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F. L. Lucas

Frank Laurence Lucas
elderly man, profile, smoking cigarette
Lucas in 1957
Born (1894-12-28)28 December 1894
Hipperholme, Yorkshire
Died 1 June 1967(1967-06-01) (aged 72)
Occupation Academic, writer, critic
Alma mater Trinity College, Cambridge
Genre Essay, literary criticism, fiction, poetry, drama, polemic, travel writing
Notable works Style (1955), The Complete Works of John Webster (1927)
Notable awards OBE (1946)

Frank Laurence Lucas (1894–1967) was an English classical scholar, literary critic, poet, novelist, playwright, political polemicist, Fellow of King's College, Cambridge, and intelligence officer at Bletchley Park during World War II.

He is now best remembered for his scathing 1923 review of T. S. Eliot's The Waste Land,[1] and for his book Style (1955; revised 1962), an acclaimed guide to recognising and writing good prose.[2] His Tragedy in Relation to Aristotle's 'Poetics' (1927, substantially revised in 1957) was for over fifty years a standard introduction.[3] His most important contribution to scholarship was his four-volume Complete Works of John Webster (1927), the first collected edition of the Jacobean dramatist since that of Hazlitt the Younger (1857), itself an inferior copy of Dyce (1830).[4] Eliot called Lucas "the perfect annotator";[5] and subsequent Webster scholars have been indebted to him, notably the editors of the new Cambridge Webster (1995–2007).[6]

Lucas is also remembered for his anti-fascist campaign in the 1930s,[7][8] and for his wartime work at Bletchley Park, for which he received the OBE.

Literary criticism


Except in reviews of work by contemporaries, early examples of which appear in Authors Dead and Living (1926), Lucas adopted the historical and biographical approach to criticism and examined the views of earlier critics, whose dogmatism he was swift to rebut. He increasingly linked his studies to developments in Psychology, notably in Literature and Psychology (1951). "The real 'unwritten laws'," he observed, "seem to me those of human psychology."[9] Centrally, he discussed the writer's psychology as revealed through style. "Even science has invented no pickle for embalming a man like style," he noted.[10]

The poets to whom he returned most often in publications were Tennyson (1930, 1932, 1947, 1957) and Housman (1926, 1933, 1936, 1960), but he ranged widely over Classical, European and English literature. Conscious that books can influence for good or ill, he admired authors he saw as defenders of sanity and good sense – men like Montaigne and Montesquieu – or as compassionate realists, like Homer in the Iliad, Euripides, Hardy, Ibsen and Chekhov. "Life is 'indivisible'," he wrote.

"A public tends to get the literature it deserves: a literature, to get the public it deserves. The values men pursue in each, affect the other. They turn in a vicious, or a virtuous, circle. Only a fine society could have bred Homer: and he left it finer for hearing him."[11]

His criticism, while acknowledging that morality is historically relative, was thus values-based. "Writers can make men feel, not merely see, the values that endure."[12] Believing that too many modern writers encouraged men and women to flee to unreason, decadence and barbarism, he condemned the trahisons des clercs of the twentieth century,[13] and used his lectures and writing to campaign for a responsible use of intellectual freedom. "One may question whether real civilisation is so safely afloat," he wrote in his last published letter (1966), "that we can afford to use our pens for boring holes in the bottom of it."[14] The writer or artist serving up "slapdash nightmares out of his Unconscious",[15] "in an age morbidly avid of uncivilised irreticence",[16] not only exhibited his own neuroses, but fed neurosis in others. Literary critics, too, had to take more responsibility. "Much cant gets talked," he noted of the Structuralists, "by critics who care more for the form and organisation of a work than for its spirit, its content, its supreme moments."[17] The serious note in his criticism was counterbalanced by wit and urbanity, by lively anecdote and quotation, and by a gift for startling imagery and epigram.

What Lucas wrote about Housman's Name and Nature of Poetry in 1933 (though he contested some of its ideas) sums up what he himself aspired to as a literary critic: "… the kind of critical writing that best justifies itself before the brevity of life; that itself adds new data to our experience as well as arguing about the old; that happily combines, in a word, philosophy with autobiography, psychology with a touch of poetry – of the ‘poetic’ imagination. It can make acceptable even common sense. There are sentences here which recall the clear-cut Doric strength of the Lives of the Poets ..."[18]


Lucas's impatience with the "obscurantism" and coterie-appeal of much modern poetry made him in the interwar years one of the foremost opponents of the new schools. "As for 'profundity'," he wrote, "it is not uncommonly found also in dry wells; which may likewise contain little but obscurity and rubbish."[19] He opposed also what he saw as the narrow dogmatism of the New Critics, those "tight-lipped Calvins of art",[13] as he called them, of Criterion and Scrutiny. Discussions of I. A. Richards's criticism appear in his essay 'English Literature' in the volume University Studies: Cambridge 1933 [20] and in Chapter 4 of his Decline and Fall of the Romantic Ideal (1936), and of Eliot's in the 1929 essay 'Modern Criticism',[21] reprinted in his Studies French and English (1934). An anonymous New Statesman review (29 December 1928) of Eliot's criticism, however, to which F. R. Leavis replied[22] apparently believing it was by Lucas, and which Leavis's biographer says "was certainly by Lucas",[23] was in fact by R. Ellis Roberts.[24][25] Lucas had stopped reviewing for the New Statesman in 1926, and never reviewed anonymously. His critique of Q. D. Leavis's Fiction and the Reading Public (1932) in University Studies: Cambridge 1933 was described by F. R. Leavis's biographer as "improper": "senior academics do not use quasi-official publications to attack graduate students".[26] (The volume, though printed by the University Press, was not published there; its editor stressed that the contributions were "unofficial" glimpses into the "intense mental activity" of each Cambridge department;[27] and published theses are not normally considered exempt from criticism.)


Lucas's standing as a literary critic was probably at its highest in the 1930s [see Career, below]; post-war, reviewers were often more hostile.[28][29] Probably because, psychoanalytic literary criticism aside, he scorned most new trends – he described the critical theory of the 1950s as "largely pseudo-scientific bubble-blowing"[30] – his criticism has long been out of fashion and is mostly out of print. "The literary world has passed on," wrote L. P. Wilkinson, "but that does not mean that what supervened was better; and just because of his uncompromising brilliance the whirligig of time may bring in his criticism again. His Style (1955) has a permanent value in any case, unaffected by trends."[29] Style is now back in print (2012).[31] His two earliest books, Seneca and Elizabethan Tragedy (1922) (his Fellowship dissertation) and Euripides and His Influence (1923), not yet superseded in similar concise form, continue to be reprinted. The references to and quotations from his 1927 edition in the new Cambridge Webster (1995–2007) confirm that he retains the respect of Webster scholars. "With its voluminous and marvellously wide-ranging notes," writes one of the Cambridge editors, "Lucas's four-volume, old-spelling edition remains essential reading for those who love scholarship and, more, love the plays of John Webster".[32]

Verse translation

Beside the grey sea-shingle, here at the cross-roads'
I, Hermes, stand and wait, where the windswept orchard
I give, to wanderers weary, rest from the road and
Cool and unpolluted from my spring the water
Anyte of Tegea, Anth. Pal., IX.314, trans. Lucas

Lucas dedicated much of his time to making classical (mainly Greek) poetry accessible to modern readers through verse translations. His companion volumes Greek Poetry for Everyman (1951) and Greek Drama for Everyman (1954) contain some 20,000 lines. No single translator had attempted before to bring together in homogeneous volumes so much of the best of Greek poetry from Homer to the 6th century A.D., with the introductions and notes needed by the non-classicist. The translations were praised for their grace and fidelity – "the sense and the imagery are minutely reproduced" (The Classical Review )[33] – and were hailed by the press as Cambridge's single-handed answer to the [collaborative] Oxford Book of Greek Verse in Translation.[34] Lucas's versions, however, presuppose a taste for a poetic style closer to Morris than to Pound. Reviewers generally preferred his translations of lyric, Alexandrian and later poetry to the 7,000 rhymed lines from Homer, which were omitted from the second edition (Everyman Library, 1966). "Lucas makes the plays deceptively easy to read and appreciate," wrote a reviewer of the second volume,[35] "by smoothing away the austerities and complexities of the Greek – qualities which some modernists conscientiously preserve or even exaggerate." The translation of Hippolytus remains in print in the Penguin selection, Eight Great Tragedies, ed. Sylvan Barnet.[36]

Original writing


Of Lucas's novels the best received was Cécile (1930),[37] a "tenderly brilliant story"[38] of love, politics and philosophy in the France of 1775–1776. (Lucas dedicated the book to T. E. Lawrence, a friend and admirer.[39][40]) He wrote two further historical novels, Doctor Dido (1938), set in Cambridge in 1792–1812, and The English Agent: A Tale of the Peninsular War (1969), set in Spain in 1808; and a novella, The Woman Clothed with the Sun (1937), on the Buchanites of the 1780s–90s. The three novels focus on a love-affair between an Englishman and a Frenchwoman (Lucas was a self-confessed gallomane[41]); the Scots novella takes the form of an account, written by a Scottish minister in middle age, of his youthful bewitchment by Elspeth Buchan and of his curious sojourn among the Buchanites. A theme common to all four is the tension between fragile 18th-century rationalism and, in varying forms, Romantic "enthusiasm" and unreason. [For his semi-autobiographical first novel, The River Flows (1926), see Personal Life below.]


