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25 Gillespie Road, Colinton, Edinburgh. - Much appreciates Trevelyan's 'Christmas greetings' [this year's poetry booklet "From the Shiffolds". In his "To Marjory Allen" he expresses what many think at present; is sure that as he says the 'remedy sorely needed is the union of intellect with charity'; so few people attain the 'perfect balance' of reason and love. Is also familiar with the experience, as in "To Know and Not to Feel", of an 'inner deadness' when one is 'fatigued or not in tune' with the occasion; has felt it at a concert; luckily these are 'only lapses'. Has recently learnt from Schauffler's biography of Beethoven ["The man who freed music"] that sketches of a tenth symphony were found among the composer's papers after his death; it was intended to be a 'piece of programme music where Bacchus was to appear in person'. Wonders if Trevelyan and Sir Donald [Tovey] knew this [given their opera, "The Bride of Dionysus"]. Was 'positivity excited' to read that Bettina Brentano wrote to Goethe that Beethoven had told her that 'music... is the wine which inspires to new acts of creation: and I am Dionysus..'; Schauffler thinks that this is 'Bettina's own thunder' rather than Beethoven's, but she notes the closeness of the metaphor to Trevelyan's words in the last act of the "Bride".

Wishes she could reciprocate with poetry of her own, but she has only written one in her life and will 'spare' him; has not had any of her 'attempts at music' printed, so encloses some lines from a friend who died last year [no longer present].

25 Gillespie Road, Colinton, Edinburgh. - Thanks Trevelyan for the Homeric Hymn [in this year's "From the Shiffolds"]. Has no knowledge of Greek, but has always been 'attracted' Greek art and myth; there is a tendency in her family to believe they lived in Greece in a former incarnation. Repeats how much she admires Trevelyan's "Bride of Dionysus" [written with Donald Tovey]; was 'one of the greatest experiences' of her life to study it then see the performances; values above all the 'spiritual significance of Ariadne's translation'. Is currently studying the score of Strauss's "Ariadne auf Naxos", which will be performed at the Edinburgh Festival next year; it seems 'clever and amusing', and there are some 'charming melodies', but it is a great contrast to Trevelyan's version.

Her Christmas greetings are late as her housekeeper's son has been ill; they had an 'anxious time' but he is well now. Encloses a postcard of herself from the time when she '"created" the part of Solveig' in her sister Isabelle Pagan's translation of Ibsen's "Peer Gynt" in 1908. This, in Edinburgh, was the first production of "Peer Gynt" in Britain; it was later produced at the Little Theatre in London with the 'help of professionals'. Thinks the play can be compared with Goethe's "Faust", as it has 'the same "eternal womanly" theme', though Ibsen 'makes the ethical teaching clearer'. There was a performance of "Faust" here in Edinburgh in September, by a German company [Gründgens]; the diction and acting were very good, but the scenery 'disappointing' and the lighting 'far below' what she has seen in Britain; they 'avoided magical moments' with blackouts, which was 'very tantalising'.