CHARLES BROWN.
PREFACE
The object of the present volume is to supply the want, which many readers must have felt, of a separate and convenient edition of the letters of Keats to his family and friends. He is one of those poets whose genius makes itself felt in prose-writing almost as decisively as in verse, and at their best these letters are among the most beautiful in our language. Portions of them lent an especial charm to a book charming at any rate—the biography of the poet first published more than forty years ago by Lord Houghton. But the correspondence as given by Lord Houghton is neither accurate nor complete. He had in few cases the originals before him, but made use of copies, some of them quite fragmentary, especially those supplied him from America; and moreover, working while many of the poet’s friends were still alive, he thought it right to exercise a degree of editorial freedom for which there would now be neither occasion nor excuse. While I was engaged in preparing the life of Keats for Mr. Morley’s series some years since, the following materials for an improved edition of his letters came into my hands:—
(1) The copies made by Richard Woodhouse, a few years after Keats’s death, of the poet’s correspondence with his principal friends, viz. the publishers, Messrs. Taylor and Hessey; the transcriber, Woodhouse himself, who was a young barrister of literary tastes in the confidence of those gentlemen; John Hamilton Reynolds, solicitor, poet, humourist, and critic (born 1796, died 1852); Jane and Mariane Reynolds, sisters of the last-named, the former afterwards Mrs. Tom Hood; James Rice, the bosom friend of Reynolds, and like him a young solicitor; Benjamin Bailey, undergraduate of Magdalen Hall, Oxford, afterwards Archdeacon of Colombo (1794?-1852), and one or two more.
(2) The imperfect copies of the poet’s letters to his brother and sister-in-law in America, which were made by the sister-in-law’s second husband, Mr. Jeffrey of Louisville, and sent by him to Lord Houghton, who published them with further omissions and alterations of his own.
(3) Somewhat later, after the publication of my book, the autograph originals of some of these same letters to America were put into my hands, including almost the entire text of Nos. lxiii. lxxiii. lxxx. and xcii. in the present edition. The three last are the long and famous journal-letters written in the autumn of 1818 and spring of 1819, and between them occupy nearly a quarter of the whole volume. I have shown elsewhere[1] how much of their value and interest was sacrificed by Mr. Jeffrey’s omissions.
Besides these manuscript sources, I have drawn largely on Mr. Buxton Forman’s elaborate edition of Keats’s works in four volumes (1883),[2] and to a much less extent on the edition published by the poet’s American grand nephew, Mr. Speed (1884)[3]. Even thus, the correspondence is still probably not quite complete. In some of the voluminous journal-letters there may still be gaps, where a sheet of the autograph has gone astray; and since the following pages have been in print, I have heard of the existence in private collections of one or two letters which I have not been able to include. But it is not a case in which absolute completeness is of much importance.
In matters of the date and sequence of the letters, I have taken pains to be more exact than previous editors, especially in tracing the daily progress and different halting-places of the poet on his Scotch tour (which it takes some knowledge of the ground to do), and in dating the successive parts, written at intervals sometimes during two or three months, of the long journal-letters to America. On these particulars Keats himself is very vague, and his manuscript sometimes runs on without a break at points where the sense shows that he has dropped and taken it up again after a pause of days or weeks.[4] Again, I have in all cases given in full the verse and other quotations contained in the correspondence, where other editors have only indicated them by their first lines. It is indeed from these that the letters derive a great part of their character. Writing to his nearest relatives or most intimate friends, he is always quoting for their pleasure poems of his own now classical, then warm from his brain, sent forth uncertain whether to live or die, or snatches of doggrel nonsense as the humour of the moment takes him. The former, familiar as we may be with them, gain a new interest and freshness from the context: the latter are nothing apart from it, and to print them gravely, as has been done, among the Poetical Works, is to punish the levities of genius too hard.
As to the text, I have followed the autograph wherever it was possible, and in other cases the manuscript or printed version which I judged nearest the autograph; with this exception, that I have not thought it worth while to preserve mere slips of the pen or tricks of spelling. The curious in such matters will find them religiously reproduced by Mr. Buxton Forman wherever he has had the opportunity. The poet’s punctuation, on the other hand, and his use of capitals, which is odd and full of character, I have preserved. As is well known, his handwriting is as a rule clear and beautiful, quite free from unsteadiness or sign of fatigue; and as mere specimens for the collector, few autographs can compare with these close-written quarto (or sometimes extra folio) sheets, in which the young poet has poured out to those he loved his whole self indiscriminately, generosity and fretfulness, ardour and despondency, boyish petulance side by side with manful good sense, the tattle of suburban parlours with the speculations of a spirit unsurpassed for native poetic gift and insight.
The editor of familiar correspondence has at all times a difficult task before him in the choice what to give and what to withhold. In the case of Keats the difficulty is greater than in most, from the ferment of opposing elements and impulses in his nature, and from the extreme unreserve with which he lays himself open alike in his weakness and his strength. The other great letter-writers in English are men to some degree on their guard: men, if not of the world, at least of some worldly training and experience, and of characters in some degree formed and set. The phase of unlimited youthful expansiveness, of enthusiastic or fretful outcry, they have either escaped or left behind, and never give themselves away completely. Gray is of course an extreme case in point. With a masterly breadth of mind he unites an even finicking degree of academic fastidiousness and personal reserve, and his correspondence charms, not by impulse or openness, but by urbanity and irony, by ripeness of judgment and knowledge, by his playful kindliness towards the few intimates he has, and the sober wistfulness with which he looks out, from his Pisgah-height of universal culture, over regions of imaginative delight into which it was not given to him nor his contemporaries to enter fully. To take others differing most widely both as men and poets: Cowper, whether affectionately “chatting and chirping” to his cousin Lady Hesketh, or confiding his spiritual terrors to the Rev. John Newton, that unwise monitor who would not let them sleep—Cowper is a letter-writer the most unaffected and sincere, but has nevertheless the degree of reticence natural to his breeding, as well as a touch of staidness and formality proper to his age. Byron offers an extreme contrast; unrestrained he is, but far indeed from being unaffected; the greatest attitudinist in literature as in life, and the most brilliant of all letter-writers after his fashion, with his wit, his wilfulness, his flash, his extraordinary unscrupulousness and resource, his vulgar pride of caste, his everlasting restlessness and egotism, his occasional true irradiations of the divine fire. Shelley, again—but he, as has been justly said, must have his singing robes about him to be quite truly Shelley, and in his correspondence is little more than any other amiable and enthusiastic gentleman and scholar on his travels. To the case of Keats, at any rate, none of these other distinguished letter-writers affords any close parallel. That admirable genius was from the social point of view an unformed lad in the flush and rawness of youth. His passion for beauty, his instinctive insight into the vital sources of imaginative delight in nature, in romance, and in antiquity, went along with perceptions painfully acute in matters of daily life, and nerves high-strung in the extreme. He was moreover almost incapable of artifice or disguise. Writing to his brothers and sister or to friends as dear, he is secret with them on one thing only, and that is his unlucky love-passion after he became a prey to it: for the rest he is open as the day, and keeps back nothing of what crosses his mind, nothing that vexes or jars on him or tries his patience. His character, as thus laid bare, contains elements of rare nobility and attraction—modesty,