As a poet Lucas was a polished ironist. Early collections were mostly personal lyrics or satires, but he came to specialise in dramatic monologues and narrative poems based on historical episodes "that seem lastingly alive".[42] His First World War poems, including 'Morituri – August 1915, on the road from Morlancourt' (1935) and ' "The Night is Chilly but not Dark" ' (1935), offer a retrospect of his experiences at the front.

On nights when the moon creeps shrouded up the sky
And hedge and holt lie glimmering ghostly grey,
A voice still whispers in me, far away –
A good night, this, for wiring – and suddenly
There rises from the dead that shadowy hell,
The barbed-wire rasps, uncoiling through my hand,
The flares dance flickering over no-man's-land,
A dull machine-gun raps from La Boisselle.
Then fades the phantom, and once more I know
Our spider-webs of wire are rust by now,
Our battlefields reconquered by the plough,
And hands that worked with mine, dust long ago.

Its appearance in various mid-twentieth century anthologies of English verse has made 'Beleaguered Cities' (1929) Lucas's best-known poem.[43] Others that have gained currency through anthologies include 'The Destined Hour' (1953), a re-telling in verse of the old 'appointment in Samarra' fable,[44] and 'Spain 1809', the story of a village woman's courage during the French occupation in the Peninsular War.[45] His most ambitious poem was Ariadne (1932), an epic re-working of the Labyrinth myth. Simon Tidworth in The Quest for Theseus[46] summarises: "Lucas invents another sweetheart for Theseus, Aegle, one of the sacrificial maidens who accompany him to Crete. The real stroke of originality is to make the Minotaur Minos himself in a bull-mask. On Naxos Ariadne learns of Theseus's earlier love for Aegle, and decides to leave him while the image of her own love is still fresh. An ordinary love-affair is not what she wants; she has to seek the Ideal [Dionysus]."


Lucas's most successful play was the thriller Land's End, set in Cornwall in the mid-1930s (Westminster Theatre, February–March 1938, 29 performances, with Cathleen Nesbitt, Cecil Trouncer and Alan Napier among the cast) – "as full of drama as an egg is full of meat", noted The Stage.[47] One of Paul Scofield's earliest roles was in the Birmingham Rep's revival of the play in March–April 1945.[48] The Bear Dances: A Play in Three Acts was the first dramatisation of the Soviets on London’s West-end stage (Garrick Theatre, October–November 1932, with Elena Miramova, Abraham Sofaer and Olga Lindo). This play, though it closed early in London, was revived by various repertory theatres in the North of England in the later 1930s. It was an attempt at ideological disinfectant, written at a time when Cambridge University (in Lucas's words) "grew full of very green young men going very Red".[49]

History, politics and society


Outside literature, Lucas is remembered for his solution to one of the more contentious problems of ancient topography. His "north-bank" thesis[50] on the location of the Battle of Pharsalus (48 B.C.), based on his 1921 solo field-trip to Thessaly and on a re-examination of the sources, dismissed a dozen previous theories and is now widely accepted by historians.[51] John D. Morgan in his definitive 'Palae-pharsalus – the Battle and the Town'[52] writes: "My reconstruction is similar to Lucas’s, and in fact I borrow one of his alternatives for the line of the Pompeian retreat. Lucas’s theory has been subjected to many criticisms, but has remained essentially unshaken."


In the 1930s Lucas was widely known for his political letters to the British Press with their outspoken attacks on appeasement. Following the inaction of the League over Manchuria, he called repeatedly for "a League within the League", of nations pledged to uphold international law and oppose aggression. "Since the War," he wrote in 1933, "British policy has been shuffling, timid, ignoble."[53] Having read Mein Kampf in the original and taken its threats as a statement of intent, he urged in September 1933 that Nazi Germany be prevented from re-arming. "Versailles was monstrous", he wrote in The Week-end Review,

"but one thing surely comes first: Germany must not be allowed to re-arm. How prevent it? By an international police-force? It would be ideal. Unfortunately it does not exist. The French have urged it. We in our muddle-headedness want neither it nor the alternative – war. Are we prepared to see France do its work instead and take action in Germany? – or are we going to sit sanctimoniously on the fence, disapproving, but secretly relieved? I devoutly hope the first. Germany must not re-arm; even if the French had to invade it once every five years, that would be better than the alternative."[54]

A hatred of war, he argued in 1936, "can be no reason for being false to ourselves, in the name of an aimless amiability that cries ‘peace’ where there is none."[55] And in 1937: "We have not kept agreements we made; we have made agreements we should not; we have tried to cheat our way to security, and now the security proves a cheat. We have forgotten the wisdom which says that since we cannot foresee where any road will lead in the end, we should stick to the straight and honest one."[56] Despite the prevailing pacifism of the time – and he exchanged views with "passive pacifists" in the correspondence-columns – such sentiments struck a chord. "This is the voice of the England I love," wrote a correspondent from Prague in 1938, "and for whose soul I was trembling when I heard about the welcome given Mr Chamberlain on his return from Munich."[57] Not everyone admired the letters, however: the pro-appeasement Times refused to publish him after 1935, and when he condemned the Italian invasion of Abyssinia and the democracies' inadequate response, he received abusive and threatening replies from Fascists, including one from Ezra Pound. (Lucas put Pound's letter on display at the Cambridge Anti-Fascist Exhibition.)


( "The British policeman should stick to his own beat." – Evening Standard, 22 April 1935 )

Paris may pass in gas and flame and blood –
We shall sit safe behind our sundering flood.
Berlin may build a Holier Inquisition –
It will but mean an extra-late edition.
Hitler be hailed through all a wrecked Ukraine –
We shall just read, and turn to golf again.
For God, the day our guardian seas He took,
Gave us the broad breast of a Beaverbrook;
Round us, though fails the Channel – never fear! –
Still lie the stainless depths of Rothermere.
[From a verse-satire by F. L. Lucas on the non-interventionist British press barons; New Statesman and Nation, 11 May 1935, p. 669]

As well as letters to the press (some forty in all) his campaign included satires, articles, books, public speaking, fund-raising for the Red Cross, petitions to Parliament, meetings with émigrés like Haile Selassie and Stefan Zweig, and help for refugees. In these activities he was inspired by the example of "that grand old man"[58] H. W. Nevinson, "one of the most striking personalities I have ever known",[59] "whose long life has been given to Liberty".[60]

Believing that future readers would be interested in what it had been like to live through such times, Lucas kept and published in March 1939 a diary for 1938, Journal Under the Terror, 1938. (The "high source" he refers to in Journal was probably Harold Nicolson.[61]) Journal is notable for its candid remarks on pro-Nazi and pro-appeasement figures in the British Establishment. Of Chamberlain at Munich he wrote (30 September):

"Even if what he did were the right thing to do, this was not the way to do it."[62] "The surrender might have been necessary: the cant was not. Any statesman with a sense of honour would at least have stilled that hysterical cheering and said: My friends, for the present, we are out of danger. But remember that others, who trusted in us, are not. This is a day for relief, perhaps; but for sorrow also; for shame, not for revelling. But this Chamberlain comes home beaming as fatuously as some country-cousin whom a couple of card-sharpers in the train have just allowed to win sixpence, to encourage him."[63]

The outcome he most feared was an Anglo-German peace agreement – an accord between Nazis and British Conservatives: "One day a little note from Berchtesgaden will appoint Lord Londonderry to 10 Downing Street. And that will settle everything."[64]

The Nazis had noted Lucas's letters – in August 1939 he received a reply from Goebbels, advising him to heed British public opinion.[65] As a leading anti-fascist campaigner, Lucas was placed by the Nazis on their Special Search List G.B. of Britons to be arrested and liquidated.

