1625. Richard Hengist Horne to EBB
As published in The Brownings’ Correspondence, 9, 11–13.
[London]
Monday Morng [10 June 1844] [1]
My dear Miss Barrett, can you direct me to the especial domestic poem to which you once referred me in Mrs Norton’s “Dream and other Poems.” [2] I have got the book—how shall I find the one?
I am much beset—and well disposed—to insert the name of another man in the Second Edition. It is Barry Cornwall. [3] I sh’d deal chiefly with his Songs. What do you think of them? I have nearly made up my mind. But I should much like to have your opinion.
I find (dreadfully private this) [4] that there is an evil spirit or two at work in various directions, against me—with intent to show, cause, or set it about, that notwithstanding any praise I may [have] given to certain authors, and poets, in especial, that they are all in some sort offended, and have become cold and distant—and no longer as before. Now, I believe there is very little truth in this—particularly after what you tell me of Talfourd [5] —still, the thing is being “said about.” Some passing word from any one of the “Virtues”—any where—whether, as in Talfourd’s Prefce to his Tragedies [6] —or like Hunt, in the body of his book—or any note, or quotation of four or five lines from “Orion”—just to show that a kindly feeling existed towards me, would be pleasing to receive from one I know to be sincere. Do not at all fancy this comes in a poor lachrymose shape—only I do not like these Dogs to have their word-bark all their own way. And the “New Spirit of the Age” will triumph in the end, I do believe.
Leigh Hunt has shown me his copy marked all through. He has marked with great admiration various passages written violently of by others. He little thinks who. Of the whole he says “The work is unequally written—more things I regret—but, with the exception of Carlyle’s publications, I have read no work which contains so much thought and feeling these many years.”
Harriet Martineau also writes very kindly. [7]
Yours
H.
Again, I beg of you not to over-work and excite yourself about this 2nd Vol. After the first revision of proofs (or second) believe me, not one in 10,000,000 readers and lovers of poetry, will estimate the work that half kills you. Be quiet.
This is the last P.S.
The enclosed was written before your last came to hand.
Well, never mind sending the ‘Dead Pan’ nor reply about Barry Cornwall—or just as you like. I will be no party to your destruction by penmanship. You ought to accept assistance I shall always say that—were it only for the commas and press-errors &c &c &c &c &c.
Patmore I expect is a true poet after Tennyson.
Flush, also, I should admire.
Yo tengo la “Godiva” de Liunto. [8]
Address: Miss E. B. Barrett / 50. Wimpole St / Cavendish Sqre.
Publication: None traced.
Manuscript: Pierpont Morgan Library.
1. The letter is postmarked 11 June 1844, a Tuesday.
2. EBB’s reference is in letter 1513. In letter 1635 she tells Horne that she thinks the poem in question is called “The Creole; or, The Physician’s Story.”
3. However, Horne did not act on this intention.
4. This parenthetical remark was encircled by loops for emphasis, presumably by Horne.
5. Horne refers to EBB’s comment in letter 1622 regarding Talfourd’s reaction to A New Spirit.
6. In the closing paragraph of the preface to his Tragedies (1844), Talfourd, referring to dramatic poetry, said “Mr. Horne has already turned to the Epic, and consoled us by the noble music and classic imagery, and intense feeling, and starry destiny of his ‘Orion,’ for the absence of presentment of dramatic passion and suffering. If the Stage, in spite of its emancipation, shall fall to decay, I shall deplore it—if it be only for what we shall lose in him.”
7. For an extract from Miss Martineau’s letter, see SD1208 in vol. 8.
8. “I have Liunto’s ‘Godiva’.” This sentence, written on the outside of the envelope, relates to prior references to Leigh Hunt’s work in letters 1619 and 1624.
___________________
