PREFACE

When my publishers were good enough to propose that I should undertake this book, they were also good enough to suggest that the Introduction should be of a character somewhat different from that of a school-anthology, and should attempt to deal with the Art of Letter-writing, and the nature of the Letter, as such. I formed a plan accordingly, by which the letters, and their separate Prefatory Notes, might be as it were illustrations to the Introduction, which was intended in turn to be a guide to them. Having done this with a proper Pourvu que Dieu lui prête vie referring to both book and author, I thought it well to look up next what had been done in the way before me, at least to the extent of what the London Library could provide me in circumstances of enforced abstinence from the Museum and from "Bodley." From its catalogue I selected a curious eighteenth-century Art of Letter Writing, and four nineteenth and earliest twentieth century books – Roberts's History of Letter Writing (1843) with Pickering's ever-beloved title-page and his beautiful clear print; the Littérature Epistolaire of Barbey d'Aurevilly – a critic never to be neglected though always to be consulted with eyes wide open and brain alert; finally, two Essays in Dr. Jessopp's Studies by a Recluse and in the Men and Letters of Mr. Herbert Paul, once a very frequent associate of mine. The title of the first mentioned book speaks it pretty thoroughly. "The Art of Letter Writing: Divided into Two Parts. The First: Containing Rules and Directions for writing letters on all sorts of subjects [this line as well as several others is Rubricked] with a variety of examples equally elegant and instructive. The Second: a Collection of Letters on the Most interesting occasions of life in which are inserted – The proper method of Addressing Persons of all ranks; some necessary orthographical directions, the right forms of message for cards; and thoughts upon a multiplicity of subjects; the whole composed upon an entirely new plan – chiefly calculated for the instruction of youth, but may be [sic] of singular service to Gentlemen, Ladies and all others who are desirous to attain the true style and manner of a polite epistolary intercourse." May our own little book have no worse fortune! Mr. Roberts's avowedly restricts itself to the fifth century as a terminus ad quem, though it professes to start "from the earliest times," and its seven hundred pages deal very honestly and fully with their subjects. The essays of Dr. Jessopp and Mr. Paul are of course merely Essays, of a score or two of pages: though the first is pretty wide in its scope. There would be nothing but good to be said of either, if both had not been, not perhaps blasphemous but parsimonious of praise, towards "Our Lady of the Rocks." It cannot be too often or too solemnly laid down that an adoration of Madame de Sévigné as a letter-writer is not crotchet or fashion or affectation – is no result of merely taking authority on trust. The more one reads her, and the more one reads others, the more convinced should one be of her absolute non-pareility in almost every kind of genuine letter (as apart from letters that are really pamphlets or speeches or sermons) except pure love-letters, of which we have none from her. As for Littérature Epistolaire, it is a collection of some two dozen reviews of various modern reprints of letters by distinguished writers – mostly but not all French. The author has throughout used the letters he is considering almost wholly as tell-tales of character, not as examples of art: and therefore he does not, except in possible glances, require further attention, though the book is full of interesting things. Its judgment of one of our greatest, and one of the greatest of all, letter-writers – Horace Walpole – is too severe, but not, like Macaulay's, superficially insistent on superficial defects, and ought not to be neglected by anyone who studies the subject.

If, however, there was no need to rely on any of these books, they did nothing to hinder in the peculiar way in which I had feared some hindrance. For it is a nuisance to find that somebody else has done something in the precise way in which you have planned doing it. I have not yet encountered that nuisance here. Dr. Jessopp's general plan is most like mine – indeed some similarity was unavoidable: but the two are not identical, and I had planned mine before I knew anything about his.