Bletchley Park

A brilliant linguist[66] with infantry and Intelligence Corps experience from 1914–18, proven anti-fascist credentials and a scepticism about the Soviet Union, Lucas was one of the first academics recruited by the Foreign Office – on 3 September 1939 – to Bletchley Park. He was one of the original four members of Hut 3, whose organisation he set up,[67] and from March to July 1942, when the Hut was run by committee, acting head. He remained a central figure there, working throughout the war on the Enigma decodes as translator, intelligence-analyst and (from July 1942) head of the Research Section, 3G [:Hut 3 General Intelligence], on the busy 4 p.m. to 1 or 2 a.m. shift.[68] His main activities in 3G were cracking Axis covernames and covernumbers in decodes, analysing German "proformas" (supplies and ammunition returns), and writing general intelligence papers.[69]

"Warum denn so einfach? Können Sie es nicht komplizierter machen?" [:Why then so simple? Can't you make it more complicated?]
― Hut 3 translators' jest, on receiving a decrypted Enigma signal in unusually straightforward German.
F. L. Lucas, Style, p. 26

Among the intelligence-reports he produced was a study of Hitler's intentions in the east in May 1941, which contrasted with the Foreign Office view that the Germans were just "building up pressure [on the U.S.S.R.] to extract more raw materials".[70] "It becomes harder than ever to doubt," Lucas wrote,

"that the object of these large movements of the German Army and Air Force is Russia. From rail movements towards Moldavia in the south to ship movements towards Varanger fjord in the far north there is everywhere the same eastward trend. Either the purpose is blackmail or it is war. No doubt Hitler would prefer a bloodless surrender. But the quiet move, for instance, of a prisoner-of-war cage to Tarnow looks more like business than bluff."[71]

Other Lucas papers ranged from practical suggestions, such as the proposal that the Salonica-Athens railway be cut in the Oeta gorges viaducts (carried out in Operation Harling), to psychological overviews later in the war, like 'Hitler as seen by Source' [:through decodes] and 'German Morale as seen by Source' (his old special subject from 1918 Intelligence Corps days).[72]

File:"Hut 3", Bletchley Park - - 1592920.jpg
Hut 3, Bletchley Park, in 2009 (photo: Ian Petticrew)

He also wrote confidential Special Reports for the Bletchley Park Director-General, one on Second Front rumours in German signals, and another, with Peter Calvocoressi, in early 1945 on the failure of Allied intelligence to foresee the German counter-offensive through the Ardennes in December 1944. Lucas and Calvocoressi concluded that Bletchley Park had accurately reported German preparations. E. J. N. Rose, head Air Adviser in Hut 3, read the paper at the time and described it in 1998 as "an extremely good report" that "showed the failure of intelligence at SHAEF and at the Air Ministry".[70][73] The report is not known to have survived. Lucas and Calvocoressi "expected heads to roll at Eisenhower's HQ, but they did no more than wobble".[74][75]

The most "exciting" work he did at Bletchley Park, he recalled, was handling operational signals on Axis convoys to North Africa from July 1941 and deducing convoys' routes using decrypts, maps, pins and pieces of string.[76] (The cracking of covernumber Point 51, for example, helped identify the route of the fast Axis troopships MV Neptunia and MV Oceania, sunk by HMS Upholder on 18 September 1941.[77]) The high standards of accuracy and clarity that prevailed in Hut 3, his chief maintained, were "largely due to [Lucas's] being such a stickler" for them.[78]

In out-of-hut hours Major Lucas was Officer Commanding the Bletchley Park Home Guard, a "rabble of egg-heads" that he turned, contrary to stereotype, into an efficient unit that outwitted the local regular forces in military exercises.[79] From May 1945 to the end of the War he was head of the Hut 3 History Section, compiling a 'History of Hut 3', now documents HW3/119 and HW3/120 in the National Archives.[67] He was awarded the OBE in 1946 for his wartime work.[80]


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—F. L. Lucas[81]

In the post-war years, Lucas early took up the cause of population-control, "a problem not talked about nearly enough", discussing the dangers of world overpopulation in his book The Greatest Problem (1960). Having laid out the statistics to 1959 and future projections, he argued that the "reckless proliferation" of homo sapiens, as well as impoverishing the world by environmental damage and species-extinctions, would be damaging to the individual and to society:

"The finest human qualities are endangered, because the size of populations increases, and ought to be diminished; the size of states increases, and ought to be diminished; the size of cities increases, and ought to be diminished. Vast communities lead to small individuals; and the real worth of any community lies in the worth of its individuals... The individual comes to feel himself a mere drop in the ocean; and feeling impotent, he grows irresponsible... Vast democracies cannot keep the virtues of democracy."[82][83]


"The more populous the world and the more intricate its structure, the greater must be its fundamental insecurity. A world-structure too elaborately scientific, if once disrupted by war, revolution, natural cataclysm or epidemic, might collapse into a chaos not easily rebuilt."

― F. L. Lucas, The Greatest Problem (1960), p. 319-320

If population-growth went unchecked, he felt, "the damage to national efficiency might drive governments to act more intelligently";[84] but better would be "a concentrated drive for population-planning, despite the formidable practical, scientific and psychological obstacles". "Common sense percolates," he had written in 1934, "despite the Roman Church; which with its half-cynical sense of reality will doubtless end by swallowing the inevitable, as with Copernicus and Darwin, and evolve some doctrine of Immaculate Contraception."[85] He was not optimistic about post-war immigration: "Persons of liberal principles are shocked if one views this influx with misgiving. But the advantages are far from certain. Principles, however liberal, are no substitute for common sense."[81]


Early life and the War

F. L. ("Peter") Lucas grew up in Blackheath and was educated at Colfe's, where his father F. W. Lucas (1860–1931)[86][87] was headmaster, and from 1910 at Rugby, where he was tutored by the Sophocles scholar Robert Whitelaw (1843–1917) in his last year before retirement.[88] A University Pitt Scholar at Trinity College, Cambridge from 1913 reading for the Classical Tripos, Lucas won the Porson Prize in 1914. In January 1914 he was elected Apostle – the last Apostle elected before the War – coming under the influence of G. E. Moore.[89] Believing Cambridge threatened with the fate of Louvain,[90] he volunteered, aged 19, in October 1914 and was commissioned, serving from 1915–17 as lieutenant in the 7th Battalion The Royal West Kent Regiment in France. From August 1915 he was in the Somme trenches opposite Fricourt; he was wounded by shrapnel in May 1916. He returned to the front in January 1917, went into battle near Grandcourt on 17 February, was mentioned in despatches on 22 February, and was gassed on 4 March. In all he spent seventeen months in war-hospitals. By September 1917 he felt that the cause of honour and justice had been lost in the lust of Victory.[91] From August 1918 to the Armistice he was Staff lieutenant in the Intelligence Corps (Third Army HQ), examining German prisoners near Bapaume and Le Quesnoy. His life hung in the balance in November 1918 shortly after the Armistice, when his lung wounds reopened in the influenza pandemic. He returned to Cambridge in January 1919. Fell-walking in the Lake District "on Easter morning [1919] on Kidsty Pike, between Hawes Water and Hayes Water, a blinding spring sun on snowy ridge beyond ridge, from Fairfield to Blucathra, brought a moment of such ecstatic intoxication that, were I a mystic, I should have called it a mystical experience."[92]


Resuming his undergraduate studies, Lucas won a Chancellor's Medal for Classics and a Browne Medal, and revived meetings of the Apostles, suspended since 1914, becoming Society Secretary and contributing nineteen papers. He was elected to a Fellowship at King's College in 1920 before he had completed his degree,[66] John Maynard Keynes personally paying for him to holiday in Greece with Sebastian Sprott on the eve of his Tripos.[93] He took a starred first. He began his career as a Classics lecturer, switching in 1922 to the newly formed Cambridge University English Faculty, of which he was a member from 1922–1939 and from 1945–1962. He was a University Reader in English from 1947–1962. His move from Classics to English and his edition of John Webster were inspired in part by the seminal 1920 Marlowe Society production of The White Devil, which made a powerful impression on him.[94] "[Lucas] has been lucky in finding a writer who takes his standpoint," T. E. Lawrence noted of Webster, "and sums up life rather in his fashion."[95] Lucas's preference, however, lay with Comparative literature, and after Webster he turned to Studies French and English (1934; revised 1950). He was Membre Correspondant Honoraire de L'Institut Littéraire et Artistique de France.[96] As part-time Librarian at King's (1922–36) he accessioned the donated papers of Rupert Brooke. His students at King's included George Rylands, John Hayward, F. E. Halliday, H. C. A. "Tom" Gaunt, Alan Clutton-Brock, Julian Bell, Winton Dean, Desmond Flower and Christopher Burstall. At the invitation of its literary editor, Desmond MacCarthy, he reviewed poetry and criticism for the New Statesman from 1922 to 1926, having begun his career as reviewer with the Athenaeum in 1920–21 under the aegis of John Middleton Murry.

