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L A N D O R
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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 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 Walter Savage Landor, enlarged and completed. Twelve years later this book was reissued, 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. 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 of its majestic and pathetic power, its exquisite and exalted loveliness.
A complete list of Lander's writings, published or privately printed, in English, Latin, and Italian, including pamphlets, fly-sheets, and occasional newspaper correspondence on political or literary questions, it would be difficult to give anywhere and impossible to give here. From nineteen almost to ninety his intellectual and literary activity was indefatigably incessant; but, herein at least like Charles Lamb, whose cordial admiration he so cordially returned, he could not write a note of three lines which did not bear the mark of his “Roman hand” in its matchless and inimitable command of a style at once the most powerful and the purest of his age. The one charge which can ever seriously be brought and maintained against it is that of such occasional obscurity or difficulty as may arise from excessive strictness in condensation of phrase and expurgation of matter not always superfluous, and some times almost indispensable. His English prose and his Latin verse are perhaps more frequently and more gravely liable to this charge than either his English verse or his Latin prose. At times it is well nigh impossible for an eye less keen and swift, a scholarship less exquisite and ready than his own, to catch the precise direction and follow the perfect course of his rapid thought and radiant utterance. This apparently studious pursuit and preference of the most terse and elliptic expression which could be found for anything he might have to say could not but occasionally make even so sovereign a master of two great languages appear “dark with excess of light”; but from no former master of either tongue in prose or verse was ever the quality of real obscurity, of loose and nebulous incertitude, more utterly alien or more naturally remote. There is nothing of cloud or fog about the path on which he leads us; but we feel now and then the want of a bridge or a handrail; we have to leap from point to point of narrative or argument without the usual help of a connecting plank. Even in his dramatic works, where least of all it should have been found, this lack of visible connexion or sequence in details of thought or action is too often a source of sensible perplexity. In his noble trilogy on the history of Giovanna queen of Naples it is sometimes actually difficult to realize on a first reading what has happened or is happening, or how, or why, or by what agency,—a defect alone sufficient, but unhappily sufficient in itself, to explain the too general ignorance of a work so rich in subtle and noble treatment of character, so sure and strong in its grasp and rendering of “high actions and high passions,” so rich in humour and in pathos, so royally serene in its commanding power upon the tragic mainsprings of terror and of pity. As a poet, he may be said on the whole to stand midway between Byron and Shelley,—about as far above the former as below the latter. If we except Catullus and Simonides, it might be hard to match and it would be impossible to overmatch the flawless and blameless yet living and breathing beauty of his most perfect elegies, epigrams, or epitaphs. As truly as prettily was he likened by Leigh Hunt “to a stormy mountain pine which should produce lilies.” His passionate compassion, his bitter and burning pity for all wrongs endured in all the world, found only their natural and inevitable outlet in his lifelong defence or advocacy of tyrannicide as the last resource of baffled justice, the last discharge of heroic duty. His tender and ardent love of children, of animals, and of flowers, makes fragrant alike the pages of his writing and the records of his life. He was as surely the most gentle and generous as the most headstrong and hot-headed of heroes or of men. Nor ever was any man’s best work, more thoroughly imbued and informed with evidence of his noblest qualities. His loyalty and liberality of heart were as inexhaustible as his bounty and beneficence of hand. Praise and encouragement, deserved or undeserved, came yet more readily to his lips than challenge or defiance. Reviled and ridiculed by Lord Byron, he retorted on the offender living less readily and less warmly than he lamented and extolled him dead. On the noble dramatic works of his brother Robert he lavished a magnificence of sympathetic praise which his utmost self-estimate would never have exacted for his own. Age and the lapse of time could neither heighten nor lessen the fulness of this rich and ready generosity. To the poets of his own and of the next generation he was not readier to do honour than to those of a later growth, and not seldom of deserts far lower and far lesser claims than theirs. That he was not
