The Atlantic Monthly, Volume 17, No. 103, May, 1866. Various

      Shakespeare, from heaven came thy creative breath!

      'Mid citron grove and overarching vines

      Thy genius wept at Desdemona's death:

      In the proud sire thou badest anger cease,

      And Juliet by her Romeo sleep in peace.

      Then rose thy voice above the stormy sea,

      And Ariel flew from Prospero to thee.

      Dante was not one of Landor's favorites, although he was quite ready to allow the greatness of il gran poeta. He had no sympathy with what he said was very properly called a comedy. He would declare that about one sixth only of Dante was intelligible or pleasurable. Turning to Landor's writings, I find that in his younger days he was even less favorable to Dante. In the "Pentemeron" (the author spelling it so) he, in the garb of Petrarch, asserts that "at least sixteen parts in twenty of the Inferno and Purgatorio are detestable both in poetry and principle; the higher parts are excellent, indeed." Dante's powers of language, he allows, "are prodigious; and, in the solitary places where he exerts his force rightly, the stroke is irresistible. But how greatly to be pitied must he be who can find nothing in Paradise better than sterile theology! and what an object of sadness and consternation he who rises up from hell like a giant refreshed!" While allowing his wonderful originality, Landor goes so far as to call him "the great master of the disgusting"! Dante is not sympathetic.

      Yet he wrote the glorious episode of Francesca da Rimini, of which Landor's Boccaccio says: "Such a depth of intuitive judgment, such a delicacy of perception, exists not in any other work of human genius; and from an author who, on almost all occasions, in this part of the work, betrays a deplorable want of it."

      Landor used often to say what Cleone has written to Aspasia,—"I do not believe the best writers of love-poetry ever loved. How could they write if they did? where could they collect the thoughts, the words, the courage?" This very discouraging belief admits of argument, for there is much proof to the contrary. Shelley and Keats could not write what they had not felt; and Mrs. Browning's Sonnets from the Portuguese, the most exquisite love-poems in the English language, came direct from the heart. It were hardly possible to make poetry while living it; but when the white heat of passion has passed, and hangs as a beautiful picture on memory's walls, the artist may write his poem. If the best writers of love-poetry have never loved, at least they have been capable of loving, or they could not make the reader feel. Appreciation is necessary to production. But Petrarca was such a poet as Cleone refers to. He was happy to be theoretically miserable, that he might indite sonnets to an unrequited passion: and who is not sensible of their insincerity? One is inclined to include Dante in the same category, though far higher in degree. Landor, however, has conceived the existence of a truly ardent affection between Dante and Beatrice, and it was my good fortune to hear him read this beautiful imaginary conversation. To witness the aged poet throwing the pathos of his voice into the pathos of his intellect, his eyes flooded with tears, was a scene of uncommon interest. "Ah!" said he, while closing the book, "I never wrote anything half as good as that, and I never can read it that the tears do not come." Landor's voice must have been exceedingly rich and harmonious, as it then (1861) possessed much fulness. This was the first and only time I ever heard him read aloud one of his own Conversations.

      Petrarch and Boccaccio were highly esteemed by Landor, who did not sympathize with Lord Chesterfield in his opinion that the former deserved his Laura better than his lauro. The best evidence of this predilection is Landor's great work, "The Pentemeron," second only to his greatest, "Pericles and Aspasia." Its couleur locale is marvellous. On every page there is a glimpse of cloudless blue sky, a breath of warm sunny air, a sketch of Italian manner. The masterly gusto with which the author enters into the spirit of Italy would make us believe him to be "the noblest Roman of them all," had he not proved himself a better Grecian. Margaret Fuller realized this when, after comparing the Pentemeron and Petrarca together, she wrote: "I find the prose of the Englishman worthy of the verse of the Italian. It is a happiness to see such marble beauty in the halls of a contemporary."

      I gave evidence of great surprise one day upon hearing Landor express himself warmly in favor of Alfieri, as I had naturally concluded, from a note appended to the Conversation between "Galileo, Milton, and a Dominican," that he entertained a sorry opinion of this poet. Reading the note referred to, Landor seemed to be greatly annoyed, and replied: "This is a mistake. It was never my intention to condemn Alfieri so sweepingly." A few days later I received the following correction. "Keats, in whom the spirit of poetry was stronger than in any contemporary, at home or abroad, delighted in Hellenic imagery and mythology, displaying them admirably; but no poet came nearer than Alfieri to the heroic, since Virgil. Disliking, as I do, prefaces and annotations, excrescences which hang loose like the deciduous bark on a plane-tree, I will here notice an omission of mine on Alfieri, in the 'Imaginary Conversations.' The words, 'There is not a glimpse of poetry in his Tragedies,' should be, as written, 'There is not an extraneous glimpse,' &c."

      Since then Landor has addressed these lines to Alfieri:—

      thus redeeming the unintentioned slur of many years' publicity.

      Landor pronounced (as must everyone else) Niccolini to be the best of the recent Italian poets. Of Redi, whose verses taste of the rich juice of the grape in those good old days when Tuscan vines had not become demoralized, and wine was cheaper than water, Landor spoke fondly. Leigh Hunt has given English readers a quaff of Redi in his rollicking translation of "Bacchus in Tuscany," which is steeped in "Montepulciano," "the king of all wine."

      But Redi is not always bacchanalian. He has a loving, human heart as well, which Landor has shown in a charming translation given to me shortly after our conversation concerning this poet. "I never publish translations," he remarked at the time; but though translations may not be fit company for the "Imaginary Conversations," the verses from Redi are more than worthy of an abiding place here.

      TO-MORROW