File:King's College - Gibbs' Building.jpg
The Fellows' Building, King's. Of King's Lucas wrote: "Never in my experience of half a lifetime has it declined for one moment from that tradition of humanism, tolerance, and freedom in which I believe it unsurpassed throughout the Universities of the world."[97]

Following the publication of his Webster, scholars turned to him for editorial advice: he helped in the preparation of, among other volumes, Hayward's Nonesuch Donne (1929), Housman's More Poems (1936), and Theodore Redpath's acclaimed Songs and Sonets of John Donne (1956). He also performed an editorial and advisory role for Christopher Sandford at the Golden Cockerel Press, where he introduced Victor Scholderer's New Hellenic typeface (1937).[98] A number of his verse translations from Greek and Latin, with engravings by John Buckland Wright, were published in collectors' editions by the Golden Cockerel Press and Folio Society. In the middle years of his career he was much in demand as an invitation lecturer, giving seven BBC wireless talks in 1930, on Dorothy Osborne and on the Victorian Poets, delivering the 1933 Warton Lecture on English Poetry to the British Academy, lecturing at the Royal Institution on Classicism and Romanticism (1935) and at the Royal Society of Literature on travel writing (1937), and, as part of a British Council drive to counter Soviet propaganda, lecturing in German on European literature to packed halls at the British Information Centre in West Berlin in October 1948 during the Berlin Blockade.[99]

In later years he turned encyclopedist, contributing articles on 'Poetry', 'Epic', 'Lyric', 'Ode', 'Elegy' and 'Pastoral' to the 15-volume 1950 Chambers's Encyclopaedia, among others, and serving on the editorial board of the Encyclopædia Britannica's Great Books of the Western World series (1952). As he told Nikos Kazantzakis, who visited him in Cambridge after the War, Je ne lis plus; je relis [:I no longer read; I reread].[100]

Personal life

From February 1921 to 1929 Lucas was married to the novelist E. B. C. [Emily Beatrix Coursolles ("Topsy")] Jones (1893–1966),[101] sister-in-law of his former supervisor at Trinity, Donald Struan Robertson, whom he got to know after reading and admiring her first novel, Quiet Interior (1920).[102] Jones dedicated two novels to Lucas and based the character Hugh Sexton in The Singing Captives (1922) on him; he based the character Margaret Osborne in The River Flows (1926) on her – a semi-autobiographical first novel that shifts some of his experiences of 1919–1920 to 1913–1915. Through Jones and the Apostles he was associated with the Bloomsbury Group,[103] Virginia Woolf describing him to Ottoline Morrell as "pure Cambridge: clean as a breadknife, and as sharp".[104] To Lucas, interviewed in 1958, Bloomsbury had seemed "a jungle":

Book dedications
The River Flows 1926 Sebastian Sprott
Works of John Webster 1927 John Maynard Keynes
Tragedy in Relation to Aristotle's 'Poetics' 1927 Clive Bell
Time and Memory 1929 E. M. Forster
Cécile 1930 T. E. Lawrence
Marionettes 1930 Desmond MacCarthy
Eight Victorian Poets 1930 John Hayward
The Art of Dying 1930 Virginia Woolf
The Wild Tulip 1932 Julian Bell
Thomas Lovell Beddoes 1932 George Barnes
George Crabbe 1933 Roger Fry
The Bear Dances 1933 Leon M. Lion
Studies French and English 1934 Marie Mauron
The Decline and Fall of the Romantic Ideal 1936 Gordon Bottomley
The Delights of Dictatorship 1938 Henry Nevinson
Literature and Psychology 1951 Hilda Stekel
Greek Poetry for Everyman 1951 George Boas
Greek Drama for Everyman 1954 Herbert Grierson
Style 1955 Charles Tennyson
The Search for Good Sense 1958 Harry Hinsley
"The society of Virginia and Leonard Woolf, Duncan Grant, Clive and Vanessa Bell, and Lytton Strachey was far from being in the ordinary sense a happy family. They were intensely and rudely critical of each other. They were the sort of people who would read letters addressed to others. They tormented each other with endless love affairs. In real crises they could be generous, but in ordinary affairs of life they were anything but kind ... Dickinson and Forster were not really Bloomsbury. They were soft-hearted and kind. Bloomsbury was certainly not that."[105]

Jones's admiration for George Rylands undermined the marriage by 1927.[106] After affairs with Dora Carrington[103] and Shelagh Clutton-Brock (d.1936),[107] in December 1932 Lucas married the 21 year-old Girton Classics graduate and sculptor Prudence Wilkinson (1911–1944). His travel writings, accounts of their long walks through landscapes with literary associations, date from the years of his second marriage (1932–1939): From Olympus to the Styx (1934), a book on their 1933 walking tour of Greece (one of five journeys he made to that country), 'Iceland', a travelogue on their 1934 journey to the saga sites, included in the original edition of his The Decline and Fall of the Romantic Ideal (1936);[108] and journal-entries on their visits to Norway, Ireland, Scotland, and France.[109] In these years they were frequent visitors to the home in Saint-Rémy-de-Provence of Marie Mauron, whose Provençal stories Lucas translated. From Olympus to the Styx argues for the return of the Elgin Marbles:

"Considering what was to come, the much-abused 'theft' of the sculptures from the Acropolis by Lord Elgin was an undoubted blessing, though it was carelessly carried out, especially in removing the Caryatid from the Erechtheum; it would none the less be a graceful act for England to return them now to Athens."[110]

Prudence Lucas, as well as sharing these interests, also designed the costumes and sets for the first production of his Icelandic tragedy The Lovers of Gudrun. Her nervous breakdown in 1938 is touched on in Journal Under the Terror, 1938; Lucas sought help from, among others, Wilhelm Stekel, whom he met in London in 1939,[59] but the rift proved irreparable. The emphasis on psychology in his post-war books – Literature and Psychology, Style, The Search for Good Sense,[111] The Art of Living, the essay on 'Happiness' in The Greatest Problem – reflects an interest shared with his third wife (1940–1967), the Swedish psychologist Elna Kallenberg (1906-2003),[112] whom he married in 1940 – "the stranger who came to me from beyond the sea when I most needed her"[113] (Elna Kallenberg had flown from Sweden, with special permission from the Home Office, to join him in late 1939).[114] They had two children, Signe and Sigurd.

Lucas returned time and again in his books to the theme of happiness, and in 1960 summed up his thoughts on happiness thus:

"Vitality of mind and body; the activity to employ and maintain them; the zest and curiosity that they can animate; freedom to travel widely in nature and art, in countries of the world and countries of the mind; human affections; and the gift of gaiety – these seem to me, then, the main causes of happiness. I am surprised to find how few and simple they are."[115]

F. L. Lucas lived at 7 Camden Place, Cambridge, from 1921–25; at 20 West Road, Cambridge from 1925–39 and from 1945–67; and at High Mead, Great Brickhill from 1939–45. The dissident Czech academic Otakar Vočadlo (1895–1974) celebrated his restoration, during the Prague Spring of 1968, to his Chair of English at Prague, by giving a course of lectures on Webster in memory of Lucas, who had died the year before and whose support for the Czech cause in 1938–39 had not been forgotten.[116]

D. W. (Donald William) Lucas, the classical scholar (1905–80), Fellow of King's College, Cambridge, University Director of Studies in Classics, and Perceval Maitland Laurence Reader in Classics, was F. L. Lucas's brother.



