Dangos 683 canlyniad

The file comprises manuscript drafts of letters from David Jones, most of which contain biographical information. The addressees are listed on the wrapper. Includes drafts of David Jones's first letter to Colin Hughes, 1969.

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 series comprises material actually published in Dai Greatcoat, including copies of David Jones' letters, drafts and settings copies of the book, and related material.

The file comprises typescript and carbon copies of letters from David Jones to René Hague, and occasionally to his wife, Jean Hague, 1933-1974, selected for Dai Greatcoat.

The group contains early manuscript drafts Parts I-VII, final manuscript drafts Parts I-VII, typescripts No. 1-7, Page proofs no. 1-12, broadcast scripts and related material. There are some manuscript drafts to be found among the typescripts (LP3) and some typescripts to be found among the final manuscript drafts (LP2). The final manuscript draft from which the full typescript must have been made, and galley proofs, do not exist.

In Parenthesis: seinnyessit e gledyf ym penn mameu (1937) is an epic war poem which deals with the experiences of a soldier in the First World War . It is based on the period David Jones spent in France between December 1915 and July 1916. He began writing in 1927 and it was virtually complete in 1933 when he suffered a breakdown. It was published in 1937 by Faber, and was regarded by T. S. Eliot as 'a work of genius'. He was awarded the Hawthornden prize for it in 1938. The first radio production of In Parenthesis was transmitted in 1942. In 1961 a limited edition of In Parenthesis, with an introduction by T. S. Eliot, was published by Faber.

See Daniel Huws' introduction to the proposed catalogue of In Parenthesis (NLW ex 2393) for explanation of development of text, pagination and arrangement. See also a note by Harman Grisewood in the same folder on how the manuscript drafts were originally in two boxes.

The file includes two manuscript maps of the trenches, (2 ff.) notes on Welsh pronounciation (1 f.), unnumbered pages with some text (2 ff.), page numbered 206 with some text (1 f.) and numbered pages with no text (2 ff.).

The series consists of final manuscript drafts of In Parenthesis parts I-VII, with dedication, prologue, preface, notes, and miscellaneous fragments.-- A complete draft of In Parenthesis, completed at Pigotts 18 Aug. 1932. Portions of Part I and Part II are typescript, carried over from an earlier draft. The remainder is in manuscript. There are substantial additions, sometimes involving the rewriting of complete pages or runs of pages, the earlier versions being discarded, and much revision. Much of the rewriting and revision was very likely after 1932. -- Insertions at the end of Part VII do not appear in the 1935 typing, they were made presumably before David Jones had received the typescript. Others may also have been made after the draft had been sent for typing, but in time for the typist to include them. -- The preface is dated Sidmouth, Christmas 1935. Although the text of this draft is very close indeed to that of the first typescript, the typescript must be derived from a lost intermediate source, probably a fair copy of the present draft rather than a typescript.

The file comprises a final manuscript draft of Part III, 'Starlight Order' numbered 57-68, 68-70, 72-90, 90a, 91-94, 94a, 95-97 by David Jones.

The file comprises a final manuscript draft of Part VII 'The five unmistakable marks' numbered 234-7, 240-6, 250-9, 261-3, 265-7, 270-280, 280 a-d, 281 by David Jones. The file includes a few sketches of women by David Jones, on page 252 and 265. Page 281 is signed 'at Pigotts Aug 18 1932'.

The series consists of typescript drafts of In Parenthesis, including an early typescript dated 1932, the title and dedication, four versions of the preface, a typescript copy of the whole text, carbon copy of some parts of the text, notes for Parts IV-VII, a manuscript epilogue which was not used, and some additions to be inserted into the text.

The file comprises carbon typescripts of the title pages and dedication with some revision, 1937, a later typescript version of the dedication, a colourful manuscript map of the trenches, and an index to the typesetting signs used by David Jones. There is a note on f. 1 by René Hague referring to the numbering of the Notes.

The file comprises a typescript draft of the Preface, dated Christmas 1935 in the typescript, but with significant manuscript revisions by David Jones dated March 1st 1937.

The file comprises a typescript draft of the Preface, dated March 1st 1937, made from the carbon of the 1935 typescript (LP3/4). This draft includes some manuscript revisions by David Jones, and is marked off for printing and dated 24 March 1937 in another hand.

The file comprises letters to David Jones, including a typed acknowledgement from Lloyd George, 1910; letters relating to David Jones' Civil List Pension, 1954 and 1967; a letter asking if he will accept the CBE, with a draft acknowledgement, 1955; a letter from the Queen Mother's Lady in Waiting, 1955; a signed letter from Neville Chamberlain relating to In Parenthesis, 1939; and a letter relating to television coverage for Wales from Megan Lloyd George, 1959. There are also invitations to garden parties at Buckingham Palace, 1950, 1951, 1952, 1953, and 1955 with David Jones' draft refusals.

The file comprises typescript copies of five letters from David Jones to Jim Ede, 1944-1952, and two to René Hague, 1960-1964, and two letters from René Hague to Peter [Orr] and Nicolete Gray, 1978.