The wooing of Rosamond Fayre — Reading Notes
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This digital edition of The wooing of Rosamond Fayre — Reading Notes is described by source-level measurements including 86,873 words, 6 hr 18 min estimated reading time, and 8 detected text sections.
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Read the Text
he was a small olive-skinned brunette, with dark conscientious eyes, a tiny, tight-lipped mouth, and a spare brown hand. That hand wasn't the kind of hand upon which one expects to see the blaze of the sapphire-set-with-diamond engagement ring that Miss Urquhart wore. She was immersed in "good works" of every description.
And because "good works" bring in their train an endless string of business-letters--because Eleanor Urquhart, though she possessed a fine head for figures, lacked the pen of a readier writer, she usually employed the readier click of the typewriter belonging to a lady secretary (who lived at the Court with herself and her father) to cope with her correspondence....
Really reliable secretary-girls are about as plentiful as really Heaven-born cooks, or artists.
The arrangement had been rather reminiscent of the tragedy of those ten little niggers!
For one secretary-girl had contradicted Miss Urquhart. She, of course, went. The next had kept a charitable duchess waiting in the ante-room. The next had appropriated blouses, sent for the Jumble Sale, for her own use. The next had had a South London accent that had jarred too painfully on old Mr. Urquhart's sensitive, scholarly nerves. The next secretary-girl had done worse than all; she had got up a flirtation with the Public-School-educated and handsome young chauffeur at Urquhart's Court! Yea; after dinner she had slipped out into the rose-garden to meet him. This sort of thing Miss Urquhart simply did not understand, did not wish to understand,--and did not mean to have. That secretary-girl left at a moment's notice.
And it was the day after Miss Urquhart had been forced to dismiss her fifth amanuensis in two months that she discovered the favourite of her old school, Rosamond Fayre, the Army Doctor's daughter, now orphaned and penniless except for what she could earn, fainting from over-fatigue in a cash desk at the Hotel Midas, London.
Miss Fayre possessed a clerical training that Miss Urquhart lacked. She possessed also an appearance and a voice that were invaluable in interviews with snobbish subscribers. Lastly she possessed a clear handwriting that Eleanor had admired even to mimicry while the girls were still at school together.
To Miss Fayre, pale and lovely in her black, cotton-backed satin business-frock, Eleanor had offered the vacant post.
Rosamond had wept with delight as she had accepted it. Then and there she had arranged to undertake that endless writing to the President of the Guild of Mothercraft and to the eleven thousand odd members of the Working Girls' Holiday Hostel Club.
Little dreaming of the other letters that she would presently be called upon to write!
Still dazed at the thought of this task, she stared out of the long French window at the grey stone Terrace with steps leading down to the sun-washed lawn, at the famous lime-tree avenue beyond that, and, far beyond that again, the glimpse of flat, blue Kentish Weald, in the midst of which this old house seemed to bask and doze, padded with ivy to its red chimney-stacks. In the late May, before the War, it nestled under the very wing of the Angel of Peace.
Urquhart's Court! A lovely place!
Rosamond was lucky to be there, instead of at the Midas.
But she forgot her "luck" as she remembered the quick, authoritative young voice of Eleanor Urquhart, half an hour ago, giving her instructions in the walled garden where both girls had been gathering flowers to send to a Hospital.
"It's mail-day, the day for Ted's letter, and I haven't a minute now," she had said, standing by the green door. "So, Rosamond, you'll put it together for me, please."
Rosamond had opened her pansy eyes so wide that one would have expected to see blue petals fall out upon her cheeks. She had gasped, "Put it together? You can't mean in my own handwriting?"
"Well--'our' writing! They're so very much alike, Rosamond."
"But you won't want _that_ copy sent?"
"Of course. There isn't t-t-t-time to make another," from Eleanor Urquhart, who, when she was flurried, uncertain, or vexed, showed a danger-signal in the form of a tiny stutter. "Y-y-yes!"
"D'you mean it, Eleanor?"
Apparently Eleanor had meant it. And Rosamond, walking beside her, flower-laden, up the lawn, had said in turn what she meant.
"My _darling_ employerette! I'll do 'anything in reason' to earn my position in this lap of luxury, but it's not in reason to want me to write to an engaged young man and tell him that his sweetheart hasn't got time!"
The novel opens with secretary Rosamond Fayre recoiling at an unusual request: to write love letters on behalf of her employer, Eleanor Urquhart, to Eleanor's fiancé Ted. Rosamond calls it 'not my job at all,' yet the arrangement proceeds, setting up a central tension between professional duty and personal emotion. The excerpts show Rosamond's growing panic when Ted receives one of her proxy letters and remarks it is 'specially nice,' hinting he suspects the deception. Berta Ruck builds the story around this precarious triangle, where the secretary's voice infiltrates the betrothal.
The Proxy Letter as Plot Engine
The premise of a secretary writing another woman's love letters drives the narrative. Rosamond's indignation is clear: 'Love-letters are the paper-currency for kisses, after all. So imagine having to write another girl's love-letters!' This metaphor frames the letters as intimate substitutes, blurring the line between professional task and personal betrayal. The excerpts show Ted's quiet suspicion—'Oh, I've had more than one'—and Rosamond's fear that her words have exposed her feelings. The proxy letter becomes a device for mistaken identity and concealed emotion, with each letter potentially revealing the truth.
Contrasts in Character and Setting
Ruck contrasts the two women sharply: Eleanor is a 'small olive-skinned brunette' with a 'tight-lipped mouth' and a hand 'not the kind...upon which one expects to see the blaze of the sapphire-set-with-diamond engagement ring.' Rosamond is a 'golden-blonde, goddess built' secretary. Their physical and social differences mirror the tension between duty and desire. The setting shifts from the peaceful Kentish Court to wartime London, as indicated by the part titles 'In Time of Peace' and 'In Time of War.' This structural contrast suggests the war will disrupt the romantic complications.
Tension and Concealment in Dialogue
The breakfast scene in the excerpts crackles with unspoken anxiety. Ted's calm, 'inscrutable' demeanor contrasts with Rosamond's inner panic: 'She would have given her month's salary to know even which one of those proxy-letters it was.' Ruck uses dialogue that appears casual—'Ah, one of my letters come back again?'—while the subtext reveals suspicion. Rosamond's observation that Ted is 'not the sort of young man who will give anything away, ever, until he chooses' underscores the power imbalance. The reader is left to infer how long the deception can hold.
Readers should attend to the letters themselves—their tone, their phrasing, and how they differ from the characters' spoken words. The proxy arrangement raises questions about authenticity in courtship and the ethics of impersonation. As the story moves into wartime, the stakes may shift from romantic embarrassment to graver consequences. The excerpts offer only the setup; the resolution depends on whether Rosamond's proxy voice can be disentangled from her own.
Years among the stacks taught me how proxy love letters in The Wooing of Rosamond Fayre carry the same strange ache as Amos Kilbright's borrowed wonders—both books whisper that our truest selves arrive uninvited. I often shelve them side by side, remembering how Amos Kilbright; His Adscititious Experiences With Other Stories — Themes and Context shares that quiet, unsettling shimmer of a life half-lived by another's design.
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