xt7qjq0stw34_2736 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection George Moore letter to Miss Gough text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. George Moore letter to Miss Gough 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_26/Folder_67/Multipage9247.pdf [1909] February 11 1909 [1909] February 11 
  Scope and Contents
  
Peal accession no. 10555b. Includes a summary of the letter and  biographical clipping.
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 MOORE, GEORGE (1852-1933).
Auflmr.Pmfia

AoLaSo 'bO PIiSS GOugh. 11 Feb. [1909].

8p. (two double Sheets, octavo.) On
stationery'of the Travellers' Club.

He sends a check, with instructions to pay
Mary's and Kate's wages, and to keep the rest
as her own salary (Miss Gough was evidently
Moore's secretary in Dublin at this time.)

He then goes into a long exposition of What
"Dugarden" (Dujardin) thought of his comedy
and of the dramatization of Esther waters.

Moore had begun to dramatize Esflier waters in
1906, hoping to have a play for Yvette Guilbert.
Lennox Robinson took over the work; Moore later
reclaimed it, and Robinson recognized many of his
own lines in the finished version(if Moore eVer
actually left a work in finished state.) Shaw
recommended the play to the Stage Society) and

it was produced (it ran for two performances)

at the Apollo Theatre in 1911. The text was
published in 1913.

The other play has an even more complicated history.
In 190h Moore began a collaboration with Mrs. Craige
entitled The Peacock’s Feathers. This was soon
©hanged to The Comingiof Gabrielle. After several
quarrels with Mrs. Craigie, with whom he occasionally
fancied he was in love, Moore left the play for a while;
but in 1909 he read it to Edouard Dujardin in Paris,‘
and it seemed likely that there was a play in it
somewhere, and perhaps it might be adapted for the
French stage. A lady in Hombourg, cryptically known
to history as "Emily", was already working on a German
version of the piece. After much thraShing about,

the play (now know as Elizabeth COOper) was presented

 

 MOORE, GEORGE

by the Stage Society in London, Moore sent his
servants to see it: they liked it better than did

the reviewers. Dujardin in the meantime had taken
over the French rights to the piece, and had it
produced (under the title Clara Florise) at the
Comedie Royale in l9lh -- an event which infuriated
Moore, largely because he had not been consulted about
who Should have the principal role. In 1921 an
abortive attempt was made to restage the play

(this time under the title Thefifigming of Gabrielle),
but the plan came to nothing. Three matinees

were given at St. James's Theatre in the summer

of 1923, however, an event which saved Moore from
madness or worse, since the papers at that time

were full of the story of how the Prince of Wales had
had tea with Thomas Hardy.

The letter is written in Moore's unbelievably bad
prose, and lends color by its style, spelling, and
contents to the idea that he was less of a writer
than an inventor of plots, and a sort of literary
mastrof ceremonies who presided with an iron hand over
the efforts of various friends to salvage what could
be saved of his great inventiveness.