and its discontinuity, both springing from the effacement of his personality as an active power; or, in other words, in the fact that, by failing to link his images with his thoughts, and his thoughts one with another, so as to make them tell on the mind, and especially by eliminating the romantic element of passion, he failed to bring his work into sympathetic or helpful relations with the general emotional and intellectual life of men.
Why, then, do the most sensitive and discriminating critics, as was said at the beginning, list themselves in Landor's favor? They are, without exception, fellow-workers with him in the craft of literature. They have, by their continued eulogy of him, made it a sign of refinement to be charmed by him, a proof of unusually good taste to praise him. His admirers, by their very divergence in opinion from the crowd, seem to claim uncommon sensibilities; and the coterie is certainly one of the highest order, intellectually: Browning, Lowell, Swinburne, to name no more. They are all literary men. They are loud in their plaudits of his workmanship, but are noticeably guarded in their commendation of his entire con-
