11. ibid.
12. Taped interview with Clive Burt, May 1976.
13. Holroyd, Lytton Strachey, p. 1125.
14. Carrington, Letters and Diaries, p. 268.
15. ibid., p. 154.
16. Interview, op. cit.
17. Interview, op. cit.
18. Letter to Nico, 27 February 1919.
19. Letter to Nico, 29 April 1921.
20. Cynthia Asquith's diary, quoted by Janet Dunbar in J. M. Barrie: The Man Behind the Image, p. 256.
21. Letter from Nico to the author, December 1975.
22. Oxford Times, 27 May 1921.
23. ibid.
Epilogue
1. Holroyd, Lytton Strachey, p. 1125.
2. Letter to Robin Dundas, 16 June 1922.
3. Letter to Elizabeth Lucas, 15 September 1921.
4. Letter to Robin Dundas, 15 November 1922.
5. Letter to Mrs F. S. Oliver, 21 December 1931.
6. Letter to Cynthia Asquith, 14 November 1924.
7. Mackail, The Story of J.M.B., p. 711.
Illustration sources and acknowledgements
The majority of photographs have been reproduced direct from original prints, or new prints from original nitrate negatives. The author gratefully acknowledges the following sources for supplying the illustrations reproduced on the pages indicated:
Academy of Motion Picture Arts and Sciences (Los Angeles): 259 (bottom); Beinecke Rare Book and Manuscript Library, Yale University: 13, 31 (bottom), 57 (bottom), 58, 59, 73 (bottom), 80 (bottom), 81 (top), 84 (bottom), 85, 86, 87, 88, 89, 90, 91, 92, 94 (top), 96 (bottom), 103, 104, 107 (top), 120, 125 (bottom right), 157 (top), 261 (bottom), 297; Elisabeth Bergner: 299; Lord Boothby: 255; British Film Institute: 39 (bottom), 259 (top); Theodora Calvert: 46, 133, 135 (top), 145; Centre du Rearmament Morale, Caux: 170 (top); Jeremy Clutterbuck: 251; Colindale Newspaper Library: 292; Norma Douglas Henry: 214 (bottom); Daphne du Maurier: 172 (bottom), 207; Dumfries Museum: 9; Janet Dunbar: 176; EMI-Pathé News: 1; Eton College: 239; Diana Farr: 23 (top), 169, 177; Roger Lancelyn Green: frontispiece, 19, 65, 110, 114, 115 (top), 118, 215, 233, 252; Mary Hill: 53 (bottom), 62 (top), 83 (top), 193, 219 (top), 254, 269; Lavinia Hinton: 275 (top); University of Illinois: 181 (top); Illustrated London News: 181 (bottom); Dorothy E. Jackson: 131 (top left & bottom); Eiluned and Medina Lewis: 249, 253, 258, 265, 272, 282; Lillie Library, University of Indiana: 100; Geraldine Llewelyn Davies: 60 (top), 97, 99 (bottom), 164, 235 (top), 260, 261 (top), 263, 264, 283; Author's own collection: 11, 23 (bottom), 41, 42, 44 (bottom), 45, 47, 50, 51, 52, 53 (top), 54, 55, 56, 57 (top), 66, 67, 68, 69 (bottom), 71, 72 (bottom), 74, 75, 76, 77, 78 (top), 79, 81 (bottom), 83 (bottom), 94 (bottom), 95 (top), 96 (top), 98, 101, 102, 108, 111 (right), 113, 115 (bottom), 117, 121, 122, 123, 124, 125 (top), 126 (top), 128, 129, 130 (top right), 132, 134, 135 (bottom), 136, 138, 139, 140, 141, 142, 143, 144, 146 (top), 147, 148, 149, 151, 154, 156, 157 (bottom), 159, 161, 167, 171, 173, 174, 178, 184, 185, 187, 188, 189, 191, 194, 195, 197, 199, 200, 202 (bottom), 203, 204, 211 (bottom), 213, 214 (top), 217, 220, 223, 228, 234, 235 (bottom), 237, 238, 240, 242, 245, 248 (top), 250, 257, 270, 273, 276 (top), 278, 279, 280, 281, 284 (top), 285 (bottom), 286, 287, 288, 290 (bottom), 296 (bottom), 298; Ruthven Llewelyn Davies: 73 (top), 78 (top), 82, 84 (top), 99 (top), 125 (bottom left), 152, 158, 170 (bottom), 180 (top), 196, 268; National Portrait Gallery of Scotland: 35, 107{{ (bottom)}}, 275 (bottom); National Trust for Scotland (Barrie Birthplace, Kirriemuir): 15, 17, 28, 29, 116, 209, 262, 289, 294, 298 (top); Punch: 48; Foy Quiller-Couch: 31 (top), 33; the Estate of Arthur Rackham: 61 (top), 62 (bottom), 64, 69 (top), 70, 80 (top), 95 (bottom); Radio Times Hulton Picture Library: 43, 160, 202 (top), 216 (top), 230; Royal Borough of Kensington and Chelsea Photographic Archive: 34 (bottom); St Andrews University: 295; Sir Peter Scott: 168, 211 (top), 216 (bottom), 266, 276 (bottom); Margaret Ogilvy Sweeten: 4, 20, 27; Times Newspapers Ltd: 267, 290 (top); Julian Vinogradoff: 284 (bottom). Author's own collection: 3, 6, 7, 8, 14, 15, 16, 18, 22, 24, 34 (top), 36, 37, 38, 39 (top), 44 (top), 60 (bottom), 63, 72 (top), 93, 106, 109, 111 (left), 119 (top), 126 (bottom), 127, 146 (bottom), 162 (bottom), 166, 175, 183, 219 (bottom), 227, 247, 248, 285 (top).
Photographs taken by the author: 85 (bottom), 162 (top), 206, 222, 246, 296 (top), 300.
Photographic research by Bridget Holm and the author.
Index
Italic figures indicate illustrations
‘Accursed Thing, The’ (Barrie) – see Will, The
Adams, Maude, (i), (ii); as Babbie in The Little Minister, (i), (ii); as Phoebe in Quality Street, (i); considered as Wendy, (i); as Peter Pan, (i), (ii), (iii), (iv), (v); Barrie's letter to, (i); visits Sylvia, (i)
Adelphi Terrace House, Strand, (i), (ii), (iii), (iv), (v), (vi), (vii); Barrie's move to third-floor flat in, (i), (ii); his move to top floor, (i), (ii); ingle-nook, (i), (ii), (iii), (iv); study, (i), (ii); as Michael's and Nico's home, (i), (ii), (iii), (iv), (v); Barrie on roof of, (i); Barrie at his desk in, (i)
Admirable Crichton, The (Barrie), (i), (ii), (iii); quoted, (i); Davies boys' Black Lake exploits as material for, (i), (ii); success of, (i); ‘return to nature’ theme, (i); film based on, (i)
Adored One, The (Barrie), (i)
Ainley, Henry, (i)
Alice Sit-by-the-Fire (Barrie), (i), (ii); comparative failure, (i); American production, (i)
Allahakbarries cricket club, (i), (ii), (iii), (iv), (v); presentation of ‘The Greedy Dwarf’, (i)
Alphonse (Barrie's chauffeur), (i), (ii)
Amhuinnsuidh Castle (Outer Hebrides), (i); holiday at, (i); Mary Rose's island near, (i), (ii)
Anderson, Wellwood, (i)
‘Anon: A Play’, original title of Peter Pan, (i)
Ansell, Mary (later Barrie, then Cannan), (i), (ii); second lead in Walker, London, (i), (ii); attracted to Barrie, (i), (ii); Barrie's notebook observations on, (i), (ii); accepts Barrie, (i); nurses him through illness, (i); marriage, (i); disconcerting honeymoon, (i); love of dogs, (i), (ii), (iii), (iv), (v); unfulfilled desire for children, (i), (ii), (iii), (iv), (v); attitude to Barrie's flirtations with actresses, (i); plays Babbie in copyright performance of Little Minister, (i); failing marriage, (i), (ii), (iii), (iv), (v), (vi), (vii); usurped by Sylvia as model for Grizel, (i), (ii); attempt to win Sylvia's friendship, (i); flamboyance and snobbishness, (i); seeks country house, (i); converts Black Lake Cottage, (i); in ‘The Greedy Dwarf’, (i), (ii); redesigns new home at Leinster Corner, (i); tenth wedding anniversary, (i); infrequent visits to Peter Pan rehearsals, (i); decreasing communication with Barrie, (i); motoring trips in France, (i), (ii); sympathy for Cannan, (i), (ii); growing relationship with him, (i), (ii), (iii); their adultery revealed, (i); determined to marry Cannan, (i), (ii); alleged other lovers, (i); supposed marital relations with Barrie, (i), (ii)n; divorce, (i), (ii); break-up of marriage to Cannan, (i); Barrie's annual allowance to, (i)
Archer, William, (i), (ii), (iii); on Admirable Crichton, (i)
Ashton Farm (Devon), Sylvia's last days and death at, (i), (ii), (iii)
Ashwell, Lena, (i)
