Siena, have become an Italian classic; yet perhaps the first thing in them
to strike a reader is their unliterary character. He only will value them
who cares to overhear the impetuous outpourings of the heart and mind of
an unlettered daughter of the people, who was also, as it happened, a
genius and a saint. Dante, Petrarch, Boccaccio, the other great writers of
the Trecento, are all in one way or another intent on choice expression;
Catherine is intent solely on driving home what she has to say. Her
letters were talked rather than written. She learned to write only three
years before her death, and even after this time was in the habit of
dictating her correspondence, sometimes two or three letters at a time, to
the noble youths who served her as secretaries.

The modern listener to this eager talk may perhaps at first feel wearied.
Suffocated by words, repelled by frequent crudity and confusion of
metaphor, he may even be inclined to call the thought childish and the
tone overwrought. But let him persevere. Let him read these letters as
chapters in an autobiography, noting purpose and circumstance, and reading
between the lines, as he may easily do, the experience of the writer.
Before long the very accents of a living woman will reach his ears. He
will hear her voice, now eagerly pleading with friend or wrong-doer, now
brooding tender as a mother-bird over some fledgling soul, now broken with
sobs as she mourns over the sins of Church and world, and again chanting
high prophecy of restoration and renewal, or telling in awestruck
undertone sacred mysteries of the interior life. Dante's Angel of Purity
welcomes wayfarers upon the Pilgrim Mount "in voce assai piu che la
nostra, viva." The saintly voice, like the angelic, is more living than
our own. These letters are charged with a vitality so intense that across
the centuries it draws us into the author's presence.

Imagination is inclined to see the canonized saints as a row of solemn