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5, The Terrace, Gillygate, York. - Will be pleased to come to a rehearsal [for Trevelyan's play "Fand"] on 7 July; will travel to and back from London by night train, so is free all day. Asks if the rehearsal will be at 11 St Leonard's Terrace as before. It is 'lovely to have "Immortal Hour" costumes' [a reference to the opera by Rutland Boughton]. Gives her height and waist measurements; her hair is 'gingery-red'.

Hunny Hill, Brightstone, Isle of Wight. - Enclosing letter from [Rutland] Boughton [2/175], for whom Dickinson is going to lecture at Glastonbury on religion in drama. He is not likely to touch on metre, and Boughton seems interested in this; perhaps Trevelyan can send a version of his translation of the ["Oresteia"] trilogy. Is looking at [Arthur?] Way's translation of Sophocles, which does not seem bad, but for 'over-romanticism'. Glad Bessie was pleased with Bedales [which the Trevelyan's son Julian attended], and that Trevelyan had a nice letter from Ottoline.

The reverse of the letter has two lines of Aeschylus, Agamemnon 406-407, transliterated and scanned with a translation beneath. There is also a draft letter in pencil; this is difficult to read but appeals to be about costs for publication of a book.

39 Royal Terrace, Edinburgh. - Following Hedmont's suggestion, Tovey has had a telephone message from [George?] Campbell asking who is to be named as producer, since Hedmont says he is leaving everything to Tovey. Replied firmly that he was not the producer, and that he is having a score marked with the wishes of himself, Trevelyan, and Ricketts; if Hedmont carries these instructions out he will be the producer, at least technically - which he had already stated in a letter to Campbell. In case there is an attempt to make Tovey responsible for production, he would like to find a 'competent artist in sympathy with Ricketts and [Trevelyan]' whom he would be able to work with; perhaps 'the man who did the Court Theatre operas' or Frederic Austin who did Rutland Boughton's Glastonbury productions and may be 'rather conceited & wooly pated but anything's better than Hedmont'. Does not want 'too haw-haw' a person like [Thomas] Beecham: hopes he does not take criticism badly, but there is no time for 'inattention and flightiness'. Hopes to post his interleaved score tomorrow. The local oboes are not available - the first oboe 'has always been rather a skunk in his behaviour to [Tovey] - so he has wired to [Hugh] Allen to see how much a good R.C.M. [Royal College of Music] student oboist would be.

2 St Margaret's Road [on University of Edinburgh headed notepaper]. - Is sorry not to have written sooner: meant to do so when [Trevelyan's] "Pterodamozels" came but this has taken longer than he expected. The move to the Toveys' new house happened just when Trevelyan's letter about [John] Foulds arrived; Grettie had a collapse due to the strain of the move and is only now recovering. Would be jolly if Trevelyan came to Edinburgh in October. Trevelyan may show Foulds anything of Ariadne ["The Bride of Dionysus"] which may interest him, as long as he first see the parts which are in a final state - 'the big sheets or Raabe's copy'.

Is interested in what he has seen of Foulds' work, though has seen nothing recent: sent an early set of variations on to Röntgen, who was very pleased; Trevelyan should encourage Foulds to send something to the Carnegie people, as their first year's list is very successful, with Vaughan Williams, Bantock, Stanford and Frank Bridges and 'three totally unknown names with them' [Boughton, Howells and ?]: calls it, short of founding orchestras, 'much the best thing that has yet been done for English music.' Grettie liked [Trevelyan's] "Pearl Tree" but since she is still recovering he has not introduced her to the "Pterodamozels" yet: [Austen's] "Emma" 'represents the limit of our joint capacity for satire'. Has discovered Chapman's translation of Homer, and also that with help he can read Homer himself.

Glastonbury Festival School. - Asks if the Trevelyan translations are dear: if not, could he have the publisher's name, and they could perhaps use his "Antigone" or "Trachiniae" if he has translated those plays. If Dickinson does not want to discuss religion in the plays, Boughton would appreciate him talking about 'the rhythmical question', but would prefer him to stay with the original topic. Asks if he could borrow the "Trachiniae" if it is expensive; this is the play which will be performed on August 12. Has considerably amended the translation by Plumtre [sic: Plumptree]: asks Dickinson to discuss this in the lecture if he objects; his own priority is to make the plays 'living things'.