The Last Word

A’ Choisir-chiul: The St. Columba Collection of Gaelic Songs, Arranged for Part-Singing. London: Bayley and Ferguson, n.d. Notes: Flyleaf: Inscribed "Una Jeffers, On board ship Oban--to Iona and Staffa, September 1929." Inside front cover: Pasted-in clipped verse: "From the lone shieling of the misty island / Mountains divide us, and the waste of the seas-- / Yet still the blood is strong, the heart is Highland, / And we in dreams behold the Hebrides."

A Practical Hand-Book to Galway, Connemara, Achill, and the West of Ireland, with a Description of the Principal Objects of Interest on the Journey from Dublin. Dublin: The Midland Great Western Railway Company, 1896. Notes: Flyleaf: In Una’s hand, "Round Towers--Donoughmore 12; Taghadre 23; Clonmachnors 37; Aran Islands 50; Aghagower (near Westport) 94; Killala (nr. Belfast) 120."

A. E. (George William Russell). Voices of the Stones. New York: The Macmillan Company, 1925. Notes: Inside front cover: Clipped drawing of A. E. by William Rothenstein. In Una’s hand, two poems: (1) "Ah, when I think the earth on which I tread / Hath borne these blossoms of the lovely dead / And makes the living heart I love, to beat / I look with sudden awe beneath my feet / As you, with erring reverence, overhead." (2) "‘I look on wood and hill and sky, / Yet without any tears; / To the warm earth I bid goodbye / For what unnumbered years. / So many times my spirit went / This dark transfiguring way, / Nor ever knew what dying meant / Deep night or a new day, / So many times it went and came, / Deeper than thought it knows / Unto what majesty of flame / In what wide heaven it goes’ (The last poem in A. E.’s last book of verse)." Half-title page: clipped verses pasted in: "Call now thy wanderer home as yet, / Though he be late. / Now is his first assailing of / The invisible gate. / Be still through that light knocking. The hour / Is thronged with fate. • • • Let thy young wanderer dream on, / Call him not home. / A door opes, a breath, a voice / From the ancient room / Speaks to him now. / Be it dark or bright, / He is knit with his doom." Title page: Loose, a small card, with a brightly colored Irish symbol printed on it, and inscribed in Una’s hand, "Mrs. Jeffers." Page 62: Four clipped poems: (1) "Still rests the heavy share on the dark soil; / Upon the black mold thick the dew-damp lies. / The horse waits patient: from his lowly toil / The plowboy to the morning lifts his eyes. / The unbudding hedgerows dark against the day’s fires / Glitter with gold-lit crystals: on the rim / Over the unregarding city’s spires / The lonely beauty shines alone for him. / And day by day the dawn or dark enfolds / And feeds with beauty eyes that cannot see / How in her womb the Mighty Mother molds / The infant spirit for eternity." (2) "Vale." "This was the heavenly hiding place / wherein the spirit laughed a day, / All its proud ivories and fires / Shrunk to a shoveful of clay. / It must have love, this silent earth, / To leap at the King’s desire, / Moving in such a noble dance / Of wreathed ivory and fire. / It will not stir for me at all, / Nor answer me with voice or gleam. / Adieu, sweet-memoried dust, I go / After the Master for His dream." (3) Now the silver light of dawn, / Slipping through the leaves that fleck / My one window, hurries on; / Throws its arms around my neck. / Darkness to my doorway hies, / Lays her chin upon the roof, / And her burning seraph eyes / Now no longer keep aloof. / And the ancient mystery / Holds its hands out day by day, / Takes a chair and croons with me / By my cabin built of clay." (4) "Platonics." // "I walked with a young dryad through the woods, / And though the town poured out its noisy folk / That all might seem as common as the street / Under the palace of leaves, yet nothing broke / The sweet antiquity wherein my feet / Kept pace with a young dryad through the woods. / Was not thy light-limbed beauty an evocation / Of the gay Child that ever in us bides / Ancient with youth? Even under gray hair / It leaped up golden, the shining wanderer, / The unwithering life that in the mortal hides. / Of this was thy light beauty the evocation. / Unknowing the subtle Master of Every Art, / Thy gentle finger shaping thee to His mind / With airy touches, think not fantastical / The words that praise thee as being over kind-- / A friend’s blindness. No. I see but in all / The subtle hand of the Master of Every Art." Page 63: In Una’s hand, "Sacred Hazel = the Celtic Tree of Life. It grew over Comla’s Well and the fruit which fell from it were the Nuts of Knowledge which give wisdom and inspiration. Comla’s Well is a Celtic equivalent of the First Fountain of Mysticism. ["Comla’s" is my best guess; Una’s handwriting here is a bit difficult.] / The three great waves = the wave of Toth, the wave of Rury, and the Long, slow white-foaming wave of Cleena. In the bardic stories those three mystical waves shout round the coast of Ireland in recognition of great kings and heroes. / Fomor (the dark powers) were defeated by the Tuatha de Danaan (hosts of light) at Moytura led by Lu (or Leigh) god of light who slew Balor of the Evil Eye by a cast from a sling." Page 64: Clipped fragment of an article about A.E.: ". . . . the god, jealous that their high inheritance shall not perish: ‘Let it not die, let us still be / Even in heart-torturing remembrance bound / to what we were.’ / There are magnificently sweeping passages in this poem, passages of exaltation and inspiration. A. E., sage of the years, has once more descended from the mountain ranges of thought to call hopefully to the children of men. Armid had been keeping vigil with the droning king to whom she had brought the vision of the future. the poem ends thus: ‘So the high king, rapt in his vision dreamed / Of that great hostel. at the end of time / Where all the cycles sleep; and came at last / To open his eyes upon the brazen gloom / To know the labor before him, and to hear / The Titans raving madly in the hall.’" Below is a picture of A.E. from a print by Walter Tittle. Page 65: Two clippings: (1) "Those images of beauty / That once I did despise, / Now in my age I cherish / And clutch with miser’s eyes. / Even for one frail blossom / I will make sacrifice. / Once there were other treasures / I had, O strange to say, / Made dim those magic blossom / And I cast them away. / I cast beauty from me / As a god child might in play. / O what was in the being / Of boyhood that could make / Beauty seem but a glimmer / That followed in the wake / Of some proud sail set sunward / On some enchanged lake." (2) "Still lit with that loving directness, the mind can turn with no misgiving to the cloudy radiance of AE, as a friend of painting might turn from a Dutch interior to Murillo. AE is the true mystic, the thinker who thinks to the end, and then abandons thought, not because he is incapable of it, but because he chooses a nobler use, or one nobler to him:-- ‘Is there still in us / A heaven-descended ray / Of that which built the palaces / Of night and day? / Do our first works, sun, noon and stars, / Shine on our clay?’ Yes, there is such a heaven-descended ray in this poet. He has rhythms so slow that you would think that they could not overtake a shadow. That is their cunning. They can overtake, and hold, the light that casts it." (No source, no attribution, no identification of poems.) Inside back cover: Two clipped portraits of A.E., one a photograph and the other a painting by Jack Yeats.

A. E. (George William Russell) AE’s Letters to Mínanlábáin. New York: The Macmillan Company, 1937. Notes: This volume is a collection of letters written by AE to Kingsley Porter and his wife, Lucy Kingsley Porter (who wrote the introduction). Flyleaf: Two inscriptions: (1) "Tor House, Carmel," in Una’s hand. (2) "To Mrs. Jeffers, who carries the spirit of Glenneagh within her. Carmel, Feb. 23, ‘46, Lucy Kingsley Porter." Inside front cover: In Una’s hand, "‘We who live inland never know anything about islands. We never know what the sea is like with its spaces, its storms, its sadness, its exaltation. We have never felt the wild wind sweeping unbroken from the rim of the world. We know nothing of islands. Why, the sea is full of islands, thousands of them of all sizes--some with mts. rising high out of the water, others with low rocks and green fields and beaches with sea birds. It is in islands there is magic. It is in islands one breathes fresh, salt air. Heavy-footed dwellers on the mainland never know joy. It is the island-dweller whose heart leaps and sings.’ (Kingsley Porter wrote this in an unpublished play.) See page 15 this book. Inish Bofin (Island)." Page 15: Lucy Kingsley Porter’s story about her voyage from Inish Bofin to the mainland, where AE was waiting for her, knowing that her husband had been swept off the cliffs and lost. Back flyleaf: In Una’s hand, "AE: ‘It is part of my philosophy that things that are evil can be got rid of by thinking of their opposites.’ Moore: ‘I think AE is too great a man to be a great artist.’ Moore: ‘Art with AE is a means rather than an end; it should be sought, for by its help we can live more purely, more intensely but we must never forget that to live as fully as possible is, after all, our main concern. . . . . he sets life above craftsmanship.’"

A. E. (George William Russell) The Candle of Vision. London: Macmillan and Company, 1920. Notes: Inside front cover: Pasted-in photo of A. E. Front flyleaf: Inscribed in Una’s hand, "Una Jeffers." Back flyleaf: In Una’s hand, "As he spoke he paused before a great mound grown over with trees and around it silver-clear in the moonlight were immense stones piled, the remains of an original circle, and there was a dark, low, narrow entrance leading therein. ‘This was my palace. In days past many a one plucked here the purple flower of magic and the fruit of the tree of life.’ And even as he spoke, a light began to glow and to pervade the cave and to obliterate the stone walls and the antique hieroglyphics engraven thereon and to melt the earthen floor into itself like a fairy sun [had?] dimly uprisen within the world, and there was everywhere a wandering ecstasy of sound: light and sound were one; light had a voice and the music hung glittering in the air . . . ‘I am Aengus; men call me the Young. I am the sunlight in the heart, the moonlight in the mind; I am the light at the end of every dream, the voice forever calling to come away; I am desire beyond joy or tears. Come with me, come with me, I will make you immortal: for my palace opens into the Gardens of the Sun and there are the fire-fountains which quench the heart’s desire in rapture.’"

Abbott, Herbert Vaughan, Ed. The Sir Roger de Coverley Papers from The Spectator. Chicago: Scott Foresman, 1899. Notes: Flyleaf: Inscribed "Una Call" at top of page and "Donnan Jeffers" at bottom. Page 12: Pasted-in clipped portrait (original by Sir Godfrey Kneller) of Joseph Addison. Page 207: Pasted-in cartoon illustration by H. M. Brock for "an Edition of ‘Sir Roger de Coverley’" captioned "Lulled Asleep with solid and elaborate Discourses of Piety."

Adamic, Louis. The House in Antigua: A Restoration. New York: Harper and Brothers, 1937. Notes: Flyleaf: Inscribed "To Garth Jeffers, I hope you’ll go to Guatemala some day, Louis Adamic, 1938." Listed under "‘Other Books by Louis Adamic,’ Robinson Jeffers: Portrait of a Poet (Pamphlet; out of print)."

Aeschylus. Agamemnon. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Little Blue Book Series Number 760. Cover: In RJ’s hand, faint writing which begins, "A story of [the rest is unreadable]" Inside back cover: Pasted in, a brief, clipped fragment (no source, date or attribution) discussing the value of "freedom" or "liberal variations on the Greek," giving "force and vigour" to the translation of Greek dramatic verse by Professor Murray.

Aldington, Richard, Ed.. The Viking Book of Poetry of the English Speaking World. New York: The Viking Press, 1941. Notes: Contains two poems by Jeffers: "Signpost" and "Shine, Perishing Republic." Page 98: Una notes the lines "But from this earth, this grave, this dust, / My God shall raise me up, I trust," from Sir Walter Raleigh’s "Verses Written in His Bible." Page 139: Una notes "The Shepherd’s Wife’s Song" by Robert Greene. Pages 184, 188, 189--Una notes songs from Shakespeare. No marginalia to indicate which of the songs was of particular interest.

Alighieri, Dante. La Vita Nuova (The New Life). Translated and illustrated by Dante Gabriel Rossetti. London: George Routledge and Sons, n.d. Notes: Inside front cover: Museum picture-card showing Paolo and Francesca (no other identification). Book purchased in Florence, according to bookstore’s plate, also inside the front cover.

American Academy of Arts and Letters. New York: National Institute of Arts and Letters. Notes: These are the Academy’s yearbooks for 1950-55; 1957-60. Jeffers is listed as having been elected to the Institute’s Department of Literature in 1937, and as having been elected to the Academy in 1945 (he held Chair 28-3). Jeffers does not appear to have been otherwise active in the organization, as he is not listed as an officer, a committee member or as the recipient of any of the organization’s awards.

American Red Cross First Aid Text-Book. Philadelphia: P. Blakiston’s Son and Company, 1937. Notes: Fkyleaf: Una has written notes for treatment for shock in flyleaf. Page 130: Inserted loose: 1942 leaflets on "The Application of Traction Splints" and "War Gases," and a clipped article titled "What to Do in an Air Raid . . . What to Do in a Gas Attack." On back cover: Una’s handwritten notes on treating sprains, strains, puncture wounds, hemorrhaging and blood poisoning.

Amphora: A Collection off Prose and Verse Chosen by the Editor of the Bibelot. Portland, Maine: Thomas Bird Mosher, 1914. Notes: Hand-cut pages (some uncut). Page 76: In margin next to Gerard Manly Hopkins "I have desired to go / Where springs not fail . . ." and a handwritten note: "Lines on a nun taking the veil."

Angeli, Helen Rossetti. Shelley and His Friends in Italy. London: Methuen and Company, Ltd., 1911. Notes: Flyleaf: Inscribed "Una Jeffers." Pasted-in clipped photo labeled in Una’s hand, "Caetani Tower - Pontine Marsh." Title page: In Una’s hand under author’s name, "(daughter of William Rossetti and niece of Dante Gabriel Rossetti.)." Page 126: pasted-in clipped reproduction of a miniature captioned "Countess Teresa Guiccioli. Venice, April, 1819." Opposite Index: Pasted-in clipped article titled "The Shore of Shelley’s Funeral Pyre" by F. L. Minnigerode, in which the event is described in imaginative detail. Inside back cover: Four 4" x 6" photographs, loose, with handwritten notes on backs: (1) tombstone of Joseph Severn ("Rome by Alfred Sutro"); (2) Keats’ tombstone ("Rome by Alfred Sutro"); (3) street scene ("where Keats died, Piazza di Spagna, Rome, from Alfred Sutro"); (4) pyramid surrounded by grass, trees and tombstones ("Rome, Caius Cetius Pyramid, by Alfred Sutro").

Aristophanes. The Clouds. William Arrowsmith, Translator. Ann Arbor: The University of Michigan Press, 1962. Notes: Inside front cover: Inscribed in handwriting neither Una’s nor Robin’s, "Jeffers." Loose 3" x 5" card with note, "Benjamin Bickley Rogers, best tr. of Aristophanes. Frere is a standard tr." in pencil. Publication date suggests that this volume might belong to a younger member of the Jeffers family.

Arnold, T. W., Trans. The Little Flowers of Saint Francis. London: J. M. Dent and Company, 1901. Notes: Flyleaf: Inscribed in Jeffers’ hand, "John Robinson Jeffers, Jan 10, 1902." Ribbon bookmark lies at beginning of Chapter VII, "How Saint Francis passed a Lent in an island I the lake of Perugia, where he fasted forty days and forty nights, and ate no more than one half loaf."

Ausgabe, Geordnete, Erste Vollständige and Herausgegeben von Ernst Kamnitzer. Novalis Fragmente. Dresden: Jess Verlag, 1929. Notes: Flyleaf: Inscribed "Brian[?] William[?] for Robinson Jeffers affectionately" (the latter phrase appears written in Jeffers’ hand). 790 pages in German, this volume is marked throughout, both in the text (marginal check marks and lines) and in the index (check marks). The book contains only one handwritten word (in English; see end of this entry), so it is difficult to determine whose marks these are, but the method of marking the book is not consistent with Una’s habitual treatment of a favorite work; it is much tidier and more terse. The volume contains ten neatly cut paper book marks, all carefully arranged and lined up along the inner edges of the pages they mark. This, too, is unlike Una’s habit. It is possible that RJ or Mr. William[?] might have been the source of these additions. It would take considerable time to transcribe all of the marked passages, as they occur throughout the book, but this appears a sufficiently important work to note the book’s chapters (then leave it to a later researcher who can understand and appreciate the German text and see a relationship between the material here and Jeffers’ work): Novalis Als Mythische Gestalt; Fragmente Über Die Fragmente; Geschichte Der Enzyklopädistik; Geschichte Meines Lebens; Bruchstücke Philosophischer Enzyklopädistik (includes discussions of the relationship between poetry and philosophy throughout, along with discussions of German philosophers, Greek philosophers, logic, pedagogy, cosmology, nature philosophy, and moral philosophy); Magische Philosophie; Bruchstücke Physikalischer Enzyklopädistik; Chymie; Magische Chemie, Mechanik und Physik; Mathematiche Fragmente Das Ist Philsophische Betrachtung Der Mathematischen Begriffe; Magische Mathematik; Bruchstücke Medizinischer Enzyklopädistik; Magische Medizin; Bruchstücke Psychologischer Enzyklopädistik (heavily marked in index); Fragmente Uber Den Menschen, Menschenlehre; Von Zusammengesetzten Menchen, Höhere Wissenschafslehre; Rechtslehre; Staatslehre; Geschichtslehre; Magische Menschenlehre; Magische Geschichtslehre; Religiöse Fragmente; Mystizismen; Kunstfragmente; Magische Kunstfragmente; Romantische Noten; and die Christenheit Oder Europa. One handwritten word, "Abstract," in relation to the topic "Goethe ist ganz praktischer Dichter," appears on page 652; the handwriting could be RJ’s.

Automobile Association Irish Handbook, 1937-38. Dublin: Automobile Association of Ireland, 1937. Notes: Inside front cover: In Una’s hand, two notes: (1) "Accident July 9; July 24 left Taos." (2) In uncharacteristically untidy hand on flyleaf, "Una Jeffers." Pages 40-41: Una has checked several A.A. publications: A. A. Road Book of Ireland; A. A. Road Book of England and Wales; A. A. Touring Map of Ireland; A. A. Touring Map of England and Wales; Irish Service Map. In margin, some notes: "Aran Is. / Bookstore Towers / gloves."

Baillie-Grohman, William A. Sport in Art: An Iconography of Sport, Illustrating the Field Sports of Europe and America from the Fifteenth to the End of the Eighteenth Century. London: Simpkin, Marshall, Hamilton, Kent and Co., n.d. Notes: Inside front cover: Note in Una’s hand, "Unicorn page 98." Page 98: Reproduction of "Frieze depicting combats with wild animals and griffins" by E. Delaune.

Ball, Wilfrid. Some Sussex Water-Colours. London: Adam and Charles Black, 1913. Notes: Opposite print of Bodiam Castle: Clipped sketch of "Inner View and Gate of Bodiam Castle." Back flyleaf: "Bodiam Castle in Sussex." Inside back cover: Postcard (labeled "Lee") captioned "La Vierge du Grand Duc" from Pitti, Florence (loose), and clipping of entrance gateway of Bodiam Castle from interior showing the Barbican (pasted).

Balzac, Honoré de. Père Goriot. Washington: National Home Library Foundation, 1932. Notes: Flyleaf: Inscribed "To Robinson Jeffers with kindest regards, Sherman Mittell." (Mr. Mittell is listed as the editor for the series to which this volume belongs--The Jacket Library.)

Barnes, William. Poems of Rural Life in the Dorset Dialect. London: C. Kegan Paul and Company, 1879. Notes: Table of Contents: Poems checked in pencil: "The Spring," "Evenèn, an’ Maïdens out at Door," "Our Fathers’ Works," "Woak Hill," and "The Turnstile." Page x: Penciled note, "Goods all a shienen’ / M’long years a handlin’." Page 160: Two inserted items: (1) Transcription in Una’s hand identified as "Letter from Sir Edmund Gosse to Hamo Thorrycroft, Shirehall Lane, Dorchester, July 23, 1883. ‘Hardy has taken a house in this town a houses of which a townsman said, "He have but one window and she do look into Gaol Lane." It is indeed a kind of mole, for the entrance is almost invisible and its burrow extends to the back of everything. Dorchester is an enchanting little country town, with several handsome churches, old fortifications turned into elm avenues and bits of Roman walls and vallum everywhere--as bright and clean as a pin and full of life: a cavalry and an infantry regiment are stationed in it and bugling and marching and the loitering colored military give it quite a foreign air. Hardy and I walked last afternoon through fields of rye 5 and even 6 ft. high to the village of Winterbourne-Came of which Mr. Barnes the poet is Rector. We were ushered up into the choir, behind a delicious old carved screen among 17th cent. marble monuments of the Earls of Portarlington. The church is a tiny little affair that you could put in your park. The congregation seemed to fill it pretty well and yet we were only 45 souls in all. Barnes is a wonderful figure. He is in his 83rd yr. He has long thin silky white hair flowing down and mingling with a full beard and moustache also as white as milk a grand dome of a forehead over a long thin pendulous nose, not at all a handsome face but full of intelligence and a beauty of vigor in extreme old age. He undertook the entire service himself and preached rather a long sermon. Then he stayed behind to hear the school children practice their singing and walked to the rectory as he had walked from it, rather over a mile. We waited in Came Park and he caught up with us. His dress is interesting, black knee breeches and silk stockings, without gaiters, and buckled shoes. I hear he is the last person in Dorset to keep up this dress. He was extremely hospitable and seemed untirable. We stayed four hours with him and all that time he was hurrying us from place to place to show us his treasures. His mind runs chiefly on British antiquities and philology! It was difficult to induce him to talk much about his poems. I was extremely gratified and interested by my visit. / Gosse to Drinkwater Oct. 21, 1926 / On the 16th of Aug 1875 my wife and I being on our wedding journey drove from Clovelly to Bude. It was a wild morning of storm. We turned a little aside at Hartland intending to call and pay our respects to Mr. Hawker, but on approaching the confines of Morwenstow heard the passing bell and stopping to inquire were told that the news of the Vicar’s death on the preceding day had just reached the village.’" (2) Clipped news article, attributing the awakened interest in Barnes to "a well-known American poet, Mr. Robinson Jeffers," from the front page of the Dorset County Chronicle and Swanage Times, Thursday, July 15, 1948 (Vol. CXXVII No. 5326) titled "Crossed Atlantic to Study Barnes," with the following passages printed in bold: "Not only engineers can earn badly needed dollars for us. Not only living men can pull their weight to help this country. Out of the shades of yesterday a poet has returned to Dorset, drawing visitors from America who have specially come to study his work. . . . [W. T. Levy from City College, New York] has specially come all the way from his home to study Barnes’ work and surroundings with the intention of writing a book about the poet." A handwritten note at the top of the clipping says, "I have some additional copies for you should you want them. A news bulletin to the same effect went over the BBC and I may record an interview for the BBC next week! Barnes has ‘news value’! I have so much to tell you. I saw Lennox and Mr. Seumas O’Sullivan in Dublin and Mr. O’Sullivan is a great admirer of Robin’s. WTL." Advertisement Section, page 1 (at back of the book): Clipped, pasted-in ad for a mint copy of Hardy’s 1908 Select Poems of William Barnes, Chosen and Edited.

Barwell, Noel. Cambridge. London: Blackie and Son, Ltd., 1910. Notes: Flyleaf: Inscription reading "A. T. W. W., 8: 7: 1918. R. A. F. Armament School, Oxbridge." Inside front cover: Pasted-in, two clipped pictures captioned "Christ College, Cambridge; and "Corpus Christi College, Cambridge, Where Marlowe Went to College." Inside back cover: Pasted-in, clipped picture captioned "Pembroke College, Cambridge."

Baudelaire, Charles. The Poems of Charles Baudelaire. Selected and Translated from the French, with an Introductory Study, by F. P. Sturm. London: The Walter Scott Publishing Company, n.d. Notes: Inside front cover : In Una’s hand, "Recueillment" / "Sois sage, O ma Douleur, et tiens-toi plus tranquille / Tu réclaimais la soir, il descend; le voici: / Une atmosphère obscure enveloppe la villa, / Aux uns portant la paix, aux autres le souci, / Pendant que des mortels la Multitude vile / Sous le fouet du Plaisir, ce bourreau sans merci / Va cuellir du remords dans la fête servie / Ma Douleur, donne-moi la main, viens par ici. / Loins d’eux, vois se pencher les défuntes amiées / Sur les balcons du Ciel, en robes suramiées / Surgir du fond des eaux le Regret Souriant. / Ce Soleil moribond s’endormir sous une arche / Et comme un long linceul traîmant à l’Orient / Entends, ma chère, entends la douce nuit qui marche. / Que dires-tu ce sois, pauvre âme solitaire / Que diras-tu, mon coeur, coeur autrefois flètri, / A la très chère / Dont le regard divin t’a soudain refleuri?" Inside back cover: In Una’s hand, "Ange plein de gaîté connaissez-vous l’angoisse / La honte, les remords les sanglots, les ennuis / Et les vagues terreurs de ces affreuses nuits / Qui compriment le coeur comme / un papier qu’on froisse? / Ange plein de gaîté, connaissez-vous l’angoisse? / . . . mes yeux consumés ne voient / Que des souvenirs de soliels."

Bawden, Edward and Noel Carrington. Life in an English Village: Sixteen Lithographs by Edward Bawden with an Introductory Essay by Noel Carrington. Harmondsworth, Middlesex, England: Penguin Books, 1949. Notes: Front flyleaf: Inscriptions reading "Una dear - This came from Bess Francis the other day and as I read it it occurred to me that you would enjoy it!" and "Greetings from London - Bess."

Beard, Charles A. and William C. Bagley. The History of the American People. New York: The Macmillan Company, 1923. Notes: Inside front cover: Pasted in, a clipped article headed "‘An Insult to the Flag: The Trent Affair: England on the Verge of War: Lincoln’s Calmness.’ (By Our Military Correspondent.)." Below, in Una’s hand, "London Observer, Dec. 1931."

Beerbohm, Max. The Poet’s Corner. London: The King Penguin Books, 1943. Notes: Page containing Rossetti sketch: In hand (pencil), in the margins around Beerbohm’s sketch titled "Dante Gabriel Rossetti, in his back garden," the following caricatures are identified: Meredith, Burne-Jones, Hall Caine, Holman Hunt, Ruskin, William Morris, Mrs. William Morris, Rossetti, Watts-Dunton, Swinburne, Whistler.

Benét, William Rose, Ed. The Oxford Anthology of American Literature. New York: Oxford University Press, 1938. Notes: Pages 1354-83: Nine works by Robinson Jeffers: The Tower Beyond Tragedy (full text), "Noon," "Night," "Invocation from Tamar," "Ante Mortem," "Tor House," "The Death of the Eagle from Cawdor," "Love the Wild Swan," and "Self Criticism in February." Pages 1669-70: A brief critical biography of Jeffers, in which Jeffers is characterized as "the obverse of Walt Whitman," and in which Jeffers comments on the origin of The Tower Beyond Tragedy: "My father gave me a good start in Latin and Greek when I was quite young, both at school and at college. I took them as they came, and that was never profoundly. I think most of whatever acquaintance I have with the classic spirit came from reading English poetry. The origin of The Tower Beyond Tragedy was probably in the rich voice and Amazon stature of a German-Jewish actress with whom we were acquainted a few years ago. She recited one of the more barbaric Scotch ballads magnificently in private, and her voice suggested Clytemnestra and Cassandra to me, all the more because she rather failed in the usual sort of play. I had no thought of production when I wrote, and for that reason began with some lines of narrative. . . . We turn to the classic stories, I suppose, as to Greek sculpture, for a more ideal and also more normal beauty, because the myths of our own race were never developed, and have been alienated from us."

Benson, Robert Hugh, Reginald Balfour, and Charles Ritchie. An Alphabet of Saints. London: Burns Oates and Washbourne Ltd., n.d. Notes: Title page: Inscribed "For Una from Ellen, July 1930."

Birmingham, G. A. Our Casualty and Other Stories. New York: George H, Doran Company, 1918. Notes: Flyleaf: Inscribed "Rumsey Campbell."

Blake, William. Poems and Prose of William Blake. Girard, Kansas: Haldeman-Julius Company, n. d. Notes: Little Blue Book Series Number 677. Inside front cover: Pasted-in clipped picture of William Blake from a portrait in the National Portrait Gallery. Inside back cover: Pasted-in, "Infant Sorrow," under which Una has written, "Blake."

Bland, Henry Meade, Ed. A Day in the Hills: A Poetical Competition of the Edwin Markham Chapter of the English Poetry Society Held at Villa Montalvo, Saratoga, Santa Clara County, California, September 18, 1926; Including a Short Anthology of California Poems Specially Contributed by Their Authors. San Francisco: James D. Phelan, 1926. Notes: Because of the associations here with Phelan family (Noel Sullivan’s family) and Sterling, I have noted some of the interesting items in this volume. Inside front cover: Loose photograph of a young woman placing a laurel wreath on a sculpted bust; written on the photograph in white ink, "Theta Sigma Phi, souvenir of visit, Helen Wills crowned June 5 ‘27, Villa Montalvo, Saratoga, California." The introductory note describes the event: "The Edwin Markham Chapter of the English Poetry Society of the Teachers’ College, San Jose, Santa Clara County, California, held its second annual out-of-door meeting at Mr. James D. Phelan’s Country Estate, Villa Montalvo, Saratoga, on September 18, 1926, when the prize poems were read and book prizes were handed to the winners (previously determined) by Gertrude Atherton, and laurel wreaths were conferred by Helen Wills. The Club Members and other invited guests were entertained at luncheon on the terraces by Senator Phelan, and afterward the company adjourned to the open-air theater for the literary exercises. . . . It was decided to invite a few well-known California writers to contribute to the Souvenir Volume, and their generous response is hereby acknowledged with thanks and an expression of deep obligation by the English Poetry Society." Facing page 24: photograph of George Sterling with James D. Phelan and Edwin Markham at Villa Montalvo, 1915, and a facsimile of Sterling’s manuscript of "At Villa Montalvo" below. Facing page 56: photograph of Sterling at the Bohemian Grove, 1926, captioned, "In Memoriam George Sterling." Pages 51-52: Three poems by Sterling: "Abraham Lincoln" (identified in the text as "perhaps his last poem"); "To Charles Warren Stoddard"; and "Sorrow." Pages 82-84: "Woodrow Wilson: February, 1924" by Robinson Jeffers.

Blunt, Wilfrid Scawen. My Diaries: Being a Personal Narrative of Events 1888-1914. (Part One.) New York: Alfred A. Knopf, 1921. Notes: Flyleaf: Inscribed "Una Jeffers." "Publisher’s Note" page: Pasted-in announcement of the availability of 275 numbered copies of The Celebrated Romance of the Stealing of the Mare, "translated from the original Arabic by Lady Anne Blunt and done into verse by W. S. Blunt." Page 234: Loose, clipped article from the front page of the September 19, 1925 edition of The Saturday Review of Literature (Vol. II, No. 8): "Uncrowned King of Sussex" by Cameron Rogers, recalling Blunt’s remarkable life (he died in 1922). Also a brief clipped article (n.d., n.p.) titled "In His Traveling Carpet" describing the burial wishes of and legacies left by Blunt. Page 312: Clipped article by Padraic Colum from The Commonweal, October 28, 1931 (page 635), recalling Blunt and making reference to My Diaries. Inside back cover: 1½" x 1" plate: "MY DIARIES, Wilfrid Scawen Blunt, Part One, 1888 to 1900." [lre]

Blunt, Wilfrid Scawen. My Diaries: Being a Personal Narrative of Events 1888-1914, Part Two [1900-1914]. New York: Alfred A. Knopf, 1921. Notes: Flyleaf: Inscribed "Una Jeffers." Title page: In Una’s hand under title, "1840-1922." Inside back cover: Pasted-in 1½" x 1" plate: "MY DIARIES, Wilfrid Scawen Blunt, Part Two, 1900-1914."

Bogg, Edmund. A Thousand Miles of Wandering in the Border Country. Newcastle: Mawson, Swan and Morgan, 1898. Notes: Flyleaf: Inscribed in Una’s hand, "Una Jeffers, Tor House, Carmel, 1930." Other notes on flyleaf appear those of a previous owner. Inside front cover: Pasted-in, clipped photo of Barcaldine Castle. It appears that Una came into the possession of this book after it had been owned by a kindred spirit, for there are many pasted-in clippings throughout (all meticulously pasted into the inner edges of the book in a manner uncharacteristic of Una) and handwritten notes (in a hand other than Una’s).

Bone, Gertrude. Of the Western Isles. London: T. N. Foulis, 1925. Notes: Front flyleaf: Pasted-in, clipped pictures of Iona, Shetland, and an account of a pilgrimage to local Masonic lodges in the Farne Islands off Northumberland, where St. Cuthbert lived (and died in 687). Half-title page: Pasted-in, clipped photograph of Skye, with Duntulm Castle in background. Page 52: Loose, clipped photograph of the same scene, but a wider view.

Borthwick, Norma. Irish Reading Lessons. Book 1. Dublin: The Irish Book Company, 1902. Notes: Flyleaf: Inscribed "Una Jeffers, Dublin, 1929."

Bostick, Daisy. Carmel--Today and Yesterday. Carmel: the Seven Arts, 1945. Notes: Flyleaf: Inscribed, "Sincerely yours, Daisy Bostick, Carmel, Cal." Page 56: "Howard E. Smith has done many portraits of well-known people, among them Robinson Jeffers and General J. W. Stilwell" (this is where the books opens most readily). Page 74: "Every summer, from 1910 onward (except for two intermissions) plays have been produced in the Forest Theater. Outstanding among the premiere productions were The Toad by Bertha Newberry, Fire by Mary Austin, Montezuma by Herbert Heron, Junipero Serra by Perry Newberry, Serra by Garnet Holme and The Tower Beyond Tragedy by Robinson Jeffers. Page 79: Photograph captioned "Entrance to Carmel Playhouse--Owned and Operated by Edward G. Kuster." The story of the genesis and trials of the theater is briefly told. Pages 86-88: An unusual amount of space and two photographs (Tor House and Hawk Tower by Horace Lyon, and a Weston portrait of Jeffers) are devoted to Robinson Jeffers: "Robinson Jeffers, said by one critic to be the greatest poet since Homer, has made his home in Carmel for three decades. The scenes of many of his poems have been laid on the coast south of Carmel and in the Carmel valley. Visitors from all over the world come here just to stop before his home on the rocky shore and to draw inspiration from the picturesque granite tower which was built by his own hands and where on its upper level he has spent much time in looking out over the Pacific and in the creation of his epic poems."

Boswell, James. A Journal of a Tour to the Hebrides with Samuel Johnson, LL.D. London: J. M. Dent and Sons, Ltd., 1928. Notes: Page 167: Loose, clipped review, "The Mystery of Mary Broad Solved: An Obscure but Benevolent Incident in the Career of a Great Biographer," by William L. C. Carlton, discussing Boswell and The Girl from Botany Bay by Frederick A. Pottle. Page 318: In Una’s hand, in left margin, a translation of Quod petis, hic est; / Est Ulubris; animus si te non deficit æquus: "What you seek is here, even in Ulubrae, if your mind is firm."

Bourdillon, Francis William, Ed. Aucassin and Nicolette: An Old French Love Story. London: Macmillan and Company, 1907. Notes: Page 150: Loose, a typogravure card of Madonna in Adoration by Lippi (at the Washington Cathedral).

Bradford, Charles Angell. Heart Burial. London: George Allen and Unwin Ltd., 1933. Notes: Inside front cover: Loose clippings: (1) A fragment of a review of a book about the early beginnings of the Maryknoll order and of the request, later granted, by one of the order’s founders, that his heart be buried near the tomb of St. Bernadette. Una identifies the central figure in this story as "Father Price of Maryknoll, died in China Sept 1910." (2) Clipped article from Time, November 20, 1944, titled "The Heart of Santos-Dumont," telling of a "piece of sculpture holding a preserved human heart [that] was a new feature of Rio de Janeiro." The heart belonged to "Brazil’s pioneer aviator, Alberto Santo-Dumont, who at Bagatelle, France in 1906 was the first man to fly a heavier-than-air machine in public demonstration (two years before the Wright brothers)." (3) Journal article titled "French Graves of English Kings," by G. L. Merchant (pp. 753-763; no other publication data), about the graves of William the Conqueror, Henry II, Richard his son, and James II. Flyleaf: Pasted-in clipped photograph captioned, "A Saint’s Heart: The Chapel of St. Laud in Ch[r]ist Church Cathedral contains this curious cage wherein, encased in iron, rests the heart of St. Laurence O’Toole, Archbishop of Dublin in the twelfth century--eight hundred years ago." Overleaf: Pasted-in clipped photograph captioned, "Père de Foucauld once was buried here--Tamanrasset--in the single grave under a wood cross. Three troopers, who also perished in the assault, lie in the group of three graves. The monument shelters General Lapperrine’s bones and, now, the heart of Foucauld, whose body was reburied, in 1929, at El Goléa." Una adds in hand, "Foucauld ‘a Saharan Crusader,’ Trappist monk, killed Dec. 1, 1916 by desert fanatics. Gen Laperinne crashed here in airplane 1920 and was buried by his friend. In 1929 Foucauld’s body was carried to El Goléa but his heart placed in the tomb of Laperinne. Foucauld was soldier and explorer as well as monk." Title page: Pasted-in, clipped photograph captioned, "Reiliquaire d’or du coeur d’Anne de Bretagne, légué par la duchesse à la ville de Nantes." Opposite title page: Pasted-in clipped article (no title, no source, no attribution) about a chateau, Augerville-la-Rivière, purchased by Consuelo Vanderbilt and once owned by Jacques Coeur, "who financed Jeanne d’Arc’s army [and] gave the chateau as a dowry to his daughter, whose heart was found in the vault of the quaint church in the village." Introduction page: Pasted in, three clipped articles (no sources, dates or attributions): (1) The first tells the story of the mystery of Voltaire’s heart, "secretly and illegally removed from his remains" and kept by the Comte de Villette until his death. Ultimately, this treasure was given by Villette’s heirs to the French government. (2) The second article continues the story, asserting that the heart appears to be safely at the Bibliothèque Nationale. (Side note: One of these articles has a hole in the middle, obscuring some letters in two of the words. Una has meticulously filled in the missing letters.) (3) The third piece is titled "Death of Livingstone" and appears to be one section in a much longer article. While primarily a description of the care and love accorded Livingston’s body by the natives of Ilala on the southwest shore of Lake Bangweolo, the article also notes that Livingston’s heart was buried "beneath a tree in the village, where today a monument marks the spot." The rest of the explorer’s body was carefully embalmed and ultimately returned by the Africans to the British Consul at Zanzibar. Page 242: Una notes in the margin next to a brief account of "David Livingstone, Missionary and Explorer" that additional information can be found at the front of the book. Page 256: Pasted-in clipped photo captioned "Homage to Pilsudski: Mme. Pilsudski depositing the silver urn containing the heart of Marshall Pilsudski in the mausoleum which has been built in the Ors Cemetery at Vilna." A clipped article from another source describes the ceremonies and deep national mourning accorded the Polish military leader who "sent Poland to war in 1920." His heart was buried "by his mother’s grave at Vilna" and "his brain will go to the University of Warsaw." The remainder was buried at the cathedral of Wawel Castle, "Poland’s Westminster Abbey." Page 257: Pasted-in, detailed pencil drawing identified in Una’s hand as "Silver urn containing Pilsudski’s heart lying in state." Inside back cover: Pasted in, four clipped articles: (1) "Patriot’s Heart Travels Home: Bronze Urn Containing This Token of Kosciuszko, Polish Soldier, Will Be Placed in The Cathedral at Cracow," with clipped picture pasted with article; (2) "Marie’s Heart To Be Enshrined" (Queen Marie of Rumania, whose heart was honored because it "beat, suffered and felt for Rumania."). Una notes that the event was dated 1938, and that the heart was buried at the Stella Maris Chapel at Balcik; (3) "Hungary Wants Carl’s Heart There From Spain"; (4) "A Tragic Princess. Story of a Neglected Grave," about the decay of the "family vault, in which lies the body of Claudine Rhédey, Princess Alexander of Wurtemberg, and grandmother of Her Majesty, Queen Mary." The Princess’s heart, "kept in a glass case on [her husband’s] table for forty-four years," was later "placed beside his body in [his] coffin."

Braeme, Charlotte M. Claribel’s Love Story. New York: F. M. Lupton, n.d. Notes: Flyleaf: Inscribed "Una Call, 1898, August 25." Pasted-in, clipped paragraph titled, "The Earl of Lucan, who has just been created a Knight of the Order of St. Patrick by Queen Victoria, is the head of the popular Irish house of Bingham and son of the commander of the British Cavalry in the Crimean War to whom belongs the merit or the blame for the historic Charge of the Light Brigade at Balaklava."

Brooks, Van Wyck. The Flowering of New England, 1815-1865. New York: E. P. Dutton and Company, 1936. Notes: Page 156: Loose, four 4" x 5" clipped printings of Currier and Ives paintings: The Route to California; Central Park, Winter; The Road - Winter; The Great West.

Brougham, Eleanor M., Ed. Varia: A Miscellany of Verse and Prose, Ancient and Modern. London: William Heinemann, 1925. Notes: Inside front cover: (1) Directions on how to prepare a Welsh winter drink using English wild peppermint, and on how to roast a swan, in verse (gravy, too); (2) advice for curing "the falling sickness" at the Well of Trevougas; (3) a poetic puff piece, complete with medical advice, on the success of the Salerno School in curing the English king (Una notes, "rhymed in Latin at Salerno. William of Normandy was a patient there."); (4) a verse reading, "What shall I doe? I know not what to doe, / Where shall I runne, oh runne? I cannot goe / Where shall I goe, oh goe? I cannot stirre." Flyleaves: The theme of the clippings here appears to be the mutability of the body and the soul’s purpose: (1) Donne advises, "Goe and catch a falling starre," and then muses on the "Pedantery" / Of being taught by sense, and Fantasie," while (2) St. Catharine is prayed to (in verse) for a husband, who is "good," "sweet," "handsome," "rich," and "soon." (3) Hadrian addresses his soul, the "Dear little, roaming, charming soul, the body’s guest and companion," both in English and Latin. (4) A medieval poem predicts, among other things, that a child born on a Sunday "A great lord he shal be." (5) Also included is letter to an editor quoting a snippet of Herbert -- "There is mirth as well as seemliness in right living. / All things are big with jest: nothing that’s plain, / But may be wittie, if thou hast the vein." (6) An unattributed verse says, "One man shall mow my meadow, / Two men shall gather it together, / Two men, one man and one more, / Shall shear my lambs and ewes and rams / And gather my gold together." (7) Written in Una’s hand, "Gay go up and gay go down / to ring the bells in London Town . . . . / ‘You owe me ten shillings!’ / Say the bells of St. Helen’s. / ‘When will you pay me?’ / Say the bells of old Bailey. / ‘When I shall grow rich?’ / Say the bells of Shore ditch. / ‘Pray when will that be?’ / Say the bells of Stepney. / ‘I-do-not-know’ / Says the great bell of Bow. (Bow silent after 250 yrs. 1928-1933. Restored by Gordon Selfridge.)" Page ix, (in the "Preface"): Brougham notes that Varia: A Miscellaney was "the outcome of a wet summer" during which she did much reading and "noting down of prose and verse for which we have contracted a fondness. They must be remembered, and, possibly, shared." At the end of the "Preface" Una has pasted in a clipping, evidently an excerpt from a letter to an editor, in which the writer discusses four lines of verse found among the records of the Borough of Rye, dating from c. 1600, and anticipating Marvell’s "green thought in a green shade": "Grene leaves grene / Agrene leves greane / My harte is howlde / Thre hundred fowlde / And greene leves betwene." Back flyleaves: (1) Description of a memorial to "Fair Rosamond, mistress of Henry II and poisoned by Queen Eleanor in 1173," according to Una’s note/translation of the Latin inscription on her tomb; (2) a prophecy about the ruin of Dunnottar; (3) an inscription on a bell looted from a monastery; (4) three additional inscriptions from bells and/or tombstones (they are not identified); (5) a bit of wisdom--"God may sende a man good meate, but the Devyll may sende as evyll cook to dystroye it"; (6) a passage of Donne’s prose from "The Wonderfull Yeare," reflecting "a world before Puritanism, with its alteration of the individual conscience and its burden of personal responsibility: What an unmatchable torment were it for a man to be bard up every night in a vast silent Charnell-house? hung (to make it more hideous) with lamps dimly and slowly burning, in holow and glimmering corners; where all the pavement should in stead of greene rushes, be strewde with blasted Rosemary, withered Hyacinthes, fatall Cypresse and Ewe, thickly mingled with heapes of dead mens bones; the bare ribbes of a father that begat him, lying there: here the Chaples hollow scull of a mother that bore him: round about him a thousand Coarses, some standing bolt upright in their knotted winding sheetes: others halfe mouldred in rotten Coffins, that should suddenly yawne wide open, filling his nostrils with noysome stench, and his eyes with the sight of nothing but crawling wormes. And to keepe such a poore wretch waking, he should hear no noise but of Toades croaking. Screeching Owles howling, Mandrakes shrieking. . . ." (7) Clipping from Scots Magazine, March 1778 (citation Una’s), of an obituary describing the last wishes of the decedent, age 90: "he desired to be carried to the grave by six men in leather jackets; and that the coffin may be set down at a place named, for the bearers to drink a bowl of punch upon it; also ordered a punch-bowl and glasses, and a dog and gun, to be painted thereon." (8) Pasted-in clipping quotes Pepys (taken from Boswell’s Life of Johnson) on what he considered a fine dinner: fricasee of rabbits and chickens, leg of boiled mutton, three carps on a dish, a side of lamb, roasted pigeons, four lobsters, three tarts, a lamprey pie, a dish of anchovies, and several wines. (9) Pasted-in clipping describes the terms used for numbers of game, alongside of which Una has added "gaggle of geese / exaltation of larks / siege of cranes / yoke of oxen / game of swans / brood of chickens." Back of last flyleaf: Two epigrams: (1) In Una’s hand, "L’Envoy," from an "Ancient Book of Songs, E. F. Rirnbault": "Go, Little Booke, to suttle world, / And shew thy simple face, / And forward passe, and do not turne / Agayne to my disgrace. / For thou shalt bring to people’s eares / But truth, that needes not blush; / And though perchance thou get’st rebuke, / Care not for that a rush: / For evill tongues do itch so sore, / They must be rubbing still / Against the teeth, that should hold fast / The clapper of the mill. / Desire those men that likes thee not, / To lay thee downe againe / Till some sweete nappe and harmless sleepe / Hath settled troubled brayne." (2) Una attributes to Philip Massinger the following: "Virtue’s but a word, / Fortune rules all." Also on this page, a picture of the work of six year-old Elizabeth Clements, who inscribed, "This I have done, I thank my God, / Without the correction of the rod." Inside back cover: Epigrams: (1) "From the Life of Alonso de Conteros, 1582-1633 [Una’s note], He returned to Spain, resolved to become a hermit on a barren hillside in Aragon. He bought ‘the necessary implements: a hair shirt, and a scourge and sackcloth to make a frock, a sundial, many penitential books, some seeds, a death’s head, and a little hoe.’" (2) An epigram summing up the life of one Phineas Fletcher, which reads in part, "Goe little pipe forever I must leave thee / My little little pipe but sweetest ever. . . ." (3) Another clipping quotes two lines inlaid in a marquetry table at Hardwicke Hall: "The redolent smelle of eglantine / We stagges exalt to the Divine." (4) And the unkindest poetry of all: "the Kirkcaldy bill for the burning of two witches--they needed ten loads of coal at £3 Scots for the lot--and the more appropriate poetry is the cold gleam, against that blaze, of ‘The new fall’n snow to be your smock, / It becomes your bodie best; / Your heid sal be wrapped wi’ the eastern wind, / And the cauld rain on your breist.’" (5) From Marvell, "But at my back I always hear / Time’s winged chariot hurrying near . . . " and "The grave’s a fine and private place, / But none, I think, do there embrace." (6) Una attributes to Richard Corbett the following political verse: "Witness those rings and roundelays / Of theirs, which yet remain, / Were footed in Queen Mary’s days / On many a grassy plain; / But since of late, Elizabeth, / And after, James came in, / They never danced on any heath / As when the time hath been." (7) At the bottom of the page is a William Cory translation of an epigram written by Calimachus (Una’s note): "They told me, Heraclitus, they told me you were dead, / They brought me bitter news to hear and bitter tears to shed. / I wept as I remembered how often you and I / Had tired the sun with talking and sent him down the sky. / And now that thou art lying, my dear old Carian guest, / A handful of gray ashes, long, long ago at rest, / Still are thy pleasant voices, thy nightingales, awake, / For Death, he taketh all away, but them he cannot take."

Browning, Robert. Selections from the Poetical Works of Robert Browning. Chicago: Donohue Brothers, 1872. Notes: Flyleaf: Inscribed "Una Call."

Browning, Robert. Selections from the Poetical Works of Robert Browning. From the Sixth London Edition (First and Second Series). New York: Thomas Y. Crowell and Company, n.d. Notes: Flyleaf: Inscribed "Winnie from Mary--Merry Christmas." Page 76 (location of "Andrea Del Sarto"): Loose, a small commercial envelope stitched, folded and tucked inside of a hand-made paper envelope. On the face of the commercial envelope, Una has written, "Florence, Italy" at the top; at the bottom, below some small, pressed, dried leaves, in Una’s hand, "From [?] B. Browning’s tomb. I had to brush the snow from the tomb of W. S. Landor to read his name." Inside back cover: Noted in Una’s hand, "Meeting at Night, 45 / Parting at Morning, 45 / Porphyria’s Lover, 157 / James Lee’s Wife, 172."

Browning, Robert. The Complete Poetic and Dramatic Works of Robert Browning. Boston: Houghton Mifflin Company, 1895. Notes: Flyleaves: Inscribed "Una Küster, Sept. 1908." Pasted-in clipped picture of Browning. Table of Contents: Poems marked: "By the Fireside," "My Last Duchess," "The Last Ride Together," "A Grammarian’s Funeral," "The Statue and the Bust," "Porphyria’s Lover," "Pictor Ignotus," "Fra Lippo Lippi," "Andrea Del Sarto," "The Bishop Orders His Tomb at Saint Praxed’s Church."

Brusse, Jan. Nights in Paris. London: André Deutsch and Company, 1958. Notes: Flyleaf: Inscribed in Jeffers’ hand, "Jeffers, Tor House, Carmel, Calif."

Bryant, Lorinda Munson. Pictures and Their Painters: The History of Painting. New York: John Lane Company, 1907. Notes: Inside front cover: Loose clippings are from periodicals and reproduce the following works: Madonna and Child with Saints by Francesco Francia; Virgin and Child by Botticelli; The Nativity by "the So-Called Maitre de Moulins"; Adoration of the Shepherds by Mantegna; The Nativity by Hans Memling; St. Agnes by Lippo Memmi; A Madonna by Bonfiglio; The Nativity, Chartres Cathedral, Thirteenth Century Sculpture; "Pencil Portrait of Himself by Leonardo da Vinci"; Madonna and Child by Fra Bartolommeo; Madonna and Child by Gerard David; Portrait of a Lady by Gelastiane Mainardi; Madonna and Child by Filippino Lippi; The Mystical Adoration of the Child by Botticelli; Worship of the Child by Piero della Francesca; Holy Night by Correggio; Birth of Jesus by Sandro Botticelli; Madonna and Child by Cosimo Tura; Nativity scene by Mercan Tonio (c. 1470-1530); The "Benson" Madonna by Botticelli; A page of Botticelli "Madonnas," intended "for comparison with the ‘Benson’ Madonna"; Madonna and Child by Carlo Crivelli; Virgin and Child by Carlo Crivelli; The Nativity by Fra Angelico; Portrait of a Lady by Piero Pollaiuolo; The "Cowper" Madonna (Raphael?); Portrait of a Lady by Bastiano Mainardi; Crucifixion by Fra Angelico; "The Head of the Angel" detail in a painting by Botticelli; "The Head of the Virgin" detail in a painting by Botticelli. Facing title page to Chapter III ("Italian Painting"): Pasted-in advertisement, with pictures, for Sassetta by Bernard Berenson (this is alongside a small, black and white picture of The Marriage of St. Francis to Poverty with a brief excerpt from the book describing the picture’s details). At the Chapter on Dürer (end of volume): Pasted-in clipping showing the artist’s The Great Cannon. At the Chapter on Hans Holbein: Loose clipping showing The Cardinal archbishop Albricht of Mayence as St. Jerome by Lucas Cranach the Elder. At the Chapter on English Painting: two loose articles about the work of Gerard David.

Buchan, John. The Massacre of Glencoe. New York: G. P. Putnam’s Sons, 1933. Notes: Flyleaf: In Una’s hand under John Buchan’s name, "(Lord Tweedsmuir, 1935)." Below, clipped photo of John Buchan, "Now Lord Tweedsmuir." Inside front cover: Pasted-in, two clipped photos showing a panorama of the Glencoe Road beside Loch Tulla and at the crossing of the Moor of Rannoch on the borders of Argyll. Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel, 1933." Inside front cover: Loose, a publisher’s broadsheet, 2" x 5", describing The Massacre of Glencoe; on the back, Una has written, "Putnam, [$] 1.50." Half-title page: Pasted-in clipped article dated, in hand, "Oct ‘34" and datelined London: "Famous Glencoe Will Be Sold: There Took Place the Macdonald Massacre"; it details the 1692 event in which 38 were killed by the forces of Captain Robert Campbell of Glenlyon. Page 13: Clipped sketch of "The Clachan of Carnach in Ghostly Glencoe." Inside back cover: Pasted in, three clipped photos, captioned: "The ‘Valley of the Shadow . . . the Burial-Place of a Race of Giants,’ the New Road Passing Through Glencoe"; (in hand) "Strathfillar between Crianlarich and Tyndrum"; and "Pass of Glencoe, 1937."

Bunting, Edward. General Collection of the Ancient Irish Music Containing a variety of Admired Aires never before Published, and also The Compositions of Conolan and Carolan; Collected from the Harpers &c. in the different Provinces of Ireland and adapted for the Piano Forte, with a Prefatory Introduction. London: Preston and Son, n.d. Notes: Flyleaf: Two inscriptions: "Mrs. Jeffers, Tor House, Carmel, California, Sept. 1926, (from the Cathedral Bookstore, Belfast, Ireland)," and "Ellen Black 1867." Inside back cover: In Una’s hand, a table of contents (not a feature of the published book), with page numbers.

Burnett, Whit, Ed. This Is My Best: Over 150 Self-Chosen and Complete Masterpieces, Together with Their Reasons for Their Selections. New York: The Dial Press, 1942. Notes: Robinson Jeffers is featured beginning on page 631 with "Tamar Dancing." Jeffers is quoted as saying, "This passage is chosen chiefly for the sake of perspective, because ‘Tamar’ was written twenty years ago. Probably I have done better since then . . . and worse . . . but the poem seems nearer my mind than many later things. Carmel, California. May 6, 1942." In the "Biographies and Bibliographies" section, pages 1141-42, the following: "Robinson Jeffers has said that during his college years he was ‘not deeply interested in anything but poetry.’ He adds that poetry runs pretty thin under such a limitation, and he had passed thirty before he wrote anything worth reading. He was born in Pittsburgh, Pennsylvania, on January 10, 1887, the son of a scholar. His ancestry, he says, was ‘all pre-Revolutionary American, except paternal grandfather from North Ireland.’ He went to school in Europe, and on his return to this country was graduated from Occidental College, Los Angeles, at the age of eighteen. Subsequently he spent what he calls ‘desultory years’ at the University of Zurich and the University of Southern California Medical School. Mr. Jeffers married Una Call Kuster in 1913, and settled in Carmel, California, building his own house of sea boulders. In 1916 he became the father of twin sons, Garth and Donnan. His first volume of poetry to attract wide attention was Tamar and Other Poems, published in 1924. Through this and his subsequent works he has earned the title of the poet of tragic terror. His poetry is characterized by emotional violence and an intense revulsion from society. ‘Cut humanity out of my being,’ he has written, ‘that is the wound that festers.’" A bibliography follows: Flagons and Apples; Californians; Tamar and Other Poems; Roan Stallion, Tamar and Other Poems; The Women at Point Sur; Poems (Book Club of California); Cawdor and Other Poems; Dear Judas and Other Poems; Descent to the Dead; Thurso’s Landing and Other Poems; Give Your Heart to the Hawks and Other Poems; Solstice and Other Poems; Such Counsels You Gave to Me and Other Poems; Selected Poetry; Be Angry at the Sun. The editor notes at the end, "All of Mr. Jeffers’ work is poetry. A large number of limited editions have been omitted from the bibliography on his own request."

Burns, Robert. The Merry Muses: A Choice Collection of Favourite Songs Gathered from Many Sources, to Which are Added Two of His Letters and a Poem--Hitherto Suppressed--Never Before Printed. Privately Printed [not for sale] 1827. Notes: Flyleaf: Inscribed "Presented to Una and Robinson Jeffers, knowing that it will be both appreciated and understood -- Please accept it as a small token of our extreme pleasure in numbering you among our friends. -- May you both live to enjoy another twenty years of happiness. The Higbees, August 2, 1933, [signed] Walter F. Higbee." Clipping, pasted in, says that only ninety copies of this book were printed.

Burton, Sir Richard F. The Kasidah. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Ten Cent Pocket Series Number 152. Inside front cover: Pasted in, an advertisement for an edition of The Kasîdah illustrated with engravings by Wilfred Jones. Inside back cover: A pasted-in advertising blurb for (presumably) The Kasidah.

Cable, George W. Old Creole Days: A Story of Creole Life. New York: Charles Scribner’s Sons, 1899. Notes: Flyleaf: Inscribed "Una Küster, Jan. 1908."

Campbell, Joseph. Irishry. Dublin: Maunsel and Company, Ltd., c. 1913. Notes: Inside front cover: Pasted-in, clipped woodcut print by Barbara Latham captioned, "Burning Seaweed." Flyleaves: Inscribed, "Una Jeffers." Overleaf: In Una’s hand, "I stretch on this bed / As I shall stretch in the tomb, / A hard confession I make to thee / O God; absolution I am asking of thee, / For the evil sayings of my mouth, / For the evil thinkings of my heart, / For the evil actions of my flesh, / Everything that I have said that was not true, Everything that I have promised and have not fulfilled." Second flyleaf: Two clipped poems: (1) "Old Gaelic Rune of Hospitality recovered by Kenneth McCleod"--"I saw a stranger yestreen; / I put food in the eating place, / Drink in the drinking place; / And, in the sacred name of the Triune, / He blessed myself and my house, / My cattle and my dear ones. / And the lark said in her song, / Often, often, often, / Goes the Christ in the stranger’s guise." (2) Una identifies the author of this poem as F. R. Higgins: "Not many miles after in Connacht / The sun slipped away from the birds, / And I buried that Munster yew berry / In true soil untrodden by herds; / But its growth in the night-time had opened / A green hand of hush on my house, / It outgrew the sun on my windows / And hid Nephin Beg in its boughs." In Una’s hand below, "I save this fire / As Christ once saved all, / May Bride care and keep it / On Mary’s high Son I call. / The three angels most mighty / In heaven’s hall / Protect us this hour / Until day shall dawn. (Upon covering the coals at night)." Opposite Table of Contents: Clipped poem attributed to Joseph Campbell: "I am the mountainy singer-- / The voice of the peasant’s dream, / The cry of the wind on the wooded hill, / The leap of the fish in the stream. / Quiet and love I sing -- / The cairn on the mountain crest, / The cailin in her lover’s arms, / The child at its mother’s breast. / Beauty and peace I sing -- / The fire on the open hearth, / The caill each spinning at her wheel, / The plough in the broken earth. / No other life I sing, / For I am sprung of the stock / That broke the hilly land for bread, / And build the nest on the rock." Page 44: Loose, small (calling?) card with colored drawing captioned "beannacca" and inscribed in her hand, "Una Jeffers." Opposite back flyleaf: Clipped news article announcing "The names of the [twenty-five] members of the new Irish Academy of Letters who have been nominated by G. B. Shaw and W. B. Yeats," plus ten associate members. Inside back cover: Clipped picture of Joseph Campbell (from painting by E. F. Solomons).

Cantus ad Processiones et Benedictiones, Ssmi Sacramenti: Juxta Vaticanam Editionem. New York: J. Fischer & Bro., n.d. Notes: Flyleaf: Inscribed "Una Jeffers."

Charles, Elizabeth Rundle. The Draytons and the Davenants: A Story of the Civil Wars. New York: M. W. Dodd, 1869. Notes: Inside front cover: In Una’s hand, "An old book found in a trunk at The Maples. Una Lindsay Call, Jan. 2, 1899. ‘The Draytons and the Davenants’ by Mrs. Elizabeth Rundle Charles, Pub. in U.S.A. 1869." Opposite title page: Three children’s signatures in juvenile copperplate: "Rose Merrick," "Mason ____," and "Mary Merrick." Dedication page: Written in a young person’s handwriting, "Rose Merrick is a good girl."

Chaucer, Geoffrey. The Poetical Works of Geoffrey Chaucer from the Text of Professor Skeat: The Canterbury Tales. Volume 3. London: Oxford University Press, 1925(?). Notes: Inside front cover: Loose, wallet-sized photo of two women, one with a military insignia on her hat (no i.d.); 1944 American Red Cross Certificate of Membership for Una Jeffers, for a War Fund Contribution of $10.00; pasted-in, two clipped (newsprint) reproduced medieval pictures--one a woodcut of a battle scene, the other from The Canterbury Tales. Title page: Pasted in, a clipped (newsprint), reproduced, medieval manuscript page.

Chesterton, Gilbert K. The Ballad of the White Horse. New York: John Lane Company, 1911. Notes: Flyleaves: Inscribed"Una Jeffers, Carmel, Tor House." Pasted in, a clipped poem by Chesterton, beginning, "The Christ-child lay in Mary’s lap, / His hair was like a light."

Church, Richard. Mary Shelley. London: Gerald Howe Ltd., 1928. Notes: Flyleaf: Inscribed "Una Jeffers from Theron Cooper of the Walden Book Shops, Chicago."

Ciceronis, M. Tulli. Cato Maior de Senectute Laelius de Amicitia.. Boston: Allyn and Bacon, 1892. Notes: Flyleaf: Two inscriptions: First inscription partially unreadable, but location is Ann Arbor, Michigan. Second inscription is, perhaps, "Agnes T. Dunton [difficult to make out], 96 South State Street." Additional faint notes in pencil--appear to be those of students. Back flyleaf and inside back cover: Handwritten notes, translations, initials (none Una’s), an address in Detroit; doubtful that the notes are Una’s.

Cleland, Robert Glass. The History of Occidental College, 1887-1937. Los Angeles: Ward Ritchie Press, 1937. Two copies at Tor House. Copy 1 Notes: Flyleaf: Two inscriptions: (1) "Inscribed to Mrs. Zena G. Holman by Robert G. Cleland, August 8, 1954"; (2) "Inscribed--the little bit that I am concerned in it--to Occidental College. Sincerely, Robinson Jeffers." Notes at the top of the flyleaf page: "7/7/52, Robinson Jeffers Pages 33-38. Poems pages 107-108." Copy 2 Notes: Pages 107-08: "Two Poems by Robinson Jeffers, Class of 1905. From Solstice, by permission of the publishers, Random House, New York." Then follows "Shine, Perishing Republic" and "Rock and Hawk," with a note at the end: "For permission to publish these two poems, the author is grateful to the publishers; to Mrs. Una Jeffers for her courtesy and thoughtfulness; and to Robinson Jeffers, whose form he can still see after the lapse of 30 years leaning against a mighty October wind on the gray rock summit of Mt. San Gorgonio."

Clemens, Cyril. My Chat with Thomas Hardy. Webster Groves, Missouri: International Mark Twain Society, 1944. Notes: Cover (paper): Inscribed, "To Robinson Jeffers with high esteem and cordial Birthday Greetings. Cyril Clemens. 10th January 1951." Title page: Inscribed "Cyril Clemens."

Cobbett, William. Rural Rides in Surrey, Kent, and Other Counties. London: J. M. Dent and Sons, Ltd., 1932. Volume 1, Notes: Illustration page: Clipped advertisement for this edition. Volume 2, Notes: Page 1: Loose, clipped copy of June 21, 1835, The Observer obituary for Cobbett, republished (probably in 1935). Back flyleaf: Duplicate advertisement (see Volume 1) pasted in. Inside back cover: Loose, a clipped article titled, "An Old Surrey Town," by W. H. Owens; it is about Farnham, in Surrey, the birthplace and home of William Cobbett (b. 1762; d. 1835).

Collins, James. Life in Old Dublin: Historical Associations of Cook Street, Three Centuries of Dublin Painting, Reminiscences of a Great Tribune. Dublin: James Duffy and Company, 1913. Notes: Flyleaf: Inscribed, "Albert M. Bender, 1921. For Una, with my very best wishes, A.M.B. 1937."

Colton, Walter, Rev. Three Years in California. New York: S. A. Rollo and Company, 1859. Notes: Opposite page 289: Pasted-in, clipped picture captioned "Walter E. Colton, First Alcalde of Monterey." Page 457: Pasted-in, clipped paragraph from a review of Border Wars of the West, which is advertised on this page. Page 459: Loose, a Book Club of California commemorative reproduction of Don Agustin Vicente Zamorano’s self-portrait and signature, along with a brief description of his career and significance in California. Back flyleaf: Pasted in, a clipped copy captioned, "Sutter’s Fort--New Helvetia: From ‘California in 1846.’" Inside back cover: Loose, the following four items: (1) Clipping from the Monterey Herald (1946) titled "Constitution Room Has Been Restored to Beauty: Reception Center for Honored Guests; Governor’s Office: Colton Hall is to California what Constitution Hall in Philadelphia is to the nation." (2) Clipped photo from newspaper dated Monday, October 18, 1948, captioned "Pioneers and One Unknown," of Jacob B. Leese, Thomas O. Larkin, William D. M. Howard, and Sam Brannan. One man is unidentified. (3) Clipped article (n.d., n.p.) titled "First California Newspaper Issued 100 Years Ago Today." (4) Replica of the "first paper ever published in California," datelined Monterey, Saturday, August 15, 1846, and published by Colton and Semple.

Colum, Padraic. My Irish Year. London: Mills and Boon, Ltd., n.d. Notes: Frontispiece: In Una’s hand, "‘An Old Woman of the Roads’ by Padraic Colum [four-line stanzas]: ‘O, to have a little house! / To own the hearth and stool and all! / The heaped up sods upon the fire, / The pile of turf against the wall! / To have a clock with weights and chains / And pendulum swinging up and down! / A dresser filled with shining delph, / Speckled and white and blue and brown! / I could be busy all the day / Clearing and sweeping hearth and floor / And fixing on their shelf again / My white and blue and speckled store. / I could be quiet there at night / Beside the fire and by myself / Sure of a bed and loath to leave / The ticking clock and shining delph! / And roads where there’s never a house nor bush, / And tired I am of bog and road, / And the crying wind and the lonesome hush! / And I am praying to God on high, / And I am praying him night and day, / For a little house--a house of my own-- / Out of the wind’s and the rain’s way.’" Inside front and back covers: Clippings of scenes from Ireland and a pencil sketch of Padraic Colum, pasted in.

Colum, Padraic. The Fiddler’s House, a Play in Three Acts, and the Land, an Agrarian Comedy. Dublin: Maunsel and Company, 1909. Notes: Inside front cover: Pasted-in clipped copy of the poem "In a Far Land" by Padraic Colum. Flyleaves: (1) In Una’s hand, "(by P. C. in old age) / The briars drag me at the knee / The brambles go within / And often do I feel him turn-- / The old man in my skin. / Killeadean’s my village and every good’s in it / The rasp and the blackberry to set one’s tooth / And if Raferty stood in the midst of his people / Old age would go from him and he’d step to his youth! / The geese, even they, trudge homeward / That have their wings and the waste; / Let your thoughts go with night the herder / And be folded for a space. / Green, greener grows the foreland / Across the slate-dark sea / And I’ll see faces, places / That have been dreams to me!" (2) Pasted-in, a clipped photo of a bust of Padraic Colum by Alfeo Faggi. Page 115: Pasted in, two clippings: (1) In Una’s hand, "by Padraic Colum / ‘Branding the Foals’ which derives from a Latin epigram, is as fine in its stark and fiery passion as anything he has done: ‘Why do I look for fire to brand these foals? / What do I need, when all within is fire? / And lo, she comes, carrying the lighted coals / And branding-tool--she who is my desire! / What need have I for what is in her hands, / If I lay hand upon a hide it brands, / And grass, and trees, and shadows, all are on fire!’" (2) "The Knitters" by Colum. Page 116: Clipped poem titled, "The Goat of Slieve Donard." In Una’s hand, "By Patrick Kavanagh: ‘I saw an old white goat on the side of Slieve Donard / Nibbling daintily at the herb leaves which grow in the crevases, / And I thought of James Stephens. / He wrote of an old white goat within my remembering. / Seven years ago I read. / Now it comes back. / Full of the dreaming black beautiful crags. / I shall drink of the white goat’s milk. / The old white goat of Slieve Donard. / Slikeve Donard where the herbs of Wisdom grow, / The herbs of the Secret of Life that the old white goat has nibbled. / And I shall live longer than Methuselah / Brother to no man.’" Page 117: Clipped copy of "An Old Song Remade" by Padraic Colum. Inside back cover: In Una’s hand, "‘A quiet road! You would get to know / The briers and stones along the way / A dozen times you’d see last year’s nest / A peacock’s cry, a pigeon astray / Would be marks enough to set on a day.’ (Padraic Colum, ‘Old Pastures’)." Loose, a clipped review from The Commonweal titled "Padraic Colum’s Poetry" discussing Colum’s book Poems (review written by Katherine Brégy). In the margins, Una has supplied, in hand, either an additional verse of Colum’s poetry (evidently part of a collection titled Creatures) or a version of a tribute to "that noble vision, the old proud deer of Ireland, last of their race: An old man said I saw / The chief of the things that are gone; / A stag with a head held high / A doe, and a fawn. / And they were the deer of Ireland / That scorned to breed within bound / The last, they left no race, / Tame on a pleasure ground." The verse quoted in the article to which this section is appended reads, "A stag with his hide all rough / With the dew, and a doe and a fawn; / Nearby, on their track on the mountain, / I watched them, two and one, / Down to the Shannon going-- / Did its waters cease to flow / When they passed, they that carried the swiftness / And the pride of long ago? / The last of the troop that had heard / Finn’s and Oscar’s cry; / A doe and a fawn, and before / A stag with head held high!" Inside back cover: Pasted in, three clipped poems: (1) "The Poor Girl, a Meditation"; (2) a poem in memory of John Butler Yeats, which begins, "‘Tonight,’ you said, ‘tonight all Ireland round / The curlews call.’ The dinner-talk went on. / And I knew what you heard and what you saw, / That left you for a little while withdrawn-- / The lonely land, the lonely-crying birds!"; and (3) an unidentified poem which begins, "O, the black and roan horses the street would fill, / Their manes and tails streaming and they standing still. . . ."

Colvin, Sir Sidney. Memories and Notes of Persons and Places: 1852-1912. New York: Charles Scribner’s Sons, 1921. Notes: The "persons" include, in part, Robert Louis Stevenson, Dante Gabriel Rossetti, John Ruskin, Robert Browning, and Victor Hugo. Flyleaf: Inscribed "Una Jeffers." Inside front cover: Loose 5" x 7" (folded in half) printed document titled, "A Letter to the Most Illustrious the Contessina Allagia Dela Aldobrandeschi Written Christmas Eve Anno Domini 1513." The letter is dated Christmas Eve, 1513, and it is signed by Fra Giovanni (published by The Challenge, 24 Great Russell Street, London). Page 178: Loose, clipped article by Kathleen Woodward from a New York Times book review, August 31, 1924, titled "Lady Colvin, Whose Genius Was for Inspiring Others: For Fifty Years She Tamed the Literary Lions of England."

Conran, Michael. The National Music of Ireland: Containing the History of the Irish Bards, The National Melodies, The Harp, and Other Musical Instruments of Erin. London: John Johnson, 1850. Notes: Flyleaf: Inscribed by two previous owners: "Joseph Robinson, Manchester, 1850," and "Leslie Stevenson, County Antrim, 1928." Back flyleaf: Pasted in, a clipped letter to an editor (identified in hand by Una: "London Observer, Feb. 1938"), which refers to an article about Arnold Dolmetsch’s crusade to revive ancient music, and which points out that Carl Gilbert Hardebeck, though blind, had traveled throughout Ireland to record and identify music preserved among Irish peasants. Inside back cover: Note written by Una, "The vertue of the harpe, with skyll aryght / Will destrye the fendy’s (fiend’s) might. --Bishop Grosteste."

Cox, R. Hippisley. Where Green Roads Meet: A Guide to Avebury and Neighbourhood. Swindon: Swindon Press, Ltd., 1929. Notes: Cover: In Una’s hand, "Jeffers, Tor House, Carmel. Flyleaf: "November 15, 1929."

