Abstract
Virginia Woolf was not very gratified when her friends assured her in September 1920, in the course of her writing of Jacob’s Room, that her main claim to immortality would be not as a novelist but as a letter-writer. It is evident from the context that she was being compared with the seventeenth-century French letter-writer, Madame de Sévigné (Diary, 2. 63–4). She read the compliment, no doubt correctly, as a put-down. Her friends’ subtext stated that her claims to real writing (novels) were nothing much in the long run, but her letters — that supremely feminine form which would remove her from competition with Strachey and other male members of the Bloomsbury group — would ensure her immortality (of a kind). Not mainstream, not literary, not male. She accused herself ruefully of vanity in disliking this sidelining in the literary stakes, as Strachey boldly compared the Bloomsbury group to Johnson’s set. Virginia Woolf in this literary scene seems cast as Mrs Thrale. No one would now risk the folly of admiring Virginia Woolf primarily for her letter-writing skills, but nevertheless her letters bear an integral relation to some of the most radical aspects of her non-fictional writing. The form of the letter always guaranteed her a special freedom, and when she read women letter-writers in the early modern period she registered a tradition of free writing and thinking whose legacy she had herself inherited.
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Notes
Margaret W. Ferguson, ‘A Room Not Their Own: Renaissance Women as Readers and Writers’, in Clayton Koelb and Susan Noakes (eds), The Comparative Perspective on Literature (Ithaca, 1988): 93–116
Frances Mossiker, Madame de Sévigné: A Life and Letters (New York, 1985), p. 22.
See also Sidonie Smith, A Poetics of Women’s Autobiography: Marginality and the Fictions of Self-Representation (Bloomington, 1987), p. 5.
Dorothy Osborne, Letters to Sir William Temple, ed. Kenneth Parker (Harmondsworth, 1987), p. 75.
Francis Osborne[e], Advice to a Son (Oxford, 1658), p. 17. Guillén, ‘Notes toward the Study of the Renaissance Letter’, pp. 83–4, observes that Donne’s verse letters often share this characteristic, but suggests also that orality is traditionally part of a literary use of voice in letters by men. Guillén recognises that letters mark an important transitional stage in the ‘passage from orality to writing’ which is why they are significant for women in the Renaissance period.
The Letters and Literary Remains of Edward Fitzgerald, ed. William Aldis Wright (1989), I. 374.
Elizabeth Goldsmith, ‘Authority, Authenticity, and the Publication of Letters by Women’, in A Goldsmith (ed.), Writing the Female Voice: Essays on Epistolary Literature (Boston, 1989): 46–59, p. 54.
Louise K. Horowitz, ‘The Correspondence of Madame de Sévigné: Lettres or Belles-Lettres?’, French Forum, 6:1 (1981): 13–25, p. 17.
Madame de Sévigné, Lettres, Texte établi et annoté par Gerard-Gailly (Paris, 1953), I. 248: ‘Mon Dieu, ma bonne, que vos lettres sont aimables! il y a des endroits dignes de l’impression: un de ces jours vous trouverez qu’un de vos amis vous aura trahie.’ The translations in the text are my own.
Catharine R. Stimpson, ‘The Female Sociograph: The Theater of Virginia Woolf’s Letters’, in Donna C. Stanton (ed.), The Female Autograph (Chicago, 1984): 168–79. Stimpson observes that Woolf’s letters ‘exemplify a particular women’s text, one that is neither wholly private nor wholly public. They occupy a psychological and rhetorical middle space between what she wrote for herself and what she produced for a general audience’. Moreover, in form they also occupy a middle ground ‘between the “literal” and the “literary,” those two frayed poles with which some stake out the territories of discourse’ (pp. 168, 175).
Annabel Patterson, Censorship and Interpretation (Madison, 1984), p. 204: ‘The letter poses the problem of how literary and extraliterary motives intersect in genre formation.’
Alan Duguld McKillop, Samuel Richardson: Printer and Novelist (Chapel Hill, 1936), p. 184.
Sainte-Beuve, ‘Madame de Sévigné’, Fin de Portraits Littéraires: Portraits de femmes, Oeuvres, (Paris, 1960): II. 991–1007, p. 1007.
Christopher Hill, ‘Clarissa Harlowe and Her Times’, in Puritanism and Revolution (1958): 367–94, p. 380.
Samuel Richardson, Familiar Letters on Important Occasions [1741], introduced by Brian C. Downs (1958).
Janet Gurkin Altman, Epistolarity: Approaches to a Form (Columbus, Ohio, 1982), p. 212; Horowitz, ‘The Correspondence of Madame de Sévigné: Lettres or Belles-Lettres?’, p. 25: ‘Letter writing shares several distinct goals: the transfer of information, the need to communicate and maintain a certain relationship (however altered), but also the experience of writing free of professional status and obligation.’
Letters of the Lady Brilliana Harley, ed. by Thomas Taylor Lewis (1854), p. 7.
Harriet Ray Allentuch, ‘My Daughter/Myself: Emotional Roots of Madame de Sévigné’s art’, MLQ, 43: 2(1982): 121–37, p. 123: ‘Madame de Sévigné sought the emotional experience of passion with her daughter; to state less would require the amputation of much of her writing’.
Mary A. Favret, Romantic Correspondence: Women, Politics and the Fiction of Letters (Cambridge, 1993), discusses the revolutionary potential of letters in the Romantic period, which has, I suggest, some precedent in seventeenth-century letters by women.
James Spedding, The Letters and Life of Francis Bacon, (1861) I. 113.
Elspeth Graham, Hilary Hinds, Elaine Hobby and Helen Wilcox (eds), Her Own Life: Autobiographical Writings by Seventeenth-Century Englishwomen, (1989), pp. 2, 10, 16: ‘To write was an act of resistance in itself (p. 118).
P.J. Croft, The Poems of Robert Sidney (Oxford, 1984), pp. 77–8.
Margaret Cavendish, Duchess of Newcastle, Sociable Letters (1664), p. 14.
The George Sand-Gustave Flaubert Letters, trans. by Aimée L. McKenzie (1922), p. 121–2.
Jane Marcus, ‘“No More Horses”: Woolf on Art and Propaganda’, Women’s Studies, 4: 2–3 (1977), p. 274, quoted in Stimpson, ‘The Female Sociograph: The Theater of Virginia Woolf’s Letters’, p. 171.
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© 1997 Juliet Dusinberre
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Dusinberre, J. (1997). Letters as Resistance: Dorothy Osborne, Madame de Sévigné and Virginia Woolf. In: Virginia Woolf’s Renaissance. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-25644-0_4
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