Pièce 54 - Letter from M. N. O. Baily to R. C. Trevelyan, with postcard

1 letter, and postcard with black and white photograph of Baily in the role of Solveig in Ibsen's "Peer Gynt" and a quotation in English of "Solveig's Song of Faith".

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'.