D’Annunzio, Gabriele. The Flame of Life. Boston: L. C. Page Publishers, 1909. Notes: Flyleaf: Inscribed "Una Kuster." Inside front cover: In Una’s hand, "Above the door of Duse’s house are carved D’Annunzio’s words, ‘Eleanora Duse / Figlia ulti mogenita di San Marco / Apparizone melodios a / del patimen to creatore / e della sovrana bonta.’ (To Eleanore Duse / Youngest daughter of San Marco / Melodious Impersonator of / Creative Suffering / And of sovereign goodness." Half-title page: Pasted in, a clipped passage headed in Una’s hand, "From D’Annunzio’s ‘Notturno’ written at Fiume: ‘I am stretched by the window. The moon is full. There is no wind-froth about her. . . . In Koré’s house there are now only white peacocks. I see only the great stone base, and the trees of the hidden garden, and a strip of luminous water. . . . Mystic and solitary greatness as in a dead Persian or Indian city. . . . The canal like an holy river where the ashes of pyres are scattered at sunset. . . . There is no voice heard, no fall of oars, no amour at all. Life seems to have breathed itself out ages before. . . . And the insensible moon contemplates a beauty as exanimate as that of Angkor or Anuradhapura.’" Pages 296-97: The book opens readily at the location of the following: "‘Oh, Virtue of the Flame!’ thought the Lifegiver, beguiled from his anxiety by the miraculous beauty of the element that had become familiar to him as a brother from the day in which he had felt the revealing melody. ‘Ah, that I might give to the life of the creatures who love me the perfection of the forms to which I aspire! That I might fuse all their weaknesses in some white heat, and make of it an obedient matter in which to impress the commandments of my will, which is heroic, and the images of my poetry, which is pure. Why, why, my friend, will you not be the divine, mobile statue of my spirit, the work of faith and of sorrow by which our lives might surpass our art itself? Why are we on the point of resembling those small lovers who curse and lament? I had truly thought that you could have given me more than love when I heard from your lips those admirable words: "One thing I can do, which even love cannot do." You must ever be able to accomplish those things which love can, and those things which love cannot do in order to equal my insatiable nature." Meanwhile, the work of the furnace was proceeding fervently. . . .’"

D’Israeli, I. Curiosities of Literature. London: George Routledge and Sons, 1867. Notes: No marks distinguish this volume as having been read by the Jeffers, but the book’s spine and stitching are broken at the section headed "Poets," by Peter Corneille. It begins, "In all ages there has existed an anti-poetical party. This faction consists of those frigid intellects incapable of that glowing expansion so necessary to feel the charms of an art, which only addresses itself to the imagination. . . . Plato, among the ancients, is the model of those moderns who profess themselves to be anti-poetical. . . ." It is not possible to know if the book was frequently opened at this place by Una or RJ, but it is certain--given the condition of the book--that if they handled it at all, it would have opened to this page.

Dadmum, Rev. J. W. The Melodean: A Collection of Hymns and Tunes, Original and Selected, Adapted to All Occasions of Social Worship. Boston: J. P. Magee, 1863. Notes: Inside front cover: Inscribed "Frank F. Jewell, Adams." Opposite title page: Pasted in, a clipped sketch captioned "‘And Fearful Sights and Great Signs shall be there from Heaven.’-- Luke XXI. 11."

Dalin, Ebba, Ed. The Zephyr Book of American Verse. Stockholm: The Continental Book Company, 1945. Notes: This volume contains three poems by Robinson Jeffers: "Apology for Bad Dreams," "I Shall Laugh Purely," and "The Stars Go Lonely over the Ocean."

Dane, Clemence. Granite: A Tragedy. New York: The Macmillan Company, 1926. Notes: Flyleaf: Inscribed "Una Jeffers." In Una’s hand next to the list of the author’s works, "The Moon is Feminine, 1938." Title page: In Una’s hand under the author’s name, "(Winifred Ashton)."

Darien, Peter. Village of Seven Gates. Berkeley Heights, New Jersey: The Oriole Press, 1958. Notes: Flyleaf: Inscribed "For Robinson Jeffers--with many thanks to America’s Greatest Poet from one of her least. P. D. (Bill Bassett), Christmas 1958."

Daudet, Alphonse. Tartarin de Tarascon. New York: Ginn and Company, 1918. Notes: Flyleaf: Inscribed "Gracella Rountree." Appears to have been used as a textbook.

de la Mare, Walter. Come Hither: A Collection of Rhymes and Poems for the Young of All Ages Made by Walter De La Mare and Embellished by Alec Buckels. New York: Alfred A. Knopf, 1923. Notes: Flyleaves: Inscribed "Una Jeffers." Clipped poem labeled in Una’s hand "The Child Jesus to Mary the Rose. XIV Cent. by Lydgate. See page[s] 495, 186." Page 41: In the margin next to "Lines on Receiving His Mother’s Picture," by William Cowper, in Una’s hand, "I was a striken deer, that left the herd / Long since; with many an arrow deep infixed / My panting side was charged when I withdrew / To seek a tranquil death in distant shades. / There was I found by one who had himself / Been hurt by the archers. . . . And find the total of their hopes and fears / Dreams, empty dreams. (Wm. Cowper, The Task, Book III)." Page 49: Next to "The Poplar Field" by Cowper, in Una’s hand, "Time was when settling on thy leaf, a fly / Could shake thee to the root - and time has been / When tempests could not. / Time made thee what thou wast, King of the Woods / And time hath made thee what thou art - a cave / For owls to dwell in. (Yardley Oak by Wm. Cowper)." Page 186: "Henry Before Agincourt: October 25, 1415," by Lydgate. Page 254: Marked in the poem "Hark," by John Webster, the line, "Their life a general mist of error, / Their death a hideous storm of terror." Page 256: Una corrects the misprint, "Winter is my true-love’s shroud" to read "Whiter." Page 355: Evidently, "The Churchyard on the Sands," by Lord de Tabley, is missing two stanzas in this volume. Accordingly, Una has pasted in a clipped copy of two more stanzas: "Strong and alone, my love with thee; / And tho’ mine eyes be wet, / There’s nothing in the world to me / So dear as my regret. / Sleep and forget all things but one, / Heard in each wave of sea-- / How lonely all the years will run / Until I rest by thee." Page 416: Una has emended a footnote which gives the meaning of "richt" as "right" by adding the meaning of "laith": it is "loath," in the line, "O our Scots noble were richt laith." Page 488: A pasted-in clipping labeled by Una, "See page 498." Page 498: In the chapter (part of the section de la Mare characterizes as the book’s "Key") titled, "Joan Strokes a Sillabub or Twain," a clipped article which criticizes de la Mare’s Sillabub as a "poor weak thing . . . not . . . the drink for a football hero," and proposes two other sillabub recipes from an 1800 volume titled The Family Receipt Book or Universal Repository of Useful Knowledge and Experience in all the various Branches of Domestic Economy. Pages 495-96: "Cuckoo, Jug, Jug, Pu We, to Witta Woo!" by Lydgate. Page 671: In Una’s hand, "The fals foxe camme unto oure croft. / And so oure gese ful fast he sought / With how fox how, with hey fox hey; / Comme no more to oure house to bere / Our gese awaye. (XV cent. ballad)." Page 672: A pasted-in typed letter on stationery from Hill House, Taplow, Buckinghamshire, dated May 8, 1936: "Dear Mrs. Robinson Jeffers, It was such a pleasure to have your letter about Come Hither this morning, and it was exceedingly kind of you to write it. It is amusing that you who hate anagrams should have discovered the absurd pseudonym that Natural Science secreted itself in, in the Introduction. And now I don’t know how to apologise for the fact that Kitchen Work is just Kitchen Work! It might of course - and this would be rather in the nature of things - pan out into something else, but I rather fancy that two K’s would be a little awkward. [Handwritten note] I know you will forgive this type at sight of this [scratching?]! Yours Sincerely, Walter de la Mare." Below, note in Una’s hand, "See page xxvi." Page xxvi: An "X" next to the passage, "One whole book-case consisted of what Mr. Nahum appeared to call Kitchen Work. But the one on a lower shelf which had now taken my attention was new to me--an enormous, thick, home-made-looking volume covered in a greenish shagreen or sharkskin." Marginalia at several other junctures in the book’s introduction, "The Story of This Book": Page xi: De La Mare refers to East Dene; Una writes "Eden Seat" in the margin. Page xii: Next to the word "Thrae" Una writes "Earth" and by the word "Taroone" she writes "Nature (oore)." Page xv: Next to the word "Sure Vine" Una writes "Universe." Page xvi: Una crosses out some letters in the sentence "She, I had discovered, was called Linnet Sara Queek or Quek or Cuec [underline Una’s] or Cueque," next to which she writes the words "Natural Science." Page xvii: Next to "Ten Laps" Una writes "Planets," and next to "East Dene" she writes "Eden Seat." Page xx: Next to "Nahum" Una writes "Human," and next to "Nahum Taroone," she writes "Human Nature." Page xxvi: Una notes "Kitchen Work." Page xxvii: Una again translates "Nahum Tarune" as "Human Nature." Page 681: In the Index to this volume, Una notes her addition of the Lydgate poem on the flyleaf: "also inset front page." Next to index entries for Mary Coleridge and for Percy Shelley Una has written "536." Page 536 (actually 537): The explanatory entry titled "It Caught His Image": "And Shelley: ‘. . . I cannot tell my joy, when o’er a lake / Upon a drooping bough with nightshade twined, / I saw two azure halcyons clinging downward / And shining one bright bunch of amber berries, / With quick long beaks, and in the deep there lay / Those lovely forms imaged as in the sky. . . .’ Anyone so happy as to be able to remember Mary Coleridge, as a friend, will agree that to have seen her eyes I to have seen her own pool and Shelley’s lake, imaging such lovely flitting halcyons." Back flyleaf: Pasted in, a clipped copy of a periodical article titled, "The Greatest Love Sonnets of the World," (n.d., n.p.), which features a translation of "Petrarch to Laura," by Joseph Auslander. Inside back cover: Pasted in, a clipped excerpt illustrating Beaumont’s "descriptive and elegiac best effects," and a clipping of "The Silver Swan" from Orlando’s First Set of Madrigals (1612).

de la Mare, Walter. Ding Dong Bell. New York: Alfred A. Knopf, 1924. Notes: Flyleaf: Inscribed "Una Jeffers." Inside front cover: In Una’s hand, "Epitaph written by Shenstone. ‘Vale . . . Hen quanto minus est cum reliquis versari, quam tui meminisse!’ (‘Farewell . . . . Ah how much less is intercourse with others than remembrance of thee!’) The best that was ever written!" Page 20: Loose, a scrap of stationery on which is Greek and a translation, in Una’s hand: "I am the tomb of one ship wrecked - ___ sail thou; for even while we perished, the other ships sailed on over the sea. Also at this page, a cartoon captioned "Mr. Walter de la Mare gaining inspiration for an errie [sic] and lovely story. A cartoon by Max Beerbohm"; and a clipped fragment of a review by Horace Gregory of de la Mare’s The Burning Glass. Page 22: Loose, a clipped review of Ding Dong Bell, characterizing the book as "epitaphic." Page 79: In Una’s hand, with an arrow pointing to the epigram she has written below, "This and seven others herein marked X are set to music by Theodore Chamler ® Here lies Thomas Logge--a rascally dogge / A poor useless creature--by choice as by nature; / Who never served God--for kindness or Rod; / Who, for pleasure or penny, -- never did any / Work in his life--but to marry a Wife, / And live aye in strife: / And all this he says--at the end of his days / Lest some fine canting pen / Should be at him again." Of the other seven: "No Voice to scold; / No face to frown; / No hand to smite / The helpless down: / Ay, Stranger, here / An Infant lies, / With worms for / Welcome Paradise" (pp. 13-14); "Three sisters rest beneath / This cypress shade, ‘/ Sprightly Rebecca, Anne, / and Adelaide. / Gentle their hearts to all / In him, they said, all Grief, / All Wo began. / Spinsters they lived, and spinsters / Here are laid; / Sprightly Rebecca, Anne, / And Adelaide" (p. 18); "Just a span and half a span / From head to heel was this little man. / Scarcely a capful of small bones / Raised up erect this Midget once. / Yet not a knuckle was askew; / Inches for feet God made him true; / And something handsome put between / His coal-black hair and beardless chin. / But now, forsooth, with mole and mouse, / He keeps his own small darkened house" (pp. 30-31); "Here sleep I, / Susannah Fry, / No one near me, / No one nigh: / Alone, alone / Under my stone, / Dreaming on, / Still dreaming on: / Grass for my valance / And coverlid, / Dreaming on / As I always did" (pp. 45); "Be very quiet now: / A child’s asleep / In this small cradle, / In this shadow deep!" (p. 52); "Here lyeth our infant, Alice Rodd; / She was so small, / Scarce aught all, / But a mere breath of Sweetness sent from God. / Sore we did weepe; our heartes on sorrow set. / Till on our knees / God sent us ease; / And now we weepe no more than we forget" (pp. 67-68); "Stranger, here lies / Ann Poverty; / Such was her name / And such was she. / May Jesu pity / Poverty" (p. 69). Page 79: Pasted in, "Here lies a most beautiful lady, / Light of step and heart was she: / I think she was the most beautiful lady / that ever was in the West Country. / But beauty vanishes; beauty passes; / However rare, rare it be: / And when I crumble, who shall remember / This lady of the West Country?" by Walter de la Mare. Back flyleaves: In Una’s hand, "The world’s a city full of crooked streets. / And Death ye marketplace where each man meets / If life were merchandise yt men could buy / The rich would always live, the poor would die. (Astley, Worcestershire)"; and "Robert Herrick mentions the ‘little urn’ in church at Dean Prior, Devon, in which is laid ‘Prewdence Baldwin once my maid.’" Pasted in are four clipped epitaphs: (1) Mabel Simpson’s "Cry over me O winter wind, / Trample the blackened crust! / Drive down your iron foot and find / My undefeated dust. / Stab still with sleet, rend still with rain / Uproot my narrow bed! / You cannot awaken me again, / I am dead! I am dead!"; (2) Lord Latymer’s "A Dead Wife’s Epitaph," "Once I learnt in wilful hour / How to vex him; still I keep, / Now unwillingly, my power; / Every day he comes to weep"; (3) found at Bideford, "Here lies the body of Mary Sexton, / Who pleased many a man, but never vex’d one; / Not like the woman who lies under the next stone"; (4) William Harvey’s "Farewell, vain world, I’ve had enough of thee, / And Valies’t not what thou Can’st say of me; / Thy Smiles I count not, nor they frowns I fear, / My days are past,, my head lies quiet here. / What faults you saw in me take / Care to shun. / Look but at home, enough is to be done." In Una’s hand, the following: "A shipwrecked sailor, buried on this coast, / Bids you set sail. / Full many a gallant bark, when he was lost, / Weathered the gale’ (Old Greek inscription); Lady Burne-Jones copied this from a tiny worn gravestone in an old church at Climping, Sussex, date 1774. ‘This little lamb that was so small / Did taste of death when Christ did call; As us am so must you be / Therefore prepare to follow we’ (Church of St. Dubritius, Porlock, Somerset)." Inside back cover: Epitaphs in Una’s hand: (1) "‘Stay, passenger, take notice what thou reads, / At Edinburgh lie our bodies, here our heads; / Our right hand stood at Lanark, those we want, Because with them we signed the Covenant.’ (Epitaph on a tombstone at Hamilton); (2) ‘They cut his hands ere he was dead, / And after that struck off his head. / His blood under the altar cries / For vengeance on Christ’s enemies.’ (Epitaph on tomb at Longcuss of Clermont); (3) ‘Pulus et umbra et nihil’ (On the tomb of a Cardinal in the Capuccci Church at Rome); (4) ‘Here lie I, Martin Eldinbrode, / Ha’ mercy on my soul, Lord ode! / As I would do, were I Lord Gode / And thou wert Marin Elidinbrode’ (from an Aberdeen tombstone); (5) ‘Over Katherine Mansfield’s grave, Avon near Fontainbleau (from Shakespeare) ‘But I tell you, my lord, fool, out of this nettle, danger, we pluck this flower safety’; (6) Swift’s epitaph, ‘Here he is resting where bitter indignation can no longer tear his heart’; (7) On a sarcophagus in the catacombs in Rome, ‘Whatsoever impious man violates this sepulchre, may he die the last of his own people’; (8) "Italian epitaphs at Ferrara admired by Byron--’Martini Luigi /Implora pace . . . Lucrez in Picini / Implora eterna quieta’; (9) On a slab in the wall of one of the cloisters, Westminster Abbey, ‘Jane Lister deare childe’; (10) Over stone on the bank of the Hudson near Grant’s tomb, ‘The grave of St. Claire Pollock who died July 1797 aetat 5.’"

de Montmorency-Morres, Colonel . Historical and Critical Inquiry into the Origin and Primitive Use of the Irish Pillar-Tower. London: Sherwood, Neely and Jones, 1821. Notes: Inside front cover: Inscribed by and bookplate for James Whatman. In (presumably) Mr. Whatman’s 19th-century hand, a note reading, "Whether the author published this Tract for the purpose of making known the particulars relating to the Montmorency Family mentioned in Page 17, the Reader is not informed. His opinions reflecting the origin and use of the Irish Pillar tower are stated in p. 33; 39; 43; 53-57; 62-63; 74----. His Hypothesis, like those of preceding Enquirers, has met with few supporters and such little success had this Tract on its publication, that nearly all the copies were returned to the author as Unsaleable. Hence it occurs rarely in Sale Catalogues, and still more rarely in those of Booksellers. I found this Copy quite by chance: the former possessor of it appears to have considered it as not worth reading, the Leaves remaining uncut throughout. -- The best, and most satisfactory theory respecting these singular remains of Antiquity, is that of W. Henry O’Brien, A. B. of Dublin University who published a rambling and rather bulking Volume on the subject in 1834." No marks left by a Jeffers in this volume, but Una was likely interested in the book and in its former owner’s note.

Deutsch, Babette. This Modern Poetry. New York: W. W. Norton and Company, 1935. Notes: Pages 193-99: In the chapter titled, "The Burden of Mystery," Deutsch discusses Jeffers’ work, along with that of D. H. Lawrence, William Butler Yeats, and Walt Whitman. Page 99: Jeffers is mentioned in connection with Edna St. Vincent Millay, George Meredith, D. H. Lawrence, T. S. Eliot, and Conrad Aiken. Inside front cover: Loose, clipped article by Mary M. Colum from The Saturday Review of Literature, November 2, 1935, titled, "Literature and the Social Left," in which she discusses writing both as a trade--utilitarian, political and practical--and as an art which is sensitive to artistic form, to the imagination, to eternal values and ideas. The article begins, "The social left, it should be remembered, is not the same as the literary left; a large proportion of the social left belong to the literary right, many of them to the long outmoded literary right. On the other hand, many of the writers of the literary left belong to the social right, even to the outmoded social right such as Royalists. . . ."

Die Bibel, ober die ganze Heilige Schrift bes alten und nenen Teftaments. New York: Heransgegeben von der Amerifanifdjen Bibel-Melfellfchaft, 1897. Notes: Title page: Inscribed "Una Call." Overleaf, in Una’s hand, "April 5, 1902."

Ditchfield, P. H. Old Village Life: Or, Glimpses of Village Life Through All Ages. New York: E. P. Dutton and Company, c. 1921. Notes: Inside front cover: Pasted in, a clipped woodcut (attributed to Lyons, 1517) captioned, "Cultivation of Grain by French Peasants Aid the Manufacture of Barley and Oat Bread." Flyleaf: Pasted in, a clipped woodcut showing hunting party; artist not identified. Page 254: Pasted in, a clipped woodcut of armored soldiers at a castle; artist not identified. Back flyleaves: (1) Pasted-in clipped review of a book by a Miss Evans, which treats of "the noble figure of St. Louis traveling with the enthusiastic Crusaders and the merry pilgrims." (2) Pasted-in clipped article about medieval orchards--their purposes and uses. (3) Pasted-in woodcut captioned, "Courtyard of a Castle, Fifteenth Century Example of the Passing of the Exedra."

Ditchfield, P. H. The Manor Houses of England. London: B. T. Batsford, 1910. Notes: Flyleaf: Inscribed "Una Jeffers." Inside front cover: Pasted in, a clipping labeled in Una’s hand, "Penshurst, Kent," from Mansions of England in the Olden Times by Joseph Kent and showing a yule celebration in the great hall of an English castle in the Middle Ages. Flyleaf: Clipping showing sketch of street scene in Steyning, Sussex. Pasted onto second side of flyleaf, clipping labeled in Una’s hand, "Sutton Poyntz, Dorset," and showing a village next to a pond. Half-title page: In (RJ’s?) hand, the following: "A faire yellow freestone building partly two and partly three storeys: a faire hall and parlour, both wayscotted; a faire dyning roome and with drawing roome, a kitchen adjoyninge backwarde to one end of the dwelling-house and a faire passage from it into the halle, parlour and dyning room and cellars adjoining . . . In the front of the house a square greene court, and a curious gatehouse with lodgings in it standing with the front of the house to the south; in a larger outer court, three stables, a coach house, a large barne and a stable for oxen and kyne . . . Without the gatehouse paled in, a large square green, in which standeth a faire chappell by the southeast side of the greene court, toward the river, a large garden of the south west side of the green court, a large bowling greene with fower mounted walks about it all walled about with a battled wall and sett with all sorts of fruit; and out of it into the feildes are large walks under many tall elms orderly planted. [Here follows mention of orchards and gardens, servants offices, brewhouse, bake house, dairy, pigeon house and corn mill; the river and its abundance of fish; the warren, the coppices, the walks.] And all the country north of the house, open champaign, sandy feilde, very dry and pleasant for all kindes of recreation, huntinge and hawkinge and profitable for tillage . . . the house hath a large prospect east, south and west over a very large and pleasant vale . . . is seated from the good market towns of Sherton Abbas, three miles and Ibel a mile that plentifully yield all manner of provision; and within twelve miles of the south sea." Jeffers[?] notes, "Description of old manor Clyfton Horseleigh from old mss. mentioned in Thomas Hardy’s Wessex Stories)." Back of half-title page: Clipped picture, pasted in and labeled in Una’s hand "Mill Pool at Swanage." and pasted-in, clipped picture captioned, "Stoke Poges Churchyard, Where Gray Lies Buried." Title page: Pasted in, a clipping describing the buildings and history of Grace Dieu, an estate in Leicestershire, on the border of Charnwood Forest, and being offered for lease. Opposite title page: Pasted in, a clipped picture of view of Chiddingstone, Kent. Page vi: Pasted in, a clipped picture captioned, "The House from which the Washington Family Came to the American Colonies: Sulgrave Manor House in Warwickshire, England, the Ancestral Home of the Washingtons, as It Now Appears." Overleaf from Table of Contents: Pasted in, clipped sketches of the gatehouse and refectory at Cleeve Abbey, and a clipping captioned, "‘Trerice,’" a Cornish Manor House." Page 5: Pasted in, a clipped picture of procession captioned, "A historical pageant of thirteenth-century life was held recently at Lacock Abbey, Wiltshire, to commemorate its foundation, 700 years ago, by Ela, Countess of Salisbury, in memory of her husband. She herself was impersonated by the present owner of the Abbey, Miss Talbot, who is seen in our photograph heading a procession." Page 10: Pasted-in clipped pictures showing Broadhurst Manor, Sussex; Walsingham Abbey and Poplar Farm, Brettenham, Suffolk. Page 11: Original pencil sketch, pasted in and labeled, "Window in Tretower Court, Tretower Wales, XV Cent." Page 17: Pasted-in clipping of photo showing ancient stone wall and archway. Page 39: Clipped photo, pasted in, of a stone wall, labeled in Una’s hand, "In Surrey." Page 49: Clipping, pasted in, of a sketch captioned, "Sulgrave Manor." Page 77: Clipping, pasted in and labeled in hand, "Steyning Church." Page 83: Photo, pasted in and labeled in hand, "Moreton Old Hall, Cheshire." Page 111: Small, pasted-in clipping of sketch of gabled house. Page 139: Pasted-in clipping of sketch captioned "Entrance of Strawberry Hill." Page 141: Clipping, pasted in, of a photo labeled in hand, "Gittishaue, Devon. Page 142: Pasted-in clipping of photo of griffin relief over doorway and labeled in hand, "Dunster Castle, Somersetshire." Page 143: Clipping, pasted in, of a photo captioned, "Hasting’s Birthplace at Churchill, in Oxfordshire." Page 176: Clippings, pasted in, of photos showing two views of a sixteenth-century dovecote, with handwritten note to see page 187. Page 187: Picture shows the remains of a twelfth-century building in which hawks were kept in Scotland. Page 185: Pasted-in clipping of a photo captioned, "The signpost represents the ‘Biddenden maids,’ twin sisters who, in their will, left money to provide bread and cheese for the poor of the parish of Biddenden, Kent, where they lived about 1100 A.D.! This ‘dole’ is distributed on Easter Sunday." Page 202: Pasted-in clipping of a sketch captioned, "old hospital and Beauchamp chapel in Warwick, England, built about 1450. In the chapel are the remains of Richard, the Lion-Hearted." Page 211: Village scene, pasted in and labeled, in hand, "Lingfield Surrey." Back flyleaves: Clippings, pasted in: (1) several views of fifteenth and sixteenth century houses; (2) photo labeled "Fittleworth, Sussex"; (3) sketch captioned "St. Martin’s Church Wareham"; (4) two views of house(s) with Una’s handwritten note, "Sheila Kaye-Smith at her house in Sussex"; (5) photo of Stokesay Castle, identified as from the thirteenth century, and as "one of the finest examples of a castellated mansion house"; (6) several views showing Tudor and Jacobean details; (7) sketches of Penshurst Place, Kent, Owlpen Manor; and (8) one unidentified house.

Ditchfield, P.H. The Charm of the English Village. Publication information pasted over. Notes: Inside front cover: Identified in Una’s hand, "Fairford Church, Gloucestershire, XV century, Gothic magnificent stained glass." Front flyleaves: Pasted-in clipped pictures of Wymondham Abbey Church; "A Westmoreland Farm"; Post bridge, Devon; "A Shropshire Farm"; Charing, Kent; House of the Flemish Weavers, Dedham, Essex. Title page: A pasted-in clipped sketch of a church, St. Peter at Croft near Darlington, where "Lewis Carroll" (the Rev. Charles L. Dodson) officiated. Opposite Table of Contents: Clipped pictures, pasted in, the first captioned "Lay Brothers’ Entrance, Beaulieu Abbey," and the second showing a thatched house in Sussex. Opposite opening page of Chapter 1: Clipped pictures, pasted in, the first identified in Una’s hand, "Bishop of Winchester in the deanery of Andover near Amport talking to schoolchildren," and the second showing of a group of riders in village. Page 1: Pasted-in clipped picture of the Sir Barleycorn Inn at Cadnam in the New Forest. Page 3: Pasted-in clipped village scene--Selworthy, Somerset. Page 5: Clipped, pasted-in picture taken at Aynho, Northhamptonshire. Page 22: Clipped, pasted-in picture of the Water Gate at Beaulieu Abbey. Page 34: Clipped, pasted-in picture of a village (unidentified) scene. Page 46: Clipped, pasted-in picture of Bury Farm, Amersham. Page 47: Clipped, pasted-in picture of a Tudor manor at Ashby St. Ledgers. Page 71: Clipped, pasted-in pictures of a Sussex village, and of the Chiltern Foothills (‘circa 1640"). Pages 82-83: Clipped, pasted-in photo of topiary depicting chessmen at Hever Castle, Kent. Page 94: Clipped, pasted-in picture of Little Milton, Berkshire. Page 110: Clipped, pasted-in picture of an elderly couple at a well. Page 118: Clipped, pasted-in picture of hounds and riders on village street. Page 119: Clipped, pasted-in picture taken at Alston, Cumberland. Page 134: Clipped, pasted-in picture taken at Pauntley Court, Newent. Page 141: Clipped, pasted-in picture of the Griffin Inn, Norwich. Page 142: Clipped, pasted-in sketch of a village (unidentified) church and wall. Page 150: Clipped, pasted-in picture of the Market Hall, Chipping Camden. Page 151: Clipped, pasted-in sketch of a village scene. Page 160: Clipped, pasted-in photo captioned, "The Blencathra Foxhounds moving off at Caldbeck on John Peel’s Day," and a handwritten note by Una, "These hounds claim unbroken descent from John Peel’s pack." Page 167: Clipped, pasted-in sketch captioned, "Autumn festival, Cornwall." Back flyleaves: Clipped, pasted-in pictures of the home of Mary Arden; an Elizabethan dwelling (also her home?); a view of Settle, Yorkshire; the interior and exterior of Little Missenden Church, "where twelfth-century murals were discovered"; a village scene in Devonshire; sketches of Dunster, Somerset; the manor house and church at Mells, Somerset; the Keats Seat, Well Walk; the Deanery at Wells, Somerset; Lyte’s Cary Manor House near Ilchester, Somerset; Abbey Farm, Preston Plucknett, Yeovil; Crowcombe Village, Somerset; Newark; photos of St. Michael’s, Ilsington (in Una’s hand "On the edge of Dartmoor. St. Michael’s cottages, date Henry VII."); Mrs Siddon’s house, Lydbrook; 14th century tithe barn at Tisbury; a Tudor cottage between Winchester and Basingstoke; a re-enactment of a Tudor hawking party; a village scene (sketch); Bibury on the Cotswolds; Thomas à Becket’s cottage near Tarring; St. Just, Cornwall; and Axemouth Smithy.

Donne, John. Complete Poetry and Selected Prose. New York: The Nonesuch Press, 1929. Notes: Flyleaf: In Una’s hand, "Death be not proud 283" and "For whom the bell tolls 538." Page 283 is not marked, but page 538 is marked at the following passage: "No man is an Iland, intire of it selfe; every man is a peece of the Continent, a part of the maine; if a Clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were, as well as if a Mannor of thy friends or of thine owne were; any mans death diminishes me, because I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It tolls for thee." Back flyleaf: Clipped picture pasted in and captioned "Donne in His Winding Sheet."

Dorchain, Auguste, Ed. Les Cent Meilleurs Poèmes (Lyriques) de la Langue Française. Paris: A. Perche, 1909. Notes: Flyleaf: Inscribed "Merry Christmas to Esther from Sallie C. H., Dec. 25th, 1910." Table of Contents: Checked is "Nous n’irons plus au bois" by de Banville. Ivory ribbon bookmark also rests at this page: "Nous n’irons plus au bois, les lauriers sont coupés. / Les Amours des bassins, les Naïades en groupe / Voient reluire au soleil en cristaux découpés / Les flots silencieux qui coulaient de leur coupe. / Les lauriers sont coupés, et le cerf aux abois / Tressaille au son du cor; nous n’irons plus au bois, / Où des enfants joueurs riait la folle troupe / Parmi les lys d’argent aux pleurs du ciel trempés, / Voici l’herbe qu’on fauche et les lauriers qu’on coupe. / Nous n’irons plus au bois, les lauriers sont coupés." Inside back cover: In Una’s hand, "Mallarmé / Le vierge, le vivace et le bel aujourd’hui / Va-t-il nous déchirer avec un coup d’aile ivre / Celac dur oublié que haute sous le givre / Le transparent glacier des vols qui n’ont pas fui? // Un cygne d’autrefois se souvient que c’est lui / Magnifique mais qui sans espoir se délivre / Pour n’avoir pas chanté la region où vivre / Quand du stérile hivre a resplendi l’ennui. // Tous son col secourer a cette blanche agonie / Par l’espace infligée à l’oiseau qui le vie, / Mais non l’horreur du sol où le plumage est pris. / Fantôme qu’à ce lieu son pur éclat assigne, / Il s’immobilise au songe froid de mépris / Que vêt parmi l’exil inutile le Cygne."

Doster, Mrs. Ben Hill. The Doster Genealogy. Richmond, Virgina: The William Byrd Press, 1945. Notes: Page 55: Genealogy of the family of Frederic J. Grant, Jr., whose eldest daughter, Patricia Belle, married (according to rather confusing handwritten notes) Donnan Call Jeffers 22 Oct 1941, and had a daughter, Candida Call Jeffers, b. 17 Apr 1943.

Dostoyevsky, Fyodor. The Brothers Karamazov. New York: The Modern Library, 1929. Notes: Back flyleaf: Pasted-in, clipped picture captioned "Dostoyevsky in Siberia."

Doyle, Lynn. The Spirit of Ireland. London: B. T. Batsford, 1935. Notes: Flyleaf: Inscribed "My Salutations to Her Majesty of Ireland, Una the First, Albert M. Bender, 1936."

Dublin Delineated in Twenty-Eight Views of the Principal Public Buildings, accompanied by Descriptions of each, with an Itinerary, pointing out the Leading Streets, and Principal Objects of Attraction. Dublin: G. Tyrrell, 1843. Notes: Flyleaf: Inscribed "A bit of auld Ireland for dear Una from Albert Bender." Inscribed at top of flyleaf, "Tho. Robinson Bours, Dublin, July 22nd, 1844."

Dunsany, Lord. The King of Elfland’s Daughter. New York: G. P. Putnam’s Sons, 1924. Notes: Flyleaf: Clipping with a photograph of Lord Dunsany and a brief article about his most notable plays and recent novels. Page 170: Loose, an announcement of sale of a first edition of Lord Dunsany’s The Gods of Pegana (1905), along with a (glowing) critical review by James Stephens. Page 236: Loose, a clipped article (no source) discussing the significance of "the trend of Irish writers."

Dutt, William A. Highways and Byways in East Anglia. London: Macmillan and Company, 1914. Notes: Inside front cover: In Una’s hand, "Sir Wm. Paston 1378-1444 & wife Agnes dau of Sir Edmund Berry d. 1479, buried in Our Lady’s Chapel Norwich Cathedral; John Paston, Esq. son of above 1420-1466, sumptuous burial at Bromholm Prior, Norfolk; wife Margaret Mauteby, buried at Mauteby 1484 (mother and father of Margery Paston Call); Sir John Paston, Esq., son of above, died 1503, wife Margery Brews d. 1495 buried in White Friars Norwich; many Pastons buried in Paston and Oxnead." Flyleaf: "Norwich, Maid’s Head, an inn where Margery Paston stayed." Page 206: Section headed "Blicking Ghosts" discusses the possibility that Anne Boleyn was either born or was buried at Blicking (or both), to which Una adds in the margin, "Lately (1948) a body was uncovered in the Chapel of the Tower of London which was identified as Anne Boleyn by the 6th finger on each hand." Page 206: Two loose leaflets: (1) The first titled "The Maydns Hed" is the story in verse of the place’s history written by Edward Tillett (autographed by the author), and dated "Norwich, April 1948"; it is inscribed on the cover in Una’s hand, "At the Maid’s Head - August 25-28, 1948." (2) The second leaflet is titled, "A Simple Guide for Visitors to Norwich Castle," and inscribed, "Una Jeffers" on the cover. In it, Una has located on the diagram of the cathedral the location of the Pastons’ tombs in the Lady Chapel (pp. 15-17 of the leaflet). Page 211: Reference to "Clement Paston’s vanished hall at Oxnead" is underlined. Index: Una has emended the Index to include the reference to Caistor, page 197; Oxnead, page 211; Appleton Hall, page 271; Paston, page 104; Paston, Edmund, page 211; Mautby, pages 95, 98, 99 (Una also includes a note that Mautby is 3 miles from Caistor). Back flyleaves: Una points out, in the flyleaves, that bearded titmice and grubs are mentioned on page 153, and that Houghton (Hall and village) is mentioned on page 243. She notes that Caister Castle is "just north of Yarmouth" and that there is "another Caistor in Norwich." Inside back cover: In Una’s hand, a list of places to visit: Norwich, Caister (and Castle), Paston, Walsingham, Bakton, Framlingham, Oxnead, Bromholm Priory, Mautby, Blickling Hall. These sites are located on the book’s map, loose inside the back cover, and a second list of Paston family genealogy (identical to that already noted here in connection with the volume on the Pastons) is written on the back of the map.

Earle, Alice Morse. Sun Dials and Roses of Yesterday: Garden Delights Which are Here Displayed in Very Truth and are Moreover Regarded as Emblems. New York: The Macmillan Company, 1902. Notes: Flyleaf: Pasted-in clipped review of Sundials: Incised Dials of Mass-clocks, by Arthur Robert Green and clipped anecdote regarding Lord Bacon and the motto on a sundial in Temple Gardens, London. Written in pencil in Una’s hand, "I also, am under authority. Cosi la vita. / Ah fellow mortals let me say / Tis you who have made time’s little day. / We are all, all in eternity." Facing page 3: Pasted in, in the chapter titled, "The Charm and Sentiment of Sun-dials," clipped photo captioned, "‘Make the most of every hour; old age brings sure reflection’: The Duchess of York and her mother, the Countess of Strathmore, beside the famous sundial at Glamis that bears this famous legend." Page 11: In Una’s hand, same chapter, "Time flies, suns rise, and shadows fall. Let it go by, so love is over all." Page 51: Pasted-in, in chapter titled, "Noon-marks, Spot-dials, Window-dials" (and adjacent to mottoes that advise using one’s time well because "Life is wasting / Death is hasting"), are two clipped mottoes: "Time passeth away, death draweth on, / Therefore, men do right and fear God" and (2) "The hours, unless the hours be bright, It is not mine to mark: / I am the prophet of the light, / Dumb when the hour is dark." Page 55: Loose, a clipped announcement of the death of Katheryn Wolcott Perry (no source), noting that in her Italian garden was a sundial with the motto, "I mark for men the sunny hours / Of morning’s youth and daylight’s powers, / But unrecorded leave the tears / Of clouds and night and gathering years." Opposite page 59 : In the same chapter ("Noon-marks, etc."), a pasted-in clipped photo of a house and a sundial, captioned, "Fulwell Park, Twickenham, the home of the Ex-King of Portugal and his bride, is an unpretentious, home-like place set in a magnificent estate which lies along the Thames a few miles from London." Page 60: Pasted in (same chapter), two clipped photos labeled in Una’s hand, "Wall Dial" and Zodiac Dial." Page 61: Pasted in, in chapter titled "Classifications of Sun-dials," a clipped article giving information about how to obtain a general list of medieval sundials. Page 68: In Una’s hand (same chapter) in the margin above an in-text photograph of a sundial at the Santa Barbara Mission which says (in translation) "The light of God showeth the way of life, / But the shadow both telleth the hour and teacheth the faith, the following note: "Another dial at the Santa Barbara Mission (a cross-shaped dial against the church wall) says ‘My time is in Thy hands, O God.’" Opposite page 79: Pasted in (same chapter), a clipped article describing the old garden at Morven, Princeton, New Jersey (location identified in Una’s hand). Page 103: Pasted in at the beginning of the chapter titled "Ingeniose Diallers" (a reference to the quote "In this glorious reign, as likewise in the century which has passed, there are to the honor and pleasure of the King and the glory of God in all his works, as seen in the sunne and his motions, many ingeniose diallers" from Mathematick Rules by I. N. Gentn, 1646), a clipped photo of a sundial and written underneath in Una’s hand, "Vulnerant omnes! Ultima necat." Page 119: (same chapter) Pasted-in photo of a solitary sundial of graceful proportions, unidentified. Page 162: Pasted in, in the chapter titled "Portable Sun-dials," a clipped photo of garden with a sundial (unidentified) placed atop an even older marble column. Facing page 163: Pasted in, a portion of a clipped article on the proper placement of sundials. Page 163: In Una’s hand, in the chapter titled "The Sun-dial as an Emblem," she writes, "For Sundial / La vie est brève. / Un peu d’espoir, / Un peu de rêve / Et puis bonsoir." Opposite page 173 (same chapter): A pasted-in clipping of a sundial on an urn-shaped pedestal at the center of a knot garden. Opposite page 195: In the chapter titled, "Symbolic Designs for Sun-Dials," a pasted-in clipped photo of a sun-dial on a ram’s-horn base. Page 233: At the beginning of the chapter titled "The Setting of Sun-dials," Una has written in the motto, "I stand amid ye summer flowers / To tell ye passing of ye hours; / When winter steals ye flowers away / I tell ye passing of their day," the following: "O man whose flesh is but as grasse / Like summer flowere thy life shall passe. / Whiles tyme is thine laye up in store / And thou shalt live for ever more" (no attribution). Page 252: At the beginning of the chapter titled "Sun-dial Mottoes," Una has written, "On a wall sun-dial near Mentone: ‘Nous consumous les années comme une pensée.’" At the end of the same chapter, Una has written "Le temps s’en va, le temps s’en va, Madame; Las! Le temps non, mais nous, nous en allons." Pasted below is a paragraph, evidently taken from a review of Sun-Dials and Roses of Yesterday, which discusses the "Sun-dial Mottoes" chapter, pointing out some proofreading errors, some missed "chronograms," and some imprecise dates. Page 285: (In the chapter titled "The Sun-dial as a Memorial"): Una has written at the top of the page, "ereunt et imputantur (Martial)." Opposite page 291: Pasted-in, clipped photo of a memorial "To the Memory of Adam, The First Man." Una has written underneath, "On the estate of John P. Brady at Garden of Edenville near Baltimore. Here on the 28th October of each year Adam’s memory is observed with proper ceremonies." Opposite page 307: In the chapter treating the use of roses in cooking and housekeeping, titled "Rosa Solis, Rose Plate, and Rosee," a pasted-in photo captioned, "Berrydown Court, Overton: The Rose Garden." Una adds its location: "Surry." Page 458: Loose, a pamphlet from the U. S. Department of Commerce Bureau of Standards titled, "Sundials," and dated March 27, 1933. Back flyleaves: Pasted in, (1) a clipped article (n.d., n.p., attributed to R. Leon Hall) illustrated with several photographs of unusual clocks; (2) a clipped photograph of the Prince of Wales posing at Burden House, Syosset, leaning against an elaborate iron timepiece. Inside back cover: In Una’s hand: "Ut Umbra, sic Vita / Hora fugit, mors venit // Sic vita" and "Go live as long as you can / Love forever and aye; / Be kind to every man / For life soon passes away." Una lists several page numbers that are of note: Page 212 recounts the story of the making of a sundial from an old tomb; on page 213, an "X" marks the motto, "Lux et umbra vicissim, sed semper amor"; marked on page 221, the motto, "Tempora præterunt; nunc sol nunc umbra vicissim / Prætereunt; super est ecce perennis amor"; on page 269, the motto, "Horam sole nolente nego--I tell not the hour when the sun will not," is marked; and on page 270, "Pulvis et umbra sumus--We are dust and shadows" is marked; on page 274, "Make the passing shadow serve thy will" from Tennyson’s "The Ancient Sage" is marked; and on page 277, "Justum et æquum--just and fair" and "lucet omnibus--it shines fully," both on sundials in the collection of Lewis Evans, Russel Farm, Watford, England are especially noted.

Eglinton, John. Irish Literary Portraits. London: Macmillan and Company, 1935. Notes: Inside front cover: Loose cartoon of George Russell (A. E.) and W. B. Yeats passing, without noticing, one another--one man’s eyes looking upwards, the other’s downwards. Una writes, "The story is told in Dublin that W. B. Yeats and George Russell (A. E.) set out respectively from 82 and 84 Merrion Square to see each other . . . and passed at 83!" Title page: Una has written under John Eglinton’s name "William Magee." Pages 37-38: (just before the section headed "A. E. and His Story") In Una’s hand, the following lengthy excerpt(s): "A letter of A. E. to Weeks Dec. 1932: ‘I think about death in numberless ways for there are numberless gates for us through death. Body to earth, soul to God, is not enough for our being compounded out of so many previous lives. One part of me shall go back to earth, another part to the illusion of heaven, another to its own being--what you think of as Deity--another part perhaps to faery or elemental spheres for we have all forms of being in our selves. Our nature which the Vedic seers called ‘true, own being’ in the prism of nature was dramatically sundered into many colored lives yet all part of ourselves. The rays spread then gather again . . . . I believe I shall live hereafter because I have lived before and I came upon knowledge of past religions, lives and loves in meditation -- found others who remembered the places where we lived. I went inwards as much as I went outwards and was not content to think only but made adventure inward by resolute will and at times I left this world behind me. . . . I believe there is a deep justice in the nature of things and am at peace, yet in another sense I am full of awes and fears because there are such mighty and terrible things in the universe and we must meet and cope with them all . . . I feel that my own death will be unworthy because I will go out through the falling in of walls of clay, whereas I should by the will have before this been able to find a secret, radiant gateway into the spirit and gone out by my own will and not been forced out. / All our thoughts are throngs of living souls. / As the perfection of the body is to mirror an external nature in itself, so I think the perfection of the psyche is to mirror all life itself’ (to Sían O’Faolain). ‘I am rejoicing now in being a wanderer / The cries of my race no longer touching me / The lights of live and home behind me / and drowned in hazes of sunken years. I like the sensation of freedom that none puts a delaying hand on me and I can like the Indians, after being a householder, retire to the jungle to meditate. / There are two points in our lives never to be spoken of: the highest which is sacred and to speak it would turn earthwards the soaring meditative spirit; and there is the depth in us which we never speak of for pity’s sake--it must never never be sung. We must pass like smoke.’ --born Apr 10, 1867, Lurgan Co. Arenagh." Page 56: Loose, a clipped sketch of A. E. in his middle years. Page 61: In Una’s hand, "A. E. believed firmly that certain ‘magnetic centers’ of the ‘Earth-Being’ were located in Ireland, and in the possibility, especially in these places of entering into the Earth-Memory: a psychic region in which forms he beheld seemed to have some kind of objective existence, as though what has been still is. He said, ‘I have discovered that consciousness can exist outside the body, that we can sometimes see people who are far away from us, that we can even speak to them--I have been spoken to myself that way. I know by experience that disembodied beings may act on us profoundly. Life has been poured into me by one of them. I seemed to be scourged by electricity. I am convinced that I remember past lives and I have spoken with friends who remember them equally--we have even talked together of places where we lived. I have also seen elemental beings and people with me have seen them at the same time!’" Page 96: Loose (in the section of the book on George Moore), a clipped fragment of journal article (pp. 365-66, possibly by Eglinton--n.d., n.p.) discussing Yeats’s "dæmonic" and romantic qualities.

Ellis, S. M. George Meredith: His Life and Friends in Relation to His Work. New York: Dodd, Mead and Company, 1920. Notes: Flyleaves: Inscribed "Una Jeffers." Loose, clipped reviews of Rossetti and His Circle by Max Beerbohm and Pre-Raphaelite and Other Poets by Lafcadio Hearn (n.d., n.p.). Half-title page: Pasted-in clipped copy of an etched portrait of Meredith. Opposite page 310: Pasted in, below a photograph of Meredith as an older man, a very late photograph (clipped) of the writer in an identical pose. Page 320: In Una’s hand, "George Meredith was buried in a little cemetery near the downs near Dorking. His ashes were borne to the grave by his daughter in a casket on which was engraved a quotation from ‘Vittoria.’ ‘Life is but a little holding, lent to do a mighty labor.’ Contemporaneously with the internment at Dorking a memorial service was held at Westminster Abbey." Pasted onto inner edge of the page, a clipped article (from pages 5 and 6; no source identified) by J. M. Barrie describing Meredith’s burial, May 22, 1909, at Box Hill near Dorking. Page 326: Pasted in, a brief clipped article ("by E. T. Raymond," in Una’s hand) describing Meredith’s approach to life: "George Meredith [he says] was impatient of talk about life’s ironies; he took things as they came, accepted Fate’s decrees with fortitude, and did not blame Nature for being natural. He liked recognition; he liked also good and even fat living, old vintages, pleasant lodgment, and ease of mind. He wrote best about the sunshine when he saw it through a glass of fine claret, and lark pie was for him the best preparation for an ode to the lark. . . . Meredith’s genius [he says elsewhere] lay in the direction of making the simplest things obscure, and the most ordinary things out-of-the-way. The dread of being commonplace seems to have inclined him especially to verbal contortions when he was conscious of some thinness or ordinariness of thought." Inside back cover: In Una’s hand, "From Viscount Morley’s ‘Recollections’ -- speaking of Meredith . . . ‘his find poetic head bright with crisp brown hair . . . voice strong, full, resonant, harmonious . . . much of power both of muscle and nerve . . . his exhortation loud and constant, "Live with the world. No cloister, no langour. Play your part. Fill the day. Ponder well and loiter not. Let laughter brace you. Exist in everyday communion with nature." No one has surpassed him in precision of eye and colour and force of words for landscape. He lived at every hour of the day and night with all the sounds and shades of nature open to his sensitive perception . . . what Wordsworth calls ‘the business of the elements’ was an essence of his life. . . . his beloved S. W. wind . . . His aversion to sentimentalism sometimes drew him near to a certain hardness. He said "The Egoist (of his novels) came nearest to the proper degree of soundness and finish." Of Hardy who had been staying with him "I am afflicted by his twilight view of life." He was impatient of talk of life’s little ironies. In late years he wrote to Leslie Stephen when they were both of them physically disabled for the rest of their lives "We who have loved the motion of the legs and the sweep of the winds, we come to this, But for myself I will own that it is the Natural Order. There is no irony in nature." He spoke very little of death ever. Near his end we went to see him at Box Hill, found him very deaf but with a vigourous tongue and most gallant spirit; "Going quickly down," he said; but nothing morbid, introspective, pseudo-pathetic; plenty of hearty laughter as in the days when we were both on a brimming stream "No belief in future existence: are our dogs and horses immortal? What’s become of all our fathers?" . . . . his buoyant energy, his sincerity of vision, his spaciousness of mind and outlook, his brave faith in good, in the rise of good standards, in the triumph of good, -- a rare and fine moral and intellectual force. A teacher of many. A sane and wholesome person . . . fire and strength and richness of his genius.’"

Elson, Louis C. Shakespeare in Music: A Collation of the Chief Musical Allusions in the Plays of Shakespeare, with an Attempt at Their Explanation and Derivation, Together with Much of the Original Music. Boston: L. C. Page and Company, 1900. Notes: Front flyleaves: Inscribed "Una Jeffers." Written in a hand other than Una’s on second flyleaf and dated "December 4th,1900," are passages having to do with music from Lamartine (in French) and Shelley. Back flyleaf: In Una’s hand is a list headed, "Songs referred to in Shakespeares Plays according to Charles Vincent (Ditson, pub.) / Farewell, dear Love; Peg O’Ramsay; Green sleeves; Heigh-ho! for a husband; Heart’s ease; Three merry men be we; Light O’ Love; King Caphetua; The Sick Tune; When Arthur first; Come o’er the bourne, Bessie; Death, rock me asleep; Hold thy peace, thou knave; There dwelt a man in Babylon, lady, lady; Oh the twelfth day of December; Logon; What! do we no harm, good man; I loathe that I did love; Didoes and fadings; Can you not hit it, my good man." Inside back cover: In Una’s hand, a list of the songs in the book that include musical accompaniments.

Elson, Louis C. The Theory of Music, as Applied to the Teaching and Practice of Voice and Instruments. Twentieth Edition. Boston: New England Conservatory of Music, 1908. Notes: Front flyleaf: Inscribed "Una Küster." Frontispiece: Handwritten notes (Una’s) outlining and charting simple binary and ternary forms, simple and modified rondo forms, sonata form, and sonata-rondo form. Back flyleaf: Diagrams of orchestra formation on stage (one noted as "New York Philharmonic," the other as "Los Angeles Symphony"), along with an outline of the basic instruments necessary to perform an orchestral piece. Inside back cover: An outline of the terminology used to indicate the various rates of speed used in musical compositions.

Emerson, R. W. Nature: Addresses and Lectures. Philadelphia: David McKay Publisher, 1892. Notes: Flyleaf: Inscribed "Una Küster, Edward Küster." Note, not in Una’s hand, "Substance of essay."

Emerson, R. W. Representative Men: Seven Lectures. Philadelphia: David McKay Publisher, 1892. Notes: Flyleaf: Inscribed "Una Küster, Edward Küster." Handwritten note: "Wed. Dec 9 at 2 p.m."

Emerton, Ephraim. An Introduction to the Study of the Middle Ages (375-814). New York: Ginn and Company, 1916. Notes: Inside front cover: Pasted in, two clipped engravings captioned, "A Monastical School of the Middle Ages" and "A German Alchemist." Appears to have been a textbook; dates and places are underlined.

Ervine, Sir John. Ulster. Belfast: The Ulster Tourist Development Association, 1926. Notes: Cover: Inscribed "Una Jeffers, Tor House, Carmel." Inside front cover: Pasted-in clipped montage of photographs captioned, "Ulster Links with St. Patrick." Page 35: Passage marked: "[County] Down is the cradle of Irish Christianity, but it retains many traces of ‘the ould, ancient days’ of paganism. One of the loveliest views in the whole of the county of Down is obtainable from Killinchy in the woods as the road rises from the water and you look back to the islands in Strangford Lough."

Euripides. Hippolytus. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Little Blue Book, Series Number 502. Front cover: Inscribed "Una Jeffers."

Euripides. Medea. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Little Blue Book, Series Number 500. Back and front covers: Written in faint and scribbled fashion, notes by RJ. Will require special enhancement and a reader proficient in Jeffers manuscripts to decipher.

Evans, Augusta J. Beulah. New York: G. W. Dillingham Company, 1899. Notes: Flyleaf: Inscribed "Una Lindsay Call, Dec. 1900." Page 313: 1" x 1" piece of cardboard with a colored sketch of a bird and labeled "Ohio Blue Tip."

Evans, Herbert A. Highways and Byways in Oxford and the Cotswolds. London: Macmillan and Company, 1927. Notes: All notes are In Una’s hand. Inside front cover: "Jeffers / ‘Keroy Vor’ / Brit-well Salome / near Wattington / Oxfordshire England." Flyleaf: "Bibury - most beautiful village in England says Wm. Mann / Grew Tew prettiest village in Oxon. / Go along valley of Stroud, Pitchcombe / Aldernth, Soperton, Danensay / (Uley & Owepen) [spellings may be inaccurate as handwriting is sketchy], / quaint village of Epwell (Manor Compton Wyngates) / Old deserted church at Addington tenanted by rooks / Tithe barn at Great Coxwell, one of the most beautiful buildings in England / In Western Wiltshire see Egington a dream[?] church of XIV cent." Half-title page: Pasted-in, clipped photo of the High Street of Chipping Campden. Overleaf, a clipped itinerary map of the Cotswolds (bordered by Worcester, Cheltenma, Burford and Banbury). Back flyleaf: "Britwell / Ewelme / Abingdon (400 yr old bridge / old houses, almshouse, etc) / Wantage (birthplace Alfred the Great, statue etc / Kingston Lisle - blowing stone, ancient entrenchments visible on downs or along ridge to White Horse Hill existed over 1000 years / Mile west = Cromlich Wayland Smiths forge / Leffington (Tom Browne on Ridgeway or Ickleton St) / Kelmscott Manor (near Lechlade) / Fairford (2 inns! church with famous glass) / Quennington (old church with 2 finest doorways in Gloucestershire) / Bibury - "most beautiful village in England. Church terra-cotta color inside! Inside back cover: Burford (fine church, Norman tower) / Chipping Norton (fine Perf. church) / Banbury / Sulgrave Manor / Brockley / Crylesbury / Wattington / Britwell / or Bibury / Northleach / Broadway / Willersey / Mereton-on-Marsh / Stow on Wold / Burford."

Faulkner, William. Absalom, Absalom! New York: The Modern Library, 1951. Notes: Page 144: Loose, a handwritten note on stationery from Hollow Hills Farm, Route 2, Carmel, California: "Friday. Dear Robin, Take my copy on the boat. If it doesn’t capture your interest, leave it on the boat. I will replace it from the U. C. Coop. book shelves. Yours, Ben[?]." Slip of paper with a list of numerals: "3/29, 2/29, 1/29, 12/29, 11/29, 10/29, 9/29," possibly in Jeffers’ hand. Printed landing card from Holland-America Line identifying "J. R. Jeffers, USA, Passenger, 22 Feb 1956."

Fay, W. G. and Catherine Carswell. The Fays of the Abbey Theatre: An Autobiographical Record. New York: Harcourt, Brace and Company, 1935. Notes: Flyleaf: Inscribed "Jan 26th 1936. This book was presented to me today by Georgiana Stevens, reviewer for the San Francisco Chronicle, and, with her permission, I pass it on for inclusion in the Una Jeffers Irish Collection. Albert M. Bender." Stamped on page, "Review Copy, Publication Date, Oct 4, 1935. Price $3.50."

Fea, Allan. Old English Houses: The Record of a Random Itinerary. London: Martin Secker, 1910. Notes: Flyleaf: Inscribed in pencil, "Clark E. Creed." Table of Contents page: Pasted in, a clipped photo captioned, "In the Gardens of Powis Castle."

Fell, Marian, Translator. Plays by Anton Tchekoff. New York: Charles Scribner’s Sons, 1912. Notes: Flyleaf: Inscribed "Una Jeffers." Half-title page: Inscribed "Una Kuster / London / 1912."

Fergusson, James. Rude Stone Monuments in All Countries; Their Age and Uses. Notes: Inside back cover: Pasted-in clipping of photo captioned, "The Great Images on Easter Island."

Firor, Ruth A. Folkways in Thomas Hardy. Philadelphia: University of Pennsylvania Press, 1931. Notes: Page 62: Una emends the word "death" in the printed text to read "burial" with regard to a tragic folktale about the suicide of a son and the father’s response. Page 63: With regard to a phrase reading, "Opening doors and windows at the hour of death; feeding the bees funeral food and telling them of the death within the house," Una writes, "See Llewelyn Powys’ description of tiny ‘Soul Windows’" and "See Precious Bane page 27." Page 95: With regard to charms to foil the malevolence of witchcraft in the dairy, Una notes in the margin, "My Irish grandmother, Elizabeth Donnan Lindsay, would have the girl throw a hot nail into the churn to rout the witch when the butter wouldn’t come." Page 115: In margin, with regard to a discussion of the "malignity" of the mandrake Una has written, "cf. my terror and dislike of the mandrakes which grew at the edge of the abandoned well at the edge of our place."

Flaubert, Gustave. Madame Bovary. Boston: L. C. Page and Company, 1906. Notes: Flyleaf: Inscribed "U. C. K. from E. C. B., wondering if such a ‘Romantic Lady’ can sympathize with Flaubert’s merciless realism. July 16 ‘09, Los Angeles."

Fletcher, John Gould. Life is My Song: The Autobiography of John Gould Fletcher. New York: Farrar and Rinehart, 1937. Notes: Flyleaf: Inscribed "To J. Robinson Jeffers -- With appreciation for his work as a poet -- and for himself, as a human being and a man. John Moore, Hollywood, Cal., 8/12/39. P. S. How many faces on this cover-jacket can you identify? I guessed them all except three or four. Mr. F. told me who all of them are -- or were! JM." Pages 214-15: Text reads, "San Francisco evaded me completely. All that I could say of it was that here everything stood in sharp contrast; the fierce, external energy of American effort was completely matched by the somber, fatalistic calm and inertia of wild nature; the rattling bustle of the skyscraper district was matched by the remote smolder and silence of great redwood groves and lonely shores; the braggart energy of the Anglo-Saxon stood cheek by jowl with the passionless calm of the Chinese. San Francisco presented me with a theme and a problem of which I could make nothing. Was man or nature chiefly important? The answer was given, from a standpoint more Californian then mine, ten years after my visit, in the poetry of Robinson Jeffers."

Flood, William H. Grattan. A History of Irish Music. Fourth Ed. Dublin: Browne and Nolan Ltd., 1927. Notes: Flyleaf: Inscribed "Happy New Year 1931, to Noel. C. C. C."

Forman, H, Buxton, Ed. Letters of Edward John Trelawny. London: Oxford University Press, 1910. Notes: Inside front cover: Postcard bearing the following inscription under the photo: "Shelley’s tomb on his centenary, Aug. 1922. On the right is the tomb of Bertie Bertie Mathew d. 1844." Over, "Dec. 22nd 1924. Such gay cards I seem to send you - did I post 3 others of Shelly - Keats - Severn - I can’t find them. Weather like home and Rome so full of flowers & we were in luck to have come early & missed the hordes of tourists that are coming - Bought this at the Keats house by the Spanish Stairs - Greetings (signature unreadable)." Handwriting similar to Una’s. Inside front cover and flyleaf: In Una’s hand: "Letter quoted from ‘The Protestant Burial Ground in Rome - A Historical Sketch’ by H. Nelson Gay & the Preservation of the Graves of Keats & Shelley by Sir Russel Rodd. Thursday 4 April 1823. Rome ‘Whose master hand is cold, whose silver lye unstrung’ Dear Severn [Joseph Servern]: Do you think the inscription would be improved by the line I have quoted from Shelley’s ‘Adonais’--it seems to be applicable--and the word ‘spoils’ for that is all Death has of a being we trust has written on brass - and one would like associating two such master spirits as Shelley & Keats and it would be a tribute to the former’s feelings & affectionate lament of Adonais. This sympathy of thought is striking & I know how Shelley felt and if others did so too, he alone of poets has made a fit offering to the shrine of your noble friend’s memory, one would wish to mingle their great names more closely together - however it be as you shall best determine. I am going to ride with a friend around the walls of Rome and will look in at your shop in the evening if possible to see how you & Gott get on. ‘In the colouring & stone line’ Yours truly Edward Trelawny." Opposite "Illustrations" page: In Una’s hand, "From a letter from Lady Blessington to Walter Savage Landor ‘Gore House, Kensington Gore Nov 14, 1839 . . . . . . I had a letter from Mr. Trelawney who has taken to lead the life of a recluse in a villa near Putney, never going to see a single acquaintance or friend, and scarcely ever visiting London. He charged me with kindest regards to you . . . M. Blessington.’ From W. S. L. to Lady B. ‘Bath, November 17, 1839. I am not surprised to hear that Trelawney has retired from society - He possesses a strong and philosophical mind, and we have only the choice of being quite alone or with scoundrels. He might perhaps have taken the alternative if those had any genius or even any pleasantry. I could well be content in solitude as deep as his . . . . . W. S. L.’" Opposite "Introduction" page: Clipped engraving of Saunders painting of Lord Byron. Page 16: Loose clipping of a letter to an editor from G. B. J. Athoe, Secretary, The Incorporated Association of Architects and Surveyors, responding to a review of and article about Trelawny: A Man’s Life by a Miss Armstrong, and describing Trelawny’s later years at his cottage at Sompting near Worthing. Page 260: Written in Una’s hand on the back of an illustration captioned, "W. M. Rossetti’s Library. Shows Shelley’s sofa with Helen Rossetti Angeli: Inscription for the couch on which Shelley passed the last night of his life by Rossetti, ‘Twixt these twin worlds -- the world of sleep, which gave / No dreams to warn, --the tidal world of Death, / Which the earth’s sea, as the earth, replenisheth, -- / Shelly, Songs orient sun, to breast the wave, / Rise from this couch that morn. Ah! did he brave / Only the sea? -- or did man’s deed of hell / Engulph his bark ‘mid mists impenetrable? . . . / No eye discerned, nor any power might save. / / When that mist cleared, O Shelley! What dread veil / Was rent for thee, to whom far-darkling Truth / Reigned sovereign guide through thy brief ageless youth? / Was the truth, thy Truth, Shelley? Hush! All -- Hail, / Past doubt, thou gav’st it: and in Truth’s bright sphere / Art first of praisers, being most praised here." Opposite page 271: Clipping of poem titled, "Trelawny Lies By Shelley (In the Protestant Cemetery, Rome)" by Charles L. O’Donnell, Chaplain, 332nd Infantry, A.E. F., Italy and dated, in Una’s hand, 1919. Below, in Una’s hand, "Severn’s epitaph: To the memory of Joseph Severn, Devoted friend & deathbed companion of John Keats, whom he lived to see numbered among the immortal poets of England. [place name unreadable] 1879 aged 85." Back flyleaf: Written in Una’s hand, "‘Man is a gregarious animal’--but I remember to have met just one man who excepted himself from this attribute of the human family. Dining one day with Mr. Chas. Kemble, the eccentric author of ‘Adventures of a Younger Son,’ chanced to be of the party. He had just returned from America and in answer to an inquiry about the packet in which he sailed he said ‘I’m not gregarious, Sir, I took the cabin of a merchantman to myself.’ (From N. P. Willis’ notes to Scenery and Antiquities of Ireland 1842.) ‘It is not every traveler / Who like Trelawny can aver / In every state he left behind / An image the nine months way find.’ // Considerate, he perceived the need / Of some improvement in the breed / And set as hearty to work / As when he fought against the Turk’ Unpublished lines by Landor in the possession of Stephen Wheeler." Inside back cover: Pasted in, a small envelope engraved "White Hart Hotel, Launceston," cut open and covered with eleven staffs of music and words: ". . . . thou winter wind thou art not so unkind / thou are not so unkind / as man’s in-grat-ti-tude. / Thy tooth is not so keen Be-cause thou are not seen / Thy tooth is not so keen // Be-cause thou art not see / Al-though thy breath be rude / Al-though thy breath be rude / Al-though thy breath be rude."

Fothergill, Jessie. The First Violin. New York: Thomas Y. Crowell and Company, n.d. Notes: Flyleaf: Inscribed "Una Küster, Oct. ‘08."

Fowler, F. Barrett and Henry St. John Cooper. Bulldogs And All About Them. London: Jarrolds Ltd., 1925. Notes: Inside front cover: In Una’s hand, "Of all dogs it stands confessed / Your English bulldogs are the best / I say it, and will set my hand to’t / Camden records it and I’ll stand to’t."; "A bulldog is not only the most courageous dog but the most courageous animal (Stonhenge)." Flyleaves: With clipped photos of bulldogs, in Una’s hand, the following notes: (1) "Registered Haig of Bernerayde, No. 908057, American Kennel Club Stud Book"; (2) "For Haig Jeffers on his first birthday, September 26, 1933, Tor House, Carmel, California"; (3) "Darling Haig died untimely Thursday April 13, 1939 --the truest, most faithful heart that will ever beat for me: Aged 6 years 6½ months"; (4) clipped newspaper and magazine photos captioned, "Stewart Erwin, MGM comedian, and his prize bulldog, Handsome Mugg"; (5) "A fond farewell: ‘General Grant,’ champion English bulldog, bids goodbye to his children as he boards airplane in Los Angeles for Washington; He is a gift to President-elect Roosevelt" (in Una’s hand, "Two of these are Haig and York"); (6) "Morovian Mainlass"; (7) "Seers Babe’s Hennessey, General Snooper and Seers Babe’s Gypsy." Frontispiece: Under photo captioned "Lunette of Nork," Una notes, "French bull-dog. page 200." Overleaf from title page: In Una’s hand, a series of notes: "Winston Churchill (Winnie) born Aug. 17, 1940, Gerstdale Kennels, S.F.; We got him Nov. 6, 1940. His registered name has to be Trelawney--for where we registered him the above W.C. name had been used already. His A.K.C. number is A453492. Inoculation against distemper Dec. 16 ‘40, Dec. 31 ‘40. But we call him Winnie. My precious Winnie died Sept 22, 1944. I can never forget him or cease to long for his dear presence." Page 15: Clipped photo of four bulldog puppies in basket. Page 16: Clipped photo captioned "Handsome Dan of Yale in the Hands of the Enemy: Threats of hostilities ceased yesterday with the return of the famous mascot by his Harvard abductors. He is here shown with Francis Moore, president of the Harvard Lampoon, and Robert Cummings, business manager of The Lampoon." Page 38: Clipped photo of bulldog Honey Suckle. Page 81: Clipped article and photo captioned, "Parade of English Bulldogs Will Be Staged in [San Francisco] Marina." Page 172: Photo illustrations of Champion "Hefty Master Grumpy," identified in Una’s hand, "Haig’s great-great grandfather," and of Champion "Hefty Son O’ Mike," identified as "Haig’s great, great, great grandfather." In chapter titled "Various Bulldogs in England," many photo illustrations and paragraphs are "X’d" next to particular dogs’ names. Page 199: Clipped photo of "Ch. Seers Jock’s Jockette." Page 233: Clipping of "The Legend of St. Roch," the patron saint of dogs. Page 249: Clipping captioned "Grid Mascot Travels First Class." Advertisment pages: Series of pasted-in clippings: (1) Brief article on "The Bulldog"; (2) photo of two bulldogs attending the premiere of the "talkie" Devil Dogs of the Air; (3) the story of "Argos, the Dog of Odysseus"; (4) photos of champion bulldogs Morningside Mavis and Kamel White Knight; (5) article about the (human) Haig family of Scotland’s difficulty in producing a male heir; (6) an article extolling the gentle qualities of the bulldog; (7) note in Una’s hand, down the side of page, "Lady Ermentrude of Live Oak A202479 mate Nov. 24-26, 1938"; (8) clipped photo of champions Rodoco Don Michel and Taringa Solo; (9) clipped photos with handwritten note, "Just won twelve first prizes at Cruft’s Show, London. Dinilo of Din and granddaughter Boo Boo of Din"; (10) clipped photo captioned, "Miss Frances Hayden with Bulldog, Seers Jocks Jockette"; (11) clipped photo captioned, "Beauty and the Beasts," (with the human cut out). Inside back cover: Clipped photo of bulldog and cat looking at a giant bone, with a note written in Una’s hand above: "For fear in dogs [unreadable] Calm with aspirin 2½ grains for Peke, 10 grains for gt. Dane, repeat after an hour." Inside back cover: Loose clippings: (1) Photo of baby and bulldog; (2) two photos of trios of bulldogs; (3) color photo of Boots, mascot of the MP’s at Randolph Field, Texas; (4) 1946 Mauldin cartoon (showing fierce bulldogs) captioned "No teeth" lampooning UN; (5) photo of bulldog standing at center of British flag captioned, "There’ll Always Be an England"; (6) bulldog in show; (7) article about Oakland Kennel Club show dedicated to clarifying distinctions between English bull terriers, English bulldogs, Boston terriers and Staffordshire terriers; (8) photo of bulldog Soda, appearing in Selznick film Since You Went Away; (9) photos of "bulldog aristocrats" from England; (10) photo of Marine mascot, bulldog Sergeant Brigs, voted "homeliest dog" in the entire military service; (11) political cartoon (Shepard) captioned, "A Cupboard of Contention" showing several breeds of dog; (12) photo of Tardy Lad, bound for Kentfield Dog Show; (13) article and photos about Cruft’s Show in England, in which the "decline of the bulldog" is discussed; (14) January 22, 1944, Saturday Evening Post article titled "No New Deal for Dogs," in which General Grant, a bulldog who lived at the White House, is mentioned, and with a handwritten note, "Gen Grant =Haig’s father"; (15) postcard addressed to Lee Jeffers, and postmarked "Truro, July 18, 1942," with a photo of a bulldog at the center of the English flag and captioned, "There’ll Always Be An England" (signed, "Love, Lee"); (16) clipped photo from 1944 newspaper of lioness chewing on the ear of bulldog Beautiful Joey and a handwritten note to Winnie signed, "Jacque" Burnham; (17) photo of bulldog "Soda" with Monty Woolley and Shirley Temple publicizing the movie Since You Went Away; (18) photo from 1947 Call Bulletin of fourteen English bull puppies bound for the "seventh annual puppy match at Lomita Park estate of Mabel E. Fox"; (19) brief article about the French bulldog and photo of Jiggs of the Marines with 8-month-old baby; (20) color photo of two bulldog puppies in basket; (21) photo of six bulldog puppies bound for show at Fox Ranch in San Mateo County; (22) photo of beribboned dog with note in Una’s hand, "Champion Kamel White Knight"; (23) article with photos titled, "The Ugliest Dog in the World"; (24) business card for Mabel E. Fox, San Bruno, California, bulldog breeder; (25) photograph (not clipped) with note on back, "Father of our Winnie, "Gerstdale Playboy" and his 5 weeks old son "Gerstdale Esquire."

François, Victor E. First Latin with Collateral Reading. Book One. New York: Allyn and Bacon, 1926. Notes: Flyleaf: Inscribed in Una’s hand, "Garth and Donnan Jeffers, Tor House, Carmel." Inside back cover: Some page assignments, in Una’s hand.

French, C. N. A Countryman’s Day Book: An Anthology of Countryside Lore. London: J. M. Dent and Sons, Ltd., 1929. Notes: Flyleaf: Inscribed "Una Jeffers, Belfast, Ireland, December 1929." Page 1: Pasted-in ("January" chapter) clipping of woodcut of snow scene. Page 2: In RJ’s hand, "The Ealands of Winter are come. / The heath / Is bare where it was burnt. The / breath / Of the oxen smokes, the old wait / death. -- Davydd ap Gwilym, Translated by Ernest Rhys." Page 9: Pasted-in clipping providing "the standard version of ‘The Twelve Days of Christmas.’" In hand with arrow pointing to the words "until the last verse goes," Una has written, "XIIth night. January 6." Page 25 (in "February" chapter): In Una’s hand, "Such a February face / So full of frost, of storm, of cloudiness. --(Much Ado about Nothing )." Page 26: Pasted-in clipping with excerpts from Chaucer, Shakespeare and Drayton, all for Valentine’s Day. Page 34: Pasted-in passages from Gay about Valentine’ day. Page 66: (Chapter on "March") In Una’s hand, the following: "March borrowed frae Aprile / Three day & they were ill / The first o’ them was wind & weed / The second o’ them was snaw & sleet / The third o’ them was sic a freeze / That the birds’ legs stack to the trees. (Scot’s folklore)." Page 214: ("November" chapter) Pressed leaf. Page 245: ("December" chapter) In Una’s hand, "Winter fog will kill a dog." Back flyleaf: In Una’s hand, "The New Moon / Gaelic translation by Alex. Carmichael / In name of the Holy Spirit of grace, / In name of the Father of the city of peace, / In name of Jesus who took death of us / O in name of the three who shild us in every need / If well thou hast found us tonight / Seven times better mayst thou leave us without harm, / Thou bright white moon of the seasons / Bright white moon of the seasons. / May they loving luster leave us / Seven times still more blest / O moon so fair / May it be so / As seasons come / And seasons go." Inside back cover: Pasted-in clipping of wood cut captioned "From ‘A Countryman’s Day-Book’"; and note in Una’s hand: "In English countryside, people nod to the new moon and turn silver in their pockets. In Scotland they turn the rings on their fingers and wish." Also inserted here, a series of beautifully colored plates, cut from a larger piece, illustrated on both sides, and representing the months of the year.

