I Tatti, Settignano, Florence. - [Luchaire's?] letter has been forwarded to him; he feels honoured to be asked about the problem of translation. Will reply now, but may give a more detailed answer on his return to England when he can 'consult friends and books'. Does not think the standard of translation in England is high at present; it is usually underpaid, and often taken on by 'unscholarly writers, who do not even write their own language well. Approves of C. K. Scott-Moncrieff's work. Does not know Russian, so cannot comment on the accuracy of Mrs [Constance] Garnett's translations, but they read well; [J.D.] Duff's translations of Aksakof seem first rate; some translations of Lyeskof [?] and other Russians are in 'bad slipshod English' and should be redone. Is told the standard of German translations of Russian is better than that of the English. Praises the translations of Gide by Mrs Strachey [Lady Jane Strachey?] and her daughter [Dorothy Bussy], and especially that of Jules Romain's "Le Mort de Quelqu'un" by Desmond MacCarthy and Sydney Waterlow. Doubts there are many good translations of contemporary French literature, as generally people who wish to read it can do so in French. Knows that a good translation of Valéry's dialogues, by 'Mrs Strachey' [actually by Dorothy Bussy?] and Mr [William] Stewart cannot find a publisher. Almost always finds translations of modern poetry 'unsatisfactory': there is not even a really good English translation of [Goethe's] "Faust", though he admires Stawell and Dickinson's book on the poem. Thinks it is probably not 'worthwhile trying to translate modern French and Italian poetry' except for private satisfaction; has never seen a translation of Russian poetry which gives him an idea of the original. Unfinished sentence in praise of Tagore's prose translations of his own poems.
28, Rue de la Tourelle, Boulogne-sur-Seine. - Apologises for not writing sooner. Madame G[ermanova] has gone with the Pitoëffs to Holland and Italy so he is alone in the flat with the dog. She, her husband, and their son return for Easter; she has had great success with [Chekhov's] "Three Sisters", Figaro and so on. Asks how Trevelyan's play [his translation of Aeschylus' "Prometheus Bound"] was received at Cambridge; Trevelyan had described his impressions of the dress-rehearsal, but this is often very different to the real performance. Has asked the girl who is typing up his own translation of Sheng Cheng to send Trevelyan the first carbon copy for corrections; does not think it needs to be very literal, but wants to know how it reads in English; it has not yet been accepted by a publisher. He suggested that [Julien?] Luchaire should write to Trevelyan, because of his work as a translator and favourable attitude towards international collaboration; thinks he should reply with names of books which should be translated and others that have not been well translated. It would also be useful to mention why translations were not well done in England, and criticism of the system by which publishers give books to people; he could quote from his 'excellent preface to "Aeschylus". The man in charge of the project is Giuseppe Prezzolini, whom he admires and likes very much. Hopes Trevelyan's play for Masefield is now ready.