in any case have secured her the sympathy and approval of a wide class of readers. She displays richness of fancy and aptness of language, but her work suffered from hasty production, and has not stood the test of time. The large sums she earned by her literary labours were expended on the support of her family. An engagement to John Forster, it is said, was broken off through the intervention of scandalmongers. In June 1838 she married George Maclean, governor of the Gold Coast, but she only survived her marriage, which proved to be very unhappy, by a few months. She died on the 15th of October 1838 at Cape Coast from an overdose of prussic acid, which, it is supposed, was taken accidentally.
For some time L. E. L. was joint editor of the Literary Gazette. Her first volume of poetry appeared in 1820 under the title The Fate of Adelaide, and was followed by other collections of verses with similar titles. She also wrote several novels, of which the best is Ethel Churchill (1837). Various editions of her Poetical Works have been published since her death, one in 1880 with an introductory memoir by W. B. Scott. The Life and Literary Remains of Letitia Elizabeth Landon, by Laman Blanchard, appeared in 1841, and a second edition in 1855.
LANDOR, WALTER SAVAGE (1775–1864), English writer,
eldest son of Walter Landor and his wife Elizabeth Savage, was
born at Warwick on the 30th of January 1775. [He was sent to
Rugby school, but was removed at the headmaster’s request
and studied privately with Mr Langley, vicar of Ashbourne.
In 1793 he entered Trinity College, Cambridge. He adopted
republican principles and in 1794 fired a gun at the windows of
a Tory for whom he had an aversion. He was rusticated for a
year, and, although the authorities were willing to condone the
offence, he refused to return. The affair led to a quarrel with
his father in which Landor expressed his intention of leaving
home for ever. He was, however, reconciled with his family
through the efforts of his friend Dorothea Lyttelton. He entered
no profession, but his father allowed him £150 a year, and he
was free to live at home or not as he pleased.]
In 1795 appeared in a small volume, divided into three books, The Poems of Walter Savage Landor, and, in pamphlet form of nineteen pages, an anonymous Moral Epistle, respectfully dedicated to Earl Stanhope. No poet at the age of twenty ever had more vigour of style and fluency of verse; nor perhaps has any ever shown such masterly command of epigram and satire, made vivid and vital by the purest enthusiasm and most generous indignation. Three years later appeared the first edition of the first great work which was to inscribe his name for ever among the great names in English poetry. The second edition of Gebir appeared in 1803, with a text corrected of grave errors and improved by magnificent additions. About the same time the whole poem was also published in a Latin form, which for might and melody of line, for power and perfection of language, must always dispute the palm of precedence with the English version. [His father’s death in 1805 put him in possession of an independent fortune. Landor settled in Bath. Here in 1808 he met Southey, and the mutual appreciation of the two poets led to a warm friendship.] In 1808, under an impulse not less heroic than that which was afterwards to lead Byron to a glorious death in redemption of Greece and his own good fame, Landor, then aged thirty-three, left England for Spain as a volunteer to serve in the national army against Napoleon at the head of a regiment raised and supported at his sole expense. After some three months’ campaigning came the affair of Cintra and its disasters; “his troop,” in the words of his biographer, “dispersed or melted away, and he came back to England in as great a hurry as he had left it,” but bringing with him the honourable recollection of a brave design unselfishly attempted, and the material in his memory for the sublimest poem published in our language, between the last masterpiece of Milton and the first masterpiece of Shelley—one equally worthy to stand unchallenged beside either for poetic perfection as well as moral majesty—the lofty tragedy of Count Julian, which appeared in 1812, without the name of its author. No comparable work is to be found in English poetry between the date of Samson Agonistes and the date of Prometheus Unbound; and with both these great works it has some points of greatness in common. The superhuman isolation of agony and endurance which encircles and exalts the hero is in each case expressed with equally appropriate magnificence of effect. The style of Count Julian, if somewhat deficient in dramatic ease and the fluency of natural dialogue, has such might and purity and majesty of speech as elsewhere we find only in Milton so long and so steadily sustained.
In May 1811 Landor had suddenly married Miss Julia Thuillier, with whose looks he had fallen in love at first sight in a ball-room at Bath; and in June they settled for a while at Llanthony Abbey in Monmouthshire, from whence he was worried in three years’ time by the combined vexation of neighbours and tenants, lawyers and lords-lieutenant; not before much toil and money had been nobly wasted on attempts to improve the sterility of the land, to relieve the wretchedness and raise the condition of the peasantry. He left England for France at first, but after a brief residence at Tours took up his abode for three years at Como; “and three more wandering years he passed,” says his biographer, “between Pisa and Pistoja, before he pitched his tent in Florence in 1821.”
In 1835 he had an unfortunate difference with his wife which ended in a complete separation. In 1824 appeared the first series of his Imaginary Conversations, in 1826 “the second edition, corrected and enlarged”; a supplementary third volume was added in 1828; and in 1829 the second series was given to the world. Not until 1846 was a fresh instalment added, in the second volume of his collected and selected works. During the interval he had published his three other most famous and greatest books in prose: The Citation and Examination of William Shakespeare (1834), Pericles and Aspasia (1836), The Pentameron (1837). To the last of these was originally appended The Pentalogia, containing five of the very finest among his shorter studies in dramatic poetry. In 1847 he published his most important Latin work, Poemata et inscriptiones, comprising, with large additions, the main contents of two former volumes of idyllic, satiric, elegiac and lyric verse; and in the same golden year of his poetic life appeared the very crown and flower of its manifold labours, the Hellenics of Waller Savage Landor, enlarged and completed. Twelve years later this book was re-issued, with additions of more or less value, with alterations generally to be regretted, and with omissions invariably to be deplored. In 1853 he put forth The Last Fruit off an Old Tree, containing fresh conversations, critical and controversial essays, miscellaneous epigrams, lyrics and occasional poems of various kind and merit, closing with Five Scenes on the martyrdom of Beatrice Cenci, unsurpassed even by their author himself for noble and heroic pathos, for subtle and genial, tragic and profound, ardent and compassionate insight into character, with consummate mastery of dramatic and spiritual truth. In 1856 he published Antony and Octavius—Scenes for the Study, twelve consecutive poems in dialogue which alone would suffice to place him high among the few great masters of historic drama.
In 1858 appeared a metrical miscellany bearing the title of Dry Sticks Fagoted by W. S. Landor, and containing among other things graver and lighter certain epigrammatic and satirical attacks which reinvolved him in the troubles of an action for libel; and in July of the same year he returned for the last six years of his life to Italy, which he had left for England in 1835. [He was advised to make over his property to his family, on whom he was now dependent. They appear to have refused to make him an allowance unless he returned to England. By the exertions of Robert Browning an allowance was secured. Browning settled him first at Siena and then at Florence.] Embittered and distracted by domestic dissensions, if brightened and relieved by the affection and veneration of friends and strangers, this final period of his troubled and splendid career came at last to a quiet end on the 17th of September 1864. In the preceding year he had published a last volume of Heroic Idyls, with Additional Poems, English and Latin,—the better part of them well worthy to be indeed the “last fruit” of a genius which after a life of eighty-eight years had lost nothing
