LAST DAYS OF WALTER SAVAGE LANDOR
PART I
When, in October, 1864, the European steamer brought us the intelligence of Walter Savage Landor's death, which occurred the month previous at Florence, newspaper readers asked, "Who is Landor?" The few who remember him remotely through the medium of Mr. Hillard's selections from his writings exclaimed, "What! Did he not die long ago?" The half-dozen Americans really familiar with this author knew that the fire of a genius unequalled in its way had gone out. Two or three, who were acquainted with the man even better than with his books, sighed, and thanked God! They thanked God that the old man's prayer had at last been answered, and that the curtain had been drawn on a life which in reality terminated ten years before, when old age became more than ripe. But Landor's walk into the dark valley was slow and majestic. Death fought long and desperately before he could claim his victim; and it was not until the last three years that body and mind grew thoroughly apathetic. "I have lost my intellect," said Landor, nearly two years ago: "for this I care not; but alas! I have lost my teeth and cannot eat!" Was it not time for him to go?
"Sans teeth, sans eyes, sans taste, sans everything."
The glory of old age ceases when second childishness and oblivion begin; therefore we thanked God for His goodness in taking the lonely old man home.
Long as was Landor's life and literary career, little is known of him personally. There are glimpses of him in Lady Blessington's Memoirs; and Emerson, in his "English Traits," describes two interviews with him in 1843 at his Florentine villa. "I found him noble and courteous, living in a cloud of pictures.... I had inferred from his books, or magnified from some anecdotes, an impression of Achillean wrath,—an untamable petulance. I do not know whether the imputation were just or not, but certainly on this May-day his courtesy veiled that haughty mind, and he was the most patient and gentle of hosts." According to the world's opinion, it was not always "May-day" with Landor, for the world neither preaches nor practices that rarity, human charity. Its instinct is a species of divining-rod, the virtue of which seems to be limited to a fatal facility in discovering frailty. Great men and women live in glass houses, and what passer-by can resist the temptation to throw stones? Is it generous, or even just, in scoffers who are safely hidden behind bricks and mortar, to take advantage of the glass? Could they show a nobler record if subjected to equally close scrutiny? Worshippers, too, at the shrines of inspiration are prone to look for ideal lives in their elect, forgetting that the divine afflatus is, after all, a gift,—that great thoughts are not the daily food of even the finest intellects. It is a necessity of nature for valleys to lie beneath the lofty mountain peaks that daringly pierce the sky; and it would seem as though the artist-temperament, after rising to sublime heights of ecstasy, plunged into corresponding depths, showing thereby the supremacy of the man over the god. Then is there much sighing and shaking of heads at the failings of genius, whereas genius in its depths sinks no lower than the ordinary level of mankind. It simply proves its title-deeds to mortality. Humanity at best is weak, and can only be divine by flashes. The Pythia was a stupid old woman, saving when she sat upon the tripod. Seeing genius to the best advantage in its work,—not always, but most frequently,—they are wisest who love the artist without demanding personal perfection. It is rational to conclude that the loftiest possible genius should be allied to the most perfect specimen of man, heart holding equal sway with head. A great man, however, need not be a great artist,—that is, of course, understood; but time ought to prove that the highest form of art can only emanate from the noblest type of humanity. The most glorious inspirations must flow through the purest channels. But this is the genius of the future, as far removed from what is best known as order is removed from chaos. The genius most familiar is not often founded on common sense; the plus of one faculty denotes the minus of another; and matter-of-fact people, who rule the world,—as they should,—and who have never dreamed of an inclination from the perpendicular, bestow little patience and less sympathy on vagaries, moral and mental, than, partly natural, are aggravated by that "capacity for joy" which "admits temptation."
Landor's characteristic fault, in fact his vice, was that of a temper so undisciplined and impulsive as to be somewhat hurricanic in its consequences, though, not unlike the Australian boomerang, it frequently returned whence it came, and injured no one but the possessor. Circumstances aggravated, rather than diminished, this Landorian idiosyncrasy. Born in prosperity, heir to a large landed estate, and educated in aristocratic traditions, Walter Savage Landor began life without a struggle, and throughout a long career remained master of the situation, independent of the world and its favors. Perhaps too much freedom is as unfortunate in its results upon character as too much dependence. A nature to be properly developed should receive as well as give; otherwise it must be an angelic disposition that does not become tyrannical. All animated nature is despotic, the strong preying upon the weak. If men and women do not devour one another, it is merely because they dare not. The law of self-preservation prevents them from becoming anthropophagi. A knowledge that the eater may in his turn be eaten, is not appetizing. Materially and professionally successful, possessed of a physique that did honor to his ancestors and Nature, no shadows fell on Landor's path to chasten his spirit. Trials he endured of a private nature grievous in the extreme, yet calculated to harden rather than soften the heart,—trials of which others were partially the cause, and which probably need not have been had his character been understood and rightly dealt with. There is a soothing system for men as well as horses,—even for human Cruisers,—and the Rarey who reduces it to a science will deserve the world's everlasting gratitude. Powerful natures are likely to be as strong in their weaknesses as in their virtues; this, however, is a reckoning entirely too rational to be largely indulged in by the packed jury that holds inquest over the bodies, rather than the souls, of men. In his old age at least, Landor's irascibility amounted to temporary madness, for which he was no more responsible than is the sick man for the feverish ravings of delirium. That miserable law-suit at Bath, which has done so much to drag the name of Landor into the mire, would never have been prosecuted had its instigators had any respect for themselves or any decent appreciation of their victim.
But Landor in his best moods was chivalry incarnate. His courtly manners toward ladies were particularly noticeable from the rarity of so much external polish in the new school of Anglo-Saxon gallantry. It was a pleasure to receive compliments from him; for they generally lay imbedded in the sauce piquante of a bon mot. Having one day dropped his spectacles, which were picked up and presented to him by an American girl, Landor quickly exclaimed, with a grace not to be translated into words, "Ah, this is not the first time you have caught my eyes!" It was to the same young lady that he addressed this heretofore unpublished poem:—
"TO K. F.
"Kisses in former times I've seen,
Which, I confess it, raised my spleen;
They were contrived by Love to mock
The battledoor and shuttlecock.
Given, returned,—how strange a play,
Where neither loses all the day,
And both are, even when night sets in,
Again as ready to begin!
I am not sure I have not played
This very game with some fair maid.
Perhaps it was a dream; but this
I know was not; I know a kiss
Was given me in the sight of more
Than ever saw me kissed before.
Modest as winged angels are,
And no less brave and no less fair,
She came across, nor greatly feared,
The horrid brake of wintry beard.
The following papers, in so far as they relate to Landor personally, are not reminiscences of him in the zenith of fame. They contain glimpses of the old man of Florence in the years 1859, 1860, and 1861, just before the intellectual light began to flicker