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FRAZ/9 consists of 1 box of material relating to 'The Fear of the Dead in Primitive Religion' spanning the dates 1931-1936. It contains the manuscript draft of Vol. I, printed in 1932; the typescript of Volume III, and a typescript of a notebook containing bibliographies for subjects covered in all three volumes. There is more material housed in FRAZ/26, including some slight variants of the bibliographies; and material relating to the French translation, 'La crainte des morts'.

28 Grange Road, Barnes, S.W.13. - Thanks her for her letter and the two letters from Marett; still thinks they should not publish the Marett lecture [in the book of Frazer Lectures, due to content relating to Elliot Smith] as it is so different in tone from the other lectures; thinks his point about Jane Harrison [in the letter from Marett to Lady Frazer dated 25 July, FRAZ/17/27] is not a true parallel; returns the Marett letters.

The Museum of Classical Archaeology, Cambridge [Printed form completed in manuscript] - Thanks Frazer for his donation of five portfolios of Italian and Greek photographs.

32 loose pages from a printed volume(s?) with music and verses of French songs probably used by Lilly Frazer. Accompanied by an advertisement for 'Chansons Populaires, Recueillies dans les Alpes Françaises' par Julien Tiersot with music and verses for 'La Fiancée Lointaine'.

5 Cadogan Gardens, S.W.3. - Is sorry to hear of their bad health; is going to the West Indies; feels for the Jews and refugees: 'the things done are almost unbelievably bad & cruel'.

House of Commons. - Has been speaking to Mr [Robert?] Reid: Bob should write to the Secretary of the Inner Temple to say that Reid has promised to introduce him to the Inn; Sir George will send him a cheque for any money he needs to deposit. Will be glad for Bob to go to Venice at Easter as long as he travels comfortably. Is writing 'on [his] knee on the Treasury Bench' so cannot write more.

33 Ossington Street, Bayswater. - After 'the first shock of this great calamity' [war between Britain and Germany], she felt that if she put aside the poem [Trevelyan's 'Bride of Dionysus', which she is translating into German] she may not be able to take it up again, so since Trevelyan seemed to wish it to be finished she has kept on and almost finished it. When she hears that he has returned to the Shiffolds, she will send him the score of the last act and her manuscript. Thinks he ought to pay her less than first agreed since the work will not be put on in Germany.

7A Stanley Gardens, W.11. - Thanks Trevelyan for the selection of unpublished poems to be considered for inclusion in Abercrombie's new collection [see 1/8]. Prefers the poem addressed to Elizabeth Muntz ["Epistle to E. M."] and advises on a title, though he also praises "The Fig Tree" and "Envious Time". Michael [his son] is recovering but still needs treatment.

Conduit Head - invitation to visit, book by Milly Jourdain.

Harnham, Monument Green, Weybridge. - Has been visiting the Dakyns family and is 'so sorry to hear about [Bob's son] Paul'; hopes that he will get well soon at Broadstairs. Has been meaning to write for a long time to say 'how good' he thinks "Sisyphus", and how much it made him laugh; liked Hypnos's appearance best; thought his remarks 'seemed so true' that those of Thanatos - [annotation above, perhaps in Trevelyan's hand, 'Time?']- which were 'presumably meant to be more true... did seem deal and second hand mahogany in comparison'. Calls Aphrodite and Artemis 'two dears'; the chorus made him 'faint with joy'. They are returning the 'Italy book', which his mother 'could scarcely bear to part with', and 'have put "Don't forward"'.

