C. Day Lewis (1904–1972)
Author of The Beast Must Die
About the Author
Works by C. Day Lewis
Orion: A Miscellany Volume 1 — Editor — 6 copies
Noah and the waters 4 copies
The poet's task. An inaugural lecture delivered before the University of Oxford on 1 June 1951 2 copies, 1 review
Country comets 2 copies
Orion: A Miscellany Volume 3 1 copy
No title 1 copy
The Long Shot [Short story] 1 copy
Child of Misfortune 1 copy
The Gate: a volume of poems 1 copy
Child of Misfortune 1 copy
The Magnetic Mountain 1 copy
The Complete Poems 1 copy
“Walking Away” 1 copy
A Slice of Bad Luck 1 copy
Associated Works
The Golden Treasury (1861) — Introduction and additional Poems selected and arranged by, some editions — 1,734 copies, 18 reviews
The Eclogues / The Georgics [translated text] (1898) — Translator, some editions — 632 copies, 5 reviews
The Collected Works of Virgil: The Aeneid, the Eclogues, and the Georgics (translations) (0070) — Translator, some editions — 387 copies, 9 reviews
Murder on the Menu: Cordon Bleu Stories of Crime and Mystery, Volume 1 (1984) — Contributor — 211 copies, 2 reviews
Modern books and writers: The catalogue of an exhibition held at 7 Albemarle Street, April to September 1951 (1951) — Contributor — 2 copies
Poetry in the making : catalogue of an exhibition of poetry manuscripts in the British Museum, April-June 1967 — Contributor — 2 copies
Direction Vol.1 No.3 (April-June 1935) — Contributor — 1 copy
Direction, Volume 1, Number 2 (Jan-March 1935) — Contributor — 1 copy
Tagged
Common Knowledge
- Legal name
- Day-Lewis, Cecil
- Other names
- Blake, Nicholas (crime fiction)
- Birthdate
- 1904-04-27
- Date of death
- 1972-05-22
- Gender
- male
- Education
- Wadham College, Oxford University (BA|1927)
Sherborne School, Dorset, UK - Occupations
- poet
university lecturer
mystery novelist (under the pseudonym Nicholas Blake)
editor
school adminiatrator
translator (show all 7)
poet laureate (1968-1972) - Organizations
- Cambridge University
Harvard University
Oxford University - Awards and honors
- Order of the British Empire (Commander, 1950)
Royal Society of Literature (Fellow)
UK poet laureate (1968-1972)
American Academy of Arts and Letters (Honorary Member)
Irish Academy of Letters (Member)
Arts Council - Relationships
- Auden, W. H. (teacher)
Lehmann, Rosamond (lover)
Balcon, Jill (spouse)
Balcon, Michael (father-in-law)
Day-Lewis, Daniel (son)
Day-Lewis, Tamasin (daughter) (show all 7)
Day-Lewis, Sean (son) - Short biography
- Cecil Day-Lewis, who also used the pseudonym Nicholas Blake, was born in Ballintubbert, County Laois, Ireland, to Anglo-Irish parents. His father Frank Day-Lewis was a clergyman of the Church of Ireland. After 1906, following the death of his mother Kathleen when he was two years old, he was brought up in England by his father, spending summer holidays with relatives back in County Wexford. He was educated at Sherborne School in Dorset and then read classics ("Greats") at Wadham College, Oxford, where he became a member of the circle of writers around W.H. Auden. While still a student, he published his first collection of poems. After graduating in 1927, he worked as a schoolteacher while continuing to write poetry. To supplement his income, he wrote his first detective novel featuring Nigel Strangeways, A Question of Proof, published in 1935 under the pen name Nicholas Blake. As Blake, he wrote 19 more crime novels, while also producing numerous poetry collections and translations of Virgil under his own name. Nicholas Blake became one of the UK's most popular detective novelists, and these books have remained in print. During World War II, he worked as a publications editor in the Ministry of Information, which he used as the basis for the Ministry of Morale in his novel Minute for Murder (1947). After the war, he joined the publishers Chatto & Windus as an editor and director before becoming a professor of Poetry at Cambridge University and Oxford University. He was appointed poet laureate of England in 1968, succeeding John Masefield. His autobiography, The Buried Day, was published in 1960.