Fry, Roger, Trans. Some Poems of Mallarmé. London: Chatto and Windus, 1936. Notes: Flyleaf: Inscribed "Una Jeffers. London, October 1937."

Garnett, R. S., Ed. Letters About Shelley, Interchanged by Three Friends--Edward Dowden, Richard Garnett and Wm. Michael Rossetti. London: Hodder and Stoughton, 1917. Notes: Flyleaf: Pasted-in, clipped copy of the "Williams" portrait of Shelley. Page 263: Pasted onto left edge, a short, clipped article by Elinore Wylie, "Shelley’s Grandson and Some Others"; Wylie recalls living in an English village where she came to know the grandson, as well as Andrew Lang’s first cousin and Arthur Hugh Clough’s son.

Gaskell, Elizabeth. The Life of Charlotte Brontë. New York: Harper and Brothers, 1900. Notes: Flyleaf: Inscribed "Robin to Una Jeffers. August 2, 1918. Our five years have been wonderful and sweet, dearest. I am rather Keen for the next five, -- ten -- and the rest -- and with little boys in the family!" Page xiii: Pressed "White heather from Haworth from Connie Bell" (Una’s note). Page 312: Loose, clipped color picture of 18th century woman gathering flowers and used as a bookmark at the passage in The Life which reproduces an 1846 letter from the thirty-year-old Brontë to Ellen Nussey, advising her on the choosing a course in life, in which she says, in part, "The right path is that which necessitates the greatest sacrifice of self-interest--which implies the greatest good to others; and this path, steadily followed, will lead, I believe, in time, to prosperity and happiness, though it may seem, at the outset, to tend quite in a contrary direction." Page 374: Loose, a clipped article titled, "The Case for Branwell Brontë," reviewing the book Patrick Branwell Brontë, by Alice Lawson. Page 374 also contains, in part, a copy of the letter from Charlotte Brontë to Mary Taylor describing her first visit as "Currer Bell" to the office of publishers Smith and Elder. Page 392: Note, in Una’s hand, in the margin below a letter from Brontë to Ellen Nussey informing her of Emily Brontë’s death: "Read Maeterlinck tribute to Emily Brontë in ‘Wisdom and Destiny.’ Section 100." Page 404: Loose, clipped article titled "Romance in a Parsonage: New Nicholls Letters: Charlotte Brontë’s Marriage," by the Rev. W. F. France. Back flyleaves: In Una’s hand, "See page 586 this book. Page 586: Una writes, "Letter from Charlotte Brontë to Ellen Nussey describing her stay at Filey near Scarborough, during which time she saw to the refacing and relettering of Anne’s headstone. Sir Osbert Sitwell writes in ‘The Scarlett Tree,’ 1946, about Anne Brontë’s grave, ‘Perhaps the skeleton of Anne Brontë, lying a mile from us across the bay in its grave in the churchyard, merging, beyond a broken stone wall, into rough sea meadow, the headstone at an angle now and the inscription, often indecipherable because of the black and bulky shadow thrown down by the huge ragged Norman castle on the rock above: perhaps this skeleton, alone, in the vicinity, had it but been able to clothe itself in human raiment again after the passage of 50 yrs, could have explained to us the nature of this difference which was the same as that which separated her bones from those lying more at their ease round her . . . ‘ (That is the difference between artists & more normal people. The 3 young Sitwells were not congenial with their young friends in Scarborough.)" Overleaf, in Una’s hand, "Haworth 1855. ‘Far northwards from here, / In a churchyard high mid the moors, / . . . There on its slope is built / The moorland town. But the church / stands on the crest of the hill, / Lonely and bleak; and at its side / the parsonage house and the graves. / Thou, O mourned one, today / Enter the house of the grave! / . . . Round thee they lie -- the grass / Blows from their graves to thy own! / She whose genius, though not / Puissant like thine, was yet / Sweet and graceful; -- and she / (How shall I sing her?) whose soul / Knew no fellow for might / Passion, vehemence, grief, / Daring, since Byron died.’ (Matthew Arnolds memorial poem when Charlotte Bronte died.)" Pasted-in, a clipped woodcut portrait of Emily Brontë. Inside back cover: In Una’s hand, "‘The Old Stoic’ by Emily Brontë. ‘Riches I hold in light esteem, / And love I laugh to scorn; / And lust of fame was but a dream / That vanished with the morn: / And if I pray, the only prayer / That moves my lips for me / Is "Leave the heart that now I bear / And give me liberty." / Yes, as my swift days near their goal, / Tis all that I implore; / In life and death a chainless soul / With courage to endure.’ Emily Brontë’s last poem. ‘No coward soul is mine / No trembler in the world’s storm-troubled sphere; / I see Heaven’s glories shine, / And faith shines egnal[?], arming me from fear. / O God within my breast, / Almighty - ever - present Deity! Life that in me has rest, / As I -- undying Life have power in thee. / Vain are the thousand creeds / That move men’s hearts; unutterably vain; / Worthless as withered weeds, / Or idlest froth amid the boundless main. / To waken doubt in one / Holding so fast by thy infinity: / So surely anchored on / The steadfast rock of immortality. / With wide embracing love / Thy spirit animates eternal years, / Pervades and broods alone, / Changes, sustains, dissolves creates and rears. / Though earth and men were gone, / And suns and universes cease to be, / And thou wert left alone, / Every existence would exist in thee. / There is no room for death, / No atom that his might could render void; / Thou -- Thou art Being and Breath, / And what thou art may never be destroyed.’"

Gay, Mr. [John]. The Beggar’s Opera: To which is Prefixed the Musick to each Song. London: William Heinemann, 1921. Notes: Inside front cover: Bookplate: "Frederick Seymour Clarke." Page 58: Loose, two clipped articles: (1) "Polly Peachum Comes to Town Again" by Marjorie Mears (New York Herald Tribune, Sunday, April 9, 1933), describing the new production of The Beggar’s Opera at the Empire Theatre; and (2) "That Song of Newgate: A History of ‘The Beggar’s Opera’ from Gay to Cochran-Krimsky" (New York Times, March 1933).

Gayley, Charles Mills. The Classic Myths in English Literature, Based Chiefly on Bulfinch’s "Age of Fable" (1855), Accompanied by an Interpretive and Illustrative Commentary. Boston: Ginn and Company, 1893. Notes: Purchased from Jones’ Bookstore in Los Angeles, this appears to have been used as a textbook, and to have been read with most interest in the following sections: "Myths of the Great Divinities of Heaven," with special attention to (marked with Xs) Arachne, the myths of Apollo, Phaëton, the loves of Apollo, Daphne, Clytie, the myths of Diana, the flight of Arethusa, the fate of Actæon, the fortunes and death of Orion, the Pleiads, Endymion, Adonis, Cupid and Psyche, Atalanta’s Race, Hero and Leander, and Homer’s Hymn to Mercury; "Myths of the Great Divinities of Earth," with special attention to the Wanderings of Bacchus, the story of Acetes, and the Choice of King Midas; the chapter titled "From the Earth to the Underworld," with special attention to the Rape of Prosperine, the Wanderings of Ceres, Orpheus and Eurydice; the chapter titled "Myths of Neptune, Ruler of the Waves"; the chapter titled "Myths of the Lesser Divinities of Heaven," with special attention to Cephalus and Procris, the story of Phosphor and Halcyone, the Cave of Sleep, the Halcyon Birds, Aurora and Tithonus, Memnon; the chapter titled "Myths of the Lesser Divinities of Earth and the Underworld," with special attention to Pan and the Personification of Nature, Echo and Narcissus, Pan, Lyde, and the Satyr, Pomona and Vertumnus, the Cranes of Ibycus; the chapter titled "Myths of Lesser Divinities of the Waters," with special attention to Polyphemus in love; the chapter titled "The House of Minos"; the chapter titled "Houses Concerned in the Trojan War," with special attention to Laodamia, Patroclus in the armor of Achilles, the chapter titled "Adventures of Æneas," with special attention to the Sibyl and the Elysian Fields; the chapter titled "The War Between Trojans and Latins," with special attention to Pallas, Camilla and the Final Conflict; the chapter titled "Myths of the Norse Gods," with special attention to the Creation, Odin and Valhalla, the Deeds of Thor, the death of Balder. Inside back cover: Loose, clipped photos of "A masterpiece of Athenian sculpture of the classical age [bronze head from 4th century B.C.]," and "The same head seen in profile"; "The Cnidian Venus of the Vatican in its original state (save for a missing forearm)--an undraped figure"; "A child buried with a pet animal in Athens nearly three thousand years ago"; "A colossal marble statue of Hadrian"; and "Sculpture akin to the Nereids from Xanthos in the British Museum."

Gilbert, Rudolph. Heloise Answers Abelard. Santa Barbara: Noel Young, 1948. Notes: Number Two of sixty-seven copies. Dedication page: Inscribed "To Mr. and Mrs. Jeffers. You are all I’d hoped you’d be. Louise and Rudolph."

Glaspell, Susan. The Road to the Temple. New York: Frederick A. Stokes Company, 1927. Notes: This is a biography and memoir of George Cram Cook. Inside front cover: Pasted-in, clipped colored drawing of Greek temple. Flyleaf: Inscribed, "Una Jeffers, Tor House." Page 331: Pasted onto back of illustration, a clipped photo of the Parthenon. Inside back cover: Pasted-in clipped photo captioned, "Nilla Cram Cook, Daughter of the Late George Cram Cook, Dances in the Theatre of Dionysos in Athens Before Going to Delphi to Take Part in the Festival Organized by Angelo and Ev Sikelianos."

Godkin, James and John A. Walker. The New Hand-Book of Ireland: An Illustrated Guide for Tourists and Travellers. Dublin: Dublin Steam Printing Company, n.d. Notes: Title page: In Una’s hand, "Wingst 1885." Inside front cover: Clipped photograph captioned, "Visitor to the Famous Rock of Cashel, Tipperary, Tries to Span the Wishing Stone, a Feat Which Is Said to Prevent the Toothache." Page 141: Loose, clipped article titled, "The Beauty of Galway. A Touch of Spain in Ireland. The Coloured County," by Pamela Hinkson," and an "X" beside the section describing Clondalkin, the site of a round tower 84 feet high and 15 feet in diameter. Page 370: A section describing Newcastle, the site of "an exceedingly pretty village . . . considered the most fashionable in the County Down," is marked.

Goethe, Johann Wolfgang von. Faust. New York: A. L. Burt, n.d. Notes: Flyleaf: Inscribed "Una Lindsay Call, Dec. 1900."

Gogarty, Oliver St. John. Perennial. Baltimore: Contemporary Poetry, 1944. Notes: Flyleaf: Inscribed "Una Jeffers from Ellen [unreadable], 12 Jan 46."

Goldsmith, Oliver. Poems, Plays and Essays of Oliver Goldsmith. New York: Thomas Y. Crowell and Company, n.d. Notes: Flyleaf: Inscribed "Una Call." Page xii: (introductory essay), an "X" beside "Rural life has never found a sweeter eulogist. To countless memories have his village landscapes risen pleasantly when the ‘murmur’ rose at eventide. Where do we not meet with a kind-hearted philosopher delighting in some speculative hobby, equally dear as the good Vicar’s theory of Monogamy?" Page xxi: An "X" marks "It is curious, with the intense sentiment and finished pictures of fashionable life with which the fictions of our day abound, fresh in the memory, to open the Vicar of Wakefield. We seem to be reading the memoirs of an earlier era instead of a different sphere of life." Page xxiv: An "X" marks "Mere talent would scarcely have sufficed to interpret and display so enchantingly the humble characters and scenes to which his most brilliant efforts were devoted. It was his sincere and ready sympathy with man, his sensibility to suffering in every form, his strong social sentiment and his amiable interest in all around, which brightened to his mind’s eye what to the less susceptible is unheeded and obscure." Page 18: In "Memoirs of Oliver Goldsmith, M.B., by Dr. Aikin," an "X" marks an anecdote about Dr. Johnson rescuing Goldsmith from his landlady, his bottle of Madeira and his financial embarrassment by taking the manuscript of The Vicar of Wakefield to Newbery (though the publisher did nothing with it for another three years). Page 39: In "On the Poetry of Dr. Goldsmith by Dr. Aikin," an "X" marks, "In his language will be found few of those figures which are supposed of themselves to constitute poetry;--no violent transpositions; no uncommon meanings and constructions; no epithets drawn from abstract and remote ideas; no coinage of new words by the ready mode of turning nouns into verbs; no bold prosopoeia, or audacious metaphor:--it scarcely contains an expression which might not be used in eloquent and descriptive prose. It is replete with imagery; but that imagery is drawn from obvious sources, and rather enforces the simple idea, than dazzles by new and unexpected ones. It rejects not common words and phrases; and, like the language of Dryden and Otway, is thereby rendered the more forcible and pathetic. It is eminently nervous and concise; and hence affords numerous passages which dwell on the memory. With respect to his matter, it is taken from human life, and the objects of nature. It does not body forth things unknown, and create new beings. Its humbler purpose is to represent manners and characters as they really exist; to impress strongly on the heart moral and political sentiments; and to fill the imagination with a variety of pleasing and affecting objects selected from the stores of nature."

Goodwin, William W. A Greek Grammar. Boston: Ginn and Company, 1899. Notes: Flyleaf: Inscribed "Una Lindsay Call."

Gordon, Dudley Chadwick, et. al., Eds. Today’s Literature: An Omnibus of Short Stories, Novelettes, Poems, Plays, Profiles, and Essays. New York: American Book Company, 1935. Notes: Jeffers is represented in this college anthology by "Hands," "The Stone Axe," "The Place for No Story," "Fire on the Hills, "An Irish Headland," "Night," "Hooded Night," "Clouds of Evening," "Woodrow Wilson (February, 1924)," and "The Bed by the Window."

Grahame, Kenneth. The Golden Age. New York: John Lane Company, 1921. Notes: Flyleaf: Inscribed "Una from Ellen."

Gregory, Lady (Augusta). Irish Folk-History Plays. New York: G. P. Putnam’s Sons, 1912. Second series. Notes: Flyleaf: Inscribed "Una Jeffers." Opposite title page: Pasted-in, clipped portrait captioned, "Lady Gregory. The famous Irish playwright and poet, and a director of the Abbey Theatre, Dublin. Died May 22; aged 73."

Gregory, Lady (Augusta). Irish Folk-History Plays: First Series, the Tragedies: Grania, Kincora, Dervorgilla. New York: G. P. Putnam’s Sons, 1912. Notes: Flyleaf: Inscribed "Una Jeffers." Page 48: Loose picture postcard of thatched cottage near water and Christmas note from Mary Ellen Boland. Inside back cover: Pasted-in obituary (dated in Una’s hand "June 1932") of Lady Gregory.

Gregory, Lady (Augusta). Our Irish Theatre: A Chapter of Autobiography. New York: G. P. Putnam’s Sons, 1914. Notes: Page 158: Loose, clipped article (likely from an Irish literary journal) by Lennox Robinson titled "Lady Gregory," a personal reminiscence. Inside back cover: Library sticker, stamped "purged from the library."

Gregory, Lady (Augusta). Seven Short Plays by Lady Gregory. Dublin: Maunsel and Company, Ltd., 1909. Notes: Pages 33-78: Several passages marked in the play Hyacinth Halvey. Page 152: Loose, clipped reviews from unidentified journal (pages 570-73), one by Edward Sapir, reviewing The Image and Other Plays by Lady Gregory, and one by Padraic Colum, reviewing The Eighteen Nineties by Holbrook Jackson and The Undertaker’s Garland by John Peale Bishop and Edmund Wilson, Jr. Pages 196-97: In Una’s hand, opposite "Music for the Songs in the Plays: The Red-Haired Man’s Wife": "‘They are saying it, that thou art the quiet little heel in a shoe. They are saying it, that thou art the thin little mouth of kisses, Thousand loves that thou hast turned thy back on me. Though a man may be had. / There grows a tree in the garden / With blossoms that tremble and shake / I lay my hand on its bark / And I feel that my heart must break / On one wish alone / My soul through the long months ran / One little kiss / From the wife of the red-haired man. / But the Day of Doom shall come / And hills and harbours be rent / A mist shall fall on the sun / From dark clouds heavily sent / The sea shall run dry / And earth under mourning and ban / Then loud shall he cry / For the wife of the red-haired man.’ Translations from Gaelic of fragments by Douglas Hyde." Inside back cover: Clipped news article announcing Lady Gregory’s death, describing her as "picturesque," and recounting her theatre career.

Gregory, Lady (Augusta). The Kiltartan Poetry Book: Prose Translations from the Irish. New York: G. P. Putnam’s Sons, 1919. Notes: Page 106: Loose, clipped pieces from a New York newspaper (probably from late 1940’s--New York Review of Books?): "The Scribe (Ninth Century)," "The Student and His White Cat (Late Eighth Century )," and "Lament of the Old Woman of Beare (Late Tenth Century)," all evidently taken from 1,000 Years of Irish Poetry, edited by Kathleen Hoagland, as part of a review of that book. Back flyleaf: In Una’s hand, "Long are the clouds this night above me / The last was a long night to me / This day although I find it long / Yesterday was longer still." Inside back cover: In Una’s hand, "A Bed Dawn: I stretch on this bed / As I shall stretch in the Tomb / A hard conversion I make to Thee / For the evil sayings of my mouth / for the evil thinkings of my head / For the actions of my flesh / Everything that I have said that was not true / everything that I have promised and have not fulfilled." Inside back cover: Probably in Una’s hand, "‘Sore suffering and O suffering sore is the hero’s death, his death who used to lie begone[?] -- Sore suffering to me is Cael & O Cael is suffering sore that by my side he is in dead man’s form that the wave should have swept over his white body; that is what hath distracted me so great was his delightfulness. A dismal roar & O a dismal roar is that the shore’s wave wakes upon the Northward beach, beating as it does against the polished rock lamenting for Cael now that he is gone. O woeful fight & O fight of woe is that the wave wager with the Southern shore. O woeful melody & O, a melody of woe is that which the heavy surge of Tullacleish emits. As for me the calamity which has fallen upon me having shattered me, for me prosperity exists no more.’ Crede’s lament for her husband Cael. Dr. Douglas Hyde’s translation from the Gaelic."

Gregory, Lady (Augusta). Visions and Beliefs in the West of Ireland Collected and Arranged by Lady Gregory: With Two Essays and Notes by W. B. Yeats. New York: G. P. Putnam’s Sons, 1920. Second Series. Notes: Front flyleaf: Pasted-in clipped picture captioned "A Road in Connemara."

Gregory, Lady (Augusta). Poets and Dreamers: Studies and Translations from the Irish by Lady Gregory. Dublin: Hodges, Figgis and Company, Ltd., 1903. Notes: Bookplate with name "Bryan Jones." Inside back cover: Page 73 is noted (translation of a song in which a king is calling to Ireland), as is page 100 (a lament of those sailing away from Ireland).

Gregory, Lady (Augusta). The Kiltartan History Book. London: Maunsel and Company, Ltd., 1909. Notes: Flyleaf: In Una’s hand, "Raftery--’James was the worst man for habits. He laid chains on our bogs and mountains -- The father was not worse than the son Charles that left sharp scourges on Ireland. When God and the people thought it time the story to be put down, he lost his head. The next James--sharp blame to him--gives his daughter to William as woman and wife, made the Irish English and the English Irish, like wheat and oats in the month of harvest. It was at Aughrim on a Monday many a son of Ireland found sorrow without speaking of all that died.’"

Guerber, H. A. Myths of Greece and Rome, Narrated with Special Reference to Literature and Art. New York: American Book Company, n.d. Notes: Flyleaves: Inscribed "Una Lindsay Call, 1900." Inside front cover: Pasted in, three clipped photographs: (1) "The Path of Rome in a Distant Province, Statue of Venus"; (2) "Alexander Called Great"; (3) "Meleager, an example of Greek sculpture of the 4th Century B. C., in the Fogg Art Museum." Also pasted in are two clipped photographs: "A Noble Etruscan Type of the Third or Second Century B. C.: The Head of Larth Sentinate Caesa" and "Homer -- François Gérard." Page 4: One clipped photograph captioned "Showing Detail of the Snake-Like Head-Band and Tunic-Border, with the ‘Tonsure’ Effect of the Hair: A Profile View of the Same Head [Larth Sentinate Caesa]." Una adds the note, "Etruscan." Inside back cover: Two clipped photographs: "Demeter of Cuidus" and "The Goddess of the Sea over Which Rome Ruled."

Gummere, Francis B. A Handbook of Poetics for Students of English Verse. Boston: Ginn and Company, 1898. Notes: Flyleaf: Inscribed "Una Lindsay Call, April 1901."

Gummere, Francis B. Old English Ballads. Boston: Ginn and Company, 1897. Notes: Flyleaves: Inscribed "To dear hospitable Mr. Jeffers wife fond wishes for a very happy New Year from Gledwiga Reicher. January 1st 1924." Overleaf, in Una’s hand, lyrics titled "Clerk Saunders," which tells the sad (and lengthy) story of true love between a knight and his lady who were separated by the swords of her seven protective brothers. Following title page: In Una’s hand, lyrics for "The Bonny Hynd," another lengthy piece telling the sad tale of incest between a brother and sister who discovered, too late, their true relationship. After the sister took her life, the awful truth was then revealed to their father. Una writes, "The Bonny Hynd is from Herd’s mss. where there is this note: ‘copied from the mouth of a milkmaid 1771 by W. L.’" Below, Una quotes, in hand, Sir Walter Scott’s notes to ballads in Minstrelsy of the Scottish Border: "The above . . . a fair sample of a certain class of songs and tales, turning upon incidents the most horrible and unnatural, with which the vulgar of Scotland are greatly delighted, and of which they have current among them an ample store. Such indeed are the subjects of composition in most nations during the early period of society; when the feelings rude and callous can only be affected by the strongest stimuli and where the mind does not as in a more refined age recoil disgusted from the means by which interest has been excited. Hence parricide, incest--crimes in fine the most foul and enormous, were the early themes of the Greeks. Whether that delicacy which precludes the modern bard from the choice of such impressive and dreadful themes, be favorable to the higher classes of poetic composition, may perhaps be questioned, but the more important cause of virtue and morality is advanced by this exclusion. The knowledge that enormities are not without precedent may promote and even suggest them." Table of Contents page: Una writes at the top, "Read and Outline," then marks the following pieces: "A gest of Robyn Hode," "The Hunting of the Cheviot," "Sir Andrew Barton," "Sir Patrick Spens," to which Una adds, "learn by rote," "Mary Hamilton," "Bonnie George Campbell," "Bessie Bell and Mary Gray," "Lord Randall," "Edward," "The Wife of Usher’s Well," "Sweet William’s Ghost," "Lord Thomas and Fair Annet," "Child Waters," "St. Stephen and Herod." Introduction (93 pages): At the top, Una writes, "Read." Page 159: Una marks a seventeen-stanza version of "Mary Hamilton," and she directs attention to the inside back cover, where there is a twenty-five stanza version, written by hand, and titled "The Queen’s Marie." Una has provided a reciprocal guide to the page numbers for the lyrics and the notes to the lyrics (printed at the end of the volume), for easier reference.

Gwynn, Denis. Edward Martyn and the Irish Revival. London: Jonathan Cape, 1930. Notes: Flyleaf: Inscribed "To Robinson and Una Jeffers, with fraternal greetings, Denis Gwynn, Aug. 1931." Title page: Above the heading "Edward Martyn," Una has written "1859-1924."

Gwynn, Stephen, Ed. Scattering Branches: Tributes to the Memory of W. B. Yeats. New York: The Macmillan Company, 1940. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Inside front cover: Loose, a clipped article (from the periodical Tomorrow, pages 38-43) by Mary Colum, titled, "The Yeats I Knew"; this was excerpted from Colum’s "forthcoming" book, Life and the Dream. Page 210: Loose, a fragment of an article discussing a "new full-length study of Yeats" by a Dr. Jeffares, a lecturer at the University of Edinburgh.

Gwynn, Stephen. Highways and Byways in Donegal and Antrim. London: Macmillan and Company, Ltd., 1928. Notes: Inside front cover: Pasted in, a clipped poem of two stanzas, "Lift Up Thy Voice," identified by Una as being "by Lyle Donaghy, November 1931." The opening lines read, "Lift up thy voice in Ossian’s land. / on those wide moors the passing bee makes quiet or a bird’s sobbing wing, / which welcomed Naisi and Deirdre home; / in glens whose beauty was the only bond Diamuid and Grania knew. . . ." Flyleaf: In Una’s hand, "Swans in Galway by Sister Madelwa": "The air is white and winds are crying / I think of swans in Galway flying. / Winds are wings; snow is a rover / Swans of Galway are flying over. / Winds are birds; snow is a feather; / Wild white swans are wind and weather. / Wings drift downwards; snow is falling; / Swans are wild winds crying, calling. / Winds are white with snow but alway / Mine are white with swans from Galway." Inside front cover: Loose, clipped article (from a British newspaper), with photo and map, titled "Car and Country. Cross-Country Runs. Norwich to Bournemouth." Opposite copyright page: Pasted in, a clipped photo captioned "Ballygally Castle, beautifully situated on the Antrim Coast Road between Larne and Glenarin." Title page: Loose, a clipped article (from a British newspaper), with map, titled "Car and Country. On the Road to Wales." Opposite Index: Pasted in, a clipped photo captioned, "On St. Patrick’s Own Ground. The New Church of St. Patrick at Saul, County Down, on the Actual Site of the First Christian Church in Ireland. Founded by Ireland’s Own Saint, Himself, Fifteen Centuries Ago. At the Right Are the Ruins of a Ten-Century-Old Monastery." Page 318: To the Index Una has added in hand, "Galboly: See inside back cover." Inside back cover: In Una’s hand, "Galboly Village lies hidden on a plateau above Garron Pt. It is reached by the only road in Antrim that has never known a wheeled cart, a road so steep that only slide-cars (known as slipes) are used. Galboly means either ‘the English dairy place’ or ‘the bright dairy.’" Pasted-in, a clipped article titled, "When World Was Young. Volcanos of Antrim. The Traces That Remain. Where Lava Flows May be Seen."

Gwynn, Stephen. Ireland: Its Places of Beauty, Entertainment, Sport, and Historic Association. New York: Doubleday and Company, 1928. Notes: Flyleaves: Inscribed "Una Jeffers, Tor House, Carmel, California"; a list, in Una’s hand: "Monasterboice, Glendalough, Cashel, Kells, Malahide, Trim, Tera, Dowth"; pasted-in clipped photo showing St. Laurence Gate, Drogheda; in Una’s hand, this verse: "When the shadows on wet grass are heavier / Than hay, beside dim wells the women gossip / And by the paler bushes tell the daylight / But from what bay uneasy with a shipping / Breeze have you come?’ I said ‘O you cross / The blue thread with the crimson on the framework / At dark fall in a house where nobles throng / And the low oil climbs up into the flaure?’ Austin Clarke, ‘Pilgrimage’"; on facing flyleaf, in Una’s hand, another verse: "Gray holdings of grain / Had grown less with the fields / As we came to that blessed place / Where hail and honey meet. / O Cloumanoise was crossed / With light; those cloistered scholars / Whose knowledge of the gospel / Is cast as metal in pure voices / Were all rejoicing daily / And cunning hands with god and jewels / Wrought chalices to flame." Page iv: Handwritten notes: "Round Towers: Kilkenney, Kells, Kilree nr. Kilkenney, Ardmore (nr. Waterford), Cashel, Clondalkin, Kildare (nr. Dublin), Glendalough, Cloyne (nr. Cork), Aghadoe (nr. Kilkenney), Ardfert (fell 1771, of marble)." Page v (at "Foreward"): In Una’s hand, "Augusta Bender Room of Far Eastern Art, Nat. Museum, Kildare St. Entrance." Page vi: Pasted-in, clipped letter to the editor from a Belfast gentleman making the point that "cursing stones still exist in Ireland." Page 153: Pasted-in, clipped photograph of a replica of an ancient Irish round tower erected on the college green at Dublin near the Bank of Ireland. Page 324: Pasted in, a clipped photograph showing a squat round tower in Limerick.

Gwynn, Stephen. Irish Literature and Drama in the English Language: A Short History. New York: Thomas Nelson and Sons, 1936. Notes: Flyleaf: Inscribed "To dear Una--to wish her continued marital happiness on her wedding anniversary, August 2, 1936. Affectionately, Melba Bennett."

H. D. Collected Poems of H.D. New York: Boni and Liveright, 1925. Notes: Dust jacket: Front flap advertises Roan Stallion, Tamar and Other Poems by Robinson Jeffers, with blurbs by George Sterling, Edwin Arlington Robinson, James Daly, and others. Back flyleaf: Pasted in, a paragraph from a clipped review of Hippolytus Temporizio (identified in Una’s handwritten note), with play’s opening and closing speech by Artemis, which begins, "I have heard the intolerable rhythm / and sound of prayer, / so I have hidden / where no mortals are." Inside back cover: Loose, clipped review, by Lola Ridge, of Poems of Pursuit by H.D.

Hall, A. D., Translator. Journal of Marie Bashkirtseff. Part 1. Chicago: Rand, McNally and Company, 1908. Notes: Flyleaf: Inscribed "Una Küster, San Francisco, Jan 1909." Frontispiece: Pasted onto back, a clipped picture (from a self-portrait in the Musee des Beaux Arts, Nice) of Marie Bashkirtseff. Page 22: Loose, clipped article (New York Times, February 4, 1922) headed "New Bashkirtseff Diary Discovered: Young Russian Girl Whose Memoirs Were a Literary Sensation Left Other Work. Found in Old Casket. Recent Death of Her mother at Nice. Will Probably Lead to the Publication of the Document."

Hall, Mr. and Mrs. S. C. A Week at Killarney. London: J. S. Virtue, 1858. Notes: Flyleaf: Inscribed "Peter Marie, Cork, May 26, 1865." Below, "Dear Una, This will recall and maybe bring forth the pen. Love, Remsen."

Hall, Mr. and Mrs. S. C. Ireland: Its Scenery, Character, &c. Volume 2. London: Virtue and Company, n.d. Notes: Flyleaf: "Selskar Abbey, Wexford p. 137,173." Page 137: Begins the chapter on Wexford; at the top of the page is a pasted-in photo of Selskar Abbey. Page 183: An engraving of the old abbey of Selskar, plus a brief history. Back flyleaves: Two clipped pictures: "A Peaceful Scene on the Sixmilewater at Antrim Castle" and "Charming View at Montalto House, Ballynahinch, the Residence of the Earl and Countess of Clanwilliam."

Hand-Me-Down: The Student Guide of Europe. New York: The Holland-America Line, 1937. Notes: Flyleaf: Inscribed "Una with love and many happy gambols on the Irish Green. Barbara." Page 304: Una notes "Arncliffe, Yorkshire." Page 308: Scribbled notes re. Mt. Shannon Co. Uare, Derg Hotel, expense for breakfast (2/6), and free boat. Page 309: "Coelum non animum mutant qui trans mare currunt." Page 310: A list, in Una’s hand: "Shere (Surry); Sevensoaks (Kent) for Knowle; Stoney Cross (Hants); Tribuwith, Cornwall; Two Bridges, Devon; Saunton-Braunton, Devon; Knowle (Somersetshire! Manor house!!); Arundel (page 138), Sussex; Hartland Quay, Devon!!!!! (137); Harbertoford, Devon; Chagford, Devon; Camelford, Cornwall (129)." Inside back cover, "Ha says, New Forest, Stony Cross. Royal Guest House. Unprepossessing but perfect. Nr. Bath--Croft House beyond High Bridge (turn off left on way to B.). Bideford - High Torridge Inn nr. Torridge Hill. Boscastle - Welltown Manor!!!! Beaulieu. For long stay in Devon, page 137! Thame - Spread Eagle Restaurant. Sark. P. Beauregard, farmhouse nr windmill- pension 8/. Knowle/Somerset. Cornwall. Liskender."

Hannagan, Margaret and Seamus Clandillon, Eds. Songs of the Irish Gaels: In Staff and Sol-Fa, with English Metrical Translations. London: Oxford University Press, 1927. Notes: Inside front cover: Loose papers: On half-sheet of staff paper, handwritten notations for "Irish Keen." On double sheet of staff paper, handwritten notations for "The Pigeons [Irish folk tune], words by Padraic Colum, arr. by John Edmunds, 1945." Flyleaf: Pasted in, printed sheet music for "The Londonderry Air." Una notes below, "Jane Rose collected this air in Limawaddy, 1851, from an itinerant fiddler named McCormick." Page iii: Loose papers: (1) clipped, illustrated feature article titled "Ancient Music for Modern Ears: Arnold Dolmetsch, Providing an Annual Festival of Compositions Written as Early as the Fifth Century, and Played on Instruments of the Times, Has Contributed New Understanding of the Art," written by Joyce Michell, Head of the Department of Musicology, Louisiana State University. (2) Notations for "Lily Marleen" clipped from Time, May 3, 1943. (3) Notations, German lyrics and English translation of "Die Moorsoldaten," ballad of the Soldiers of the Marsh, clipped from Time and Tide, July 22, 1939. (4) Handwritten staffs and notations, on typewriter paper, for "Ned of the Hill" by Eamoun O’Ryan. Una notes that he was "born before 1690 in Tipperary" and that the "Text 1700, melody much older."

Hardy, Florence Emily. The Later Years of Thomas Hardy: 1892-1928. New York: The Macmillan Company, 1930. Notes: Inside back cover: Three penciled notes: "Fanny Hurd 223; living still in the past 231; free will versus--- 269-70."

Hardy, Thomas. Human Shows, Far Phantasies: Songs and Trifles. New York: The Macmillan Company, 1925. Notes: Inside front cover: Pasted-in, clipped reproduction of Augustus John portrait of Thomas Hardy. Title page: In hand, under Hardy’s name, "(1840-Jan 11, 1928)." Inside back cover: Pasted-in clippings of Hardy’s poems: "I Look Into My Glass," "In the Time of the Breaking of Nations," "He Resolves to Say No More," "The New Dawn’s Business," "The Puzzled Came Birds," "The Dynasts."

Hardy, Thomas. Jude the Obscure. New York: The Modern Library, 1927. Notes: Flyleaf: Pasted-in clipped photo of profile captioned, "Thomas Hardy: June, 1840 - January, 1928." Half-title page: Inscribed "Garth, Donnan, 1927, Aunt Ruth." Page 276: Loose article (from Books of the Month, a British publication) titled, "Thomas Hardy and His Dorset Home," by R. Thurston Hopkins. Back flyleaves: Pasted-in, clipping headed, "A letter from Mrs. Hardy to the editors of a "Biographical Dictionary of Rationalists," in which she writes on behalf of her husband to say that he considers himself to be "rather an irrationalist than a rationalist, on account of his inconsistencies." In Una’s hand on facing flyleaf, "‘Since I discovered several years ago that I was living in a world where nothing bears out in practice what it promises incipiently, I have troubled myself very little about theories . . . where development according to perfect reason is limited to the narrow region of pure mathematics. I am content with tentativeness from day to day. An object or mark raised or made by man on a scene is worth ten times any such formed by unconscious Nature. Hence clouds, mists and mountains are unimportant beside the wear on a threshold or the print of a hand.’ From Hardy’s diary."

Hardy, Thomas. Tess of the D’Urbervilles: A Pure Woman Faithfully Presented. New York: Harper and Brothers, 1893. Notes: Back flyleaf: In Una’s hand, "The singular name Angel occurs on a fine mural monument in Stinsford Church, Dorset, where Hardy’s parents and his own heart are buried in the churchyard. The monument commemorates the sons of Angel Audelay. Erected in 1723." Inside back cover: Pasted-in, cartoonish sketch of Hardy and his "muse," captioned, "The Muse of Bucolic Poetry: ‘I was your first love, Thomas.’ The Wessix [sic] Novel (in the background). ‘Time now[?] he devoted himself to me!’"

Hardy, Thomas. The Famous Tragedy of the Queen of Cornwall at Tantagel in Lyonnesse: A New Version of an Old Story, Arranged as a Play for Mummers, in One Act, Requiring No Theatre or Scenery. New York: The Macmillan Company, 1923. Notes: Limited edition: 48/1000. Flyleaf: Inscribed "Una Jeffers." Dedication page: Pasted in, a clipped portrait of Hardy as an old man.

Hardy, Thomas. The Mayor of Casterbridge. New York: The Modern Library, n.d. Notes: Flyleaf: Pasted-in, clipped newspaper article from London titled "Vault Prepared At Westminster Abbey for Hardy" and describing the several ceremonies and burials for the writer.

Hardy, Thomas. The Poetical Works of Thomas Hardy, in Two Volumes. Volume I. Collected Poems, Lyrical, Narratory, and Reflective. London: Macmillan and Company, Ltd., 1923. Notes: Title page: Written in RJ’s hand under Hardy’s name: June 2, 1840 - Jan 11, 1928. Inside front cover: Pasted inside, a newspaper photo captioned "Hardy Ms. for Cambridge." Photo shows manuscript copy of first ten lines of "Christmas in the Elgin Room." Page 653: Next to the line in "Drawing Details in an Old Church" that reads "I ask not whom it tolls for," Jeffers notes "cf. Donne for whom the bell tolls." Back flyleaves: Page 653 is also noted here, along with page 498 and the phrase "not unvision." This phrase appears in the Hardy poem "The Shadow on the Stone": "I went by the Druid stone / That broods in the garden white and lone, / And I stopped and looked at the shifting shadows / That at some moments fall thereon / From the tree hard by with a rhythmic swing, / And they shaped in my imagining / To the shade that a well-known head and shoulders / Threw there when she was gardening. / I thought her behind my back, / Yea, her I long had learned to lack, / And I said: ‘I am sure you are standing behind me, / Though how do you get into this old track?’ / And there was no sound but the fall of a leaf / As a sad response; and to keep down grief / I would not turn my head to discover / That there was nothing in my belief. / Yet I wanted to look and see / That nobody stood at the back of me; / But I thought once more: ‘Nay, I’ll not unvision / A shape which, somehow, there may be.’ / So I went on softly from the glade, / And left her behind me throwing her shade, / As she were indeed an apparition--My head unturned lest my dream should fade." Note reads, "Begun 1913: finished 1916." Inside back cover: Jeffers notes several phrases: (1) "‘Stretching eyes west over the sea, 420’ from ‘The Riddle’: ‘I. Stretching eyes west / Over the sea, / Wind foul or fair, / Always stood she / Prospect-impressed; / Solely out there / Did her gaze rest, / Never elsewhere seemed charm to be. II. Always eyes east / Ponders she now-- / As in devotion-- / Hills of blank brow / Where no waves plough. / Never the least / Room for emotion / Drawn from the ocean / Does she allow.’" (2) "‘Portion of this yew’ 443 from ‘Transformations’: ‘Portion of this yew / Is a man my grandsire knew, / Bosomed here at its foot: / This branch may be his wife, / A ruddy human life / Now turned to a green shoot. / These grasses must be made / Of her who often prayed, / Last century for repose; / And the fair girl long ago / Whom I often tried to know / May be entering this rose. / So, they are not underground, / But as nerves and veins abound / In the growths of upper air, / And they feel the sun and rain, / And the energy again / That made them what they were!’" Jeffers notes in hand, "cf ‘Voices--’ p. 590." The line "Voices from things growing in a country churchyard" is bracketed along with "Portion of this yew" inside the back cover; and on page 590, Jeffers writes "cf ‘Transformations’ p. 443. / ‘Voices from Things Growing in a Churchyard: These flowers are I, poor Fanny Hurd, / Sir or Madam, / A little girl here sepultured. / Once I flit-fluttered like a bird / Above the grass, as now I wave / In daisy shapes above my grave, / All day cheerily, / All night eerily! / --I am one Bachelor Bowring, "Gent," / Sir or Madam; / In shingled oak my bones were pent; / Hence more than a hundred years I spent / In my feat of change from a coffin-thrall / To a dancer in green as leaves on a wall, / All day cheerily, / All night eerily!’" Five similar stanzas follow.

Hardy, Thomas. The Poetical Works of Thomas Hardy, in Two Volumes. Volume II. The Dynasts, An Epic Drama of the War with Napoleon, in Three Parts, Nineteen Acts, and One Hundred and Thirty Scenes . London: Macmillan and Company, Ltd., 1923. Notes: Inside front cover: Loose clipping from January 14, 1939, Time and Tide, "Men and Books" by Malcolm Muggeridge in which the writer discusses "Three books on Hardy"--Thomas Hardy: A Study of His Writings and their Background by William R. Rutland (Blackwell); Thomas Hardy by William R. Rutland (Blackie); and The Dynasts and the Post-War Age in Poetry by Amiya Chakravarty (Oxford). The final paragraphs of Muggeridge’s article are worth noting: "Mr. Chakravarty shows, correctly I think, that this hope of progress from unconsciousness to consciousness which is the closing note of The Dynasts, may be connected without any break with the spirit infusing much contemporary poetry. It was a kind of dialectical materialism, presupposing a finality in mankind’s troubled history, a moment when the curtain would be rung down, the play over. Instead of all our yesterdays lighting fools the way to dusty death, they light intelligence the way to ordered life; instead of each individual existence, each generation of men, each phase of history, unfolding a pattern whose key lies beyond the reach of mortal minds, to them senseless, the pattern is in process of becoming comprehensible and therefore definitive. . . .Hardy’s stage-directions after the crowning of Napoleon at Milan are: ‘The scene assumes the preternatural transparency before mentioned, and there is again beheld as it were the interior of a brain which seems to manifest the volitions of a Universal Will, of whose tissues the personages of the action form a portion.’ History might be resolved into the workings of ‘a Brain whose whole connotes the Everywhere.’ . . . This Brain, with human beings streaming hither and thither for grey matter, had thought Napoleon, but that was a mistake. Its thoughts, henceforth, Hardy hoped, were to be more serene. He based his hopes on consciousness creeping further and further back upon unconsciousness, like light illuminating darkness, but neglected to take into account the possibility, most present now, of the reverse process--unconsciousness creeping further and further back upon consciousness, darkness swallowing up light."

Hardy, Thomas. The Return of the Native. New York: The Modern Library, 1926. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Page 8: Clipped etching captioned, "He Musingly Surveyed the Scene, as If Considering the Next Step He Should Take" (numbered in pencil "13"). Page 283: Clipped etching captioned "They Took No Heed of Anything but the Pigmy Object Immediately Beneath Their Eyes" (numbered in pencil "281"). Page 316: Clipped etching captioned "The Proud Fair Woman Bowed Her Head and Wept in Sick Despair" (numbered in pencil "313"). Back flyleaf: In RJ’s hand, "This book was sent to Cpl. Lloyd Tevis Dec. 1944 (at his request) to England. He was stationed in a Gen’l Hospital at Blandford Dorset. Returned to U.J. June 1945." Inscribed below, "Lloyd Tevis, Jr., Camp Blandford, Dorset."

Hardy, Thomas. The Well-Beloved. New York: Harper & Brothers, 1897. Notes: Page 3: Loose, clipped article, "Thomas Hardy," by Dorothy Hawkin (n.d., n.p.).

Hardy, Thomas. Under the Greenwood Tree. London: The London Book Co., Ltd., n.d. Notes: Inside front cover: Inscribed "Jeffers. Castlebar, Co. Mayo, Ireland July 1929."

Hare, Augustus J. C. Memorials of a Quiet Life. Volume 2. New York: George Routledge and Sons, 1873. Notes: Inside back and front covers: Inscribed by Mrs. Peter M. Call, 2012 W. Lancey Place, Philadelphia, Jan. 1875 and Edith M. Call, Sunny Side, Montgomery County, June 1875. Also in library is the Supplementary Volume (London: Daldy, Isbister and Company, 1876).

Hare, Augustus J. C. The Story of My Life. Volumes 1-4. New York: Dodd, Mead and Company, 1901. Notes: Flyleaf, Volume 3: Inscribed in RJ’s hand, "Una Jeffers."

Hare, Augustus J. C. Walks in London. New York: George Routledge and Sons, Ltd., c. 1890. Notes: Inside front cover: Pasted in, a clipped copy of engraving of Waterloo Bridge. Flyleaves: Pasted in: clipped copies of engraving of London Bridge; sketch of interior of Temple Church; engraving of Allhallows Church (after Wren); and brief account of a legend about a ghost at Westminster Abbey.

Harland, Marion. Sunnybank. New York: G. W. Dillingham, 1885. Notes: Flyleaf: Inscribed "Una Kuster, 1907."

Harper, Charles G. Historic and Picturesque Inns of Old England. London: Ed. J. Burrow and Company, Ltd., 1927. Notes: Inside front cover and on flyleaves: List of inns, in Una’s hand: "Half Moon nr. York; Traveller’s Rest; The Welcome Stranger; Baldfaced Stag; Old Cork Inn; White Blackbird; Old White Horse; Floral Arms; The Dumbbell (Maidenhead); The Rat’s Castle, The Brewery Tap - St. Albans; The Jolly Farmer - Rumsford; The Roaring Donkey - Holland-on-Sea, Essex; The Cat and Custard Pat - Gloucestershire; The Jolly Caulkers - Rotherhithe; The Lilliput Hall - Bermondsey; The Shoulder of Mutton and Cucumbers - Sussex; The Phantom Coach; The Man with the Load of Mischief - Norwich; 3 Horseshoes (Burroughbridge); Byron’s Rest (Hucknall Torchard); Sun and Whalebone (Harlow); The Boyshead; Farmers Glory; Blackamoor’s Head; The Good Intent (Epping Forest); Dun Cow (nr. Durham); Malt and Shovel." Frontispiece (back): In Una’s hand: "Pope’s Grotto Hotel (Twickenham); Shoulder of Mutton; Hoops Inn; Lamb and Flag; Honest Lawyer (King’s Lynn); The Trip to Jerusalem (Nottingham); The Barking Dickey, Norwich; The Brazen Doors, Norwich; The Whip and Egg (mistake for NAG), Norwich; The First and Last (on sign was a cradle and a coffin), Norwich; The Popinjay, Norwich; The Two necked Swan, Norwich; The Hog in Armour (commonly called The Pig in Misery), Norwich; Pease and Beans, Norwich; Three Washerwomen, Norwich; Abraham Offering His Son, Norwich; Wax Candle, Norwich; Three Hot Pressers, Norwich; Goose and Gridiron, Norwich." Page 33: Una writes in margin above a sketch of "The Bull," Rochester, "This hotel is called ‘The Royal Victoria and Bull.’ Stayed there 1937." Page 52: In margin, Una notes, "Four Jeffers here 1929" next to the passage, "Winchester has some fine old inns [several named]. . . . Nor, while there, should the visitor forget the ancient ‘God-begot’ [Una’s underline] house at the corner of the High Street and St. Peter Street." Page 73: Una adds in the margin next to the underlined "Tregenna Castle Hotel" in St. Ives, "X - Una 1912." Page 86: Passage marked: ". . . we come to the famous Wansford Bridge, spanning the river Nene. On the hither side of it, in the village of Stibbington, used to be another extremely fine inn, the ‘Haycock.’ For generations the Percival family had the ‘Haycock,’ and horsed coaches on the next stages. When the railways came and the coaches ceased, this fine old inn became a private residence. It was long occupied by the late Lord Chesham as a hunting-box. Page 106: In a section about Oxford, two inn names are marked by Una: "Clarendon; Una 1929" and "Mitre; Una 1912." Page 121: Una notes, "Una stayed at Fleur de-Lis 1912 when returning from France" above the passage that reads, "Hopeless would it be now to seek in Canterbury any of the ancient pilgrim’s hostels; but of the city’s hotels and inns there are some which are of ancient date and still preserve traces of that antiquity. The ‘Fleur-de-Lis’ is one of them." Page 130: Una notes in the margin, "Una stayed at the Maid’s Head, 1948, when exploring Paston Country." The passage reads, "Now we come to Norwich, the metropolis of East Anglia, where the ‘Maid’s Head’ in Tombland, near the Cathedral, is the old, historic house, its antiquities duly preserved, while its appointments have been brought up to date." Pages 155-69: Checked (by Una) in "Index of Inns Referred to in the Text": The Reindeer, Banbury, Oxon.; The Royal Oak, Bettws-y-Coed, Carnavon; The Swan, Bibury, Gloucestershire; The Cat and Fiddle, Buxton, Derby; The George, Charmouth, Dorset; The King’s Head, Dickleburgh, Norfolk; The Lord Warden, Dover, Kent; The George, Glastonbury, Somerset; The Feathers, Ludlow, Salop; The George, Salisbury, Wiltshire. Page 167: In margin, Una writes, "Inn named ‘Hark! the Lasher!’" Page A98: In Una’s hand, in margin next to Winchcombe advertisements, "Diogenes on one side of sign, a staggering drunk on the other and the distich, ‘Now Diogenes is dead and laid in his tomb / Tumbledown Dick is come in his room.’" Back flyleaf: Pasted in, a clipped photograph captioned, "Up This Chimney, Many a Smuggler Escaped the Law," showing the fireplace at the 400 year-old Mermaid at Rye. Inside back cover: Pasted in, a clipped review of the book The English Inn by Thomas Burke, detailing the vintage of some of England’s oldest inns and discussing some of the singular signs in front of them (one example: The Fighting Cocks at St. Albans dates from 795). Note in Una’s hand, "Inn sign the Goat and Compasses is a corruption of ‘God encompasses us’ and The Elephant and Castle is from the ‘Infanta of Castile,’ wife of Edward I."

Harper, Charles G. The Hardy Country. Third Edition. London: A. & C. Black, Ltd., 1925. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Half-title page: Inscribed "For Una Jeffers from Harvey Taylor and Miss Edith Griffin." Inside back cover: Una notes "Pimperne 41; Blandford 41." Page 41: Una has marked the passage, "So, with a sigh for the decay of belief, we will e’en on through Pimperne down to Blandford, which good town, of fine dignified classic architectural presence, the coachroad enters in a timid back-doors manner, down a narrow byway."

Harris, Frank. Contemporary Poets. Girard, Kansas: Haldeman-Julius Company, n.d. Ten Cent Pocket Series Number 269 (Volume I); Number 270 (Volume II); Number 271 (Volume III); Number 272 (Volume IV). Volume I Notes: Front cover: In Una’s hand, a "table of contents," with page numbers: Essays on George Bernard Shaw, Rudyard Kipling, Ernest Dowson, Theodore Dreiser, James Thomson are included. Volume II Notes: Front cover: In Una’s hand, a table of contents, with page numbers, to the essays inside: George Moore, Lord Dunsany, Sydney Sime, Lionel Johnson, Hubert Crackanthorpe, Pierre Loti, Walter Pater, Herbert Spencer, W. L. George. Volume III Notes: Front cover: In Una’s hand, a list: "Arthur Balfour, page 5; Lloyd George, page 19; Viscount Grey, page 39; Georges Clemenceau, page 53; Shaw’s Portrait - by Shaw, page 67; H. G. Wells, page 97; Upton Sinclair, page 111." Volume IV Notes: Front cover: In Una’s hand, a list: "John Galsworthy, page 5; Cunninghame Graham, page 21; Gilbert K. Chesterton, page 39; Arthur Symons, page 49; Winston Churchill, page 65; Alfred Russel Wallace, page 83; Thomas Huxley, page 97; Louis Wilkinson, page 113."

Hartshorne, Emily Sophia. Enshrined Hearts of Warriors and Illustrious People. London: Robert Hardwicke, 1871. Notes: Inside front cover: Bookplate for Christopher Alexander Markham, FSH. Flyleaf: Inscribed "S. J. Akroyd." Overleaf, in two hands: "And in his heart, my heart is locked / And in his life, my life. / Una -- Robin / August 2, 1938 -- twenty-five years!" Below, "No, dearest, mine in yours. --Forever, Robin." Page 58: Drawing of the inscription on the silver casket in which the heart of Richard I was buried, and a note from Una, "See opposite page 63." Page 63: Pasted in, a clipped photograph of the casket, along with a sketch of its outer case. The casket is on display at the Cathedral if Rouen. Page 95: Reference in the text to the "Abbey of Sweet Heart or New Abbey" in Galloway is emended in the margin by Una with the note, "Dolce Cor." At the bottom of the page she notes, "Arms of Sweetheart Abbey / In chief a heart over two / pastoral staffs." Page 102: Carefully glued onto the inner edge, a clipped article from The Times of London, 1 September 1920, recounting the story of the murder of Prince Henry d’Almayne by Guy de Montfort in 1271, later alluded to in the Divine Comedy (Inf. XII 119020). The story is told in the text on pp. 102-04, ending, "[Henry’s] bones were buried at Hayles, in the monastery his father had founded, and his Heart, honourably placed in a gilt cup, near the coffin of St. Edward, in Westminster Abbey." Page 170: The story of Prince Edward’s deathbed instruction to his son that his bones be carried "at the head of his army" and that his heart "be deposited at Jerusalem, with thirty-two thousand pounds sterling . . . for the support of the Holy Sepulchre." Una notes at the bottom of the page, "He trusted ‘that God would accept this fulfillment of his vow . . . and eternal damnation fall on any who should expend this money for any other purpose.’ But his son did not obey his command." Page 178: Following the section on Robert Bruce (his heart was interred at Melrose Abbey in Scotland), Una writes, "See Lockhart’s ‘Life of Sir Walter Scott’ Vol. 1, p. 83. In the Douglas crypt of the Church of St. Bride, Douglass Mill, Lanarkshire, visited by them in 1831, was the silver case that once held the heart of the good Lord James Douglas." Page 179: Clipped article from The Times of London, March 7, 1921, titled "Robert Bruce’s Heart? A Casket Dug up at Melrose." Overleaf, Una writes, "An old ballad quoted in the note to Scott’s "Marmion": "I will ye charge after yet I depart / To holy grave and thair bury my hart. / Let it remain ever both tyme and hour / To ye last day I see my Saviour." Further on the page, "The bloody heart blazed in the van / Announcing Douglas’ dreaded name." To the sentence in the text on page 179 which sums up the story of Robert Bruce’s heart, and which reads, "Sir Simon Lockhard changed his name into Lockheart, and afterwards bore upon his shield a man’s heart with a padlock upon it, in remembrance of the royal Heart he had charge of to its native country," Una adds, "with the motto ‘Corda serrata pando.’" To the information that "The Douglas family have since carried upon their shield a bloody heart with a crown upon it, in memory of the monarch whom their ancestor had the honour to serve" Una adds, "And own a sword emblazoned with two hands holding a heart and dated 1329." At the bottom of the page, possibly in Una’s hand, "See Boswell’s Life of Samuel Johnson, 1839, Vol. VI, p. 322. Page 214: Pasted in, a hand-drawn sketch of "A mother’s tombstone of great antiquity at Noda, Lithuania, with sun-rays radiating from an engraved heart and votive stone hearts (only found on mothers’ graves)." Also pasted at this location, clipped page from Herold and Genealogist, August 1872, describing the Parish of Egloshayle, its singular bridge, and a family crest which originated in that community. To the text on Sir Robert Peckham’s burial (and the burial of his heart) Una adds, "His son was buried in the family vault at Denham, Bucks in 1586 ‘on the same day was the heart of Sir Robert Peckham, Knight, buried in the vault under the chapell. Parish Register of Burials.’" Page 251: Una adds to the section on the fate of the heart of Edward Earl of Windsor, "Case containing heart has on it a long inscription. Was seen in 1848 when Isaac d’Israeli was buried in the same vault." Una also notes that Edward’s heart was buried "in chapel at Bradenham." Page 254: Pasted in, a photograph of an urn with a note: "This little urn is now in the British Museum." In the section on Edward Lord Bruce, Una adds that his "heart was found 2 ft. below pavement under old projection in the wall. Two flatstones were strongly clasped together with iron, inside these the silver heart containing the [actual] heart and brown liquid. In another cavity was a lead case which it was conjectured had contained the bowels." Page 364: Pasted in, a page with a handwritten note: "Madam la Duchesse de Berry died on the 21st July 1719, at La Muette, near Paris. On the 22nd July her heart was taken to the Val-de-Grace, and the following day her body was carried in an eight-horse coach to Saint Denis; there was very little display, and only about forty torches were carried by pages and guards. --Memoirs of the Duke of Saint-Simon, 1880 Vol. III p. 219." Page 381: Sections about Napoleon (note in Una’s hand to "see page 382a") and Shelley: "Shelley’s heart is buried in his son’s grave in Bownemouth. Ingham’s ‘Shelley in England’ Vol. II p. 543." At the end of the passage describing Shelley’s cremation ("His Heart was found entire amongst his ashes, after his body was consumed"), Una adds, "Queer. Over Shelley’s ashes in Rome on the tablet, cor cordium." Page 382A (pasted in and numbered by Una): Three brief clipped articles about the search for Byron’s and Napoleon’s hearts. Page 417: Pasted in, a clipped article from The Times of London, 13 April 1906, about the "successful identification of the heart of Rameses II." Page 419: An article from the Northampton Herald 27 Oct 1900 describing several heart burials, and from the same newspaper on 24 Aug 1901, another describing more such burials. Back flyleaf: Handwritten note, "Purchased from W. Thorpe, Reading, April 1901." Below, "Purchased from T. Thorpe, Guildford, June 1938. I have had an order in for this book for sixteen years. Una Jeffers." Inside back cover: Loose, three typewritten pages relating folklore and religious traditions attaching to the hearts of the deceased, along with two hand-drawn diagrams of heart symbols.

Hawthorne, Nathaniel. Tanglewood Tales. London: Thomas Nelson and Sons, Ltd., n.d. Notes: Inside front cover: Library card pocket: "Bishop King School Library." I.D. is crossed out, and in its place is printed, in pencil (and a juvenile hand), "Una Jeffers." Flyleaf: Inscribed, in a young person’s handwriting, "Phil Arnold." Since the book appears to be of too recent a vintage to have been a childhood book of Una’s, it is possible that it was purchased as a textbook for the twins, and that one of them inscribed his mother’s name. Marginalia consists of what might have been unfamiliar words to a young person underlined in pencil and given identification codes: X-29 and X-13 and X-51, for example. This practice is abandoned in the second half of the book.

Heath, Frank R. Wiltshire. London: Methuen and Company, Ltd., n.d. Notes: Inside front cover: Una writes, "London, October 1937. Una Jeffers from Percy Peacock." Additional notes in Una’s hand: "Chilton Foliat / Savernake Forest / 105; 1789 - National Hist and Antiquity; Coombe Bissett toward Blanford, on hill gate on top great plain, dark woods, on left a path to old yew gate; 1800, Montagn Harrier."

Hencken, H. O’Neill. Cahercommaun: A Stone Fort in County Clare. Dublin: Royal Society of Antiquaries of Ireland, 1938. Notes: Inside front cover: Inscribed "Albert M. Bender, 1938."

Historical pamphlets about several locations in Ireland: "Bunnamairge Friary," by Robert M’Cahan; the text has been copiously marked with vertical lines in the margins. "Knocklayd Mountain and Valley of Glentow," by Robert M’Cahan; marked in margins, and a few notes in Una’s hand. "Ballintoy, Carrick-a-Rede and Whitepark Bay," by Robert M’Cahan; vertical lines in margins. "Kenbann Castle," by Robert M’Cahan; vertical lines in margins.

Hogg, Thomas Jefferson. The Life of Percy Bysshe Shelley. London: George Routledge and Sons, Ltd., 1906. Notes: Flyleaf: Pasted-in, clipped reproduction of a portrait of Shelley by William E. West. Page 585: Pasted-in announcement of the availability of The Letters of Thomas J. Hogg to Jane Williams, ed. by Sylva Norman (Mrs. Edmund Blunden).

Holzwarth, C. H. GruÞ aus Deutfchland: A Reader for Beginners in High School and College. New York: D. C. Heath and Company, 1913. Notes: This volume appears to have been studied intensively at some juncture. It features a rather clever home-made indexing system added to the Glossary, involving hole protectors used as alphabetical guides along the outer edges of the pages. The handwriting in the book appears to be Una’s, but the date and the appearance of the book suggest that it was more likely used by the Jeffers children.

Hone, J. M. William Butler Yeats: The Poet in Contemporary Ireland. Dublin: Maunsel and Company, Ltd., n.d. Notes: Title page: Inscribed "When the bones of Christopher Columbus were being disinterred near a tobacco plantation in the Caribbean, the Oytalians present were confounded on finding a smaller skeleton. The Oirish grave digger solved the question with this answer - ‘This is Columbus the boy.’ Hone promises a larger book on Wm. Butler Yeats. This is Willie ‘the boy.’ For Una with affection, John. In the year of (the big wind) The World War, 1942."

Hone, Joseph. J. B. Yeats: Letters to His Son W. B. Yeats and Others, 1869-1922. New York: E. P. Dutton and Company, 1946. Notes: Pages 296-97: Una edits the text, pointing out that two section headings, "The Delcartanists" and "Maud Gonne," are misplaced.

Hone, Joseph. The Life of George Moore, with an Account of His Last Years by His Cook and Housekeeper, Clara Warville. London: Victor Gollancz, Ltd., 1936. Copy 1 Notes: Half-title page: Inscribed "Una Jeffers, Tor House, Carmel." Page 10: An "X" next to the line in which Mrs. Robinson Jeffers is acknowledged as one of "Moore’s American correspondents and friends." The others so acknowledged are the Marquise Clara Lanza, Viola Rodgers, Honor Wolfe, Vincent O’Sullivan, and the Messrs. Liveright. Page 382: An "X" next to the passage in which a letter from Moore to Una is quoted in reference to the burning of his home: Hone writes, "Moore’s writings had animated the shores of Lough Carra with his presence and Moore Hall was become in recent years a place of pilgrimage for literary wayfarers in the West of Ireland. We have his letter to Mrs. Robinson Jeffers, the wife of the American poet, written a month or two before the burning; she had been ‘near to visiting Moore Hall,’ and her story drew his mind back, he said, to ‘years long past over. . . . A number of pictures rose up before me: your carriage driving through the gates, the winding avenue and myself on the steps waiting to receive you.’" Page 510: In the Index, Una adds the page number "10" to the entry which identifies her name as appearing only on page 382. Copy 2 Notes: While the content of this volume is identical to Copy 1, the binding, marginalia and other additions are not. Flyleaf: Inscribed "Dearest Una from Robin -- At last you and I have found the wedding anniversary present for you, only three or four months late. Here it is with all my love, and with proper jealousy of this great rival in your affections. November 22, 1936. For August 2, 1936. Title page: In hand above the title, "born Feb. 24, 1852. Moore Hall. Co. Mayo / died Jan 21, 1933, London." Illustrations page: Una adds to the list of illustrations, "Moore Hall from the shore of Lough Carra, 42." This plate, while bound in, appears to have been an afterthought or to have presented some kind of problem sufficient to have led the editor to omit it from the list of illustrations. (This illustration is not bound into Copy 1.) Page 9: Una adds a note to Hone’s acknowledgment of Senator Colonel Maurice Moore, "died Oct 1939, aged 86," and to the acknowledgment of Professor Henry Tonks, "Tonks died Jan 8, 1937, aged 74." At the bottom of the page she writes, "Walter Sickert died Jan. 1942, age 81." Page 10: An "X" marks the acknowledgment line where "Mrs. Robinson Jeffers" appears. Page 122: An "X" marks a passage describing Moore’s considerable, though often hidden, regard for Edward Martyn. Page 124: Three "Xs" mark the passage reading, "But the better complexion of his affairs did not induce him to alter the frugal habits of life to which he had accustomed himself; he wore ill-made clothes, ‘and yet,’ says Sir William Geary, ‘when I have seen him in the theatre lounge at a first night, as he stood in evening dress, though his opera hat was battered, somehow or other he gave the impression of being the most distinguished person present.’ He was ripening slowly; but that famous devastating simplicity of his, that character of being utterly himself, would sometimes give way to an affectation of aestheticism, an unwonted touch of Bunthorne. Madame Duclaux recalls an arrival at Earl’s Terrace. Moore entered, shook hands with his hostess, Madame Duclaux’s mother: looking round him, he said, ‘I like this room,’ and then spoilt everything by adding: ‘the wall paper sets off my yellow hair.’ The beautiful Mrs. Stillman, the muse of the pre-Raphaelites, was talking to Mrs. Robinson. She slowly turned her head, Madame Duclaux continues, pour foudroyer Moore d’un regard de Minerve courroucée. But Moore, who had come to talk about Pater, was conscious neither of Mrs. Stillman’s beauty nor of her disdain. He was enveloped, like a silk worm, in an isolating dream, his dream of literary perfection." Page 142: An "X" marks the passage, "Disillusionment and indifference were, [Moore] told a woman friend, a state of mind from which he seldom suffered. ‘Needless to say I know that nothing lasts, but what does it matter? The need of the moment is the greatest of all.’" Page 157: An "X" marks the passage reading, "The year (1889) was full of tumult, Moore fell out with Quilter, the editor of the Universal Review, and with Robert Buchanan; and his methods of negotiation with Brentano, the American publisher of Confessions, resembled a series of explosions. Page 177: An "X" marks the passage, "In later life, especially, carried away by his [Moore’s] own experience, he held that a man is self-taught, and that what he wants to know he can find out for himself. He was very quick at recognizing the man whom he thought likeliest to tell him what he wanted to know." Page 179: An "X" marks the passage, "Though at all times the strangest character I had ever met, and utterly unlike anybody else, Moore when I first knew him was most agreeable company, much readier than he afterwards became to listen to the views of others, and always pleased to find a painter who seemed to him to have something to say." Page 180: An "X" marks the passage, "With all [Moore’s] interest in painting he never went to Italy, and as there are Italian painters whom it is impossible to see at their best anywhere else, he missed a great opportunity." Page 187: An "X" marks the passage, "But Moore often ran things together in his autobiographical recitals, setting his scene backwards or forwards in time without respect for the facts, moving events of his love life from their real into a fictitious place, as the need of the literary design and perhaps prudence might dictate." Page 193: An "X" marks the passage, "Mr. Osbert Burdett has said in his essay on the Beardsley Period, that the author of the Confessions of a Young Man had been a true precursor, having formulated much of the aesthetic ideal of this significant periodical [the Yellow Book]. D. S. MacColl had suggested the foundation of a magazine which should give young writers and young artists a chance." Page 206: An "X" marks the passage, "Esther Waters stood on its own ground as a work of art, but Moore would remark with some pride that this book had actually alleviated more material suffering than any novel of its generation." (Then follows a discussion of the ironies of Moore’s various viewpoints on the social utility of art.) Page 208: An "X" marks the passage, "And [Moore] complained bitterly of the people who persisted in associating his name with Zola. ‘Nobody who knows anything would say such a thing. They would know that if I have a master it is Flaubert. Open Esther Waters and read that scene where she meet her son after a long separation. What an embrace! That, my dear friend, is pure Flaubert.’" Page 209: An "X" marks the passage reading, "‘I remember my surprise,’ Vincent O’Sullivan writes, ‘when [Moore] asked me to recommend a tailor for hunting clothes.’ O’Sullivan’s surprise is interesting, because it shows how little Moore was disposed to supply his acquaintances with useless information [i.e., he did not mention to friends that he hunted, and was evidently an accomplished--though temperamental--horseman]." Page 211: An "X" marks the passage, "A note to Mrs. Hunter from ‘Boodles,’ written in the spring of 1896 when [Moore] was about to make a change, shows the agony of doubt and confusion into which he was thrown by the details of practical life." In part, Moore’s letter says, "I have had a horrid day, no place to wash my hands, horrible disorder. . . ." Page 226: An "X" marks the passage, "It was in vain that he tried to fix his thoughts on the composition of Sister Teresa. England seemed to rise up before him [during tense times between Ireland and England], the embodiment of a vulgar and shameful materialism from which he turned in horror, and this passionate revolt was only aggravated by memories of his former love [of England]." Page 229: An "X" marks the passage in which Moore writes to his brother, Colonel Moore, "I don’t want to marry, and nothing will induce me to marry except the desire that a Moore shall be born, whose natural language shall be Irish . . . I am jealous of your knowledge of Irish--you will always know the language better than I. I suppose you speak it with the soldiers. There must be many in the regiment who know Irish." Moore then wrote a second letter in which he declared his intention to disinherit Colonel Moore’s children because they were not being taught Irish. Page 287: An "X" marks the passage, "‘Max Beerbohm,’ [Moore] wrote to Eglinton, ‘has caricatured everybody ferociously; his representation of me hardly resembles a human being; I have never complained. Is this care for personal appearance confined to Dublin? Well, I shall add five or six lines about my own personal appearance which shall be savage enough.’" Page 292: An "X" marks the passage in which Moore writes to a cousin, a Carmelite nun who "had implored him to burn his books and make his peace with the church," the following: "We are the two dreamers of a family little given to dreams; the two who have known how to make sacrifices--you for God, I for art. You tell me in your letter that you are perfectly happy, and that there is no greater happiness than to live with God and his Sacraments. I also can say that I am perfectly happy with my art; it fills my life from one end to the other." Page 306: An "X" marks the passage in which Moore writes to his brother, "Manet in the opinion of many people made me look like a figure of fun but I published his portrait of me in Modern Painting." Page 307: In a letter to his brother, an "X" marks the passage quoting Moore, "Max and others have caricatured me out of all human resemblance but I never objected; and passing from pictorial caricature to literary I cannot help reminding you that Yeats did not object to my portrait of him." Page 309: An "X" marks the passage quoting Moore, "A man can only have one sort of conscience . . . and mine is a literary one." Page 368: An "X" marks the passage in which Hone describes Moore’s "extraordinary character, both affectionate and self-centered, a disposition, he used to say, that did not render one’s friends happy, but explained in some degree the admirable results which Moore reached in old age, his paradoxical progress in writing." Page 382: n "X" marks the passage quoting Una Jeffers on page 382 (see Copy 1 notes). Page 402: An "X" marks the passage, "On the other hand, he [Moore] never spared expenses over his books; his endless proof corrections must have cost him a small fortune, and he was very conscientious in persuading his less opulent friends who helped him in his writing to accept generous payment for their trouble." Page 414: An "X" marks the passage, "The general habit of authors is naturally to give a new thought a new sentence; Moore would insinuate a fresh idea in the last clause of a sentence, restate it after the full stop, and so bind it close to the next movement of his thought." Page 417: An "X" marks a passage quoting Sir John Thomson-Walker, a physician consulted by Moore upon learning that he was gravely ill [he had been told by another physician that he had "only fourteen days to live"], and that he was in immediate need of surgery: "Then began an argument that I was later to recognise as the preliminary to any arrangements that ran contrary to his views. He was no worse than he had been for months past except for the effect of the knowledge I had imparted [that Moore required lengthy treatment in a nursing home] and the shock that the previous surgeon had given him; he had a book in his mind that must be written whatever the risk, and, moreover, if he had the book in skeleton he could work at it during the long days of convalescence which I had led him to expect. He would require two months to do it." Page 421: An "X" marks the passage describing Moore, "pitifully shrunk beneath the red dressing-gown," but "whose voice, however, bore no trace of sickness when he spoke of his work." Page 424: An "X" marks the passage in which Moore writes to his friend Nancy Cunard, ". . . personal literature . . . is the only literature for the age [during which] it is written and for the age that follows." Page 428: An "X" marks the passage quoting Sir William Geary who visited Moore when he was ill and nearly eighty: "I told him the story of the Venus Callipyge and it entered his great book. His was no hasty writing. I have regarded his type-script, and its continuous correction; his aim was to attain, not perfection, for he was modest withal, but his very best." Page 429: An "X" marks the passage, " . . . there may have been a paradox at the core of [Moore’s] being: this man, who saw everything in relation to literature, never gave his friends, or perhaps even himself, the impression of being inescapably a man of letters, and from time to time he might say things that revealed not only the unscholarly man but the country squire amused at the eccentricities of men of genius." Page 432: An "X" marks the passage, ". . . Sir John [Moore’s physician] came to know Moore very well. He was attracted by the wonderful fighting spirit of the man and by his ‘curious simplicity,’ while Moore ‘adored’ (the word is Tonks’s) his new friend for his sympathy and reliability." Pages 434-35: "X’s" mark the passages, "But he made a few new friends in these last years, and they often found him an entrancing companion. . . . owing to his secretive and inveigling habit of not mixing people he often gave the impression of complete isolation." Page 437: In a tribute published in The Times of London, addressed to Moore by some of his literary friends, an "X" marks the passage, "The uses of that language [English] have been changed by your influence, as though in an ancient music you had discovered new melodies and rhythms that shall be in the air when young men in future times have stories to tell. You have taught narrative to flow again and anecdote to illumine it as the sun a stream. You have persuaded words and invention to sing new songs together that would have been heard, as those of an equal, by the masters upon whom the tradition of our literature relies." Page 448: Una writes "see insert back page" next to a paragraph discussing Moore’s will. Page 516 (back page): Pasted in, a clipped newspaper article titled "Extensive Will List: Late Mr. George Moore: Works Left to Friend. Writing of His Biography." The article states that Charles Douglas Medley was the chief recipient of Moore’s estate. Page 454: Passage written by A.E., "to be spoken over [Moore’s] urn: If his ashes have any sentience they will feel at home here, for the colours of Carra Lake remained in his memory when many of his other affections had passed. It is possible the artist’s love of earth, rock, water and sky is an act of worship. It is possible that faithfulness to art is an acceptable service. That worship, that service were his. If any would condemn him for creed of theirs he had assailed, let them be certain first that they labored for their ideals as faithfully as he did for his." Una adds, "See page 246 & 252." These pages describe long-distance "flirtations" between Moore and admiring Frenchwomen. Una writes, "Ann Dare’s friend Madam Lélia, disense, chansons dites ‘Cette artiste, qui est d’origine franco-écossaise a eu connue ancêtres l’héroine ecossaise Flora Macdonald du temps des Stuarts et le Marèchal Canrobert. A fait des études à la Comédie Française possède une voix charmante et un art délicat. . . . interpréter admirablement les chansons à diction et les adaptations musicales (Playbill from Munich, 1912)." Inside back cover: in Una’s hand, "‘Oh, ah! I was forgetting the funeral of George Moore, who was buried on Castle Island on that lake of brilliant water which is coloured like amber, for its bottom is white limestone, and there is no peat around Moore Hall. His sister sat in the end of the boat and held his handful of grey ashes in an urn of brown clay fashioned after the fashion of the ancient Gaels. In the clear air the island looked nearer than it was, and I, as one of the three outside the family who was invited to attend, volunteered to row and, which is so like myself, without taking thought. First off came my silk hat, the frock-coat and . . . "I presume you will retain your braces" his sister said. Never again, I had vowed, will I be stroke and bow together.’ (Oliver St. John Gogarty in ‘I Follow St. Patrick.’). See p. 454." Page 454: Description of the funeral at the lake.

