of music,') 1p, 4to.[The next eight poems are from a group of ten loose-leaf poems, eight typed and two in autograph, attached by paperclip to slip of paper with autograph note (by Lawrence Wilson?): 'Unpublished or for consideration | mostly early work'. Occasional minor emendations.]Dead Leaves. ('Upon the day that love had died, | She came, and standing at my side, | I wondered if the past were gone, | Or whether love must not live on') Typed and signed in type. [Four poems] [published under the title 'Ghosts', with second and third poems transposed, and the fourth poem, beginning 'All I have written seems to be', not present, being replaced by one beginning 'Can it be so that you have also found | There is no quietude? Though love should make']Prophecy. ('Then having watched the night grow beautiful, | Star after star, come from the altar hill') Typed. Signed in autograph at end 'R. N D W.'The Hill. ('Centuries, and a wind - | The strong shafts of the sky -') Typed and signed in type. [Addressed to 'Iseult', i.e. Iseult Gonne, with last stanza beginning: 'Iseult, - into your name | So great a wonder came, | As I said it, there, on the hill,']Her Praise. ('One said - She is more beautiful | Than a white willow mirrored in a pool.') Typed and signed in type, with 'for Iseult' in autograph at foot of page. ['spirit's harmony' is 'mind's intensity' in published version][untitled] Begins: 'I can believe that I have lived in the old times, | When harps smote upon the waters, and light and quiet,'. Typed. Autograph note at head of page: '(One of two poems written in Dublin)'.Rush-Lights. ('In Orris green with rushes, | Beside the still still lake, | I stood among the rushes | In the cold day-break.') Typed.Love-Song in a City. ('You will put on your autumn cloak, | And we'll step out into the day,') Typed.Ballad-Song at Any Fair. ('Though she led me into the counties where I have no desire, | I would follow, and right glad I'd be to drink with Cavan men,') Typed and signed in type. With 'J. C D.' in autograph at bottom right. [in published version 'vulgar banners' is 'splendid banners'; 'see me' is 'watch me'; 'Galway' is 'Connacht', and there other minor variations]F. Rough drafts, undatedNine ruled leaves torn from an exercise book, carrying 18pp of rough autograph drafts of verse. The first fifteen pages work and rework seven sections of 'Landscape with Ruins' (HWO), beginning: 'I | A mile from where I stand | Beech trees grow steeply by a pool | Where nets are drawn to the land, | And where the full | Tide breasts the trout stream & flows down again | By rushy promontories. Upon the shore | […]'. Several stabs are made at a section beginning 'A common history.' The other three pages carry a draft of a poem titled 'The Great House', beginning 'He walked upon the headland. Suddenly | [While?] the gulls wing flashed the evening's angry light | Held him a moment, and the desolate sea'. The second of the three sections of the poem begins: 'Never house is made | That lives to give delight when all the past | That shaped it is forgotten but was laid'; and the third: 'The restless sea was in his blood'. At the end of the draft, in pencil: 'Clissold.'G. 'Pencilled fragments' by Wilson regarding the editing of his work, c.1952In the loose covers of the exercise book in section C above are pencil drafts on 2pp, landscape 12mo. On one side of the leaf is a fragment of a prose text, a passage of which is quoted by Wilson's brother as the epigraph to ROR, and described by him as 'Pencilled fragment among papers left by R. N. D. W.' Heavily worked, with deleted variations, the text reads: '[…] I have never felt well enough to get down to it by myself. I want you to turn this over in your mind. I mean it seriously. | I am human - and trust I have sufficient of the makar's pride in me to wish to leave in print and accessible what I had intended for other eyes to see. I should even be interested to observe the indifference or otherwise with which my work might be received. But if I want to satisfy this quite natural curiosity - I must be up and doing, for whatever survival factor some of the poems themselves may possess, that of the author stands in a somewhat equivocal case and ought not to be presumed upon'. On the other side of the leaf are drafts of part of 'The Black Glen', beginning 'The boy with hair like Absalom | Could not find a tree. | But his eyes were pale as the parchment strand | And in his eyes the sea.' H. Prose-poem in a Joycean styleCorrected draft of attempt at Joycean stream-of-consciousness prose, headed 'Ana [sic] Livia &c'. Undated, but after 1930, when the 'Anna Livia Plurabelle' section of 'Finnegans Wake' was published. 