Chapter 25

When Mr. Forster brought out the collected edition of Landor's works, the critics were generally embarrassed. They evaded for the most part any committal of themselves to an estimate of their author's merits, and were generally content to say that we might now look forward to a definitive judgment in the ultimate court of literary appeal. Such an attitude of suspense was natural enough. Landor is perhaps the most striking instance in modern literature of a radical divergence of opinion between the connoisseurs and the mass of readers. The general public have never been induced to read him, in spite of the lavish applauses of some self-constituted authorities. One may go further. It is doubtful whether those who aspire to a finer literary palate than is possessed by the vulgar herd are really so keenly appreciative as the innocent reader of published remarks might suppose. Hypocrisy in matters of taste--whether of the literal or metaphorical kind--is the commonest of vices. There are vintages, both material and intellectual, which are more frequently praised than heartily enjoyed. I have heard very good judges whisper in private that they have found Landor dull; and the rare citations made from his works often betray a very perfunctory study of them. Not long ago, for example, an able critic quoted a passage from one of the 'Imaginary Conversations' to prove that Landor admired Milton's prose, adding the remark that it might probably be taken as an expression of his real sentiments, although put in the mouth of a dramatic person. To anyone who has read Landor with ordinary attention, it seems as absurd to speak in this hypothetical manner as it would be to infer from some incidental allusion that Mr. Ruskin admires Turner. Landor's adoration for Milton is one of the most conspicuous of his critical propensities. There are, of course, many eulogies upon Landor of undeniable weight. They are hearty, genuine, and from competent judges. Yet the enthusiasm of such admirable critics as Mr. Emerson and Mr. Lowell may be carped at by some who fancy that every American enjoys a peculiar sense of complacency when rescuing an English genius from the neglect of his own countrymen. If Mr. Browning and Mr. Swinburne have been conspicuous in their admiration, it might be urged that neither of them has too strong a desire to keep to that beaten highroad of the commonplace, beyond which even the best guides meet with pitfalls. Southey's praises of Landor were sincere and emphatic; but it must be added that they provoke a recollection of one of Johnson's shrewd remarks. 'The reciprocal civility of authors,' says the Doctor, 'is one of the most risible scenes in the farce of life.' One forgives poor Southey indeed for the vanity which enabled him to bear up so bravely against anxiety and repeated disappointment; and if both he and Landor found that 'reciprocal civility' helped them to bear the disregard of contemporaries, one would not judge them harshly. It was simply a tacit agreement to throw their harmless vanity into a common stock. Of Mr. Forster, Landor's faithful friend and admirer, one can only say that in his writing about Landor, as upon other topics, we are distracted between the respect due to his strong feeling for the excellent in literature, and the undeniable facts that his criticisms have a very blunt edge, and that his eulogies are apt to be indiscriminate.

Southey and Wordsworth had a simple method of explaining the neglect of a great author. According to them, contemporary neglect affords a negative presumption in favour of permanent reputation. No lofty poet has honour in his own generation. Southey's conviction that his ponderous epics would make the fortune of his children is a pleasant instance of self-delusion. But the theory is generally admitted in regard to Wordsworth; and Landor accepted and defended it with characteristic vigour. 'I have published,' he says in the conversation with Hare, 'five volumes of "Imaginary Conversations:" cut the worst of them through the middle, and there will remain in the decimal fraction enough to satisfy my appetite for fame. I shall dine late; but the dining-room will be well lighted, the guests few and select.' He recurs frequently to the doctrine. 'Be patient!' he says, in another character. 'From the higher heavens of poetry it is long before the radiance of the brightest star can reach the world below. We hear that one man finds out one beauty, another man finds out another, placing his observatory and instruments on the poet's grave. The worms must have eaten us before we rightly know what we are. It is only when we are skeletons that we are boxed and ticketed and prized and shown. Be it so! I shall not be tired of waiting.' Conscious, as he says in his own person, that in 2,000 years there have not been five volumes of prose (the work of one author) equal to his 'Conversations,' he could indeed afford to wait: if conscious of earthly things, he must be waiting still.