Hone, Joseph. The Moores of Moore Hall. London: Jonathan Cape, 1939. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel, January 1940." Page 12: Following a brief biographical sketch of Maurice Moore, George Moore’s brother, which concludes with the words "Still living," Una writes, "died Oct. (20?) 1939." Page 108: Loose, small advertising circular (2½" x 6") for The Moores of Moore Hall, and 4" x 6" note paper blindstamped "Valkenburg Hotel, Ballinrobe," much wrinkled, with a penciled map, and a note in upper left-hand corner in Una’s hand, "The Reefer of the inn at Ballinrobe made us this map to Moore Hall, 1929." Page 216: Quotation marks around the following passage and note in the margin reading, "U. J. [Una Jeffers] diary; see also pp. 274, 277." This passage reads, "When Reilly, the new steward, used to bring up the accounts to him in Dublin, [Moore] would lay down the figures and say, ‘I wonder is it dim over the Lake to-day, or does the sun light up the green water.’" Page 274: Quotation marks around the following passage and a note in the margin reading, "U. J. [Una Jeffers] diary; see also pp. 277, 216" The passage reads, ". . . all kinds of wild rumours went through the countryside about the urn [which contained George Moore’s ashes]--that it hadn’t arrived at all, etc., but as a matter of fact, there had been no trouble about it and the railway took no more notice of the crate than if it had been a crate of eggs. No priest was expected to attend, but one friendly one came out several times as the grave was being prepared; he dared not come to the funeral for fear of offending his parish. Reilly put two new pennies under the urn for luck he said, but one wonders whether he had a vague memory of passage-money for the dead to be given Charon." Page 277: Una’s note in the margin, "See also pp. 216-274." Here Una Jeffers is credited by Joseph Hone, then quoted at length: "Admirers of George Moore’s works when they travel in these parts, look in at Moore Hall to drop a tear over the woods which are fast falling under the axe. Reilly, who has brought up an Irish-speaking family on his holding by the gatehouse, shows them round. These extracts--with which I conclude my story of the Moores of Mayo--are from the diary of Una Jeffers, who was in Ireland in the summer of 1937. ‘July 23, 1937. On to Ballinrobe, then Moore Hall. Colonel Maurice Moore has instructed me to ask for James Reilly at gate house, former steward of the estate who would get a boat to take us out to Castle Island in Lough Carra. Two men were standing in the road. One was Reilly and the other Mr. O’Hare, present owner of Moore Hall. Mr. O’Hare, a ruddy, burly Scotsman, with a steady blue eye joined in the conversation. When Reilly said he could not get a boat, even given time, O’Hare said he expected his own boat to arrive on Saturday and if we would return Sunday at 2 p.m. he would see that we got out there. If his boat hadn’t come he would manage to borrow one. So we left on these terms. On to Westport and decided to climb Croaghpatrick the holy mountain some miles away . . . July 25, 1937. Then on to Moore Hall, met Mr. O’Hare in the road. He said his boat hadn’t come but he had arranged with Colonel Blake for his. Told us to meet him at Blake boat-house. Met James Reilly in front of his house in Sunday best. He though no boat was available. We walked along lake shore one half mile to Blake boat-house. I picked a little nosegay of the flowers along the meadowy shore. Reilly told me the names--clover, a spray of hazel leaves, fairy flax, blue bells, white meadow-sweet and wild yellow meadow-sweet. Botanists find a very large number of flowers here of different varieties. Much fuss and got boat out, oars, etc. Reilly and Donnan rowed. They had to take the boat out and pull in for us at a point farther on where the water was not so shallow and the land sloped away steeply. we stood on a stone out a few feet and so into boat. The water was rippling. The wind blew up little flurries of waves. Toward Castle Island, he steered a crooked course as there are many big stones which come close to surface and would easily tip the boat over. Pale clear green water. On shores and on bottom a white soapy deposit of lime. Irregular shore line. The boat was none too steady, oars cracked and oarlocks were just whittled out of wood. All the way across he talked about Moore and Moore Hall. He told how much the lake meant to Moore and developed the theme much as I did at the end of the talk I gave on George Moore in Carmel--the lake the theme (and symbol) that ran through his life (and books). Moore told him once he wanted to be cremated and Reilly must cast his ashes in the lake, but "mind the wind that it doesn’t blow the ashes back into the boat." Moore had a violent temper but he helped his family and friends constantly. . . . Moore told him not to let Colonel Moore into the Hall after he left in 1911 but Reilly said the Colonel came several times and he never told George. R. said "That wasn’t right for Mr. George to expect me, a worker on the place to tell the Colonel not to come in." Said all the Moores had fine faces. We passed Kiltoom where Moore’s father and mother and grandparents are buried. The last fifty yards we rowed through tall dry, sparse reeds which murmured huskily as we pushed through. Reilly pointed out a big stone he though should have been hollowed out to receive the urn but Colonel Moore had thought the stone too near water. The urn is placed in a cavity two feet by two feet cut in the solid rock (a solid one embedded in the ground fifty feet from water’s edge). A pile of stones form a cairn five or six feet high above the cavity whose opening over the urn was cemented over. A granite cross two feet high is over a square granite plaque, cross has ivy leaves cut on it and the inscription, "George Moore born 1852 Moore Hall, died London 1933." Reilly complained that this did not balance. It should finish: "died 1933 in [Una crossed out "in" in the text] London." He also objected to A. E.’s inscription that Moore had deserted his country and friends for his art. "He never deserted his friends." Said it was a spiteful inscription. After taking several pictures in very dim light we each placed a stone on the cairn and then went into a dense thicket one hundred feet away to inspect Castle Carra ruins, just a broken tower and much foundation thickly covered with vines: ivy and hazel growths. A man in gov’t survey office in Dublin looked up this ruin for Reilly in records. In 1200 Castle Carra was already spoken of as complete ruins. Then our row back (Garth and Reilly at oars) through the reeds, always the racy speech with a Westport drawl from Reilly. Across the dim green water, the wind with us. He would look toward shore and say "we must just toil a bit longer." Talked of flowers, he was once a professional gardener. Said Moore spoke seldom of flowers in his writings. When Moore asked the name of a flower hated to have anyone give the Latin name . . . Spoke of Moore’s great-grandfather, who had made his money in Alicante, as of one long well known. The first day, Friday, we were here we went at O’Hare’s invitation to the Hall again and spent more than an hour inspecting it. It was a grand place. Reilly said they used bombs as well as fire to destroy it. It had three good stories as well as a cellar story whose windows are well above ground. The cellars had many vaulted rooms; in one a cooking range half intact, many wine cellars with brick compartments (many broken bottles here) rooms with fireplaces in them and the corridor with signs still intact beside the bell-pulls. "Dining-room, library, drawing-room, summer-room, morning-room, 2nd library, lower hall, etc." Incidentally the queer copper loops on a staple (I took one home in 1929) were used to guide the wires along the walls. On the wall by main gate of Moore Hall is the date 1821. Either the wall or iron gate is thus much older [here Una has crossed out "older" in the text and written "later" in the margin] than the house. Many of the grates are still intact in the walls and one had a queer feeling looking up at them to see them look as if a fire were laid in them just ready for lighting--the work of the rooks who had brought in sticks, bits of moss and paper and arranged their nests in them secure and high out of reach. A fine brass shoe scraper is intact on the top step of the portico--how I wish I could have it. Reilly spoke of Yeats, Hone, Eglinton, Lady Gregory, Martyn, and other friends of Moore. (I promised to give Reilly Yeats’s Dramatis Personae, was amused to find a few days later that not a copy of that or any other of his writings was to be found in his home town of Sligo.) September 2, 1937 in Dublin. At Colonel Moore’s, he was most hospitable . . . Talked of Moore Hall, George, his youth, service in India, Edward Martyn, Ballintubber Abbey, his son in Wyoming, politics, legends of County Mayo and neighbourhood of Moore Hall. Said George Moore told him long ago that he wished to be cremated and in the end it seemed a good solution of the difficulty of his burial. Not being a Catholic he could not be put in Kiltoom. Mrs. Moore said it was a great pity that the estate was sold, probably cattle would be turned into the grave yard. . . . Colonel Moore showed us an old drawing of Moore Hall made one hundred years ago, pencil drawing used in his An Irish Gentleman. Also heavy iron chest from Spain (about three by two feet) saved from the fire at Moore Hall. He had a key made to open it and found it full of deeds and family papers so badly charred that they could not be deciphered. I spoke of the many tiny iron doors (eight by ten inches) we saw up the outside walls of Moore Hall near the chimneys. He said he had put them there handy for cleaning flues. He spoke with horror of the abuses he had seen as a boy--little naked boys used as chimney sweeps--forced up these narrow twisty flues and if they didn’t or couldn’t force their way up to the top and stick a broom up, their masters would build a fire below to speed them up (like Kingsley’s story Water Babies). . . .’" And here ends Hone’s book. Page 286: Index: Una writes, "Jeffers, Una, 277." In the margin, Una has written, "See also pp. 26, 217." Una has also corrected the entry for W. B. Yeats by adding a fourth page number ("281") to the three in the text. This refers to Una’s reference to Yeats’s Dramatis Personae.

Hone, Joseph. W. B. Yeats: 1865-1939. New York: The Macmillan Company, 1943. Notes: Flyleaf: Inscribed, "Darling--for our twenty-ninth anniversary. Many months late as usual, but that is not my fault but the postponing publisher’s. Love forever -- Robin. Tor House -- February 5, 1943." Inside front cover: Folded, loose, a letter from Joseph Hone, evidently in response to a letter from Una, in which she inquired about the final resting place for Yeats’s body and about the condition of Moore Hall: "Dear Mrs. Jeffers, How nice to recognize your handwriting and to find that you are again in Scotland. I hope you will be in Dublin and will come to see us. Our address now is Ballgoing House, Ennis Kerry, Co. Dublin, Tel: G Enniskerry--we are about 12 miles from Dublin, but a good bus service. I have not heard about Yeats body being brought back to Ireland, and would be shy of asking Mrs. W. B. Yeats; but if the Duchess of Wellington is now engaged in the matter, it is likely something will be done. If I hear anything within the next few days I will send you a telegram. You should write a letter to the Irish Times describing the condition of Moore Hall and Castle, and put some shame into the people. Do Do So -- or your husband, a representative of American poets . . but better not mention Ballylee, as this still belongs to Wm. Yeats. Please write again, Yours ever, Joseph Hone, 23 June 1948." Loose at page 90, article titled "A.E. and W.B." by Sean O’Faolain from The Virginia Quarterly Review, pp. 42-57 (n.d.) and a clipped review (written by Cecil French Salkeld) of A Vision, by W. B. Yeats. Page 148: Loose, a clipped review from Time, October 27, 1947, covering Jack Yeats’ exhibition in Dublin. Page 340: Clipped trio of photos of Maude Gonne, George Yeats and Lady Gregory. Inside back cover: Penciled note reads, "See page 291 [a reference to a discussion of Ezra Pound]. With the carved reliquary of Pentelican marble (by Gaudier-Brzeska). These words are inscribed below a recumbent female figure (by Ezra Pound). To Wilfred Blunt Because you have gone your individual gait, / Written fine verses, made mock of the world, / Swung the grand style, not made a trade of art, / Upheld Mazzini and detested institutions, / We, who are little given to respect, / Respect you, and having no better way to show it, / Bring you this stone to be some record of it."

Hope, Laurence. India’s Love Lyrics. New York: John Lane Company, 1909. Notes: Flyleaf: Inscribed "Una Küster, June ‘09." Page 126: Loose, clipped article (and photograph) mourning the untimely passing of Laurence Hope (a young woman, she committed suicide following the death of her husband). Page 126: A copy of the poem "Till I Wake," which reads, "When I am dying, lean over me tenderly, softly, / Stoop, as the yellow roses droop in the wind from the South. / So I may, when I wake, if there be an Awakening, / Keep, what lulled me to sleep, the touch of your lips on my mouth." Inside back cover: In Una’s hand, "‘Talk not my lord, of unrequited love, / Since love requites itself most royally / Do we not live but by the sun above, / And takes he any heed of thee and me? / Though in my firmament thou wilt not shine, / Thy glory as a star is none the less. / Oh, Rose, though all unplucked by hand of mine / Still am I debtor to thy loveliness. / Small joy was I to thee; before we met / Sorrow had left thee all too sad to save. / Useless my love--as vain as this regret / That pours my helpless life across thy grave.’ Laurence Hope."

Housman, A. E. Last Poems. New York: Henry Holt and Company, 1922. Notes: Inside front cover: In Una’s hand, "(These copied poems from ‘More Poems’ 1936 pub posthumously): XXI: ‘The world goes none the lamer, / For ought that I can see, / Because this cursed trouble, / Has struck my days and me. / The stars of heaven are steady, / The founded hills remain, / Though I to earth and darkness / Return in blood and pain. / Farewell to all belongings / I won or bought or stole; / Farewell my lusty carcase, / Farewell my airy soul. / O worse remains for others, / And worse to fear had I / Than here at four and twenty / To lay me down to die’; XXIII: ‘Crossing alone the nighted ferry / With the one coin for fee, / Whom, on the wharf of Lethe waiting, / Count you to find? Not me. / The brisk fond lackey to fetch and carry, / The true, sick-hearted slave, / Expect him not in the just city / And free land of the grave’; XXIV: ‘Stone, steel, dominions pass, / Faith, too, no wonder: So leave alone the grass / That I am under. / All knots that lovers tie / Are tied to sever; / Here shall your sweet heart lie, / Untrue for ever’; XXII: ‘Ho, everyone that thirsteth / And hath the price to give, / Come to the stolen waters, / Drink and your soul shall live. / Come to the stolen waters, / And leap the guarded pale, / And pull the flower in season / Before desire shall fail. / It shall not last forever, / No more than earth and skies; / But he that drinks in season / Shall live before he dies. / June suns, you cannot store them / To warm the winter’s cold, / The lad that hopes for heaven / Shall fill his mouth with mould’; XX: ‘Like mine the veins of these that slumber / Leapt once with dancing fires divine; / The blood of all this noteless number / Ran red like mine. / How still with every pulse in station, / Frost in the founts that used to leap, / The put-to-death, the perished nation / How sound they sleep! / These, too, these veins which life convulses, / Wait but a while, shall cease to bound; / I with the ice in all my pulses, / Shall sleep as sound.’" On back flyleaves, more: "‘XVIII: Bells in tower at evening toll, / And the day forsakes the soul; / Soon will evening’s self be gone / And the whispering night come on. / Blame not thou the blinded light / Nor the whisper of the night: / Though the whispering night were still / Yet the heart would counsel ill. // The farms of home lie lost in even, / I see far off the steeple stand; / West and away from here to heaven / Still is the land. / There if I go no girl will greet me / No comrade hollo from the hill / No dog run down the yard to meet me / The land is still. / The land is still by farm and steeple / And still for me the land may stay; There I was friends with perished people / And there lie they. VII Stars, I have seen them fall / But when they drop and die / No star is lost at all / From all the star-sown sky. / The toil of old that he / Helps not the primal fault; / It rains into the sea, / And still the sea is salt’; XII: ‘I promise nothing: friends will part; / All things may end, for all began; / And truth and singleness of heart / Are mortal even as is man. / But this unlucky love should last / When answered passions thin to air; / Eternal fate so deep has cast / Its sure foundations of despair’; XLVIII ‘(A.E. died April 30, 1936) Alta Quies / Good-night. Ensured release / Imperishable peace / Have these for yours. While earth’s foundations stand / And sky and sea and land / And heaven endures. / When earth’s foundations flee / Nor sky nor land nor sea / At all is found / Content you; let them burn, / It is not your concern; / Sleep on, sleep sound’; XXVII: ‘To stand up straight and tread the turning mill / To lie flat and know nothing and be still, / Are the two trades of man; and which is worse / I know not, but I know that both are ill.’"

Howells, W. D. Literary Friends and Acquaintance: A Personal Retrospect of American Authorship. New York: Harper and Brothers, 1901. Notes: Flyleaf: Inscribed "Una Call."

Hudson, Thomas Jay. The Law of Psychic Phenomena: A Working Hypothesis for the Systematic Study of Hypnotism, Spiritism, Mental Therapeutics, Etc. Chicago: A. C. McClurg and Company, 1908. Notes: Contains marginalia and an inscription, but the book appears to have been marked by its original owner, and not Una or Robinson Jeffers.

Hudson, W. H. A Shepherd’s Life: Impressions of the South Wiltshire Downs. New York: E. P. Dutton and Company, 1921. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, 1923." Title page: In Una’s hand, next to Hudson’s name, "(died August 18, 1922)."

Hudson, W. H. Adventures Among the Birds. New York: E. P. Dutton and Company, 1920. Notes: Inside front cover: Clipped pictures of "The Blackcap" and "The Bob-White." Flyleaf: Pasted in, a clipped picture captioned "Black-Necked Swans in the Gardens of the Zoological Society." Dedication page: Pasted in, a clipped excerpt (taken from a periodical--probably a newspaper) from Hudson’s Nature in Devon-land describing the swallow’s remarkable "additional sense" when it encounters "deceptive surroundings." Pages x-xii: Pasted in, three clipped pictures captioned "The Long Eared Owl," "The Puffin" and "The Heron," with a note in Una’s hand: "These three inserts are from ‘Woodcuts of British Birds’ by E. Fitch Daglish." Page 262: Pasted-in, clipped picture captioned "Storm Petrel, Wilson’s Petrel and Leach’s Fork-Tailed Petrel." Page 265: Loose, clipped review by Ernest Rhys of a posthumous edition of Far Away and Long Ago: A History of My Early Life by W. H. Hudson, taken from a British publication (probably a newspaper). Pages 320-21: Six clipped pictures, about which Una writes, "These six pictures from drawings in color by Audubon." They are captioned "The Tropic Bird," "The Blue-Headed Pigeon," "Cormorants," "Purple Herons," Cock of the Plains," "Eider Ducks." On the back flyleaves, additional clipped pictures captioned: "Great Black-Backed Gull," "Snowy Heron, or White Egret," "Social Weaver Bird, With Nest," "African Ground Hornbill," "In the Fall the Loon Came," and "Whooper Swan."

Hudson, W. H. Afoot in England. New York: Alfred A. Knopf, 1922. Notes: Flyleaf: Pasted-in clipped paragraph from a news article, describing several proposals for memorials to Hudson, as well as a clipped picture and brief article describing the details of a proposed W. H. Hudson Bird Sanctuary in Hyde Park, London.

Hudson, W. H. Hampshire Days. London: Gerald Duckworth and Company, Ltd., 1928. Notes: Flyleaf: Inscribed "For the Jeffers family from Percy -- August 1929 / Dromore Cottage, Knocknacarry, Co. Antrim, Ireland." In Una’s hand, "Glens of Antrim." Back flyleaves: In hand, "‘Hunters of the impossible, like men / Who go by night into the woods with nets / To snare the shadow of the moon in pools?’ / Arthur Symons, ‘The Lovers of the Wind.’" / "‘Tales of history moonraking villages should be investigated as interesting feature of English Country Life’ (‘A Farmer’s Life’ by Geo. Bourne / border of Surrey and Hampshire) -- What is this? The dictionary says ‘Moonraking - woolgathering, moon-raker=wool-gatherer from story of rustics mistaking moon’s reflection in water for a cheese and attempting to rake it out.’ / ‘smugglers,’ -- ‘moonrakers’ they called them in Wiltshire, because many of the smuggled goods were concealed in the ponds, and when the excise man caught the smugglers extracting them at night, and demanded what they were doing, they answered, ‘Oh, we are raking out the moon.’ (Augustus Hare)." Inside back cover: Clipped sketch captioned, "Near the mouth of the Hamble River."

Hudson, W. H. The Land’s End: A Naturalist’s Impressions in West Cornwall. New York: Alfred A. Knopf, 1927. Notes: Back flyleaf: Pasted-in clipped picture of W. H. Hudson from "The Portrait Drawings of William Rothenstein."

Hughes, Langston. Fine Clothes to the Jew. New York: Alfred A. Knopf, 1929. Notes: Flyleaf: Inscribed "Una Jeffers." (While I was working at Tor House, Lee Jeffers told me of Hughes’ visit, and of what a gracious and delightful guest he was. Some time after his visit, knowing that the family would soon be traveling to Europe, he sent gifts to the three youngest children--a giant case of Legos for Donnan and Robin and an elegant traveling case for Una, then about four or five, which she treasured more than the treasures she kept inside.

Huneker, James. Egoists: A Book of Supermen (Stendhal, Baudelaire, Flaubert, Anatole France, Huysmans, Barrès, Nietzche, Blake, Ibsen, Stirner, and Ernest Hello). New York: Charles Scribner’s Sons, 1909. Notes: Flyleaf: Inscribed "Una Küster, June ‘09." Inside back cover: In pencil, "Ataraxia."

Huneker, James. Iconoclasts: A Book of Dramatists (Ibsen, Strindberg, Becque, Hauptmann, Sudermann, Hervieu, Gorky, Duse and D’Annunzio, Maeterlinck and Bernard Shaw). New York: Charles Scribner’s Sons, 1909. Notes: Flyleaf: Inscribed "Una Küster, September ‘09." Page 6: In chapter on Ibsen, a check marks the passage that reads, "Ibsen’s symbolism is that of Baudelaire, ‘All nature is a temple filled with living pillars, and the pillars have tongues and speak in confused words, and man walks as through a forest of countless symbols.’ The dramatist does not merely label our appetites and record our manners, but he breaks down the barrier of flesh, shows the skeleton that upholds it, and makes a sign by which we recognize, not alone the poet in the dramatist, but also the god within us." Page 7: A check marks the passage, "Thus the tower in The Master Builder, the open door in A Doll’s House, the ocean in The Lady from the Sea, give a homogeneity which the otherwise loose structure of the drama demands. The Ibsen play is always an organic whole. Page 368: In chapter on Maeterlinck, in a section discussing his debt to Whitman and Les Illuminations by Rimbaud, a check marks the passage that reads, "Take, for example, the following specimen of Maeterlinck’s âme in Serres Chaudes:-- ‘One day there was a poor little festival in the suburbs of my soul. They mowed the hemlock there one Sunday morning, and all the convent virgins saw the ships pass by on the canal one sunny fast day, while the swans suffered under a poisonous bridge. The trees were lopped about the prison; medicines were brought one afternoon in June and meals for the patients were spread over the whole horizon.’" Page 371: In a discussion of Maeterlinck’s Princess Maleine, a check marks, "Maeterlinck’s hero, too, is oppressed by the mystery of life. Throughout the drama the Fate of ancient tragedy marches remorselessly through the doomed palace of the king. Thanks to Maeterlinck, this Fate takes on a new countenance. A disquieting attack is made upon the nerves by the repercussive repetitions, the dense pall of melancholy hanging over the place. A madhouse is a cheerful place by comparison." Page 372: A check marks, "The dénouement is horrible. Maleine is strangled by the Queen, who also loves Hjalmar, and to the accompaniment of a lunar eclipse, thunderbolts, a cyclone, meteors that explode, wounded swans that fall from stormy skies, this night of strange portents comes to an end after the prince avenges Maleine by stabbing the queen and killing himself." Pages 373-74: A penciled check and underlines mark, "Maeterlinck has defined his aesthetic in his prose essays. He played queer pranks upon the nerves with these shadows, these spiritual marionettes, which are pure abstractions typifying various qualities of the temperament. The iteration of his speech is like the dripping of water upon the heads of the condemned. It finally stuns the consciousness, and then, like a performer upon some fantastic instrument with one string, this virtuoso executes variations boasting a solitary theme--the fear of Fear." Page 378: A penciled check and underline mark, "‘To every man there comes noble thoughts that pass his heart like great white birds.’ Then is recalled Browning and his similitude of the meanest soul that has its better side to show its love. ‘In life there is no creature so degraded but knows full well which is the noble and beautiful thing he must do.’ A life perceived is a life transformed. To love one’s self is to love thy neighbor in thyself! Maeterlinck’s attitude toward woman--the true touchstone of the philosopher, poet, priest, and artist--is beautiful. ‘I have never met a single woman who did not bring to me something that was great.’ The spiritual renascence may be at hand. It is the theatre that last feels its approach. Poetry, painting, sculpture, music, all have met it halfway; only the stage lags in the rear. Plot, action, trickeries, cheap illusions, must be swept away into the limbo of things used up. Atmosphere, the atmosphere of unuttered emotions, arrested attitudes, ideas of the spiritual subconscious, are to usurp the mechanical formulas of to-day. the ideal is music--music, the archetype of the arts. (Walter Pater preached this platonic doctrine.) ‘It is only the words that at first sight seem useless that really count in a work.’ But to realize, to exteriorize the mystery, the significance of the soul life, what a strange and symbolic web must be woven by the poet-dramatist! He must break with the conventions of the past and create something that is not quite painting, not quite drama, something that is more than poetry, less than music--full of ecstasies, silent joys, luminous pauses, and the burning fever of the soul that sometimes slays." Page 382: A check marks, "Before he ventured into the maze of plotting, Maeterlinck was content with simple types of construction. The lyric musician in this poet, the lover of beauty, led him to make his formula a musical one. If there is not rhyme there is rhythm, interior rhythm, and an alluring assonance. Hence we get pages burdened with repetitions and also the ‘crossing fire’ of jewelled words."

Huneker, James. Promenades of an Impressionist. New York: Charles Scribner’s Sons, 1910. Notes: Flyleaf: Inscribed "Una Jeffers."

Husband, M.F.A. A Dictionary of the Characters in the Waverly Novels of Sir Walter Scott. London: George Routledge and Sons, Ltd., 1910. Notes: Inside front cover: Loose pages from a lined notepad containing lists of Scott novels and the names of their principal characters; also a list of Hardy’s books. This is evidently a reworking of the information in the dictionary in order to sort characters by novel, rather than simply by name, as they are listed in the dictionary.

Huxley, Aldous, Ed. The Letters of D. H. Lawrence. New York: The Viking Press, 1932. Notes: Flyleaf: Inscribed in Una’s hand, "Una Jeffers from Hans Barkan." Pasted below, clipped picture of the Phoenix, captioned, "Seated upon its nest of flames, the Phoenix signified the undying spirit of man, which is reborn perpetually out of the nature of itself. This bird is called the symbol of loneliness, for it is without a mate and is the only one of its kind in existence. Dwelling in the solitude of the Arabian Desert, building its dwelling of frankincense and myrrh, the Phoenix well represents the aloofness of wisdom."

Inge, William Ralph. Christian Mysticism: Considered in Eight Lectures Delivered Before the University of Oxford. New York: Charles Scribner’s Sons, 1899. Notes: This volume appears to be the copy used for (and cited in the bibliography of) Una’s master’s thesis. Marks in margins may correspond with citations in thesis. Copious markings, but no notes or underlines.

Ingpen, Roger. Shelley in England: New Facts and Letters from the Shelley Whitton Papers. Boston: Houghton Mifflin Company, 1917. Volume II. Notes: Flyleaf: Inscribed "Una Jeffers." Illustrations page: Pasted opposite, a clipped article titled "Publications of the Shelley Society," in which Walter Peck (College of Wooster, Ohio) provides a bibliography of the publications of the Shelley Society of London. Pages 542-43: The text on page 543 concludes with the story of Shelley’s heart, "snatched by Trelawny from the burning embers and given to Hunt, who afterwards resigned it to Mary Shelley. After Mary’s death Shelley’s heart was found, wrapped in a silken shroud, between the leaves of her copy of the Pisa edition of Adonais, and the relic was afterwards enclosed in a silver case. When sir Percy Shelley was buried, on December 10, 1889, in his mother’s grave at St. Peter’s, Bournemouth, the poet’s heart was interred with him." Page 543: Pasted in is a clipped paragraph titled, "The Heart of Louis XIV," which reads, "The heart of Louis XIV, stolen from a casket, resembled a small piece of shriveled leather, and came into possession of the Harcourt family. Years later a certain dean of Westminster visited the Harcourts and suddenly popped it into his mouth and, whether by accident or design, swallowed it." Under the clipping Una writes, "It was kept in a silver case at the Harcourts place, Nuneham. Page 542: Written in the margins in Una’s hand: "Dr. Buckland was an eminent zoologist. One version of the Louis XIV heart story is that Buckland was conversing with great animation with a brother-scientist when the heart was passed to him on a little salver -- and he ate it thinking it was a fig! This dean [the dean of Westminster] was Dr. Buckland. He said, as he gobbled it up, ‘I have eaten many strange things but never the heart of a king before.’ Dr. Buckland told Lady Lyndhurst that he had eaten his way straight through the animal kingdom and the worst thing was a mole -- that was utterly horrible--afterwards he said he discovered something even worse -- a blue bottle fly.’ (from Augustus Hare’s ‘Story of My Life.’) Vol IV p. 27." Opposite page 625: Overleaf from the portrait of Sir Percy Florence Shelley, in Una’s hand: "(From W. H. Mallek’s ‘Memoirs of Life and Literature’) ‘Sir Percy and Lady Shelley, the poet’s son and daughter-in-law were near neighbors of Lord Wentworth (2nd Baron Lovelace, author of Astarte -- son of Ada Byron -- therefore Byron’s grandson) though they had never met. Lady Shelley had been an old friend of my mother’s and I took Went north one day to tea with her. To the wife of Shelley’s son I introduced Byron’s grandson. What even could seem more thrilling . . . . . What really happened was this: Lady Shelley said to me some pleasant things about my mother, we all of us lamented the prevalence of the east wind . . . . Then the drawing room door opened and the son of the author of "Prometheus Unbound" entered. He was a fresh-looking country gentleman whose passion was private theatricals. Close to his own house he had built a little private theatre and the conversation turned thenceforward on the question of whether a license would be necessary if the public were admitted by payment to witness the performance of a farce in the interest of some deserving charity.’" Page 627: In Una’s hand at the bottom of the page, with an arrow to the passage that describes "the discolored little Sophocles that was found on Shelley’s body and the eleven companion volumes bound in white vellum close by it, which offered a striking contrast," she writes, "‘Second only to Milton’s gifts in interest (at the Bodleian Library, Oxford) are the relics of Shelley which were bequeathed quite recently by Lady Shelley: his autograph M.S.S. of "Prometheus Unbound" and of other poems, are now in view, with his protrait[sic] and the copy of Sophocles which after his drowning was found by Trelawney in his pocket.’ (From ‘Oxford and its Colleges’ by T. Wells.)" Inside back cover: Loose, (1) pages from a published, unidentified literary journal (Vol. LXXII--6, pp. 69-88, contiguous), which includes "Ode to Shelley" by George Sterling and "Books and Autograph Letters of Shelley" by Harry B. Smith; and (2) pages 122-133 (Part 1), and pages 166-177 (Part 2), from "Shelley’s Lost Letters to Harriet," by Leslie Hotson, serialized in the Atlantic in 1929.

Irving, Washington. Sketch Book. New York: H. M. Caldwell Company, n.d. Notes: Inside front cover: Fragment of handwritten copy of "Churchyard at Tarrytown," by Longfellow (could have been copied by Una when she was young). Flyleaf: Pasted-in clipped picture of Washington Irving. Fragment of a date written above, "March 12, 189_." Title page: Inscribed "Una Call." "Advertisements to first editions" page: Written in hand, "Sir Brian de Bois Guilburt" (perhaps Una’s writing). Page 7: In (Una’s?) hand, "Jan 19 ‘98." Page 9: In hand (possibly Una’s), "W. Irving, 1783-1859, New York." Page 11: In hand, "Jan 20, 98." This volume appears to have been read with greatest interest in the section titled "Stratford-on-Avon." Page 205: The passage describing the church where Shakespeare is buried is marked, along with passages describing the flora and fauna around the church yard. Page 207: The description of Shakespeare’s tomb is marked. Page 210: A passage which reads, "sparrow twittering about the thatched eaves and budding hedges" and a lark "pouring forth torrents of melody" comes in for special attention, as does a nearby passage on page 212 describing the "noble avenues of oaks and elms." Page 213: Irving’s first view of Shakespeare’s birthplace is noted.

Jekyll, Gertrude. Old English Household Life: Some account of Cottage objects and Country Folk. New York: G. P. Putnam’s Sons, 1925. Notes: Clippings of magazine photographs pasted into book. Inside front cover: Written in Una’s hand, "Old Mills, ‘Jack’ and ‘Jill’ on Clayton Down (South Downs)." Flyleaf: Pasted-in clipped pictures captioned, "The Great Bed of Ware--for Twelve!--a Piece of Furniture Referred to by Shakespeare (in ‘Twelfth Night’) and by Many Less Famous Writers"; "The Great Bed of Ware Bought for the Nation: The Ornate Head-board of the Bed--Perhaps the Most Famous Piece of English Furniture." Flyleaf: Pasted-in clipped photo of large hearth, table and bench in timbered room. First title page: Pasted-in clipped photo of farm scene with conical structures attached to barn (labeled "in Kent" by Una). Second flyleaf: Pasted-in clipped picture of bridge and pond before thatched cottage. Page 65: Pasted-in clipped photo of thatchers repairing a cottage roof. Page 79: Pasted-in clipped photo captioned, "The Priest’s House: Muchelney Abbey." Page 90: Pasted-in clipped photo captioned, "The old house in All Saints’ Square restored: the upper floor of the sixteenth-century portion; Showing how ceilings and partitions were cleared to leave one long room roofed with oaken timbers." Page 147: Pasted-in clipped picture (identified in Una’s hand) "A Surrey Shepherd." Page 222: Pasted-in article titled, "Old Weathervanes Over London." Inside back cover: Pasted-in article titled, "Queer Feudal Rents that Survive: Payments in Kind and Services Once Asked Exacted in Britain"; and a pasted-in pencil sketch of small wooden stool.

Jewitt, Llewellynn and S. C. Hall. The Stately Homes of England. New York: R. Worthington, Importer, n.d. Notes: Two volumes bound as one. Pasted inside front cover: Clipped pictures captioned, "Early Print of Florence" (in Una’s hand); "Ponte Solarino" (in Una’s hand); "Entrance and Drawbridge. The Front Tower is Called ‘Torre della Calatora’ (Tower of the Drawbridge) and Was Built by Borgia"; "Beauchamp Tower From Across the Moat" (written in hand: "Tower of London"); "Windsor" (in Una’s hand); "Weston Hall, Shropshire, England, Country Place of the Earl and Countess of Bradford"; "Clifford’s Tower" (in Una’s hand "York"). Flyleaves: Pasted-in, clipped pictures captioned, "Easton Lodge, Dunmow, Essex"; "The Prior’s Door, Ely Cathedral, 1081-93"; "Scarborough Castle" (in Una’s hand, "York"); "Walmgate Bar" (in Una’s hand, "York"); "Micklegate Bar" (in Una’s hand, "York"). Half-title page: Clipped photographs captioned "Rushen Castle, Castletown, Isle of Man"; "Church and Rectory at Eversley, Charles Kingsley’s Parish" (in Una’s hand). Opposite title page: Clipped picture captioned "Nonsuch Palace." Overleaf: Clipped photographs captioned, "Ethie Castle (Earl of Northesk), Arbroath, Forfarshire" (in Una’s hand); and, with descriptive paragraphs, a picture of Byeward Tower. Volume 1 Notes: Contents of the First Series, page vii: Pasted over the page’s original content, a clipped photograph captioned in hand, "Snowdon Wales." Page xii: Pasted-in, clipped picture captioned, "Holyrood. From an Old Print." Page 14: Underlined, line 4 from the poem which accompanies the family motto ("Prest d’Accomplir") painted over the Picture-Gallery doorway at Alton Towers--"The dede is done." The first stanza of the poem reads, "The redie minde regardeth never toyle, / But still is Prest t’accomplish heartes intent; / Abrode, at home, in every coste or soyle, / The dede is done, that inwardly is meante." (n.b. These lines are painted on the bathroom door, leading from the Book Room, at Tor House.) Page 124: In the chapter on Hardwick Hall, Una notes a particular interest in the daughter of William Spencer Cavendish, Georgiana, who married the Earl of Carlisle, and in The Lady Blanche Georgiana Howard, fourth daughter of George, sixth Earl of Carlisle and the Lady Georgiana Dorothy Cavendish. Page 126: Loose, an original child’s drawing with the legend "Tor Castle, Lindsay, age 6." Page 136: Una marks the paragraph which reads, "As we said at the commencement of this chapter, there is no place so likely as Hardwick to carry the mind back to those times which we have indicated and to which it belongs. One is unresistingly and forcibly carried by the imagination back to the time of Elizabeth, and while pacing along through these rooms, we are led, ‘in the mind’s eye,’ to people them with the forms of those who lived and moved and had their being within its walls." Page 146: Underlined is the name of Henry Fitzalan, Earl of Arundel. Page 153: Pasted in at the beginning of the chapter on Arundel Castle, a clipped picture captioned "Arundel Castle--The Tilt Yard and Keep From the North." Loose, a clipped article by Kathleen Woodward titled "Arundel Castle is to Let; Famous Feudal Stronghold. Visitor Describes Beauty of England’s Noblest Country Seat, Home of the Dukes of Norfolk Since Magna Charta Days." Page 172: The opening page of the chapter on Penshurst, where Una has pasted a clipped picture, presumably of Penshurst. Page 192: The opening page of the chapter on Warwick Castle, a picture captioned "Ancient Caesar’s Tower." Page 220: Clipped photograph captioned, "Warwick Castle." Page 222: In the chapter on Haddon Hall, though not marked, a noteworthy passage reads, "The poet, the novelist, the traveller, the naturalist, the sportsman, and the antiquary have found appropriate themes in Derbyshire, in its massive rocks--’Tors’--and deep dells. . . ." Page 234: Passage marked: "The door [at Haddon Hall] through which the heiress eloped is always pointed out to visitors as ‘Dorothy Vernon’s Door.’ Thus the Derbyshire estates of Sir George Vernon passed to John Manners, and thus it was the noble house of Rutland became connected with Haddon and the county of Derby." Pages 261-65: Several passages are marked evincing further interest in the story of Dorothy Vernon’s elopement and marriage to John Manners, as well as a special interest in the state bedroom at Haddon Hall. Page 270: A description of the Winter Garden at Haddon Hall is marked: ". . . planted with yew-trees, many centuries old, whose gnarled and knotted roots may be seen curiously intertwining and displacing the stone edgings of the parterres. It is altogether one of the most charming out-door ‘bits’ which even the most romantic and vivid imagination can conceive." Passages also marked include a brief stop in the stable--the site of some "fine carved furniture" and yew trees "cut into the form of a peacock and a boar’s head--the crests of Manners and of Vernon"--and a further iteration of the romantic story of John Manners and Dorothy Vernon. The final marked prose passage in this section begins, "Haddon has been a prolific theme for writers, and an endless source of inspiration for poets and artists, and long will it continue so, for no ‘olden’ place can be more picturesque or romantic;" then follows a list of artists so inspired. Page 291: An inscription from a Haddon Hall gravestone is marked: "Know, posterity, that on the 8th of April, in the year of grace 1757, the rambling remains of the above-said John Dale were, in the 86th year of his pilgrimage, laid upon his two wives. ‘This thing in life might raise some jealousy, / Here all three lie together lovingly, / But from embraces here no pleasure flows, / Alike are here all human joys and woes; / Here Sarah’s chiding John no longer hears, / And old John’s ramblings Sarah no more fears; / A period’s come to all their toilsome lives, / The good man’s quiet; still are both his wives.’" Page 291: Loose, two drawings: "Ford Castle by Donnan, age 6," on the back of an envelope postmarked May 11, 1923, and "Ford Castle by Donnan," dated on the back February 1934. Volume 2 Notes: Page 241: Pasted-in clipped picture captioned, "The 14th Century Chapel of St. Thomas of Canterbury, on Old London Bridge." Page 270: Loose, in the chapter on Cliefden, a clipped article titled, "A French Chateau in England," about Highcliffe Castle (no date, no source, no attribution). Page 356: Pasted-in clipped picture captioned, "The East View of Tattershall Castle in the County of Lincolnshire." Page 360: Pasted-in clipped pictures captioned, "The Tower of the Winds" and Chepstow Castle, in the Valley of Wye." An unidentified crest is also pasted onto this page. Page 361: Pasted-in clipped picture captioned, "Thirteenth Century Castle at Carnarvon." Page 362: Pasted-in clipped pictures captioned in hand, "Craig-y-Nos, Wales"; Kennilworth Abbey, Warwickshire"; "Carisbrooke Castle, Isle of Wight"; and "Chirk Castle, Llangollen, Wales, XIII Cent."; plus one picture (ruins) not captioned and one picture captioned in print, "Doria Prison, Rapallo." Inside back cover: Eight clipped, pasted-in pictures: "Carnarvon Castle," "Bodiam Castle, Tunbridge Wells" (identified in hand); "Warwick Castle--Guy’s Tower and the Clock Tower"; "King Charles I Tower, Chester"; "The Jewel House by the Martin Tower, 1815"; and three unidentified pictures of castles and/or towers.

Johnson, James. The Scots Musical Museum, Humbly Dedicated to the Catch Club, Instituted at Edin: June 1771. Vol. 3. Edinburgh: Johnson and Company, 1790. Notes: Inside back cover: In hand (probably Una’s), song lyrics (ends of lines are worn away by age): "Hushaby birdie, croon, croon / Hushaby birdie, croon, croon / The sheep are gone to the silver _____ The cow are gone to the broom _______ / Its bra’ milking the kye, kye / It’s bra’ milking the kye, kye / The birds are singing the bells are ______ / The wild deer come galloping ______." A second brief verse is faded to the point of unreadability.

Joint Committee of Hopewell Friends, Hopewell Friends History, 1734-1934, Frederick County Virginia: Record of Hopewell Monthly Meetings and Meetings Reporting to Hopewell (Two Hundred Years of History and Genealogy). Strasburg, Virginia: Shenandoah Publishing House, Inc., 1936. Notes: Inside front cover: Handwritten note, loose: "The Family of Hoge compiled by James Hoge Tyler, edited and published by James Fulton Hoge, 1927. M______ abt Wiliam’s sons John and James. Of William -- ‘Moved to Luednen Co., In., and m. a Quaker. He had a large number of descendants. William Jr.’s children: Solomon, James, William, Joseph, George, Zebelon, Nancy. William 1st Quaker in Hoge family came to In[diana] in 1754 from PA (1690-1700)."

Jones, Sydney R. Touring England by Road and Byway. New York: Charles Scribner’s Sons, 1927. Notes: Inside front cover: Pasted-in clipped photo and handwritten note, "Little Marlow - Bucks." Flyleaf: In Una’s hand, "Una Jeffers / "Kerry Vor" / Britwell Salome / Near Wattlington Oxfordshire England / October 1929." Overleaf: In Una’s hand, "Odd names in England (villages) / Over Peover / Helion Bumpstead / Snoreham-in-Ruins / Skuttershelf / Hannah with Haghaby / Ryrne Intrinsica / Hissel-with-Hill-Top / Ribby-with-Wrea / Hoon / Quither / Spital-in-the-Street / Nasty (also=Munden Furnival) / Maggot’s End / Shellow Bowells / Larks-n-the-Wood." Opposite flyleaf: Pasted-in: a clipped review, titled "In Praise of England," of The Yeoman’s England by Sir William Beach Thomas; a clipped article dated in hand, "Spring 1935," and titled, "4150 ‘Ancient Monuments’ to be Preserved," giving the names and locations of representative monumets. Title page: In Una’s hand, "Yew forest at Kingly Bottom / West Stake / 5 mi. from Chichester / West Sussex." Opposite "Preface": Clipped article (partial) identifying sites of interest around Hereford. Page 140: Pasted-in clipped letter to the editor (evidently to The Observer, July (n.d.), regarding the origin of the name of the inn Swan with Two Necks. Back flyleaf: Pasted-in clipped photo of the Roman Wall in Northumberland; review of Enchanted Ways Through England and Scotland by John Prioleau. Inside back cover: Taped-in, clipped article titled, "A Day in West Sussex." Inside back cover: In Una’s hand, "Roman Roads in Britain / Jessie Mothersole (Pvt. John Lane) / Wem in Shropshire) ‘Time is most very still in Wem, / The men and women are old and sage; / The little children do not age. / There is a spell cast over them.’"

Joyce, James. Dubliners. New York: The Modern Library, 1926. Notes: Back flyleaf: Pasted-in photo captioned, "Two More Expatriates--James Joyce and James Stephens." Inside back cover: Loose, a clipped review, by Horace Gregory, of Collected Poems by James Joyce, with accompanying 1930 Augustus John sketch of Joyce (clipped).

Joyce, P. W. A Child’s History of Ireland. Part 1. Dublin: M. H. Gill, 1910. Notes: Inside back cover: In Una’s hand, "‘Fenian era followed the return of Irish veterans from the American Civil War and is strictly defined within the sixties and seventies until the coming of Davitt and Parnell whose Land Leaguers filled the Irish canvas through Eighties and Nineties until the coming of the Gaelic Leaguers and Sinn Feiners of the last troubles.’ (Shane Leslie)."

Joyce, P. W. Atlas and Geography of Ireland. Dublin: M. H. Gill and Son, n.d. Notes: Page 48: Loose clippings: portion of an article titled "Eire"; photo of Sketterick Castle, Strangford Lough; "The First Men in Ireland: Remarkable Discoveries by Archeologists About the Earliest People in Erin--and Its Rich Civilization When Europe Was Plunged in the Darkness of the Roman Empire’s Collapse." Photographs captioned, "The Rock of Doon, Coronation Place of the O’Donels, Princes of Tyrconnel"; Killybegs, Co. Donegal; inscribed on back, "A very pretty inlet on Lough Erne, Ely Lodge Pier"; "Market Day in Clonbur"; "Moner Old Castle, Co. Fernanagh."

Joyce, P. W. Irish Local Names Explained. Dublin: The Educational Company of Ireland, Ltd., 1923. Notes: Title page: In Una’s hand on title page, above and below the author’s name, she notes that the initials "P. W." are more properly "Patrick W.," and that he was "born in Ballyorgan 1827, died Dublin 1914."

Joyce, P. W. Old Irish Folk Music and Songs: A Collection of 842 Irish Airs and Songs Hitherto Unpublished. Dublin: Hodges, Figgis and Company, 1909. Notes: Inside back cover: Numbers 94, "The Queen’s Country Lasses"; 395, "Castlehyde"; 328, "My Lovely Irish Boy"; 319, "As We Sailed from the Downs"; 259, "Keen: Lament"; 338 "Waterloo" are noted, in Una’s hand. Page 53: Loose sheet, with musical notations, dated 1970; perhaps a grandchild’s?

Kennedy-Fraser, Marjory and Kenneth Macleod. Songs of the Hebrides for Schools. London: Boosey and Company, 1917. Notes: Cover: Inscribed "Una Jeffers, Fort Williams, Scotland."

Kurtz, Benjamin P. The Pursuit of Death: A Study of Shelley’s Poetry. New York: Oxford University Press, 1933. Notes: Flyleaf: Inscribed "Una Jeffers from Hans Barkan."

Kurtz, Benjamin P. and Carrie C. Autrey, Eds. Four New Letters of Mary Wollstonecraft and Helen M. Williams. Berkeley: University of California Press, 1937. Notes: This volume is a collection of three letters from Wollstonecraft and one from Williams which were written to Ruth Barlow, an American friend of the women; they were found among the possessions of Joel Barlow. Flyleaf: Inscribed "For Una Jeffers, in friendship, from Benjamin P. Kurtz. Nov. 1943."

Laighton, Oscar. Ninety Years at the Isles of Shoals. Boston: The Beacon Press, Inc., 1930. Notes: Flyleaves: Loose, small clipping (no identification) relating an anecdote about the author (Oscar Laighton): " . . . whereas I have never seen either a ghost or a sea serpent, yet if I do run across one of them I shall accept its actual existence as the simplest explanation. In my boyhood, when Uncle Oscar Leighton [sic] was visiting at our house, I listened with keenest interest to his narrative of an experience which he had as a lighthouse-keeper off the Maine coast. He said to my father, ‘William, I am going to tell y ou something which I would not dare to tell anyone else for fear they would make fun of it, but I know you are broad-minded enough to look at a thing fairly. One morning just at sunrise I was turning off the light, when this thing came swimming by. The sea was flat with only little whitecaps and the thing, whatever it was, showed up clear not half a gunshot off the ledge. It was fifty or sixty feet long with fins along its back and a long thin neck and a head like a horse sticking five feet up out of the water.’ From that time down to the present I have fully believed in the existence of sea serpents as a very rare and almost extinct species of primeval marine life. . . ." Opposite Preface: Pasted in, a clipped anecdote (no identification): "‘Uncle Oscar’ --his light blue eyes, white patriarchal beard and friendly smile--he is as much a part of the Isles of Shoals as the little stone meeting house that tops Star Island! Almost as old as the little stone meeting house, he has surely been just as intimately a part of the island history. What a vivid and unusual life his has been! Brought to White Island as a three months’ old baby, he has spent four score and ten years upon these barren ledges, ten miles out at sea, watching them become a place of importance as one of the leading summer resorts along the Atlantic Coast and later a place of even greater significance as a shrine of the spiritual life. In his simple and vivid way, Uncle Oscar has told the tale of all these years; of his distinguished father; of Celia Thaxter, his poet sister; of the noted men and women who have found through al these years recreation and inspiration at the Shoals; of the lives of the simple fisher folk who dare the hazards of the sea and love its every mood. For the growing legion of those who love the Shoals, the book is like an old family album full of pictures of those in whose descent the present Shoalers find themselves to be; for all others the book is the engrossing tale of a life that has few, if any, parallels in history." Page 21: Pasted-in, clipped poem by Celia Thaxter: "Faith // Fain would I hold my lamp of life aloft, / Like yonder tower built high above the reef; / Steadfast, though tempests rave or winds blow soft, / Clear though the sky dissolves in tears of grief. / For darkness passes, storms shall not abide; / A little patience and the fog is past. / After the sorrow of the ebbing tide / The singing flood returns in joy at last. / The night is long and pain weighs heavily, / But God will hold His world above despair. / Look to the East, where up the lucid sky / The morning climbs! The day shall yet be fair." Back flyleaf: Pasted-in, clipped picture captioned, "The Henlope Light as It Was in 1820."

Lamb, Charles and Mary Lamb. Tales from Shakespeare. New York: Thomas Y. Crowell and Company, 1878. Notes: Inside front cover: Inscribed in copperplate, "To Una from Edith, April 5/00."

Lang, A. Theocritus, Bion and Moschus: Rendered into English Prose. London: Macmillan and Company, Ltd., 1913. Notes: Flyleaf: Inscribed "Robin and Una Jeffers." Page 41: Underlined, the opening in The Song of Lycidas: "Fair voyaging befell Ageanax to Mytilene, both when the Kids are westering, and the south wind the wet waves chases, and when Orion holds his feet above the Ocean! . . . The halcyons will lull the waves, and lull the deep, and the south wind, and the east, that stirs the sea-weeds on the farthest shores. . . ."

Larin-Kyosti. A Short Story and a Poem. Tr. C. D. Lockock. Webster Groves, Missouri: International Mark Twain Society, 1932. Notes: (Translated from the Finnish; author termed "The Finnish Dunsany" on the title page). Flyleaf: Inscribed "To Robinson Jeffers with Editor’s cordial friendship. Cyril Clemens. January 1951."

Lawrence, D. H. Sons and Lovers. New York: Boni and Liveright, 1922. Notes: Half-title page: Clipped, pasted-in photograph of an especially gaunt Lawrence.

Lawrence, D. H. St. Mawr. New York: Alfred A. Knopf, 1925. Notes: Flyleaf: Inscribed in Una’s hand, "Una Jeffers, Tor House (from Mabel, Taos, New Mexico, 1930)." Inside back cover: Notes in Una’s hand: "dying D. H. L. wrote in ‘Apocalypse’: ‘For man, the vast marvel is to be alive. For man, as for flower & beast & bird, the supreme triumph is to be most vividly, most perfectly alive. Whatever the unborn & the dead may know, they cannot know the beauty, the marvel of being alive in the flesh. We ought to dance with rapture that we should be alive & in the flesh & part of the living, incarnate cosmos. I am part of the sun as my eye is part of me. That I am part of the earth my feet know perfectly & my blood is part of the sea. My soul knows that I am part of the human race, my soul is an organic part of the great human soul, as my spirit is part of my nation. As a citizen, as a collective being, man has his fulfillment in the gratification of his power-sense[?]. ‘We cannot bear connection. This is our malady. We must break away and be isolate. We call this being free, being individual. Beyond a certain point which we have reached, it is suicide. We must give up our false position as individuals & find some conception of ourselves that will allow us to be peaceful & happy instead of tormented. What man wants most desperately is his living wholeness & and his living unison not his own isolate salvation of his ‘soul.’ We must get back fact to face, breast to breast, with the cosmos. There is nothing of me that is alone & absolute except my mind & we shall find that mind has no existence by itself; it is only the glitter of the sun on the surface of the waters.’"

Lawrence, D. H. The Rainbow. New York: The Modern Library, 1927. Notes: Flyleaf: Pasted-in, a clipped, colored picture, under which Una has written, "D. H. L. - Portrait by Dorothy Brett." Inside back cover: In Una’s hand, "Frieda Lawrence said of D. H. L.," below which is a clipped quote: "He was not like most literary men. He didn’t think his writing so important. He thought living more important. Perhaps that’s why his writing was so important after all." Below that, in Una’s hand, "Xmas 1923 Lawrence gave to Middleton Murray a seal depicting a raven-like bird rising like a phoenix from flames, with the inscription, ‘Will the bird perish, / Shall the bird rise!’ To the old raven, in the act of becoming a young phoenix. D. H. L."

Lawrence, D. H. Women in Love. New York: Thomas Seltzer, 1922. Notes: Flyleaf: Inscribed "Una Jeffers." Inside front cover: In Una’s hand, "Lawrencia unfinished ‘Flying Fish,’ pub. 1936 in ‘Phoenix’ (posthumous papers etc.) is one of the most beautiful things he ever wrote. Remember Githin Day & his ancestral A Book of Days -- about the greater Day. The sketch begins ‘Come home, else no Day in Daybrook / No Day in Daybrook / For the Vale / A Bad Outlook.’" Flyleaf: Pasted-in, clipped copy of painting of Lawrence by Jan C. Juta. Inside back cover: Pasted-in, clipped copy of photo of Lawrence (source not identified). Back flyleaf: In hand, "Fire-Flies in the Corn -- D. H. Lawrence / She Speaks -- Look at the little darlings in the Corn! / The rye is taller than you, who think yourself / So high and mighty: look how the heads are borne / Dark and proud on the sky, like a number of knights / Passing with spears and permants and knightly scorn. / Knights indeed! Much knights I know will ride / With his head held high, serene against the sky! / Limping and following rather at my side, / Moaning for me to follow him! O darling rye / How I adore you for your simple pride! / And the dear, dear fireflies wafting in between / And over the swaying cornstalks, just above / All the dark-feathered helmets, like little green / Stars come out and wandering here for love / Of these dark knights, shedding their delicate sheen! / I thank you I do, you happy creatures, you dears / Riding the air, and carrying all the time / Your little lanterns behind you! Ah, it cheers / My soul to see you settling and trying to climb / The cornstalks, tipping with fire the spears / All over the dim corn’s motion, against the blue / Dark sky of night, a wandering glitter, a swarm / of questing brilliant souls giving out their true / Proud knights to battle! Sweet, how I warm / My poor, perished soul with the sight of you.’"

Lazarus, Andrew. Axes and Songs: Verse. Helsinki: Sanoma, 1951. Notes: Title page: Loose, a typed letter from the author on onion skin addressed "Robinson Jeffers," with a return address of American Legation, Helsinki, Finland, and dated January 10, 1952: "The attached volume of verse was recently printed here in Helsinki and is being distributed to friends and others who may find it of interest." Mr. Lazarus indicates that he would "be most pleased" to have Jeffers’ comments on the book.

Le Moyne, Louis Valcoulon. Country Residences in Europe and America. New York: G. P. Putnam’s Sons, 1921. Notes: Inside back cover: Full-page clipping of article and sketches of Braboeuf Manor, near Guildford, Surrey. The article says that the ancient (from AD 1200) house was to be sold. It boasted a visit from Queen Elizabeth, a Tudor bowling green, and a mention by Pepys.

Lee, Vernon. Hortus Vitae: Essays on the Gardening of Life. London: John Lane: The Bodley Head, 1904. Notes: Inside back cover: Very fragile post card printed in Milan with colored reproduction of Beatrice d’Este by da Vinci.

Levy, William Turner. William Barnes: The Man and the Poems. Dorchester: Longmans, 1960. Notes: Inside front cover: Printed card reading, "With the Compliments of the Author. 3103 Fairfield Avenue, New York 63." Page xi: In the Preface, the author acknowledges the Jefferses: "[Barnes] had honor, as it were, in his own country, and among fellow-citizens as unlike each other as Tennyson and Gerard Manley Hopkins; and he has honor, for it was from Robinson Jeffers and the late Una Jeffers--both good friends to me--that I first heard of the Dorset poet."

Lewis, D. B. Wyndham. Ronsard. New York: Coward-McCann, 1944. Notes: Inside back cover: In Una’s hand: "These people are a little jaded, 24; Sodom and Gomorrah and Lesbos, 221; A Mignon de Cour - Henri III. Anima vagula blandula, 301." Page 24: An "X" marks the following passage: "‘These people are a little jaded,’ observes Pater accurately of certain great French lords temporarily exhausted by splendid and complicated debauchery. So our modern pagans are a little jaded, but rather with lack of blood than excess of it, and the deplorable lack of scholarship with which they pursue their dismal pleasures is notorious. Few leading pathics of to-day can cite Anacreon or Catullus in support of their vagaries, few saphists Sappho. Their only apologist with any tincture of letters seems to be André Gide, that curious example of Attic perversity grafted on a Calvinist stem. Otherwise the upheaval and staggering world of 1943 bears not a few resemblances, in a bewildered, grubby way, to the age of Ronsard. It has seen the Second German Reformation deriving with humdrum fidelity from the first, from the apotheosis of the God-State down to the Great Justifiable Lie of which Luther was so proud. It sees the spiritual force which brought about the religious disruption of the sixteenth century itself disrupted, as logic requires, broken of its own volition into smaller and smaller conflicting fragments and no longer accorded respect by intellectuals or esteemed a world-power, while the spiritual force it was to have destroyed stands still vigorous, commanding the loyalties of every type of mind, armed point-device as ever for the age-long unending quarrel with Caesars of every calibre. And it sees to-day, as then, vanity and hubris and confusion swelling the pagan tide--but with a simple and significant difference, which the briefest consideration of the nature of Ronsard’s paganism will swiftly bring to light." Page 221: An "X" marks the following passage: "Among the Corps Diplomatique at Henri III’s court the presence of the Ambassadors of Sodom and Gomorrah and the Envoy-Plenipotentiary of Lesbos would not have seemed bizarre. The enigmatic King, at whose complex nature we have already glanced, and his effeminate, brawling mignons were a target for innumerable satires, lampoons, and protests from Catholics and Calvinists alike. The Paris mob hurled hearty abuse at these fops, the clergy denounced them from the pulpit. The monk Maurice Poncet, curé of St. Pierre-dec-Arcis, made such an issue of this during a course of Lentin sermons at Notre-Dame, causing his congregation to rock with laughter at his bitter humour, that he was summoned to the Louvre and violently reprimanded by Henri III in person. ‘You think fit, then, Sir,’ said the Duc d’Espernon sternly when the King had finished, ‘ to preach jesting sermons and make the people laugh?’ ‘Sir,’ replied the monk, ‘whatever pains I take to that end, I shall never make as many laugh as you make weep.’ And in 1583 Marguerite de Valois and two of her friends were dismissed from court, because, as Henri furiously alleged, they were responsible for the scandalous gossip circulating in Paris. Greatly as Ronsard loved the culture of ancient Greece he drew the line, like any other normal man, at its morals, which had now been introduced into the Court of France and were before long to make the court of the slobbering pedant James I of England a European byword." Page 301: An "X" marks the following passage: ". . . a flash of his old dancing rhythms and love-inspired diminutives returns to Ronsard, and he composes an odelette inspired by the emperor Hadrian’s famous dying address to his soul: Anima vagula blandula / Hospes comesque corporis, / Quae nunc abibi in loca / Pallidula rigida nudula, / Nex ut soles dabis iocos! Ronsard murmurs his version next morning for Galland or Binet to write down: ‘Amelette Ronsardelette, / Mignonnelette, doucelette, / Tres chere hostesse de mon corps, / Tu descend là-bas foiblelette, / Pasle, maigrelette, seulette, / Dans le froid Royaume des morts: / Toutefois simple, sans remors / De meutre, poison, ou rancune, / Meprisant faveurs et tresors / Tant envier par la commune. / Passant j’ay dit; suy ta fortune, / Ne trouble mon repos, je dors.’"

Lindsay, Lord. Lives of the Lindsays: A Memoir of the Houses of Crawford and Balcarres. Three Volumes. London: John Murray, 1849. Notes: No marks identify these volumes as belonging either to Una or her family, but it is likely that these are either family heirlooms or purchased by Una for their significance to her family’s history, and are noted for that reason.

Lockhart, J. G. Memoirs of the Life of Sir Walter Scott, Bart. Edinburgh: Adam and Charles Black, 1862. Volume 6 Notes: Page 320: Loose, clipped magazine photos showing "One of the Chain of Beacons Lighted in Memory of Sir Walter Scott: The Fire at Hume Castle" and "Edinburgh Castle Celebrates the Centenary of Scott’s Death: The Castle and the Scott Memorial Flood-Lit." Volume 7 Notes: Back flyleaf: Pasted-in, clipped paragraphs recounting the friendship between Maria Edgeworth and Sir Walter Scott, describing the "friendly intimacy" between them and ending with the observation that "The picture of little Miss Edgeworth stamping around with the whole Walter Scott family and bawling out Gaelic songs is not bad at all." Volume 10 Notes: Back flyleaf: Pasted-in, clipped etching captioned, "Abbotsford." Inside back cover: Loose, clipped article labeled in Una’s hand "London Observer, Sept. 18, 1932," titled, "Centenary of Sir Walter Scott: Edinburgh Celebrations."

Longfellow, Henry Wadsworth. The Song of Hiawatha. New York: The Mershon Company, n.d. Notes: First page: Inscribed in margin, "Una Call, Jan 6, 1899. From Leanis."

Lovell, Ingraham. Margarita’s Soul: The Romantic Recollections of a Man of Fifty. New York: John Lane Company, 1909. Notes: Flyleaf: Inscribed "Una Kuster, September ‘09."

Lowry, David E. Norsemen and Danes of Strangford Lough. Reprinted from the Proceedings, Session 1925-26 of Belfast Natural History and Philosophical Society. Notes: Title page: Inscribed "With D. E. Lowry’s compliments. Christmas 1931." Page 5: Card loose, with impression "Oakley, Strandtown, Belfast" and the handwritten note, "‘All things come to those who wait’--wishing you a very Happy Christmas. From D. E. Lowry."

Lucas, St. John, Ed. The Oxford Book of French Verse: xiiith Century--xixth Century. New York: Oxford University Press, n.d. Notes: Page 450: Loose photogravure card, with note on back in Una’s hand: "Renowned Ladies / French Ms. formerly owned / by Louise de Savoie / Mother of François I / (end of XV Cent.) / Bibliothèque Nationale. Page 318: Opposite "Sagesse" by Paul Verlaine, in Una’s hand: "The sky above the high roof-tree / So blue, so calm, / The pine above the high roof tree / waves like a palm. / The bell up in the sky you see / So pretty rings / The bird up in the tree you see / So sweetly sings. / O God! O God! a life is here / Of simple quiet / that gentle murmur all I hear / Of the town’s riot. / What hast thou done, then, lying here / In ceaseless tears? / What hast thou done, joy, thou lying here, / With thy young years? T. Y. P." Back flyleaf: In Una’s hand, "(by Jean Richpin) / ‘Comme il courait il tombe / Et lon, lon la--- / Comme il courait il tombe / Et ar terre le coeur roule. // Et pendant que le coeur roulait, / Et lon, lon laire, / Et lon, lon la, Et pendant que le coeur roulait, / Entendit le coeur qui parlait. // Et le coeur disait en pleurant / Et lon, lon laire / Et lon, lon la--- / et le coeur disait en pleurant, / Tés-tu fait mal, mon enfant.!’" Inside back cover: Notes in Una’s hand: "Les lauries sont confés; de Banville, p. 450." ( Refers to the poem, "Nous n’irons plus au bois," by Théodore de Banville.)

Luhan, Mabel Dodge. European Experiences. Volume 2, Intimate Memories. New York: Harcourt, Brace and Company, 1935. Notes: Flyleaf: Inscribed "Una Jeffers." Inside front cover: Bookstore plate pasted in: "Los Gallos, Taos, New Mexico." Page 117: Marked with an "X," the passage, "[Pen] lived in a beautiful old house that bridged the narrow, hilly street, and Ginevra stayed with him and kept house until a handsome young avocate came along and married her. Then Pen gave her a dowry and a house down in the valley and became godfather to her first baby. With light blue and yellow macaws standing on as many perches in the garden and a huge number of little brown dachshunds, soft and shiny as silk, Pen lived on in Asolo--a small, good-natured man, unpoetic, unimaginative, and perfectly inexpressive, with something of the little boy about him, and nothing of the terrible. Sometimes he would hear of the stories that his restless wife, rambling over Europe, was circulating about him. He always looked deprecating and a little more puzzled than usual when these stories came to his ears--but he refrained from denial, even with us whom he came to know so well. Copper pots and kettles in the red-tiled kitchen; blue and gold macaws in the garden; the servants Annita and Nina lisping and laughing all day long in the sunny house; and the love letters of his father and mother in a carved, oaken marriage chest in the guest-room--that was the house at Asolo." Page 152: Marked with an "X," this paragraph: "The way the light came in past the full golden red curtains, the way the logs burning behind the grill threw golden light on the dark oak floor, the glimpses of the Italian hills one caught from outside the loggia, framed between the pale stone columns . . . like the backgrounds in early Florentine paintings . . . firelight flickerings on silver and bronze, somnolent great masses of flowers from the garden, the green dying eastern sky from the high east windows, the crimson glow from the western sky over towards Pisa--and then, in a while, Domenico coming in with a waxen taper to light the oil wicks of the six tall Florentine lamps whose lighted flames brought the whole place into one crimson dusk, with little, flashing flames at regular intervals . . . there was a soothing magic in all this." Page 158: Marked with an "X," the following: "Then it’s rather delicious to lie in the center of that blue damask floor, against three or four big pillows, and smell the smell of one’s life: jasmine, coffee, cigarette smoke, powder (Houbigant). Lie flaccid for a while, letting it be. Not for long. Edwin’s step overhead; into the room, stepping facetiously. How Bostonian! ("She is very Renaissance!") Page 185: Marked with an "X," the following: "But above all I felt a fatigue from straining myself to fill an empty form that could be blown into a fullness for a while, but that would always collapse when one ceased to blow it up. There was always that to be done over again. Life did not stay created. However, there came, very faintly, to my tired mind, a little satisfaction at the presence of those figures who had animated the rooms for an hour; at the friendship of Lady Paget, the head of the English society in Florence (because of her marriage to Sir Augustus, greatly her inferior as a human being) and at those atoms named Princess de Rohan, the Count and Countess Pourtales, and all the others nearly forgotten now, who had by some chemistry been summoned to my side. ‘I have them,’ I thought, ‘if I want them.’ But I never really did because I could not really want them. We were too dissimilar." Page 197: Marked with an "X," Luhan is writing of her newly constructed villa: "I had not carried out this design consciously but from deep within, and Edwin had helped me. I think no one could have entered that place without feeling it was spread for life, a sumptuous and protecting preparation for romance. It had a noble luxury, deep, deep and subtle, made poignant and precious by its exclusion of banality. Ah, yes! A house for Love." Inside back cover: Una’s note, "Podesta banners from Siena."

Luhan, Mabel Dodge. Intimate Memories. Volume 3. New York: Harcourt, Brace and Company, 1936. Notes: Flyleaf: Inscribed "Una Jeffers." Inside front cover: Pasted-in logo from Los Gallos, Taos, New Mexico. First title page: Pasted-in, a clipped photograph of Mabel Dodge Luhan. Neither of the Jeffers is mentioned in this volume.

MacAlister, R. A. Cluaìn Maccu Noìs (Clonmacnois). Dublin: Catholic Truth Society of Ireland, n.d. Notes: Front cover: In Una’s hand, "Saturday, July 13,1929." Also on the cover is a photograph captioned "Round Tower, St. Finghin’s Church." Page 8: An "X" and underline in Una’s characteristic ink and manner under the word "Donnàn." This comes in the midst of a narration about the wanderings of Ciarán, an Irish saint of the first century A.D., who ultimately settled at Clonmacnois. In the anecdote narrated on pages 8 and 9, Ciarán had stopped at Inis Aingen (Hare Island): "Here he stayed three years and three months. Then there came a certain Donnán, ‘seeking a place wherein he might abide and serve God,’ and Ciarán, in the same spirit in which he had given up his gospel to his needy fellow-student, resigned to the new-comer his island retreat, and once more became a wanderer.’"

MacAlister, R. A. S. Ireland in Pre-Celtic Times. Dublin: Maunsel and Roberts, Ltd., 1921. Notes: Flyleaf: Inscribed "R. Radcliffe Whitehead."

Macaulay, T. Babington. Essays, Critical and Miscellaneous. Volume I, The Modern British Essayists. Philadelphia: Cary and Hart, 1856. Notes: Frontispiece: Two inscriptions: (1) in faint pencil, "Harrison O. Call, Taken from a Rebel Surgeon’s Library near [?]Petersburg, Va. April 12, 1865; and (2) in ink, "Robt. M. Anderson M.D. July 4th 1849." Inside front cover: Pasted in, a printed typeset line, "Harrison O. Call."

Macaulay, Thomas Babbington. The History of England from the Accession of James II. Volumes 1-5. New York: Richard Worthington, n.d. Notes: The only note in the five volumes is in Volume 5, on the first flyleaf, in Una’s hand, "Page 452." This page tells the sad story of young Conway "Beau" Seymour, who died from a wound incurred in a drunken duel. There appears to be a check mark following the passage, "On the last day of his life, [Seymour] saw Kirke. Kirke implored forgiveness; and the dying man declared that he forgave as he hoped to be forgiven."

Macaulay, Thomas Babington. Lays of Ancient Rome. Girard, Kansas: Haldeman-Julius Company, n.d. Ten Cent Pocket Series Number 281. Notes: Inside front cover: Pasted-in clipped picture captioned, "The Finding of Romulus and Remus from the title page of Plutarch’s Lives."

Mackenzie, Compton. Carnival. New York: D. Appleton and Company, 1912. Notes: Flyleaf: Inscribed "Una Jeffers." Back flyleaf: Pasted in, a published review (no source) dated in Una’s hand "Apr 1925," discusses Compton Mackenzie’s subsequent novel, Coral, published in 1925.