King's College, Cambridge. - Has read Bob's translation [of parts of the "Oresteia"] with the 'utmost enthusiasm': thinks it gives 'a far better notion of Aeschylus' than any other version, and is just what they want for their acting edition: hopes that he will allow them to use it and finish the translation for this purpose. Expects they will lose money on printing, but willing to 'make some bargain' [sign a contract?] in case it sells. Would like to print this vacation; asks when Bob could finish; thinks they might start printing the "Agamemnon" then continue as the other two parts are finished; will arrange it with the [Cambridge University] Press if Bob consents. Sends copy of the text [no longer present] marked with the cuts for their performance; except in the "Agamemnon", has also marked textual points, but Bob will generally get their text 'via Headlam's prose crib'. Lists the cuts to the "Agamemnon" for their performance below the main body of the letter, with the 'very few places' where he thinks some change will be necessary to Bob's translation. Does not really want to discuss these with Bob, as he is very busy; thinks they are 'not many, nor very important for practical acting purposes'. Says that the chorus in the "Choephoroe" are 'savage creatures, oriental slaves, not sympathetic young ladies'. Explains his analysis of Athena's vote in favour of Orestes in the "Eumenides". Some of his suggested changes relate to different versions of the Greek text, so different translations or interpretations. The Greek is quoted. Notes that it would be possible to print Bob's version with the difference only coming in performance.

British Museum, W.C.1. - Sorry he missed Trevelyan, who must stay with them next time he comes to London. Has done some 'miscellaneous T'ang poems', mainly by contemporaries of Po Chu-I, and encloses one [no longer present]. Is going to Tidmarsh [home of Lytton Strachey] on Sunday and is most excited: wants to see 'the education of those patient females' with his own eyes. Is attending a meeting of the Philological Society to hear a paper on 'the Ergonics [sic] of the Japanese Language'; does not know 'in the least what that means'. Asks if Trevelyan heard James Strachey's 'address to the 1917 Club on the Sex Question" on Tuesday evening. Can see 'the unmistakeable figure of [Harry] Norton] from the window, perhaps going from Gordon Square to 'tea with his sister Betty in Grays Inn'. Asks if Trevelyan has read the "Poet's Pilgrimage" by W. H. Davies, which he almost liked better than 'the tramp book' ["The Autobiography of a Super-Tramp"]

With monogram HPC and motto 'Mens sana in corpore sano'. - Quotes the first line of Virgil's "Aeneid" to begin an account of a fight between his house and the 'Vannites', in which he, [Harold?] Sandilands and [Claude] Rome were involved, and the ensuing talk from Bowen who 'dwelt on his own sacrifices for the house', which George knows more of than most, and 'the bitterness of his disappointment'; George was very touched, and this is the only aspect which grieves him. Expects he will lose his monitorship.

Signed by Leonard Woolf for the Hogarth Press and by R. C. Trevelyan.

Newspaper cuttings with reviews, most sent to Trevelyan by Durrant's Press Cuttings Agency' from: the "New Statesman" [a brief laudatory mention in the "Spring List" by 'D. M.' - Desmond MacCarthy]; "Times Literary Supplement" [also reviewing a translation of Ferenc Békássy's poems]; "Nation and Athenaeum" [by Robert Graves; date not present but 2 May 1905; also reviewing works by Békássy, H. H. Abbott, Maurice Baring, Lord Gorell, Nancy Cunard, Emily Dickinson, and Edwin Muir]; "Observer" [also reviewing works by Cunard, Muir, and Norman Gale]; "Manchester Guardian"; "Daily News". Also a cutting from the "Daily Herald", 5 June 1923, in which a reader notes the common theme between Trevelyan's "Oaks and Caterpillars", printed in the paper three days earlier, and works by John Gay.

Notes on several events during the Franco-Prussian war, with several maps [ff 1-32]; reference to 'Mr [Edward] Bowen' being in Paris at the time suggests that the lectures were delivered by him during Trevelyan's schooldays at Harrow, 1886-1890 [f 31].

Translation, at the other end of the book, by Trevelyan of Lucretius Book III [of "De Rerum Natura"], lines 161-685, written on recto of folia with corrections and annotations, some in red and blue pencil, on facing page [63r-32v]

Extracts copied by Trevelyan from Layamon's "Brut"; blank verse retelling of the story of Siddhartha; "Everyman, Scene I" with characters Worldly Wiseman and Fight-the-good-fight, both on recto with corrections and additions on facing page.

From the back of the book inwards: extracts from the "Buddha Carita or the Life of the Buddha", translated by E. B. Cowell, on Siddhartha's 'Four Sights' [unlike Trevelyan's hand, and possibly copied out by Gordon Luce?]; retelling of Siddhartha's story in rhyming verse, on recto with corrections and additions on facing page.