This superlative self-esteem strikes one, to say the truth, as part of Landor's abiding boyishness. It is only in schoolboy themes that we are still inclined to talk about the devouring love of fame. Grown-up men look rightly with some contempt upon such aspirations. What work a man does is really done in, or at least through, his own generation; and the posthumous fame which poets affect to value means, for the most part, being known by name to a few antiquarians, schoolmasters, or secluded students. When the poet, to adopt Landor's metaphor, has become a luminous star, his superiority to those which have grown dim by distance is indeed for the first time clearly demonstrated. We can still see him, though other bodies of his system have vanished into the infinite depths of oblivion. But he has also ceased to give appreciable warmth or light to ordinary human beings. He is a splendid name, but not a living influence. There are, of course, exceptions and qualifications to any such statements, but I have a suspicion that even Shakespeare's chief work may have been done in the Globe Theatre, to living audiences, who felt what they never thought of criticising, and were quite unable to measure; and that, spite of all æsthetic philosophers and minute antiquarians and judicious revivals, his real influence upon men's minds has been for the most part declining as his fame has been spreading. To defend or fully expound this heretical dogma would take too much space. The 'late-dinner' theory, however, as held by Wordsworth and Landor, is subject to one less questionable qualification. It is an utterly untenable proposition that great men have been generally overlooked in their own day.

If we run over the chief names of our literature, it would be hard to point to one which was not honoured, and sometimes honoured to excess, during its proprietor's lifetime. It is, indeed, true that much ephemeral underwood has often hidden in part the majestic forms which now stand out as sole relics of the forest. It is true also that the petty spite and jealousy of contemporaries, especially of their ablest contemporaries, has often prevented the full recognition of great men. And there have been some whose fame, like that of Bunyan and De Foe, has extended amongst the lower sphere of readers before receiving the ratification of constituted judges. But such irregularities in the distribution of fame do not quite meet the point. I doubt whether one could mention a single case in which an author, overlooked at the time both by the critics and the mass, has afterwards become famous; and the cases are very rare in which a reputation once decayed has again taken root and shown real vitality. The experiment of resuscitation has been tried of late years with great pertinacity. The forgotten images of our seventeenth-century ancestors have been brought out of the lumber-room amidst immense flourishes of trumpets, but they are terribly worm-eaten; and all efforts to make their statues once more stand firmly on their pedestals have generally failed. Landor himself refused to see the merits of the mere 'mushrooms,' as he somewhere called them, which grew beneath the Shakespearian oak; and though such men as Chapman, Webster, and Ford have received the warmest eulogies of Lamb and other able successors, their vitality is spasmodic and uncertain. We generally read them, if we read them, at the point of the critic's bayonet.

The case of Wordsworth is no precedent for Landor. Wordsworth's fame was for a long time confined to a narrow sect, and he did all in his power to hinder its spread by wilful disregard of the established canons--even when founded in reason. A reformer who will not court the prejudices even of his friends is likely to be slow in making converts. But it is one thing to be slow in getting a hearing, and another in attracting men who are quite prepared to hear. Wordsworth resembled a man coming into a drawing-room with muddy boots and a smock-frock. He courted disgust, and such courtship is pretty sure of success. But Landor made his bow in full court-dress. In spite of the difficulty of his poetry, he had all the natural graces which are apt to propitiate cultivated readers. His prose has merits so conspicuous and so dear to the critical mind, that one might have expected his welcome from the connoisseurs to be warm even beyond the limit of sincerity. To praise him was to announce one's own possession of a fine classical taste, and there can be no greater stimulus to critical enthusiasm. One might have guessed that he would be a favourite with all who set up for a discernment superior to that of the vulgar; though the causes which must obstruct a wide recognition of his merits are sufficiently obvious. It may be interesting to consider the cause of his ill-success with some fulness; and it is a comfort to the critic to reflect that in such a case even obtuseness is in some sort a qualification; for it will enable one to sympathise with the vulgar insensibility to the offered delicacy, if only to substitute articulate rejection for simple stolid silence.

