GENIUS AND OTHER ESSAYS
felicitous strains he searches the brooding and pathetic memory of the past for imaginative suggestion, as one who has discovered that all Time is relative, and that to the poet who looks before and after there is no choice between the beginning and the end of days.
The reader has perceived that these introductory comments are restricted to the lyrical quality of Landor's genius, and to its productions, as displayed in the following exhibition. Our object having been to compose the latter solely of those faultless minor lyrics which come within the application of its title, of course many, and equally admirable, pieces are omitted. There is nothing in this volume which, from its length, severity, or freedom, will weary or repel the holder. Our intention has been to have it pure and charming, from the first selection to the end.
To many, these Cameos will present the graciousness of long familiar beauty, loveliest because best-remembered; to others, possibly, they may come as a first introduction to an author who only of late is beginning to be widely read, and whose works never have been placed fairly within the popular reach. To all such we offer this book in propitiation, assuring them that they are like wayfarers who have crossed the threshold of a royal, world-enriched Museum, and are examining a few of the more delicate treasures within its cabinets; glancing now at a carven seashell, and again at a winged head, cut upon agate or onyx for the finger of some beauty of the past; while around them are lofty walls laden with historical and dramatic paintings,—niches filled with statues of
[100]
