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Selected Correspondence of Kenneth Burke and Malcolm Cowley (New York: Viking, 1988), 273, memorably quoted in Betsy Erkkila, 30 : e d f o l so m “Whitman and the Homosexual Republic,” in Walt Whitman: The Centennial Essays, ed. Ed Folsom (Iowa City: University of Iowa Press, 1994), 153. 7. Cowley, introduction, x. 8. James E. , “Buried Masterpiece Unburied,” Prairie Schooner 34 (Summer 1960): 180. 9. James E. , Whitman’s “Song of Myself”: Origin, Growth, Meaning (New York: Dodd, Mead, 1964).
10 It was one of the few things published that year that was directly about the 1855 volume. It gave a brief overview of Rome family lore about the print shop and about the Rome brothers and their association with Whitman. Much of this brief anecdotal and undocumented family history has seeped into our general understanding of the edition. One of the disconcerting things any publishing scholar or biographer discovers is that our work occasionally is taken seriously — does get used, cited, recycled — and that surmises we make sometimes harden into facts, guesses become probabilities, and made-up things become plausibilities.
Whatever the case, something about the change was crucial for Whitman, important enough for him to change this line after a couple of hundred copies had already been printed. Perhaps we need recall only how vital the cycle of opposites was to Whitman as a central organizing principle of his book. Great is youth, and equally great is old age . . great are the day and night; Great is wealth and great is poverty . . great is expression and great is silence, (lg 1855, 93) he writes at one point in the 1855 edition, and at other points he underscores his association of day and night with the systole and diastole of life and death, openness and secrecy, transparency and disguise.
