[Robert Gittings, poet and literary biographer, to close friend playwright Christopher Fry.] Autograph Letter Sgined ('Robert'), largely concerning the writing of their plays 'Masters of Violence' (Gittings) and 'The Dark is Light Enough' (Fry).

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.'