File:Theseus Minotaur BM Vase E84.jpg
Theseus dragging Minotaur from Labyrinth, Attic vase-painting chosen by Lucas as cover emblem for four of his books published by the Cambridge University Press
  • Seneca and Elizabethan Tragedy (Cambridge University Press, 1922 [13] ; C.U.P. paperback 2009, ISBN 1-108-00358-3)
  • Euripides and his Influence (Marshall Jones, Boston, 1923 [14] ; Harrap, London, 1924; Literary Licensing LLC paperback 2012, ISBN 1-258-33712-6)
  • Euripides: Medea, partly in the original and partly in translation; with introduction and notes (Oxford University Press, 1923)
  • Euripides: Medea; verse translation, with introduction and notes (Oxford University Press, 1924)
  • Ferenc Békássy: 'Adriatica' and other poems; selection with preface (Hogarth Press, London, 1925)
  • Authors Dead and Living; reviews and essays from the New Statesman [Li-Po, Drayton, Donne, Vaughan, Cotton, Marvell, Leopardi, Melville, Whitman, Swinburne, O'Shaughnessy, Flecker, Masefield, Housman, de la Mare, Bottomley, Davies, Rosenberg, Drinkwater, Dobson, Luce, Campbell, H.D., Edna St Vincent Millay, Belloc, Blunt, Sara Teasdale, Yeats, Lawrence, Wolfe, Sylvia Townsend Warner, Graves] (Chatto & Windus, London, 1926 [15] ; essay on Housman reprinted in the Critical Heritage series, ed. Philip Gardner, 1992)
  • The River Flows; novel (Hogarth Press, London, 1926)
  • The Complete Works of John Webster; edition in four volumes: 1 [16], 2 [17], 3 [18], 4 [19] (Chatto & Windus, London, 1927; O.U.P., New York, 1937; Chatto & Windus, London, 1966)
  • Tragedy in Relation to Aristotle's 'Poetics' (Hogarth Press, London, 1927)
  • Time and Memory; poems and verse translations (Hogarth Press, London, 1929)
  • Cécile; novel (Chatto & Windus, London, 1930; Henry Holt, New York, 1930; Chatto & Windus Centaur Library, London, 1931)
  • Marionettes; poems and verse translations (Cambridge University Press, 1930; paperback 2012, ISBN 1-107-60498-2) [20]
  • Eight Victorian Poets; essays [Tennyson, Browning, Arnold, Clough, Rossetti, Swinburne, Morris, Hardy] (Cambridge University Press, 1930)
  • The Art of Dying – an anthology of last words; selected with Francis Birrell; preface by Lucas (Hogarth Press, London, 1930)
  • The Wild Tulip; novella (Joiner & Steele, London, 1932)
  • Ariadne; poem, in four books (Cambridge University Press, 1932; paperback 2014, ISBN 9781107677524) [21]
  • Alfred, Lord Tennyson – an anthology; with introduction (Cambridge University Press, 1932; paperback 2013, ISBN 9781107682832) [22]
  • Thomas Lovell Beddoes – an anthology; with introduction (Cambridge University Press, 1932; paperback 2013, ISBN 9781107652446)
  • Dante Gabriel Rossetti – an anthology; with introduction (Cambridge University Press, 1933; paperback 2013, ISBN 9781107639799) [23]
  • George Crabbe – an anthology; with introduction (Cambridge University Press, 1933)
  • The Bear Dances: A Play in Three Acts; drama, with political essay: 'The Gospel According to Saint Marx' (Cassell, London, 1933)
  • The Criticism of Poetry; essay [The Warton Lecture on English Poetry, 1933; Proceedings of the British Academy, Vol.19.] (Oxford University Press, London, 1933)
  • Studies French and English; essays [Hesiod, Langland, Ronsard, Montaigne, Dorothy Osborne, Crabbe, Beddoes, Flaubert, Proust] (Cassell, London, 1934; revised 1950); (essay on Ronsard reprinted in The Cassell Miscellany, London, 1958)
  • From Olympus to the Styx; Greek travelogue, written with Prudence Lucas (Cassell, London, 1934)
  • Marie Mauron: Mount Peacock, or Progress in Provence; translation, with introduction (Cambridge University Press, 1934; paperback, 2014 ISBN 9781107647183) [24]
  • Poems, 1935; poems and verse translations, with preface (Cambridge University Press, 1935)
  • Four Plays: 'Land's End'; 'Surrender to Discretion'; 'The Lovers of Gudrun'; 'Death of a Ghost' (Cambridge University Press, 1935)
  • The Awakening of Balthazar; poem for the Abyssinian Red Cross Fund (Cassell, London, 1935)
  • The Decline and Fall of the Romantic Ideal; literary criticism, with Iceland travelogue and essay on Icelandic Sagas (Cambridge University Press, 1936 [25] ; Read Books paperback 2012, ISBN 1-4067-2311-8 ; CUP paperback 2014, ISBN 9780521092005) [26]
  • The Golden Cockerel Greek Anthology; originals and verse translations, with introduction and notes; engravings by Lettice Sandford (Golden Cockerel Press, 1937)
  • The Woman Clothed with the Sun, and Other Stories; a novella and short stories (Cassell, London, 1937; Simon and Schuster, New York, 1938)
  • The Delights of Dictatorship; history and politics (Heffer, Cambridge, 1938)
  • Doctor Dido; novel (Cassell, London, 1938)
  • A Greek Garland; a Selection from the Palatine Anthology; originals and verse translations, with introduction and notes [enlarged version of 1937 volume] (Oxford University Press, 1939)
  • Journal Under the Terror, 1938; diary (Cassell, London, 1939)
  • The Vigil of Venus; the original and a verse translation, with introduction and notes; engravings by John Buckland Wright (Golden Cockerel Press, 1939)[117]
  • Messene Redeemed; a verse drama (Oxford University Press, 1940)
  • Ten Victorian Poets; essays [Tennyson, Browning, Arnold, Clough, Patmore, Rossetti, Christina Rossetti, Swinburne, Morris, Hardy] (Cambridge University Press, 1940; essay on Hardy reprinted in the Macmillan Casebook series, editors Gibson & Johnson, 1979)
  • Critical Thoughts in Critical Days; essay (Allen & Unwin, London, 1942)
  • Tennyson, Poetry and Prose; an anthology, with introduction and notes (Oxford University Press, 1947)
  • The Homeric Hymn to Aphrodite; the original and a verse translation, with introduction and notes; engravings by Mark Severin (Golden Cockerel Press, 1948)
  • Aphrodite – two verse translations: the Homeric Hymn to Aphrodite and the Pervigilium Veneris; with the originals; brings together 1939 and 1948 volumes (Cambridge University Press, 1948)
  • Gilgamesh, King of Erech; poem in free verse, re-telling the Sumerian epic; engravings by Dorothea Braby (Golden Cockerel Press, 1948)
  • Homer: The Odyssey; verse translation in selection, with introduction and notes; engravings by John Buckland Wright (Folio Society, 1948)[118]
  • Musaeus: Hero and Leander; verse translation, with introduction; engravings by John Buckland Wright (Golden Cockerel Press, 1949)[119]
  • Homer: The Iliad; verse translation in selection, with introduction and notes; engravings by John Buckland Wright (Folio Society, 1950)[120]
  • Literature and Psychology; literary criticism based on the case-notes of Wilhelm Stekel [Shakespeare, The Romantics, Romanticism in Decay] (Cassell, London, 1951; revised edition, University of Michigan Press, 1957)
  • Greek Poetry for Everyman; verse translations, with introductions and notes (Dent, London, 1951) [27]
  • From Many Times and Lands; poems of legend and history (Bodley Head, London, 1953)
  • Greek Drama for Everyman; full verse translations [Prometheus Bound, Agamemnon, Oedipus the King, Antigone, Hippolytus, Bacchae, Clouds] and selections, with introductions and notes (Dent, London, 1954)
  • Style (Cassell, London, 1955; 2nd ed., with footnote translations: Collier Books, 1962, Pan Books, 1964; 3rd ed. Harriman House Publishing, 2012 ISBN 978-0-85719-187-8) [28]
  • Tragedy: Serious Drama in Relation to Aristotle's 'Poetics'; revised and enlarged edition of 1927 volume (Hogarth Press, London, 1957; with footnote translations: Collier Books, 1962)
  • Tennyson; essay [British Council 'Writers and their Works' series] (Longman, London, 1957)
  • Webster: The White Devil; revised edition (Chatto & Windus, London, 1958)
  • Webster: The Duchess of Malfi; revised edition (Chatto & Windus, London, 1958)
  • The Search for Good Sense: Four Eighteenth-Century Characters: Johnson, Chesterfield, Boswell, Goldsmith (Cassell, London, 1958) [29]
  • The Art of Living: Four Eighteenth-Century Minds: Hume, Horace Walpole, Burke, Benjamin Franklin (Cassell, London, 1959) [30]
  • The Greatest Problem, and Other Essays; an essay on world overpopulation, literary essays [Tolstoy, Housman], and autobiographical pieces (Cassell, London, 1960)
  • The Drama of Ibsen and Strindberg; literary criticism (Cassell, London, 1962)
  • August Strindberg: Inferno; translation by Mary Sandbach, introduction by Lucas (Hutchinson, London, 1962)
  • The Drama of Chekhov, Synge, Yeats and Pirandello; literary criticism (Cassell, London, 1963)
  • Greek Poetry; verse translations; revised and renamed edition of 1951 volume, without the passages from Homer (Everyman Library, Dent, London, 1966)
  • Greek Drama for the Common Reader; verse translations; revised and renamed edition of 1954 volume (Chatto & Windus, London, 1967)
  • Greek Tragedy and Comedy; verse translations; renamed paperback edition of 1967 volume (Viking Press, New York, 1968)
  • The English Agent: A Tale of The Peninsular War; novel (Cassell, London, 1969)