2pp, 12mo. In pencil. Begins: 'And so although he had neither placket nor programme he took a bus to Knightsbride [sic] to The Albert Fog there to see Madame Gaily Curtsey. She swung her area & handclapping ring the rafters. […] Philosophically seating he gave three chairs, penny plain twopenny coloured, valid all day but not transferable, politely-seeking to carryon where the Blue bells dove fluttered in the summer chime. | So bird-engrossed by Lansberg Lido he gently saw the godly people pass by sabbathsuited in their Sunday morals.' Fragment of another composition, in ink, along one margin, beginning: '[…] release …... breathe in …. hold … seak …. Her voice, and the voices of the class, suddenly became a hissing stream of explosive labials and dentals'.I. 'Two Poems written in Dublin'Single printed 16mo leaf, headed 'TWO POEMS WRITTEN IN DUBLIN', and signed in type at foot 'R. N. D. WILSON.' Neither poem is titled, but another copy of the first present here is titled 'In Stephens Green'. Blank reverse. The first begins: 'I cannot leave the town | For a country place | Yet through the friendless crowd | I followed your face,'. The second begins: 'I can believe that I have lived in the old times, | When harps smote upon the waters, and light, and quiet,'. At bottom right, referring to the second poem, Wilson has written 'For Iseult.'J. Issue of Francis Stuart's 'Aengus', with '3 Poems by R. N. D. Wilson'[AEngus, New Series No. 5.] Stapled duplicated typed magazine, printed on rectos. Pp.3-25 only. Lacking title-page and second page. At end of last page: 'Copies of this or the next number from either | R. N. D. Wilson, Ashbrook, Captain Street, Coleraine; | Maurice Gonne [i.e. Iseult Gonne], 9 Peter Place, Dublin; or | H. Stuart [i.e. Francis Stuart], 36 Fitzroy Street, London, W.1.' No date, but 'New Series No. 4 appeared in July 1920. On pp.3-4 are '3 Poems by R. N. D. Wilson.': 'The Holy Wells of Orris' (p.3); 'Her Praise | (For Maud Gonne McBride)' (p.4); 'Ghosts' (p.4). A scarce item, no other copy of which has been located._____________________________________________APPENDIX: Letters from R. N. D. Wilson to his family, 191861 long letters and two postcards from Wilson to his mother, brother and aunt, 1918, comprising: 52 letters and the two postcards to his mother; five letters to his brother Lawrence; four letters to an unnamed aunt. Also present is a letter from Lawrence A. Wilson to his mother, sent from Coleraine with one of his brothers (both dated 19 August 1918).Dated letters between 8 January and 31 December 1918; a handful undated. The majority written, between June and October, from No.1 Royal Garrison Artillery, Officer Cadet School, Trowbridge, Wiltshire; followed, in November and December, by letters from Brick Huts Mess, Lydd, Kent. The first few letters and the last written from Malone Manse, Belfast; and four between April and June from 211th Battery RFA, Preston Barracks, Brighton; with one written in April from RMS Duke of Argyll; and one in August written from Hanover Gardens, Coleraine.An affectionate, intimate correspondence, written at a formative period of great personal change and development in Wilson's life, in which he gives details of all aspects of his army training, describing locations (one long letter, for example, gives a detailed description, with plan, of Preston Barracks), his comrades (including his 'intimate friends', the RGA chaplain John Christian Pringle, for whom see the Oxford DNB, and 'Jones', and in particular 'Waterton' of Trinity College, Cambridge, with whom he tramps around the English countryside) and experiences and responses to them as an Irishman and 'half-pacifist'; while also commenting on news from home and soothing his mother's anxieties. As the correspondence proceeds he tussles with his religious convictions, and is received within the Church of England as an Anglo-Catholic. (He associates with the leading High Church cleric William Robert Corbould, and at one point tells his mother of his desire for 'complete membership in the Catholic Church - and that is quite a priceless thing'.) He also describes his social activities (rambles in the English countryside described in lyrical terms, trips to London, encounters with the actors Basil Sydney and Doris Keane, and the lawyer Sir Arthur Stiebel), and discusses books and poetry, including his magazine 'The Hermit' and his own writing (at one point he states: 'it is critic and not creator I am afraid I must content myself to be') and that of his brother. There is also talk of music (in one letter he gives details of a piano recital by Mark Hambourg) and the arts. An undated letter to his aunt, written from Trowbridge, ends with a twenty-two line poem, somewhat in the style of Rupert Brooke, beginning: 'I care not what may come to me | So I may walk to Westbury | For there the skies are kind to bless | The burden of my weariness.'As the correspondence begins Wilson is training at Carrickfergus with the Officers' Training Corps of Queen's University. Early on, in an undated letter, he informs his mother that his 'papers from the War Office came on Thursday