MacLeod, Fiona (William Sharp). Pharais and the Mountain Lovers. New York: Duffield and Company, 1910. Notes: Like several volumes by this author, this one carries the motto, "It is Loveliness I seek, not lovely things." Flyleaf: Shamrock pressed between flyleaf and first illustration page. Inside back cover: Pasted in, two clipped articles debating the pronunciation of the Gaelic name, popular at the time with Scots dramatists, "Morag."

MacLeod, Fiona (William Sharp). Poems and Dramas. New York: Duffield and Company, 1911. Notes: Flyleaf: Inscribed in his hand, in pencil, "Robinson Jeffers." Inside front cover: In Jeffers’ hand, "From her who is beauty / to him who is the [dime? dino?] of beauty." Back flyleaf: Pasted-in, a clipped poem by "Fiona MacLeod": "O years with tears, and tears through weary years, / How weary I, who in your arms have lain; / Now I am tired; the sound of slipping spears / Moves soft, and tears fall in a bloody rain. / And the chill footless years go over me, whom am slain. / I hear as in a wood dim with old light, the rain / Slow falling: old, old weary human tears, / And in the deepening dusk my comfort is my pain / Sole comfort left of all my hopes and fears, / Pain that alone survives, gaunt hound of the shadowy years."

MacLeod, Fiona (William Sharp). The Divine Adventure Iona: Studies in Spiritual History. New York: Duffield and Company, 1910. Notes: Inside front cover: In Una’s hand: "The Soul Leading / Be this soul on thine arm, O Christ / Thou King of the City of Heaven. / Amen. / Since thou, O Christ, it was who broughtst this soul / Be its peace on Thine own keeping. / Amen. / And may the strong Michael, high King of the Angels / Be preparing the path before this soul, O God. / Amen. / Oh the strong Michael in peace with thee, soul, / And preparing for thee the way to the Kingdom of the Son of God. / Amen. / This soul peace is intoned over the dying by some special friend called the "soul-friend." When the soul has departed they say--The poor soul is now set free / Outside the soul-shrine / O Kindly Christ of the free blessings / Encompass Thou my love in thine." Front flyleaf: Starting at top of the page, "Carmina Gadelica / Hymns and Incantations / Collected in the Highlands and the Hebrides by Alexander Carmichael. / Invocation - Gaelic / Bless, O Chief of generous chiefs, / Myself and everything near me, / Bless me in all my actions / Make thou me safe forever / Make thou me safe forever. / From every brownie and ban-shee / From every evil wish and sorrow / From every fairy-mouse and grass-mouse / From every fairy-mouse and grass-mouse. / From every troll among the hills / From every siren hard pressing me / From every ghoul within the glens / Oh! Save me till the end of my day / Oh! Save me till the end of my day. / God help me and encompass me / From now till the hour of my death." Back flyleaf: In Una’s hand, "Gaelic Invocation (Harris in Hebrides) / God with me lying down. God with me lying down / God with me rising up / God with me in each ray of light / Nor I a ray of joy without Him. / Nor one ray without Him. / Christ with me sleeping / Christ with me waking / Christ with me watching / Every day and night / Each day and night. / God with me protecting / The Lord with me directing / The Spirit with me strengthening / Forever and forevermore./ Ever and evermore. Amen / Chief of Chiefs, Amen." Inside back cover: In Una’s hand, "Hayshis Life of Saint Columbo - ‘The saint and his followers always thought the roar of the sea and mists sweeping across desolate moorland, incitements to devotion.’"

MacLeod, Fiona (William Sharp). The Silence of Amor / Where the Forest Murmurs. New York: Duffield and Company, 1911. Notes: Flyleaf: Inscribed "Una Kuster, 1911, Los Angeles."

Maeterlinck, Maurice. Aglavaine and Selysette: A Drama in Five Acts. London: George Allen and Sons, 1909. Notes: Flyleaf: Inscribed "Una Küster, December 1909." Inside back cover: Pasted-in, an unidentified clipped picture (from a painting) of a stone tower atop a hill, with a couple sitting below, regarding it in a dreamy way.

Maeterlinck, Maurice. The Plays of Maurice Maeterlinck, Second Series: Alladien and Palomides, Pélléas and Mélisande, Home, The Death of Tintagiles. Richard Hovey, Tr. New York: Duffield and Company, 1906. Notes: Flyleaf: Inscribed "Una Küster, May 1908."

Maeterlinck, Maurice. The Plays of Maurice Maeterlinck: Princess Maleine, The Intruder, The Blind, The Seven Princesses. Richard Hovey, Tr. New York: Duffield and Company, 1906. Notes: Flyleaf: Inscribed "Una Küster, June 1908."

Mahaffy, Rev. J. P. A History of Classical Greek Literature. Volume 1. London: Macmillan and Company, 1891. Notes: Inside back cover: Loose, a Christmas card from Connie and Martin Flavin, with pressed flower identified as "Flowers of Mycenae."

Malan, A. H., Ed. Famous Homes of Great Britain and Their Stories. New York: G. P. Putnam’s Sons, 1899. Notes: No inscription, but all notes appear to be in Una’s hand. Inside front cover: Clippings, pasted in: East Barsham Manor, Norfolk; Montacute House, Somerset, Blackmore Vale; four additional views not identified. Flyleaves: "70 miles from London, XIV century, old tithe barn"; Summingdale, Elizabethan house; "Tudor manor house, Cotswold, Gloucestershire, XVI and XII"; "XII century manor, Sussex"; Forforthshire; "Suffolk XV century"; other views not labeled or label unreadable. Dartmouth Castle; Dunrobin Castle, Southerland. Chequers; Terrace, Haddon Hall. Page 368: Inverlochy; Pevensy Castle. Back flyleaves: Tudor mansion, Lanchestershire; mansion at Yorkshire; Leweston Manor, Dorset; "Rockingham Castle, Northamptonshire (mentioned in Domesday Book, once a hunting lodge of the early kings)"; three additional views of castles/mamors not labeled. Addington Park, Tudor mansion, Kent; historic priory, Berkshire; Tudor mansion, "A D. 1578 E. R. over portal, yew hedges and rosary famous"; Essex, near Audley End, Elizabethan mansion; Stoke Court, Stoke Pogis, Buckinghamshire; "Surrey, XVII century"; Blackladies, no location given; one unidentified view. Three additional unidentified views. Inside back cover: Two photos of Mme. Emma Calvé and her music students at her 12th century chateau at Cabrières, near Nîmes.

Malet, Lucas. The History of Sir Richard Calmady: A Romance. New York: A. L. Burt Company, 1901. Notes: Flyleaf: Inscribed "Una Kuster, Sept ‘07."

Manly, John Matthews, Ed. English Poetry (1170-1892). Boston: The Athenium Press, Ginn and Company, n.d. Notes: Frontispiece: Inscribed "Una Küster June 1908." Frontispiece: In Una’s hand, begun on frontispiece and continued inside front cover: "(from Wm Morris Earthly Paradise) [1] Across the gap made by our English hinds / Amidst the Roman’s handiwork, behold / Far off the long-roofed church; the shepherd binds The withy round the hurdles of his fold / down in the foss the river fed of old / That through long lapse of time has grown to be / The little grassy valley that you see / Rest here awhile, not yet the eve is still, / The bees are wandering yet and you may hear / barley mowers on the trenched hill, / The sheep-bells and the restless changing weir / All little sounds made musical and clear / Beneath the sky that burning August gives, / While yet the thought of glorious summer lives.’" [2] "Death have we hated, knowing not what it meant / Life have we loved, through greenleaf and through sere / Though still the less we knew of its intent: / The Earth and Heaven through countless year on year / Slow-changing were to us but curtains fair / Hung round about a little room, where play / Weeping and laughter of man’s empty day." Inside front cover: Clippings, (many not identified) pasted in, with the notation in Una’s hand, "These from W. S. [Walter Savage] Landor. See also page 368." Pages 368-69 comprise the section of the book dedicated to Landor’s work, specifically an excerpt from Acon and Rhodope; or, Inconstancy, "Rose Aylmer, and "A Fiesolan Idyl." / Una copies the following verses in hand: [1] "Ternissa, you are fled! / I say not to the dead, / But to the happy ones who rest below: / For surely, surely, where / our voice and graces are, / Nothing of death can any feel or know. / Girls who delight to dwell / Where grows most asphodel, / Gather to their calm breasts each word you speak: / The mild Persephone / Places you on her knee, / And your cool palm smoothes down stern Pluto’s cheek." [2] "We are on earth to learn what can be learn upon earth, and not to speculate on what can never be . . . Let men learn what benefits men; above all things to contract their wishes, to calm their passions, and, more especially, to dispel their fears. Now these are to be dispelled, not by collecting clouds, but by piercing and scattering them . . . Much of what we call sublime is only the residue of infancy, and the worst of it." [3] "The ending of ‘Coythos I’: ‘"What open brows / The brave and beauteous ever have!" said she, / "But even the hardiest, when above their heads / Death is impending, shudder at the sight / Of barrows on the sands and bones exposed / And whitening in the wind, an cypresses / From Ida waiting for disserver’d friends.’" [4] "Swinburne thought ‘the very brightest of all the jewels in Landon’s crown of song’ the lines:--’Stand close around, ye Stygian set, / With Dirce in one boat conveyed! / Or Charon, seeing, may forget / That he is old, and she a shade.’ / Take the famous piece from ‘Æsop and Rhodope’:-- ‘Laodamacia died; Helen died; Leda, the beloved of Jupiter, went before. It is better to repose in the earth betimes than to sit up late; better, than to cling pertinaciously to what we feel crumbling under us, and to protract an inevitable fall. We may enjoy the present while we are insensible of infirmity and decay; but the present, like a note in music, is nothing but as it appertains to what is past and what is to come. There are no fields of amaranth on this side of the grave; there are no voices, O Rhodopè, that are not soon mute, however tuneful; there is no name, with whatever emphasis of passionate love repeated, of which the echo is not faint at last.’" [5] "But I have sinuous shells of pearly hue . . . . / Shake one, and it awakens, then apply / Its polished lips to your attentive ear, / And it remembers its august abodes / And murmurs as the ocean murmurs there." [6] ". . . a speech of Sidney’s to Brooke:--’Greville! Greville! It is better to suffer than to lose the power of suffering. The perception of beauty, grace, and virtue is not granted to all alike. There are more who are contented with an ignoble union on the flat beaten earth before us, than there are who, equally disregarding both unfavourable and favourable clamours, make for themselves room to stand on an elevated and sharp-pointed summit, and thence to watch the motions and scintillations, and occasional overcloudings of some bright distant star.’" Second flyleaf: Clipping containing the poem "Willy Drowned in Yarrow," which reads: "Down in yon garden sweet and gay / Where bonnie grows the lily, / I heard a fair maid sighing say / ‘My wish be wi’ sweet Willie! / Willie’s rare, and Willie’s fair, / And Willie’s wondrous bonny; / And Willie hecht to marry me / Gin e’er he married ony. / O gentle wind, that bloweth south, / From where my Love repaireth, / Convey a kiss frae his dear mouth / And tell me how he fareth! / O, tell sweet Willie to come doun / And hear the mavis singing, / And see the birds on ilka bush / And leaves around them hinging. / The lav’rock there, wi’ her white breast / And gentle throat sae narrow; / There’s sport enough for gentlemen / On Leader haughs and Yarrow. / O, Leader haughs are wide and braid, / And Yarrow haughs are bonny; / There Willie hecht to marry me / If e’re he married ony. / But Willie’s gone, whom I thought on / And does not hear me weeping; / Draws many a tear frae true love’s e’e / When other maids are sleeping. / Yestreen I made my bed fu’ braid, / The night I’ll mak’ it narrow, / For a’ the livelang winter night / I lie twined o’ my marrow. / O, came ye by yon water-side? / Pou’d you the rose or lily? / Or came you by on meadow green, / Or saw you my sweet Willie? / She sought him up, she sought him down, / She sought him braid and narrow; / Syne, in the cleaving of a craig, / She found him drowned in Yarrow! / --Anonymous." Page ii: Pasted in, the following poem: / "‘Retirement’ / Beneath this stony roof reclined, / I soothe to peace my pensive mind; / And while, to shade my lowly cave, / Embowering elms their umbrage wave, / And while the maple dish is mine,-- / The beechen cup, unstained with wine,-- / I scorn the gay licentious crowd, / Nor heed the toys that deck the proud. / Within my limits, lone and still, / The blackbird pipes in artless trill; / Fast by my couch, congenial guest, / The wren has wove her mossy nest; / From busy scenes and brighter skies, / To lurk with innocence, she flies, / Here hopes in safe repose to dwell, / Nor aught suspects the sylvan cell. / At morn I take my customed round, / To mark how buds yon shrubby mound, / And every opening primrose count, / That trimly paints my blooming mount; / Or o’er the sculptures, quaint and rude, / That grace my gloomy solitude, / I teach in winding wreaths to stray / Fantastic ivy’s gadding spray. / At eve, within yon studious nook, / I ope my bras-embossèd book, / Portrayed with many a holy deed / Of martyrs, crowned with heavenly meed. / Then, as my taper waxes dim, / Chant, ere I sleep, my measured hymn, / And, at the close, the gleams behold / Of parting wings, be-dropt with gold. / While such pure joys my bliss create, / Who but would smile at guilty state? / Who but would wish his holy lot / In calm oblivion’s humble grot? / Who but would cast his pomp away, / To take my staff, and amice gray; / And to the world’s tumultuous stage / Prefer the blameless hermitage?’ [by] Thomas Warton." Page 565: Evidently clipped from a newspaper and pasted in, the following: ". . . of all Blake’s poems, what more haunting than the one from which this lovely phrase is taken?:-- / Till the little ones, weary, / No more can be merry; / The sun does descend, / And our sports have an end. / Round the laps of their mothers / Many sisters and brothers, / Like birds in their nest, / Are ready for rest, / And sport no more seen / On the darkening Green." Page 566: In hand, the following: [1] "Mirage - Christina Rossetti (see page 543) [location of section in book devoted to Rosetti’s poetry]: ‘The hope I dreamed of was a dream / Was but a dream; and now I wake / Exceeding comfortless, and worn and old / For a dream’s sake. / I hang my harp upon a willow tree / A weeping willow in a lake; / I hang my silent harp there wrung & snapped / For a dream’s sake. / Lie still, lie still my breaking heart / My silent heart lie still & break / Life and the world and mine own self / are changed / For a dream’s sake." [2] "Twice." / "I took my heart in my hand / (O my love, O my love), / I said: Let me fall or stand, / Let me live or die, / But this once hear me speak / (O my love, O my love)-- / Yet a woman’s words are weak; / You should speak, not I. / You took my heart in your hand / With a friendly smile, / With a critical eye you scann’d, / Then set it down, / And said, "It is still unripe, / Better wait awhile; / Wait while the skylarks pipe, / Till the corn grows brown. / As you set it down it broke-- / Broke, but I did not wince; / I smiled at the speech you spoke, / At your judgment I heard: / But I have not often smiled / Since then, nor question’d since, / Nor cared for cornflowers will, / Nor sung with the singing bird. / I take my heart in my hand, / O my God, O my God, / My broken heart in my hand: / Thou hast seen, judge Thou. / My hope was written on sand, / O my God, O my God: / Now let thy judgment stand-- / Yea, judge me now. / This contemn’d of a man, / This marr’d one heedless day, / This heart take thou to scan / Both within and without: / Refine with fire its gold, / Purge Thou its dross away-- / Yea, hold it in Thy hold, / Whence none can pluck it out. / I take my heart in my hand-- / I shall not die, but live— / Before Thy face I stand; / I, for Thou callest such: / All that I have I bring, / All that I am I give, / Smile Thou and I shall sing, / But shall not question much.’ --Christina Georgina Rossetti." Page 580: In Una’s hand, "All these [lines on pages 580-81 and inside back cover] from the Life & Death of Jason by Wm Morris": (Paris arming song - to Helen) / ‘Love, within the hawthorn brake / Pray you be merry for my sake, / While I last, for who knoweth / How near I may be my death? / Sweet, be long in growing old! / Life and love in age grow cold; / Hold fast to life, for who knoweth / What thing cometh after death? / Trouble must be kept afar, / Therefore go I to the war; / Less trouble is there among spears / Than with hard words about your ears. / Love me then, my sweet and fair, / And curse the folk that drive me there / Kiss me sweet for who knoweth / What thing cometh after death?’" / Overleaf: "(Helen singing near the wooden horse in the rainy windless night) / ‘O my merchants, whence come ye / Landing laden from the sea? / --Behold we come from Sicily: / Corn and wine and oil have we, / Blue cloths and cloths of red. / --Merry merchants, when you are dead / We shall gain that you have Corn! / Out-merchants from the sea, / Your graves area not in Sicily / The corn for me, the wine for thee, / The blue and red for our ladies free. / (Helen looks out the window sleepless and thrusts out her bare arm into the cool wet blackness) / Three hours before midnight I should think, / And I hear nothing but the quiet rain / The Greeks are gone, think now the Greeks are gone / Henceforward a new life of quiet days / In this old town of Troy now for me, / And I shall note it as it goeth past / Eld creeping on me. Shall I live sometimes / In these old days whereof this is the last? / Yet shall I live sometimes with sweet Paris / In that old happiness twixt mirth and tears? / The fitting on of arms and going forth, / The dreadful quiet setting while they fought, / The kissing when he came back to my arms, / And all that I remember like a tale! / Yea, in the merry days of old / The sailors all grew overbold / Whereof should days remembered be / That brought bitter ill to me? / Days agone I wore but gold / Like a light lawn across the wold / Seen by the stars, I shone out bright; / Many a slave was mine if right. / Oh, but in the days of old / The sea-kings were waxen bold; / The yellow sands ran red with blood / The towns burned up both brick and wood; / In their long ship they carried me / And set me down by a strange sea / None of the gods remembered me. / Ah, in the merry days of old / My garments were all made of gold! / Now have I but one poor gown, / Woven of black wool and brown. / I draw water from the well; / I bind wood that the men fell; / whose willeth smitheth me / An old woman by the sea." / "Within the cedar presses, the gold fades / Upon the garment they wont to wear; / Red poppies grow now where their apple trees / Began to redden in late summer days. / What grows upon their water meadows now, / And wains pass over where the water ran." / "Lo, when we wade the tangled wood, / In haste and hurry to be there, / Nought seem its leaves and blossoms good / For all that they be fashioned fair. / But looking up at last we see / The glimmer of the open light, / From o’er the place where we would be; / Then grow the very brambles bright. / So now, amidst our day of strife, / With many a matter glad we play, / when once we see the light of life / Gleam through the tangle of today.’--William Morris."

Marshall, Mrs. Julian. The Life and Letters of Mary Wollstonecraft Shelley. London: Richard Bentley and Son, 1889. Volume I Notes: Back of title page: Inscribed "Robin Jeffers to Una Jeffers, with love to the fifth year’s and, and the five hundredth’s." Below, signed "U.J.," is the following note: "I happened on an old copy of this "Life and Letters" in the Public Library in Los Angeles in June 1914--the first one I read when I strayed into my Shelley studies. It had been out of print for many years and I could not obtain a copy of my own in the usual way. Mr. Parker has been advertizing for over two years for a new or second hand copy and just recently located this in an old book shop in London. Now it has come safe to my hands through all the perils of submarine-infested waters and all the other mischances to travellers in this warring time. It is very dear to me for several reasons. U. J. August 2, 1918, Carmel-by-the-Sea, Monterey Co. California---." Page viii: Pasted in, a clipped copy of an etching of what appears to be a portrait of Mary Wollstonecraft, Mary Shelley’s mother. No identification. Page 370: Pasted in, a clipped cartoon of William Godwin. Page 372: Pasted in, a clipped news article about an exhibition at the Grolier Club commemorating the one hundredth anniversary of the death of Shelley. Volume II Notes: Half-title page: Pasted in, a clipped reproduction of a pencil sketch of Shelley drawn by his widow, Mary Wollstonecraft Shelley in 1829, seven years after his death. It served as the model for the Wedgwood engraving of Shelley, in which Mrs. Shelley was "much disappointed." Reverse side of Frontispiece: In Una’s hand, "see page 54 / From a letter of Mary Shelley to Mrs. Gisborne / Alben near Genoa. Nov. 22, 1822. . . . The Hunts are getting on well. Marianne is not better but she is not worse. We often see Trelawney of any evening. Hunt likes him very much; and for me I feel so deep a gratitude to him that my heart is full but to name him. He supported us in our miseries -- my poor Jane and me. But for him menials would have performed the most sacred of offices: and when I shake his hand, I feel to the depth of my soul that these hands collected those ashes. Yes for I saw them burned and scorched from the office. No fatigue, -- no sun or nervous horrors deterred him as one or the other of these causes deterred the others. He stood on the burning sand for many hours beside the pyre: if he had been permitted by the soldiers, he would have placed him there in his arms. I never, never can forget this and now he talks of little else save my Shelley and Edward. Page 54: Una has written in the margin a note for the space following a November 11, 1822, journal entry in which Mary Shelley reflects upon her life ("I no longer enjoy, but I love. Death cannot deprive me of that living spark which feeds on all given it, and which is now triumphant in sorrow. I love, and shall enjoy happiness again. I do not doubt that; but when?"), the following: "See back of portrait of Trelawny (frontispiece) for fragment of letter to Mrs. Gisborne date Nov. 22, 1822 from Albena near Genoa." Following this note is a letter from Mary Shelley to Clare Clairmont dated December 20, 1822 in which she writes of her despair over the lack of resolution of her affairs in England and the "bitterly cold" weather of Genoa. After describing how she spends her days ("I am obliged to pass the greater part of my time in Hunt’s sitting-room, which is, as you may guess, the annihilation of study, and even of pleasure, to a great degree."), Shelley describes her "sorrow and memory and imagination, despair, and hope in despair . . . .I am alone, and myself. . . . I have nothing else except my nothingless self to talk about." Page 80: Loose, a clipped review of The Letters of Mary W. Shelley (Frederick L. Jones, Ed.) by Emery Neff (n.d., n.p.). Pages 100-01: Written in the top margins, in Una’s hand: "Nov. 26, 1823. Took tea and supped at Godwins. The Lambs were there and some young men. We played whist etc. Mrs. Shelley there. She is unaltered, yet I did not know her at first. She looks elegant and sickly and young. One would not suppose she was the author of ‘Frankenstein.’ From Henry Crabb Robinson’s Diary." The text on page 101 is a letter from Mary Shelley to Mrs. Hunt dated November 27, 1823, in which she describes her life in London, mentioning the Lambs and Mrs. Godwin. Page 118: Clipped article by Florence Boystone Pelo from The North American Review, pp. 727-740 (n.d.), titled "Some Unpublished Letters of Mary Shelley," in which she reveals and discusses twenty-three previously unpublished letters written by Shelley to Mr. and Mrs. Leigh Hunt. The article notes, in its concluding paragraph, that "we know of the deep-rooted affection that Shelley and his wife had for Hunt," and acknowledges Mrs. Hunt only to say that she was "always frail and ailing." Page 326: In Una’s hand, "There are many private theatres in London - among the most interesting is that of Sir Percy Shelley son of the poet, who has one on the town house at Chelsea and another in his country place at Bournemouth. This theatre is the passion of his life. -- We spent a week at his country place, a manor facing the sea containing a room entirely devoted to relics of Shelley. Sir Percy writes plays, paints the scenery, composes the incidental music and produces them at great pains and expense in his private theatre. He is a lovely old man and Lady Shelley is the loveliest, sweetest woman in the world who renders the Shelley traditions most charmingly.’ (From notes by Mrs. Edmund Russell later Mrs. Richard Hovey)." In Una’s hand overleaf from "Postscript": "‘The remains of Shelley were deposited near those of his friend Keats in the cemetery at the base of the pyramidal tomb of Caius Cestius in Rome. In his preface to his lament for Keats, Shelley says "He was buried in the romantic and holy cemetery of the Protestants, under the pyramid which is the tomb of Cestius, and the massy walls and towers now mouldering and desolate, which formed the circuit of ancient Rome. It is an open space among the ruins, covered in the winter with violets and daisies. It might make one in love with death to think that one should be buried in so sweet a place!" The inscription on the tomb of Keats who died in Rome in 1821 briefly tells the sad story of the short career of the young English poet, the friend of Shelley: This grave contains all that was mortal of a young English poet, who on his death bed in the bitterness of his heart at the malicious power of his enemies, desired these words to be engraved on his tomb: "Here lies one whose name was written in water." I have been here today to see the graves of Keats and Shelley. With a cloudless sky, and the most delicious air ever breathed we sat down upon the marble slab laid over the ashes of poor Shelley to read his own lament over Keats who sleeps just below at the foot of the hill. The cemetery is rudely formed into three terraces with walks between: and Shelley’s grave occupies a small nook above made by the projections of a mouldering wall-tower and crowned with ivy and shrubs and a peculiarly fragrant yellow flower which perfumes the air around for several feet. The avenue by which you ascend from the gate is lined with high bushes of the marsh rose in the most luxuriant bloom and all over the cemetery the grass is thickly mingled with flower of every dye.’ Willis’s[?] ‘Pencilings by the Way.’ (1835)." "Errata" page: In Una’s hand: "Insert p. 248. Letter from Mary Shelley to Mrs. Frances Hare then at Baths of Lucca. ‘ . . . . . You do indeed understand a Paradisiaical life. Well do I remember the Lucca baths where we spent morning and evening in riding about the country -- the most prolific place in the world for all manner of reptiles. Choose Naples for your winter residence. Naples with its climate, its scenery, its opera, its galleries ------ surpasses every other place in the world. Go thither and live on the Chiaja. Happy one, how I envy you. Percy is in brilliant health and promises better and better. Have you plenty of storms at dear beautiful Lucca? Almost every day when I was there vast clouds peeped out from above the hills -- rising higher and higher until they overshadowed us and spent themselves in rain and tempest, the thunder reechoed again and again by the hills is indescribably terrific. --- Love me and return to us - Ah! return to us! for it is all very stupid and unamiable without you. For are not you "That cordial drop Heaven in our cup hath thrown / To make the nauseous draught of life go down."’" Advertisment page: Pasted-in, clipped reproduction of an 1820 portrait of Washington Irving, to whom Mary Shelley was introduced in 1824 by John Howard Payne The brief article accompanying the portrait suggests that Shelley was romantically interested in Irving, but that he did not reciprocate her feelings.

Mary, Countess of Lovelace. Ralph, Earl of Lovelace: A Memoir. London: Christophers, 1920. Notes: Flyleaf: Inscribed "Una Jeffers. October 1929. London." Page 128: Loose, a typed letter, no date, no signature, which begins "Dear Mother, The answers to your questions:" Then follows a detailed description of the lineage of individuals who figure in the life of the Byron/Lovelace family drama: Anne Blunt (Baroness Wentworth), Judith Blunt-Lytton (Baroness Wentworth after her mother, Anne), Neville Lytton, and William, Earl of Lovelace and his issue. Also explained is the term "dormant and in abeyance," this having to do with the inheritance of a title when there is no male heir."

Masefield, John. The Collected Poems of John Masefield. London: William Heinemann Ltd., 1927. Notes: Flyleaf: Inscribed "To Robin, with every good wish, from Albert 1928."

Mason, Redfern. Rebel Ireland. San Francisco: Redfern Mason, 1923. Notes: Flyleaf: Inscribed "To Mrs. Robinson Jeffers with kind regards from Redfern Mason, 1927."

Mason, Thomas H. The Islands of Ireland: Their Scenery, People, Life and Antiquities. London: B. T. Batsford, 1936. Notes: Half-title page: Inscribed "Dr. Albert M. Bender. With the kindest greetings and thanks for much kindness. O. and M. Mahr. Christmas 1936, Dublin." Below, "Dearest Una: I think you are entitled to this charming book. -- I am sure Dr. Mahr would approve the change of ownership. I’ll take a chance. Best to you and Robin, Albert. Feb. 1937." Inside back cover: Loose, several items: Picture card of St. Patrick; Advertising brochure for Pomona Tile; Two articles clipped from the same publication--"St. Finbar’s Cathedral, Cork," by A. D. O’Brien and an article on the most remarkable features of Irish monasteries written by R. Wyse Jackson; Announcement of and order form for Across Hebridean Seas by Iain F. Anderson.

Masters, Edgar Lee. Mitch Miller. New York: The Macmillan Company, 1921. Notes: Flyleaf: Inscribed "To Garth and Donnan Jeffers with hopes that they will find fun in this book. Edgar Lee Masters, July 6, 1926."

Mathers, S. L. MacGregor. The Tarot: Its Occult Signification, Use in Fortune-Telling, and Method of Play, Etc. Second Edition. London: Kegan Paul, Trench, Trübner and Company, Ltd., 1909. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House."

Mathews, F. Schuyler. Field Book of American Wild Flowers: Being a Short Description of Their Character and Habits, a Concise Definition of Their Colors, and Incidental References to the Insects Which Assist in Their Fertilization. New York: G. P. Putnam’s Sons, 1907. Notes: Flyleaf: In Una’s hand, "Great-Aunt-Mary McCord’s book." Inside front cover: Pasted in, several clipped representations of figures harvesting mandrakes, with caption: "Gathering a Mandrake. According to the Legend, the Mandrake Shrieked When Pulled From the Earth, and Anyone Hearing it Went Mad. The Hunter Tied a Dog to the Mandrake Root, Plugged His Ears, and Blew a Horn to Drown Out the Shrieking. Then the Dog Went Mad. Also, a Quaint Conception of a Pair of Mandrakes. All From an Old Wood Cut. The Mandrake Was Used Largely as an Ingredient for Sleep-Producing Potions. Ecru Page 518, ff.: Ribbon bookmark loose here: text discusses Wormwood or Absinth; Arnica; Golden Ragwort; and Fireweed. Sketches on facing page represent Golden Ragwort and Senecio Aureus. Back of advertisement page: In Una’s hand, "‘Herbs and the Earth’ by Harry Beston, Doubleday $2." Facing, in Una’s hand: "‘Costmary that so likes the cup / and with it penny royal.’ Used to be tied up with lavender. They would ‘lye upon the toppes of beds, presses, etc. for sweet scents and savours.’ Grown in the shade, costmary goes strongly to leaf and will not flower (white flower)." Inside back cover: In Una’s hand, "Perennial Herbs: Sweet Mary of my grandmother’s garden / Alecost (costmary) - pyrethrum tanacetum (Balsamita Vulgaris) / very old fashioned, used as ingredient of beer and negus and as a stewing herb / also called mint geranium, Sage O’Bedlam, Goose Tongue, Bible Leaf. / Chrysanthemum Balsamita." Two lists of herbs follow: (1) Balm; Bergamot; Fennel; Hyssop; Marjoram; Mints; Pennyroyal; Rue; Rosemary; Saffron; Sage; Sautolina, French Lavender, Lavender Cotton -- for strewing; Southernwood -- Artemisia Abrotanum, used in cordial (Old Man) or Garde-Robe; Tansy; Thyme; Sweet Cicely; Vervain; Wormwood; (2) Basil; Coriander; Caraway; Anise; Lemon Verbena; Catnip; Calamus; Angelica; Lovage; Dittany; Apple Mint; Monks Herb; Woundwart." At the bottom of the lists, Una writes, "Herbs have charm and the power to move the mind."

Maurois, André. Ariel: The Life of Shelley. Ella D’Arcy, Tr. New York: D. Appleton and Company, 1924. Notes: Flyleaf: Inscribed "Una Jeffers." Page 158: Pasted-in clipped reprint of an illustration (part of a series) for Ariel, captioned "Shelley, Mary and Claire crossing France on foot, accompanied by a small donkey." The series of illustrations was on exhibition at the Redfern Gallery in London. Page 184: Loose, two unsigned picture postcards from Rome, showing photographs of the tombs of Shelley and Keats. On the card with Keats’s tomb the sender writes, "Rome, Jan. 1926. Thought of you today beside the graves of Keats and Shelley. They are not far apart but Keats’ grave overhung with lovely green bay trees and pines is apart from all other graves down in a corner with everything you’d want near it--even the sunlight today shone on it alone. This bas relief is not the tomb--it is on the wall beside. On the card showing Shelley’s tomb, the sender writes, "Shelley’s tomb is on the ground with Leigh Hunt’s close beside, as Severn is next to Keats(a single railing surrounds them). Shelley’s is by the ancient Auralian Wall which you see in the rear. Violets and roses area plentiful and I send you a leaf from each grave. You, not I, should be here."

Mayne, E. C. (Ethel Colburn). Byron. New York: Scribner’s, 1914. Two volumes. Volume I Notes: Flyleaf: Inscribed "Una Jeffers." Half-title page: Clipping of short newspaper article pasted in: "English to Honor Byron: Italy and Greece to Join in 100th Anniversary Celebrations." Page 150: Clipped picture of Byron in Albanian dress. Inside back cover: Two clippings, pasted in, the first captioned, "Viscountess Melbourne and Her Eldest Son, Peniston Lamb," and the second captioned, "Cause of the ‘Scandalum Magatum’: Lady Caroline Lamb." Inside back cover: Loose, a review (clipped from the Sunday Observer, February ____) of The Young Melbourne by David Cecil; review of Lady Caroline Lamb by Elizabeth Jenkins. Volume II: Table of Contents (overleaf): Clipped picture of sketch of Byron drawn in Venice by George Henry Harlow. Flyleaf: Handwritten by Una: "From Mrs. Stirlings Life of Wm de Morgan & his wife) Lady Noel Byron widow of the poet, a woman whose personality aroused among those who knew her intimately something akin to worship, while she remains for others a tragic figure in the glare of the publicity to which her husbands stormy genius exposed her. --She attended lessons in phrenology for which there was then a craze (given by Mr. Holmes) with Sophia Morgan. In 1842 she lent her house Fordhook (once the home of Henry Fielding) on the Uxbridge Road near Acton to the de Morgans. Says Wm de Morgan ‘I remember her vividly a half century after, an almost ethereally delicate, painfully serious, disconcertingly precise lady. The word stoical suggests itself to my mind with Lady Noel Byron not implying severity or grimness but the tragedy of her life had left its mark on her.’ She usually brought with her grandson Ralph 2nd Lord Lovelace a child just 4 mo. older than Wm de Morgan and afterwards his life-long friend." Inside back cover, in (Una’s?) hand: "Crabb Robinson’s Diary Sept. 13, 1853. Brighton. ‘Called on Lady Byron - - from all I have heard of her I consider her one of the best women of the day. "She lives to do good," says Dr. King and I believe this to be true.’ ---- Dr. King to C. R. Brighton Feb 2, 1854. Lady B is now quite recovered. She is always feeble and obliged to husband her strength and calculate her powers but her mind is ever intact, pure and lofty. It seems to pour forth its streams of benevolence and judgment even from the sickbed, a perennial fountain. Yet her power of bearing fatigue occasionally, a during the illness and death of her daughter is as wonderful . . . . Lady Byron to Crabb Robinson, Brighton March 5, 1855 " . . . . . . .not merely from casual impression but from the whole tenor of Lord Byron’s feelings, I could not but conclude . . . . he was of the gloomiest Calvinistic tenets. To that unhappy view of the relation of the Creature to his Creator I have always ascribed the misery of his life. Could he have been once assured of pardon his living faith in a moral duty and love of virtue (‘I love the virtues I cannot claim’) would have conquered every temptation. My own impressions -- just the reverse . . . it was in vain to try to turn his thoughts for long from that idée fixe with which he connected his physical peculiarity as a stamp. He felt convinced that every blessing would be ‘turned to a curse’ to him. I like all connected with him was broken against the rock of Predestination. I may be pardoned for referring to his frequent expression that I was only sent to show him the happiness he was forbidden to enjoy. You will now better understand why ‘The Deformed Transformed’ is too powerful to me for discussion . . . I will not mix up less serious matters with these, which forty years have not made less than present still to me." Page 98: Pasted-in, clipped picture of drawing of the Mocenigo Palaces in Venice, the center of which was occupied by Byron. Page 178: Pasted-in clipping of photo of house in Ravenna where Byron lived in 1819. Page 237: Pasted-in clipping of silhouette of Lord Byron inn 1823 (by Mrs. Leigh Hunt). Page 266: Pasted-in clipped picture of the Acropolis in Athens at the time of the Turkish occupation (from the drawing by J. M. W. Turner). Page 316: Clipped picture of drawing captioned "Sunium From the Sea." Page 334: Pasted-in note, handwritten by Una: "St. Loe Strachey says the aunt of his great-aunt Miss Sykes married Admiral Byron, the seaman uncle of the poet. ‘It happened that Miss Sykes was on a visit to the Byrons when the poets body, consigned to the Admiral arrived in London. The Admiral who lived near Windsor posted up to receive the barrel of spirits in which the remains were preserved. When he returned from his gruesome visit, he was asked what the remains of the most-talked-of-man in Europe looked like. ‘He looked like an alligator,’ said the Admiral, who did not mince his words." Page 344: Pasted-in letter to the editor of The Spectator headlined "A Link with Byron," recounting an episode in which Byron posed with his hands displayed on a red silk handkerchief so that they could be admired by his Greek neighbors at Missolonghi.

Mayne, Ethel Colburn. The Life and Letters of Anne Isabella, Lady Noel Byron: From Unpublished Papers on the Possession of the Late Ralph, Earl of Lovelace. London: Constable and Company, 1929. Notes: Flyleaf: Inscribed "Una Jeffers London November 1929 from Ellen O’S." Inside back cover: Loose, clipped magazine article "Lady Byron Vindicated: A Century-Old Controversy," by Harriet Beecher Stowe (magazine name and date not available).

McMaster, John Bach. A Brief History of the United States. Sacramento: California State Series, 1909. Notes: Flyleaf: Inscribed in a child’s script, "Lenora Packard." Page numbers are assigned to several "Topics" and "Projects" in Una’s hand on the flyleaf. The book is filled with children’s notes, sketches, and doodles.

Meredith, George. The Tragic Comedians: A Study in a Well-Known Story. New York: Charles Scribner’s Sons, 1906. Notes: Flyleaf: Ornately inscribed, "Una Küster, San Francisco, January 26, 1909."

Milbanke, Ralph (Earl of Lovelace). Astarte: A Fragment of Truth Concerning George Gordon Byron, Sixth Lord Byron. "New"Edition, with Many Additional Letters Edited by Mary Countess of Lovelace. New York: Charles Scribner’s Sons, 1921. Notes: Flyleaf: Inscribed "Una Jeffers 1921." Inside front cover: Pasted in, two clippings from the London Observer, November 2, 1834: (1) an item about Medora Byron, "a natural daughter of the noble poet"; and (2) a collection of three "A Hundred Years Ago" items about various family members of Coleridge, Burns and Byron from the July 12, 1935 Observer. Opposite page 1: clipping of Westall portrait of Lord Byron. Inside back cover: In (RJ’s?) hand: "From André Maurois’ ‘I remember, I remember’ -- ‘Lady Lovelace allowed me access to Lady Byron’s Journal in 1928. At her manor house Ockham Park, straight through the night by the light of two candles I passionately deciphered this extraordinary document, the memoirs of a puritan who had been bold to the point of brazoness [sic]; they were so filled with life that I believed that I could see Byron walking with jerking steps & crying aloud between those walls of gray stone. After reading this it was no longer possible to doubt the incest.’"

Mitchell, John Ames. The Villa Claudia. New York: Life Publishing Company, 1904. Notes: Flyleaf: Inscribed "Una Küster, Jan. 1908."

Monroe, Harriet and Dawen Morton, Eds. A Book of Poems for Every Mood. Racine, Whitman Publishing Company, 1933. Notes: This volume features 39 poets: Shakespeare, Donne, Milton, Pope, Shelley, Wordsworth, Dickinson, Eliot, Pound, Joyce, Frost, etc., and Jeffers, who is represented here with "Contrast" and "Ocean."

Moore, Colonel Maurice George. An Irish Gentleman, George Henry Moore: His Travel, His Racing, His Politics. Notes: London: T. Werner Laurie Ltd., n.d. Page xii: Two loose newspaper obituaries: (1) Possibly from the Manchester Guardian, October 1939, and headed, "Senator M. Moore"; Maurice Moore’s passing at 85 is noted in a review of his life as a military man, a politician, and as a member of a notable family. (2) Another clipped obituary (from The Times of London?) is titled, "Famous Mayo Man Passes: Death of Col. Maurice Moore," and is dated in hand "10/23/39." Page 142: Inserted, a sprig of a plant. Page 802: Inserted, two clipped newspaper reviews: The first is a review of The Moores of Moore Hall by Joseph Hone, and titled, "George Moore the Fourth: A Writer and His Heritage" (review written by Humbert Wolfe); the second review, titled "Great Georges," is from The Manchester Guardian, and was written by Ivor Brown" (dated in Una’s hand "Oct 27 ‘39").

Moore, George, Ed. An Anthology of Pure Poetry. New York: Boni and Liveright, 1925. Notes: Flyleaf: Inscribed "Una Jeffers fr. Byrd [? ]. 1934."

Moore, George. "Hail and Farewell": Ave. London: William Heinemann, 1911. Notes: Flyleaves: Inscribed "Una Jeffers." Pasted onto second flyleaf, two small news articles about the death of Edward Martyn, "the well known Irish littérateur and dramatist" and a "founder of the Abbey Theatre, with Senator Yeats and Lady Gregory." One article, labeled "London Times, Jan. 17, 1924," by Una, discusses Martyn’s bequests (two to George Moore) and the other describes his directive for "a pauper’s grave, with a pauper’s coffin," though he was "possessed of many thousands sterling" (International News Service, Dublin, Feb. 15, [1924]). Page 8: Loose, a clipped "Correspondence" column from The Times of London with a lengthy letter from George Moore regarding a critical article about The Letters of Abelard and Heloise, translated by C. K. Scott Moncrieff, in which the critic takes issue with a statement by Moore about the spurious nature of "a certain passage in the first or introductory letter." A clipped copy of Moncrieff’s reply to Moore’s December 10 letter, along with a copy of the original review and a further response from George Moore, are inserted loose at page 10. Page 49: Lavender ribbon. Page 253: Red ribbon. Inside back cover: Pasted in, a clipped copy of a sketch of Moore by J. B. Yeats.

Moore, George. "Hail and Farewell": Salve. London: William Heinemann, 1912. Notes: Flyleaf: Inscribed "Una Jeffers, Seattle." Page 1: Una has made corrections to the text, by hand, as indicated on an Errata card inserted loose here. Back flyleaf: Pasted in, a clipped copy of a sketch titled "George Moore" and attributed as follows: "From a Pencil Sketch by J. B. Yeats on an Abbey Theatre Program." In (Una’s?) hand, "John Eglinton (William McGee)."

Moore, George. "Hail and Farewell": Vale. London: William Heinemann, 1914. Notes: Flyleaf: Inscribed in RJ’s hand, "Una Jeffers and Robin Jeffers, their book. Pasadena, April, 1914." Pasted in, a clipped cartoon sketch captioned "George Moore and Orpen Watching the Waves." Title page: Pasted in, an announcement of the sale of the"Hail and Farewell" series, first editions, and noting that "Vale is the scarce first issue with the original passage on page 127-8." Back flyleaf: Pasted in, a clipped photograph captioned, "Moore Hall, County Mayo, Ireland: George Moore’s Ancestral Home," and below it a clipped paragraph, evidently from a longer article about a work of Moore’s (likely Vale): "No modern poet is quoted, and indeed Moore has little truck with the moderns. He says that it is the eighteenth century he most loves, and it is the painters and the writers of the nineteenth century that he knows and of whom he writes. Nothing of the turmoil and confusion of to-day enters his pages. The only approach is the allusion to the burning of Moore Hall in the Irish revolution, and this hangs on the past; it is what is gone forever that is inspiration, not the present-time causes leading to disaster. There is great beauty to these pages, the concluding ones of the volume, a sense of the irreparable loss that comes to human possessions. Nothing was saved except a portrait of his grandfather, which hangs now in the house at Ebury Street "and catches my eye as I come down-stairs, a sort of fetch-light or corpse-candle, reminding me that my race is over, betrayed, scattered and in exile. . . ."

Moore, George. A Mummer’s Wife. New York: Brentano’s, 1908. Notes: Flyleaf: Inscribed "Una Jeffers."

Moore, George. A Story-Teller’s Holiday. New York: Cumann-Sean-eola_y na h-E_peann. Notes: Limited edition. This copy is # 36 out of 1250. Flyleaf: In Una’s hand, "blackthorn 70; Irish wolfhound 100. These stories are all about what the Florentines call the conflict of amor and castitas. ‘De toutes les perversions sexuelle, la chastité est la plus étormante.’" Page 70: The word "Blackthorn" is written in the margin, and an "X" marks a passage in which Moore discusses the special responsibility of caring for a plant cutting. Page 100: Moore begins a long folk story about the wolfhound.

Moore, George. Aphrodite in Aulis. London: William Heinemann Ltd., 1930. Notes: Edition limited to 1825; this copy is number 1762, and is inscribed by the author. Page 128: An "X" marks the beginning of Chapter 10, which tells the complex and mysterious story of the pyramid of Cheops (a stone from which is in a Tor House wall). Page 136: Three loose clippings: (1) A letter to the editor of the London Observer from John Eglington, dated in Una’s hand "September 20 [1929]," in which Eglington attempts to clarify "the point" of Aphrodite in Aulis, missed by "most of the reviews" of the book; (2) a review of Aphrodite in Aulis from Time (n.d.), focusing more on the author than the book ("written in approved Moore style, marmoreal-mellifluous"), terming him "an aging silkworm, spinning his gossamer but careful lines"; and (3) a review by Herbert L. Matthews of Aprhodite in Aulis, applauding its "restraint," and "a limpid quality that is the essence of refinement and simplicity"; Matthews acknowledges the book’s limited appeal, but praises it as "a skillful evocation of the past" and its place in "the essential unity that runs through George Moore’s life and works." Page 142: A faint "X" marks the passage, "A careless word, and the wound will open again, he [Rhesos] said to himself; better to say only: Mother, we must not part in anger. At these words she rose and would have thrown herself into his arms if Timotheus had not come to ask Rhesos if he had any instructions to give about Ajax. The interruption relieved the strain, and Rhesos was able to beg his mother to look after Ajax in his absence."

Moore, George. Avowals. New York: Boni and Liveright, 1919. Notes: Privately printed for subscribers only; copy 99 out of 1250. Flyleaf: Pasted in, a clipped sketch of George Moore by Jack Yeats for an Abbey Theatre program. Back flyleaf: Pasted in, two clipped newspaper articles: "Dogs and the Food Question: A Protest by Mr. George Moore," a letter to the editor (dated June 11, 1915) of The Observer expressing outrage at the number of dogs in England who consume necessary foodstuffs and despoil the streets; and a copy of a November 15, 1921 letter, (published in an unidentified newspaper) from George Moore to the Lord Chancellor of England turning down an invitation to a testimonial dinner for Sir Leslie Ward because "I have heard all this kind of aristocratic patter before, and really cannot bring myself to listen to it again."

Moore, George. Celibates: Mildred Lawson; John Norton; Agnes Lahens. Leipzig: Bernhard Tauchnitz, 1895. Notes: This volume is #3068 in the Collection of British Authors, Tauchnitz Edition. Cover: In Una’s hand, "Una Küster, Menaggio on Lake, Como, September 1912."

Moore, George. Confessions of a Young Man. New York: Brentano’s, 1907. Notes: Title page: Written in Una’s hand under Moore’s name, "1886." Inside front cover: In Una’s hand, "Notes from Brentano’s new edition - Preface - edited and annotated by George Moore, 1916: ‘These confessions most original - but incomplete, - gaiety, liveliness - had not then read Jean Jacques Rousseau - His book written at the end of his life between sixty and sixty-five - his life seen in long mysterious perspectives, whereas mine is merely the evanescent haze by the edge of the wood, the enchantment of a May morning. Youth goes for it singing! The song is often crude and superficial, youth cannot be other than superficial but the brook babbles spontaneously and truthfully and this is why Pater liked it. Brasenose College, Mar 4. My dear audacious Moore -- Many thanks for the "Confessions" which I have read with great interest and admiration for your originality, -- your delightful criticisms, your Aristophanic joy, or at least enjoyment in life-- . . . many things I don’t agree with but then in the case of so satiric a book I suppose one is hardly expected to agree or disagree. ‘Thou can’st in such a questionable shape!’ I feel inclined to say, "shape" morally? I mean . . . . I wonder how much you may be losing both for yourself and for your writings, by what, in spite of its gaiety and good nature and genuine sense of the beauty of many things I must still call a cynical and therefore exclusive way of looking at the world. You call it "realistic." Still! . . . Very sincerely yours, Walter Pater.’ Delightful - reveals Pater - always at composition. Most courteous of men and as he would not have us think he was composing in our midst; he trained his face to wear a formal impassive expression behind which he could pursue his rhythms undisturbed. Pater’s mask was the subject of many a debate as we turned out of Earl’s terrace into the High . . . . . . . This book a declaration of ideas and tastes, my love of the best things in modern literature and my love of the best things in modern painting and my [______? looks like "Whilom"] weakness for subtle passionate women. The first eulogies written in English, I might almost say in any language of Manet, Degas, Whistler, Monet, Pissaro are in this book and time has splendidly vindicated all of them.’" Overleaf from title page: In Una’s hand, "À Jacques Blanche. L’âme de l’ancien Égyptian s’éveillait en moi quand mourut ma jeunesse et j’ai en l’idée de conserver mon passée son esprit, et sa forme, dans l’art. b Alors trempant le pinceau dans ma mémoire, j’ai point ses joues pour qu’elle prissent l’exacte ressemblance de la vie, et j’ai enveloppé la mort dans les pous, fins Cinceuls. Rhamesès le second n’a pas reçus des soins plus pieux! Que ce livre soit aussi durable que sa pyramide! Votre nom, cher amî, voudrais l’inscrire ici comme épitaphe, car vous êtes mon plus jeune et mon plus cher ami; et il se trouve en vous tout ce qui est gracieux et subtil dans ces mornes aimeés qui s’égouttent dans le vase du vingtième siècle. G. M." Page 41: Moore says, he "still read and spoke of Shelley with a rapture of joy--he was still my soul." Una underlines "soul" and writes in the margin, "pirmance[?]." Page 42: Moore recalls Shelley’s words, "My dreams were of naked youths riding white horses through mountain passes; there were no clouds in my dreams, or if there were any, they were clouds that had been cut out as if in cardboard with a pair of scissors." Una writes in margin to insert at this point, "They were cut with the chisel from blocks fallen from the statue of Jupiter." Page 44: Moore writes that "The study of Baudelaire aggravated the course of the disease [his taste for "mad and morbid literature"]. Una writes in margin to insert at this point, "1916 edition--Surely the phrase is ill-considered: hurried. ‘My convalescence’ would express the author’s meaning better." Page 48: At the top of the page, where Moore discusses French writers (Hugo, de Lisle, de Banville), Una writes in the margin, "Villiers condensed many poems into single lines, ‘O pasteur, Hespérus à l’accident s’allume!.’" To clarify an allusion to Coppée’s "Le Lys," in which Moore says "a room is decorated with daggers, armor, jewelry, and china is beautifully described, and it is only in the last line that the lily which animates and gives life to the whole is introduced," Una adds in the margin, "Noble et pur un grand lys / se meurt dans une coupe." Page 84: This page begins with Moore’s assertion, "Two dominant notes in my character--an original hatred of my native country and a brutal loathing of the religion I was brought up in," and in which he goes on to identify those elements in his character--"an instinctive" aversion to his "own countrymen" contrasted with "a sense of nearness" and "a keen and penetrating sense of intimacy" with the French--inspires Una’s marginal comments, "The country of my instinctive aspiration would be Sussex, the most Saxon of all. Its very aspect awakens anti-natal sympathies in me. The villages clustered round the greens with spires of the churches pointing between the elms were never new to me. / I am by ancestry a South Saxon." Page 86: Moore writes, "You must have rules in poetry, if it is only for the pleasure of breaking them, just as you must have women dressed, if it is only for the pleasure of imagining them as Venuses," and Una adds in hand, "of undressing them." Page 142: Una corrects what appears to be a misprint, adding the word "not" to the phrase "I have read nothing of Henry James’s that did [Ù ] suggest the manner of a scholar." Page 171: Una writes into Moore’s discussion of "Forgotten Pages," prose poems of Mallarmé’s published in La Vogue, "See end of volume for translation III from Mallarmé (typewritten addenda)." Page 194: Pasted in, two typed paragraphs headed "Translated from Mallarmé, by George Moore. / III. The pale sky that lies above a world ending in decrepitude will perhaps pass away with the clouds: the tattered purple of the sunset is fading in a river sleeping on the horizon submerged in sunlight and in water. The trees are tired; and beneath their whitened leaves (whitened by the dust of time rather than by that of the roads) rises the canvas house of the Interpreter of Past Things: many a lamp awaits the twilight and lightens up the faces of an unhappy crowd, conquered by the immortal malady and the sin of the centuries, of men standing by their wretched accomplices quick with the miserable fruit with which the world shall perish. In the unquiet silence of every eye supplicating yonder sun, which, beneath the water, sinks with the despair of a cry, listen to the simple patter of the showman: ‘No sign regales you of the spectacle within, for there is not now a painter capable of presenting any sad shadow of it. I bring alive (and preserved through the years by sovereign science) a woman of old time. Some folly, original and simple, an ecstacy of gold, I know not what she names it, her hair, falls with the grace of rich stuffs about her face and contrasts with the blood-like nudity of her lips. In place of the vain gown she has a body; and the eyes, though like rare stones, are not worth the look that leaps from the happy flesh; the breasts, raised as if filled with an eternal milk, are pointed to the sky, and the smooth limbs still keep the salt of the primal sea.’ Remembering their poor wives, bald, morbid, and full of horror, the husbands press forward: and the wives, too, impelled by melancholy curiosity, wish to see. When all have looked upon the noble creature, vestige of an epoch already accursed, some, indifferent, have not the power to comprehend, but others, whelmed in grief and their eyelids wet with tears of resignation, gaze at each other; whilst the poets of these times, feeling their dead eyes brighten, drag themselves to their lamps, their brains drunk for a moment with a vague glory, haunted with rhythm, and forgetful that they live in an age that has outlived beauty." Page 173: In the margin, Una writes, "In youth the genius of Shelley astonished me, but now I find the stupidity of the ordinary person infinitely more surprising." This apparently in response to Moore’s assessment of late nineteenth century novelists: "the successors of Dickens, Thackeray, and George Eliot have no ideal, and consequently no language; what can be more pudding than the language of Mr. Hardy, and he is typical of a dozen other writers, Mr. Besant, Mr. Murray, Mr. Crawford? The reason of this heaviness of thought and expression is that the avenues are closed, no new subject-matter is introduced; the language of English fiction has therefore run stagnant." Una adds at the bottom of the page, "St. Augustine’s Confessions are the story of a god-tortured mime of an art-tortured soul. Which subject is most living? The first, for man is stupid and still loves his conscience as a child loves a toy." Page 180: At the conclusion of a section on the "enviable" status of young men in the nineteenth century, Moore summarizes the attitude of his emblematic character, "Lovelace": "In manner Lovelace is facile and easy; he never says no, it is always yes, ask him what you will, but he only does what he has made up his mind it is his advantage to do. Apparently he is an embodiment of all that is unselfish, for he knows that after he has helped himself, it is advisable to help someone else, and thereby make a friend who, on a future occasion, will be useful to him. Put a violinist into a room filled with violins, and he will try every one. Lovelace will put each woman aside so quietly that she is often only half aware that she has been put aside. Her life is broken; she is content that it should be broken. The real genius for love lies not in getting into, but getting out of love." In Una’s hand beginning just below, "Conscience would have me pull down the black flag and turn myself into an honest merchantman with children in the hold and a wife at the helm . . . would remind me that grey hairs begin to show, that health falls into rags, that high spirits split like canvas and that in the end the bright buccaneer drifts, an old derelict, tossed by the waves of ill fortune, and buffeted by the winds into those dismal bays and dangerous offings - housekeepers, nurses and uncomfortable chambers. Such will be my fate and since none may avert his fate, none can do better than to run pluckily the course he must pursue." Page 181: At the opening of Chapter 12, Moore writes, "And now, hypocritical reader, I will answer the questions which have been agitating you this long while, which you have asked at every stage of this long narrative of a sinful life." Una adds in the margin, "The use of the word sinful here seems liable to misinterpretation. The phrase should run ‘of a virtuous life, for remember that my virtues are your vices.’" Inside back cover: Pasted in, a clipped sketch captioned "George Moore. From ‘The Portrait Drawings of William Rothenstein.’"

Moore, George. Conversations in Ebury Street. New York: Boni and Liveright, 1924. Notes: Inside front cover: Pasted-in clipped line drawing of Moore in his later years. Half-title page: Pasted in, a clipped portrait of Moore, 1½" x 1½". Page 35: At the end of the book (where Moore has been describing his memories of and love for Moore Hall, recently destroyed by fire), in Una’s hand, two notes: "We made two pilgrimages to Moore Hall, near Castlebar, County Mayo - in July and August 1929." "Over the portico at Moore Hall there is a carved stone: ‘1795 / Fortis cadere / cedere / non potest.’" Page 36: Pasted in, a cartoon depicting three men sitting before a fire and conversing; the caption reads, "George Moore Jots Down a New Book: His Recent ‘Conversations on Ebury Street’ is Largely Composed of the Critical Opinions of His Visitors."

Moore, George. Esther Waters. New York: Duffield and Company, 1906. Notes: Flyleaf: Inscribed "Una Jeffers."

Moore, George. Euphorian in Texas. Girard, Kansas: Haldeman-Julius Company, n.d. Ten Cent Pocket Series Number 285. Notes: Front cover: Inscribed "Una Jeffers."

Moore, George. Evelyn Innes. London: T. Fisher Unwin, 1898. Notes: Page 62: Passage marked in pencil: "He had told her of the author, a Persian poet who had lived in a rose-garden a thousand years ago. He had compared life to a rose, an exquisite flower to be caught in the hand and enjoyed for a passionate moment, and had recited many of the verses, and she had listened, enchanted by the rapid interchange of sorrow, and gladness, and lofty resignation before the inevitable. Often it seemed as if her own soul were speaking in the verses. ‘So do not refuse to accept the flowers and fruit that hangs in the reach of your hands, for to-morrow you may be where there are none. . . . The caravan will have reached the nothing it set out from. . . . Page 71: Passage marked in pencil: "They had taken with them Omar’s verses, and Evelyn hoped that he would talk to her about them, for the garden of the Persian poet she felt to be separated only by a wicket from theirs." Page 77: Passage marked in pencil: "His footsteps echoed through the chill twilight, and seeing a thin moon afloat like a feather in the sky, she thought of Omar’s moon, that used to seek the lovers in their garden, and that one evening sought one of them in vain." Page 91: Passage marked in pencil: "That afternoon she was going to have tea with some friends, and as she paused to pin her hat before the glass, she remembered that if Owen were right, and that there was no future life, the only life that she was sure of would be wasted. Then she would endure the burden of life for naught; she would not have attained its recompense; the calamity would be irreparable; it would be just as if she had not lived at all. . . . No, her life would not be wasted, it would be an example to others, it was in renunciation that we rose above the animal and attained spiritual existence. At that moment it seemed to her that he could renounce everything but love. Could she renounce her art? But her art was not a merely personal sacrifice. In the renunciation of her art she was denying a great gift that had been given to her by Nature, that had come she know not whence nor how, but clearly for exercise and for the admiration of the world. It therefore could not have been given to her to hide or to waste; she would be held responsible for it. Her voice was one of the responsibilities; not to cultivate her voice would be a sort of suicide. This seemed quite clear to her, and she reflected, and with some personal satisfaction, that she had incurred duties toward herself. Right and wrong, as Owen had said, was a question of time and place. What was right here was wrong there, but oneself was the one certain thing, and to remain with her father meant the abandonment of herself. . . . She wanted herself! Ah, she wanted to live, and how well she knew that she was not living, and could never live, in Dulwich. The nuns! Strange were their renunciations! For they yielded the present moment, which Owen and a Persian poet called our one possession. She seemed to see them fading in a pathetic decadence, falling like etiolated flowers, and their holy simplicities seemed merely pathetic [underline in pencil]." Page 94: Passage marked in the margin: "Our actions obey an unknown law, implicit in ourselves, but which does not conform to our logic. So we very often succeed in proving to ourselves that a certain course is the proper one for us to follow, in preference to another course, but, when it comes for us to act, we do not act as we intended, and we ascribe the discrepancy between what we think and what we do to a deficiency of will power. Man dares not admit that he acts according to his instincts, that his instincts are his destiny." Page 173: Passage marked in the margin: "All of this they had argued a hundred times, but their points of view were so different. Once, however, she thought she had made him understand. She had said, ‘If you don’t understand religion, you understand art. Well, then, imagine a man who wants to paint pictures; give him a palace to live in; place every pleasure at his call, imposing only one condition--that he is not to paint. His appetites may detain him in the palace for a while, but sooner or later he will cry out, "All these pleasures are nothing to me; what I want is to paint pictures."’" Page 127: Passage marked in the margin: "The practice of singing in church proceeds from the idea that, in the exaltation of prayer, the soul, having reached the last limit obtainable by mere words, demands an extended expression and finds it in song." Page 268: Passage marked in the margin: "A moment approaches; it is ours, and no sooner is it ours than it has slipped behind us, even in the space of the indrawing of a breath. No wonder, then, that men had come to seek reality beyond this life; it was natural to believe that this life must be the shadow of another life lying beyond it. . . ." Page 271: Passage marked in the margin: "They were tired of materialism; they had trudged that bleak road till they were weary, and now they desired Blake, submission to Blake, and were therefore disappointed when Ulick explained that Blake’s doctrine was not subordination to Blake, but the very opposite, the development of self, the cultivation of personal will." Page 326: Passage marked in the margin: "It is true that man is a moral animal, but it is not true that there is but one morality; there are a thousand, the morality of each race is different, the morality of every individual differs. The origin of each sect is the desire to affirm certain moral ideas which particularly appeal to it; every change of faith is determined by the moral temperament of the individual; we prefer this religion to that religion because our moral ideas are more implicit in these affirmations than in those." Page 327: Passage marked in the margin: "A sense which eludes all the other senses, and which is not apprehensible to reason governs the world, all the rest is circumstantial, ephemeral. Were man stripped one by one of all his attributes, his intelligence, his knowledge, his industry, as each of these shunks was broken up and thrown aside, the kernel about which they had gathered would be a moral sense."

Moore, George. Héloise and Abélard. Volume 2. New York: Boni and Liveright, 1921. Notes: Privately printed for subscribers, this volume is 624 out of 1250. Flyleaf: In Una’s hand, and identified as "Abelard to Heloïse," are stanzas in Latin, with their English translations: "Vel confossue pariter / Morirer feliciter / Quum, quod amor faciat / Majus hoc non habeat (Low in thy grave with thee / Happy to lie / Since there’s no greater thing / Left, Love, to do); Et me post te vivere / Mori sit assidue / Nec ad vitam anima / Satis est dimidia (And to live after thee / Is but to die / For with but half a soul / What can life do?); Triumphi participem / Vel ruinae comitem / Ut te vel eriperem / Vel tecum occumberem (So share thy victory / Or else thy grave / Either to rescue thee / Or with thee lie); Vitam pro te finiens / Quam salvsti totiens / Ut tet mors nos jungeret / Magis quam disjungeret (Ending that life for thee / That thou didst save / So Death that sundereth / Might bring more nigh); Do quietem fidibus / Vellem ut et planctibus / Sic possem et fletibus (Peace O my stricken Lute! / Thy strings are sleeping / Would that my heart could still / Its bitter weeping!); Suscipe Flos florem / Quia flos designat amorem / Illo de flore / Nimio sum captus amore (Take thou this rose, O rose, / Since love’s own flower it is / And by that rose / Thy lover captive is); Aware crucior, moriar / Vulnere, quo glorior / Eia si me sanare / Mio vellet osculo / Gaudet vulnerare (I suffer / Yea, I die / But this mine agony / I count all bliss / Since death is life again / Upon thy lips)." Page 1 (following page 18) of corrections and additions to the American edition: Una has corrected "page 19" to read "23." Page 23: Una notes that the "corrections and additions" pages are to be inserted at that point.

Moore, George. In Single Strictness. New York: Boni and Liveright, 1922. Notes: Privately printed for subscribers only, this volume is number 625 out of 1050, and is signed on the Copyright page by George Moore. Flyleaf: Inscribed "Una Jeffers." Inside front cover: Loose, a two-color broadside on rag paper advertising "The Carra Edition of the Works of George Moore, the first unexpurgated and uniform collection of all his work which the author considers worthy of perpetuation in a definitive edition. In twenty-one volumes. The first volume in each set is signed by the author."

Moore, George. Letters from George Moore to Ed. Dujardin, 1886-1922. New York: Crosby Gaige, 1929. Notes: Half-title page: Inscribed "George Moore." Page 84: Loose, clipped catalog announcement of the availability of three Moore letters: (1) To Francis Vielé-Griffin re. possible collaboration and translation; (2) to Aristide Marie re. The Brook Kerith; and (3) to Aristide Marie re. a chocolate service in the Directoire style. Inside back cover: Note in Una’s hand: "The monologue intérieur was used by Edouard Dujardin in his novel ‘Les Lauries sont coupés’ pub. in the eighties, thirty years before Joyce’s "Ulysses."

Moore, George. Memoirs of My Dead Life. London: William Heinemann, 1906. Notes: Flyleaves: Inscribed "Una Küster, July 1908." Pasted onto second flyleaf, a clipped announcement of the 1921 edition of this book, a limited edition that had gone out of print. According to the announcement, that edition was titled Memories of My Dead Life of Galanteries, Meditations, and Remembrances, Solioquies, or Advice to Lovers, with Many Miscellaneous Reflexions on Virtue and Merit. Page 78: Pressed onto the page, a sprig from a plant with a small flower; the sprig lies opposite a passage that recounts a visit to the boudoir and garden of the Countess Nino de Calvador. Page 95: Pressed onto the page, a scrap of blue ribbon, just opposite a passage that reads, "Had I a palette, I could match the blue of the peignoir with the faint grey sky. I could make a picture out of that dusky suburb. Had I a pen I could write verses about these people of old time, but the picture would be a shrivelled thing compared with the dream, the verses would limp. The moment I sought a pen the pleasure of the meditation, which is still with me, which still endures, would vanish. Better to sit by my window and enjoy what remains of the mood and the memory." Page 334: Written in Una’s hand at the bottom of the page, at the end of a section in which Moore imagines the details of his own funeral and burial, "‘ . . . . . . . When all my works wherein I prove my worth, / Being present still to mock me in men’s mouths, / Alive still in the praise of such as thou, / I, I, the feeling, thinking, acting man, / The man who loved his life so over-much, / Sleep in my urn. It is so horrible . . . . . . . .’ Browning’s Cleon."

Moore, George. Memoirs of My Dead Life. London: William Heinemann, Ltd., 1928. Notes: Inscription on flyleaf, "To Una from someone who has never attempted to imitate George Moore, realizing how futile that would be --- Myron Brinig, June 5 - ‘36, Feos."

Moore, George. Modern Painting. London: The Walter Scott Publishing Company, Ltd., 1908. Notes: Flyleaf: Inscribed "Una Küster, June 1910." Page 129: Loose (at the beginning of a chapter titled "The Organisation of Art," in which Moore argues against the effort to democratize art and literature), a small black and white reproduction (may have been clipped) of Boucher’s Winter; and a page (p. 55) from the Chaucer Head Bookshop, Inc. sales catalog, on which a rare and expensive copy of Moore’s Flowers of Passion is offered for sale. Page 288: Loose, a clipped journal article, "Reminiscences of the Impressionist Painters," by George Moore. Dated in Una’s hand above title, "Feb. 22, ‘12." Listed in the section advertising Charles Scribner’s Sons Contemporary Science Series, ed. by Havelock Ellis, are several books checked in pencil: The Man of Genius by Prof. Lombroso; Apparitions and Thought Transference by Frank Podmore; and The Psychology of the Emotions by Th. Ribot.

Moore, George. Spring Days. New York: Brentano’s, n.d. Notes: Flyleaf: Inscribed "Una Jeffers." Half-title page: Pasted in, two small (miniature-size), green cut-out portraits of George Moore.

Moore, George. The Brook Kerith: A Syrian Story. New York: The Macmillan Company, 1916. Notes: Back flyleaf: Pasted in, a clipped news article headlined "Says Bernard Shaw Lacks Aestheticism: George Moore Thinks He Escapes Own Complexities by ‘Vulgar Claptrap’ Jokes," in which Moore is quoted as comparing Brook Kerith unfavorably with Heloise and Abelard, and Shaw unfavorably with more "aesthetic" writers who can synthesize and "pursue a train of thought for more than a few lines."

Moore, George. The Coming of Gabrielle: A Comedy. New York: Boni and Liveright, 1921. Notes: Edition limited to 895 copies, this volume is numbered 580. Page 47: Loose, a clipped article titled "Mr. Moore and His Play," composed mostly of a letter from Moore "to the London papers" regarding his "trouble in connection with his play, ‘The Coming of Gabrielle.’" Moore attributes the problems to a "lack of appreciation of my play and [the actors’] talents on the part of the producer, Nigel Playfair."

Moore, George. The Lake. New York: D. Appleton and Company, 1906. Notes: Inside front cover: In Una’s hand, "Dr. Oliver Gogarty of Dublin was here at Tor House early in March 1933. I asked him how Moore happened to use his name for the hero in "The Lake" and he said that’s what his mother asked Moore and Moore replied because he wanted a name composed of dactyls!" Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Page 253: Corner turned down; phrases which may have attracted especial interest: "We can sacrifice ourselves for a time, but we cannot sacrifice ourselves all our life long, unless we begin to take pleasure in the immolation of self, and then it is no longer sacrifice. . . . I think the places in which we have suffered become distasteful to us, and the instinct to wander takes us. A migratory bird goes, or dies of homesickness; home is not always where we are born--it is among ideas that are dear to us: and it is exile to live among people who do not share our ideas."

Moore, George. The Untilled Field. Philadelphia: J. B. Lippincott Company, 1903. Notes: Page 98: Pencil marks beside the statement by the book’s character Biddy, "I shall have great joy," she said, "seeing the blessed women standing about our Divine Lord, singing hymns in His praise and the sight of sinners broiling will make me sorrowful." Inside back cover: A note, "The Wild Goose Music, 354." Page 354: The notes (but not the words) for "The Wild Goose," with a note by Una, "This song is called also ‘Ned of the Hill.’" Ned is a character in the book.

Moore, George. Ulick and Soracha. New York: Boni and Liveright, 1926. Notes: This volume is numbered 50 out of 1250, and signed by George Moore. Flyleaf: Inscribed "Una Jeffers." Half-title page: In Una’s hand, "p. 77, harp makers." At this point in the story, the narrator meets a family of Irish harp makers and learns of their traditions and lore.

Morgan, Charles. Epitaph on George Moore. London: Macmillan and Company, Ltd., 1935. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Page 3: In Una’s hand, a note in the margin identifying Lady Cunard as the "most valuable existing source" of material for George Moore’s autobiographical writings. Back flyleaf: Pasted in, a clipped gossip column article detailing the names of the guests invited to "a formal dinner given by Edward VIII in his rooms in St. James’s Palace: Mrs. Ernest Simpson ("the former Wallis Warfield of Baltimore, Md., known to the world press as King Edward’s favorite dancing partner, his companion on numerous holiday excursions"), Mr. Simpson, Lord and Lady Mountbatten, Lady Diana Duff Cooper ("Lady Diana Manners"), Alfred Duff Cooper, Colonel and Mrs. Charles Lindbergh, Lord Wigram, and Lady Cunard (her name underlined in red), the latter described as a "birdlike blonde widow of fox-hunting Sir Bache Cunard. The daughter of the late E. F. Burke of New York and known to Mayfair as ‘Emerald,’ Lady Cunard is the mother of exotic Nancy Cunard, whose fondness for Negroes as dancing partners has caused many a raised eyebrow in London and New York." Next to this description, Una has written, "She refused the use of Moore’s letters. cf. page 4." Page 4: The text recounts Morgan’s difficulties obtaining letters from Moore’s mystery correspondent (Lady Cunard) in preparation for a full biography of Moore, and tells of the subsequent "death" of that proposed work.

Morley, F. V. Dora Wordsworth: Her Book. New York: Houghton Mifflin Company, 1925. Notes: Flyleaves: Loose, a cutout of a woman’s silhouette, approx. 2" x 3". Dedication page: Pasted in, the obituary (n.d., n.p.) of Gordon Graham Wordsworth, "the last surviving grandchild of the poet." Inside back cover: Loose, three clipped articles: (1) A review by Richard Le Gallienne, titled "Wordsworth’s Wild Oat and Annette Vallon," of William Wordsworth and Annette Vallon by Emile Legouis from The New York Times Book Review, April 29, 1923; (2) a clipped review, by Arthur Ransome, of the Hamwood Papers of the Ladies of Llangollen and Caroline Hamilton edited by Mrs. G. H. Bell, from The Observer, October 14, 1930; and (3) a clipped article by John B. Duffey from Arthur’s Illustrated Home Magazine (Vol. XLVI, No. 1, January 1878, pp. 5-10), titled "The ‘Lake Country’ of England."