Other writings

  • 'The Boar'; short story (Athenaeum, 10 September 1920)
  • 'The Fortune of Carthage'; short story on the Battle of the Metaurus (Athenaeum, 28 January 1921)
  • 'The Brown Bag'; short story (Cambridge Review, 6 May 1921)
  • 'The Battlefield of Pharsalos'; report on a field study (Annual of the British School at Athens, No. XXIV, 1919–21) [31]
  • 'The Reverse of Aristotle'; a discussion of Peripeteia (Classical Review, August–September 1922) [32]
  • 'The Waste Land'; review (New Statesman, 3 November 1923; reprinted in the Macmillan Casebook series and the Critical Heritage series)
  • 'The Duchess of Malfi'; essay (New Statesman, 1 March 1924)
  • 'Playing the Devil'; theatre-review of The White Devil (New Statesman, 17 October 1925)
  • 'English Literature'; essay on English at Cambridge (University Studies, Cambridge 1933; editor Harold Wright; London, 1933)
  • 'Poetry Examined by Professor Housman'; review of Housman's Name and Nature of Poetry (Cambridge Review, 8 June 1933)
  • 'Mithridates – The Poetry of A.E. Housman'; essay (Cambridge Review, 15 May 1936; reprinted in the Critical Heritage series, ed. Philip Gardner, 1992)
  • 'Julian Bell'; a memoir (Cambridge Review, 15 October 1937; reprinted in The Cambridge Mind, editors Homberger, Janeway & Shama, 1970)
  • 'Proud Motherhood (Madrid A.D. 1937)'; poem (Poems for Spain, 1939; editors Spender & Lehmann; reprinted in The Penguin Book of Spanish Civil War Verse)
  • 'William Wordsworth'; essay (Fifteen Poets, an anthology, Oxford University Press, 1941) [33]
  • 'A History of Hut 3', National Archives documents, ref. HW3/119 and HW3/120 [34] [35]
  • 'Poetry'; 'Epic'; 'Ode'; 'Elegy'; 'Lyric'; 'Pastoral'; articles, Chambers's Encyclopaedia, 1950–66
  • 'On the Fascination of Style'; essay (Holiday, March 1960; reprinted in The Odyssey Reader: Ideas and Style, 1968, and in Readings for Writers, ed. Jo Ray McCuen and Anthony C. Winkler, N.Y., 2009, ISBN 1-4282-3128-5) [36]; reissued 2012 as 'How to Write Powerful Prose' [37]
  • 'Johnson's Bête Grise'; essay on Johnson's criticism of Gray's poetry (The New Rambler: Journal of the Johnson Society of London, June 1960)
  • 'The Lonely Beauty of Iceland'; travelogue (Holiday, September 1963)
  • 'Across Eternal Egypt'; travelogue (Holiday, June 1964)
  • 'Long Lives the Emperor'; essay on The Hundred Days, The Historical Journal, Vol.8, No.1, Cambridge, 1965 [38]

Political letters

'The limits of self-determination for racial minorities'

To the Editor of the Manchester Guardian


Many honest folk feel it hard to deny the Sudetens self-determination, if they want to belong to the Reich. But then, can we deny it to the Czech areas among the Sudetens? Then what about Sudeten pockets in the Czech areas? Self-determination must stop somewhere. In politics, as in physics, you come to a point where you cannot go on splitting things. You cannot have self-determination by villages. You may split Czechoslovakia now. In a few years it will be one again. Only it will be German. That is all.

What would our own answer be, supposing we were expected on racial grounds to hand over to Berlin our coastal counties from Essex to Northumberland? We should reply that any nation must defend itself against a step which would make it impossible to defend itself.

You cannot by any juggling with frontiers abolish racial minorities in Europe. And you cannot totally ignore geography. It follows that where you cannot move mountains you must move men. If the Sudetens are irrevocably set on being in the Reich let them go to the Reich instead of expecting the Reich to come to them. The Germans are the later comers in Bohemia. There are precedents for such an exodus. Good Aryans may disdain to copy Moses, but within these fifteen years just such an exchange of minorities has cured, as nothing else could have cured, the secular hate of Greek and Turk. If a small, poor and barren state like Greece could absorb between one and two million refugees it is absurd to pretend that a great country like Germany, which Hitler has set flowing with milk and honey, could not do as much and more. And if the Czechs can give a home to the persecuted refugees of the Axis, so much the better.

This seems to me justice. The alternative is to admit the Trojan Horse into Prague. That may be the sort of fool's wisdom called "expediency"; it is the line of least resistance; but at least let us not cant about its honesty.

Undoubtedly Hitler will object. He has other aims. It is not oppression he minds; the loudest yelps about persecution come from the persecutor of the Jews. Czechoslovakia lies on the flank of the German drive to the Black Sea. Therefore Hitler will not hear reason.

A question that vitally affects all Europe should be discussed by Europe. If Hitler foams at the mere mention of the League, let it be a European conference. Only let it give full weight to those smaller Powers which have often a more disinterested sense of decency than their great neighbours. If Hitler refuses he puts himself at once in the wrong. The verdict of such a conference may not convince him; but if he cannot reason, he can count.

[From a letter by F. L. Lucas to the Manchester Guardian, 15 September 1938]
  • 'Germany, Europe and Peace' (Week-end Review, 16 September 1933)
  • 'Germany and Europe' (Week-end Review, 21 October 1933)
  • 'Abyssinia : Our Duty' (Daily Telegraph, 25 July 1935)
  • 'Italy and Abyssinia' (Daily Telegraph, 31 July 1935)
  • 'Italy's Claims' (Daily Telegraph, 7 August 1935)
  • 'An Italian Teacher's Political Views' (Manchester Guardian, 9 August 1935)
  • 'Impartiality at Cambridge' (Manchester Guardian, 14 August 1935)
  • 'Home-truths from Italy' (New Statesman and Nation, 24 August 1935)
  • 'Reply to an Italian's defence' (Morning Post, 12 October 1935)
  • 'Mussolini's War' (Manchester Guardian, 14 October 1935)
  • 'Mr. Bernard Shaw's Letter' (The Times, 24 October 1935)
  • 'The Italians in Tripoli' (Manchester Guardian, 11 January 1936)
  • 'Congratulations to the University of Heidelberg' (Cambridge Review, 14 February 1936)
  • 'The League's Abyssinian Front' (Manchester Guardian, 12 March 1936)
  • 'British Policy in World Crises' (Manchester Guardian, 22 September 1936)
  • 'Democracy and Progress' (Time and Tide, 10 October 1936)
  • 'Blackshirt Marches and Meetings' (Manchester Guardian, 23 October 1936)
  • ' "Non-Intervention in Spain" ' (Manchester Guardian, 16 February 1937)
  • 'Barbarities of Modern War' (Manchester Guardian, 14 May 1937)
  • 'The National Government's Foreign Policy' (Manchester Guardian, 6 September 1937)
  • 'Pacifism and Panic-Mongering' (Manchester Guardian, 1 December 1937)
  • 'Pacifism and Air-Raid Precautions' (Manchester Guardian, 7 December 1937)
  • 'The Absolute Pacifist Position' (Manchester Guardian, 15 December 1937)
  • 'Mr. Chamberlain's "Realistic" Policy' (Manchester Guardian, 10 March 1938)
  • 'To the Editor of The Times ' (Journal Under the Terror, 17 March 1938)
  • 'An Open Letter to Lord Halifax' (Journal Under the Terror, 12 May 1938)
  • 'Labour and the Popular Front' (New Statesman and Nation, 14 May 1938)
  • 'Air Defence' (Daily Telegraph, 16 May 1938)
  • 'Britain and Political Refugees' (Manchester Guardian, 20 May 1938)
  • 'Refugee Jews and England' (Manchester Guardian, 26 August 1938)
  • 'The European Crisis' (Manchester Guardian, 15 September 1938)
  • 'The Munich Agreement–and after' (Manchester Guardian, 4 October 1938)
  • 'The Refugees in Czechoslovakia' (Manchester Guardian, 3 November 1938)
  • 'The Two Voices' (Manchester Guardian, 7 November 1938)
  • 'After Barcelona' (Manchester Guardian, 7 February 1939)
  • 'Germany and World Empire' (Manchester Guardian, 10 February 1939)
  • 'Hitler as "The Friend of Peace" ' (Manchester Guardian, 24 February 1939)
  • 'Friendship with Germany' (Manchester Guardian, 8 March 1939)
  • 'German Opinion about England' (Manchester Guardian, 15 August 1939)