and I have been passed for service with the Royal Garrison Artillery - so I have been sworn in, and since my course at Queens is not giving me any very special training for that particular work, I may be called away, before the three months are over, to go into training as a gunner at any one of the Coastal Defence Stations in the United Kingdom.' At the same time he informs her that he has had a poem accepted by the 'Graphic'. Shortly after this he writes in another undated letter that, having 'heard from the War Office' that his 'period of training here may be of very uncertain duration, and that as likely as not I may be called away to England in the near future, I have decided that I must be confirmed. […] As to my reasons. | I sincerely believe that it is essential for me to be in communion with what is to me a Catholic Church - although I know its Catholicism is very restricted.' He finds 'the Anglican forms' a 'source of strength', and hopes his family will not accuse him of 'want of love and reverence for them' On 22 January he expresses concern over applying for officer training: 'Sometimes I wonder if I am right in trying for a commission. I would never make a good leader of men, in the things of war, and quite possibly with my extreme liberal views, and my hatred of autocracy I would be happier in the rank and file, in spite of the material privations. Better a meal of herbs with those in whose hearts pride has no dwelling, than a feast in the company of the great.' On 1 March he writes from Malone, with regard to the critic John Norman Bryson (1896-1976) and the artist Paul Henry (1876-1958): 'Yester-day [sic] evening I was down at Jack Bryson's, and I made the further discovery that his mother paints most beautifully, portrait work full of character. Their house is full of pictures, many very valuable old ones, including some original Dutch painters, and some heavy English landscapes of the 18th. Century Constable school. He wants me to meet Paul Henry a modern Irish painter who works in Connaught, and gives little exhibitions in his Dublin house. They have some lovely work, of his, and of his wife's. […] in return for the Hermit he has given me some of his manuscripts which are very finished and swift in their expression. He had asked me to go with him next week to the Abbey Theatre players who are coming here […]'. On the passage to England, 15 April 1918, he writes: 'Down at the City Hall this morning I found a crowd of several hundred besieging the Recruiting Office, and already I have recognized many of the same faces on board to-night.' On 2 June he describes dinner at the house of the jurist Sir Arthur Stiebel (1875-1949), who 'has lost one of his legs at Cambrai', exclaiming: 'Oh but it was good to be in a proper civilized house, and to be taking a meal with all the little niceties one forgets here.' On 5 June 1918 he gives 'an epitome' of the life of 'a wonderful man', and one of his 'intimate friends', the RGA chaplain John Christian Pringle (1872-1938). Discussing Pringle's career as a judge in India, Wilson writes: 'He was dissatisfied with things - he dreaded the power which he wielded over a nation he could only know as an outsider, and after much perplexity and hesitation he resigned, came home, took Holy Orders, and worked in the East End. Then he went out to Japan to a Missionary College where he lectured to native students for six years; but the call of London came to him again and on his return he devoted himself to the study of social work, and by sheer unselfish energy he has built up an organization of Church workers, embracing all the most expert social workers in London. He knew Barclay Baron and his work in Bermondsey. He was secretary, until this last man-power bill came in, and when the age limit was raised he at once felt it his duty to join up. So here he is.' On 10 July he discusses Waterton: 'You ask me about him. | Well; He's just my own age, a little younger, and last year he took a scholarship at Trinity College - Cambridge. His ambition is to become a fellow of his University and help with tutorial or lecturing work. | I think I told you how keen he was on educational & social reform. He is a great friend of E. D Morel who wrote the Truth about the War and quite a number of very clever pacifist articles. (He collaborates with Arthur Henderson and Bertrand Russell) Waterton like myself is half-pacifist himself - indeed we have the same out look on most things. He admires A E and the new Irish school, and of course we simply chuckle together over the way this stupid country is playing with things over there. […] we are the most irresponsibly happy pair in camp, always content when we are tramping away any where, with a bag of buns and a map in our coat pockets'. In the same letter he returns to his religious convictions: 'You ask if I am changed? I dont think so; the most vital thing I have found as a