Morris, William. The Defence of Guenevere. London: John Lane, 1905. Notes: Flyleaf: Inscribed "Una Jeffers."

Morris, William. The Sundering Flood. Volumes I and II. Pocket Edition. London: Longmans, Green and Company, 1914. Volume I Notes: Inside front cover: Pasted in, (1) a copy of etching of Kelmscott Manor (identified in Una’s handwriting); (2) a photograph of William Morris with a penciled note in the upper margin: "Watermark Unicorn / 1834-1934 Centenary celebration"; (3) a picture of a woodcut, with an acanthus design down the left margin, titled "The Arts of Life," and which reads, "What other blessings are there in life save these two, fearless rest & hopeful work? Troublous as life is, it has surely given to each one of us here some times and seasons when, surrounded by simple and beautiful things, we have really felt at rest; when the earth and all its plenteous growth, and the tokens of the varied life of men, and the very sky and waste of air above us, have seemed all to conspire together to make us calm & happy, not slothful but restful. Still oftener belike it has given us those other times, when at last, after many a struggle with incongruous hindrances, our own chosen work has lain before us disentangled from all encumbrances & unrealities, and we have felt that nothing could withhold us not even ourselves, from doing the work we were born to do, and that we were men and worthy of life. Such rest, and such work, I earnestly wish for myself and for you, and for all men; to have space and freedom to gain such rest & such work is the end of politics; to learn how best to gain it is the end of education; to learn its inmost meaning is the end of religion." Volume II Notes: Inside front cover: Loose, a broadside describing the fund raising campaign to build a Morris Memorial Hall at Kelmscott, Oxfordshire. Among those named on the General Committee are Walter De La Mare, Thomas Hardy, David Lloyd George, G. Bernard Shaw, and Senator W. B. Yeats. Frontispiece: Pasted-in map of a Morris landscape, which includes The Great Mountains, Desert Wafte, The Woods Masterless, and City of the Sundering Flood.

Morris, William. The Wood Beyond the World. London: Longman Green and Company, 1913. Pocket Edition. Notes: Inside front cover: Pasted in, a clipped reproduction of a portrait of Morris by G. F. Watts; loose, a clipping with a reproduction of a Burne-Jones woodcut illustration for the Kelmscott Chaucer, along with a description of the book and its genesis.

Morton, H. V. In Scotland Again. New York: Dodd, Mead and Company, 1933. Notes: Flyleaf: Pasted in, a clipped photo of H. V. Morton. Page 286: Loose, a collection of clippings from The Scots Magazine: (1) article titled "The Centre of Scotland: Queen Mary’s Harp and Hunting," by Alan Graeme, pp. 321-328, New Series Vol. XIII, No. 5, August 1930; (2) illustration panel captioned "The Centre of Scotland" and showing pictures of the "Queen Mary" harp and Tigh-Nateud, "the house of the strings"; (3) article titled "The Secret of Glamis," by Norval Scrymgeour, pp. 7-14 (n.d.), with two photographs of the place; (4) a panel of pictures of Fort George at Inverness, the ruins of Bernera Barracks in Glenelg, "An Early Black Watch Uniform, and a ruined castle atop what appears to be an ancient barrow (Una has written in the margin, "ruins of Ruthven Barracks in Badenoch"); (5) a photograph of a cluster of buildings on the seacoast; (6) two panels, each of four photographs of dovecotes; (7) a panel of pictures of the railway viaduct at Newbridge, the "Cat Stane," and the village of Cramond; (8) clipped article, "I Went by Motor-Bike to Climb Croagh Patrick" by John C. Boyne (n.d.); (9) clipped photos of Loch Seaforth and Loch Boisdale.

Morton, H. V. In Search of England. London: Methuen and Company, 1931. Notes: Flyleaf: In Una’s hand, "‘The Exiles. Are you not weary in your distant places / Far, far from Scotland of the mist and storm, / In drowsy airs, the sun smite on your faces / The days so long and warm? // We tread the miry roads, the rain-drenched heather / We are the men, we battle, we endure! / God’s pity for you people in your weather / Of swooning winds, calm seas and skies demure!’ ‘Lord we pray thee to send us a wind: no a rantin’, tantin, tearin, wind but a . . . . (I meant to write this in the ‘Search of Scotland’ vol. U. J.)." Page 1: Pasted in, a clipped photo of a tor in Dartmoor "Forest." Page 64: Pasted in, a clipped photo of Clovelly. Page 80: Loose, a souvenir card, written in Una’s hand on back, "Stake Church, etching by Norman Hepple." Page 106: Loose, four clipped color photographs of alabaster carvings produced in the 14th and 15th centuries at Nottingham; an admission ticket for the Collegiate Church of the Holy Trinity at Stratford-Upon-Avon; and a sheet of letterhead from Ye Olde Hostel of God-Begot, Winchester. Page 236: Loose, a clipped photo of Dale Abbey Mill (according to Una’s note). Page 286: Notes in Una’s hand: "Balmoral rhymes with ‘floral’; Fowey = Foy; Bodiam + Bedgem; Alnurick = Annick." Pages 288-89: Pasted in, a clipped, fragmented article about the construction of ancient farm buildings in England. Page 289: In Una’s hand, "On All Soul’s Day Shropshire children used to visit farmhouses during the dinner hour and sing ‘A-Souling: Soul, Soul, for an apple or two / Got no apples: a pear will do / A ha’ penny or a penny, a plum or a cherry / Or anything else to make us all merry.’" Page 290: Two clipped reviews of The Villages of England by A. K. Wickham. Pages 292-93: A clipped article about the custom of "swan-upping," the annual practice of marking young birds in order to track their progress and welfare. Page 294: A clipped article titled, "The Last of a Family of Bowl-Makers: Craftsman on the Downs: Artistry is Wood Work." Below, Una notes, "See page 9, where Morton describes a visit with a bowl maker." Page 295: In Una’s hand, "‘Born in America, in Europe bred, In Africa traveled and in Asia wed. Much good, some ill he did, so hope all’s even, And that his soul thro’ mercey’s gone to Heaven!’ Wrexham epitaph of Elihu Yale." Page 296: A clipped picture of the Old London Bridge. Inside back cover: Clipped photos: A fifteenth or sixteenth-century grinding stone, and the pre-Elizabethan well from which the grindstone was excavated.

Morton, H. V. In Search of Ireland. New York: Dodd Mead and Company, 1931. Notes: Inside front and back covers: Pasted-in clippings of (1) scenes from Ireland (Luccan, "a lonely road in Connemara"; (2) "Key to places of interest at Glendalough"; (3) a scene "between Bunbeg and the Bloody Foreland"; (4) a souvenir admission ticket to St. Michan’s Church and Vaults (A. D. 1096 "in which Bodies may be seen in a wonderful state of preservation, though not embalmed)"; (5) and a clipped photo of a horseshoe-shaped entrance to a blacksmith’s forge in County Antrim.

Morton, H. V. In Search of Scotland. London: Methuen and Company, 1929. Notes: Half-title page: Inscribed "Una Jeffers, Scotland, 1929, 1937." Pasted in, a motor car ticket for the Kylesku Ferry and an admission ticket for John Knox’s House, "The only Pre-Reformation Dwelling-House in Edinburgh now preserving its original architectural features." Dedication page: Pasted in, a printed list from L. Hampton, "The Scottish Book Shop," listing "Souvenir Books of Scotland." Table of Contents: Red "X" to mark Chapter 9 title, which reads, "I go by sea to Skye, walk through a gorge, meet an eagle, see the Fairy Flag of Dunvegan, and try to keep an appointment with Prince Charlie." Page 83: Pasted-in clipped photograph captioned "A Fine View of Braemar Castle." Page 93: Pasted-in clipped photograph of Kilmuir in Skye. Page 105: Pasted-in clipped pictures of "The Fair Maid’s House, Perth," and "Flodden Field." Page 218: Pasted-in clipped photo of Glamis Castle. Page 234: Pasted-in clipped picture of The Brig of Balgownie, reputed to be the oldest bridge in Scotland. Page 247: Pasted-in clipped photo of the graveyard of St. Kilda. Back flyleaves: Pasted in, the following: clipped recipe for Haggis; clipped woodcut of Cawdor Castle; clipped woodcut captioned "Mary Queen of Scots Before Her Execution." Inside back cover: Pasted in, the following: (1) clipped photographs of the Manor Lodge, Sheffield, "the only place of imprisonment of Mary, Queen of Scots, which is intact"; (2) "The Opening of the Castle of Eilean Donan, Ross-Shire"; (3) "Clan Macrae Memorial"; and "Dunvegan Castle, Skye, and Blair Castle (Duke of Atholl)." In Una’s hand: "What ails ye at the mist, sir? It weets the sod, it slackens the yowes (ewes) and - it’s God’s will."

Mullen, Pat. Man of Aran (with sixteen characteristic scenes from the film). New York: E. P. Dutton and Company, 1935. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, September 1935. (We saw the film with Ellen and Mollie Sept. 25th ‘35.)" Half-title page: Pasted-in clipped photograph of bronze bust of "Tiger" King ("Man of Aran"). Table of Contents page: Una has identified, in hand, the page numbers for all of the illustrations in the book.

Myers, F. W. H. Wordsworth. In English Men of Letters. Ed. John Morley. London: Macmillan and Company, Ltd., 1902. Notes: Inside front cover: Pasted in, a clipped photo captioned "Rydal Mount, the Home of the Poet Wordsworth, in the Lake District." Flyleaf: Pasted-in clipped review (author and source unidentified) of William Wordsworth and Annette Vallon by Emile Legouis. Half-title page: Inscribed "Jeffers. Tor House - Carmel." Opposite Table of Contents: Pasted-in clipped sketch of William Wordsworth, 1805, from pencil drawing by Henry Edridge. Page 74: pasted-in clipped portrait of William Wordsworth. Page 153: Pasted-in clipped sketch of Dora Wordsworth. Page 180: Loose, clipped "Men and Books" column by Malcolm Muggeridge from Time and Tide, February 18, 1939, reviewing The Letters of William and Dorothy Wordsworth: The Later Years. Back flyleaf: Pasted-in clipped review (author and source unidentified) of Wordsworth’s French Daughter: The Story of Her Birth, with the Certificates of Her Baptism and Marriage," by George Mc Lean Harper. In Una’s hand, "‘These are among the pieces that make Wordsworth a poet to live with: he repairs the daily wear and tear, puts what the fret of the day has rubbed thru or rubbed off, sends us forth in the morning whole.’ (Viscount Morley’s ‘Recollections.’)" Inside back cover: Pasted-in clipped photo of the portrait of William Wordsworth which hangs in the National Portrait Gallery, London.

Nelson, John Herbert. Contemporary Trends: American Literature Since 1914. New York: The Macmillan Company, 1933. Notes: Inside front cover: Inscribed "Frances Pattee" and "K.K.T." This book, in which Jeffers is represented by four poems, appears to have been closely studied--almost as if it were a textbook and the student studying for examinations. While the marks in the book do not in most cases distinguish themselves as having been made by Una or Robinson Jeffers, I have noted a couple of clues characteristic of Una--a handwritten definition between the lines in one passage, and a marked-off paragraph which contains commentary likely to be of interest to both Una and Robin. Since the book is heavily marked, it would be necessary to transcribe nearly all of its 500 pages in order to point out topics which seem to have been of interest. Instead, I will point out what seems of particular interest to the book’s reader, and to Jeffers scholars. The Preface claims this volume as representing "the first attempt to treat as a distinct period American literary history since 1914" and it goes on to report that six or eight authors whose work was chosen for inclusion--"Randolph Bourne and John Dewey, for example--were included because they symbolize forces in the age or have decidedly influenced its thoughts." Page 9: Double-marked is the paragraph in the book’s introduction, titled "Contemporary Trends," which discusses the "two large general classes" of "American poetry written since 1914." The first type, "concerned chiefly with physical or abstract beauty and with the individual artist’s impressions of the myriad phenomena of life. . . . "The second class, represented in much of the work of Robinson, Masters, Eliot, Aiken, MacLeish, and Jeffers was of a more robust order. Frequently dramatic or narrative in form and usually speculative in temper whatever the form, it dealt with the vast theme of human nature, seen against the complex background of twentieth century conditions. Not a little of it might with propriety be called ‘problem poetry.’ . . . Unquestionably its spirit was in harmony with the spirit of the times, upon which it was a revealing commentary." (Much of what is quoted is underlined--by Una?) Pages 318-23: Jeffers’ "Ode on Human Destinies," "Boats in a Fog," "Gale in April," and "To the Stone-Cutters." Page 490: Jeffers’ biography and bibliography are not marked--unlike those surrounding. Following the usual brief summary of his early life the editor says of Jeffers, "His early volumes of poetry made little impression, but upon the publication of Tamar, 1924, attention was drawn to him, and he acquired a reputation which has been strengthened by the books which followed. He apparently cares little for fame, however, and continues his way unmoved by the opinions of critics and the reading public. Since 1925 his work has exerted a direct and strong influence on the field of poetry. He is a poet of deep and elemental human passions, as well as a reverent worshiper of beauty, aware of the terrible irony in the fact that the loveliness of the world is at once so enduring and, from the point of view of the individual, so fleeting. His sternly tragic mood emanates from the realization of the great void left in the modern world by the dissipation of man’s religious and philosophical illusions." The list of criticism includes Sterling, Robinson Jeffers; de Casseres, Bookman LXVI; Van Doren, Nation CXXX; Deutsch, New Republic LI; Davis, Poetry XXXI; Winters, Poetry XXXV; Seaver, Saturday Review II; Gorman, Saturday Review IV.

Nietzsche, Friedrich. Beyond Good and Evil: Prelude to a Philosophy of the Future. Edinburgh: T. N. Foulis, 1909. Second Edition, Number 1782/2000. Notes: Page 94: Marked, "The more abstract the truth you wish to teach, the more must you allure the senses to it." Page 11: Corner turned down, the page begins with the following: "Indeed, to understand how the abstruse metaphysical assertions of a philosopher have been arrived at, it is always well (and wise) to first ask oneself: ‘What morality do they (or does he) aim at?’ Accordingly, I do not believe that an ‘impulse to knowledge’ is the father of philosophy; but that another impulse, here as elsewhere, has only made use of knowledge (and mistaken knowledge!) as an instrument. . . ."

Nietzsche, Friedrich. Thus Spake Zarathustra: A Book for All and None. New York: The Macmillan Company, 1908. Notes: Page 198: Loose, a handbill advertizing The Antichrist of Nietzsche from The Fanerolico Press, London. The handbill quotes (in caps) from the book: "WITH THIS I COMPLETE MY INDICTMENT AND PRONOUNCE MY JUDGEMENT: I CONDEMN CHRISTIANITY! I BRING AGAINST THE CHRISTIAN CHURCH THE MOST TERRIBLE ACCUSATION THAT HAS EVER BEEN UTTERED. I SAY THAT IT IS THE WORST OF POSSIBLE CORRUPTIONS, THAT IT SEEKS TO EFFECT THE ULTIMATE CORRUPTION, THE MOST DREADFUL CORRUPTION. . . . " In Una’s hand at bottom, "Nietsche ‘Anti-Christ.’"

Norway, Arthur. Highways and Byways in Devon and Cornwall. London: Macmillan and Company, Ltd., 1919. Notes: Back flyleaf: Pasted in, a clipped photograph of St. Buryan, location of a fifteenth century granite tower.

Nutting, Wallace. Ireland Beautiful. Framingham, Massachusetts: Old America Company, 1925. Notes: Flyleaf: Inscribed "From your Irish Ellen" and "Una Jeffers." Inside front cover: Pasted in, two clipped photos captioned in Una’s hand: "Ballintoy, near Ballycastle, Co. Antrim" and "Cushendun Glendun river Co. Antrim Slievanona hills." Half-title page: Pasted in, three clipped photos: Ancient Tablet, Galway; Ardfert Abbey, Co. Kerry; and Clifden, Co. Galway. Page 7: Pasted in, a photo captioned in hand, "Co. Antrim." Page 303: Pasted in, a clipped picture captioned "St. Kevin’s Kitchen, Glendalough." Inside back cover: Pasted in, five clipped photos: (1) Selokar Abbey, Wexford; (2) "The Kitchen of Miss Jenny M. Neill’s Cottage, County Antrim"; (3) French Church, Waterford; (4) Holy Cross Abbey, Co. Tipperary; (5) Lough Corrib, Co. Galway.

O’Faolain, Sean. An Irish Journey. London: Longmans, Green and Company, 1940. Notes: Title page: Una writes next author’s name, "John Whelan."

O’Flaherty, Liam. Red Barbara and Other Stories: The Mountain Tavern, Prey, the Oar. New York: Crosby Gaige, 1928. Notes: Flyleaf: Inscribed by the author.

O’Flaherty, Tom. Aranmen All. Dublin: At the Sign of the Three Candles, 1934. Notes: Flyleaf: Inscribed "To Una and Robin with my love and Irish devotion. Albert M. Bender, 1936. ‘How’s poor old Ireland, and how does she stand?’"

O’Grady, Standish. The Bog of Stars and Other Stories and Sketches of Elizabethan Ireland. London: T. Fisher Unwin, 1923. Notes: Inside front cover: Loose, a typescript copy of "Excerpt from Good-Bye to All That, by Robert Graves, Blue Ribbon Books, New York, p. 10." The excerpt reads, "When Cromwell came to Ireland and ravaged the country, Moira O’Brien, the last surviving member of the great Clan O’Brien, who were the paramount chiefs of the country round Limerick, came to him one day and said: "General, you have killed my father and my uncles, my husband and brothers. I am left as the sole heiress of these lands. Do you intend to confiscate them?" Cromwell is said to have been struck by her magnificent presence and to have answered that that certainly had been his intention. But that she could keep her lands, or a part of them, on condition that she married one of his officers. And so the officers of the regiment which had taken a leading part in hunting down the O’Briens were invited to take a pack of cards and cut for the privilege of marrying Moira and succeeding to the estate. The winner was one Ensign Cooper. Moira, a few weeks after her marriage, found herself pregnant. Convinced that it was a male heir, as indeed it proved, she kicked her husband to death. It is said that she kicked him in the pit of the stomach after making him drunk. The Coopers have always been a haunted family and Hibernicis ipsis Hibernicores . . . ."

O’Neill, Eugene G. Beyond the Horizon: A Play in Three Acts. New York: Boni and Liveright, 1920. Notes: Flyleaf: Inscription "To Una Jeffers who (in the clearest vision) has followed the call, ever beyond the horizon. May she always hear it -- and be happy! And forgive the mixing of my metaphors. E. C. B. B. Sept 7, 1920, San Francisco." Inside back cover: Pasted in, a clipped photograph of O’Neill.

O’Neill, Eugene. Desire Under the Elms: A Play in Three Parts. New York: Boni and Liveright, 1925. Notes: This volume is part of the Provincetown-Greenwich Plays series. Flyleaf: In hand, "Una Jeffers." Inside front cover: Loose, two clipped articles: (1) a review from The Fortnightly (Fall 1932, pp. 16-18)-- titled "O’Neill’s Finest Play"--of Mourning Becomes Electra; and an article from The New Republic (March 16, 1927, pp. 91-95) by Elizabeth Shepley Sergeant titled "O’Neill: the Man with a Mask, in which O’Neill is characterized as an "Irish-American mystic," a "tortured dreamer," and a grown-up "sensitive thirteen-year-old boy." Flyleaf: A clipped letter to an editor from O’Neill: "But where I feel myself most neglected is just where I set most store by myself--as a bit of a poet who has labored with the spoken word to evolve original rhythms where beauty apparently isn’t--"Jones," "Ape," "God’s Chillun," "Desire," &c.--and to see the transfiguring nobility of tragedy, in as near the Greek sense as one can grasp it, in seemingly the most ignoble, debased lives. And just here is where I am a most confirmed mystic, too, for I’m always, always trying to interpret Life in terms of lives, never just lives in terms of character. I’m always acutely conscious of the Force behind (Fate, God, our biological past creating our present, whatever one calls it--Mystery, certainly) and of the one eternal tragedy of Man in his glorious, self-destructive struggle to make the Force express him instead of being, as an animal is, an infinitesimal incident in its expression. And my profound conviction is that this is the only subject worth writing about and that it is possible--or can be--to develop a tragic expression in terms of transfigured modern values and symbols in the theatre which may to some degree bring home to members of a modern audience their ennobling identity with the tragic figures on the stage. Of course this is very much the dream, and the Greek dream in tragedy is the noblest ever."

O’Neill, Moira. Songs of the Glens of Antrim. Edinburgh, William Blackwood and Sons, 1910. Notes: Back flyleaf: Pasted in, a clipped photo captioned "Glenarm Agricultural Show--Sheep Dog Trials in Progress--Mr. John McKeown’s (Glens of Antrim) dog performing." Inside back cover: Pasted in, a clipped photo labeled in Una’s hand "Ruins of Dunaney Castle. Ballycastle."

Ó Crohan, Tomás. The Islandman. New York: Charles Scribner’s Sons, 1935. Notes: Half-title page: Inscribed "To Robin and Una from Albert." Page 96: Loose, a review of Twenty Years A-growing, by Maurice O’Sullivan--the story of the relationship between Tomás O’Crohan and Maurice O’Sullivan, which resulted in the publication of two books by O’Crohan, a fisherman who was well past his middle years before he learned to read and write. The book’s jacket quotes O’Crohan: "I remember the bloom of my vigour. . . . I have known famine and plenty. . . . One day there will be none left of all I have mentioned in this book. . . . When I am gone men will know what life was like in my time."

Ó Òuirinne, Séamus and Páðraig Ó Òálaig, The Educational Pronouncing Dictionary of the Irish Language. Dublin: Fred Hanna Ltd., n.d. Notes: Inside back cover: In Una’s hand: "Each letter of Gaelic alphabet is called by the name of a tree (with four exceptions): ailm - elm; beite - birch; coll - hazel; dur - oak; eagh - aspen; feara - alder; gath - ivy; huath - white thorn; iogh - yew; luis - rowan or quicken; muin - vine; nuin - ash; oiv - spindle tree; peith - pine; ruis - elder; suil - sally; teine - furze; ur - heather."

Oesterle, Louis. The Golden Treasury of Piano-Music: A Collection of Pieces written for the Virginal, Spinet, Harpsichord and Clavichord by Composers of the Sixteenth, Seventeenth and Eighteenth Centuries. New York: G. Schirmer, 1904. Notes: Flyleaf: Inscribed "To Una Jeffers and Her Tower. Helen Augur Vinton, March, 1928." Inside back cover: Clipped photograph of Arnold Dolmetsch, under which Una has written, "Who first revealed to us the loveliness of Wm. Byrd and early English music as he played upon his lute, harpsichord and viola d’amour."

Page, T. E. Q. Horatii Flacci: Carminum: Liber 1. Edited for Use in the Schools. London: Macmillan Company, 1884. Notes: Inside front cover: Inscribed "E. D. Palmer, Hillsdale 1889." In Una’s hand below, a translation of an ode by Horace addressed to Phyllis. Flyleaf: A translation, which reads, "Venus asleep with her cheek pillowed on her rounded arm and violets withering in her hair." Back flyleaf: A translation, which reads, "I have been in the woods alone / I have loved hidden places / Tumult of men I shun / And the crowding faces. / Now the snow vanishes / Out the leaves start / The nightingale’s singing / Love’s in the heart."

Page, Thomas Nelson. In Ole Virginia or Marse Chan and Other Stories. New York: Charles Scribner’s Sons, 1894. Notes: Flyleaf: Inscribed "Una Küster, Feb. 1909."

Palgrave, Francis Turner. The Golden Treasury of the Best Songs and Lyrical Poems in the English Language. New York: Thomas Y. Crowell and Company, c. 1883. Notes: Front cover: In Una’s hand, "And in his heart my heart is locked / And in his life my life. Ch. Rossetti." Flyleaf: Inscribed "Una Küster, Jan. ‘08." Page 180: Loose, an illustrated prayer card with Nativity scene and poem. Page 254: Loose, a clipped reproduction of print of Robert Herrick’s bust on pedestal. Page 318: Loose, clipped from Sonnet Sequences (Vol. 1, No. 8, January 1929), a brief biography of Sir Philip Sidney and "Ten Sonnets from Stella by Sidney."

Parkinson, James and E. A. Ould. Old Cottages, Farm Houses, and Other Half-Timber Buildings in Shropshire, Herefordshire, and Cheshire. London: B. T. Batsford, 1904. Notes: Inside front cover: Inscription "to Gerald Poynton Mander, from his mother, Xmas 1904" and price in pencil--£2-10-0. Loose, four items: (1) a 4" x 4" paper with a pencil sketch of a farm house, tower and barn, and in Una’s hand, the following note: "Donnan’s idea of Tor House and later buildings"; (2) envelope from ANTA-Monterey Drama Festival containing two tickets to a performance of Oedipus Rex and Dr. Willy Nilly; (3) clippings of photos of peacocks at Isola Bella in the Borromean Islands, Italy; (4) announcement in German of 1952 season for Das Nachtstudio.

Parry, William. The Last Days of Lord Byron: with His Lordship’s Opinions on Various Subjects, Particularly on the State and Prospects of Greece. London: Knight and Lacey, 1825. Notes: Inside front cover: Pasted in, a clipped advertisement which reads "659. Parry’s Last Days of Lord Byron, with his Lordship’s Opinions on various subjects, particularly on the State and Prospects of Greece, Illustrated With Coloured Plates By Robert Seymour, 8vo, hf. morocco, 10s 6d, Scarce. 1825."

Pater, Walter. Marius the Epicurean: His Sensations and Ideas. Volume I. London: Macmillan and Company, Ltd., 1920. Notes: Page 115: Loose, small (2½" x 3½") etching with the following penciled identifications: "1-50"; "Hill Farm near Poutsdsra"; "Huntsman-Front 35." Page 123: In reference to the Latin "Animula Vagula": "Animula, Vagula, Blandula / Hospes comesque corporis, / Quae nunc abibis in loca? / Pallidula, rigida, nudula. / The Emperor Hadrian to his Soul." / In hand below: "Nec ut soles dabis iacos" in the text, Una writes the English translation in hand: "Little pleasant wavering soul / Guest and companion of my body / Where are you going away to now? / Pale, naked, stiff, little thing, / And you won’t be making jokes as you used to."

Pater, Walter. The Renaissance: Studies in Art and Poetry. New York: The Macmillan Company, 1909. Notes: Flyleaf: Inscribed "Una Jeffers."

Payne, John. Stories of Boccaccio (The Decameron): With all the Poems (Many of Which are Omitted in Other Editions); and with Notes to Each Story, Giving Valuable Historical Data and Showing the Influence of The Decameron on the Literature of Europe in Ancient and Modern Times--Forming, in Many Instances, a Key to the Personages of the Story. Included Also Ye Merry Tale, Now First Done in English. n.p.: The Bibliophilist Library (Edward Hugele), 1903. Notes: Flyleaf: Inscribed "Una Küster, 1910 January."

Petrie, George. The Ecclesiastical Architecture of Ireland, Anterior to the Anglo-Norman Invasion; Comprising an Essay on the Origin and Uses of the Round Towers of Ireland, Which Obtained the Gold Medal and Prize of the Royal Irish Academy. Dublin: Hodges and Smith, 1845. Notes: Back flyleaf: Written in RJ’s hand: "Round towers we have visited in Ireland. 1. Armoy; 2. Antrim; 3. Ballydooley? [question mark his]; 4. Clones; 5. Cashel; 7. Cloyne; 8-9. Clonmacnoise; 10. Drumbo; 11. Drumcliffe; 12. Donaughenore; 13. Devenish; 14-15. Glendolough; 16. Kells; 17. Kilkenny; 18. Kilmacduagh (biggest stones); 19. Monasterboice; 20. Melic; 21. Lendrum; 22. Swords; 23. Turlough; 24. Waterloo? [question mark his]." Written in Una’s hand: "In Scotland Brechin." Inside back cover: Written in another hand, perhaps RJ’s: "Scotland, Kilmacduagh in Galway, Brechin, Kùlela, Abernathy, Antrim, Trummery in Co. Antrim, Rattou in Kerry, Clondalkin, Ardmore in Waterford, Drumbo in Down, Glendolough in Wicklow, Onghterard in Kildara, Tory Ireland, Dinaghmore in Mobth, Tullcherin in Kilkenny, Cashol Roscrea, Timahre - Queen’s County, Monasterboice in Louth, Ram Island in Antrim, Cloyne, Kinneh in Cork, Maghera, Dysert. Scots: Abernathy Brechin in County of Angus."

Petrie, W. M. Flinders. The Revolutions of Civilisation. New York: Harper and Brothers, 1922. Notes: Flyleaf: In pencil, the note "page 9." Page 9: Under the heading "The Great Year," the author describes the ancient concept of a "great year" coming at the end of a millennium (in this case the Etruscans’ great year, which occurred in 87 B. C.), "when the sky was serene and clear there was heard in it the sound of a trumpet, so shrill and mournful that it frightened and astonished the whole city." Una’s note in the margin reads, "Plutarch’s Lives." Chapter titled "The National View of Civilisation": Several sections are marked in this chapter, whose purpose it is to catalog and compare a variety of civilizations in terms of their cycles of development and collapse. Following a chart comparing the 1520-year "defined periods" in the East with the 1320-year periods in the West, a line in the margin highlights the following: "Thus the Eastern phase, on the whole, keeps about 3½ centuries in advance of the Mediterranean, varying from 2 to 5½ centuries. These results give some insight into the general meaning of historical conditions. The impression that civilisation always comes from the East is due to the East being a few centuries ahead of the West in its phase. Thus on the rise of a wave the East is more civilised; while on the fall of a wave--which does not attract attention--it is less civilised." Pages 110-14: Underlined in pencil, following a chart comparing "periods of civilization" in the Mediterranean, Mesopotamia, India and Mexico, is the sentence, "It is evident, therefore, that the length of period is practically alike in different parts of the globe, suggesting that it is due to the human constitution rather than to external causes." Some subsequent passages in a brief discussion of the Arabs in Spain are underlined--one noting the elaborate gardens, the literary academies--in honor of which new poems were recited--and a "fund for the endowment of learned men [all underlines shown are added to the text in pencil]"; a passage describing the great library of Al Hakem at Cordova which held 600,000 volumes (page 112); and a passage arguing that the final denouement for this great era came with the institution of "a democratic system," in which rulers were set up and overthrown "with great frequency by the power of the vox populi. This regular feature of a decaying civilisation ["!" in margin] shows that it had certainly passed all its stages of growth and glory" (page 113). On page 114, the following passage has been marked: "In short, every civilisation of a settled population tends to incessant decay from its maximum condition; and this decay continues until it is too weak to initiate anything, when a fresh race comes in, and utlises the old stock to graft on, both in blood and culture."

Philipon, M., O. P. The Eternal Purpose. Westminster, Maryland: The Newman Press, 1952. Notes: Flyleaf: Stamped "Carmelite Monastery, Carmel-by-the-Sea, Box 17, California." Behind flyleaf: Loose, a picture postcard from the Carmelite Monastery showing the sanctuary bathed in golden light. On the back, a note: "Dear Mr. Jeffers -- Here is where you and Donnan and his family are remembered each morning as we assist at the Holy Sacrifice of the Mass. With loving prayers for your welfare -- Sr. Francisca." Page 7: Loose, a carefully cut return address label from Box 7, Carmel. On page 7 the text reads in part, "By his body man is bound to this visible world, but by his soul he breaks his fetters and looks to the invisible world of pure spirits, and there he is admitted, through grace, to the innermost life of the Trinity, so that he lives by the same life and the same love as the Father, Son, and Holy Spirit. . . ." Page 14: Small picture of Jesus on a card. On page 14 the text reads in part, "Thus his divine destiny is the cause both of man’s grandeur and, from another point of view, of his misery. If he is faithful to the inspirations of the Spirit, ever stirring deep in his soul, he will find God in each of his actions. . . ." Page 77: A bookmark with a quotation from St. Thérèse: "Sanctity lies not in saying beautiful things, nor even in thinking or feeling them: it lies in being truly willing to suffer." The text on page 77 introduces the chapter that deals with suffering. Inside back cover: A picture postcard of the Carmelite Monastery taken from a distance, with the sea in the foreground.

Phillpotts, Eden. The Secret Woman: A Drama. London: Duckworth and Company, 1912. Notes: Flyleaf: Inscribed "Una Kuster, London. August 1912." Pasted below, clipped photo of Eden Phillpotts.

Porter, Arthur Kingsley. The Crosses and Culture of Ireland. New Haven: Yale University Press, 1931. Notes: Flyleaf: Inscribed "Most will be known to you-- But for that reason, perhaps, the timlier, this token of the affection of Tim and Maud, For Robin and Una and the Gemini. Xmas, 1931." Fig. 29-31: Loose at Figures 29 (Kells, Market Cross), 30 (Anhenny, North Cross), and 31 (Dromiskin, Cross), a clipped photo of large stone cross, with only "M. Praeger" written on the back. Inside back cover: A note says, "Drumcliffe, Fig 76." Fig. 76: Note in Una’s hand: "Yeats asked to be buried here ® and was re-interred here in 1948. He died 1939 in France."

Power, Eileen. Medieval People. London: Methuen and Company, 1924. Notes: Inside front cover: Clipped photo of a two-thousandth birthday celebration tournament at Carcassone. Illustration page: On back, a pasted-in clipped sketch captioned, "An Anglo-Norman Physician at His Patient’s Bedside." Inside back cover: Clipped sketches captioned "The Thirteenth Century Physician Receiving and Visiting Patients," and seven loose pages of medieval illuminations.

Power, Rev. Richard E., Translator. The Gift of Life. Collegeville, Minnesota: The Liturgical Press, Saint John’s Abbey, 1943. Notes: Inside front cover: Form, filled in by Una: "Maeve Carola Jeffers born December 28, 1947, was reborn of water and the Holy Ghost in the sacred font of Baptism on April 17, 1948, in the Church of Mission San Carlos del Rio Carmel, Carmel, California. Sponsors were Ellen O’ Sullivan and Noël Sullivan. Father Kelly, Pastor."

Powys, John Cowper. A Philosophy of Solitude. New York: Simon and Schuster, 1933. Notes: Front cover: Inscribed "Una Jeffers, Tor House." Table of Contents: Pasted in, a glossy, postcard-size photo of Powys, which accompanies an advertisment for this book. Page 23: In discussing the Meditations of Marcus Aurelius, Powys observes, "He accepts the whole grim Stoic Philosophy without a qualm . . . the universal, unsympathetic, inhuman Reason, sweeping everything before it . . . the eternal recurrence of all things . . . the soul only briefly surviving the death of the body . . . the necessity of making oneself indifferent to both pain and pleasure." Page 28: Penciled underlines as shown: "We learn from Rousseau the art of enjoying a certain romantic life-illusion; in other words a certain dramatic sense of the cosmic situation, a feeling of life as something consciously and artfully simplified, with an imaginative after-thought of its poetic value as thus simplified." Page 46: "We are surrounded by things that are staggering; by things that are so miraculously lovely that you feel they might dissolve at a touch; and by things so unbearably atrocious that you feel you would go mad if you thought of them for more than the flicker of a second." Page 47: "But the truth is that these art-desperations, whether in imitation of life’s atrocities or of her glamour, can never take the place of a real life lived from the depths of a person’s individual soul." Page 48: "For this is the nature of our life upon earth that we can only live by forgetting the intolerable. The transmutations of art serve us but little in our struggle to enjoy and forget; and few artists, in our time, appeal to all." There is an intellectual art for the few--too often obscure and recondite--and there is a popular art, if art it can be called, that ravishes the many. One or two great geniuses alone are left whose work hits the imagination of universal humanity." Page 49: "The isolation of the self. . . . gives a dignity, a beauty, a high and tragic significance to every phenomenon of mortal life. Everywhere it destroys dullness. Everywhere it slays the commonplace. Everywhere it touches with a natural, poetic poignance the ultimate conditions of our existence on earth . . . it is only in solitude that men and women can come to know the happiness that is like the delight of children in nothing at all." Page 50: "It is . . . only the cultivation of interior solitude, among crowded lives, that makes society endurable."

Powys, John Cowper. Autobiography. New York: Simon and Schuster, 1934. Notes: Flyleaf: Pasted in, a clipped photo of Powys (no caption). Page 474: Loose, a clipped fragment of the publisher’s evaluation of the Powys book. Page 536: Loose, a clipped copy (to accompany fragment at page 474) of a letter from Powys to the publisher, explaining the rationale for this book.

Powys, John Cowper. Essays on De Maupassant, Anatole France, William Blake. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Pocket Series Number 450. Inside back cover: Pasted in, a picture captioned "Blake at Hampstead. From a Pencil Drawing by John Linnell."

Powys, Llewelyn. Earth Memories. New York: W. W. Norton and Company, 1938. Notes: Page 142: Loose, a clipped review, by "M. G,." of The Powys Brothers: A Study by Richard Heron Ward with Three Portraits by Gertrude M. Powys; the review is most favorable to an essay in the volume about Llewelyn Powys, and which criticizes Heron Ward’s "panegyric, for the writer is completely under the spell of the Wizard of Glastonbury [John Cowper Powys]." Page 267: Loose, at the first page of a chapter titled "Gay Leopards," two letters: (1) letter dated March 6, 1936 and signed by Llewelyn Powys. The handwriting is extremely difficult to read, but I shall attempt to make sense of it here: "Chaldon Kenny, Dorchester, Dorset. Dear Mrs. Robinson Jeffers, I very much appreciated your kindness in sending me such a long and interesting letter. ______ and good of you. I am so __________ you are fond of Dorset and ________ you liked my essays -- _______ _______ _______ ________ _________ ________ gives me peculiar[?] pleasure. Yes I was sorry to hear of W. Whitehead’s death. We were fond of him the _______ ________ _____ ______ ______ _______ of selflessness-- He [was very?] good to us when we were in Woodstock. It was kind of you to send me wood from "The ____" I have always been fond of ______ of ______ -- Its flame-like spirit of ______ and the giant oak spirit _____ old _______ -- I hope he lives as long as Hobl___ who wrote a [long life working without any apology *_____ _______ finally ______ old. I wish we didn’t live so far from each other --would dearly love to meet you both and have you live not far away in some Calkin[?] ______ of Dorset. I do believe I am [getting better?] slowly -- Perhaps I shall one day come to California -- I always like to think of this beautiful land. Yours in ________, Llewelyn Powys." Letter #2 is dated March 1930 and signed by Philippa Powys: "Chy____, East Chaldon, Dorchester, Dorset. Dear Mr. Jeffers, The gift of your latest poems was a wonderful surprise to me - and I send you great gratitude for the thought and the possession of it. It was indeed an irony of fate that you should have been so near us as Dorchester last November, the month which I love best of all on these bare chalk cliffs. May there still come a day when I shall see you. ‘Dear Judas’ has given me much to enjoy and much to reflect on. Thank you! And again I thank you. As always I love and admire your work. Yours forever, Phillipa Powys." Page 268: Loose, a clipped letter from Chas. A. Mac I. Thyne, R.L.S. Club, Glasgow, to the editor of a periodical responding to an article (in the "July 28 issue") by Llewelyn Powys, which was titled "R.L.S. in the Alps"; in it, the writer claims that Powys was not quite "fair" to Stevenson, whom Powys evidently characterized as being critical of the Swiss peasantry at Davos, a health resort. The clipping is pasted to a slip from Durrant’s Press Cuttings, which specifies John O’London’s Weekly as the source. Inside back cover: Una’s handwritten note reads, "churchbells 47." Pages 47-48: Pasted in, two clipped paragraphs about the three pairs of "phantoms" that the bells evoke: the knight and his lady; the rook boy and the goose girl; and the hen wife and the swineherd.

Powys, Llewelyn. Love and Death: An Imaginary Autobiography. London: John Lane the Bodley Head, 1939. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Jacket flap: Una notes three references to the unicorn: Page 91-- "I have seen the young at play in their secret garden, / Where the tall white unicorns come, and the phoenix flies. / I have seen the scarlet mouth that was curled for singing, / And the proud bright head, and the careless beautiful eyes"; page 178--"A unicorn, she told me, had been grazing on the smooth lawn. . . . the damp grass was everywhere marked with the indents of his sharp hoofs different entirely from the abatures of a stag, and that there were little heaps of grass-smelling dung like goat’s dung, but dropped in pyramidic piles"; and page 228--"How untold is the misery that has resulted from so frenzied an attempt to break the proud spirit of the unicorn with horsewhip and crooked curb!"

Praeger, Robert Lloyd. Official Guide to County Down and the Mourne Mountains. Belfast: M’Caw, Stevenson and Orr, Ltd., 1900. Notes: Half-title page: Inscribed "Una Jeffers, Tor House, Carmel." Inside front cover: Pasted in, a clipped newspaper article (c. 1926) titled "Ulster Monuments. Preserving Ancient Relics. Committee Issues List. Links with Past to be Taken Over." A lengthy list follows.

Procter, Adelaide A. The Poems of Adelaide A. Procter. New York: John W. Lovell, 1858. Notes: Introduction by Charles Dickens. Flyleaf: Inscribed "Una Call." Una notes two poems inside the back cover: 148, "A Doubting Heart" and 315, "The Wind."

Prokosch, Frederic. Sunburned Ulysses. Lisboa, 1941. Notes: Number 20 of 22 copies printed and signed by Frederic Prokosch. Flyleaf: Inscribed "For Una and Robinson Jeffers, with best wishes. May 20[?], 1941." Inside back cover: Loose, a sheet of note paper with Yale Club letterhead, with handwritten message from Prokosch: "Dear Mr. Jeffers: Harpers told me they had an extra set of proofs of my poems, ‘The Carnival,’ so I asked them to send it on to you. I sent you some poems of mine a few years ago, but probably you don’t remember. I am sincere, though, when I say that you are the only poet in America whose praise (or blame) would mean very much to me! Very sincerely, Frederic Prokosch." Also loose, a postcard, postmarked December 19, 1942, with reproduction in black and white of Cézanne’s Chestnut Trees at Jas de Bouffan from the Frick Collection, New York and inscription on correspondence side: "A merry Christmas from Frederic Prokosch."

Pulleyn, William. Church-Yard Gleanings and Epigrammatic Scraps: Being a Collection of Remarkable Epitaphs and Epigrams, Compiled from the Most Ancient as Well as Modern Sources, Foreign and Domestic, Serious and Facetious: To Which are Annexed, Some Observations on Churches, Church-Yards, Rites of Sepulture, Tombs, and Mausoleums; with Instructions for Ascertaining the Dates of Ancient Monuments. London: Samuel Maunder, n.d. Notes: Inside front cover: In Una’s hand, the following epitaphs: "Here lies the body of Elizabeth Guerney / She fell out of a train and broke her journey / (A Norfolk Churchyard)"; and "Her life was turning, turning / In mazes of heat and sound, / But for peace her soul was yearning / And now peace laps her round. (Matthew Arnold’s lines on Mrs. Stuyvesant Fish’s tombstone)." Front flyleaves: In Una’s hand, "Go, tell the Spartans, thou that passest by / That here obedient to their laws we lie. (Epitaph on monument at Thermopylae)"; and "The dissection and distribution of Giles Handcox / Who Earth Bequeathed to Earth, to Heaven his soule / To friends his love, to the Poore a five pound dole / To remain forever and be employed / For their best advantage and releefe. In Daaglingworth, April the 9, 1638." Back flyleaf: Pasted in, a clipped paragraph titled "Tombstone Reticence," which recalls the epitaph on the tomb of the Marquis of Hastings, "Judge not, that ye be judged," as "a notable instance of reticence in this field of literature." Below it is a small clipping headed "Queen Elizabeth’s Gift: A Thackeray Quarrel," which includes an epitaph on the tomb of Margaret Radcliffe: "Here lies, Lord have mercy upon her! / One of Elizabeth’s Maids of Honour, / Margaret Radcliffe; fair and witty, / She died a maid--the more’s the pity." Inside back cover: In hand, probably all copied or clipped by Una, several epigrams and clippings: (1) "A Beaste, a mightie Fish, a Bird / Brocht men ye tidings of God’s word: / So to Hys Servant in this place / A Kirk of Beastes brocht god Hys grace. (Graveyard in Fairhope / John Laauriston’s grave)"; (2) "Fytton to wear a heavenly diadem" (Epitaph on tomb of Fytton family at Gawsworth Cheshire)"; (3) "Here lies Kildare / who killed Kildare? / Who dared Kildare to kill? / death killed Kildare / And dare kill whom he will. (Limerick Cathedral)"; (4) "Thorpe’s Corpse"; (5) "Louis Bonjour / 1841-1896 / Au Revoir / Vevey, Switzerland"; (6) "‘Build they who list or they who wist, for he can build no more.’-- over tomb of famous builder John Abel in Sarnesfield"; clippings headed (7) "An Eccentric’ Burial" about a man who was buried head down and (8) "Traffic Perils of 1827: Coachman Was Killed by Hearse" containing the words from his tombstone, "Passengers of every age, / I safely drove from stage to stage, / Till death came by in a hearse unseen, / And stopped the course of my machine. / In love I lived, in peace I died." Notes in Una’s hand also call attention to epigrams on page 55 ("Medical Men"), page 60 ("Epitaphum Chemicum"), page 94 ("Man’s life is like a winter’s day"), page 116 ("Fuller’s Earth"), page 163 ("gold"), page 166 ("Cheltenham Airs"), and page 201 ("The Cook’s Drawer").

Quiller-Couch, A. T. Historical Tales from Shakespeare. New York: Charles Scribner’s Sons, 1900. Notes: Inside front cover: Inscribed in copperplate, "To Una from Edith, April 5th, 1900."

Quiller-Couch, Arthur. The Oxford Book of English Verse: 1250-1900. New York: Oxford University Press, n.d. Notes: Back flyleaf: Copied in Una’s hand, lines by William Watson, "Pass, thou wild light, / Wild light on peaks that so / Grieve to let go / The day. / Lovely thy tarrying, lovely too is night: / Pass thou away. / Pass, thou wild heart, / Wild heart of youth that still / Hast half a will / To stay. / I grow too old a comrade, let us part / Pass thou away." Inside back cover: Written in pencil, a list of first lines and poem numbers: "38 - To his lute; 55 - Adieu love, untrue love; 77 - My scallop shell of quiet; 101 - Fair and fair; 102 - Farewell to Arms (helmet - hive for bees); 136 - Blow blow thou winter wind; 140 - Fear no more the heat; 152 - That time of year thou may’st in me behold [Una has identified this in more than one place as a poem she is especially interested in]; 158 - My love is strengthen’d, though more weak in seeming; I love not less, though less the show appear [marked passage: "Not that the summer is less pleasant now / Than when her mournful hymns did hush the night, / But that wild music burthens every bough, / And sweet grown common lose their dear delight."]; 167 - Adieu, farewell earth’s bliss; 170 - Follow thy fair sun, unhappy shadow; 175 - The man of life upright, / Whose guiltless heart is free / From all dishonest deeds, / Or thought of vanity; 204 - Art thou poor, yet hast thou golden slumbers? / O sweet content!; 205 - Pack, clouds, away! and welcome, day!; 280 - Exequy on his Wife (‘Accept, thou shrine of my dead saint, / Instead of dirges this complaint’); 575 - Late Leaves; 741 - Say not the struggle naught availeth; 759 - They told me Heraclitus, they told me you were dead; 765 - O Keith of Ravelston; 772 - Love in the Valley. Marked passage: from Sonnet 7, which begins, "Being your slave, what should I do but tend / Upon the hours and times of your desire?", the line "But, like a sad slave, stay and think of nought / Save, where you are how happy you make those!" Page 489: Loose, in the section on William Blake, a small, handmade book titled Songs (Second Series) by William Blake (Los Angeles, 1941), printed by Janet and Ward Ritchie "for Duncan Ward Ritchie born May 16, 1941." Una lists additional titles: "Dirges: 134 - Dirge [Shakespeare]; Dirge of the Three Queens [Shakespeare]; 209 - Aspatia’s Song [Fletcher]; 220 - Vanitas Vanitatum [Webster]: "Vain the ambitions of kings / Who seek by trophies and dead things / To leave a living name behind, / And weave but nets to catch the wind."].

Raswan, Carl R. Black Tents of Arabia (My Life Among the Bedouins). Boston: Little, Brown and Company, 1935. Notes: Fontispiece: In hand, "Una Jeffers (Note: In the English edition of this book is a long and minute account of breeding and training of Arabian horses. Quotes from Lady Anne Blunt etc. and traced pedigrees etc." Dedication page: Clipped picture of author.

Ravenhill, T. H. The Rollright Stones and the Men Who Erected Them: Printed for the benefit of Parish activities in Little Rollright. Little Rollright, Oxon, 1926. Notes: Front cover: In Una’s hand, "September 1929, Jeffers, Tor House, Carmel."

Ridge, George Ross. Under the Georgia Sun. Coral Gables: Wake-Brook House, 1961. Notes: First edition, number 143. Flyleaf: Inscribed "For Robinson Jeffers. Yours with deepest admiration, George Ross Ridge, 20 November 1961, Atlanta, Georgia." Inside back cover: Loose, a printed broadside describing this book.

Rilke, Rainer Maria. Sonnets to Orpheus. London: Hogarth Press, 1936. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Inside front cover: Loose, a clipped review of Medieval Latin Lyrics by Helen Waddell (review from The Commonweal, September 17, 1937, written by Marie Shields Halvey). Halvey characterizes the book as opening "a door into a world forgotten by most readers of English literature; a door closed by the Reformation and the development of the Protestant tradition in English letters on a world of wandering scholars and lyric-voiced poets who sang of life and death; of bird and flower, dawn and starlight, even as our minor poets sing today. In the history of the poets there seem to have been no ‘dark ages.’" Page 30: Loose, two clipped articles: (1) "Rilke and His Age" by Louise Bogan, pp. 34-42, from Poetry: A Magazine of Verse; and (2) "Poets in the Modern World" by Eugene Davidson, pp. 171-175, from New Books in Review, in which Davidson duscusses two Rilke books and one by Edna St. Vincent Millay: "Miss Millay and Rainer Maria Rilke represent opposite strains of poetry. Miss Millay sings of immediately recognizable heartaches, points of view, human relationships. . . . Rilke was of a different kind--the poet as creator of a new thing, something that never existed until he looked at it and transformed it into another plane of perception." The book opens readily at pages 98-99, the location of the following: "Ever-opening anemone, / does that meadow-morning lap of yours / mean to catch the whole polyphony / that the singing light of heaven pours / on your starry flower, so distended / to receive as much as heaven gives, / that sometimes (such a fullness has descended), sunset, with it mild imperatives, / almost fails to bend the too-retorted / edges of your petals back again? / What a world of power unreported! / We, with our shows of violence, deceive. / Our lives are longer, but on, O, what plane / shall we at last grow open and receive?" Pages 110-11: (where the book also opens readily) a clipped review (late spring 1939?), written by Basil de Selincourt, of The Duino Elegies of Rainer Maria Rilke, with translation, introduction and commentary by J. B. Leishman and Stephen Spender (published by Hogarth Press). Selincourt characterizes Rilke as "more difficult than Mr. [T. S.] Eliot ever was," a man who "is embarked upon that most difficult of all adventures--the attempt to convince himself that the eternal is inherent in the present; that the worth of a man’s life depends on his capacity to see and realise eternal values." Text on pages 110-111 reads, "Many a rule of death arose with deliberate rightness, / all-subduing man, during your hunting past; / better than trap and net I know you, quivering whiteness, / hanging down into the caves of the Karst. / They gently let you in, as though you were only a token / to celebrate peace. And then: a lad would twitch at your thong-- / and night would cast from the caves a pitiful handful of broken- / flighted doves to the light. . . / But not even that was wrong. / Let every breath of regret be far from the clarified seer, / not from the hunter alone, who, when seasons mature, / acts without failure or fuss. / Killing is only a form of the sorrow we wander in here. . . / The serener spirit finds pure / all that can happen to us." Back flyleaf: In Una’s hand, "Rilke: ‘Genius is always a terror to its epoch.’"

Rilke, Rainer Maria. The Book of Hours: "Das Stundenbuch." Norfolk Connecticut: New Directions, 1941. Notes: Inside front cover: Loose, an excerpt from an unidentified journal article: "Rainer Maria Rilke: Some War-Time Letters," translated by M.. D. Herter Norton (pp. 11-36).

Rilke, Rainer Maria. The Journal of My Other Self. New York: W. W. Norton and Company, Inc., 1930. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel, 1931." Written below the inscription, "Descriptions of tapestries at the Cluny, ‘La Dame à la Licorice,’ p. 119; Erik 108; The terrible death of old Chamberlain Brigge, 10; Piercing of the heart, 149." All denote sections too long for this document. Inside front cover: Loose, a typescript copy of an excerpt from Wartime Letters of Rainer Maria Rilke with a handwritten note on the first page: "Noël--Please return this excerpt from Rilke. Yrs, U.J." Content of the excerpt is as follows: "Dr. Rudich will have told you that I cannot bring myself to read books and articles that deal with my work; I long held it for a weakness that I could not prevail upon myself to do so, and in part it may actually be nothing else. Meanwhile I have had since about 1907, through an imperfect example (which I shall mention presently), a growing conviction that seems after all singularly to justify this consistent attitude or refusal. For I believe that as soon as an artist has found the living center of his activity, nothing is so important for him as to remain in it and never to go further away from it (for it is also the center of his personality, his world) than up to the inside wall of what he is quietly and steadily giving forth; his place is never, not even for an instant, alongside the observer or judge. (At least not any more in an environment in which the visible everywhere degenerates into the ambiguous and temporary, into an expedient, into a scaffolding for anything whatever)[?]. And indeed, it requires an almost acrobatic skill to leap from that observation-post back into the inner center again, neatly and unharmed (the distances are too great, the places themselves all too shaky for such an eminently inquisitive feat). Most artists today use up their strength in this going back and forth, and not only do they expend themselves in it, they get themselves hopelessly entangled and lose a part of their essential innocence in the sin of having surprised their work from the outside, tasted of it, shared in the enjoyment of it! The infinitely grand and moving thing about Cézanne (and I have now come to the ‘example’ mentioned above) is that during almost forty years he remained uninterruptedly within his work, in the inmost center of it -- and I hope to show some day how the incredible freshness and purity of his pictures is due to this obstination[?]; their surface is actually like the flesh of a fruit just broken open -- While most painters already stand facing their own pictures enjoying and relishing them, violating them in the very process of the work as onlookers and recipients . . . [?](I hope, as I say, some day convincingly to point this out, this to me absolutely definitive attitude of Cézanne’s; it might act as advice and warning for anyone deviously determined to be an artist. --Wartime Letters Of Rainer Maria Rilke."

Rilke, Rainer Maria. Das Grunden-Buch: Enthltend die drei Bucher. Leipzig: Intel-Verlag, 1931. Notes: Page 46: Loose, a ticket for Car No. 8 on the Lucky Rail Terminal, Munich, Germany (in English); and a "St. Teresa’s Bookmark" with the words, "Let nothing trouble thee. / Let nothing frighten thee. / All things pass away. / God never changes. / Patience obtains all things. / Nothing is wanting to him who possesses God. / God alone suffices." Page 78: Loose, two typed poems: (1) "Aber wer hat das Dunkel begriffen? / Wer kann seine Nächte bestehn? / Erst wenn uns Schmerzen zerissen, / lässt sich der Tod verstehn. // Nächtens kommt er ins Haus, / ich kann die Angst nicht mehr heben. / Leichter ist alles am Tag / aber der Tag löscht aus wie das Leben." and "Geleit zum ‘Stundenbuch’"; and (2) "Keiner ist näher an Gott als Du, / wir sind Ihm alle weit, / uns schlossen sich die Wege zu, / Dir wurden alle Strassen breit. / Du spanntest Deine Schwingen aus, / wir mussten im Schatten gehn, / Dein Sinnen wurde des Schweigenden Haus, / uns aber liess Er im Leeren stehn." Below the second poem, the handwritten initials, "H. v. M."

Rives, Amélie. Barbara Dering. Philadelphia: J. B. Lippincott Company, 1900. Notes: Flyleaf: Inscribed "March 16, 1906, Una Küster." Flyleaf: Pasted-in clipped poems: "Before the Rain" by Amélie Troubetzkoy and "Surrender" by Amélie Rives Chanler. The first stanza (of three) of "Before the Rain" reads, "The blackcaps pipe among the reeds, / And there’ll be rain to follow; / There is a murmur as of wind / In every coign and hollow; / The wren do chatter of their fears / While swinging on the barley ears." "Surrender" reads, "Take all of me--I am thine [o]wn, heart, soul, / Brain, / body -- all; all that I am or dream / Is thine forever; yea, though space should teem / With thy conditions, I’d fulfill the whole-- / Were to fulfill them to be loved of thee. / Oh, love me! -- were to love me but a way / To kill me -- love me; so to die would be / To live forever. Let me hear thee say / Once only ‘Dear, I love thee’ -- then all life / Would be one sweet remembrance, thou its king; / Nay, thou are that already, and the strife / Of twenty worlds could not uncrown thee, / Bring, / O Time! my monarch to possess his throne, / Which is to my heart and for himself alone."

Rives, Amélie. The Quick or the Dead? A Study. Philadelphia: J.B. Lippincott, 1901. Notes: Flyleaf: Inscribed "October 21, 1904 Una Küster." Preface page: Pasted onto left edge, a handwritten inscription on linen stationery: "With best wishes, Yours very sincerely, Amélie Troubetzkey 16th April 1906 Castle Hill, Cobham, Virginia."

Road Book of Ireland. London: Automobile Association, 1932. Inside front cover: Inscribed in Una’s hand, "Robinson Jeffers, Tor House, Carmel, California, USA." Flyleaves: A list in Una’s hand of 78 locations, presumably towers, which includes "height and state" taken from the "Old List (c. 1842)." Sample entry: "Kells ---- Meath ---- 99 --- I" and "Balla ---- Mayo ---- 50 -- I." Title page: Notes indicate that red X’s next to entries signify locations seen in 1929 and 1937. The locations so identified are: Aghagower, Mayo; Antrim, Antrim; Ardmore, Waterford; Armoy, Antrim; Balla, Mayo; Cashel, Tipperary; Castledermot, Kildare; Clondalkin, Dublin; Clonmacnoise, Kings; Clones, Monaghan; Cloyne, Cork; Devenish, Ferenanagh; Donoughmore, Meath; Doronpatrick, Down; Drumbo, Down; Rumcliffe, Sligo; Dysert O’Dea, Clare; Iniscaltra, Clare; Kells, Meath; Old Kilcullen, Kildare; Kildare, Kildare; Kilkenny (St. Canice), Kilkenny; Killala, Mayo; Kilbammon, Galway; Killnaboy, Clare; Kilmacduagh, Galway; Kilree, nr. Kells, Kilkenny; Kinneagh, Cork; Lusk, Dublin; Maghera, Down; Meelick, Mayo; Monasterboice, Louth; Oran, Roscommon; Ram Island, Antrim; Rattoo, Kerry; Roscrea, Tipperary; Scattery, Clare; Swords, Dublin; Taghadoe, Kildare; Timahoe, Queens; Turlough, Mayo; Nendrum, Down; Ardrahen; Tory Island. Blue and penciled X’s signify those seen in 1948: Carrigeen, Limerick, Dromiskin, Louth; Glendalough, Wicklow; Iniskeen, Monaghan; Kilmallock, Limerick; Rathmichael, Dublin; Timahoe, Queens; Trummery, Antrim. Some locations have pencilled check marks; perhaps these are equivalent to X’s: Ballyvowiney, Cork; Brigoon (nr. Mitchelstown), Cork; Downpatrick, Down; Killiskin, Queens; Moat, Sligo, (Ballymoat); Raphoe, Donegal. A few names have the numeral two next to them--perhaps signifying that the Jeffers had been there twice: Clonmacnoise, Kings; Glendalough, Wicklow; Sligo, Sligo. Those locations listed but not marked include: Aghadue, Kerry; Aghaviller, Kilkenny; Ardfert, Kerry; Ardpatrick, Limerick; Ballygady, Galway; Boyle, Roscommon; Cork, Cork; Drumkleeve, Clare; Dungiven, Londonderry; Fertagh, Kilkenny; Kellystown, Carlow; Killossy, Kildare; Londonderry, Londonderry; Louth, Louth; Oughterard, Kildare; Roscom or Murrough, Galway; Roscommon, Roscommon; Rosenallis, Queens; Sier Kieran, Kings; Tulloherin, Kilkenny. Opposite Table of Contents, another list: Ballymore; Creslough; Letterkenny; Stranarlar; Barnesmore Gap; Donegal; Peltigo; Lough Derg; Bundoran; Sligo; Carrowmore (3 m. s. w. Sligo); Tobercuny; Ballyhaums; Tuam (ask for Kilbammon° ½ mile); Kinvarru; Lisdoowarna; Cliffs of Moher (ask for Kilnaboy° and Disert O’Dea°); Kilnesh (Scattery°); Ennis; Tulla; Mt. Shannon (Iniscottra°), Limerick; Killmallock°; Ardpatrick°; Croom (1 mi. w. Dysert°); Listowel, Rattoo° (betw. Ballyburnan and Ballyduff); Tralee (Arafert°); Stradbally; dingle; Slea Head (Blaskets?); Kilorglin; Macgillicuddy; Reeks (Parknasilla, etc?); Aghadne°; Killarney; Mallow; Ferney[?]; Cahir; Thurles (Holy Cross); Johnstown (Fertagne°); Kilkenny; Ashavillar°; Kilkee° (s. w. of K nr Callans); Kell; Thomastow for Terponit Abbey; Carlow; Timahoe (nw)°; Castledermot; Baltinglass; Glenmalure; Brae; Rathmichael (2 mi nw)°. On Table of Contents page, "Alternate Route: Limerick; Croom; Listowel, etc. Killarney; Rathmore; Charleville; Kilmallock; Kilfanane; Ardpatrick; Tipperary Castle; Lusk v[?] of Dublin and Swords." Notes about car hire companies (Liverpool Cars, Prouts Liverpool, Ltd., and James McHarris County Garage) are mingled with the following: "In a vault near this place / lie the Remains of Richard Woodward Music II / Late organist of the church / Vicar of St. Pat. Cathedral / and Predepter to the children of the 2 choirs / Dublin. His love of harmony / equally refined his taste / and regulated his heart / and / while it gave melody / to his voice and compositions / added a consonant sweetness / to his temper and conversation / So that / He lived eminently distinguished / In his public profession / and died universally lamented / for his private virtues. / Died Nov. 22 1777 in the 34 yr. of his age / To the memory of whose filial affection / His afflicted father / dedicates this last sad testimony / of parental love. Let the words of my mouth and the meditation of my heart be always acceptable in Thy sight." Page x: A list of 21 sites headed, "Wish to See 1948." Six entries are marked with a penciled "X," indicating that they had indeed been visited in 1948: Aghaviller, Kilkenny; Tullaherin, Kilkenny; Iniskeen, Monaghan; Drumlane, Cavan; Drumiskin, Louth; Trummery nr. Ballinderry. Two marked with "f’s," Annadown, Galway and Ardpatrick, Limerick. Three are marked with blue checks, Desert Angus, Aranmore and Desert Carigeen, Limerick. One is marked with a penciled check, Rathmichael, nr. Bray.Page xi: In the margins around the listing for A. A. Offices, Una has written notes pertaining to round towers: "Rothcroghan - palace of Maeve, Co. Roseommon"; round tower at ? / Ferrycarrig is a modern copy of old Round Tower, a memorial to the Wexford men who fought in the Crimea / Ferrycarrig by the Slaney, W. Wexford, nr. Mornington and Drogheda, mouth of Bayne." Inside back cover: A few random place-names, probably jotted while en route: Dublin, Malahide Castle; Heraldic Museum; St. Michan; Killiney; Nat. Gallery; Col. Moore; Mt. Stewart; Londonderry; Castledermot,° Co. Kildare; Claudeboye; Lusk° n. of Dublin and Swords; Iniskeen°, Monaghan nr. South border, eat of Dundalk; Drumlane° nr. Fernanagh border; Tegadoe° s. of Maynorth; Rathcroghan Co. Roscommon." The significance of the "°" symbol in Una’s lists is not yet apparent. If these place names can be checked with the map of round towers at Tor House, it might be possible to see if there is a link.

Robinson, Edward Arlington. The Glory of the Nightingales. New York: The Macmillan Company, 1930. Notes: Flyleaf: Inscription "To Robinson Jeffers, this, my personal copy, with a right Merry Christmas and a truly Happy New Year. Sincerely, Samuel J. Banks, San Francisco, Calif., Yuletide, 1943."

Robinson, Lennox, Ed. Lady Gregory’s Journals: 1916-1930. New York: The Macmillan Company, 1947. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel."

Rossetti, William Michael. Some Reminiscences of William Michael Rossetti. Volume I. New York: Charles Scribner’s Sons, 1906. Notes: Page 228: Loose and folded, in the chapter that discusses Ford Madox Brown, among others, several clipped articles: (1) "A Group of Pre-Raphaelite Poets" by Ford Madox Hueffer (Harper’s Monthly Magazine,Vol. CXXI, No. 725, pp. 778-85); (2) "An Old Circle" by Ford Madox Hueffer (Harper’s Monthly Magazine, n.d., n.v., n.n., pp. 365-372); (3) "Some Pre-Raphaelite Reminiscences" by Ford Madox Hueffer (Harper’s Monthly Magazine, n.d., n.v., n.n., pp. 762-68).

Rossetti, William Michael. Some Reminiscences of William Michael Rossetti. Volume II. New York: Charles Scribner’s Sons, 1906. Notes: Page 565: A clipped copy of "The Portrait of Himself" by D. G. Rossetti.

Ruggles, E. A. Small Stone Houses of the Cotswold District. Cleveland: J. H. Jansen, 1931. Notes: Inside front cover: Loose, four pages from magazine (perhaps Country Life?): (1) "‘In the Studdy, Clossette and All Other Secrett Places of the Howse.’ Being an Appreciation of ‘Secret Hiding-Places’": by Granville Squiers, with illustrations of hiding places at Hardwick Hall, Durham and Harvington Hall, Worcestershire; (2) "The Oak Parlour at Sulgrave Manor Furnished: A Timely Gift," mostly illustrations; (3) the Elizabethan Home of Washington’s Ancestors," Sulgrave Manor at St. Andrew, Northampton (2 pp.); and (4) "The Home of the Washingtons. Being an Appreciation of ‘Sulgrave Manor and the Washingtons’" by H. Clifford Smith.

Sackville-West, Vita. The Land. London: William Heinemann, Ltd., 1936. Notes: Flyleaf: Inscribed "Una Jeffers, Knole, Kent, October 17, 1937." Inside back cover: In Una’s hand, "As once St. Brendan cast his harp aside / When he had heard / Gabriel in the plumes of a white bird / Singing within the temple as day died / A pure, a lonely part, / So does the listener in love with night / Forget the strange confusing voice of men, / And folds himself in dark, and only then / Discards his own particular noisy heart. (From ‘Solitude’ by V. S-W.)."

Sauveur, Lambert. Causeries Avec Mes Élèves. New York: F. W. Christern, 1891. Notes: Flyleaf: Inscribed "Annie R. T. Jeffers, Chautauqua, July, 1898." In the section titled, "Devoirs de Traduction", there is evidence that a reader has seriously worked at translation.

Schreiner, Olive (Ralph Iron). The Story of an African Farm. New York: A. L. Burt Company, n.d. Notes: Flyleaf: Inscribed "Una Küster, Oct. ‘08."

Scott, Sir Walter. The Lady of the Lake: A Poem in Six Cantos. New York: Thomas Y. Crowell, n.d. Notes: Flyleaf: Inscribed "Una from Papa and Mamma. Jan 6, 1899."

Shakespeare, William. The Shakespeare Anthology: Poems, Poetical Passages, Lyrics. London: The Nonesuch Press, n.d. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel, January 6, 1936." Inside back cover: In Una’s hand, (1) page numbers identifying passages that refer to "This England": Page 96, "This England never did, nor never shall / Lye at the proud foote of a Conqueror, / But when it first did help to wound it selfe. . . . Naught shall make us rue, / If England to it selfe, do rest but true" (King John); and page 106, "This royall Throne of Kings, this Sceptred Isle, / This earth of Majesty, this seate of Mars, / This other Eden, demy Paradise, / This Fortress built by Nature for her selfe, / Against infection and the hand of Warre; / This happy breed of Men, this little World, / This precious Stone set in the silver sea, . . . ." (Richard II). Also listed are (2) the page numbers to some Sonnets: Sonnet 18 "Shall I compare thee to a Summer’s day?"; Sonnet 29 "When in disgrace with Fortune and men’s eyes"; When to the Sessions of sweet silent thought, / I sommon up remembrance of things past"; Sonnet 71 "Noe longer mourn for me when I am dead"; Sonnet 73 "That time of yeare thou maist in me behold"; Sonnet 87 "Farewell thou art too deare for my possessing"; Sonnet 116 "Let me not to the marriage of true minds."

Sharp, E.A. and J. Matthay, Eds. Lyra Celtica: An Anthology of Representative Celtic Poetry. Edinburgh: John Grant, 1924. Notes: Flyleaves: Inscribed "With best wishes to Una Jeffers from her friend and admirer, Albert M. Bender, June 18, 1926." Pasted in, two verses: "I do not know of anything under the sky / That is friendly to or favorable to the Gael, / But only the sea that our need brings us to, / Or the wind that blows to the harbor / The ship that is bearing us away from Ireland; / And there is reason that these are reconciled with us, / For we increase the sea with our tears, / And the wandering wind with our sighs," and "For the great Gaels of Ireland / Are the men that God made mad, / And all their wars were merry / And all their songs were sad."

Sharp, William (Fiona Macleod). A Memoir. New York: Duffield and Company, 1910. Notes: Flyleaf: Inscribed "Una Küster, 1912." Title page: In Una’s hand, dates next to the name of Elizabeth Sharp, who compiled the book: "(1857-1933)."

Sharp, William. Vistas. New York: Duffield and Company, 906. Notes: Flyleaf: Inscribed "Una Küster, April 1910."

Sikelianou, Eva. What is Great Theatre? A Gift to the Greek War Relief from Eva Sikelianou. Notes: Flyleaf: In hand (possibly Una’s), "Extract from Gavin’s letter. ‘Eva Sikelianou spent a million dollars of her own money, reviving the Delphic Festival, only to have the Germans and then the Anglo-Saxons put out the light she had so lovingly kindled--now she lives in comparative poverty.’"

Singleton, Esther. A Guide to the Opera: Description and Interpretation of the Words and Music of the Most Celebrated Operas. New York: Dodd, Mead and Company, 1899. Notes: Flyleaf: Inscribed "Una and Edward Küster, March 1905." Back flyleaf: Inscribed upside-down, "Edward and Una Küster, Feb. 1905."

Skeat, Walter W. The Student’s Chaucer, Being: A Complete Edition of his Works Edited from Numerous Manuscripts. Oxford: The Clarendon Press, n.d. Notes: Appears little read, but written on the back flyleaf in what might be RJ’s hand is the word "Barmicide."

Skelton, John. Elynour Rummynge. San Francisco: Helen Gentry, 1930. Notes: Flyleaves: Loose, clipped article by Percy Hutchison titled "The Poet Laureate of King Henry the Eighth," reviewing The Complete Poems of John Skelton Laureate, ed. by Philip Henderson. A portrait of Skelton accompanies the review. Page 13: Loose, the second half of the review. Inside back cover: Loose, a calling card from Mrs. Frederick Mortimer Clapp on which is written, "A heart’s-easing crow to the cocks and manna from on high for which one must hunt."

Smith, Janet Adam, Ed. The Looking Glass Book of Verse. New York: Random House, 1959. Notes: Back flyleaf: Inscribed "Gift of James Johnson, 1985." Jeffers is represented in this volume edited for children by "Ascent to the Sierras" on page 148.

Smith, William. A Smaller Classical Dictionary. New York: Harper and Brothers Publishers, 1894. Notes: Flyleaf: Inscribed "Esther Braley." Page 187: Loose, on a sheet of typewriter paper, a faint pencil sketch of woman’s gown, very much in the style worn by Una. Inside back cover: In Una’s hand, "Talthybius - messenger of eórl."

Soper, Helen Irene Jones. The Genealogy of the Call Family. Privately printed. Notes: Heavily emended by Una, who was also a contributor. First page: Inscribed "Una Call Jeffers, Tor House, Carmel, California, May 1945." Back flyleaves: Three handwritten pages of "Collateral Calls," including names, dates, additional information and anecdotes.

Sophocles. The Plays of Sophocles. Thomas Francklin, Translator. London: George Routledge and Sons, 1886. Notes: Inside front cover: Bookplate reads "Ex Libris James D. Phelan, San Francisco." May have been a gift from Noël Sullivan, a grandson of Phelan’s.

Speakman, Harold. Here’s Ireland. New York: Dodd, Mead and Company, 1925. Notes: Title page: Inscribed "Una Jeffers." Frontispiece: On back, a clipped picture captioned "Cormac’s Chapel, the Last Great Artistic Achievement of Pre-Norman Ireland." Page v: Pasted in, a clipped picture of a woodcut titled "A Road in Galway."