  • Gerald Finzi set to music Lucas's poem 'June on Castle Hill' (1935) in his collection To a Poet, op.13a no.5
  • Margaret Wood's play A Kind of Justice (1966) is based on Lucas's poem 'Spain 1809' (1953)
  • John Joubert set to music Lucas's poem 'Beleaguered Cities' (1929) in his collection Landscapes (1992), op.129


  1. ^ Lucas, F. L., 'The Waste Land': a review in New Statesman, 3 November 1923; reprinted in the Macmillan Casebook series and the Critical Heritage series. Some extracts: [1]
  2. ^ 'Heavy Sentences', Joseph Epstein, The New Criterion, ; 'The Art of Writing Well', Matthew Walther, New English Review,
  3. ^ 'Hogarth Press', University of Delaware Library Special Collections
  4. ^ Lucas, F. L., ed., The Complete Works of John Webster, London, 1927; vol.1, p.1
  5. ^ Eliot, T. S., 'John Marston' in Elizabethan Essays, London, 1934
  6. ^ Gunby, David; Carnegie, David; Hammond, Antony; DelVecchio, Doreen; Jackson, MacDonald P.: editors of The Works of John Webster (3 vols, Cambridge, 1995–2007)
  7. ^ 'F. L. Lucas: Writer with Love of Liberty', The Times (London, 2 June 1967)
  8. ^ Annan, Noel, Our Age: Portrait of a Generation (London, 1990)
  9. ^ Lucas, F. L., The Art of Living, p.165 (London 1959)
  10. ^ Lucas, F. L., Journal Under the Terror, 1938 (London 1939), p.36
  11. ^ Lucas, F. L., Critical Thoughts in Critical Days, London, 1942, p.50
  12. ^ Lucas, F. L., Literature and Psychology (London 1951), p.333
  13. ^ a b Lucas, F. L., Critical Thoughts in Critical Days, London, 1942
  14. ^ Lucas, F. L., 'La Vendée', Times Literary Supplement, 12 May 1966
  15. ^ Lucas, F. L., Journal Under the Terror, 1938 (London, 1939), p.44, p.74
  16. ^ Lucas, F. L., The Drama of Ibsen and Strindberg (London, 1962), p.314
  17. ^ Lucas, F. L., Greek Poetry for Everyman (London, 1951), Preface p.xvi
  18. ^ Lucas, F. L., 'Poetry Examined by Professor Housman', Cambridge Review, 8 June 1933, p.469
  19. ^ Lucas, F. L., Cambridge Review, 24 May 1958, p.576
  20. ^ Wright, Harold, ed., University Studies: Cambridge 1933 (London 1933)
  21. ^ Lucas, F. L., 'Criticism', Life and Letters Nov. 1929
  22. ^ Leavis, F. R., 'T. S. Eliot: A Reply to the Condescending', Cambridge Review, 8 February 1929
  23. ^ MacKillop, Ian, F. R. Leavis: A Life in Criticism, p.103 (Harmondsworth 1995)
  24. ^ The Cambridge Mind: Ninety Years of The Cambridge Review, eds. Eric Homberger, William Janeway and Simon Shama (London 1970), p.235
  25. ^ Harding, Jason, The Criterion: Cultural Politics and Periodical Networks in Inter-War Britain (Oxford, 2002), p.66: [2]
  26. ^ MacKillop, Ian, F. R. Leavis: A Life in Criticism, p.196 (Harmondsworth 1995)
  27. ^ Wright, Harold, ed., University Studies: Cambridge 1933, Introduction p.ix (London 1933)
  28. ^ Wilkinson, L. P., 'F. L. Lucas' in King's College Report, November 1967
  29. ^ a b Wilkinson, L. P., Kingsmen of a Century, 1873–1972 (Cambridge 1980)
  30. ^ Lucas, F. L., 'The Menace of Science to the Humanities' in The Greatest Problem, and Other Essays" (London 1960)
  31. ^ Henkel, Harold, Regent University Library: Style, by F. L. Lucas, [3]
  32. ^ Gunby, David, John Webster: Three Plays (Harmondsworth, 1972), p.32
  33. ^ Kirk, G. S., The Classical Review, Dec. 1952
  34. ^ Mortimer, Raymond, Sunday Times, Jan.1951; Garrod, H. W., The Spectator, 6 January 1951
  35. ^ Shepherd, R. M. H., Phoenix, Vol.12, No.4 (Winter 1958), pp.189–193
  36. ^ Barnet, Sylvan (ed.), Eight Great Tragedies (Toronto)
  37. ^ "For grace and style and insight into character," wrote Kathleen Tomlinson (Nation and Athenaeum, 7 June 1930), "Cécile is reminiscent of Gautier's Mademoiselle de Maupin. Only reminiscent, for Mr Lucas has a more profound philosophy, or wisdom, and is not content with the challenge and interplay of the individual, but extends his psychological understanding to classes and nations." "His extraordinary gift for delightful persiflage," noted the New York Bookman (Oct. 1930, p.173, "contributes not a little towards making this novel almost as dix-huitième in spirit as Manon Lescaut is in fact." Vita Sackville-West also praised the novel: "It seemed to me to be full of the deepest and truest feeling," she wrote (The Listener, 21 May 1930), "never sentimental, but always convincing and extremely moving. The relationship between Andrée and Gaston is admirably true to nature. No-one could fail to be moved by this picture of a woman struggling against her own love for a husband who disappoints and betrays her at every turn."
  38. ^ New Statesman, 24 May 1930
  39. ^ T. E. Lawrence Studies
  40. ^ Lucas, F. L., Journal Under the Terror, 1938 (London, 1939), p.356-7
  41. ^ Lucas, Style (1955), Preface
  42. ^ "I try to find episodes in history that seem lastingly alive: and try to make them live on paper" (Lucas, Journal [1939], p.229)
  43. ^ Lucas, F. L., 'Beleaguered Cities' in Time and Memory (London, 1929); reprinted in Poems of Our Time, ed. Richard Church and Mildred Bozman (London, 1945, 1959 [Everyman Library]); [4]
  44. ^ Lucas, F. L., 'The Destined Hour' in From Many Times and Lands (London, 1953); reprinted in Every Poem Tells a Story: A Collection of Stories in Verse, ed. Raymond Wilson (London, 1988; ISBN 0-670-82086-5 / 0-670-82086-5); [5]
  45. ^ Lucas, F. L., 'Spain 1809' in From Many Times and Lands (London, 1953); reprinted in The Harrap Book of Modern Verse, ed. Maurice Wollman and Kathleen Parker (London, 1958)
  46. ^ Tidworth, Simon, The Quest for Theseus, ed. Anne Ward (London, 1970)
  47. ^ The Stage, 3 March 1938; p.10
  48. ^ Land's End at the Birmingham Rep,
  49. ^ Lucas, F. L., autobiographical essay in World Authors, 1950–1970: A Companion Volume to Twentieth-century Authors, ed. John Wakeman (New York 1975); p.882-884
  50. ^ Lucas, F. L., 'The Battlefield of Pharsalos ', Annual of the British School at Athens, No. XXIV, 1919–21 [6]
  51. ^ Holmes, T. Rice, The Roman Republic and the Founder of the Empire (Oxford, 1923); Fuller, J. F. C., Julius Caesar: Man, Soldier and Tyrant (London, 1965); Sheppard, Simon, Pharsalus 48 B.C.: Caesar and Pompey – Clash of the Titans (Oxford, 2006)
  52. ^ Morgan, John D., The American Journal of Archaeology, Vol. 87, No. 1, Jan. 1983
  53. ^ Lucas, F. L., letter, The Week-end Review, 21 October 1933
  54. ^ Lucas, F. L., letter, The Week-end Review, 16 September 1933
  55. ^ Lucas, F. L., letter, Cambridge Review, 14 February 1936
  56. ^ Lucas, F. L., letter, Manchester Guardian, 6 September 1937
  57. ^ Letter in reply to Lucas's ‘The Munich Agreement–and after’, Manchester Guardian, 4 October 1938; quoted in Lucas, Journal Under the Terror, 1938, London, 1939
  58. ^ Lucas, F. L., Journal Under the Terror, 1938 (London, 1939), p.265
  59. ^ a b Lucas, F. L., Literature and Psychology (London 1951), Preface
