Yesterday's flowers that are yet in me
Must needs make way for all to-morrow's flowers.
The maidens, too, that sang me to my death
Must even so make way for all the maids
That are to come.
And as my soul, so too their soul will be
Laden with fragrance of the days gone by.
The maidens that to-morrow come this way
Will not remember that I once did bloom,
For they will only see the new-born flowers.
Yet will my perfume-laden soul bring back,
As a sweet memory, to women's hearts
Their days of maidenhood.
And then they will be sorry that they came
To sing me to my death;
And all the butterflies will mourn for me.
I bear away with me
The sunshine's dear remembrance, and the low
Soft murmurs of the spring.
My breath is sweet as children's prattle is;
I drank in all the whole earth's fruitfulness,
To make of it the fragrance of my soul
That shall outlive my death.[1]

One who reads only that first exquisite line, "Yesterday's flowers am I,"
can never again see hay without recalling the beauty that was hidden from
his eyes until the poet found it.

In the same pleasing, surprising way, all artistic work must be a kind of
revelation. Thus architecture is probably the oldest of the arts; yet we
still have many builders but few architects, that is, men whose work in
wood or stone suggests some hidden truth and beauty to the human senses. So
in literature, which is the art that expresses life in words that appeal to
our own sense of the beautiful, we have many writers but few artists. In
the broadest sense, perhaps, literature means simply the written records of
the race, including all its history and sciences, as well as its poems and
novels; in the narrower sense literature is the artistic record of life,
and most of our writing is excluded from it, just as the mass of our
buildings, mere shelters from storm and from cold, are excluded from
architecture. A history or a work of science may be and sometimes is
literature, but only as we forget the subject-matter and the presentation
of facts in the simple beauty of its expression.

The second quality of literature is its suggestiveness, its appeal to our
emotions and imagination rather than to our intellect. It is not so much
what it says as what it awakens in us that constitutes its charm. When
Milton makes Satan say, "Myself am Hell," he does not state any fact, but