LANDOR
Speaking of "occasional" verses, Forster rightly says, that "the finest examples of such writings are often found in men who have also written poetry of the highest order." As Landor's trifles often were composed for the pleasure of exercising a natural gift, their fantasy of compliment or spleen was exaggerated to suit the poet's artistic caprice. He was not half so bitter as his epigrams pretended; was only "making believe," like some vieux moustache chaffing with a group of youngsters. When more in earnest, they served him as a safety-vent. One can hear the roar of laughter with which his rancor went to the winds, as he contemplated the imaginary flight of those at whom he aimed his winged shafts. In certain amatory verses, he really was more in love with his art than with its object. When he needed a heroine he took the nearest one, adorned her with regal expenditure, and invested her with the attributes of his own idea. There was the pretty Countess de Molandé, the Ianthe of his youth; in age, a sprightly and buxom Irish widow, with Landor still her devoted friend and cavalier. He used her as a layfigure all his life, and dedicated lyrics to her that might have tempted a Vestal. No doubt she had as much appreciation of his songs as Lesbia for those of Catullus. Possibly she exclaimed, with Rosalind, "I never was so berhymed since Pythagoras' time"; yet thought no less of her minstrel, for was he not a rich and well-born Englishman, as handsome and robust a gallant as even an Irish beauty could desire? After all, his feeling for her was more than poetic affecta-
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