So with this prelude let us go to business, only premising further that the object, unlike that of the anonymous Augustan, is not to "give rules and instructions for writing good letters," except in the way (which far excels all rules and instructions) of showing how good letters have been written. Let us also modestly trust that the collection may deal with some "interesting occasions of life" and contain "thoughts on a [fair] multiplicity of subjects." Having been, as above observed, unable during the composition of this book to visit London or Oxford, I have had to rely occasionally on friendly assistance. I owe particular thanks (as indeed I have owed them at almost any time these forty years) to the Rev. William Hunt, D.Litt., Honorary Fellow of Trinity College, Oxford: and I am also indebted to Miss Elsie Hitchcock for some kind aid at the Museum given me through the intermediation of Professor Ker.

Besides the thanks given to Mr. Lloyd Osbourne, Mr. Kipling and Dr. Williamson in the text in reference to certain new or almost new letters, we owe very sincere gratitude for permission to reprint the following important matters:

His Honour Judge Parry. Two letters from "Letters from Dorothy Osborne to Sir William Temple."

Messrs. Douglas & Foulis. A letter to Joanna Baillie, from "Familiar Letters of Sir Walter Scott."

Messrs. Longmans, Green & Co. Two letters from Mrs. Carlyle's "Letters and Memorials," and one letter from Sir G. O. Trevelyan's "Life and Letters of Lord Macaulay."

Messrs. Macmillan & Co., Ltd. Three letters from "The Letters of Charles Dickens"; one letter by FitzGerald and one by Thomas Carlyle, from "Letters and Literary Remains of Edward FitzGerald"; one letter from "Charles Kingsley: his Letters and Memories of his Life"; and two extracts from "Further Records, 1848-1883," by Frances Anne Kemble.

Mr. John Murray. One letter from "The Letters of Elizabeth Barrett Browning."

GEORGE SAINTSBURY.

1 Royal Crescent, Bath,

October, 1921.

INTRODUCTION
THE HISTORY AND ART OF LETTER WRITING

I
ANCIENT HISTORY

On letter-writing, as on most things that can themselves be written and talked about, there are current many clichés– stock and banal sayings that express, or have at some time expressed, a certain amount of truth. The most familiar of these for a good many years past has been that the penny post has killed it. Whether revival of the twopenny has caused it to exhibit any kind of corresponding resurrectionary symptoms is a matter which cannot yet be pronounced upon. But it may be possible to avoid these clichés, or at any rate to make no more than necessary glances at them, in composing this little paper, which aims at being a discussion of the Letter as a branch of Literature, no less than an introduction to the specimens of the kind which follow.

If, according to a famous dictum, "Everything has been said," it follows that every definition must have been already made. Therefore, no doubt, somebody has, or many bodies have, before now defined or at least described the Letter as that kind of communication of thought or fact to another person which most immediately succeeds the oral, and supplies the claims of absence. You want to tell somebody something; but he or she is not, as they used to say "by," or perhaps there are circumstances (and circumstanders) which or who make speech undesirable; so you "write." At first no doubt, you used signs or symbols like the feather with which Wildrake let Cromwell's advent be known in Woodstock– a most ingenious device for which, by the way, the recipients were scantly grateful. But when reading and writing came by nature, you availed yourself of these Nature's gifts, not always, it is to be feared, regarding the interconnection of the two sufficiently. There is probably more than one person living who has received a reply beginning "Dear So-and-So, Thanks for your interesting and partially legible epistle," or words to that effect. But that is a part of the matter which lies outside our range.

On the probable general fact, however, some observations may be less frivolously based. If this were a sentimental age, as some ages in the past have been, one might assume that, as the first portrait is supposed to have been a silhouette of the present beloved, drawn on her shadow with a charcoaled stick, so the same, or another implement may have served (on what substitute for paper anybody pleases) to communicate with her when absent. But the silliness of this age – though far be it from us to dispute its possession of so prevailing a quality – does not take the form – at least this form – of sentiment.