I do not wish, indeed, to put forward such a claim too unreservedly. I will merely take courage to confess that Landor very frequently bores me. So do a good many writers whom I thoroughly admire. If any courage be wanted for such a confession, it is certainly not when writing upon Landor that one should be reticent for want of example. Nobody ever spoke his mind more freely about great reputations. He is, for example, almost the only poet who ever admitted that he could not read Spenser continuously. Even Milton in Landor's hands, in defiance of his known opinions, is made to speak contemptuously of 'The Faery Queen.' 'There is scarcely a poet of the same eminence,' says Porson, obviously representing Landor in this case, 'whom I have found it so delightful to read in, and so hard to read through.' What Landor here says of Spenser, I should venture to say of Landor. There are few books of the kind into which one may dip with so great a certainty of finding much to admire as the 'Imaginary Conversations,' and few of any high reputation which are so certain to become wearisome after a time. And yet, upon thinking of the whole five volumes so emphatically extolled by their author, one feels the necessity of some apology for this admission of inadequate sympathy. There is a vigour of feeling, an originality of character, a fineness of style which makes one understand, if not quite agree to, the audacious self-commendation. Part of the effect is due simply to the sheer quantity of good writing. Take any essay separately, and one must admit that--to speak only of his contemporaries--there is a greater charm in passages of equal length by Lamb, De Quincey, or even Hazlitt. None of them gets upon such stilts, or seems so anxious to keep the reader at arm's length. But, on the other hand, there is something imposing in so continuous a flow of stately and generally faultless English, with so many weighty aphorisms rising spontaneously, without splashing or disturbance, to the surface of talk, and such an easy felicity of theme unmarred by the flash and glitter of the modern epigrammatic style. Lamb is both sweeter and more profound, to say nothing of his incomparable humour; but then Lamb's flight is short and uncertain. De Quincey's passages of splendid rhetoric are too often succeeded by dead levels of verbosity and laboured puerilities which make annoyance alternate with enthusiasm. Hazlitt is often spasmodic, and his intrusive egotism is pettish and undignified. But so far at least as his style is concerned, Landor's unruffled abundant stream of continuous harmony excites one's admiration the more the longer one reads. Hardly anyone who has written so much has kept so uniformly to a high level, and so seldom descended to empty verbosity or to downright slipshod. It is true that the substance does not always correspond to the perfection of the form. There are frequent discontinuities of thought where the style is smoothest. He reminds one at times of those Alpine glaciers where an exquisitely rounded surface of snow conceals yawning crevasses beneath; and if one stops for a moment to think, one is apt to break through the crust with an abrupt and annoying jerk.

The excellence of Landor's style has, of course, been universally acknowledged, and it is natural that it should be more appreciated by his fellow-craftsmen than by general readers less interested in technical questions. The defects are the natural complements of its merits. When accused of being too figurative, he had a ready reply. 'Wordsworth,' he says in one of his 'Conversations,' 'slithers on the soft mud, and cannot stop himself until he comes down. In his poetry there is as much of prose as there is of poetry in the prose of Milton. But prose on certain occasions can bear a great deal of poetry; on the other hand, poetry sinks and swoons under a moderate weight of prose, and neither fan nor burnt feather can bring her to herself again.' The remark about the relations of prose and poetry was originally made in a real conversation with Wordsworth in defence of Landor's own luxuriance. Wordsworth, it is said, took it to himself, and not without reason, as appears by its insertion in this 'Conversation.' The retort, however happy, is no more conclusive than other cases of the _tu quoque_. We are too often inclined to say to Landor as Southey says to Porson in another place: 'Pray leave these tropes and metaphors.' His sense suffers from a superfetation of figures, or from the undue pursuit of a figure, till the 'wind of the poor phrase is cracked.' In the phrase just quoted, for example, we could dispense with the 'fan and burnt feather,' which have very little relation to the thought. So, to take an instance of the excessively florid, I may quote the phrase in which Marvell defends his want of respect for the aristocracy of his day. 'Ever too hard upon great men, Mr. Marvell!' says Bishop Parker; and Marvell replies:--

