Dangos 594 canlyniad

The file comprises manuscript drafts of letters from David Jones to some of his dearest friends: René Hague, Valerie Wynne Williams (and to her mother Mrs Price), Harman Grisewood, Helen Sutherland, Tom Burns, Jim Ede, Morag [McLennan], and Saunders Lewis.

The file comprises manuscript drafts of letters to The Tablet concerning the vernacularization of the Mass. Many of these drafts are of a letter comprising reflections by David Jones upon a report that the Catholics of Bangor, co. Caernarfon, had been preparing for the change from Latin to English of parts of Low Mass, 1964 (see LO1/7).

The file comprises manuscript drafts of letters to the press. These drafts concern matters as varied as the Duke of Windsor, The Anathemata, the bombing of towns, Christian art, errors in the text of In Parenthesis, 'Welshness in Wales' (see Epoch and Artist, pp. 51-3), the broadcasting of parts of Piers Plowman, the establishment of a Jewish state in Palestine, Christianity and poetry, proposed development schemes in Wales, the first mention of the stirrup, Stonehenge, Liverpool cathedral, the crucial dilemma affecting the practice of all the arts 'during our present civilizational phase', the early history of the Welsh language, 'Shakespeare and the Jewish Liturgy', the engraved illustrations of the 1860s and the profession of arms. Very few of these drafts comprise complete letters. The earliest of the few dates that occur amongst these drafts is 1942 and the latest 1961.

The file comprises manuscript drafts of a letter to The Listener concerning 'the 'divorce' between 'the arts' and 'life' which necessarily characterizes our mass-civilization.'

The file comprises a press cutting of a letter from David Jones to the editor of The Times criticising the decision to cut the Third Programme by a third.

The file comprises photocopies of twelve letters from David Jones to Stanley Honeyman, who was a fellow lodger at Northwick Lodge, Harrow.

The file includes letters between Colin Wilcockson and René Hague about The Anathemata, 1977, and especially about the 'Merton Commentary' - a commentary by William Curtis-Hayward on The Anathemata, which together with some letters from David Jones to William Curtis-Hayward were at Merton College, Oxford. The file includes copies of the six letters written by David Jones to William Hayward between December 1957 and July 1961, later published, with an introduction by Colin Wilcockson as David Jones, Letters to William Hayward, edited by Colin Wilcockson (London: Agenda Editions, 1979). There is also a letter to René Hague from 'Helen', and an article on 'The Break' by Colin Wilcockson.

The file comprises carbon copies of René Hague's typescript notes for his Commentary, with some additional manuscript notes in his hand.

The file comprises numerous manuscript drafts of 'Welsh Poetry' (see Epoch and Artist, pp. 56-65), a review of, or rather an article arising from, The Burning Tree by Gwyn Williams (London, 1956).

The file comprises three manuscript pages of a writing in David Jones's hand concerning the nature of art and of the eucharist ('The Xtian religion is committed to signs....').

The file comprises an early manuscript draft of 'Art and Sacrament', most of which was re-written for the text as it was published.

The file comprises a manuscript draft of 'The Arthurian Legend' which appeared in The Tablet, 25th December 1948, as a review of Arthurian Torso by Charles Williams and C. S. Lewis.

The file comprises a manuscript draft of an article about Eric Gill, possibly relating to one of the two articles published in Epoch and Artist on 'Eric Gill as Sculptor' and 'Eric Gill, an Appreciation', which were originally published in 1940 and 1941. Alternatively it may be for a radio broadcast by David Jones on Eric Gill produced by Douglas Cleverdon.

The file comprises miscellaneous manuscript drafts of writings published in Epoch and Artist. There are drafts of 'The Viae' (f. 1), 'Eric Gill' (ff. 2-3, drafts of the note on p. 302), 'Art and Sacrament' (ff. 4-6, includes a version of the poem on p. 179 slightly different to the printed text), 'The Heritage of Early Britain (f. 7-8), 'Abstract Art' (f. 9) and 'Wales and the Crown' (ff. 10-13).

The file comprises manuscript drafts of writings principally relating to art. Many of these drafts appear to be of letters to private correspondents, but there are also drafts of 'Use and Sign', 'A Christmas Message' and 'Notes on the 1930s' (see The Dying Gaul), drafts of 'Utile', 'Autobiographical talk' and 'Religion and the muses' (see Epoch and Artist) and possibly of other published writings. There are two drafts concerning James Joyce and Celtic art.

The file comprises page proofs of Epoch and Artist (which do not make up one complete set), and the dust jacket designed by David Jones.

The file comprises the publisher's agreement between David Jones and Faber and Faber, dated 31 July 1958, for a work provisionally entitled 'Selected Essays' which became Epoch and Artist.

The file comprises a manuscript draft of 'A, a, a, Domine Deus' (this draft begins with a passage subsequently excluded from the text of the poem; see LS1/1), two manuscript copies of the poem (one incomplete), a copy (xerox copy of manuscript) of that part of the poem published in Epoch and Artist (p. 179, this copy appears to have been intended to serve as printer's copy) and drafts of a letter to 'Eric', one dated 2 Nov. 1966, containing 'the eighty words which, should you wish, can be added to the so-called poem or fragment as already printed' (i.e. to that part of the poem published in Epoch and Artist) and showing how the poem is to be set out on the page.

The file comprises two manuscript copies of 'A, a, a, Domine Deus' and a copy (xerox copy of manuscript) of that part of the poem added in 1966 (see LS1/2). f. 2 is dated by David Jones 'c. 1938, '66 & 71'.

The file contains two complete typescript copies of 'The Wall' corrected by David Jones, and other sheets.