January 30, 1775

According to an Oxford University Press blog, Walter Savage Landor (January 30, 1775 to September 17, 1864), needs an introduction

'Though he’s largely forgotten today, Walter Savage Landor was one of the major authors of his time—of both his times, in fact, for he was long-lived enough to produce major writing during both the Romantic and the Victorian eras. He kept writing and publishing promiscuously through his long life (he died in his ninetieth year) which puts him in a unique category. Maybe the problem is that he outlived his own reputation. Byron, Shelly and Keats all died in their twenties, and this fact somehow seals-in their importance as poets. Landor’s close friend Southey died at the beginning of the 1840s. Landor lived on, writing and publishing poetry, prose, drama, English and Latin. He forged friendships now with men like Robert Browning—who was deeply influenced by Landor’s writing—John Forster and Charles Dickens (Dickens named his second son Walter Savage Landor Dickens in his friend’s honour). His Victorian reputation was higher than his sales; but and if we’re puzzled by how completely his literary reputation was eclipsed during the 20th century in part that may simply be a function of his prolixity. Landor’s Collected Works was published between 1927 and 1936 in sixteen fat volumes; and even that capacious edition doesn’t by any means contain everything Landor published. It omits, for instance, his voluminous Latin writing—for Landor was the last English writer to produce a substantial body of work in that dead language. In late life he once said ‘I am sometimes at a loss for an English word; for a Latin—never!

'His most substantial prose writings were the Imaginary Conversations: dozens and dozens of prose dialogues between famous historical figures, and occasionally between fictionalised versions of living individuals, varying in length from a few pages each to seventy or eighty. The prose is exquisite, balanced, beautifully mannered and expressed and full of potent epigrams and apothegms on art, society, history, morals and religion. Nobody reads the Imaginary Conversations any more. Then there are the epics—his masterpiece, Gebir (1798), an heroic poem of immense ambition, was greeted by bafflement and ridicule on its initial publication. Landor’s experimental epic idiom was simply too obscure for his readers even to understand—though Lamb claimed the poem has ‘lucid interludes’, and Shelley loved it. Critic William Gifford was less kind: he called the poem ‘a jumble of incomprehensible trash; the effusion of a mad and muddy brain.’ Landor decided to address the question of the poem’s obscurity the best way he knew: by translating the entire epic into Latin (Gebirus, 1803). ...'

Such a literary personage, of a dimension perhaps non-existent today, mentioned his cat in his writing. Here is a passage from a biographical study of Landor. We quote A Wanderer in Florence (Edward Verrall Lucas, 1912):

'[After leaving his wife] Landor gave his son Arnold the villa, settling a sum on his wife for the other children's maintenance, and himself returned to Bath, where he added to his friends .... Charles Dickens, who named a child after him and ...[based] Leonard Boythorn in Bleak House [on this writer]." But his most constant companion was a Pomeranian dog; in dogs indeed he found comfort all his life, right to the end.

'[Landor's light verse].... the perfection of the light verse of a serious poet—[includes a]... passage describing the villa's cat: —

'Does Cincirillo follow thee about,
Inverting one swart foot suspensively,
And wagging his dread jaw at every chirp
Of bird above him on the olive-branch?
Frighten him then away! 'twas he who slew
Our pigeons, our white pigeons peacock-tailed.
That feared not you and me — alas, nor him!
I flattened his striped sides along my knee,
And reasoned with him on his bloody mind,
Till he looked blandly, and half-closed his eyes
To ponder on my lecture in the shade.
I doubt his memory much, his heart a little.
And in some minor matters (may I say it ?)
Could wish him rather sager. ...'

Let us learn a bit more about Landor, from the same source:

'In 1853 Landor put forth what he thought his last book, under the title "Last Fruit off an Old Tree." Unhappily it was not his last, for in 1858 he issued yet one more, "Dry Sticks faggotted by W. S. Landor," in which was a malicious copy of verses reflecting upon a lady. He was sued for libel, lost the case with heavy damages, and once more and for the last time left England for Florence. He was now eighty-three. At first he went to the Villa Gherardesco, then the home of his son Arnold, but his outbursts were unbearable, and three times he broke away, to be three times brought back. In July, 1859, he made a fourth escape, and then escaped altogether, for Browning took the matter in hand and established him, after a period in Siena, in lodgings in the Via Nunziatina. From this time till his death in 1864 Landor may be said at last to have been at  rest. ...Many friends came to see him, chief among them Browning, who was at once his adviser, his admirer, and his shrewd observer. Landor, always devoted to pictures, but without much judgment, now added to his collection; Browning in one of his letters to Forster tells how he has found him "particularly delighted by the acquisition of three execrable dogs by Domenichino and Gasper Poussin most benevolently battered by time. ... "He cannot," Browning continues, "in the least understand that he is at all wrong, or injudicious, or unfortunate in anything. . . . Whatever he may profess, the thing he really loves is a pretty girl to talk nonsense with."...'