Asquith, Lady Cynthia, (i), (ii), (iii); Barrie's letters to, (i), (ii), (iii); engaged as Barrie's secretary, (i); on Barrie's reaction to Michael's death, (i), (ii)
Asquith, Herbert (later Earl of Oxford and Asquith), (i), (ii), (iii), (iv)
Asquith, Herbert (‘Beb’), (i)
Asquith, Michael, (i), (ii), (iii)
Asquith, Simon, (i), (ii)
At the Back of the North Wind (MacDonald), (i)
Auch Lodge (Argyllshire), holiday at, (i), (ii), (iii)
Auld Licht Idylls (Barrie): origin of, (i); publication of, (i)
Authors Club Dinner (1932), Barrie's speech at, (i)
Baldwin, Stanley, (i)
‘Bandeloro the Bandit’, Barrie's first dramatic effort, (i)
Barbara's Wedding (Barrie), (i)
Barnard, Mr (Barrie's barrister in divorce case), (i)
Barrie, Alex
ander Ogilvy (brother), (i), (ii), (iii)
Barrie, Charlie (nephew), (i), (ii); killed in action, (i)
Barrie, David (father), (i); in about 1871, (i); little influence on Barrie, (i); death, (i)
Barrie, David Ogilvy (brother), (i), (ii), (iii); death in skating accident, (i); mother's protracted grief over, (i)
Barrie, Isabella Ogilvy (sister), (i)
Barrie, James Matthew, (i), (ii), (iii); childhood, (i); smallness, (i), (ii), (iii), (iv); aged six, (i); aged nine, (i); acts out role of dead brother, (i); germ of idea of boy never growing up, (i), (ii), (iii); sense of rejection and inferiority, (i), (ii); image of substitute mother, (i), (ii), (iii); early literary efforts, (i); aged fourteen, (i); regret for end of boyhood, (i), (ii); schooling, (i); interest in theatre, (i), (ii); first dramatic effort, (i); prize for sweetest smile, (i); failure with girls, (i), (ii), (iii), (iv); ‘next best thing to being boys is to write about them’, (i); loneliness at university, (i); entry in Querist's Album, (i); shyness, (i), (ii), (iii), (iv); as an M.A., (i); provincial journalism, (i); interest in cricket, (i), (ii), (iii), (iv), (v), (vi), (vii); goes to London, (i); aged twenty-six, (i); journalistic success, (i); first novel, (i); sentimental streak, (i); sadism, (i), (ii); literary and social success, (i); child friends, (i), (ii), (iii), (iv); use of nephews as copy, (i); susceptibility to pretty young actresses, (i), (ii), (iii), (iv), (v), (vi); first critical stage success, (i); interest in Mary Ansell, (i); erratic moods, (i), (ii), (iii), (iv); with Margaret Ogilvy in 1893, (i); notebooks, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx); premonition of un-suitability for married life, (i); marriage, (i); oblique notebook references to dilemma, (i), (ii); first London home, (i); frequents Kensington Gardens, (i), (ii), (iii); ability to gain child's affection, (i), (ii); Nicholson's portraits of, 35, 107, observations of Margaret Ogilvy, (i); and her death, (i); his memoir of her, (i); lifelong quest for Land of Lost Content, (i); affinity with children, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii); first trip to America, (i); self-analysis, (i), (ii), (iii), (iv), (v), (vi); first meeting with Davies boys, (i); his silences, (i), (ii), (iii), (iv); favourite photograph of himself, (i); first meeting with Sylvia, (i), (ii); increasing friendship with Davies family, (i), (ii), (iii), (iv), (v), (vi), (vii); frustrated fatherhood, (i), (ii); failing marriage, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); inability to grow up, (i), (ii); invention of Peter Pan, (i), (ii), (iii); flair for games, (i), (ii); development of Never Never Land, (i); and idea of dead young mothers returning as ghosts, (i), (ii), (iii), (iv), (v); writes and appears in pantomime, (i); with George, (i); enacts pirate and ‘wrecked islands’ saga with boys, (i), (ii); begins