A Letter Book Selected with an Introduction on the History and Art of Letter-Writing — Reading Notes

The Introduction as a Framework

Saintsbury's introduction is not a mere preface but a sustained argument about what makes a letter an art form. He surveys earlier works—an eighteenth-century Art of Letter Writing, Roberts's History (1843), Barbey d'Aurevilly's Littérature Epistolaire, and essays by Jessopp and Paul—positioning his own book as a corrective or complement. He notes that Jessopp and Paul were 'not perhaps blasphemous but parsimonious of pr[aises]' (the text breaks off), suggesting a critical edge. The introduction establishes a vocabulary for analyzing letters: tone, occasion, the balance between sincerity and performance. Saintsbury treats letter-writing as a craft with rules, but also as a living practice that resists rigid codification.

Dorothy Osborne's Shifting Voice

In the excerpt from Dorothy Osborne's letter, the structure mirrors her emotional movement. She begins with a formal, almost legalistic plea for secrecy—'I desire you would not show my letter'—then shifts to a self-deprecating account of her altered humor: 'I was grown heavy and sullen, froward and discomposed.' The letter is built around a series of contrasts: before and after knowing her correspondent, France and England, public reputation and private feeling. Saintsbury's footnotes gloss period terms ('servant' = lover, 'abuse' = deceive), but the letter's power lies in its rhythmic alternation between complaint and affection, culminating in the intimate request for a lock of hair. The side of the page becomes a physical boundary: 'Tis well the side ended here.'

Swift and the Conflict of Influences

Saintsbury's headnote on Jonathan Swift mentions 'a dominant influence or conflict of influences on his letters' and promises further reference in the Thackeray section. The excerpt is fragmentary, but it reveals Saintsbury's method: he treats letters as evidence of a writer's inner tensions. He regrets the lack of early Swift letters, which might illuminate 'that curious career at Trinity College, Dublin, which was ended speciali gratia.' The phrase suggests a non-standard degree, hinting at conflict. Saintsbury's editorial voice is speculative but grounded in textual evidence; he does not claim to know Swift's motives, only that the letters might reveal them.

Recurring Motifs: Rings, Hair, and the Material Letter

Across the excerpts, physical objects anchor emotional expression. Dorothy Osborne sends a ring 'that must not be at all wider than this' and asks for a lock of hair. These items are not mere tokens; they carry specific instructions about size and visibility. The ring is 'rather too big for me than otherwise,' a fault 'counted lucky by superstitious people.' Osborne distances herself from superstition even as she participates in the ritual. Saintsbury's footnotes add context—Wrest Park, Lady Carlisle, the novel Grand Cyrus—but the letters themselves create meaning through concrete details. The movement between abstract sentiment and tangible object is a structural principle Saintsbury highlights throughout the anthology.

Saintsbury's A Letter Book rewards readers who attend to the interplay between the editor's framework and the letters themselves. The headnotes and footnotes are not mere apparatus but part of a dialogue about what letters mean and how they work. To read the book is to watch a critic at work, testing his theories against specific texts. The anthology does not offer a single thesis; instead, it invites the reader to observe how structure, imagery, and voice shift from one letter to the next, and to draw their own conclusions about the art of correspondence.