Little men in lofty places, who throw long shadows because our sun is setting; the men so little and the places so lofty that, casting my pebble, I only show where they stand. They would be less contented with themselves, if they had obtained their preferment honestly. Luck and dexterity always give more pleasure than intellect and knowledge; because they fill up what they fall on to the brim at once; and people run to them with acclamations at the splash. Wisdom is reserved and noiseless, contented with hard earnings, and daily letting go some early acquisition to make room for better specimens. But great is the exultation of a worthless man when he receives for the chips and raspings of his Bridewell logwood a richer reward than the best and wisest for extensive tracts of well-cleared truths! Even he who has sold his country--

'Forbear, good Mr. Marvell,' says Bishop Parker; and one is inclined to sympathise with the poor man drowned under this cascade of tropes. It is certainly imposing, but I should be glad to know the meaning of the metaphor about 'luck and dexterity.' Passages occur, again, in which we are tempted to think that Landor is falling into an imitation of an obsolete model. Take, for example, the following:--

A narrow mind cannot be enlarged, nor can a capacious one be contracted. Are we angry with a phial for not being a flask; or do we wonder that the skin of an elephant sits uneasily on a squirrel?

Or this, in reference to Wordsworth:--

Pastiness and flatness are the qualities of a pancake, and thus far he attained his aim: but if he means it for me, let him place the accessories on the table, lest what is insipid and clammy ... grow into duller accretion and moister viscidity the more I masticate it.

Or a remark given to Newton:--

Wherever there is vacuity of mind, there must either be flaccidity or craving; and this vacuity must necessarily be found in the greater part of princes, from the defects of their education, from the fear of offending them in its progress by interrogations and admonitions, from the habit of rendering all things valueless by the facility with which they are obtained, and transitory by the negligence with which they are received and holden.

Should we not remove the names of Porson and Newton from these sentences, and substitute Sam Johnson? The last passage reads very like a quotation from the 'Rambler.' Johnson was, in my opinion and in Landor's, a great writer in spite of his mannerism; but the mannerism is always rather awkward, and in such places we seem to see--certainly not a squirrel--but, say, a thoroughbred horse invested with the skin of an elephant.

These lapses into the inflated are of course exceptional with Landor. There can be no question of the fineness of his perception in all matters of literary form. To say that his standard of style is classical is to repeat a commonplace too obvious for repetition, except to add a doubt whether he is not often too ostentatious and self-conscious in his classicism. He loves and often exhibits a masculine simplicity, and speaks with enthusiasm of Locke and Swift in their own departments. Locke is to be 'revered;' he is 'too simply grand for admiration;' and no one, he thinks, ever had such a power as Swift of saying forcibly and completely whatever he meant to say. But for his own purposes he generally prefers a different model. The qualities which he specially claims seem to be summed up in the conversation upon Bacon's Essays between Newton and Barrow. Cicero and Bacon, says Barrow, have more wisdom between them than all the philosophers of antiquity. Newton's review of the Essays, he adds, 'hath brought back to my recollection so much of shrewd judgment, so much of rich imagery, such a profusion of truths so plain as (without his manner of exhibiting them) to appear almost unimportant, that in various high qualities of the human mind I must acknowledge not only Cicero, but every prose writer among the Greeks, to stand far below him. Cicero is least valued for his highest merits, his fulness, and his perspicuity. Bad judges (and how few are not so!) desire in composition the concise and obscure; not knowing that the one most frequently arises from paucity of materials, and the other from inability to manage and dispose them.' Landor aims, like Bacon, at rich imagery, at giving to thoughts which appear plain more value by fineness of expression, and at compressing shrewd judgments into weighty aphorisms. He would equally rival Cicero in fulness and perspicuity; whilst a severe rejection of everything slovenly or superfluous would save him from ever deviating into the merely florid. So far as style can be really separated from thought, we may admit unreservedly that he has succeeded in his aim, and has attained a rare harmony of tone and colouring.