notes for fairy play, (i), (ii); and father's death, (i); finds own family oppressive, (i); and idea of ‘boy who can't grow up’, (i); and Davies move to country, (i); with dog Luath, (i); at Dives, (i); in Allahakbarries, (i), (ii); with Michael at Black Lake, (i), (ii); only ‘professional’ performance, (i); his sexuality, (i); diverse social and literary activity, (i), (ii), (iii), (iv); ‘flirtations’ with aristocracy, (i), (ii); financial responsibility in Arthur's illness, (i), (ii); accepted as integral part of family, (i); as Captain Hook to Michael's Peter, (i); references to ‘my boys’, (i), (ii), (iii), (iv), (v); with George and Jack, (i); whimsicality, (i); theme of ‘second chance’, (i), (ii), (iii), (iv); ‘ownership’ of Davieses after Arthur's death, (i), (ii), (iii); Scottish holidays, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix); troubled conscience about wealth, (i); ‘alarming’ perceptiveness, (i), (ii); refuses knighthood, (i); collapse of marriage, (i), (ii); rumoured impotence, (i); divorce, (i); and Sylvia's illness, (i), (ii); as ‘Uncle Jim’, (i), (ii); seen as family guardian angel, (i); and Sylvia's death, (i), (ii); ‘betrothal’ to Sylvia, (i); assumes guardianship of boys, (i), (ii), (iii); fascination of English public school system, (i); extravagant indulgence of boys, (i), (ii); ‘freezing’ of boys' friends, (i), (ii), (iii), (iv); with Michael in July 1912, (i); and ‘Island that likes to be visited’, (i), (ii); daily correspondence with Michael, (i), (ii); baronetcy, (i); lack of interest in music, poetry and painting, (i); in fishing hat, (i); and outbreak of war, (i), (ii); first use of ‘loving’ signature, (i); American visit, (i); attempt at dramatic propaganda, (i), (ii); and dilemma of undemonstrative males wishing to communicate affection, (i); his last letter to reach George, (i); on monstrosity of war, (i); and George's death, (i); George's last letter to, (i); visit to war zone, (i); at Bettancourt orphanage, (i); at Glan Hafren, (i), (ii), (iii); with Hugh Macnaghten at Eton, (i); in his ingle-nook, (i), (ii); in Adelphi study doorway, (i); cruel streak, (i); difficulties with Mary Hodgson, (i), (ii), (iii); with Michael, (i); takes Michael and Nico to share flat, (i), (ii), (iii); Lavery painting of, (i); at study window, (i); theme of ‘veil’ separating survivors and killed, (i); relief at end of war, (i); with Cynthia Asquith, (i); sympathy with boys' adolescent problems, (i); with Michael at Glan Hafren, (i); his influence considered unhealthy, (i); on Adelphi roof, (i); first left-handed letter, (i); playing clock golf, (i); at work on Eilean Shona, (i); on conflicting views of age and youth, (i); at his desk, (i); desolation over Michael's death, (i), (ii), (iii); carried aloft by St Andrews students, (i); dream about ‘extra year’ with Michael, (i); notebook entry on Michael, (i); last years and gradual emergence from grief, (i); at Stanway, (i); with Nico's daughter, (i); with Elisabeth Bergner, (i); death, (i)
Barrie, Jane Ann Adamson (sister), (i), (ii), (iii); death, (i)
Barrie (later Winter), Margaret ('Maggie’) (sister), (i); devotion to Barrie, (i); death of fiancé, (i); engagement to his brother, (i)
Barrie, Margaret Ogilvy (mother) – see Ogilvy, Margaret
Barrie, Mary (wife) – see Ansell, Mary
Barrie, Sara Mitchell (sister), (i)
Barrie, Willie (nephew), (i); killed in action, (i)
Barrymore, Ethel, (i), (ii)
Beardsley, Mabel, (i)
Beaton, Cecil, (i)
Bedford, F. D.: illustrations to Peter and Wendy, (i), (ii), (iii)
Beerbohm, Max, (i); on Barrie's never growing up, (i); on What Every Woman Knows, (i)