- Cause of death
- pancreatic cancer
- Nationality
- Ireland
UK - Birthplace
- Ballintubbert, County Laois, Ireland
- Places of residence
- London, England, UK
Malvern, Worcestershire, UK
County Wexford, Ireland - Place of death
- Hadley Wood, Hertfordshire, England, UK
- Burial location
- St. Michael's churchyard, Stinsford, Dorset, England, UK
- Map Location
- England, UK
Members
Reviews
An amusing, unconventional Golden Age detective story that's stronger on descriptive language and acute observation than on plot.
I picked up "A Question Of Proof after reading a discussion on Themis' blog where it emerged that Nicholas Blake and C Day Lewis were the same man.
I couldn't pass up on the opportunity to read a detective story by a Poet Laureate, so I listened to the audiobook sample.I was captured by the delicious language, slightly archaic to the modern ear but razor-sharp, and show more the use of the narrator in a raconteur / Greek chorus mode. The text sparkled. I was hooked.
Written in 1935, the story is set in a boy's Prep School, where a master, engaged in a dalliance with the Headmaster's wife, finds himself the prime suspect for the murder of an unpopular student. In a reflexive act of self-preservation, the master invites his bright-but-odd friend, Nigel Strangeways, to come and look into the case and clear the master's name.
Strangeways is a wonderful creation and the main reason for reading the book. He is a gentle, witty, effortlessly erudite man who is unable either to abstain from detection or to feel fully confident that it's the sort of thing a gentleman should do.
When Strangeways arrives to investigate the crime, he seems to set about doing so by doing by deconstructing the workings of a Public School with a sharpness that borders on vivisection while being completely free from malice.
Strangeways is fully aware of the nuances of class and the barriers to communication that they create. He understands the minds of prep-school boys, sent away from parents and their homes from as young as five-years-old and raised in a pack with a strict hierarchy and taught to repress the expression of all emotions save only disdain for others and enthusiasm for the accomplishments of one's own team.
He uses both of these things to acquire information that is not available to the Inspector investigating the case and finding patterns in the data that would only be apparent to those fully initiated into the strange rituals and magical thinking of staff and boys at an English Prep School.
The plot is not a thing of beauty. It is clever but not entirely plausible. The mode of exposition is clunky and the final reveal lacked both realism and storytelling flair.
But the language, the dialogue, the deep understanding of the oddity that was an English Prep School after World War I and the creation of the inimitable Nigel Strangeways, made "A Question Of Proof" worth reading. show less
I picked up "A Question Of Proof after reading a discussion on Themis' blog where it emerged that Nicholas Blake and C Day Lewis were the same man.
I couldn't pass up on the opportunity to read a detective story by a Poet Laureate, so I listened to the audiobook sample.I was captured by the delicious language, slightly archaic to the modern ear but razor-sharp, and show more the use of the narrator in a raconteur / Greek chorus mode. The text sparkled. I was hooked.
Written in 1935, the story is set in a boy's Prep School, where a master, engaged in a dalliance with the Headmaster's wife, finds himself the prime suspect for the murder of an unpopular student. In a reflexive act of self-preservation, the master invites his bright-but-odd friend, Nigel Strangeways, to come and look into the case and clear the master's name.
Strangeways is a wonderful creation and the main reason for reading the book. He is a gentle, witty, effortlessly erudite man who is unable either to abstain from detection or to feel fully confident that it's the sort of thing a gentleman should do.
When Strangeways arrives to investigate the crime, he seems to set about doing so by doing by deconstructing the workings of a Public School with a sharpness that borders on vivisection while being completely free from malice.
