that, unusually, met with the approval of the poet himself. His move from Classics to English and his edition of Webster (1927) were inspired in large part by J. T. Sheppard's March 1920 Marlowe Society production of The White Devil, which made a powerful impression on him: "What could make the Cambridge production of The White Devil in 1920 seem, to at least two who saw it then without preconceptions, the most staggering performance they had ever known?" he asked in the New Statesman. (The production had been swift-moving, in the Elizabethan manner, with minimal scenery and with emphasis on "beautiful poetry beautifully spoken".) "[Lucas] has been lucky in finding a writer [Webster] who takes his standpoint," T. E. Lawrence remarked, "and sums up life rather in his fashion." Lucas' preference, however, lay with Comparative Literature, and after Webster he turned to his Studies French and English (1934; revised 1950) (he was Membre Correspondant Honoraire de L'Institut Littéraire et Artistique de France ), and later to studies of Scandinavian literature. He served as committee member for the Cambridge Greek Play (1921–33) and continued to write on Greek and Latin literature. 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 and Desmond Flower. By Cambridge English students in general he was known as "F. L.". Following the publication of his Webster, scholars turned to him for editorial advice: he helped in the preparation of Hayward's Nonesuch Donne (1929), Housman's More Poems (1936), Theodore Redpath's Songs and Sonets of John Donne (1956), and Ingram and Redpath's Shakespeare's Sonnets (1964). 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). Four 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 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