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We owe to him the most diverse things and people. Hugo’s Les Miserables, Baudelaire’s Fleurs du Mal, the note of pity in Russian novels, the stained glass and tapestries and quattrocento work of Burne-Jones and Morris,[110.1] Verlaine and Verlaine’s poems, belong to him no less than the Tower of Giotto, Lancelot and Guinevere, Tannhauser, the troubled romantic marbles of Michael Angelo, pointed architecture, and the love of children and flowers—for both of whom, indeed, in classical art there was but little place, hardly enough for them to grow or play in, but who from the twelfth century down to our own day have been continually making their appearance in art, under various modes and at various times, coming fitfully and wilfully as children and flowers are apt to do[110a], Spring always seeming to one as if the flowers had been hiding, and only came out into the sun because they were afraid that grown-up people would grow tired of looking for them and give up the search, and the life of a child being no more than an April day on which there is both rain and sun for the narcissus.
拜他之赐，世上才有如此丰繁的人和物。 雨果的《悲惨世界》，波德莱尔的《恶之花》，俄罗斯小说中的哀怜情调，伯恩－琼斯和莫理斯的着色玻璃窗、挂毡及其十五世纪风格的作品，魏尔伦和他的诗歌，这一切，都是属于他的，一如乔托的塔、亚瑟王的妻子和她的情人兰斯洛特、汤豪泽、米开朗琪罗那不安的浪漫主义雕像、尖顶建筑风格，以及对儿童和花的钟爱——因为对儿童和花，古典艺术的确没留出什么地方，足以让他们成长玩耍，但是自十二世纪至今，他们则不断地以不同方式于不同时候在艺术中出现，说来就来说走就走，完全是一派孩童与鲜花的样子[110a]：春天给人的印象，永远是花好像躲在了什么地方，又怕大人找他们不着，烦了，不找了，赶紧冒出来跑到太阳底下；而一个小孩子的生活，简直就像个四月天，又是阳光又是雨地洒在水仙花上。
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