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38 Marlborough Hill
St. John's Wood
London, S.W.
26 January, 1876.1
My dear Sir,
Some years ago when I had occasion to address you, you were so good as to say you should be happy
to hear from me again; and as my admiration of your works and interest in whatever concerns you
have rather strengthened than weakened, I feel sure you will not mind my asking one or two questions.
As a faithful student of your books, I have made it my business to obtain every edition I could,
and all portraits and notable
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notable accounts and criticisms. But there is one edition in particular which I have never been able
to see even,—that mentioned by Rossetti2 as having been issued in
18563 in 16 mo.[no handwritten text supplied here]The American
agent to whom my last application for this was forwarded says: "I don't think there is an 1856 edition.
There is one earlier or later in great demand, and at a high price, something like 25$ to 30$;
but I can't find that. There was a copy auctioned the other night at something like the above".
Can you tell me whether there is or is not an edition between the
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the one set up by yourself in 18554 and that of Thayer & Eldridge5
dated 1860–61? If there is, can you give me any particulars that will help me towards buying
it? Also, what is the edition that fetches 25$ to 30$? Not that of 1855; for I hear that
can be had for 3 or 4.
When at my friend Mr W.B. Scott's6 a few weeks ago, I saw a proof of a fine portrait
of you engraved by Linton:7 may I ask what it is from, and where it is published?
I live in hopes of publishing some day a good English Edition of your works; and my enquiries about editions
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editions are not mere bibliomania. I find they vary considerably; and my experience is that the careful
collations of various versions of a poet's work is often a key as well as an incitement to the right
understanding of his spirit and intent.
I am at present engaged on an edition of Shelley8 which will be the handsomest
in form, and the most extensive in matter (I hope), yet published; and that takes up most of my time.
With best wishes, believe me to be, dear sir, faithfully yours,
H Buxton Forman
Walt Whitman Esq
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H. Buxton Forman (sent W. J. press art. May 24, '76)
Jan. '76 sent paper & circ Apr 4.
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see notes Sept 3 & 5 1888
Correspondent:
Henry Buxton Forman (1842–1917), also known as
Harry Buxton Forman, was most notably the biographer and editor of Percy Shelley
and John Keats. On February 21, 1872, Buxton sent
a copy of R. H. Horne's The Great Peace-Maker: A Sub-marine
Dialogue (London, 1872) to Whitman. This poetic account of the laying
of the Atlantic cable has a foreword written by Forman. After his death,
Forman's reputation declined primarily because, in 1934, booksellers Graham
Pollard and John Carter published An Enquiry into the Nature
of Certain Nineteenth Century Pamphlets, which exposed Forman as a
forger of many first "private" editions of poetry.
Notes
- 1. This letter is addressed:
Walt Whitman Esq | Corner of Stevens & West Street | Camden | Near
Philadelphia | U.S.A. It is postmarked: A P | LONDON | 1 FE | 76; A P | LONDON | 1 FE | 76; New York | FEB
[illegible] | PAID ALL. [back]
- 2. William Michael Rossetti (1829–1915), brother
of Dante Gabriel and Christina Rossetti, was an English editor and a champion of
Whitman's work. In 1868, Rossetti edited Whitman's Poems,
selected from the 1867 Leaves of Grass. Whitman referred
to Rossetti's edition as a "horrible dismemberment of my book" in his August 12, 1871, letter to Frederick S. Ellis. Nonetheless,
the edition provided a major boost to Whitman's reputation, and Rossetti would
remain a staunch supporter for the rest of Whitman's life, drawing in
subscribers to the 1876 Leaves of Grass and fundraising
for Whitman in England. For more on Whitman's relationship with Rossetti, see
Sherwood Smith, "Rossetti, William Michael (1829–1915)," Walt
Whitman: An Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New
York: Garland Publishing, 1998). [back]
- 3. Forman is referring to the
second edition of Whitman's Leaves of Grass (1856). [back]
- 4. Whitman's first edition of
Leaves of Grass (1855) was printed by the Rome
brothers in a small shop at the intersection of Fulton and Cranberry in
Brooklyn. For the cover, Whitman chose a dark green ribbed morocco cloth, and
the volume included an engraving of a daguerreotype of Whitman, a full-body
portrait, in working clothes and a hat. The book included a preface and twelve
poems. For more information on the first edition of Leaves of
Grass, see Ed Folsom,
Whitman Making Books/Books Making
Whitman (University of Iowa: Obermann Center for Advanced Studies, 2005). [back]
- 5. Thayer and Eldridge was
the Boston publishing firm responsible for the third edition of Walt Whitman's
Leaves of Grass (1860). For more on Whitman's
relationship with Thayer and Eldridge see "Thayer, William Wilde (1829–1896) and Charles W. Eldridge
(1837–1903)," Walt Whitman: An
Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings [New York:
Garland Publishing, 1998]). [back]
- 6. William Bell Scott (1811–1890), an English
poet and painter, also published several volumes of literary criticism and
edited volumes of Romantic poetry. He became acquainted with Leaves of Grass through Thomas Dixon. Walt Whitman sent Scott Two Rivulets and the 1876 edition of Leaves of Grass on May 18, 1876, and Memoranda
During the War on June 14 or 15, 1876 (Whitman's Commonplace Book,
Charles E. Feinberg Collection of the Papers of Walt Whitman, 1839–1919,
Library of Congress, Washington, D.C.). [back]
- 7. William James Linton
(1812–1897), a British-born wood engraver, came to the U. S. in 1867 and
settled near New Haven, Connecticut. He illustrated
the works of John Greenleaf Whittier, Henry Wadsworth
Longfellow, William Cullen Bryant, and others, wrote the "indispensable" History of Wood-Engraving in America (1882), and edited
Poetry of America, 1776–1876 (London, 1878),
which included eight of Whitman's poems and the poet's picture. Linton's
engraving of Whitman appeared in the 1876 version of Leaves of
Grass, in Complete Poems & Prose
(1888–1889), and in The Complete Writings of Walt
Whitman (New York: G.P. Putnam's Sons, 1902), 10 vols., 2:156; it also inspired the poem "Out from
Behind This Mask." See Harold Blodgett, "Whitman and the Linton Portrait," Walt Whitman Newsletter, 4 (1958), 90–92.
According to his Threescore and Ten Years, 1820 to
1890—Recollections (New York: Charles Scribner's Sons, 1894),
216–217, Linton met with Whitman in Washington and later visited him in
Camden, which Whitman reported in his November 9,
1873, letter to Peter Doyle. Linton wrote of Whitman: "I liked the man
much, a fine-natured, good-hearted, big fellow, . . . a true poet who could not
write poetry, much of wilfulness accounting for his neglect of form." Linton's
obituary in the New York Times of January 8, 1898, called
Linton "the greatest wood engraver of his time, an artist in other senses, and a
poet of no mean ability." [back]
- 8. The English Romantic poet and playwright
Percy Bysshe Shelley (1792–1822) was the author
of the well-known poems "Ozymandias" and "Ode to the West Wind." He was
married first to Harriet Westbrook Shelley (1795–1816) and later to Mary Godwin
Shelley (1797–1895), the author of the
novel Frankenstein (1818). [back]