result of my new experiences is an absolute faith in the Catholic Church and a firm resolve to one day serve at her altar. Thins would be rather terrible without that Peace which the world cannot give.' Reviewing his past life, he continues: 'I am afraid that during the Belfast phase I was growing rather careless about the real things. I was becoming an Epicurean - it is different now. Last week-end in London I thought to recapture the old mood - but I didnt really - Mass at S. Albans is the most happy memory of that break.' On 22 July, he writes, of Irish republicans: 'To men like Padric [sic] Pearse, and Darell [sic] Figis, and Arthur Griffiths I take off my hat - they, like so many of us, have suffered and are working for an Ideal - but the others - you know the type - I won't go until they bring in conscription for the rest of Ireland. I could have said that. They have professed a loyalty such as I would have never claimed for myself - they call themselves Imperialists, it is they who should be fighting - not Waterton or Pringle.' On 13 July he writes to his brother, whose poetry he discusses, at one point observing: 'my criticism wouldn't have any value if it was only to pile on words of praise, besides my own reputation as a critic is at stake, (for it is critic and not creator I am afraid I must content myself to be)'. An undated letter from around this time describes a visit to London (after making confession in St Albans), where he gazes on 'the few and scattered Corots' in the National Gallery, hears 'a piano recital by Mark Hambourg in the Westminster Central Hall' (giving details of the pieces played), before going 'out to Hampstead for dinner', coming in 'with Uncle Malcolm to the Lyric Theatre. He took me round to the stage before the play began - and I met Basil Sydney - Doris Keane's husband. [Basil Sydney (1894-1968), English actor, and Doris Keane (1881-1945), American actress] He played the part of the hero in Romance and as a result they were married. He is Irish - as she is - and both of them are Catholics.' He describes the performance, after which he is ushered into the dressing-room of 'Miss Keane', whom he finds 'quite simple and charming'. On 15 July he describes his homesickness, mixed with a feeling of pride at his development: 'Never get it into your head, Mother, that I am changed. You cannot imagine with what yearning my thoughts go out towards home, and all that it means to me - you and Lawrence and Auntie and Uncle Hugh, and the dear wee study, and my own sweet country - I want you very much. | Over here, one way and another, you get knocked about a good deal, you are faced with new experiences, with new aspects of life, with things that often are repulsive, and that I shrink from in my heart of hearts - but through it all there is something good, and I am happy, happy as I have never been - with the thought of living and doing things.' An eight-page letter, 18 July 1918, gives a detailed description of 'this mornings gun drill' ('I take up my megaphone, and yell All guns ranging or Number One ranging according to the Method the B.C. has adopted.') On 22 July 1918 he gives a long description to his aunt of his 'last long ramble' with Waterton 'to Norton S. Philip': 'At Norton the bells were ringing as we swung together into the village square - so quite naturally we followed the quiet groups of sedate old sires and matrons, and curious be-sundified children, down through the narrowest of closes, and across a daisied field to the wicketgate in the churchyard wall.' In the same letter he informs his aunt that he and Waterton intend, when peace is declared, 'to rush off into Donegal - and of course you shall be there - and we will walk from Greencastle - to Culdaff (where we shall find no beds,) and then on from Culdaff to Carndonagh. Some time next year - it is going to be.' On 6 September he gives news of writing he is publishing in the magazine 'To-Day': 'Yesterday I sent off the corrected proofs of my essay - I just got them on Wednesday evening - I do not know whether they will be in this months number or not - but you will be able to see.' In a letter of 23 September Wilson gives a long description of an encounter with the extreme Anglo-Catholic cleric William Robert Corbould (1880-1959), rector of St John's Bathwick: 'He has travelled a great deal in Italy - where he has had two audiences with the Pope. We talked about everything - including the prospects of Anglican Catholicism - he is exceedingly optimistic - more so, I am afraid, than I am. He knows Father Ross of S. Albans - and Ronald Knox.' At Corbould's house Wilson and Waterton encouter 'an Irish baronet who lives in Bath, Sir William Crosbie, and his daughter Marjorie. Their estates are down south in Co. Kerry, and although he is the most Tory-like person imaginable - he is a most enthusiastic Nationalist - very severe on Carson, and the present regime in