  60. ^ Lucas, F. L., dedication to The Delights of Dictatorship (Cambridge, 1938)
  61. ^ Lucas, F. L., Journal Under the Terror, 1938 (London 1939), p.310
  62. ^ Lucas, F. L., Letter, Manchester Guardian, 4 October 1938
  63. ^ Lucas, F. L., Journal Under the Terror, 1938 (London 1939), p.277
  64. ^ Lucas, F. L., Letter, Journal Under the Terror, 1938 (London 1939), p.146
  65. ^ Lucas, F. L., letter, Manchester Guardian, Tuesday, 15 August 1939
  66. ^ a b Tillyard, E. M. W., The Muse Unchained (London, 1958), p.80
  67. ^ a b
  68. ^ Smith, Michael, The Secrets of Station X, London, 2011; Hinsley, F. H. and Stripp, Alan, eds., Code-breakers : The Inside Story of Bletchley Park (Oxford 2001)
  69. ^ Jackson, John, ed., The Secret War of Hut 3 [based on National Archives documents HW3/119 & HW3/120] (Military Press, Milton Keynes, 2002), p.77
  70. ^ a b Millward, William, 'Life in and out of Hut 3' in Codebreakers: The Inside Story of Bletchley Park, eds. F. H. Hinsley & Alan Strip (Oxford 1993), p.24
  71. ^ The National Archives PRO HW 1/3; Smith, Michael, The Secrets of Station X (London, 2011), p. 126
  72. ^ Jackson, John, ed., The Secret War of Hut 3 [based on National Archives documents HW3/119 & HW3/120] (Military Press, Milton Keynes, 2002), pp.77–78
  73. ^ Smith, Michael, The Secrets of Station X (London, 2011), p.272
  74. ^ Calvocoressi, Peter, Top Secret Ultra (London 1980)
  75. ^ 'Peter Calvocoressi: Political writer who served at Bletchley Park and assisted at the Nuremberg trials',
  76. ^ 'History of Hut 3', Public Records Office documents, ref. HW3/119 and /120; Smith, Michael, Station X: The Codebreakers of Bletchley Park (London, 1998); Smith, Michael, The Secrets of Station X (London, 2011), p.195
  77. ^ Jackson, John, ed., The Secret War of Hut 3 [based on National Archives documents HW3/119 & HW3/120] (Military Press, Milton Keynes, 2002), p.78
  78. ^ Wilkinson, L. P., 'F. L. Lucas' in King's College Report, November 1967, p.21
  79. ^ Wilkinson, L. P., 'F. L. Lucas' in King's College Report, November 1967, p.21; Hinsley, F. H. and Stripp, Alan, eds., Code-breakers : The Inside Story of Bletchley Park (Oxford 2001)
  80. ^ The London Gazette Publication date: 28 December 1945 Supplement: 37412 Page: 281
  81. ^ a b Lucas, F. L., The Greatest Problem, and Other Essays (London 1960), p.318
  82. ^ Lucas, F. L., The Greatest Problem, and Other Essay (London 1960), p.321
  83. ^ Lucas, F. L., The Art of Living (London 1959), p.176-7
  84. ^ Lucas, F. L., The Greatest Problem, and Other Essay (London 1960), p.326
  85. ^ Lucas, F. L., From Olympus to the Styx (London, 1934), p.254
  86. ^ Frank William Lucas,,
  87. ^ Duncan, Leland L, A History of Colfe's Grammar School, Lewisham, with a Life of Its Founder (London, 1910); Duncan, Leland L, The History of Colfe's Grammar School, 1652–1952, ed. H. Beardwood (London, 1952)
  88. ^ Robert Whitelaw, Rugby School:
  89. ^ Levy, Paul, G. E. Moore and the Cambridge Apostles (London and New York, 1979)
  90. ^ Lucas, F. L., The River Flows (London, 1926), p.170, 173
  91. ^ Lucas, F. L., 'September 1917' in Poems, 1935 (Cambridge, 1935)
  92. ^ Lucas, F. L., The Greatest Problem, and Other Essays (London 1960), p.257
  93. ^ Lucas, F. L., The Greatest Problem (London, 1960), p.271
  94. ^ New Statesman, 1 March 1924
  95. ^ Lawrence, T. E., 1928 letter to E. M. Forster, in Wilson, Jeremy, & Wilson, Nicole, eds., T. E. Lawrence, Correspondence with E. M. Forster and F. L. Lucas (2010), p.133
  96. ^ Biographical Notes, The English Association, Poems of To-day: Third Series (London 1938), p.xxvii.
  97. ^ Lucas, F. L., The Search for Good Sense (London, 1958), p.15
  98. ^ Cave, Roderick, & Manson, Sarah, A History of the Golden Cockerel Press, 1920–1960 (London, 2002) p.232; Reid, Anthony, Checklist of the Book Illustrations of John Buckland Wright (London, 1968)
  99. ^ Lucas, F. L., 'A Week of Berlin', Manchester Guardian, 19/10/48 and 20/10/48: two articles about a visit to Berlin during the Air-Lift, enlarged and reprinted in The Greatest Problem, and Other Essays (London 1960)
  100. ^ Kazantzakis, Helen, Nikos Kazantzakis: A Biography based on his Letters (Oxford, 1968), p.447
  101. ^ Emily Beatrix Coursolles Jones, Oxford Dictionary of National Biography [7]
  102. ^ Jones, E. B. C., Helen and Felicia (London, 1927), dedication
  103. ^ a b Jones, Peter, 'Carrington (and Woolf) in Cambridge, 1928', Transactions of the Cambridge Bibliographical Society, Vol.XIII Pt.3, 2006, pp.301–327 [8]
  104. ^ Woolf, V., Letters, 5.357
  105. ^ Stone, Wilfred, 'Some Bloomsbury Interviews and Memories', Twentieth Century Literature, Vol.43, No.2 (Summer, 1997), p.190; Lucas' words as reported in Wilfred Stone's notes
  106. ^ Annan, Noel, The Dons (London 1999), p.180
  107. ^ Selected Letters of Vanessa Bell, ed. Regina Marler (London 1994)
  108. ^ 'Iceland', Cornhill magazine, Aug. 1935, reprinted in the 1936 & 1937 eds. of The Decline and Fall of the Romantic Ideal
  109. ^ Lucas, F. L., Journal Under the Terror, 1938 (London 1939)
  110. ^ Lucas, F. L., From Olympus to the Styx (London, 1934), p.146
  111. ^ ' The Search for Good Sense, by F. L. Lucas', The Neglected Books Page
  112. ^ Elna Kallenberg,
  113. ^ Lucas, F. L., dedication to Critical Thoughts in Critical Days (London 1942)
  114. ^ Wilkinson, L. P., 'F. L. Lucas' in King's College Report, November 1967; Wilkinson, L. P., Kingsmen of a Century, 1873–1972 (Cambridge 1980); Cohen, R. H. L., & Pottle, M., 'F. L. Lucas' in The Oxford Dictionary of National Biography, 2004
  115. ^ Lucas, F. L., 'Happiness', in The Greatest Problem, and Other Essays (London 1960)
  116. ^ Wilkinson, L. P., Kingsmen of a Century, 1873–1972 (Cambridge 1980), p.102
  117. ^ The Vigil of Venus, trans. F. L. Lucas: The Book Illustrations of John Buckland Wright, University of Otago Library, p.9 [9]
  118. ^ The Odyssey, trans. F. L. Lucas: The Book Illustrations of John Buckland Wright, University of Otago Library, p.13 [10]
  119. ^ Hero and Leander, trans. F. L. Lucas: The Book Illustrations of John Buckland Wright, University of Otago Library, p.14 [11]
  120. ^ The Iliad, trans. F. L. Lucas: The Book Illustrations of John Buckland Wright, University of Otago Library, p.13 [12]

External links

  • Online texts by Frank Laurence Lucas at Hathi Trust Digital Library [39]
  • 'Frank Laurence Lucas', Oxford Dictionary of National Biography [40]
  • F. L. Lucas papers, Janus, Cambridge [41] [42] [43] [44]
  • Portrait, photographer unknown, c.1919: [45]
  • Portrait by Bergne Porträttstudio, Stockholm, 1946 (print by Edward Leigh, FRPS, 19 King's Parade, Cambridge): [46]
  • Portrait by Antony Barrington Brown, 1957: [47]
  • Portrait by Erich Hartmann, Magnum Photos, 1961: [48]

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