And this Shelley, who, through a noble impulse, would have sacrificed himself, is the man whom Moore seriously advised Byron to avoid, lest his religious theories should undermine the immaculate morality of the author of Don Juan! It is to be supposed that Moore wrote in earnestness of spirit, yet it is impossible not to smile in wonderment at this letter. Moore doubtless had greater belief in salvation by faith than by works. "Ah, Moore was a superstitious dog!" exclaimed Landor one day. "I was once walking with him in a garden," (I forget in what part of England,) "laughing and joking, when Moore remarked the approach of some dignitary of the Catholic Church. He immediately began to mumble something, ran forward, and on his knees implored a blessing from the priest, crossing himself with reverential air. Ah, what it is to have faith! Landor, Landor, you are incorrigible! Don't you think so, Giallo?" asked the master of his dog. "I never heard Moore sing, much to my regret. I once asked him, but he excused himself with a sigh, saying that he had lost his voice."
One of Landor's prominent characteristics was generosity, carried to the verge of rashness. Even in his last years, when living on a very limited income, he was only too ready to empty his pockets at the call of any charity, whether public or private. Impulse, however, prompted him to give most heartily when he thought to further the cause of liberty. At the time a subscription was opened in Florence to aid Garibaldi's Sicilian expedition, Landor, anxious to lay an offering at the feet of his heart's hero, pulled out his watch, the only article of value about him, and begged Mr. Browning to present it to the fund. Mr. Browning took it, but knowing how lost the old man would be without his timepiece, kept it for a few days; and then, seizing a favorable moment when Landor was missing his watch greatly, though without murmuring, Mr. Browning persuaded him to retain it. This he did, with reluctance, after being assured of the fund's prosperous condition. It was about the same time, I think, that Landor wrote an Italian Conversation between Savonarola and the Prior of San Marco, which he published in pamphlet form for the benefit of this or a similar cause. Most admirably did Landor write Italian, his wonderful knowledge of Latin undoubtedly giving him the key to the soft, wooing tongue. He, of course, spoke the language with equal correctness; but, as with most Englishmen who go to Italy after having arrived at mature years, his pronunciation was proprio Inglese.
Landor would never accept payment for his books, presenting the amount due him either to the publisher, or, more generally, to some friend who had been most active in aiding their publication. Few will applaud this idiosyncrasy, the general and sensible opinion being that the laborer is worthy of his hire: but Landor took peculiar pride in writing for fame alone, without thought of the more tangible product of genius; and, unlike most authors, he could well afford to indulge in this heroic taste. Three years ago—and for the first time in his life, he said—Landor accepted payment for a Conversation contributed to the London Athenæum. The money had no sooner been received, than he urged, though unsuccessfully, its acceptance upon a young American in whom he was interested, declaring that he had no possible use for it. On another occasion he proposed to give everything he might write to this same American, to dispose of for the latter's benefit, and appeared grieved when the offer was gratefully declined.
One day I was surprised by the appearance of Landor's little waiting-maid bearing an old Florentine box of carved wood, almost as large as herself, which she deposited on the table in obedience to her master's wishes. She departed without vouchsafing any explanation. Curiosity however was not long unsatisfied, for soon Giallo's white nose peered through the door and heralded the coming of the old lion, who had no sooner entered the room than he put into my hands a quaint old key, saying: "I have brought you something that one of these days, when these old bones of mine are packed away in the long box, may be of considerable value. I have brought you what we may call, in anticipation of a long-deferred but inevitable event, my literary remains. In that box you will find all my notes and memoranda, together with many unpublished verses. You can do what you like with them." Startled at this unexpected endowment, I looked very great hesitancy, whereupon Landor smiled, and begged me to unlock the box, as its opening would not be fraught with evil consequences. "It is not Pandora's casket, I assure you," he added. Turning the key and raising the lid, I discovered quite a large collection of manuscripts, of very great interest to me of course, but to which I had no right, nor was I the proper person with whom to leave them. To have argued would have been useless. Expostulation with Landor when in the white heat of a new idea was Quixotic, so I expressed my very grateful thanks, and determined to watch for a favorable opportunity to return the gift. I had not long to wait, as it was not more than a month after that Landor bore them off, with the intention of making certain selections for immediate publication in England and returning the remainder. Time had not dealt gently with Landor's memory of things nearest, therefore I knew that the old Florentine box would wait in vain for its jewels. I was right: they never came. The box since then has braved shipwreck, and now stands beneath a modern writing-table, dark and proud of its antiquity, telling perpetually of former noble associations. I felt relieved that it so happened the manuscripts were not again left with me, yet I should have been a saint had I not occasionally experienced a secret regret at not having been forced to retain them in spite of entreaty and propriety.
The greater part of these manuscripts have since appeared, under the title of "Heroic Idyls, with Additional Poems," published late in 1863 by T. Cantley Newby, London.3 This very last fruit off an old tree can in no way add to Landor's reputation; it is interesting, however, for having been written "within two paces of his ninetieth year," and as showing the course of the mind's empire. Landor would have been more heroic than these Idyls had he withheld them from publication, for it is not cheering to see Thor cracking nuts with his most ponderous hammer. And Landor realized as much when he wrote the following apology:—
"You ask how I, who could converse
With Pericles, can stoop to worse:
How I, who once had higher aims,
Can trifle so with epigrams.
I would not lose the wise from view,
But would amuse the children too:
Besides, my breath is short and weak,
And few must be the words I speak."
Ah! but it is a question whether the children are amused. Occasionally there is a line with the old ring to it, a couplet seasoned with Attic salt, but for the rest there is the body without the spirit,—there is the well of English undefiled, but it is pumped dry! Probably the desire to publish was never so great as during Landor's last years, when the interests of his life had narrowed down to reading and writing, and he had become a purely introverted man. It was then he wrote:—
"The heaviest curse that can on mortal fall
Is, 'Who has friends may he outlive them all!'
This malediction has awaited me,
Who had so many.... I could once count three."
Cursed thus, he turned to the public for the only consolation left him on this side of the grave. It was not sufficient to write, for it is he as the Homer of his Idyls that confesses
"A pardonable fault: we wish for listeners
Whether we speak or sing: the young and old
Alike are weak in this, unwise and wise
Cheerful and sorrowful."
Twenty years before, Landor wrote to Lady Blessington: "Once beyond seventy, I will never write a line in verse or prose for publication. I will be my own Gil Blas. The wisest of us are unconscious when our faculties begin to decay." He, wisest of all, forgot his own good resolutions; but the listeners to these latter-day Idyls were few, and Landor had scarce collected his small audience before the lights were blown out and the curtain fell upon the deathbed of the singer.
To express a liking for any of Landor's pictures—provided you were a friend—was almost sufficient to cause them to be taken down and presented to you; hence to praise anything in his presence was exceedingly unsafe.