Dublin'. Following evensong ('Father Corbould preached - a very good Catholic sermon') the party find 'Mrs Handley's motor waiting to take us up to her house for dinner', following which Wilson plays for them 'on a fine Bechstein grand'. Three days later (30 September) continues his account of his stay with Corbould, even providing a menu. Corbould is 'a most attractive man - he knows so many interesting people certainly all the Leaders of the Anglican Catholic movement from Lord Halifax to Ronald Knox'. He also gives more information about Crosbie, who is 'a staunch High Anglican - hearing Mass nearly every day in S. Johns. By the way Lord Kitchener who was distinctly Catholic - was a frequent worshipper there also - for Father Corbould is the most advanced Anglican priest in Bath.' On 16 October he gives a description of 'our moving battle stunt - a similar thing to the Dots and Dashes affair only this time we were the battery not the signallers'. He also comments on the sinking of the Leinster, on which he had crossed over from Kingston on return from leave: 'I can just imagine the scene those crowded decks must have presented'. He is heartened by the 'war news', which is unquestionably good, although the talk of unconditional surrender is 'a denial of our legitimate war aims - and if we persist in our present tone the League of Nations becomes an impossibility.' He discusses his view of the war, exclaiming 'I am more of a pacifist than ever. […] They sink the Leinster and we drop 178 tons of bombs on German towns - because we are told to do so. | And why? God alone knows. I do not blame you for being sad at times Mother - we all are - and to you this wretched curse has done all that it can, by taking Father from us so soon.' At the beginning of November he writes to his brother of the move to Lydd: 'As to our life here - well it is a very hard real thing - Trowbridge was a garden compared to this place - for we are in a real big army camp run on overseas lines. | At Trowbridge we were everything, here we are only a very small side issue.' He begins a letter on Armistice Day (11 November): 'Not since the first Easter Sunday has the world known a more joyful day than this - when the first peal of bells this morning wakened the rooks in the wintry elms, and stole across the sandy fields towards the camp and the shore, they were tided with an almost incredible happiness for me and for everyone. […] God has at last stopped the terrible flow of blood in which the nations have been weltering for four dreadful years. For myself I cannot tell you how thankful I am that I shall never have to fire a battery in action.' He describes the moment the news of peace came to the camp at Lydd: 'we were at work as usual - first of all a two hours lecture on camouflage and then we had gone out on a battery of 6 inch hows to do practical work on the breech mechanism - stripping and then assembling all the parts of it. It was then the news came - first of all the flag went up on the church tower - then the chimes broke out, then all of a sudden the batteries stopped firing, and Union Jacks began to fly on the flag-poles instead of the red danger flag that floats over the ranges during the hours of practice. When we dismissed for lunch every one broke into absolute hilarity - And when the news came that there was to be no more work for the afternoon we nearly brought the roof of the mess down with our cheering. Our whole squad set off to-gether [sic] to New Romney where we had a great tea in the Ship Inn and disregarding all army orders besieged the station and came home by train. We were just in time for the Thanksgiving Service in the Church here. The Church was crowded to overflowing nearly all officers and men from the camp. It was a beautiful service with a procession and a solemn Te Deum sung by the choir before the Altar.' He returns to religious matters, stating: 'there is nothing in the world so abiding and so full of strength and peace as the Catholic Church. I hope that some day I may be less unworthy, and for the next years it will be my aim to prepare to fulfill my vocation as Priest.' One of the two postcards carries a picture of 'our regimental band on parade in the barrack square'; the other has a picture of 'The West Cliff Mundesley-on-Sea', and is marked by Wilson showing 'the house, and the three windows marked are Clare's room'.~18000~Autograph MANUSCRIPT TRNITY COLLEGE DUBLIN BLACK AND TANS W.B. YEATS POET MAUD GONNE ISEULT~ ~0~Small Box in space left of Very Large Folders~ ~ ~ ~ ~ 22981~28/03/2020~False~Sir William Trumbull [(1639–1716), statesman who held high office as a member of the First Whig Junto].~[ William Trumbull, Statesman ] ] Autograph (Clipped] Signature Will. Trumbull only~No place or date~Clipped signature, 6 x 3.5cm, tipped onto sl. larger piece of paper, good condition~20~AUTOGRAPH MANUSCRIPT SIGNATURE STATESMAN~ ~0~OL59~ ~ ~ ~ ~