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Pension Moragues, Puerto Andraitx, Majorca. - Is ashamed of not telling Bob how much pleasure he got from his "Rimeless Numbers", though it was the Propertius, which is 'not rhymeless', which he liked best; also thought the part about the 'rhododendrons and azaleas' in "The Wood" 'marvellously vivid'. Likes his hexameters. Glad Bob did not get 'stuck' in the fifth volume of "[The Tale of] Genji"; has now done more than two thirds of the sixth volume, which is 'far better' than any other part, but 'correspondingly more difficult to do'; is doing four hours work on it every morning and usually several more later in the day, yet rarely manages more than two or three pages. Has written all of Bob's corrections, all sound, into his copy; had better note them at the beginning of the sixth volume. Has 'detected some indications' that Cyril Connolly is in Majorca, but has not seen him. A 'Nubian scholar' called Armbruster, who was at Kings [College, Cambridge] and knows Goldie [Lowes Dickinson] 'fairly well' lives here; his father was 'a good deal connected with Wagner'. He has a 'delightful house and a wife from Syria who cooks well, but his head is just a little too full of Hamitic particles'.

Lines from "Magpies" on inside cover. List of topics, many of which correspond to essays published in "Windfalls". Dialogue between Coryat [an figure often used by Trevelyan for autobiographical pieces] and G[oldie] L[owes] D[Dickinson]. Verse about Tuscan landscape. Notes for Trevelyan's translations of Horace. Comments on 'a bathe in November' and Trevelyan's friends' surprise; other short prose notes. Draft of "Trees". Notes on Browning. Notes for "Simple Pleasures". "Maxims (and reflexions)". "Poetry and Prose". List of 'Friends wives', some marked with x; perhaps notes for autobiographical piece.. "Daydreams". Notes on characters for "Imaginary Conversations".. Draft verse, 'I am the Genius/Guardian Spirit of this sleeping man'; prose dialogue between 'Man' and genius', also tried out as a conversation between Coryat and his spirit. Draft verse, 'As I was walking through a gloom filled wood' [version of "A Dream"].

Notebook also used from other end in: inside cover has quotation from E. M. Forster about being 'rooted in the past', note of Marcella Sembrich's name and a calculation of Jane Austen's age when writing her "History [of England]", as well as a list of topics or possible essays. Translations of Leopardi 40, 55, 75 and 11. Translation of Propertius IV.7. Trevelyan's "Two Imaginary Dialogues", between Horace and Tibullus and Horace and Maecenas. Dialogue between Coryat and 'Old Man', and between Coryat and 'G. D. [Goldie Dickinson?]. Readers' notes for Trevelyan's translations of Leopardi.

Roundhurst, Haslemere. - Will try to stop his letter 'lapsing into a scrawl at the end'. Glad that Edward and his sister are having such a good time at Rome; would like to be there himself very much, and may get there by the end of the year but fears Edward will be gone by then. Asks if Edward could disappear for a few months and 'be in hiding at Rome'; since he 'has no large sums from the Bank', his 'action could not be given a criminal interpretation'; tells him to hide in the painted tombs on the via Latina - or at least go and see them, and 'the robins hopping about among the cut roses'. Gives other sightseeing advice; tells Edward he should arrange with a dairy to have 'Devonshire cream, i.e. crema dura, every morning for breakfast'. He should also go to see the Pinturicchio in 'the Church on the Capitol' of the Magdaline [sic] 'walking about in the desert scantily clad reading a prayer book'; he himself 'must write a fan on her'. Is currently writing 'a play about Mantua and Greek Emperors and Gonzagaz, and Vittorino dei Feltre, and Vittor [?] Pisano, and charming and learned young ladies who won't marry the people their fathers tell them to' ["Cecilia Gonzaga"]; is also translating Ovid's "Metamorphoses", and writes out an extract from his version of the Daphne and Apollo episode. Plans to translate 'a few things from him and Propertius and Ronsard etc', and hopes Roger [Fry] will illustrate them if he has time. Verse beginning 'Knowst thou why Ovidius Naso / Mourned and sorrowed all his days so': because he knew who would illustrate and translate his work. Has never been to the Villa d'Este himself, but has heard much about it from the Frys; Roger has painted a 'very nice picture' of it, and said there were 'rose-wreathed cypresses' there which Bob has put into his poem "Juno's Peacock". Saw G.V. [Gilbert Venables?] recently, also saw Ronnie Norman at a concert, who 'seemed all right'. Asks Edward to let him know when he is returning, so they can meet in London; will answer his sister's letter soon.

86 Walton St, S.W.3. - Thanks Bob for his "Translations [from Latin Poetry]"; thinks Bob's "Michael Angelo" is 'very fine', as is "The Setting of the Moon'; thinks he likes the Propertius best of the translations, and 'Ovid comes off very well'. Remembers Bob's 'retraction' in Eddie's favour of his 'dictum that the Odes were untranslatable', and wishes he could say Bob had changed his own mind about Catullus; afraid he still thinks him 'quite uncapturable', though Bob's "Sirmio" [Catullus 31] is 'charming'. Is 'rather baffled' by Bob's Lucretian hexameters: he seems to 'have coquetted rather half-heartedly with [Robert] Bridges' "Quantities"'. Tiberianus must be an 'enchanting poet'; had never heard of him before. Is sending Bob a 'little book' he 'brought out under duress' the year before last ["Minima", see 15/316], which is 'beautifully produced, but far too expensive'; has just 'salvaged a few copies of the huge "remainder" to give away'. Is proud of his Milton imitations, but the 'rest are nugatory'.