Strangeways is fully aware of the nuances of class and the barriers to communication that they create. He understands the minds of prep-school boys, sent away from parents and their homes from as young as five-years-old and raised in a pack with a strict hierarchy and taught to repress the expression of all emotions save only disdain for others and enthusiasm for the accomplishments of one's own team.
He uses both of these things to acquire information that is not available to the Inspector investigating the case and finding patterns in the data that would only be apparent to those fully initiated into the strange rituals and magical thinking of staff and boys at an English Prep School.
The plot is not a thing of beauty. It is clever but not entirely plausible. The mode of exposition is clunky and the final reveal lacked both realism and storytelling flair.
But the language, the dialogue, the deep understanding of the oddity that was an English Prep School after World War I and the creation of the inimitable Nigel Strangeways, made "A Question Of Proof" worth reading. show less
This is an amusing, colourful, slightly quirky, solve-the-puzzle novel that dresses itself rather self-deprecatingly in all the trappings of a Golden Age Mystery: a death at a country house at Christmas, the puzzle of a dead body in a building with only a single set of footprints leading to it and none leading away, an eccentric but insightful detective and a set of larger than life guests drawn from across, and sometimes slightly beyond, the range of socially acceptable dinner companions. show more
From the beginning it sets a peer to peer relationship with the reader, the implied contract being that 'We're all educated chaps here. I know you'll follow my often humorous classical references and parodies of verse, that you'll forgive any necessary indelicacies and that, like me, you'll focus on the finer points of the puzzle in front us'.
And it is an intriguing little puzzle that the author let me figure out just in time to feel smug and not so early as to feel bored.
The mechanics of the killings and the methods of the investigation are both displayed with a deft economy of mental effort, leaving plenty of headspace for the reader to breathe in the atmosphere of the time and savour the array of flamboyant people presented as suspects and or victims.
Published in 1936, the book takes for granted that the middle-aged men in its pages will have had their personalities formed by their experiences in The War. It makes allowances for a wide boy who runs a 'roadhouse' (think brothel, not Patrick Swayze) because he was a Brass Hat in the RAF. It builds in both a respect for rank and class and awareness that that respect is a little frayed around the edges. It offers a beautiful woman who no one is particularly shocked to find is a professional mistress and another, less good-looking but much more engaging woman, who sets off across the deserts of North Africa in search of a lost Oasis. It visits an Ireland that is not yet a Republic but has it War of Independence and its Civil War behind it and is different enough from England for our English detective to feel himself very much the foreigner there. Best of all, perhaps it offers is Fergus O'Brien, World War I RAF Ace turned wealthy adventurer. He's an Irish Airman who foresees his own death, invites Nigel Strangeways to come and investigate it and then leaves him a copy of Yeats' 'The Tower' in his bedroom (alongside the latest Dorothy Sayers) in case he missed the reference.
Although quickly drawn, these were fun people to meet. Combining them with a puzzle that seemed most like a kaleidoscope with clues frequently shifting to form new patterns and you get a book that is far from dull and which also never quite takes itself seriously. show less
'The Beast Must Die' has one of the best opening paragraphs to a murder mystery that I've ever read:
'I AM GOING to kill a man. I don’t know his name, I don’t know where he lives, I have no idea what he looks like. But I am going to find him and kill him …'
It's a clever, surprising and original start to a clever, surprising and original novel.
The man writing the entry that open what is his 'murder diary' is Frank Cairnes. Frank is seeking to revenge the hit-and-run death of his young show more son on the man who was driving the car, the man that hit his son on a quiet road in a small village and left him to die.
Frank is a comfortably off widower, who took up writing detective stories to relieve the boredom of his early retirement, turned out to be quite good at it and now earns a living from it. Like the author of 'The Beast Must Die', our hero writes under non de plume and refuses to allow his real identity to be revealed. He determines to use his detective novel writing skills and the mask of his nom de plume to find the killer and kill him in a way that makes the death look accidental.
