The delicious faces of children, the beauty of school-girls, "the sweet seriousness of sixteen," the lofty air of well-born, well-bred boys, the passionate histories in the looks and manners of youth and early manhood, and the varied power in all that well-known company that escort us through life,--we know how these forms thrill, paralyze, provoke, inspire, and enlarge us.
It takes a lot of courage to release the familiar and seemingly secure, to embrace the new. But there is no real security in what is no longer meaningful. There is more security in the adventurous and exciting, for in movement there is life, and in change there is power.
Each work of art excludes the world, concentrates attention on itself. For the time it is the only thing worth doing -to do just that; be it a sonnet, a statue, a landscape, an outline head of Caesar, or an oration. Presently we return to the sight of another that globes itself into a whole as did the first, for example, a beautiful garden; and nothing seems worth doing in life but laying out a garden.
Late have I loved you, O Beauty ever ancient and ever new! Late have I loved you! And, behold, you were within me, and I out of myself, and there I searched for you.
Let the new faces play what tricks they will
In the old rooms; night can outbalance day,
Our shadows rove the garden gravel still,
The living seem more shadowy than they.