full of other things—little intimate things that they two had known and loved together in the dear old cloudless days of a century ago.
“I’ve been thinking of the daffodils in the garden at Ingleside,” he wrote. “By the time you get this they will be out, blowing there under that lovely rosy sky. Are they really as bright and golden as ever, Rilla? It seems to me that they must be dyed red with blood—like our poppies here. And every whisper of spring will be falling as a violet in Rainbow Valley.
“There is a young moon tonight—a slender, silver, lovely thing hanging over these pits of torment. Will you see it tonight over the maple grove?
“I’m enclosing a little scrap of verse, Rilla. I wrote it one evening in my trench dug-out by the light of a bit of candle—or rather it came to me there—I didn’t feel as if I were writing it—something seemed to use me as an instrument. I’ve had that feeling once or twice before but very rarely and never so strongly as this time. That was why I sent it over to the London Spectator. It printed it and the copy came today. I hope you'll like it. It’s the only poem I’ve written since I came overseas.”
The poem was a short, poignant little thing. In a month it had carried Walter’s name to every corner of the globe. Everywhere it was copied—in metropolitan dailies and little village weeklies, in profound reviews and “agony columns,” in Red Cross appeals and Government recruiting propaganda. Mothers and sisters wept over it, young lads thrilled to it, the whole great heart of humanity caught it up as an epitome of all the pain and hope and pity and purpose of the