Stephens, James. Insurrections. Dublin: Maunsel and Company, 1912. Notes: Flyleaf: Inscribed "Una from Susan, 1928." Inside back cover: In Una’s hand, two poems: "To Lar, with a Biscuit / 1. No watch / Is on the household now! / Penates, Lares, / Emigrate, / Begone! / 2. Daughters, sons, / do anyhow: / And, as you please, / Perpetuate, / Each one, / 3. The skunk, the badger / And the cow! / --No altar’s / In the household now, / No wit-- / Only the monkey / And the sow / Tell what man should do, / And how / Do it." The second poem, "Grey Air," is credited to Stephens, "who tells of truth, / Or beauty, he / Is a knave in his degree: / Only thirst and grief are true: / Thirst for life, / And grief for living . . . . / Be contented / That you thirst, / Satisfied / That you now grieve: / Knowing, / That you know the worst / Life can threaten, / Or achieve: / Die of thirst, / As all must do, / Grief shall sweeten death for you."

Stephens, James. The Crock of Gold. New York: The Macmillan Company, 1913. Notes: Inside front cover: Pasted in, a clipping of a brief discussion of Stephens’ lyric poetry, and a clipping of "The Snaire" by Stephens. Back flyleaf: Pasted in, a clipped photo of Stephens captioned, "Author of ‘The Crock of Gold’: James Stephens. the Irish Poet, Who Recently Visited This Country," and a clipped copy of Stephens’ poem "The Waste Places." Inside back cover: Loose, a clipped newspaper review of Strict Joy and Other Poems (includes a William Rothenstein portrait of Stephens; the clipping is folded so that only the portrait is evident).

Stephens, James. The Demi-Gods. New York: The Macmillan Company, 1924. Notes: Flyleaf: Inscribed "For Robin and Una, themselves of the time of demigods. George Sterling. San Francisco, Mch. 6th, 1926." Inside back cover: Loose, an introduction torn from another publication, focusing mainly on Douglas Hyde’s translation of The Return of the Hero.

Sterling, George. Sails and Mirage and Other Poems. San Francisco: A. M. Robertson, 1921. Notes: Table of Contents: Poems marked: "The Queen Forgets," "The Iris Hills," "Dirge," "Spring in Carmel," "The Wind," "Sails," "A Song of Friendship," "Troubadour’s Song," "Harp-Song," "Autumn in Carmel," "The Secret Garden," "Of One Asleep," "To a Girl Dancing," "The Cool, Grey City of Love," "The Princess of the Headland," "The Death of Circe." Page 73: At the location of "To a Girl Dancing" and "Of One Asleep," there are pressed flowers. Back flyleaf: In hand (Una’s? Robin’s?), "Not hear? when noise was everywhere! it tolled / Increasing like a bell. Names in my ears / Of all the last adventures my peers.-- / How such a one was strong, and such was bold, / And such was fortunate, yet each of old / Last, last! one moment knelled the name of years"; and "Rain": "The rain was grey before it fell / And through a world where light had died / There ran a mournful little wind / That shook the trees and cried. / The rain was brown upon the earth / In turbid stream and tiny star. / In swift and slender shafts that beat / The flowers to their knees. / The rain is mirror to the sky / To leaning grass in image clear, / And drifting in the shining pools / The clouds are white and clear. N. M. F." "The fringing trees, the floating moon, / The bubble tent -- I passed them by. / And sipped a tiny shattered star, / Deep drinking from that mirrored sky."

Sterling, George. The Binding of the Beast and Other War Verse. San Francisco: A. M. Robertson, 1917. Notes: Inside front cover: Pasted in, a photograph of Sterling, standing. Flyleaves: Inscribed "Dear Dick: Behold an illustration -- / If you would read and see-- / One can’t turn indignation / To real poet-ree! / Your friend, George. San Francisco, Oct. 1st, 1926." Pasted onto second flyleaf, a photograph of Sterling. Pasted onto third flyleaf, a photographic portrait of Sterling. Dedication page: Inscribed "For Richard O’Connor from George Sterling."

Sterne, Laurence. A Fragment in the Manner of Rabelais: The Memoirs. Los Angeles: Thomas Perry Stricker, 1932. Notes: Flyleaf: Inscribed "To Una and Robinson Jeffers, Lawrence Clark Powell, Feb. 1935."

Stevens, Frank. Stonehenge, Today and Yesterday. London: His Majesty’s Stationery Office, 1927. Notes: Cover: In Una’s hand, "November 7, 1929," at the top. "Jeffers, Tor House, Carmel" at the bottom.

Stevenson, Robert Louis. The Master of Ballantrae and The Black Arrow. London: J. M. Dent and Sons, 1930. Notes: Flyleaf: Inscribed "Graham, Belfast, April 1962."

Stevenson, Sir John and Thomas Moore, Esq. Irish Melodies with Symphonies and Accompaniments. Dublin: James Duffy, 1859. Notes: Inside front cover: Inscribed "Una Jeffers, Tor House."

Strong, L. A. G. The Lowery Road. New York: Boni & Liveright, Inc., 1924. Notes: Flyleaf: Inscribed in (RJ’s?) hand, "To my Irish Una from Ha with a heart-full o love. Christmas 1926." Inside front cover: Pasted in, clipped copies of "Meavy" by L.A.G. Strong from Dublin Days, and "Rare Spirit" and "Saints" from Epitaphs and Epigrams, both presumably from Strong as well. Inside back cover: Pasted in, a clipped copy of "A Moment," by Strong, from The Irish Statesman.

Swift, Jonathan. Travels into Several Remote Nations of the World by Lemuel Gulliver, First a Surgeon, and Then a Captain of Several Ships. New York: The MacMillan Company, 1923. Notes: Flyleaf: Inscribed "Jeffers." Page 138: A clipped newsprint reproduction of the Frontispiece for Gulliver’s Travels, drawn by Willy Pogany.

Symonds, John Addington. Studies of the Greek Poets. New York: Harper and Brothers, n.d. Volume 1 Notes: Page 274: Loose, a charming, small, hand-painted card with holiday greeting and tassel cord--from Hazel D. Hansen. Volume 2 Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Note below: "Medea, see particularly beginning page 47." Title page: In hand, "Published in London, 1873-1876" next to title. "(Born 1840-died 1893)" next to author’s name. Page 47: Book falls readily here, where the following paragraph is marked: "In the Medea and the Hippolytus Euripides again displays this virtue of stern stoicism in two women. But here the heroines are guilty: their Spartan endurance of anguish to the death is tempered with crime. These tragedies are the masterpieces of the poet; in each of them the single passion of an individual forms the subject of the drama. Separated from all antecedents of ancestral doom, Medea and Phaedra work out the dreadful consequences of their own tempestuous will. Not Othello, and not Faust, have a more complete internal unity of motive. No modern play has an equal external harmony of form. [Underlines are in pencil, and not part of the printed text] Medea was one of the most romantic figures of Greek story. Daughter of the sun-god in the Colchian land of mystery and magic, she unfolded like some poisonous flower, gorgeous to look upon, with flaunting petals and intoxicating scent, but deadly." Pages 48-49: Marked, with a comment in Una’s hand at the top of the page, "the best description I know, of Medea," the passage reads, "Medea in her house, like a lioness in her den, has crouched sleepless, without food, not to be touched or spoken to, since the first news of Glauke’s projected bridal was told. No one knows what she is meditating. Only the nurse of her children mistrusts her fiery eyes and thunderous silence, her viperish loose hair and throbbing skin. The moment is finely prepared. Some Corinthian ladies visit her, and she, though loath to rise, does so at their prayer, excusing her reluctance by illness, and by a foreigner’s want of familiarity with their customs. Pale, calm, and terrible, she stands before them. From this first appearance of Medea to the end of the play, her one figure occupies the whole space of the theatre. Her spirit is in the air, and the progress of the action only dilates the impression which she has produced. The altercations with Creon and with Jason are artfully conducted so as to arouse our sympathy and make us feel that such a nature is being driven by the intemperance and selfishness of others into a cul-de-sac of crime. the facility with which she disposes in thought of her chief foes, as if they were so many flies that have to be caught and killed, is eminently impressive. ‘Many are the ways of death: I will stretch three corpses in the palace--Creon’s, the bride’s, my husband’s. My only thought is now of means--whether to burn them or to cut their throats--perchance the old tried way of poison were the best. They are dead.’ [A phrase written in Greek script follows, which cannot be transcribed into Word.] Medea knows they cannot escape her. For the rest, she will consider her own plans. In the scene with Jason she rises to an appalling altitude. Her words are winged snakes and the breath of furnaces. There is no querulous recrimination, no impotence of anger; but her spirit glows and flickers dragon-like against him, as she stands above him on the pedestal of his ingratitude. But when he has gone, and she sits down to reconsider her last act of vengeance--the murder of his sons and hers--then begins the tragic agony of her own soul. These lines reveal the contest between a mother’s love and the pride of an injured woman, the [Greek word] of one who must steel her heart in order to preserve her fame for fortitude and power. . . . Page 338: Loose (in the chapter titled "The Anthology"), a flyer announcing the publication of The Iliad of Homer: A Line for Line Translation in Dactylic Hexameters by William Benjamin Smith and Walter Miller (Macmillan), "the first translation of Homer’s immortal epic in the English language ever to succeed in a complete and exact line-by-line rendering in the meter, rhythm and cadence of the original verse." Page 368: It is noteworthy that the book falls most readily open here, where there is a discussion of Hero and Leander.

Symons, Arthur. Cities and Sea-Coasts and Islands. New York: Brentano’s, 1919. Notes: In hand (RJ’s?) in margin, next to text which reads, " . . . a party of four, of whom I alone was not an Irishman, got into Tom Joyce’s hooker at Cashlay Bay and set sail . . ." the words "Symons, Yeats, Moore, Edward Martyn."

Symons, Arthur. Cities of Italy. New York: E. P. Dutton and Company, 1907. Notes: Flyleaf: Inscribed "Una Küster, Jan 1910." Inside front cover: Clipping of "Zarnata," identified as a seventeenth-century rendering of a hill town by Gaspard Peeter. Flyleaf: Pasted in, a clipping of a detail from a painting of "Lucca as the city appeared in fourteenth century." Page 65: (in the chapter on Rome), penciled brackets around these words in the text: "[in Rome] One has time to discover that, while there are many interesting and even intoxicating things in the world, there are very few things of primary importance." In Una’s hand in margin next to these words, "Yeats, on liking to be in Stratford-on-Avon for Shakespeare plays, ‘in London the first man one meets puts any high dream out of one’s head for he will talk to one of something at once vapid and exciting, some one of those many subjects of the night that build up our social unity. Here he gives back one’s dream like a mirror.’" Page 173: Pasted-in clipping of St. Vitale, Ravenna. Page 174: Pasted-in clipping of the interior of St. Apollinare in Classe. Page 189: Pasted-in clipping of the Sepulchre of Theodoric the Great. Page 190: Pasted-in clipping of the Piazza Byron, with a view of the Church of St. Francesco. Page 224: Pasted-in clipping identifed in Una’s hand as "the outer staircase in the courtyard" at Verona). Page 225: Pasted-in clipping showing a cluster of houses near the Roman Bridge. Page 226: Clipped picture identifed in Una’s hand as "A fragment of the arena." Page 235: A clipped sketch showing a pair of marble lions in Verona. Page 236: A clipped picture showing a side doorway in the cathedral in Verona.

Symons, Arthur. Plays, Acting and Music: A Book of Theory. New York: E. P. Dutton and Company, 1909. Notes: Flyleaf: Inscribed "Una Küster Nov, 1909."

Symons, Arthur. Poems by Arthur Symons. Volumes I and II. New York: John Lane Company, 1907. Volume I Notes: Table of Contents: Penciled check marks next to "Rain on the Down," "Morbidezza," and "Javanese Dancers." Flyleaf: Inscribed "Una Küster Jan. 1908." Volume II Notes: Flyleaf: Inscribed "Una Küster Jan. 1908." Page 82: Loose, a review of Symons’ Days and Nights and Love’s Cruelty, titled "A Poet for Our Sins" and dated in hand Dec. 1923 (source not identified). Back flyleaf: Pasted in, a poem: "If rest is sweet" by Symons.

Symons, Arthur. Spiritual Adventures. New York: E. P. Dutton and Company, 1908. Notes: Title page: Inscribed "Una Küster, August 09." Page 1: Clipping of a picture of Arthur Symons from the painting by Augustus John. Inside back cover: Loose, a review by Vincent O’Sullivan, of Le Mouvement Esthétique at Décadent en Angleterre: 1873-1900 , by Albert J. Farmer, from The Dublin Magazine, n.d., pages 47-57.

Symons, Arthur. Studies in Prose and Verse. London: J. M. Dent and Company, c. 1904. Notes: Flyleaf: Pasted in, a clipping of sketch of Arthur Symonds dated in Una’s hand, "1924." Page 142: Clipping (dated 1924 in Una’s hand) of quotes from Symonds on Gabriele D’Annunzio, the subject of the chapter in this volume which ends on p. 142.

Symons, Arthur. Studies in Seven Arts. New York: E. P. Dutton and Company, 1907. Notes: Page 187: In the chapter on Whistler, a check mark next to the following: "It is the aim of Whistler, as of so much modern art, to be taken at a hint, divined at a gesture, or by telepathy. Mallarmé, suppressing syntax and punctuation, the essential links of things, sometimes fails in his incantation, and brings before us things homeless and unattached in middle air. Page 147: Later in the Whistler chapter, a mark by ". . . art must never be a statement, always an evocation." At the end of the chapter which treats Rodin, pencil check mark next to the following: "Something new has come even into sculpture; there is a troubling upheaval of some restless inner life in the clay; even sculpture has gone the way of all the other arts, and has learnt to suggest more than it says, to embody dreams in its flesh, to become at once a living thing and a symbol. Page 218: Pasted in, a clipped newspaper review of The Collected Works of Arthur Symons, 16 vols., by John Middleton Murry. Page 381: In the chapter on "Pantomime and the Poetic Drama" a pencil mark next to "Pantomime is thinking overheard. It begins and ends before words have formed themselves, in a deeper consciousness than that of speech. And it addresses itself, by the artful limitation of its craft, to universal human experience, knowing that the moment it departs from those broad lines it will become unintelligible." Page 352: In the chapter titled "A New Art of the Stage," a mark by the passage, "[Gordon] Craig aims at taking us beyond reality; he replaces the pattern of the thing itself by the pattern which that thing evokes in his mind, the symbol of the thing." Page 354: In discussing the scenery designed by Craig for several plays, Symonds says, "All have dignity, remoteness, vastness; a sense of mystery, an actual emotion in their lines and faint colours. There is poetry in this bare prose framework of stage properties, a quality of grace which is almost evasive, and seems to point out new possibilities of drama, as it provides new, scarcely hoped for, possibilities to the dramatist." Page 356: "The whole stage art of Mr. Craig is a protest against realism, and it is to realism that we owe whatever is most conspicuously bad in the mounting of plays at the present day." Page 358: In writing of the staging of Maeterlinck’s La Mort de Tintagiles, Symons suggests that Craig would do it justice, for "Here are plays which exit anywhere in space, which evade reality, which do all they can to become disembodied in the very moment in which they become visible. They have atmosphere without locality, and that is what Mr. Craig can give us so easily." Page 361: "[Craig’s] theory, then, in brief, is this: he defines the theatre as ‘place in which the entire beauty of life can be unfolded, and not only the external beauty of the world, but the inner beauty and meaning of life.’ He would make the theatre a temple in which a continual ceremony unfolds and proclaims the beauty of life, and, like the churches of other religions, it is to be, not for the few, but for the people. Page 382: [Pantomime] "observes nature in order that it may create a new form for itself, a form which, in its enigmatic silence, appeals straight to the intellect for its comprehension, and, like ballet, to the intellect through the eyes."

Symons, Arthur. The Fool of the World and Other Poems. New York: John Lane Company, 1907. Notes: Flyleaf: Inscribed "Una Küster Nov. 1908." Survey of marks in book: Check marks beside "Wind in the Valley," "Wind at Night," "Giovanni Malatesta at Rimini," and beside the last two lines in "For a Picture of Rossetti": "This is what Rossetti says / In the crisis of a face." Below "The Lovers of the Wind" is written "(cf. moon rakers)". In the upper right-hand corner of the page for "An Epilogue to Love" are the letters "FMC" written in pencil and enclosed by a circle. Back flyleaf: In hand (pencil), the following note and lines: "Venice -- from The Atlantic - February 1909. Probably the last poem published in America by Arthur Symons. I. Minuet -- The Masque of the Ghosts / The colored dancing shadows creep / Like ghosts from a mysterious street; / And Venice wakens out of sleep / At the sound of their feet. / Here Pulcinello solemn stands / And the pale patient Pierrot shakes / His shivering shanks and starving hands, / And Columbine awakes. / She has forgotten him, and gay, / Runs past him toward the colonnades / Where the immortal masquers stay, Unhappy shades. / Their aching hearts beneath their masks / Palpitate like caught butterflies; / They move in their appointed tasks / With disappointed eyes. / The music of a minuet / Beckons to their unwilling feet: / The light loves, they would fain forget,/ The stately measures slowly beat. // Dear, disappointed shades of joy / That lived merrily without thought,/ Your hearts are turned into a toy / To be tossed and caught. / Venice, the tyrant of the years / Commands you to perpetuate,/ With listless feet and weary tears, the sunken splendors of her state. / II. Capriccio: Barcarolo / Love is brittle: / Love me a little! / The gondola sways / And we are carried / By the water-ways / Into silence. / All loves fade / Into a shade! / The gondola slides / Under a dark arch / Let us put aside / A thing so uncertain / As love. / Why feign / When love’s so plain? / The canal is wider, / We are in daylight: / How far away, / We, together / Are, one from another? / Love me a little / Though love is brittle / And as tortuous / As the waterway."

Symons, Arthur. The Romantic Movement in English Poetry. New York: E. P. Dutton and Company, 909. Notes: Flyleaf: Inscribed "Una Küster. Dec. 1909." Page 194: In pencil, below a reference to "Gertrude of Wyoming" in the chapter on Thomas Campbell, the words "Wyoming Valley in Penn." Page 70: Loose, a clipped article by Arthur Symons, "Rossetti on the Cornish Coast" (from The Bookman; "The Sketch Book" section, pp. 604-10).

Symons, Arthur. The Symbolist Movement in Literature. New York: E. P. Dutton and Company, 1908. Notes: Inside front cover: Loose, clipped article from an unidentified newspaper’s Sunday magazine "book advertising"-review section: "Arthur Symons--A Study in Values: A Critic’s Attempt to Formulate a System of Esthetics," by William Stanley Braithwaite, and including a photo of Symons. Page 53: In chapter on Villiers de L’Isle Adam, pencil lines mark the passage, "It is certain that the destiny of the greater part of the human race is either infinitely pathetic or infinitely ridiculous. Under which aspect, then, shall that destiny, and those obscure fractions of humanity, be considered?" Page 55: Pencil marks alongside the passage, ". . . for he had the dangerous gift of a personality which seems to have already achieved all that it so energetically contemplates." Page 106: In the chapter on Jules LaForgue, Symons observes, "Evidently, one dies without knowing it, as, every night, one enters upon sleep. One has no consciousness of the passing of the last lucid thought into sleep, into swooning, into death. Evidently." Una notes in the margin, "of Geo Moore’s ‘Memoirs’ last chapter." Page 161: In the chapter titled "Maeterlinck as a Mystic," penciled lines mark the passage which reads, "Belonging, as he does, to the eternal hierarchy, the unbroken succession, of the mystics, Maeterlinck has apprehended what is essential in the mystical doctrine with a more profound comprehension, and thus more systematically, than any mystic of recent times." Page 172: In the book’s conclusion, lines mark the passage which reads, "The fear of death is not cowardice; it is, rather, an intellectual dissatisfaction with an enigma which has been presented to us, and which can be solved only when its solution is of no further use. All we have to ask of death is the meaning of life, and we are waiting all through life to ask that question." Page 173: Lines mark the passage where Symons observes, "Well, the doctrine of Mysticism, with which all this symbolical literature has so much to do, of which it is all so much the expression, presents us, not with a guide for conduct, not with a plan for our happiness, not with an explanation of any mystery, but with a theory of life which makes us familiar with mystery, and which seems to harmonise those instincts which make for religion, passion, and art, freeing us at once of a great bondage."

Synge, John M. Poems and Translations. Dublin: Maunsel and Company, Ltd., 1911. Notes: Flyleaf: Inscribed in RJ’s hand "Una Kuster, San Francisco, November, 1912. J.R.J." Inside front cover: Loose, clipped article, (possibly from The Dublin Magazine, pp. 62-63, n.d.) titled, "Synge and Irish Literature," a review of Daniel Corkery’s Synge and Anglo-Irish Literature.

Synge, John M. The Complete Works of John M. Synge. New York: Random House, 1935. Notes: Flyleaf: Inscribed "Una Jeffers. Tor House, Carmel." Inside back cover: In Una’s hand, "Synge said of his ‘The Playboy of the Western World,’ ‘I wrote this directly as a piece of life without thinking or caring to think, whether it was comedy, tragedy or extravaganza.’"

Tennyson, Alfred Lord. The Poetical Works of Alfred Lord Tennyson. Eugene Parsons, Ed. New York: Thomas Y. Crowell and Company, 1900. Notes: Flyleaf: Inscribed "Una Call." Pasted below, a clipped picture of a woodcut, "The Sleeping Beauty." Page 296: Loose, a picture postcard from the Victoria and Albert Museum, showing Dorigen of Bretagne, by Sir E. Burne-Jones (mended with tape). Inside back cover: Pasted-in clipped picture of Doré’s Elaine and captioned, "In the Mood of ‘Pure Victorian Romance.’"

Tennyson. Alfred Lord Tennyson: A Memoir by His Son. New York: The Macmillan Company, 1911. Notes: Inside front cover: Loose, a clipped newspaper review, by Richard Le Gallienne, of Tennyson: A Modern Portrait by Hugh l’Anson Fausset. Front flyleaf: Pasted in, "Probably the Last Portrait of Tennyson." At page 1: Clipped sketch signed "Tennyson." Between Parts I and II: two clipped engraving of Tennyson. Page 434: Clipped article, "Wilfrid Ward and Tennyson" by Maisie Ward. Inside back flyleaf: In hand (Una’s?), "‘Here is a glorious sunshiney day: all the morning I read about Nero in Tacitus; lying at full length on a bench in the garden; a nightingale singing, and some anemones eyeing the sun manfully not far off. A funny mixture all this, Nero and the delicacy of spring: all very human, however. Then at half-past one lunch on Cambridge cream cheese; then a ride over hill and dale; then spudding up some weeds from the grass; and then coming in, I sit down to write to you, my sister winding red worsted from the back of a chair and the most delightful little girl in the world chattering incessantly. You think I live in Epicurean ease; but this happens to be a jolly day: one isn’t always well or tolerably good; the weather is not always clear nor nightingales singing nor Tacitus full of pleasant atrocity. But such as life is, I believe I have got hold of a good end of it.’ Edward Fitzgerald’s Letters."

The Automobile Association Handbook, 1937-1938. London: The Automobile Association, 1937. Notes: Title page: Inscribed "Una Jeffers, Tor House, Carmel, California."

The Ballad Minstrelsy of Scotland: Romantic and Historical. Glasgow: Maurice Ogle and Company, 1871. Notes: This book is worth mentioning because it is copiously marked, but it is impossible to tell whether it was marked by Una or by another careful reader.

The Bibelot: A Reprint of Poetry and Prose for Book Lovers, chosen in part from scarce editions and sources not generally known. Volume 9. Portland, Maine: Thomas B. Mosher, 1903. Notes: In the section titled "A Little Cycle of Greek Lyrics," Una Jeffers has meticulously written, in hand, excerpts from translations of Greek poetry: (1) "A ship wrecked sailor buried on this coast / Bids you set sail / Full many and gallant bark when he was lost / Weathered the gale. / (p. 64; in ‘From Meleagar III’)." (2) "Phoebis who holdest the sheer steep of (Lem[?] Levi[?]) as / far seen of mariners and washed by the / Ionian sea receive of sailors this mess of / hand-kneaded barley bread and a libation / mingled with a little cup and the gleam of a / brief-shining lamp that drinks with half-saturate mouth from a sparing oil-flask; / in recompence whereof be gracious and / send on their sails a favorable wind to run / with them to the harbours of Actium. --Phillippus. (J. W. MacKail’s translation (p. 66; in ‘From Meleagar V’)." (3) "O Melicerta son of Ino, and thou, sea-green Leucothea, / mistress of Ocean, daily - / that shieldest from harm and choirs / of the Nereïds and waves and thou Poseidon, / and Thracian Zephyrus, gentlest of winds / carry me propitiously sped through the / broad wave, safe to the sweet shore of / the Peiraeus. Philodemus. (p. 67; in ‘From Meleagar IV’)." (4) "Harbour - God, do thou, O blessed one, send / with a gentle breeze the outward-bound sail / of Archelaus down smooth water even to the / sea; and thou who hast the point of the / shore inward, keep the convoy that is bound / for the Pythian shrine: and thencefor - / ward, if all we singers are in Phoebus’ / care I will sail cheerily on with a fair - / flowing west wind. --Antiphilus (p. 70; in ‘From Meleagar IX’)." (5) "Ocean lies purple in calm, for no gale / whitens the fretted waves with its ruffling / breath and no longer is the sea shattered / round the rocks and sucked back again / down towards the deep. West winds breathe / and the swallow twitters over the straw - / glued chamber that she has built. Be / of good cheer, O skilled in seafaring / whether thou sail to the Syrtis or the / Sicilian shingle; only the altars of Priepus / of the Anchorage burn a scarus or ruddy / wrasse.--Agathias. (p. 72; in ‘From Sappho’)." (6) "Now is the season for a ship to row through the / gurgling water and no longer does the sea / gloom, fretted with gusty squalls and now / the swallow plasters her round houses, / under the eaves and the soft leafage / laughs in the meadows. Therefore wind / up your soaked cables O sailors, and / weigh your hidden anchors from the / harbours and stretch the forestays to carry / your well-woven sails. This I the son of / Bromius bid you, Priapus of the / anchorage, Antipater of Sidon / (p. 74; ‘From Callimachus.’)." (7) "They call me the little one and say I can- / not go straight and fearless on a prosperous voy- / age like ships that sail out to sea; and I deny / it not; I am a little boat, but to the sea all is equal; fortune, not size makes the differ-/ ence. Let another have the advantage in rudders; for some put their confidence in / this and some in that, but may my salvation / be of God. --Leonidas of Tarentum. (p. 76; ‘From Leonidas’)." (8) "Drink not here, / travellers from this warm pool in / the brook full of mud stirred by the sheep at / pasture; but go a very little way over the ridge where / the heifers are grazing; for there by yonder pastoral / stone-pine thou wilt find bubbling through the / fountained rock a spring colder than northern / snow. Leonidas of Tarentum. (p. 77, ‘From Theocritus)."

The Book of Kells. London: "The Studio," 1927. Notes: Flyleaf: Inscribed "For the lovely lady Una who knows and loves Ireland and appreciates its achievements. Very best wishes from Albert. 1931." Title page: Loose, a clipped facsimile (black and white newsprint) from the Illuminated Lindisfarne Gospels. Page 14: Loose, a clipped article titled, "A Saint’s Book: Book of Kells, Famous Medieval Irish Manuscript Volume, Studied by American Architect for Possible Restoration," written by Dr. Frank Thone for Science News Letter, March 13, 1937.

The Donegal Highlands. Dublin, n.p., 1893. Notes: Title page: In Una’s hand, "Jeffers" and "Glenveagh 159-161." Inside front cover: A paper pocket holds a map, which appears not to have been marked, but which is too fragile to open for more thorough inspection. Pages 147-62: The volume opens readily, here, at the beginning of the chapter titled "Excursion to the Rosses" (in the section covering Ducarry, Lough Barra, and Glenveagh). Page 149: The note "S.V. 27/8/12," is jotted in the margin, alongside the passage that reads, "From Ducarry you ascend by a zig-zag road, and looking back one sees the pass to Lough Barra." (The same note is written in the margin surrounding a photographic plate showing the Ducarry Bridge in County Donegal.) The section on Ducarry is marked in pencil alongside the note about an especially comfortable "Scandinavian" hotel. Other passages marked include the Doe Castle text on page 189; the photograph of Doe castle on page 191; the Kilmacrenan entry on page 200; and, the text on Lifford, page 248.

The Holy Bible, Containing the Old and New Testaments, to Which are Appended--Notes Analytical, Chronological, Historical, and Geographical; a Biblical Index; Concordance; Dictionary of Scripture Proper Names; A Series of Map; and a Compendium of Scripture Natural History. Oxford: Oxford University Press, n.d. Notes: Flyleaf: Inscribed "A.R.T.J. from Hamilton, Sept. 5, 1888."

The Ideal Pocket Webster Dictionary, Self-Pronouncing. Cleveland: The World Syndicate Publishing Company, 1934. Notes: Front cover: In Una’s hand, "Jeffers, Tor House, Carmel."

The New Musical and Universal Magazine, Consisting of the most favourite Songs, Airs &c. as Performed at all Public Places adapted for the G. Flute, Violin, Guitar, and Harpsichord, also is included 16 Pages of Letter Prefs, of improving & agreeable Subjects Calculated for the Lady, Gentleman and Musician. Volume 2. London: I. French, "c. 1800" (this last noted in hand). Notes: Title page: Inscribed in ornate copperplate, "Eld. Curwen, Off. of Excise." Inside back cover: Note to "See page 32." Page 32: "Glee For three Voices Set by Mr. Long, This Glee gain’d the Prize Medal in 1767."

The Post Chaise Companion: Or, Travellers Directory through Ireland. Containing a New and Accurate Description of the Direct and principal Crofs Roads, with particulars of the Noblemen & Gentlemen’s Seats, Cities, Towns, Parks, Natural Curiosities, Antiquities, Castles, Ruins, Manufactures, Loughs, Glens, Harbours, &c.&c., Forming An Historical & Descriptive Account of the Kingdom. To which is added, A TRAVELLING DICTIONARY, or Alphabetical Tables, Shewing the distances of all the Principal Cities, Boroughs, Market & Seaport Towns in Ireland from each other. The 4th Edition, corrected and enlarged. With an entire New Set of Plates. Dublin: J. Fleming, n.d. Notes: Inside back cover: In Una’s hand, the following notes: "Old Court Castle (picture given me by Harry Toulmin, notes by Lady Meath of Kilruddery). Traditionally built by Sir Thomas Mulso in reign of Henry III. Document of Inquisition taken at Brae May 20, 1620 when Theobald Walshe seized in his demesne as of fee ‘in the town and lands of Old Courte now in Co Wicklow containing one castle one Water Mill & 60 acres arable land value 20/.’ Forfeited by Walshe in Rebellion of 1641 together with Rathdown and Rathin a cligge to Richard Edwards and Elizabeth his wife heiress of Col. John Kynaston and patented to them in 1666. Remained with that family until 1880 when it passed to Commissioner of Encumberred Estates in Ireland and purchased by Wm. 11th Earl of Meath. The late earl restored the keep (the best part of the ruins) of the castle in 1897 taking great care not to injure ancient masonry. Grounds around are let on lease to Mr. Joseph Addison." Una also notes page numbers relating to locations: "Coole 191 and 528, Florida 30ff., Old Court 423, Marble Hill 85 and 562, and Dromana 485"; she also calls attention to the text on page 553 regarding Irish wolfhound.

The Scottish Clans and Their Tartans. Edinburgh: W. & A. K. Johnston, Ltd., 1929. Notes: Inscribed "Una Jeffers, Oban, Scotland, September 1929." At map of Scotland: Loose, a clipped article about Scottish clans, and swatches of Lindsay tartans folded into order form.

The Scottish National Dress: A Handbook for Everyone Interested in Highland Dress. Edinburgh: William Anderson and Sons, Ltd., n.d. Notes: Inside back cover: In Una’s hand, "Allow 1.25 to cover postage & insurance," for a mail order.

The Shanachie: An Illustrated Irish Miscellaney. Volume 1. Dublin: Maunsel and Company, 1906. Notes: Page 68: Loose, two clipped journals articles: "The Kingdom of Kerry" by Liam O’Flaherty (pp. 213-219; no source) and "Irish Social Life Today" by Pamela Hinkson (pp. 345-354; no source).

The Southern Review. Vol. 7, No. 3, Winter 1941. The Louisiana State University, Baton Rouge. Notes: Cover: The front cover identifies this issue as the "William Butler Yeats Memorial Issue, Winter, 1942," but all other evidence suggests that it is from 1941. Edited by Cleanth Brooks Jr. and Robert Penn Warren. Articles by R. P. Blackmur, L. C. Knights, T. S. Eliot, F. O. Matthiessen, Delmore Schwartz, Horace Gregory, Donald Davidson, John Crowe Ransom, Kenneth Burke, Morton Dauwen Zabel, Allen Tate, Arthur Mizener, Austin Warren, Howard Baker, and Randall Jarrell. Inscribed on cover, "Una Jeffers."

The Village Homes of England. Ed. Charles Holme. London: "The Studio," Ltd., 1917. Notes: Flyeaf: Inscribed "Una Jeffers." Inside front cover: Pasted in, clipped pictures of Polperro, Cornwall; scenes of fishing boats and docks; and the Strand Gate, Winchelsea. Title page: Clipped picture of a hunting scene. Illustrations page: Loose, the following: (1) a New York Times Magazine article from August 1932[?] titled "A Pageant of Sport Lives in the Arts: From Drawing, Painting and Sculpture the Story of the Athlete and Sportsman Can Readily Be Reconstructed"; (2) anarticle titled "Yeats--and Philosophy" by Mario Rossi, published in Cronos (paper is badly worm- or bug-chewed around the edges); (3) two letters: the first dated "4 April 1943," from Box 136, Oceano California from "Ella [Young?]" who devotes a paragraph to her opinion of Yeats the man, and a second letter from the same writer dated June 22, 1949, in which she discusses the identity of "Diana Vernon"(Ella reports that Gavin Arthur identifed Diana Vernon as the Countess of Cromartie; a very fragile clipping from the Book Club of California’s Quarterly News Letter containing an article by Ellen Shaffer titled "The Cuala Press, Dublin," in which Ms. Shaffer describes a visit to the press owned and run by the women of the Yeats family; (4) an article clipped from the Dublin Sunday Independent, September 12, 1948, with a headline "W. B. Yeats Should Have State Funeral From Dublin," arguing for a belated ceremony for the writer who died in 1939; (5) a typewritten note from Zanesville, Ohio dated May 22, 1943, headed "Dear Mother" in which the writer identifies the Countess of Cromartie in 1931 (evidently a significant date) as Sibell Lilian Blunt-Mackenzie; (6) pasted in, a clipped photo of "One of the Great Trilithons, Stonehenge." At Table of Contents: Review of English Village Homes and Country Buildings by Sydney R. Jones clipped from the London Times, December 24, 1937. (NB: Unless otherwise noted, the following items have been clipped from magazines and newspapers.) Page viii: Pasted-in picture of the interior of a timbered sitting room. Page ix: Pasted-in pictures of Falmouth, Cornwall, and of an unidentified village scene drawn by Muirhead Bone. Page x: Pasted-in picture of Rochester, on the way to Canterbury. Page 1: Pasted-in picture of hunting scenes at Thurleigh Village, near Bedford. Page 110: Pasted-in pictures of a sketch of Anne Hathaway’s cottage, and of the Old Red Lion, Greenwich. Page 16: Pasted-in pictures: a farmhouse in Dorset; the Hayes Barton House, the birthplace of Sir Walter Raleigh; and the Dean’s House, Colaton, Ralegh. Page 17: Pasted in, a picture of a farmhouse interior, Dorsetshire. Page 18: A pasted-in picture of Kipling’s home, "the manor house of Bateman’s," Burwash, Sussex. Page 24: Pasted in, a cartoon captioned, "The roofs of buildings sag with the rise of centuries." Also pasted in on this page are pictures of a drawing of lamp, jug and fruit by Julia McCune Flory, and of a scene captioned "Shere near Canterbury; Isle of Wight." Page 27: Pasted in, a sketch of a village near Winchester, signed by Flory. Page 32: Pasted in, a copy of a sketch by Mrs. Humphrey Ward of the Borough Farm, near Godalming, Surry. Page 33: Pasted in, a picture of the Dorsetshire cottage which was the retirement home of T. E. Shaw (Lawrence of Arabia). Following page 36: Pasted in, pictures of an old bridge at Bridgnorth near Shrewsbury; St. Martin’s church, Wareham; and Thomas Hardy’s birthplace at Lower Bockhampton, near Dorchester, in Dorset. Page 37: Pasted in, pictures of Hinton Charterhouse and Porlock Village, both in Somerset. Page 38: Pasted in, pictures of the No Hurry Inn at Upware, Combs, and of Coleridge’s House at Nether Stowey, near the Quantok Hills, Somersetshire. Page 39: Pasted in, a view of Beckington, Somerset. Page 40: Pasted in, views of Deptford, Kent, and Shere, Surrey, "where the Canterbury pilgrims passed." Page 41: Pasted in, a picture of the Roman ruins at Bath. Page 42: Pasted in, pictures of a ruined mill at Winchelsea, Sussex; a sea road into Seaford; and of Patcham Mill on the Downs. Page 47: Pasted in, a picture of Milton’s cottage, "where Paradise Lost was written," at Chalfont St. Giles. Page 51: Pasted in, a scene taken at Lacock, Wiltshire. Page 52: Pasted in, pictures of the Twickenham Church on the Thames, and of an Oxford tower. Page 60: Pasted in, (1) a clipped copy of a poem, "I sing of Brooks, of Blossomes, Birds and Bowers" by Robert Herrick; (2) a poem titled "His Grange," and accompanied by a photo of the vicarage, Dean Prior, Devonshire; (3) a photograph of plum blossoms taken at Worcestershire. Page 61: Pasted in, two scenes: "Northamptonshire: Little Brington (the Washingtons’ cottage)" and "Principal Sreet of Flore (where the Adamses lived)." Page 62: Pasted in, pictures of Warwick Priory, "part dating to XII century" and of the village of Castle Combe. Page 64: Pasted in, a view (unidentified) of a building’s stone face and wall. Page 65: A clipped copy of an unattributed, undated paragraph describing the stone used in the Cotswolds: "I call this stone grey, but the truth is that it has no colour that can be described. Even when the sun is obscured and the light is cold, as it was that evening, these walls are still faintly warm and luminous, as if they knew the trick of keeping the lost sunlight of centuries glimmering about them. This lovely trick is at the very heart of the Cotswold mystery. It is this, and not the green hills, the noble woods, the perfect flowering of architecture, that makes these villages so notable an enchantment. If it were not for this, they would be beautiful, but cold and heavy, for Cotswold weather is often sullen. But not a sunny morning since the Wars of the Roses has passed here without conjuring a little of its warmth into the stones. Villages, manor houses, farmsteads, built of such magical material, do not merely keep on existing, but live like noble lines of verse, lighting up the mind that perceives them." Page 72: Pasted in, pictures of Hanwell Castle, and of Corfe Castle, Dorset. Page 74: Pasted in, pictures of the ancestral home of George Washington, and of the drawing room of a Tudor manor at Sulgrave, Northamptonshire. Page 80: priest’s house, Mulcheney, Somerset. Page 82: Pasted in, a picture of an Oxford cottage. Page 83: Pasted in, pictures of the Golden Cross Hotel, Oxford; of Cockinton, the Old Village, Devon; and of Flatford Mill, Ipswich (attributed to Constable). Page 84: Pasted in, a photograph of Flatford Mill, Suffolk, which was owned and worked by Constable’s father, and of "Willy Lot’s cottage, near the Constable mill, [which] figures in Constable’s ‘The Valley Farm.’" Page 88: Pasted in, a picture of the etching titled "Strolling Players at Lydd," by Sir Frank Short. Page 89: Pasted in, a view of Anne Hathaway’s house by Shottery, and a scene from Great Bartlow, Cambridgshire. Page 93: Pasted in, a view from Ashwell, Hertfordshire. Page 99: Pasted in, a Salisbury scene. Page 100: Pasted in, a picture of the Cathedral of St. Peter’s-on-the-Wall, Bradwell, Essex (handwritten notes: "Beyond the lonely grange of Eastlands the single remaining relic of Ithancaster, the old city swallowed by the sea"; and a picture of Woolsthorpe, Lincolnshire, the birthplace of Sir Isaac Newton. Page 107: Pasted in, pictures of the "Newport Arch," Roman North Gate, Lincoln, and of Ponden Hall, Yorkshire, which is thought to be the "Thrushcross Grange" of Wuthering Heights. Page 108: Pasted in, six clippings labeled collectively "Houses in the Lake District" (one view is identified as Pink Lych Gate at Grasmere). Page 110: Pasted in, scenes from Haworth--the Black Bull, Main Street, and the hill top at Thornton. Also pasted in is an unattributed, undated description of "the Brontë Country," which in part says, "Its beauty is the beauty of grim expanses, the stark outlines of rocks, the wild gloom of the moor when the portesting [sic] heather bends to the north wind or reflects the grey of the lowering clouds." Page 115: Pasted in, a picture of Orley Farm, where Trollope lived when at Harrow. Page 119: Pasted in, a picture of High Withers, near Haworth, thought to be the site of Wuthering Heights, and a clipping describing occasion for the erection of a cross at "Stevington, near Haworth." Page 123: Pasted in, a clipped drawing captioned "The Nevinsons’ Old Home at Newby, in Westmorland." Page 126: Pasted in, pictures of Norham Castle on the Tweed, and of a scene "on the road to Gretna." Page 127: Pasted in, a scene from Gretna Green, captioned, "Famous Smithy, the Reputed Scene of Its Most Famous Runaway Marriages." Page 128: Pasted in, three pictures: (1) the old bridge at Polesden Lacey, near Dorking, "once the home of R. B. Sheridan"; (2) The Doris, Hammersmith, "where Thomson wrote "The Seasons"; and (3) The Barracks at Cawley. Page 34: Pasted in, a picture of the old posting house at North Lancing, Sussex, built in the 16th century. Page 139: Pasted in, four items: (1) a picture of Bateman’s, the sixteenth century house below Burwash, in which Kipling lived; (2) the Bell Inn, Burwash, which was used in the gun running story, "Hal o’ the Draft"; (3) Park Mill on Kipling’s Farm, described in "Puck of Pook’s Hill"; and (4) two paragraphs describing the appearance and character of Burwash (Devon), and its relationship to Kipling’s idealized recollections in his poem "Charm." Page 141: Picture of Much Wenlock Abbey, Shropshire. Page 146: Pasted in, a picture of Emmott Hall, Yorkshire. Page 147: Pasted in, a view of farmhouses, near Sussex. Page 149: Pasted in, a view of Farleigh Castle, near Bristol. Page 154: Pasted in, two pictures: the "Coupe-Sark," a narrow natural causeway which lies between Great and Little Sark, Channel Islands; and Peveril’s Castle, Derbyshre. Page 162: Pasted in, pictures of Rushen Abbey, and of the Church of St. Candida and Holy Cross, at Whitchurch, Canonicorum. Page 163: Pasted in, a picture of an Elizabethan cottage at Sedlecombe, East Sussex. Page 164: A clipped copy of the essay titled "Of Building," by Thomas Fuller (1642), in which Fuller argues, "In building we must respect Situation, Contrivance, Receipt, Strength, and Beauty." Fuller concludes his treatise with the following historical perspective: "The spirit of Building first possessed people after the floud, which then caused the confusion of languages, and since of the estate of many a man." Page 165: Pasted in, a pictures of Canon’s Ashby, Northamptonshire. Inside back cover: Pasted in, a picture of a sixteenth-century street scene, London, and pictures of some old prints from Stratford-on-Avon.

Thomas, Edward. The Augustan Books of Modern Poetry: Edward Thomas. London: Ernest Benn Ltd., aft 1920. Notes: Inscribed on cover in Una’s hand, "Una Jeffers, from Timmie and Maude Clapp, London Dec. 1926." Page 6: At the location for the poem "The Manor Farm," a pasted-in clipped copy of Thomas’ "Cock-Crow." Page 18: At the end of the poem "Words," a pasted-in copy of a poem (no title, no attribution) which begins, "Yes, I remember Adlstrop. . . ."

Thomas, Edward. The Icknield Way. London: Constable and Company, 1929. Notes: Flyleaf: Inscribed "Una Jeffers, ‘Kerry Vu,’ Britwell Salome, Wattington, Oxfordshire, England. From Hans and Phoebe Barkau." Inside front cover: Loose, four clipped news articles: (1) "Car and Country: in Chiltern Woods"; (2) "In the Golden Woods [Chiltern Hills]"; (3) "The Golden Trees [Luton to Henley-on-Thames]"; (4) "A Day in the Chiltern Hills: Old Roads and New," by John Prioleau; (4) untitled (title cut away) article about touring the area between Oxford, Thame, High Wycombe, and Marlow. Inside back cover: Pasted in, a clipped sketch captioned "Cathedral Close, Salisbury--the North Gate, " and a clipped photo captioned "Chanctonbury Ring."

Thomas, Helen. World Without End. New York: Harper and Brothers, 1931. Notes: Flyleaves: Inscribed "Una Jeffers." Pasted onto the second flyleaf, a clipped copy of a charcoal sketch of Helen Thomas.

Thomas, Northcote W. Crystal Gazing: Its History and Practice, with a Discussion of the Evidence for Telepathic Scrying. New York: Dodge Publishing Company, 1905. Notes: Flyleaf: Inscribed "Una Kuster, June 1910." Page 156: A clover leaf is pressed between the pages.

Timbs, John and Alexander Gunn. Abbeys, Castles and Ancient Halls of England Wales: Their Legendary Lore and Popular History. London: Frederick Warne and Company, n.d. 3 Volumes. Volume 2 Notes: This volume focuses on the Midlands. Inside back cover: Pasted-in clipped photographs of the towers of Warwick Castle, and of the castle itself, which lies on the banks of the Avon. Volume 3 Notes: This volume focuses on the North. Back flyleaf: Pasted in, a clipped photo panel captioned, "The carved black oak stairway in Durham Castle, now used as Durham University. Below--The Sanctuary Knocker on the north door of Durham Cathedral. The Cathedral in ancient times was vested with the right of sanctuary. This right might be claimed by any criminal fleeing from the law or his enemies. Once he succeeded in laying his hand on the knocker he might remain safely in the Cathedral for 37 days." Note in Una’s hand reads, "see page 268." Page 268: The opening page of the chapter titled "Durham," and subtitled "Durham Cathedral.--Remains of St. Cuthbert." The chapter records several legends and considerable detail regarding the preservation of St. Cuthbert’s body.

Tolstoy, Count Leo. Anna Karenina. New York: The Modern Library, n.d. Notes: Inside front cover: Loose, a page of typescript identified in hand (Una’s?) as being "from Nicolai Berdyayev, ‘Philosophy of Inequality,’ trans. by Henry Lanz, School of Letters, Dept. Slavic Studies, Stanford; rec’d. May 3, 1933." The text reads as follows: "On religious and ontological foundations of society. . . . ‘You are simplifiers and mixers. Therefore reality escapes from under your hands. In your hands remain only fragments of reality, the dust of existence. This rationallistic and hysterical slaughter of reality you have extended to science and politics. You love to moralise over historical foundations and historical past. But you feel irritated by the absurdities of the past in which you see nothing but evil and violence. You seem unable to comprehend that in the very evil and violence comitted by history there was its own peculiar truth, reflection of Providence in the darkness of ages. . . . Societies are real organisms. But for you only atoms and masses exist. You would like to carry history through universal franchise, and you are a priori confident that the voting masses will never approve of their own history. History cannot proceed by the majority vote; on democratic principles history could not have even started. The social atoms and masses would never vote for the sacrifices with which history is bought. . . . History begins in heaven. . . . The life of mankind is merely a link in the evolution of stars. . . . History has its roots in cosmos. . . . Ivan Karamozov’s protest against a single tear of a child, against suffering with which history is bought, is rejection of the high meaning of life, renunciation of the divine order. The atheist does not accept a world in which pain and suffering exist; he rises against God in the name of universal happiness of mankind on earth. And yet immediately he is ready to cause innumerable tears and approves of immense quantity of suffering, in order that the stage of happy and painless life for all mankind should be reached. Such is the inner contradiction of all revolutionists. . . . When France was in the grip of terror, Robespierre delivered his famous speech against capital punishment . . . You, Russian intellectual revolutionists, you loved to talk about the tear of an innocent child, about the suffering of the people; that used to be your favourite theme. But when the hour of your kingdom had arrived you revealed unprecedented cruelty, covered your land with an ocean of tears, and caused an immense quantity of pain and suffering. . . . Your humanitarian and sentimental interference for the rights of Man, your hysterical desire to free him from suffering, constitutes your atheism and your lack of confidence in man. . . . Acceptance of the meaning of suffering, of the meaning of destiny, constitutes our faith in God and in man. . . . Is not it terrible and sad to think that Moses ascended Mount Sinai, Greeks erected their beautiful temples, Romans fought Punic wars, apostle preached and martyrs suffered agonies in the dungeons of Roman police, - only to make it possible for a German, or French, or Russian businessman to be prosperous and happy, individually or collectively, upon the ruins of this past glory?"

Trelawny, Edward John. Trelawny’s Recollections of the Last Days of Shelley and Byron. London: Henry Frowde, 1906. Notes: Back flyleaf: Pasted in, a letter to The Times Literary Supplement correcting certain details in Trelawny’s book regarding bodies and other objects taken up after the wreck of Shelley’s boat.

Trollope, Anthony. The Warden. London: J. M. Dent and Sons, 1916. Notes: Pages 216-17: Loose, a 3" x 3½" card, printed, in several colors, with Trollopean figures: a man, woman and child, dressed in finery. Text on page 216 reads, "The pamphlet which Tom Towers pushed across the table was entitled ‘Modern Charity,’ and was written with the view of proving how much in the way of charity was done by our predecessors--how little by the present age; and it ended by a comparison between ancient and modern times, very little to the credit of the latter." Text on page 217 reads, "‘This carding of wool, however, did in those days bring with it much profit, so that our ancient friend, when dying, was declared, in whatever slang then prevailed, to cut up exceedingly well. For sons and daughters there was ample sustenance, with assistance of due industry; for friends and relatives some relief for grief at this great loss; for aged dependents comfort in declining years. This was much for one old man to get done in that dark fifteenth century. . . . "

Ulster: The Official Publication of the Ulster Tourist Development Association Limited. Belfast: Wm. W. Cleland Ltd., n.d. Notes: Inside front cover: Destinations noted, in Una’s hand: "Rathlin, Bun-na-Margy, Canide-a-Ride, Lanig Usneach, Fair head, Glenn, Glenallaje, tor Head, Dunhice, Aura Mt., Florida, Maghera, Ram’s Island." Title page: Noted, in Una’s hand, "Armagh - Brian Bomgrasne, Warrenfort - Restrim Rd, Narrowwater Castle." (Handwriting here is difficult to read.)

Untermeyer, Louis, Ed. American Poetry 1927: A Miscellany. New York: Harcourt, Brace and Company, 1927. Notes: Flyleaf: Inscribed "Una Jeffers." This volume contains fifteen poems by Robinson Jeffers: "Apology for Bad Dreams," "Adjustment," "Compensation," "Promise of Peace," "Age in Prospect," "Ante Mortem," "Post Mortem," "The Beach," "Summer Holiday," Love-Children," "Noon," "Clouds at Evening," "October Evening," "Pelicans," and "Credo."

Untermeyer, Louis, Ed. Modern American Poetry: A Critical Anthology. New York: Harcourt, Brace and Company, 1936. Notes: This volume contains nineteen Jeffers poems: "Compensation," "Age in Prospect," "Ante Mortem," "Post Mortem," "Noon," "Clouds of Evening," "To the Stone-Cutters," "Gale in April," "Apology for Bad Dreams," "Promise of Peace," "Birth-Dues," "Summer Holiday," "Credo," "Pelicans," "Love the Wild Swan," "Night," "Shine, Perishing Republic," "Divinely Superfluous Beauty," Hurt Hawk." Pages 400-03: Untermeyer provides a lengthy critical introduction to Jeffers and his work, including a "condensed autobiography" written by Jeffers: "Born in Pittsburgh in 1887; my parents carried me about Europe a good deal. Of the first visit I remember three things--a pocketful of snails loosed on the walls of a kindergarten in Zürich, paintings of Keats and Shelley hanging side by side somewhere in London, and Arthur’s Seat, the hill above Edinburgh. When I was fifteen I was brought home. Next year my family moved to California and I graduated at eighteen from Occidental College, Los Angeles. After that, desultory years at the University of Southern California, University of Zürich, Medical School in Los Angeles, University of Washington, but with faint interest. I wasn’t deeply interested in anything but poetry. I married Una Call Kuster in 1913. We were going to England in the autumn of 1914. But the August news turned us to this village of Carmel instead; and when the stagecoach topped the hill from Monterey, and we looked down through pines and sea-fogs on Carmel Bay, it was evident that we had come without knowing it to our inevitable place." After a discussion of Jeffers’ most notable publications, Untermeyer concludes, "In his shorter poems, as well as in the longer and more elaborate work, Jeffers sounds a new music. He achieves a startling paradox: he sings death with such fervor that his bitter darkness shines more vividly than most surrounding sweetness and light. Here one must, somehow, separate the idea and its expression, remembering that the poem transcends the experience of the personality that prompted it. It is especially necessary in this work, for between Jeffers the philosopher and Jeffers the poet there is a significant dichotomy. The philosophy is negative, repetitious, dismal. The poetry, even when bitterest, is positive as any creative expression must be; it is varied in movement and color; it vibrates with reckless fecundity. It is like nothing else of which we can boast; it is continually breaking through its own pattern to dangerous and unfathomed depths. This is not a work to be enjoyed without sacrificing that sense of ease dear to the casual reader; it is doubtful if, in the common sense, it can be ‘enjoyed’ at all. But here is undeviating, full-throated poetry, remarkable in sheer drive and harrowing drama, a poetry we may never love but one we cannot forget."

Untermeyer, Louis, Ed. A Treasury of Great Poems, English and American, from the Foundations of the English Spirit to the Outstanding Poetry of Our Own Time, with Lives of the Poets and Historical Settings Selected and Integrated. New York: Simon and Schuster, 1942. Notes: This volume includes two Jeffers poems, "Post Mortem" and "To the Stone Cutters"; Untermeyer’s introduction to the Jeffers poetry reads as follows: "To Robinson Jeffers the earth was hopelessly prostrate; people were ‘all compelled, all unhappy, all helpless’; human nature was ‘ignoble in its quiet times, mean in its pleasures, slavish in the mass’; civilization was a transient sickness, and consciousness a walking disease. There was only the alleviation of a ‘divinely superfluous beauty,’ of moments when a tragic deed might ‘shine terribly against the dark magnificence of things,’ and there was always death, the beautiful though capricious savior, ‘the gay child with the gypsy eyes.’ God is cruel; but Jeffers, like a pessimistic Francis Thompson, acknowledges there is no escaping him[:] ‘The world’s God is treacherous and full of unreason; a torturer, but also / The only foundation and the only fountain. / Who fights him eats his own flesh and perishes of hunger.’ In lines of uncompromising negation but indubitable force, Jeffers praises stoical defeat and desperate energy; he regards an unnecessary, and almost irrelevant, humanity with pity if not with active sympathy. ‘Unmeasured power, incredible passion, enormous craft; no thought apparent but burns darkly / Smothered with its own smoke in the human brain-vault: no thought outside: a certain measure in phenomena: / The fountains of the boiling stars, the flowers on the foreland, the ever-returning roses of dawn.’ Robinson Jeffers was born January 10, 1887, in Pittsburgh, Pennsylvania. Son of a theologian and a mother twenty-three years younger than the father, Jeffers was brought up on the classics. His father took him through Europe on walking trips, and the boy attended schools in Switzerland and Germany for three years. His academic education was completed at Southern California in medicine and at the University of Washington in forestry. A legacy left by a cousin made it possible for Jeffers to give all his time to writing; his first and most uncharacteristic volume, Flagons and Apples, was published at his own expense. At twenty-six, he married Una Call Kuster and planned to go to England. But the news of the war turned them back to California, and when they reached Carmel, Jeffers said that ‘it was evident that we had come without knowing it to our inevitable place.’ There Jeffers remained. Years later, with his own hands and with the help of his twin sons, he built a house not of ivory but of headland boulders. Nevertheless, it was a tower in which he could immure himself and escape the world. Since 1912 Jeffers has published seventeen volumes of verse which announce a powerful if somewhat monotonous pessimism, a fearful hatred of life and an obsession with ‘self-destructive’ love. ‘The calm to look for is the calm at the whirwind’s heart,’ he assures a war-torn world in "Be Angry at the Sun". But all of his poems are complacent preludes to Doomsday. Again and again Jeffers praises a violent individualism, and writes melodramatically about the tragic struggle toward self-realization, bitter recognition, and the ennobling power of pain [then follows "Post Mortem"]. "If most values are inconsequential in a universe which flees ‘the contagion of consciousness,’ the protesting mortal may learn hardihood from the rocks; he can draw courage, though no comfort, from the merciless air. There still is ‘the leopard-footed evening,’ and, for pure contemplation, the wings of hawks, the storm dances of gulls, the heartbreaking beauty which remains when there is no heart to break for it. And, sometimes, there is brief joy of the written word, the ‘honey of peace in old poems.’" (Then follows "Stone Cutters", etc.)

Van Doren, Mark, Ed. American Poets: 1630-1930. Boston: Little, Brown and Company, 1932. Notes: This volume includes eleven poems by Robinson Jeffers: "Night," "Birds," "Haunted Country," "Continent’s End," "Fawn’s Foster-Mother," "The Summit Redwood," "Ascent to the Sierras," "Bixby’s Landing," "Ocean," "Hurt Hawks," "Apology for Bad Dreams." Inside back cover: Pasted in, a clipped picture of Ezra Pound, from a portrait by Rolando Monti.

Verlaine, Paul. Choix de Poésies. Paris: Bibliothèque-Charpentier, 1910. Notes: Page 244: Loose, a brown bird feather.

Waddell, Helen. Mediaeval Latin Lyrics. New York: Henry Holt and Company, 1933. Notes: Inside back cover: In Una’s hand, three page numbers are noted: 55, with the note, "melilot - honey clover"; page 55 contains a translation of "Boethius." 77, with the note, "Go to the land whose love gives thee no rest / Again to Irish land"; page 77 contains the final three stanzas of "Colman: Written by Colman the Irishman to Colman returning to his own land." 133, with the note, "the swallow"; page 133 contains the poem "Radbod: The Swallow."

Wakeman, W. F. The Tourist’s Guide to Ireland. Dublin: The "Official Guide" Limited, n.d. Notes: (This volume appears to date from the turn of the century.) Several passages are marked in the section headed "First Excursion" relating to Killarney: Aghadoe; the remains of the fortress of the O’Sullivans; More; Lord Brandon’s Cottage; golden eagles at the Middle Lakes; Dinis Island; Innisfallen; and Ross Castle. Several passages are marked in the section headed "By Steamer to Cork Harbour": St. Patrick’s Bridge; Cork Harbor; and Queenstown. Throughout the index, Una has marked particular destinations: Dublin, Wicklow, the Boyne, Meath; North Ireland - Antrim, Donegal; West of Ireland - Mayo, Connemara, Athlone, Galway, Lough Corrit, etc. Southern and Western Donegal; Scattery Island; Dunster, Killarney, Cork, Limerick, etc.; Castletown Kinneigh; Ardmore; Cloyne; Cashel; Aghadoe. Jotted in faint pencil inside the back cover [very difficult to make out in some cases], among advertisements: "Aghadoe, Clondalkin, Clonmacnorse, Inniscattra, Kildare, Kilkenny, Kilmaderagh, Roscrea, Killala, Ardmore, Aranmore, Kilrush, Cashel, Yeindalough[?], Lusk, Sinrds[?], Cloyne, Antrim, Donnyhina, Monasturbirce, Slane, Trim, Drumbo[?], Kam Island, Clones, Diverush, Drumcliffe, Oughterard[?], Melic, Turleigh."

Wakeman, William F. A Hand-Book of Irish Antiquities, Pagan and Christian; Especially of Such as are of Easy Access from the Irish Metropolis. Dublin: Hodges, Figgis, and Company, 1891. Notes: Half-title page: Page numbers are noted, in hand, for guides to Dowth, Newgrange, Monasterboice and Mellifont Abbey. Page ix: Marked is a passage lamenting the lack of attention paid by the Irish to their own antiquities, preferring instead to "rush annually to the French megaliths, and bring home sketch-books full of views and measurements." Pages 83-80: In the chapter titled "Primitive Funeral Rites," Una has noted several passages which describe the carns (some so large that they have been attributed to giants) which mark the graves of the pre-Christian inhabitants of the island. Pages 321-22: In the Index, page numbers are noted for Cashel, Swords, Lusk, Rathmichael, Cloyne, Kilmallock, Kilkenny, and Glendalough. Advertisement pages: Pasted in, a clipped photo captioned, "St. Patrick’s Day Memoir--Ruins of the Church of St. Tassagh Raholp, Which is Intimately Connected with the Life of St. Patrick." On an advertisement page listing for sale several volumes on Irish cultural history, Una has added two more names: "Brash ‘Ecclesiastical Architecture of Ireland’ 1875" and "Stokes ‘Early Architecture in Ireland’ 1878." Pasted in, a clipped photograph captioned, "Milltown Castle, about a mile north-west of Dromiskin, County Louth. A fine Norman keep in a very good state of preservation." Back flyleaves: (1) Pasted in, a clipped article titled, "Gold Collar’s Fate. Co. Clare Man Spurns Find. Antiquarians Now Seek It"; this is the story of a gold collar, 2500 years old, which was thought by the man who found it to be a cause of bad luck, so he and his neighbors let it lie along a country path, untouched, for two years. (2) Two notes in Una’s hand: "Sculptured and inscribed stones of Christian Ireland--200 agham stones, 250 tombstones, 7 pillar stones, 4 altar stones, 1 mass stone, 1 quern stone, 45 high crosses." The second note, dated January, 1934, reads, "Sir Flinders Petrie commenting on Irish gold work found in Gaza says, ‘Long before the days of Moses, Ireland was the greatest source of gold in Europe.’" (3) On the opposite page, in Una’s hand, this note: "Book of Kells circa 650-690; Book of Leinster circa 1160; Book of Ballymote circa 1300." Inside back cover: Loose, three newspaper clippings, all of which lack dates and sources: (1) A photograph, captioned, "The Giant’s Ring, Belfast. Our Photo is of an Earthen Lis, or Prehistoric Fort, Crowning the Top of a Hill Near Belfast. It is 580 feet in Diameter, and is the Largest of Its Kind but One in the British Isles"; (2) "Interesting Discovery in Field Near Cong," an article describing the discovery of a "series of underground rooms and passages believed to date back to prehistoric times." (Una writes on the clipping, "Connaught Telegraph, Castlebar, May 7, ‘49"); and (3) An article by J. Harris Ren detailing the history of the Cistercian Monastery of Nendrum on Mahee Island, near Comber.

Waley, Arthur. Translations from the Chinese. New York: Alfred A. Knopf, 1955. Notes: Page 112: Loose, a handwritten letter signed by Mrs. W. J. Hegelheimer, with the return address, Little River Farm, So. Dartmouth, Massachusetts, and dated April 21, 1957: "My dear Mr. Jeffers, I am in the throes of reading your very prolific and cursive[?] writings; before my fickle fancy leads me elsewhere, I must tell you how gratified I am by your great wisdom and integrity of purpose, your ‘Theory of Truth,’ for example. You have helped to spark my curiosity and have rekindled my dormant interest in the search for beauty (truth). I am of the belief that beauty lies in the search itself, the end (truth) being merely the trick to give us purpose for the search; there being no end to this always unattainable earthly goal--until death, or age, or futility cuts off the search. I have heard, from a reliable source, that you are not in sympathy with the visual arts: this may be so; I know, however that you are truly empathic as regards to mankind, else why would you write? You have, unwittingly, given me a deeper insight to the essence of my husband’s work as a non-objective landscape painter. His theme is greatly akin to yours: as in ‘Summer Holiday’ and ‘Life from the Lifeless.’ I will remain always in debt to you for helping to enrich my ideas and thoughts with your words of wisdom. Thanks, too, to your devoted wife Una, to whom you give so much credit for your work. Sincerely, Mrs. W. J. Hegelheimer." It might be noted that this letter was placed in a book that combines English translations of selected Chinese poems with illustrations by Cyrus L. Baldridge. The poems on the pages where the letter rests may or may not have significance; in any case, they provide a sample of what is in the book: (1) "Business Men," by Ch’en Tzu-ang (A. D. 656-698): "Business men boast of their skill and cunning / But in philosophy they are like little children. / Bragging to each other of successful depredations / They neglect to consider the ultimate fate of the body. / What should they know of the Master of Dark Truth / Who saw the wide world in a jade cup, / By illumined conception got clear of Heaven and Earth: / On the chariot of Mutation entered the Gate of Immutability?" and (2) "On Going to a Tavern," by Wang Chi (written during the war preceding the T’ang dynasty): "These days, continually fuddled with drink, / I fail to satisfy the appetites of the soul. / But seeing men all behaving like drunkards, / How can I alone remain sober?" Page 127: Loose, an empty envelope addressed to Jeffers and postmarked "Rochr & Chatm" 26 Apr 1957, Great Britain"; on the back, written in pencil and in Jeffers’ hand (the state of the handwriting and deletions suggests considerable psychic pain), the draft of a letter: "Dear Eva Hesse: I have got a young woman to answer my letters for me, and she does it intelligently but a little coldly. [The following is crossed out] Let me add my thanks and best wishes to you. -- R. J." The next line, "This is warmly meant." Then, "I have got a young woman to answer my letters for me. She made a slight bobble about the Chinese translations; I have read most of the book and I like it very much. My best greetings to Mrs. Cominos." (The book does show evidence of having been read and handled.)

Walter, L. Edna, Lucy E. Broadwood and J. H. Hartley. Christmas Carols: Old English Carols for Christmas and other Festivals. London: A. & C. Black, Ltd., Autumn 1922. Notes: Flyleaf: Pasted in, two clipped pictures of musicians and carolers at night, in a snowy, seventeenth-century village. Page 23: Loose, the notations for the song "Innisfail," the name of which is also the ancient name for Ireland, meaning "The Isle of Destiny" (clipped from a periodical); and a clipped page (48) from The Dublin Magazine, with the notations for "A Deuce O’ Jacks" and "The Song for the Clatterbones."

Ward, Mrs. Humphrey. Lady Rose’s Daughter. New York: Harper and Brothers Publishers, 1903. Notes: Flyleaf: Inscribed "Edward and Una Küster, November 1905."

Ward, Mrs. Humphrey. The Marriage of William Ashe. New York: Harper and Brothers Publishers, 1905. Notes: Flyleaf: Inscribed "Edward and Una Küster, March 1905."

Warlock, Peter. The English Ayre. London: Oxford University Press, 1926. Notes: Inside front cover: Pasted in, a clipped caption, notations and lyrics for "A Song Believed to Have Been Written by King Charles II: A Page of Words and Music for ‘I Pass All My Hours in a Shady Old Grove’; The Latter by Pelham Humphrey." Below, pasted in, is music captioned, "By Thomas Greeting, one of the King’s musicians, from ‘The Pleasant Companion,’ 1661. Pepys managed to make his wife play it ‘very prittily--quite beyond my expectations,’ on the recorder." Flyleaves: In Una’s hand, a chart of musical keys, major and minor. Pasted onto same page, a clipped advertisement for a book (name not available), illustrated with 65 plates, about ancient keyboard instruments. On the opposite page, Una writes a note to herself to get Shakespeare in Music by Louis C. Elson, which is crossed out with the note, "I have!" Page 48: Loose, a program titled, "The Carl Cherry Foundation Presents Old Music with Old Instruments," performed at the Golden Bough Theatre, Sunday March 1, 3 p.m." The performers were Cecily Arnold and Marshall Johnson. Inside back cover: Three clipped articles, pasted in: (1) Notations for and an explanation of "The Outlandish Knight, a "dorian"; (2) Notations and lyrics captioned, "Sale, April 3ed.--A portion of a page of Orlando Gibbons’ Madrigals"; and (3) A description of the pervasive nature of music in English culture during Elizabethan times, making England "a nest of singing birds," according to one traveler.

Watts-Duncan, Theodore. Old Familiar Faces. New York: E. P. Dutton and Company, 1916. Notes: Flyleaf: Inscribed "Una Jeffers."

Watts-Duncan, Theodore. The Coming of Love: Rhona Boswell’s Story and Other Poems. London: John Lane: The Bodley Head, 1899. Notes: Table of Contents: In Una’s hand, two songs, with translations included: "(1) Make the Ras [hay] while the Rem [sun] says, / Shinin’ there on meadow and grove / Sayin ‘You Romany chies [gypsy girls] you take it, / Toss it, tumble it, cock it, rake it / Singing the ghyllie [song] the while you shake it / To leumor [summer] and love!’ (2) Hark, the sharpening scythes that tingle! / See they come the farmin’ ryes [farmers]! / ‘Leave the dell,’ they say, ‘an’ pingle! / Never a gorgie [gentile woman], married or single / Can toss the basin in dell or dingle."

Weaver, Lawrence. The "Country Life" Book of Cottages Costing from £150 to £600. London: Country Life, 1913. Notes: Inside back cover: In Una’s hand, "Rockyfield page 101." Pages 100-01: The introduction to the section on Rockyfield, beginning on page 100, says "Among the cottage designers who cling tenaciously to the old traditions of building, and have indeed done much to give them a new life, none has shown a more convincing art than Mr. Ernest Gimson. Rockyfield is in Charnwood Forest, Leicestershire." The author concludes the section on Rockyfield with the following: "In the case of week-end cottages such added luxuries are altogether superfluous, and particularly where materials are cheap, there is no reason why £500 should be exceeded for the amount of accommodation to be found at Rockyfield."

Webb, Mary. Gone to Earth. London: Jonathan Cape, 1933. Notes: Flyleaf: Inscribed "Jeffers." Inside front cover: Loose, a clipped article about Mary Webb and her writings (taken from a newspaper circa 1935), and a clipped letter to the editor of The Times of London, giving the story of a tame fox living in London.

Webb, Mary. Precious Bane. In The Collected Works of Mary Webb. London: Jonathan Cape, 1929. Notes: Frontispiece: Inscribed "October 1929 Una Jeffers ‘Kerry Vor’ Britwell Salome near Watlington, Oxfordshire, England." Loose, a clipped review of Mary Webb: Her Life and Work; the reviewer takes particular note of Webb’s mystical poetry. Inside back cover: In Una’s hand, ‘It is known that bees have little liking for a house of unhappiness and are also sensitive to slights or unfriendliness. Always therefore they were ‘told’ the moment there was a death in the family--that is to say, strips of black cloth were draped along the fronts of the hives. Where this is done promptly and properly the bees will stay, and so they stayed when the squire died for they were considerately told. Some years later at the death of my grandmother, my uncle who was more of a modern in his sympathies, disregarded this precaution and every bee left the place. . . .’ From Ralph A. Crain’s ‘Last of the Squires.’" Then Una writes, "cf. page 27." Page 27: Chapter 4 begins, "It was a still, dewy summer night when we buried Father. In our time there was still a custom round about Sarn to bury people at night. . . . After we’d milked, Gideon went for the beasts, and I put black streamers round their necks, and tied yew boughs to their hourns. It had to be done carefully, for they wer the Longhorn breed, and if you angered them, they’d hike you to death in a minute."

Webb, Mary. The Golden Arrow. In The Collected Works of Mary Webb. London: Jonathan Cape, 1928. Notes: Inside front cover: A clipped copy of "Green Rain," by Mary Webb: "Into the scented woods we’ll go, / And see the blackthorne swim in snow. / High above, in the budding leaves, / A brooding dove awakes and grives; / The glades with mingled music stir, / And wildly laughs the woodpecker. / When blackthorne petals pearl the breeze, / There are the twisted hawthorne trees / Thick-set with buds, as clear and pale / As golden water or green hail--/ As if a storm of rain had stood / Enchanted in the thorny wood, / And, hearing fairy voices call, / Hung poised, forgetting how to fall." Frontispiece: Inscribed "Una Jeffers Belfast, Ireland Read on board Duchess of Bedford (Belfast-New York - December 1929)."

Webb, Mary. The House in Dormer Forest. In The Collected Works of Mary Webb. London: Jonathan Cape, 1928. Notes: Frontispiece: Inscribed "Una Jeffers, ‘Kerry Vor,’ Britwell Salome near Watlington, Oxfordshire, England. October, November 1929." Title page: Pasted in, a clipping of a woodcut illustration by Norman Hepple for The House in Dormer Forest.

Wedekind, Frank. Frühlings Erwachen, Eine Kindertragödie: Uchtzehnte bis zwanzigfte Uuflage. München: Ulbert Langen, 1908. Notes: Flyleaf: Inscribed "Una Küster, 1908." (This book appears to have come into Una’s life at about the time she met Jeffers in a German class at USC.)