The first forty per cent of the book is in the form of Frank's murder diary, in which he explains how he found the driver's identity, how he got close to him and how he intends to kill him. It's cold-blooded, credibly, gripping stuff.
In the second part of the book, the perspective changes and we see Frank from a distance, attempting to carry out his plan. By this point, it's fascinating to see him as others see him. He seems suddenly smaller, more vulnerable and less threatening. Then we get the first surprise when things don't go as our hero planned. This is beautifully done and left me wondering what on earth could happen next.
I should have seen it coming of course, as this is a murder novel with Nigel Strangeways in it, but a murder happens next, one that throws the whole story on its head again.
Finally, we get to see Nigel Strangeways at work, tugging at facts and impressions, getting to know the people, theorising with his wife who he's brought along ostensibly because she's more approachable than him but I think, rather charmingly, she's really there because he wants to be at her side. The who-did-it-and-how? investigation that follows is well done, giving new perspectives on characters that we've previously only seen through Frank's eyes in his diary and providing some intriguing suspects and a web of alibis.
The ending is another surprise. One of those forehead-slapping of-course-it-is surprises that I enjoy kicking myself for not having seen.
All in all, it was a very entertaining read and a great example of a Golden Age mystery. Although this was written in 1938, it felt fresh and modern. It also works as a standalone novel.
I strongly advise avoiding the audiobook version of this novel. The narrator, Kris Dyer, who sadly is the narrator for the entire series, delivers a terrible performance. He takes muscular prose and turns it into a limp-wristed luvvy-fest filled with inappropriate pauses and stresses that ignore the texture of the text and mutilate its rhythm. I sent my audiobook back. show less
Amateur sleuth Nigel Strangeways, the protagonist of a 15-book series penned by Nicholas Blake, certainly lives up to his name: His ways are plenty strange. Strangeways is an Oxford dropout who takes to sleuthing as “the only career left which offered scope to good manners and scientific curiosity.” Yes, Strangeways is that pretentious. Margery Allingham based her character Albert Campion on Dorothy L. Sayers’ Lord Peter Wimsey, and I wonder if Blake (the pseudonym used by poet show more laureate Cecil Day-Lewis) wrote Strangeways as a send-up of silly Lord Peter and his elitist ideas. Without meant or not, I took A Question of Proof, first released in 1935, as a post-modern satire, and enjoyed it very much.
An odious schoolboy with the ridiculous name of Algernon Wyvern-Wemyss (pronounced “Wiv-urn Weems”) disappears and, shortly thereafter, is killed. There are millions of loathsome 13-year-old boys, but very few get murdered. So who needed Wemyss dead? Strangeways and police Superintendent Armstrong jointly investigate the murder (with Armstrong being chummier with Strangeways than I thought likely), but, of course, it is Strangeways and his strange ways that discover the murderer and his motive.
The murderer’s motivation seems implausible, as sometimes happens in Golden Age novels; in this case, it derives from an implausible mishmash of the then-new Freudian psychology. However, plenty of humor and an off-beat amateur detective made me enjoy this debut novel. Look forward to the rest of the series. show less
An odious schoolboy with the ridiculous name of Algernon Wyvern-Wemyss (pronounced “Wiv-urn Weems”) disappears and, shortly thereafter, is killed. There are millions of loathsome 13-year-old boys, but very few get murdered. So who needed Wemyss dead? Strangeways and police Superintendent Armstrong jointly investigate the murder (with Armstrong being chummier with Strangeways than I thought likely), but, of course, it is Strangeways and his strange ways that discover the murderer and his motive.
The murderer’s motivation seems implausible, as sometimes happens in Golden Age novels; in this case, it derives from an implausible mishmash of the then-new Freudian psychology. However, plenty of humor and an off-beat amateur detective made me enjoy this debut novel. Look forward to the rest of the series. show less
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- Works
- 96
- Also by
- 51
- Members
- 4,197
- Popularity
- #5,988
- Rating
- 3.8
- Reviews
- 120
- ISBNs
- 317
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