THE BEGINNINGS

There is, moreover, nothing silly or sentimental, though of course there is something that may be controverted, in saying that except for purely "business" purposes (which are as such alien from Art and have nothing to do with any but a part, and a rather sophisticated part, of Nature) the less the letter-writer forgets that he is merely substituting pen for tongue the better. Of course, the instruments and the circumstances being different, the methods and canons of the proceedings will be different too. In the letter there is no interlocutor; and there is no possibility of what we may call accompanying it with personal illustrations¹ and demonstrations, if necessary or agreeable. But still it may be laid down, with some confidence, that the more the spoken word is heard in a letter the better, and the less that word is heard – the more it gives way to "book" – talk – the worse. Indeed this is not likely to be denied, though there remain as usual almost infinite possibilities of differences in personal opinion as to what constitutes the desirable mixture of variation and similarity between a conversation and a letter. Let us, before discussing this or saying anything more about the principles, say something about the history of this, at best so delightful, at worst so undelightful art. For if History, in the transferred sense of particular books called "histories," is rather apt to be false: nothing but History in the wider and higher sense will ever lead us to truth. The Future is unknown and unknowable. The Present is turning to Past even as we are trying to know it. Only the Past itself abides our knowledge.

BIBLICAL EXAMPLES

Of the oldest existing examples of epistolary correspondence, except those contained in the Bible, the present writer knows little or nothing. For, except a vanished smattering of Hebrew, he "has" no Oriental tongue; he has never been much addicted to reading translations, and even if he had been so has had little occasion to draw him to such studies, and much to draw him away from them. There certainly appear to be some beautiful specimens of the more passionate letter writing in ancient if not exactly pre-Christian Chinese, and probably in other tongues – but it is ill talking of what one does not know. In the Scriptures themselves letters do not come early, and the "token" period probably lasted long. Isaac does not even send a token with Jacob to validate his suit for a daughter of Laban. But one would have enjoyed a letter from Ishmael to his half-brother, when his daughter was married to Esau, who was so much more like a son of Ishmael himself than of the amiable husband of Rebekah. She, by the way, had herself been fetched in an equally unlettered transaction. It would of course be impossible, and might be regarded as improper, to devote much space here to the sacred epistolographers. But one may wonder whether many people have appreciated the humour of the two epistles of the great King Ahasuerus-Artaxerxes, the first commanding and the second countermanding the massacre of the Jews – epistles contained in the Septuagint "Rest of the Book of Esther" (see our Apocrypha), instead of the mere dry summaries which had sufficed for "the Hebrew and the Chaldee." The exact authenticity of these fuller texts is a matter of no importance, but their substance, whether it was the work of a Persian civil servant or of a Greek-Jew rhetorician, is most curious. Whosoever it was, he knew King's Speeches and communications from "My lords" and such like things, very well indeed; and the contrast of the mention in the first letter of "Aman who excelled in wisdom among us and was approved for his constant good will and steadfast fidelity" with "the wicked wretch Aman – a stranger received of us … his falsehood and cunning" – the whole of both letters being carefully attuned to the respective key-notes – is worthy of any one of the best ironists from Aristophanes to the late Mr. Traill.

Between these two extremes of the Pentateuch and the Apocrypha there is, as has been remarked by divers commentators, not much about letters in the Bible. It is not auspicious that among the exceptions come David's letter commanding the betrayal of Uriah, and a little later Jezebel's similar prescription for the judicial murder of Naboth. There is, however, some hint of that curious attractiveness which some have seen in "the King's daughter all glorious within – " and without (as the Higher Criticism interprets the Forty-Fifth Psalm) in the bland way with which she herself stipulates that the false witnesses shall be "sons of Belial."

There is a book (once much utilised as a school prize) entitled The History of Inventions. I do not know whether there is a "Dictionary of Attributed Inventors." If there were it would contain some queer examples. One of the queerest is fathered (for we only have it at second hand) on Hellanicus, a Greek writer of respectable antiquity – the Peloponnesian war-time – and respectable repute for book-making in history, chronology, etc. It attributes the invention of letters —i. e.