West, Michael. Aucassin and Nicolette. New York: Brentano’s, n.d. Notes: Flyleaf: Inscribed, "For Una because I love her--Doris." Page 122: Loose, a clipping of illustrated (in color, and in a medieval style) lyrics for an old French song, "Ma Mère Hellas! Mariez-Moy"; and a small, illustrated (in color) card with one line of notations for an "Old French Carol."

Weygandt, Cornelius. Irish Plays and Playwrights. Boston: Houghton Mifflin Company, 1913. Notes: Page 115: Loose, in the chapter titled, "George Russell (‘A.E.’)," a clipped article by Padraic Colum, titled "Dr. Hyde [President Douglas Hyde] of Eire: Something of the personal and literary qualities of the Protestant scholar who was unanimously elected President of a Catholic country" (from The Commonweal, June 2, 1939, pp. 144-48). The text discusses Dr. Hyde’s contribution to Irish letters through stories and poems drawn from Gaelic tradition. Page 240: Loose, in the chapter titled, "The Younger Dramatists," a clipped article from The New York Times Book Review, November 4, 1934 (pages 8 and 26-27). Page 270: Loose, in the chapter titled, "William Sharp (‘Fiona MacLeod’)," a clipped portrait of G. W. Russell, "A.E.," from a painting by Jack B. Yeats.

Wharton, Edith. Ethan Frome. New York: Charles Scribner’s Sons, 1911. Notes: Flyleaf: Inscribed "Una Jeffers."

Whitall, James. English Years. New York: Harcourt, Brace and Company, 1935 (first edition). Notes: Flyleaf: Inscribed "Una Jeffers. Tor House."

White, Newman Ivey. Shelley. New York: Alfred A. Knopf, 1940. Volume I Notes: Title page: Loose (opposite color reproduction of the "Williams" portrait of Shelley), a typed letter from Newman I. White, Department of English, Duke University, Durham, North Carolina, dated January 20, 1943, thanking Mrs. Jeffers for her "comment on my SHELLEY and also for your scholarly contribution about the pencil sketch [evidently Una provided information about the source and condition of a sketch (of Shelley?), once in the possession of Gabriel Wells and since reprinted]. I am making a note of this and shall straighten it out when and if my book reaches a second edition." Page 100: Loose, a clipped picture of "The Shelley Bust," accompanied by an article titled, "The Lost Bust of Shelley: Lost, Stolen, or Strayed?" by Shane Leslie, published in The Landmark (pp. 671-674, n.d.). Inside back cover: Loose, (1) a souvenir description, along with brief historical notes on the Cemetery for Non-Roman Catholic Foreigners near the Pyramid of Cestius, Rome; (2) an appeal dated December, 1945, "Addressed to all who may be interested in the non-Catholic Cemetery for Foreigners at the Testaccio, Rome," asking for funds to repair bomb damage to the cemetery’s walls; (3) a postal receipt from Barclays Bank, written in Italian, number 1/11458; (4) a letter dated December, 1947, from the Hotel Hassler, written by a friend (Romelia?), who says, in part, "I found out that the ashes of all the English poets were never moved as there was only a slight damage by bombs near the wall of the cemetery--only disturbed one of the graves--but no real disaster. Am sending you what the guardians gave my friend. Perhaps some of the people will be interested in helping as the cemetery has been up to now well looked after as everyone left lires and it was endowed but lires today are so changed that the poor man is beside himself as 1000 lire instead of being $50 is only $1.40, so you can imagine the situation. Of course the English can do so little now. They are keeping money at home and letting us carry the burden everywhere. . . . " Volume II Notes: Page 143: Loose, a note about the Campbell lineage of the niece and adopted daughter of Sir Percy and Lady Shelley, Bessie Florence Gibson, the heir of Edward Gibson. Page 270: Loose, a trimmed oval reproduction of Mary Shelley’s sketch of the young Shelley (not identified as such here, but identified elsewhere). Page 430: Loose, a letter dated March 2, 1948, from Mary Lynn Carter, writing for the editors of Time, in which she responds to a letter from Una regarding the "removal of Shelley’s ashes to Monte Cassino during the war." Ms. Carter suggests that her own source of information regarding the matter spoke of a second set of ashes, which was found in the Keats-Shelley Memorial in Rome in 1937 and spirited away by a monk during the German occupation; Ms. Carter expresses the hope that Mrs. Jeffers might be able to help her publication solve this mystery. Back flyleaf: Pasted in, a clipped letter to an editor (publication not identified) written by Frederick L. Jones regarding the little-known residence of Shelley at 65 Via Sistina in Rome in 1819.

Whitman, Walt. Walt Whitman’s Poems. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Ten Cent Pocket Series Number 73. Inside front cover: Pasted in, a clipped photo captioned, "Walt Whitman in His Prime."

Wilde, Oscar. The Poems of Oscar Wilde. Volume II. New York: F. M. Buckles and Company, 1906. Notes: Flyleaf: Pasted in, a clipped photo of Wilde in fur-trimmed coat.

William, Oscar, Ed. a Little Treasury of Modern Poetry: The Best Poems of the 20th Century. New York: Charles Scribner’s Sons, 1946. Notes: This volume includes a photograph of and four poems by Robinson Jeffers: "The Bloody Sire," "The Eye," "Cassandra," and "Shine, Perishing Republic."

Williams, Oscar, Ed. A Little Treasury of American Poetry: The Chief Poets from Colonial Times to the Present Day. New York: Charles Scribner’s Sons, 1948. Notes: This volume includes a photograph of and fourteen poems by Robinson Jeffers: "Apology for Bad Dreams," "I Shall Laugh Purely," "Night," "Hurt Hawks," "Prescription of Painful Ends," "Fourth Act," "The Eye," "Eagle, Valor, Chicken Mind," "The Stars Go Over the Lonely Ocean," "Promise of Peace," May-June, 1940," "Black-Out," "Cassandra," and "Shine, Perishing Republic."

Williams, Oscar, Ed. A Little Treasury of Modern Poetry, English and American. New York: Charles Scribner’s Sons, 1950. Notes: Revised edition of the 1946 volume listed below; two copies of this edition are at Tor House. This volume includes a photograph of and nine poems by Robinson Jeffers’ poetry: "The Stars Go Over the Lonely Ocean," "Promise of Peace," Shine, Perishing Republic," "The Bloody Sire," May-June, 1940," "I Shall Laugh Purely," "Black-Out," The Eye," Cassandra." Page 822: In the Appendix, "May-June 1940" and "I Shall Laugh Purely" are included in a list of the "Fifteen Most Significant [and] Important War Poems to Come out of the World War II Era." Two Jeffers poems, "May-June 1940" and "I Shall Laugh Purely," are part of a short "List of Important War Poems of the 20th Century," and Jeffers is listed as one of twenty-two "Chief Modern Poets of America."

Williams, Oscar, Ed. A Little Treasury of Modern Poetry, English and American. New York: Charles Scribner’s Sons, 1946. Notes: This edition appears to be a late addition to the Tor House Foundation’s library holdings, as a note at the back states that it is a "gift of James Johnson 1985." Obviously it was not part of the original Jeffers family library. In this edition, Jeffers is represented by "The Bloody Sire," "The Eye," "Cassandra," and "Shine, Perishing Republic."

Williams, Oscar, Ed. A Little Treasury of Modern Poetry: English and American. London: Routledge and Kegan Paul, Ltd., 1947. Notes: Includes four poems by Robinson Jeffers: "The Bloody Sire," "The Eye," "Cassandra," and "Shine, Perishing Republic."

Williams, Oscar, Ed. The New Pocket Anthology of American Verse: From Colonial Days to the Present. Cleveland: The World Publishing Company, 1955. Notes: This volume includes a photograph and eight poems by Robinson Jeffers: "The Stars Go Over the Lonely Ocean," "Promise of Peace," May-June, 1940," "Black-Out," "The Bloody Sire," "Cassandra," and "Shine, Perishing Republic."

Williams, Oscar, Editor. F. T. Palgrave’s The Golden Treasury of the Best Songs and Lyrical Poems: A Modern Edition. New York: New American Library, 1953. Notes: This volume includes three poems by Robinson Jeffers: "Promise of Peace," "The Eye," and "The Stars Go Over the Lonely Ocean."

Wilson, Augusta Evans. Infelice. New York: G. W. Dillingham Company, 1875. Notes: Flyleaf: Inscribed "Una Küster,, 1909."

Wilson, Romer. The Life and Private History of Emily Jane Brontë. New York: Albert and Charles Boni, 1928. Notes: Page 14: Loose, the program for a drama, Moor Born by Dan Totherington, presented at the First Theatre in California, Monterey, March 16-19, 1939. Noel Sullivan played the Rev. Patrick Brontë. Page 81: Loose, a clipped newspaper review of Brontë Moors and Villages from Thornton to Haworth by Elizabeth Southwart. Pages 183-84: In Una’s hand, several stanzas are added to the two in the text (evidently, these are from Brontë’s Gondal poems). Wilson introduces the poems with a discussion of Brontë’s despair and loneliness on the moor, reflecting her preoccupation with death and the rest it brings: "In the earth--the earth--thou shalt be laid, / A grey stone standing over thee; / Black mould beneath thee spread / And black mould to cover thee. / Well--there is rest there, / So fast come thy prophecy; / The time when my sunny hair / Shall with grass roots entwinèd be." Una has numbered these "Stanzas 1 and 2." She adds "Stanzas 3 through 6": "But cold--cold is that resting place / Shut out from joy and liberty / And all who loved they living face / Will shrink from it shudderingly. / Not so, Here the world is chill, / And sworn friends fall from me; / But there--they will own me still, / And prize my memory, / Farewell, then, all that love, / All that deep sympathy; / Sleep on: Heaven laughs above / Earth never misses thee. / Turf-sod and tombstone drear / Part human company: / One heart breaks only--here, / But that heart was worthy thee!" Page 221: Una inserts the first line of another excerpt from the Gondal poems: "But first a hush of peace, a soundless calm descendancy." Page 248: Loose, a clipped review (from a British newspaper), by Basil de Selincourt, of The Life and Eager Death of Emily Brontë by Virginia Moore. Inside back cover: Two additional "end papers" have been pasted into the book, one not written upon and the other containing a poem (in Una’s hand) identified as one of Emily Brontë’s: "Sleep brings no joy to me, / Remembrance never dies, / My soul is given to mystery / And lives in sighs. / Sleep brings no rest to me; / The shadows of the dead / My wakening eyes may never see / Surround the bed. / Sleep brings no hope to me, / In soundest sleep they come, / And with their doleful imagery / Deepen the gloom. / Sleep brings no strength to me, / No power renewed to brave; / I only sail a wilder sea, / A darker wave. / Sleep brings no friend to me / To soothe and aid to bear; / They all gaze on, how scornfully / And I despair. / Sleep brings no wish to fret / My harassed heart beneath; / My only wish is to forget / In endless sleep of death."

Winwar, Frances. The Romantic Rebels. Boston: Little, Brown, and Company, 1935. Notes: Flyleaf: Pasted in, a clipped photograph of a hitherto unpublished miniature by Charles Hayter (according to Una’s handwritten note). Page 466: Loose, a 3" x 5" souvenir tribute to John Keats by George Sterling, dated May 21, 1921, including a poem titled, "The Sailing of Keats: October 1828 and a brief prose piece titled "Sterling on the Odes of Keats." Page 4: Handwritten note: "200 copies privately printed - Rudolph Blaettler, January 1942."

Wolfe, Humbert. George Moore. New York: Oxford University Press, 1932. Notes: Inside front cover: Loose, a clipped review by Wolfe, titled, "Yeats and George Moore: Great Writers at Cross Purposes," in which he discusses Dramatis Personæ by W. B. Yeats. Page 74: Loose, a clipped article by Wolfe, titled, "Aphrodite and Others," in which Wolfe favorably compares Moore’s Aphrodite in Aulis with five works from German and Romanian writers. Wolfe says of Moore that he "inhabits a realm that few writers can touch."

Wollstonecraft, Mary. The Love Letter of Mary Wollstonecraft to Gilbert Imlay. London: Hutchison and Company, 1908. Notes: Back flyleaf: Pasted in, a clipped advertisement for a copy of Mary, A Fiction, by Wollstonecraft (published 1788).

Woolf, Virginia. A Haunted House and Other Short Stories. New York: Harcourt, Brace and Company, 1944. Notes: Flyleaf: Inscribed "For Una--with much affection and gratitude--Lester."

Woolf, Virginia. Orlando: A Biography. New York: Harcourt, Brace and Company, 1928. Notes: Inside front cover: In Una’s hand, "Cf. note in Thomas Hardy’s Diaries Feb. 26, 1923. ‘A story might be written in the first person in which "I" am supposed to live through centuries in my ancestors, in one person, the particular line chosen being that in which qualities are most continuous.’" Flyleaves: Three pages in Una’s hand: "Sissinghurst (to V. W.) / A tired swimmer in the waves of time / I throw my hands up: let the surface close: / Sink down through centuries to another clime, / And buried find the castle and the rose. / Buried in time and sleep, / So drowsy, overgrown, / That here the moss is green upon the stone, / And lichen stains the keep. / I’ve sunk into an image, water-drowned / Where stirs no wind and penetrates no sound, / Illusive, fragile to the touch, remote, / As in the waters of a stagnant moat. / I move and not a ripple, not a quiver / Shakes the reflection though the waters shiver, / My tread is to the same illusion bound, / Here, tall and damask as a summer flower / Rise the brick gable and the spring tower; / Invading nature crawls / With ivied fingers over rosy walls / Searching the crevices / Clasping the mullion, riveting the crack, / Binding the fabric crumbling to attack / And questing feelers of the wandering fronds / Grope for interstices, / Holding this myth together under-seas, / Anachronistic vagabonds! / And here by birthright - far from present fashion / As no disturber of the mirrored trance / I move, and to the world above waters / Wave my incognisance. / For here where days and years have lost their number / I let a plummet down in lieu of date, / And lose myself within a slumber / /Submerged, elate. / For now the apple ripens, now the hop, / And now the clover, now the barley crop; / Spokes bound upon a wheel forever turning, / Wherewith I turn, no present manner learning: / Cry neither, ‘Speed your processes!’ nor ‘Stop!’ / I am content to leave the world awry / (Busy with politic perplexity.) / If still the cart horse at the fall of day / Clumps up the lane to stable and hay, / And tired men go home from the immense / Labour and life’s expense / That force the harsh recalcitrant waste to yield / Corn and not nettles in the harvest-field. / This husbandry, this castle and this I / Moving within the deeps, / Shall be content within our timeless spell / Assembled fragments of an age gone by, / While still the sower sows, the reaper reaps, / Beneath the snowy mountains of the sky, / And meadows dimple to the village bell. / So plods the stallion of my evening lane / And fills me with a mindless deep repose, / Wherein I find in chain / The Castle, the pasture and the rose." "Beauty, and use, and beauty once again / Link up my scattered heart, and shape a scheme / Commensurate with a frustrated dream. / The autumn bon-fire smokes across the woods / And reddens in the water of the moat; / As red within the water burns the scythe, / And the moon, dwindled to her gibbons tithe. / Follows the sunken sun afloat. / Green is the eastern sky and red the west; The hop-kilns huddle under pallid hoods; The waggon stupid stands with upright shaft, As daily life accepts the night’s arrest. / Night like a deeper sea engulfs the land, / The castle, and the meadows and the farm; / Only the baying watch-dog looks for harm. / And shakes his chain towards the lunar brand. / In the high room where tall the shadows tilt / As candle flames blow crooked in the draught, / The reddened sunset on the panes was spilt, / But now as black as any nomad’s tent. / The night-time and the night of time have blent / Their darkness, and the waters doubly sleep. / Over my head the years and centuries sleep, / The years of childhood flown, / The centuries unknown; / I dream; I do not weep.’ (The above poem by V. Sackville-West dedicated to Virginia Woolf, dated 1930. / See beginning inside front cover)." Pasted onto the second flyleaf, a clipped photo of Virginia Woolf. Back flyleaf: A clipped photo, pasted in and captioned, "Pagaentry from ‘Henry VIII’ at Knole Park, the Historic Home of Lord and Lady Sackville near Sevenoaks: A Scene Presented in the Stone Court--the Arrival of Queen Catherine." In Una’s hand, ". . . from ‘Beechwoods at Knole’ / ‘Red are the beechen slopes below Shock Tavern / Red is the bracken on the sandy Furze-Field, / Red are the stags and hinds by Bo-Pit Meadows. / The rutting stags that nightly through the beech woods / Bell out their challenge, carrying their antlers / Proudly beneath the antlered autumn branches. // I was a child and heard the red deer’s challenge / Prowling and belling underneath my window, / Never a cry so haughty or so mournful.’ / V. Sackville-West." Inside back cover: In Una’s hand, "‘Leopards at Knole’--(see p. 317) / ‘Leopards on the gable-ends, / Leopards on the painted stair, / Stiff the blazoned shield they bear, / Or and gules, a bend of vair, / Leopards on the gable-ends, / Leopards everywhere. / Guard and vigil in the night / While the ancient house is sleeping / They three hundred years are keeping, / Nightly from their stations leaping, / Shadows black in moonlight bright, / Roof to gable creeping. / Rigid when the day returns, / Up aloft in sun or rain / Leopards at their posts again / Watch the shifting pagaent’s train; / And their jewelled colour burns / In the window-pane. / Often on the painted stair, / As I passed abstractedly, / Velvet footsteps, two and three, / Padded gravely after me: / ----There was nothing, nothing there, / Nothing there to see.’ - V. Sackville-West." Page 317: In the text. the following passage is marked with the note, "See inside back cover": "In this window-seat, she had written her first verses; in that chapel, she had been married. And she would be buried here, she reflected, kneeling on the window-sill in the long gallery and sipping her Spanish wine. Though she could hardly fancy it, the body of the heraldic leopard [underline in pencil] would be making yellow pools on the floor the day they lowered her to lie among her ancestors. She, who believed in no immortality, could not help feeling that her soul would come and go for ever with the reds on the panels and the greens on the sofa. For the room--she had strolled into the Ambassador’s bedroom--shone like a shell that has lain at the bottom of the sea for centuries and has been crusted over and painted a million tints by the water; it was rose and yellow, green and sand-coloured. It was frail as a shell, as iridescent and as empty. No Ambassador would ever sleep there again. Ah, but she knew where the heart of the house still beat. Gently opening a door, she stood on the threshold so that (as she fancied) the room could not see her and watched the tapestry rising and falling on the eternal faint breeze which never failed to move it. Still the hunter rode; still Daphne flew. The heart still beat, she thought, however faint, however far withdrawn; the frail indomitable heart of the immense building.’"

Woolson, Constance Fenimore. Jupiter Lights. New York: Harper and Brothers, 1900. Notes: Flyleaf: Inscribed "Una Küster, Oct. ‘08." Title page: Loose, a heavy blue card, 4" x 5", with an engraving of a triumphant man on a sailing rig, and a miniature village in the background. Page 236: Loose, a clipped review of Constance Fenimore Woolson: Literary Pioneer, by John Dwight Kern.

Wordsworth, Dorothy. Recollections of a Tour Made in Scotland, A. D. 1803. Edinburgh: David Douglas, 1894. Notes: Inside front cover: Inscribed "Una Jeffers, Tor House, Carmel." Pasted in, a photograph captioned, "The Road Through Ballachulish, Near Glencoe." Flyleaves: In Una’s hand, "A book on Dorothy Wordsworth by Catherine Macdonald Maclean, Pub. 1932." Handwritten notes on the facing page are probably in Una’s hand: "‘ . . . the hum of insects, that noiseless noise that lives in summer air. . . . Grasmere - very solemn in the last glimpse of twilight - it calls home the heart to quietness. . . . the birch tree yielding to the gusty wind with all its tender twigs, the sun shone upon it & it glanced in the wind like a flying sunshiny shower - a tree in shape with stems & branches but it was like a spirit of water.’ (From Dorothy W.’s Journal)." Title page: In Una’s hand below the author’s name: "addressed to her friends." Table of Contents: Una has annotated the Table, as follows: Part I begins with "First Week, Day 1"; Part II begins with "Second Week, Day 12"; and Part III begins with "Fourth Week, Day 23." Page 32: Loose, an article by Virginia Woolf, titled, "Dorothy Wordsworth," from the New York Herald Tribune book section, Sunday, October 27, 1929 (Vol. 6--No. 6). Inside back cover: Pasted in, a clipped sketch captioned, "The ‘Gravel Walk’ at Forncett," and with a note in Una’s hand: "Where Dorothy Wordsworth lived with her uncle, Canon of Windsor."

Wylie, Elinore. Elinore Wylie: In the series The Pamphlet Poets. New York: Simon and Schuster, 1926. Notes: Inside front cover: Pasted in, a clipped portrait of Elinore Wylie and three clipped poems: (1) "Now I have lost you, I must scatter / All of you on the air henceforth; / Not that to me it can even matter / But it’s only fair to the rest of the earth. / Now especially, when it is Winter / And the sun’s not half so bright as he was, / Who wouldn’t be glad to find a splinter / That once was you, in the frozen grass? / Snowflakes, too, will be softer feathered, / Clouds, perhaps, will be whiter plumed; / Rain, whose brilliance you caught and gathered, / Purer silver have reassumed. / Farewell, sweet dust; I was never a miser: / Once, for a minute, I made you mine: / Now you are gone, I am none the wiser, / But the leaves of the willow are bright as wine." (2) Titled in Una’s hand, "The Tortoise in Eternity": "Within my house of patterned horn / I sleep in such a bed / As men may keep before they’re born / And after they are dead. * * * Tougher than hide or lozenged bark, / Snowstorm and thunder proof; / And quick with sun, and thick with dark, / Is this my darling roof. / Men’s troubled dreams of death and birth / Pulse mother-o’-pearl to black; / I bear the rainbow bubble-earth / Square on my scornful back." (3) Titled in Una’s hand, "Unfinished portrait": "My love, you know that I have never used / That fluency of color smooth and rich / Could cage you in enamel for the niche / Whose heart-shape holds you; I have been accused / Of gold and silver trickery, infused / With blood of meteors and moonstones which / Are cold as eyeballs in a flooded ditch; / In no such goblin smithy are you bruised. / I do not glaze a lantern like a shell / Inset with starts, nor make you visible / Through jeweled arabesques which adhere to clothe / The outline of your soul; I am content / To leave you in uncaptured element; / water, or light, or air that’s stained by both." Page 24: Pasted in, under "Madman’s Song," a clipped poem (untitled and unattributed): "You are the faintest freckles on the hide / Of fawns; the hoofprint stamped into the slope / Of slithering glaciers by the antelope; / The silk upon the mushroom’s underside / Constricts you, and your eyelashes are wide / In pools uptilted on the hills; you grope / For swings of water twisted to a rope / Over a ledge where amber pebbles glide. / Shelley perceived you on the Caucasus; / Blake prisoned you in glassy grains of sand / And Keats in goblin jars from Samarcand; / Poor Coleridge found you in a poppy seed; / But you escape the clutching moist of us, / Shaped like a ghost and imminent with speed."

Yeats, Jack B. Life in the West of Ireland Drawn and Painted by Jack B. Yeats. Dublin: Maunsel and Company, Ltd., 1912. Notes: Inside front cover: Clippings pasted in: "The Gray Streets of London," "Introit," and "The Man of the House," three poems by Katharine Tynan, all expressing deep longing and love for the Irish countryside. Flyleaf: Inscribed "Una Jeffers." In Una’s hand, "Little Waves of Breffny" by Eva Gore Booth: "The grand road from the mountain goes shining to the sea, / And there is traffic in it and many a horse and cart / But the little roads of Cloonagh are dearer far to me, / And the little roads of Cloonagh go rambling through my heart. / A great storm from the ocean goes shouting o’er the hill, / And there is glory in it and terror on the wind / But the haunted air of twilight is very strange and still / And the little winds of twilight are dearer to my mind. / The great waves of the Atlantic sweep storming on their way, / Shining green and silver with the hidden herring shoal. / But the little waves of Breffny have drenched my heart in spray. / And the little waves of Breffny go stumbling through my soul." Title page: In Una’s hand, "Red Ford House, Greystones, County Wicklaw (sp?), Ireland." Table of Contents page: In Una’s hand, the following notes: Under "Contents," Una adds, "An Irish Cottage - inside front pages"; under "Line Drawings," Una adds, "The Fiddler,"--8; "Gathering Sea Weed after a Storm, Co. Mayo -- 18 (color print)"; "The Travelling Man -- opposite page"; "The Jockey -- 6"; "The Tinker -- 58"; "The Turf-Cutter’s Donkey -- 28, 110 (color)." Under "Reproductions from Paintings," Una adds, "A Summer Night in Ballycastle" -- 88"; "The Tinker’s Curse -- 92"; "Croke Park, Dublin -- 112"; "The Cake Cart"; "Approaching Rosses Point, early morning"; "The Bog Road"; "A Lift on the Long Car -- 96." These pictures have been pasted onto all of the available leaves in the book. Back flyleaf: Clipped sketch of Jack B. Yeats. Inside back cover: Pasted in, a clipped article titled, "Mr. Jack B. Yeats," by J. Masefield, in Dublin Magazine, August, 1923 (Vol. I, No. 1), comparing his works with those of Mark Twain.

Yeats, W. B. Autobiographies: Reveries Over Childhood and Youth and the Trembling of the Veil. New York: The Macmillan Company, 1927. Notes: Flyleaf: In Una’s hand: "In November 1913 when Yeats age 48 received a prize of $250 for "The Gray Rock," he replied ‘When I got the very unexpected letter with the prize of £50 my first emotion was how much it would have meant to me even ten years ago and then I thought - surely there must be some young American writer today to who it would mean a great deal not only in practical help but in encouragement. I want you therefore not to think that I am in any way ungrateful to you or in any way anxious to put myself into a different category to your other contributors because I send back to you forty pounds. I will keep ten pounds and with that I will get Mr. Sturge Moore to make me a bookplate and so shall have a permanent memory of your generous magazine. I vacillated a good deal until I thought of this solution for it seemed to me so ungracious to refuse; but if I had accepted I should have been bothered by the image of some unknown needy young man in a garret.’" Pasted in, a clipped copy of a painting labeled by Una, "John Butler Yeats at Petit Pas" (now in Corcoran Gallery). Half-title page: Pasted in, a small, clipped portrait of Yeats as a young man, labeled by Una, "Sargent’s charcoal drawing." Title page: In Una’s hand, "Died in Roquebrune, France age 73." Illustrations page: In Una’s hand, "Inserted in front leaves: W. B. Yeats - by Sargent; John Butler Yeats at Petit Pas (in Corcoran Gallery); W. B. Yeats by Augustus John, 1907; W. B. Yeats by Augustus John on back cover; W. B. Yeats by Augustus John opp. page 143; W. B Yeats by Rothenstein, 1898." All clippings are in place, as Una has noted. Back flyleaf: In Una’s hand, "W. B. Yeats born at Sandymount near Dublin in 1865. His father J. B. Yeats was the son of Wm. Butler Yeats, rector of Tullylish in Co. Down and grandson of John Yeats rector of Drumcliffe in Co. Sligo. Tullylish in the barony of Lower Iveagh (see near Gilford and Laurence Town on River Baun south of Lurgan)." Inside back cover: Pasted in, a clipped poem by Padriac Colum, "In Memory of John Butler Yeats," and a fragment of a newspaper article in which the writer recalls anecdotes about Yeats (labeled "1934" by Una).

Yeats, W. B. Essays. New York: The Macmillan Company, 1924. Notes: Inside front cover: Pasted in, a clipped sketch of Yeats, under which Una writes, "Yeats in early years. Charcoal by Sargent." Page viii (the Table of Contents for Parts II and III): In Una’s hand: "For several other essays once printed with the ‘Cutting of Agate [title of Part II]’ see Yeats introductions to Lady Gregory’s ‘Gods and Fighting Men’ and ‘Cuchulain of Muirthemme’ and his notes to her two volumes of ‘Visions and Beliefs.’" Inside back cover: In Una’s hand: "In a recent lecture in Dublin W. B. Y. alluded to the origin of the Irish Theatre first discussed in the garden of a French count in West of Ireland. (Count de Basterot. He lived near Burren. ‘Here is the sea that washes America and the property of Monsieur le Comte’ said his servant). A picture by Stotl presented to Harcourt St. Gallery in his honor by Lady Gregory and Major Robert Gregory. He was a friend of Edward Martyn and appears in Moore’s ‘Ave’ studying race types in Irish men of letters. His family had lived in Ireland since the French Revolution. Arthur Symons says of him in ‘Cities of Italy’ -- ‘this strange attractive figure, the traveller, the student of race, the student of history, with his courtly violence, his resolute pieties, his humorous prejudices softening the vigor of a singular spiritual equanimity.’ De Basterot did not write much but he contributed a biographical note to one of the most remarkable books of the XIX cent., Gobineau’s ‘Essay on the Inequality of Human Races.’"

Yeats, W. B. Four Plays for Dancers. New York: The Macmillan Company, 1921. Notes: Flyleaf: Inscribed "Una Jeffers." Back flyleaf: In Una’s hand: "‘These plays were inspired by old Japanese Noh plays which are concerned with the disembodied. A Noh play is briefer than our 1-act play. The excitement it holds is partly that of the séance. It dramatizes too the revelation or legend of a place. The finale of an European tragedy is often the place a Noh play begins. "Actions, words, music = vague and ghostly shadows." Yeats has brought these remote plays into the circle of his own art. He has added a chorus (his three musicians are adepts, human beings with the power of evoking and revealing). Yeats’ people are not disembodied, they are living people outside the world of our affairs because of some dream or ecstasy and a something timeless goes with them all. The masks lend a changeless aspect, the chorus suggests the motif. In The Hawk’s Well for instance the motif = the lure that the powers beyond the world set to draw men into some impossible dream. These plays have to do with some remote and austere action.’ (Notes by Padriac Colum in the ‘Dial’)."

Yeats, W. B. Last Poems and Plays. New York: The Macmillan Company, 1940. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Title page: Written in pencil under Yeats’s name, "born June 13, 1865, Sandy Mount near Dublin / died Jan. 28, 1939, Roquebrune, France. Brought from France and reburied in Drumcliffe Churchyard, Sligo. Sept. ‘48." Following Table of Contents: Loose, an article condensed from The Catholic Voice, titled, "Leaders Need Moral Courage," by Lieut.-General M. J. Costello, from a publication evidently devoted to the theme, Yeats--The Man and the Poet. Page 92: Written in pencil, following Yeats’s poem, "Under Bare Ben Bulben’s Head" (in which the poet places his dead body "In Drumcliff churchyard," where "An ancestor was rector there / Long years ago"), Una writes, "He was brought back to Ireland Sept. ‘48 and reburied in Drumcliffe churchyard, Sligo. . . . I cannot endure to have Yeats buried in Roquebrune. He chose my dear Drumcliff." Back flyleaf: In pencil, Una refers to page 92: "first written, ‘Draw rein, draw breath: / Cast a cold eye / On life, on death / Horseman, pass by!’ (Yeats first wrote these lines in annoyance at some ideas of Rilke’s about death, seen in an essay about Rilke.)"

Yeats, W. B. Letters on Poetry from W. B. Yeats to Dorothy Wellesley. London: Oxford University Press, 1940. Notes: Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel." Title page: Next to Dorothy Wellesley’s name, Una has written, "(now Duchess of Wellington, 1943)."

Yeats, W. B. Secret Rose. London: Lawrence and Bullen, Ltd., 1907. Notes: Flyleaaf: Inscribed, possibly by RJ, in pencil, "For Una, because of the story of the Grey Hawk." Back flyleaf: Pasted in, a clipped photo captioned, "An Irish Reunion at the National Arts Club in New York," showing Yeats and three other men (not identified).

Yeats, W. B. The Celtic Twilight. London: Richard Clay and Sons, 1902 (reprint; originally printed in 1893). Notes: Inside front cover: Clipped portrait of Yeats by Augustus John. Front flyleaf: Clipping of a brief tribute to, and biography of, Yeats. Page 51: Pasted over a library’s blind stamp, lines of poetry: "Time drops in decay / Like a candle burnt out / And the mountains and woods / Have their day, have their day; / But, kindly old rout / Of the fire-born moods, / You pass not away." Inside back cover: In Una’s hand, "page 35" and "11 / 35 / 156." Pages 10-11: In Una’s hand, "When all is said and done, how do we not know but that our own unreason may be better than another’s truth? for it has been warmed on our own hearths and in our souls, and is ready for the wild bees of truth to hive in it, and make their sweet honey. Come into the world again, wild bees, wild bees!" Page 35: Begins chapter on lore from Ballylee in County Galway with a description of the castle there. Page 156: Description of ghosts at Drumcliff and Rosses, especially the ghost of a man in armor.

Yeats, W. B. The Collected Poems of W. B. Yeats. New York: The Macmillan Company, 1933. Notes: Inside front cover: Inscribed "Una Jeffers, Tor House, Carmel." Under the inscription Una has written, "‘Grant me an old man’s frenzy / Myself I must remake / Till I am Timon and Lear / Or that William Blake / Who beat upon the wall / Till truth obeyed his call: / A mind Michael Angelo knew / That can pierce the clouds / Or inspired by frenzy / Shake the dead in their shrouds / Forgotten else by mankind / An old man’s eagle mind.’ (W.B.Y. 1938)." Flyleaves: Pasted in, a dramatic photograph of a white-haired Yeats. On second flyleaf, two clipped poems, "News for the Delphic Oracle" and "A Bronze Head," are pasted in, with the date, "Feb 1939," written in Una’s hand. Frontispiece: In Una’s hand, overleaf, "Beautiful Lofty Things": "Beautiful, lofty things: O’Leary’s noble head; / My father upon the Abbey stage, before him a raging crowd. / ‘This Land of Saints,’ and then as the applause dies out, / ‘Of plaster Saints’; his beautiful mischievous head thrown back. / Standish O’Grady supporting himself between the tables / Speaking to a drunken audience high nonsensical words; / Augusta Gregory seated at her great ormolu table / Her eightieth winter approaching; ‘Yesterday he threatened my life, / I told him that nightly from six to seven I sat at this table / The blinds drawn up’; Maud Gonne at Howth station waiting for a train, / Pallas Athene in that straight-back and arrogant head; / All the Olympians; a thing never known again." Page 270: An "X" next to the poem "Death," and the lines, "A man awaits his end / Dreading and hoping all; / Many times he died, / Many times rose again." The poem ends, "He knows death to the bone-- / Man has created death." At the bottom of the page, an "X" marks the first stanza of "A Dialogue of Self and Soul": "My Soul. I summon to the winding ancient stair; / Set all your mind upon the steep ascent, / Upon the broken, crumbling battlement, / Upon the breathless starlit air, / Upon the star that marks that hidden pole; / That quarter where all thought is done: / Who can distinguish darkness from the soul?" Page 272: An "X" marks the concluding stanza of "A Dialogue of Self and Soul": "I am content to follow to its source, / Every event in action or in thought; / Measure the lot; forgive myself the lot! / When such as I cast out remorse / So great a sweetness flows into the breast / We must laugh and we must sing, / We are blest by everything, / Everything we look upon is blest." Back flyleaf: In Una’s hand, "1939 one of his last poems": "Know that when all words are said / And a man is fighting-mad, / Something drops from eyes long blind, / He completes his partial mind, / For an instant stands at ease, / Laughs aloud, his heart at peace, / Even the wisest man grows tense / With some sort of violence / Before he can accomplish fate, / Know his work or choose his mate. / Irish poets, learn your trade, / Sing whatever is well-made, / scorn the sort now growing up / All out of shape from toe to top, / Their unremembering hearts and heads / Base-born products of base beds. / Cast your mind on other days / That we in coming days may be / Still the indomitable Irishry." At the bottom of the page, a note that says, "Yeats’ lines for his tombstone from last poem--his epitaph: ‘Cast a cold eye / On life, on death / Horseman pass by.’" Inside back cover: Pasted in, two clipped poems dated in Una’s hand, "March 1938": "The Old Stone Cross" and "To a Friend." Una writes, "Parnell came down the road; he said to a cheering man: ‘Ireland shall get her freedom and, you still break stone.’" Also in Una’s hand inside the back cover, a list of lines and poems in this volume, with page numbers: Page 247: From "Two Songs from a Play," the concluding stanza-- "Everything that man esteems / Endures a moment or a day. / Love’s pleasure drives his love away, / The painter’s brush consumes his dreams; / The herald’s cry, the soldier’s tread / Exhaust his glory and his might: / Whatever flames upon the night / Man’s own heinous[?] heart has fed." Page 142: "The Cold Heaven": "Suddenly I saw the cold and rook-delighting heaven / That seemed as though ice burned and was but the more ice, / And thereupon imagination and heart were driven / So wild that every casual thought of that and this / Vanished, and left but memories, that should be out of season / With the hot blood of youth, of love crossed long ago; / And I took all the blame out of all sense and reason, / Until I cried and trembled and rocked to and fro, / Riddled with light. Ah! when the ghost begins to quicken, / Confusion of the death-bed over, is it sent / Out naked on the roads, as the books say, and stricken / By the injustice of the skies for punishment?" (this poem merited four "X’s"). Page 215: In "The Second Coming," the lines "The best lack all conviction, while the worst / Are full of passionate intensity" are marked. Page 270: "Death" and "A Dialogue of Self and Soul." Page 234: "Human Dignity" from A Man Young and Old: --"Like the moon her kindness is, / If kindness I may call / What has no comprehension in’t, / But is the same for all / As though my sorrow were a scene / Upon a painted wall. / So like a bit of stone I lie / Under a broken tree. / I could recover if I shrieked / My heart’s agony / To passing bird, but I am dumb / From human dignity"; and from "Meditations in Time of Civil War," My Descendants--"Having inherited a vigorous mind / From my old fathers, I must nourish dreams / And leave a woman and a man behind / As vigorous of mind, and yet it seems / Life scarce can cast a fragrance on the wind, / Scarce spread a glory to the morning beams, / But the torn petals strew the garden plot; / And there’s but common greenness after that. / And what if my descendants lose the flower / Through natural declension of the soul, / Through too much business with the passing hour, / Through too much play, or marriage with a fool? / May this laborious stair and this stark tower / Become a roofless ruin that the owl / May build in the cracked masonry and cry / Her desolation to the desolate sky. / The Primum Mobile that fashioned us / Has made the very owls in circles move; / And I, that count myself most prosperous, / seeing that love and friendship are enough, / for an old neighbour’s friendship chose the house / And decked and altered it for a girl’s love, / And know whatever flourish and decline / These stone remain their monument and mine." Page 228: "The Tower," Part III, begins, "It is time that I wrote my will; / I choose upstanding men / That climb the streams until / The fountain leap, and at dawn / drop their cast at the side / Of dripping stone; I declare / They shall inherit my pride." Page 223: "Sailing to Byzantium" the lines "An aged man is but a paltry thing, / A tattered coat upon a stick, unless / Soul clap its hands and sing, and louder sing / For every tatter in its mortal dress, / Nor is there singing school but studying / And therefore I have sailed the seas and come / To the holy city of Byzantium" on page 450 in the "Notes" to this poem, Una writes, "Byzantium became a sacred city for Yeats). Pages 216-17: In "A Prayer for My Daughter," the lines, "O may she live like some green laurel / Rooted in one dear perpetual place" are marked with an "X" in the margin. Page 185: "The Double Vision of Michael Robarte." Page 195: "A Prayer on Going into My House" reads, in part, "God grant a blessing on this tower and cottage / And on my heirs, if all remain unspoiled . . . and should some limb of the devil / Destroy the view by cutting down an ash / That shades the road, or setting up a cottage / Planned in a government office, shorten his life, / Manacle his soul upon the Red Sea bottom." Page 177: "The Balloon of the Mind" reads, "Hands, do what you’re bid: / Bring the balloon of the mind / That bellies and drags in the wind / Into its narrow shed." Page 169: "The Hawk" reads, in part, "I [the hawk] will not be clapped in a hood, / Nor a cage, nor alight upon wrist, / Now I have learnt to be proud / Hovering over the wood / In the broken mist / Or tumbling cloud." Page 303: "Three Things." Page 284: "The Choice." Page 276: "Spilt Milk." Page 273: The first stanza of "Blood and the Moon" reads, "Blessed be this place, / More blessed still this tower; / A bloody, arrogant power / Rose out of the race / Uttering, mastering it, / Rose like these walls from these / Storm-beaten cottages--/ In mockery I have set / A powerful emblem up, / And sing it rhyme upon rhyme / In mockery of a time / Half dead at the top." Page 168: "The Fisherman." Page 305: "Mad as the Mist and Snow" from "Words for Music Perhaps."

Yeats, W. B. The Oxford Book of Modern Verse: 1892-1935. New York: Oxford University Press, 1937. Notes: Back flyleaf: In Una’s hand, "Eclipse of the Moon - Lady Gerald Wellesley / ‘From the fear of the shadow of madness / From this creeping of the moon, / From this strange copulation, / By the falling star, by the mandrake root / At last with child begotten, / High Priest, deliver us!’"

Yeats, W. B. The Poetical Works of William Butler Yeats. Volume I, Lyric Poems. New York: The Macmillan Company, 1908. Notes: Flyleaf: Pasted in, a clipped photo of the mature Yeats. Title page: Pressed onto the page, three small shamrocks. Page xiv: Pasted-in clipping of "TheThree Hermits" by Yeats. Page 1: Pasted-in clipping of "Notoriety (Suggested by a recent magazine article.)": "While I, from that reed-throated whisperer / Who comes at need, although not now as once / A clear articulation in the air. / But inwardly, surmise companions / Beyond the fling of the dull asse’s hoof-- / Ben Jonson’s phrase--and still may turn my feet / To Kyle-na-Ino and to that ancient roof / By the wood’s edge where only equals meet, / I can forgive even that wrong of wrongs, / Those undreamt accidents that have made me-- / Seeing that Fame has perished this long while, / Being but a part of ancient ceremony-- / Notorious, till all my priceless things / Are but a post the passing dogs defile." Page 232: Loose, a clipped review of Yeats’s The King of the Great Clock Tower, Commentaries and Poems (dated in Una’s hand, May 27, 1935). Back flyleaf: In Una’s hand, "An early poem of Yeats’ / ‘A little boy outside the sycamore wood / Low on the wood’s edge gleam [sic] an ash-grey feather. / A kid held by one soft-white ear for tether / Trotted beside him in a playful mood. / A little boy inside the sycamore wood / Followed a wood-dove’s ash-grey gleam of feather. / Noon wrapped the trees in veils of violet weather. / And on tip-toe the winds a-whispering stood. Deep in the woodland pause they; the six feet / Lapped in the lemon daffodils; a bee / In the long grass: four eyes droop low; a seat of moss, a maiden weaving; singeth she: / "I am lone Lady Quietness, my sweet, / And on this loom I weave thy destiny."’" Inside back cover,: In Una’s hand, " . . . . No matter what I said / For wisdom is the property of the dead, / A something incompatible with life; and power / Like everything that has the stain of blood / A property of the living."

Yeats, W. B. The Tower. London: Macmillan and Co., Ltd., 1928. Notes: Inside front cover: Pasted in, a clipped photograph captioned, "Master Michael and Miss Anna Yeats, children of Senator and Mrs. W. B. Yeats." Flyleaves: Inscribed "Una Jeffers." In Una’s hand, "We visited Yeats’ tower and cottage in July and in August 1929. It is about three miles from Gort, Co. Galway. Again in July 1937." Written on second flyleaf, "Young Countryman’s Song // W.B.Y. // Like the moon her kindness is / If kindness I may call / What has not comprehension in’t: / But is the same for all / As though my sorrow were a scene / Upon a painted wall. / So like a bit of stone I lie / Under a broken tree, / I could recover if I shriek / My heart’s agony / To passing bird, but I am dumb / From human dignity." Half-title page: Inscribed, "This is the last book that R. R.-W. gave me. U.J."; pasted below is a clipped photo of a mature Yeats. Page 108: Under a note in the text about Jacques de Molay, Una writes: "Jacques de Molay (d. 1314) last grand master of Knights Templar born of noble but impoverished family. After the Templars had been driven out of Palestine by the Saracens, he and forty of his followers took refuge in island of Cyprus. He was summoned to Paris on a pretext by Pope Clement V who pretended he wished to end quarrels of Templars and Knights of St. John. Molay was kept in prison several years. Tortured and burnt as a lapsed heretic March 11, 1314. His ashes were gathered up by the people." Page 109: Next to note about Robert Artisson, Una writes, "In Kilkenny, the Lady Alice Kettell tried in 1325 with her accomplices Petronilla and Basilia for sorcery and magic. They held nightly conferences with Robert Artisson to whom they were wont to offer up 9 red cocks and the eyes of 9 peacocks in the middle of the highway. In Lady Alice’s closet they found a sacramental wafer with Satan’s name stamped thereon and a pipe of ointment given her by Artisson. Lady Alice Kittell having powerful friends escaped to foreign parts, her son William Utlan suffered a long imprisonment, Petronilla was burned at the Cross of Kilkenny." / "At a stone bridge in a certaine foure-crosse highway and with beesomes she swept the streets of Kilkenny, sweeping the filth toward the house of her son saying, ‘Unto the house of Wm. my sonne, Hie all the wealth of Kilkenny town.’" Back flyleaves: Pasted in, (1) a clipped newspaper photo of Yeats arriving at Liverpool; (2) a brief paragraph alluding to the use of Yeats’s lyrics at the Abbey, with a handwritten note above, "Yeats’ play ‘The Cato the Moon’"; (3) typescript of "The Well of All-Healing" by A.E.: "There’s a cure for sorrow in the well at Ballylee / Where the scarlet cressets hang over the trembling pool: / And joyful winds are blowing from the Land of Youth to me, / And the heart of the earth is full. / Many and many a sunbright maiden saw the enchanted land / With star faces glimmer up from the druid wave: / Many and many a pain of love was soothed by a faery hand / Or lost in the love it gave. / When the quiet with a ring of pearl shall wed the earth, / And the scarlet berries burn dark by the stars in the pool: / Oh, it’s lost and deep I’ll be amid the Danaan mirth, / While the heart of the earth is full"; (4) a clipped note identifying the London Punch artist W. Bird as W. B. Yeats, alongside a handwritten note saying, "Wrong. ‘W. Bird’ is Jack Yeats." Pasted in, a clipped article describing the martyrdom of Jacques de Molay. Inside back cover: Pasted in, a clipped picture of a mature W. B. Yeats, and on facing page, in Una’s hand, "‘My powers attribute most of the meanings attributed in the past to the tower--whether watch tower or pharos, and to its winding stair those attributed to gyre or whorl. What these meanings are, let the poems say. -- Is every modern nation like the tower half-dead at the top?" (From Yeats’ notes to ‘The Winding Stair’ published 1929.)"

Yeats, W. B. Wheels and Butterflies. New York: The Macmillan Company, 1935. Notes: Inside front cover: (1) Loose, a postcard from the National Library of Ireland, showing a picture captioned, "W. B. Yeats (when a boy) by J. B. Yeats R.H.A." On reverse is a handwritten note: "‘A fine broth of a boy’ for Queen Una’s Collection / Love to all from Albert"; (2) the first four pages (pp. 7-10) of a clipped article from The Dublin Magazine titled, "Introduction to ‘Fighting the Waves,’" by W. B. Yeats (Fighting the Waves, with the introduction, is on pages 57-85 of this volume]. It was first performed at the Abbey Theatre on August 13, 1929. Page 6: In the introduction to Words Upon the Window-pane Una has marked the following passages: "Swift haunts me; he is always just round the corner," and "This instinct for what is near and yet hidden is in reality a return to the sources of our power, and therefore a claim made upon the future." Page 8: An "X" marks the passage (quoted from the play), "In Swift’s day men of intellect reached the height of their power, the greatest position they ever attained in society and the State. . . . His ideal order was the Roman Senate, his ideal men Brutus and Cato; such an order and such men had seemed possible once more." Page 11: An "X" marks the passage, "In 1730 Swift said from the pulpit that their [the Irish] houses were in ruins and no new building anywhere, that the houses of their rack-ridden tenants were no better than English pigsties, that the bulk of the people trod barefoot and in rags." Page 14: An "X" marks the passage, "Swift enforced his moral by proving that Rome and Greece were destroyed by the war of the Many upon the Few; in Rome, where the Few had kept their class organisation, it was a war of classes, in Greece, where they had not, war upon character and genius." Page 16: An "X" marks the passage, "Swift seemed to shape his narrative upon some clairvoyant vision of his own life, for he saw civilisation pass from comparative happiness and youthful vigor to an old age of violence and self-contempt." Page 18: The handwritten note, "Show to Sara," and an "X" marks the passage, "Pascal though there was evidence for and against the existence of God, but that if a man kept his mind in suspense about it he could not live a rich and active life, and I suggest to the Cellars and Garrets that though history is too short to change either the idea of progress or the eternal circuit into scientific fact, the eternal circuit may best suit our preoccupation with the soul’s salvation, our individualism, our solitude. Besides we love antiquity, and that other idea--progress--the sole religious myth of modern man, is only two hundred years old." Page 19: The handwritten note "Unity of Being!" and an "X" mark the passage, "Liberty depended upon a balance with the State, like that of the ‘humours’ in a human body, or like that ‘unity of being’ Dante compared to a perfectly proportioned human body, and for its sake Swift was prepared to sacrifice what seems to the modern man liberty itself. The odds were a hundred to one, he wrote, that ‘violent zeal for the truth’ came out of ‘petulancy, ambition, or pride.’ He himself might prefer a republic to a monarchy, but did he open his mouth upon the subject would be deservedly hanged." Page 21: An "X" marks the passage, "I remember J. F. Taylor, a great student of Swift, saying ‘individual liberty is of no importance, what matters is national liberty.’" Page 24: At the top, a handwritten note: "His celibacy," in relation to speculation regarding Swift’s reluctance to engage in sexual relationships--especially with Stella, the woman he evidently loved. Page 25: At the bottom of the page, the note, "Mad?" next to a passage which begins "Was Swift mad? Or was it the intellect itself that was mad?" Further in that passage, on page 26, an "X" next to a passage describing Swift’s mercurial moods. Pages 27-28: "X’s" mark a lengthy passage: "At most séances there is somebody who finds symbol where his neighbour finds fact, but the average man or woman thinks that the dead have houses, that they eat and sleep, hear lectures, or occasionally talk with Christ as though He were a living man; and certainly the voices are at times so natural, the forms so solid, that the plain man can scarce think otherwise. If I had not denied myself, if I had allowed some character to speak my thoughts, what would he have said? It seems to me that after reading many books and meeting many phenomena, some in my own house, some when alone in my room, I can see clearly at last. I consider it certain that every voice that speaks, every form that appears, whether to the medium’s eyes and ears alone or to some one or two other or to all present, whether it remains a sight or sound or affects the sense of touch, whether it is confined to the room or can make itself apparent at some distant place, whether it can or cannot alter the position of material objects, is first of all a secondary personality or dramatisation created by, in, or through the medium." Page 30: An "X" marks the passage, "They ["they" are the "unpurified dead"] examine their past undisturbed by our importunity, tracing events to their source, and as they take the form their thought suggests, seems to live backward through time; or if incapable of such examination, creatures not of thought but of feeling, renew as shades certain detached events of their past lives, taking the greater excitements first. When Achilles came to the edge of the blood-pool (an ancient substitute for the medium) he was such a shade. Tradition affirms that, deprived of the living present by death, they can create nothing." Pages 32-33: An "X" marks a long passage which begins with a quote from a "French traveller’s account of a séance in Madagascar": "‘Those present--myself and some privileged natives--saw nothing when Taimandebakaka [a "great sorcerer"] claimed to see the two persons [two European soldiers killed four years previous] in question; but we could hear the voices of officers issuing orders to their soldiers, and they voices were European voices which could not be imitated by natives. Similarly, at a distance we could hear the echoes of firing and the cries of the wounded and the lowing of frightened cattle--oxen of the Fahavalos.’ It is fitting that Plotinus should have been the first philosopher to meet his daimon face to face, though the boy attendant out of jealousy or in convulsive terror strangled the doves, for he was first to establish as sole source the timeless individuality or daimon [underline is Una’s] instead of the Platonic Idea, to prefer Socrates to his thought. This timeless individuality contains archetypes of all possible existences whether of man or brute, and as it traverses its circle of allotted lives, now one, now another, prevails. We may fail to express an archetype or alter it by reason, but all done from nature is its unfolding into time. Some other existence may take the place of Socrates, yet Socrates can never cease to exist. Once a friend of mine was digging in a long-neglected garden and suddenly out of the air came a voice thanking her, an old owner of the garden, she was told later, long since reborn, yet still in the garden. Plotinus said that we should not ‘baulk at this limitlessness of the intellectual; it is infinitude having nothing to do with number or part’ (Ennead V. 7. I.); yet it seems that it can at will re-enter number and part [underline by Una] and thereby make itself apparent to our minds." Page 33: Notes in the margin alongside the latter anecdote: "Wheel of Life. Evocative symbols. Dublin Hermetic Society. Swedenbourg. Böhme. Hinduism. Egyptian. Buddhism. Alchemy. Magic. Automatic Writing." At the bottom of the page, "Swift harsh arrogant irony invective passionate intense vehement." Pages 35-56: In the text of the play The Words upon the Window-pane, Una makes occasional very brief emendations, corrections, and improvements. Inside back flyleaf: In Una’s hand, the following passages: (1) "He had famished in a wilderness / Braved lions for my sake / And all men lie that say that I / Bade that swordsman take / His head from off his body / And set it on a stake. / He swore to sing my beauty / Though death itself forbade / They lie that say in mockery / Of all that lovers said / Or in mere woman’s cruelty / I bade them fetch his head. / O what innkeeper’s daughter / Shared the Byzantine crown! / Girls that have governed cities / Or burned great cities down / Have bedded with their fancy-man / Whether a king or clown! / Gave their bodies, emptied purses / For praise of clown or king / Gave all the love that women know! / O they had their fling / But never stood before a stake / And heard the dead’s lips sing. / Child and darling, hear my song / Never cry I did you wrong. / Cry that wrong came not from me / But my virgin cruelty. / Great my love before you came / Greater when I loved in shame / Greatest when there broke from me / Storm of virgin cruelty." (2) "I sing a song of Jack and Jill / Jill had murdered Jack / The moon shone brightly. / Ran up the hill and round the hill / Round the hill and back / A full moon in March. / Jack had a hollow heart for Jill / Had hung his heart on high / The moon shone brightly / Had hung his heart beyond the hill / A twinkle in the sky / A full moon in March." Back flyleaf: In Una’s hand, "(From ‘A Full Moon in March.’)" and a small, clipped article fragment pasted in which describes "The Words upon the Window-pane" as "a pretty little experiment in spiritualism, with a skillful resuscitation of Dean Swift," "Fighting the Waves" as reading like "a fragment of ‘On Baile’s Strand,’" "The Resurrection" as adopting "the George Moore method of approach to the Gospel story by indirect presentation," and "The Cat and the Moon" as "a fable like to, but less effective than, one of Robert Louis Stevenson’s." Below this article, in Una’s hand, "Queen! Remember through what perils you have come / But I am crueller than solitude / Forest or beast: Some I have killed or maimed / Because their singing put me in a rage / And some because they came at all. Men hold / That woman’s beauty is a kindly thing / But they that call me cruel speak the truth / Cruel as the winter of virginity." Inside back cover: In Una’s hand, "Every loutish lad in love / Thinks his wisdom great enough / What cares love for this and that? / /To make all his parish stare / As though Pythagoras wandered there. / Crown of gold or dun of swine. / Should old Pythagoras fall in love . Little may he boast thereof / What cares love for this or that? / Days go by in foolishness / Oh, how great their sweetness is. / Crown of gold or dung of swine. / Open wide those gleaming eyes / That can make the loutish wise / What cares love for this and that? / Make a leader of the schools / Thank the Lord, all men are fools / Crown of gold or dung of swine."

Yeats, William Butler and Lady (Augusta} Gregory. The Unicorn from the Stars and Other Plays. New York: The Macmillan Company, 1915. Facing the first page of Act I: Pasted-in clipping of a unicorn and stars.

Yeats, William Butler. A Vision: An Explanation of Life Founded Upon the Writings of Giraldus and upon Certain Doctrines Attributed to Kusta Ben Luka. London: T. Werner Laurie, Ltd., 1925. Notes: Limited edition, of which this is 257 of 600; signed by Yeats.

Yeats, William Butler. Dramatis Personae, 1896-1902, Estrangement, The Death of Synge, The Bounty of Sweden. New York: The Macmillan Company, 1936. Notes: Flyleaf: Inscribed "To Robin and Una with very best wishes from Albert, 1936." Title page: Under Yeats’s name, in Una’s hand, "born June 13, 1865, Sandymount near Dublin; died Jan 28, 1939, Roquebrune, France." Table of Contents page: Una adds "1909" to the entries for "Estrangement" and "The Death of Synge," and she has pasted in a clipped photo of Yeats. Illustrations page: Una writes "died May 1932" next to the entry, "Lady Gregory by Mrs. Jopling," and she has pasted in a clipped photo captioned, "Relic of the Rebellion is Madame Maud Gonne McBride, widow of a martyr, beloved of William Butler Yeats 50 years ago." Page 1: A pasted-in, clipped fragment of newspaper article (labeled in Una’s hand, "Sean O’Faolain") discussing the significance of Byzantium in Yeats’s writing and the "unaccountable affinity that the Ireland of the ninth and tenth centuries had for Byzantine civilization." Page 7: An "X" marks the passage in which Yeats writes of Coole House, the home of Lady Gregory, "In later years I was to know the edges of that lake better than any spot on earth, to know it in all the changes of the seasons, to find there always some new beauty. Wondering at myself, I remember that when I first saw that house I was so full of the medievalism of William Morris that I did not like the gold frames, some deep and full of ornament, round the pictures in the drawing-room; years were to pass before I came to understand the earlier nineteenth and later eighteenth century, and to love that house more than all other houses. Page 20: An "X" marks a description of some experiences reflecting traditional Gaelic beliefs regarding the spirit world: "That experience is my [Yeats’s] obsession, as Coole and its history, her [Gregory’s] hope that her son or her grandson might live there, were Lady Gregory’s." Page 21: An "X" marks a passage: "‘I [Edward Martyn] know Moore a great deal longer than you do. He has no good points.’ And a week or two later Moore said: ‘That man Martyn is the most selfish man alive. He thinks that I am damned and he doesn’t care.’ I have described their friendship in a little play called The Cat and the Moon; the speaker is a blind beggar-man, and Laban is a townland where Edward Martyn went to chapel: . . . ‘Did you ever know a holy man but had a wicked man for his comrade and his heart’s darling? There is not a more holy man in the barony than the man who has the big house at Laban, and he goes knocking about the roads day and night with that old lecher from the county of Mayo, and he is a woman-hater from the day of his birth. And well you know and all the neighbours know what they talk of by daylight and candlelight. The old lecher does be telling over all the sins he committed, or maybe never committed at all, and the man of Laban does be trying to head him off and quiet him down that he may quit telling them.’ Moore and Martyn were indeed in certain characteristics typical peasants, the peasant sinner, the peasant saint." Page 28: An "X" marks a passage reading, "For twenty years I spent two or three months there [at Coole] in every year. Because of those summers, because of that money [£500 lent by Lady Gregory], I was able through the greater part of my working life to write without thought of anything but the beauty or the utility of what I wrote. Until I was nearly fifty, my writing never brought me more than two hundred a year, and most often less, and I am not by nature economical." Page 52: An "X" marks a passage that reads, "I told him [George Moore] that he was more mob than man, always an enthusiastic listener or noisy interrupter. Yet I admired him and found myself his advocate. I wrote to Lady Gregory: ‘He is constantly so likeable that one can believe no evil of him, and then in a moment a kind of devil takes hold of him, his voice changes, his look changes, and he becomes hateful. . . . . It is so hard not to trust him, yet he is quite untrustworthy. He has what Talleyrand calls "the terrible gift [of] familiarity." One must look upon him as a mind that can be of service to one’s cause.’" Page 56: An "X" marks a passage reading, "I saw Moore daily, we were at work on Diarmuid and Grania. Lady Gregory thought such collaboration would injure my own art, and was perhaps right. Because his mind was argumentative, abstract, diagrammatic, mine sensuous, concrete, rhythmical, we argued about words, In later years, through much knowledge of the stage, through the exfoliation of my own style, I learnt that occasional prosaic words gave the impression of an active man speaking." Page 59: n "X" marks the passage reading, "Yet whatever effect that collaboration had on me, it was unmixed misfortune for Moore, it set him upon a pursuit of style that made barren his later years. I no longer underrate him, I know that he had written, or was about to write, five great novels. But A Mummer’s Wife, Esther Waters, Sister Teresa (everything is there of the convent, a priest said to me, except the religious life), Muslin, The Lake, gained nothing from their style." Page 62: An "X" marks the passage which reads, "I read him [Douglas Hyde], translated by Lady Gregory or by himself into that dialect which gets from Gaelic its syntax and keeps its still partly Tudor vocabulary; little was, I think, lost." Page 79: An "X" marks the passage reading, "I saw nothing in her [Lady Gregory’s] past to fit her for that work [the translation of Irish heroic cycles]; but in a week or two she brought a translation of some heroic tale, what tale I cannot now remember, in the dialect of the neighbourhood, where one discovers the unemphatic cadence, the occasional poignancy of Tudor English. Looking back, Cuchulain of Muirthemne and Gods and Fighting Men at my side, I can see that they were made possible by her past; semi-feudal Roxborough, her inherited sense of caste, her knowledge of that top of the world where men and women are valued for their manhood and charm, not for their opinions, [and by] her long study of Scottish Ballads, of Percy’s Reliques, of the Morte d’Arthur." Page 80: An "X" marks the passage which reads, "George Moore, dreading the annihilation of an impersonal bleak realism, used life like a medieval ghost making a body for itself out of drifting dust and vapour; and have I not sung in describing guests at Coole--’There one that ruffled in a manly pose, For all his timid heart’--that one myself? Synge was a sick man picturing energy, a doomed man picturing gaiety; Lady Gregory, in her life much artifice, in her nature much pride, was born to see the glory of the world in a peasant mirror." Page 83: On the title page for "Estrangement," a clipped picture captioned, "Portrait of John O’Leary," and attributed to H. M. Page. Page 98: An "X" marks the passage which reads, "In one thing [Synge and Gregory] are the strongest souls I have ever known. He and she alike have never for an instant spoken to me the thoughts of their inferiors as their own thoughts. I have never known them to lose the self-possession of their intellects. Page 99: An "X" marks the passage which reads, "Every day I notice some new analogy between the long-established life of the well-born and the artists’ life. We come from the permanent things and create them, and instead of old blood we have old emotions and we carry in our heads always that form of society aristocracies create now and again for some brief moment at Urbino or Versailles. We too despise the mob and suffer at its hands, and when we are happiest we have some little post in the house of Duke Frederick where we watch the proud dreamless world with humility, knowing that our knowledge is invisible and that at the first breath of ambition our dreams vanish. Page 103: An "X" marks the passage which reads, "This morning I got a letter telling me of A---- G-----’s illness. She has been to me mother, friend, sister and brother. I cannot realise the world without her--she brought to my wavering thoughts steadfast nobility. All the day the thought of losing her is like a conflagration in the rafters. Friendship is all the house I have." Page 108: An "X" marks the passage which reads, "I wonder if I have been right to shape my style to sweetness and serenity, and there comes into my mind that verse that Fergus spoke, ‘No man seeks my help because I be not of the things I dream.’ On the night of the Playboy debate’ they ["base half-men of letters" whom no one thought "worth a price," yet who gossip about gifted individuals like Lady Gregory and Synge] were all there, silent and craven, but not in the stalls for fear they might be asked to speak and face the mob." Page 111: An "X" marks the passage which reads, "Whatever happens I must go on that there may be a man behind the lines already written; I cast the die long ago and must be true to the cast." Page 113: An "X" marks the passage which reads, "For the last ten or twenty years there has been a perpetual drying of the Irish mind with the resultant dust-cloud." Page 115: An "X" marks the passage reading, "Ireland has grown sterile, because power has passed to men who lack the training which requires a certain amount of wealth to ensure continuity from generation to generation, and to free the mind in part from other tasks. A gentleman is a man whose principal ideas are not connected with his personal needs and his personal success." On page 116: An "X" marks the passage which reads, "I now see that the literary element in painting, the moral element in poetry, are the means whereby the two arts are accepted into the social order and become a part of life and not things of the study and the exhibition. Supreme art is a traditional statement of certain heroic and religious truths, passed on from age to age, modified by individual genius, but never abandoned." Page 139: An "X" marks the passage that reads, "For him [Synge, who had just died] nothing existed but his thought. He claimed nothing for it aloud. He never said any of those self-confident things I am enraged into saying, but one knew that he valued nothing else. He was too confident for self-assertion." Further on page 139, an "X" marks the passage, "I have often envied him his absorption as I have envied Verlaine his vice. Can a man of genius make that complete renunciation of the world necessary to the full expression of himself without some vice or some deficiency? You [Synge] were happy or at least blessed, ‘blind old man of Scio’s rocky isle.’" Page 180: An "X" marks the passage that reads, "On Thursday I give my official lecture to the Swedish Royal Academy [for the Nobel Prize]. I have chosen ‘The Irish Theatre’ for my subject, that I may commend all those workers, obscure or well-known, to whom I owe much of whatever fame in the world I may possess. If I had been a lyric poet only, if I had not become through this theatre the representative of a public movement, I doubt if the English committees would have placed my name upon that list from which the Swedish Academy selects its prize-winner." Page 181: An "X" marks the passage that reads, ". . . two forms should have stood, one at either side of me [upon receiving the Nobel Prize], an old woman sinking into the infirmity of age and a young man’s ghost. I think when Lady Gregory’s name and John Synge’s name are spoken by future generations, my name, if remembered, will come up in the talk, and that if my name is spoken first their names will come in their turn because of the years we worked together." Page 187: An "X" marks a part of Yeats’s lecture to the Royal Academy: "When we thought of these plays [Irish plays and Irish players] we thought of everything that was romantic and poetical, because the nationalism we had called up--the nationalism every generation had called up in moments of discouragement--was romantic and poetical. It was not, however, until I met in 1896 Lady Gregory, a member of an old Galway family, who had spent her life between two Galway houses, the house where she was born, the house into which she married, that such a theatre became possible. All about her lived a peasantry who told stories in a form of English which has much of its syntax from Gaelic, much of its vocabulary from Tudor English, but it was very slowly that we discovered in that speech of theirs our most powerful dramatic instrument, not indeed until she herself began to write." Page 188: When Yeats refers to his "little old tower" in Galway, Una writes in the margin, "Ballylee." Page 189: An "X" marks the passage that reads, "It seemed as if the ancient world lay all about us with its freedom of imagination, its delight in good stories, in man’s force and woman’s beauty, and that all we had to do was to make the town think as the country felt; yet we soon discovered that the town would only think town thoughts." Page 195: In speaking to the Royal Academy about John Synge, Yeats says (and Una marks), "He was the man that we needed, because he was the only man I have ever known incapable of a political thought or of a humanitarian purpose. He could walk the roadside all day with some poor man without any desire to do him good or for any reason except that he liked him. He was to do for Ireland, though more by his influence on other dramatists than by his direct influence, what Robert Burns did for Scotland. When Scotland thought herself gloomy and religious, Providence restored her imaginative spontaneity by raising up Robert Burns to commend drink and the devil. I did not, however, see what was to come when I advised John Synge to go to a wild island off the Galway coast and study its life because that life ‘had never been expressed in literature.’ He had learned Gaelic at College and I told him that, as I would have told any young man who had learned Gaelic and wanted to write. When he found that wild island he became happy for the first time, escaping, as he said, ‘from the nullity of the rich and the squalor of the poor.’ He had bad health, he could not stand the island hardship long, but he would go to and fro between there and Dublin." Page 197: An "X" and underlines mark the passage, "Picturesque, poetical, fantastical, a masterpiece of style and of music, the supreme work of our dialect theatre, Synge’s] Playboy roused the populace to fury." Page 198: An "X" marks the passage which reads, "Our victory was won by those who had learned from [Synge] courage and sincerity but belonged to a different school. Synge’s work, the work of Lady Gregory, my own Cathleen ni Houlihan and my Hour-Glass in its prose form, are characteristic of our first ambition. They bring the imagination and speech of the country, all that poetical tradition descended from the Middle Ages, to the people of the town."

Yeats, William Butler. The Collected Plays of W. B. Yeats. New York: The Macmillan Company, 1935. Notes: Flyleaf: Inscribed "In memory of a great day, Sept. 29th, 1935, Ellen." and "Una Jeffers. Tor House. Carmel." Table of Contents page: In Una’s hand opposite, "Additional plays - I have in other books: The Herne’s Egg; A Full Moon in March; The King of the Great Clock Tower; Fighting the Waves (another version of The Only Jealousy of Emir); Purgatory; The Death of Cuchulain. Page 116: Loose, a clipped article from the drama section of a (San Francisco?) newspaper by John Hobert titled "A Bravo is Added to a Play Written 25 Centuries Ago: Oedipus’ Tragedy," a review of the Old Vic’s production of Sophocles’ Oedipus, starring Laurence Olivier; in it, Hobert notes that "the translation used is the fine one by William Butler Yeats" (the article is undated, but a handwritten note in margin says "1940 - V-8"). Inside back cover: In Una’s hand: "Yeats’ notes for Oedipus, p 475" (page 475 has the following note at the top: "See notes inside back cover."). Yeats writes, "The main purpose of the chorus is to preserve the mood while it rests the mind by change of attention . . . . my version of this Sophocles play is written for an audience where nobody comes for Self-Improvement or anything but emotion . . . . I kept in mind that a word unfitted for living speech, out of its natural order or unnecessary to our modern technique would check emotion or tire attention.’"

Yeats, William Butler. The Lake Isle of Innisfree. Mills College, 1924. Notes: Inside front cover: Loose clippings: (1) "A Poet Is Brought Home" by Padraic Colum in The Commonweal October 22, 1948; (2) "Yeats Comes Home" by Kate O’Brien in The Spectator, September 24, 1948; (3) a page from a magazine, featuring four photos from Yeats’s Irish surroundings (probably 1948); (4) a magazine photo of "Old Maude Gonne"; (5) a newspaper article, "Frank O’Connor writes on W. B. Yeats"; (6) "Yeats’s Homecoming"; (7) a magazine feature "The Burial of Poet Yeats."

Yonge, Charlotte. The Three Brides. London: Macmillan and Company, 1889. Notes: Flyleaf: Inscribed "Una Call, 1895, From Mamma and Papa." Inside front cover: Pasted in, two identical copies of the following clipped notice: "Miss Charlotte Yonge’s name is to be given to three free scholarships for girls, for which her admirers, headed by the Princess of Wales, are collecting money in England. Miss Yonge is 75 years of age now, and has written more than 80 books. ‘The Heir of Redclyffe’ first appeared 45 years ago, and ‘The Daisy Chain’ three years later."

Young, Ella. Celtic Wonder Tales. Dublin: The Talbot Press Ltd., 1923. Notes: Flyleaf: Inscribed "To Donnan Jeffers and to Garth Jeffers, Who will perhaps one day come to Ireland and see wonders for themselves. Ella Young, St. Patrick’s Day 1927."

Young, Ella. Flowering Dusk: Things Remembered Accurately and Inaccurately. New York: Longmans, Green and Company, 1945. Notes: Flyleaf: Inscribed "For Margaret Newlin Levick, to remind her of hours that we have shared together. With a luck-wish, Ella Young. 2 July 1945." Pages 297-303: The chapter titled "Beads on a String" recalls a visit to Carmel and a picnic at Point Lobos with the Jeffers, the Luhans and O’Sheas; a luncheon at Carmel Highlands at John and Molly O’Shea’s home, with guests the Luhans, Dorothy Thompson, the Jeffers, Lincoln Steffans, Ella Winter, Sinclair Lewis and "a distinguished Austrian violinist"; and a visit to Hollow Hills Farm, Noël Sullivan’s home in Carmel Valley. The portraits Young draws of her companions are brief but notable: As she sits at the picnic table, she observes that "Robinson will sit silent with the secret smile and shining eyes of one to whom the wild has extended more than the prodigal’s welcome--though he came with the elder brother’s righteousness!" and "Una with her beautiful long plaits of hair, and pale, distinguished face." Young recalls Una in another episode as she offered "advice and sudden ejaculatory commands" to Tony Luhan, driving his Cadillac south to Point Lobos, but Una "a marvellous driver . . . marvellously good-tempered." Young describes Sinclair Lewis as a hyperactive comedian coming into the party late, composing poetry and burlesques while his hosts urge him to sit down and eat. And Young offers a tender portrait of Noël Sullivan, the shy master of his house and "A sojourner in many cities" who "belongs to another era and other comrades. Sensitive to every phase of culture, to every colour of beauty, he cannot separate these in his consciousness from the grave-pall black, the underlying misery of his life. He is concerned with agonies of the soul, as men were concerned in the days when they knew how to build cathedrals and palaces, and fenced themselves in cloisters from the fires of Hell and the more heart-piercing fires of Paradise . . . indeed, he well may die in a monk’s habit. . . . Noël Sullivan lifts a black kid in his arms, and carries it a little way. I shall remember him thus with Spring air about him, the greenness of grass, and the quiet amphitheatre of the hills."