Bergner, Elisabeth, (i)
Berkhamsted – see Egerton House
Bettancourt, Château, home for orphaned children at, (i), (ii)
Better Dead (Barrie), his first novel, (i)
Bigham, Sir John (later Viscount Mersey), (i)
Black Lake Cottage (Surrey), (i), (ii), (iii), (iv), (v), (vi), (vii); bought by Mary Barrie, (i); lake as setting of Boy Castaways, (i), (ii), (iii), (iv); Sylvia at, (i), (ii); Davies holidays at, (i), (ii); Allahakbarries at, (i); incorporated in Peter Pan, (i), (ii); Mary Barrie at, (i), (ii)
Blake, George: on Barrie's ‘sadism’, (i), (ii); reproof for Margaret Ogilvy, (i)
Bluebell in Fairyland (Hicks), (i), (ii)
Boothby, Robert, Lord: on ‘morbid’ relationship between Barrie and Michael, (i); Paris holiday with Michael and friends, (i); on Rupert Buxton's ‘morbid’ influence on Michael, (i); on Michael's death, (i); Barrie's letter to, (i)
Boucicault, Dion, (i), (ii), (iii); production of Peter Pan, (i), (ii), (iii), (iv)
Boucicault, Nina, (i); as Peter Pan, (i), (ii), (iii); her 1904 script, (i)
Boy Castaways of Black Lake Island, The (Barrie), (i), (ii), (iii); Davies exploits as material for, (i), (ii), (iii), (iv); production as book, (i); cover, (i); anticipation of Peter Pan, (i), (ii); title-page, (i); Arthur's copy lost, (i), (ii); sole surviving copy later asked for by Arthur, (i)
Boy David, The (Barrie), (i)
Bright, Arthur Addison, (i); in ‘The Greedy Dwarf’, (i), (ii); financial troubles, (i), (ii); death, (i), (ii)
Brighton, (i)
British Weekly: Barrie's ‘open letter’ on sister's bereavement published in, (i); on Margaret Ogilvy, (i)
Brooke, Rupert, (i)
Broughton, Phyllis, (i)
Brown
, Harry (Barrie's manservant), (i), (ii), (iii); ‘interview’ in New York, (i)
Brownlow, Lieutenant-Colonel the Hon. J. R., (i)
Bruce, Kathleen – see Scott, Kathleen
Burpham (Sussex), Davies Holiday at, (i), (ii)
Burt, Clive: on Michael, (i); Paris holiday with him, (i)
Buxton, Rupert: friendship with Michael, (i), (ii); drowning with Michael, (i); memorial to, (i)
Cambridge, George at, (i), (ii), (iii)
Cameron, Julia, photograph of George and Emma du Maurier, (i)
Campbell, Mrs Patrick, (i)
Campden Hill Square (No. 23), Kensington: Davies home at, (i), (ii), (iii), (iv), (v); Sylvia's illness at, (i), (ii), (iii); boys' life at, after her death, (i), (ii), (iii), (iv), (v), (vi); difficult situation at, (i); Mary Hodgson leaves, (i), (ii), (iii); closing down of, (i), (ii)
Cannan, Gilbert, (i); secretary to Censorship Committee, (i), (ii); rejected by Kathleen Bruce, (i); turns to Barries for comfort, (i), (ii); growing relationship with Mary, (i), (ii), (iii); their adultery, (i), (ii)n, (iii), (iv); cited in Barrie's divorce, (i); infidelity to Mary and mental disorder, (i)
Carrington, Dora, (i)
Castle, Irene and Vernon, (i)
Caught Napping (Barrie), unsuccessful farce, (i)
Caux (Switzerland), ski-ing holiday at, (i)
Censorship, Committee for Abolition of, (i), (ii), (iii), (iv)
Censorship, Government Committee, (i), (ii)
Chamberlain, Joseph, lampooned in Josephine, (i)
Chaplin, Charlie, (i); Nico's enthusiasm for, (i), (ii)
Chase, Pauline, (i), (ii); as First Twin in Peter Pan, (i); becomes Barrie's god-daughter, (i); as Peter Pan, (i), (ii); Scott's flirtation with, (i); Barrie's letters to, (i), (ii)
Chesterton, G. K., (i)
Churchill, Winston, (i); contrasted with Lloyd George, (i)
Clarke, Mary Anne, (i)
Clough, Eleanor, (i)
Clown, The (Dumfries Academy school magazine), (i)
Collins, Michael, (i)
Compton, Fay, (i); as Mary Rose, (i)
Cooper, Gary, in Medals, (i)
J.M. Barrie and the Lost Boys Page 40