Flowers And Flower-Gardens Part 1

Flowers and Flower-Gardens.

by David Lester Richardson.

PREFACE.

In every work regard the writer's end, Since none can compa.s.s more than they intend.

_Pope_.

This volume is far indeed from being a scientific treatise _On Flowers and Flower-Gardens_:--it is mere gossip in print upon a pleasant subject. But I hope it will not be altogether useless. If I succeed in my object I shall consider that I have gossipped to some purpose. On several points--such as that of the mythology and language of flowers--I have said a good deal more than I should have done had I been writing for a different community. I beg the London critics to bear this in mind. I wished to make the subject as attractive as possible to some cla.s.ses of people here who might not have been disposed to pay any attention to it whatever if I had not studied their amus.e.m.e.nt as much as their instruction. I have tried to sweeten the edge of the cup.

I did not at first intend the book to exceed fifty pages: but I was almost insensibly carried on further and further from the proposed limit by the attractive nature of the materials that pressed upon my notice.

As by far the largest portion, of it has been written hurriedly, amidst other avocations, and bit by bit; just as the Press demanded an additional supply of "_copy_," I have but too much reason to apprehend that it will seem to many of my readers, fragmentary and ill-connected.

Then again, in a city like Calcutta, it is not easy to prepare any thing satisfactorily that demands much literary or scientific research. There are very many volumes in all the London Catalogues, but not immediately obtainable in Calcutta, that I should have been most eager to refer to for interesting and valuable information, if they had been at hand. The mere t.i.tles of these books have often tantalized me with visions of riches beyond my reach. I might indeed have sent for some of these from England, but I had announced this volume, and commenced the printing of it, before it occurred to me that it would be advisable to extend the matter beyond the limits I had originally contemplated. I must now send it forth, "with all its imperfections on its head;" but not without the hope that in spite of these, it will be found calculated to increase the taste amongst my brother exiles here for flowers and flower-gardens, and lead many of my Native friends--(particularly those who have been educated at the Government Colleges,--who have imbibed some English thoughts and feelings--and who are so fortunate as to be in possession of landed property)--to improve their parterres,--and set an example to their poorer countrymen of that neatness and care and cleanliness and order which may make even the peasant's cottage and the smallest plot of ground a.s.sume an aspect of comfort, and afford a favorable indication of the character of the possessor.

D.L.R.

_Calcutta, September 21st_ 1855.

ERRATA.

A friend tells me that the allusion to the Acanthus on the first page of this book is obscurely expressed, that it was not the _root_ but the _leaves_ of the plant that suggested the idea of the Corinthian capital.

The root of the Acanthus produced the leaves which overhanging the sides of the basket struck the fancy of the Architect. This was, indeed, what I _meant_ to say, and though I have not very lucidly expressed myself, I still think that some readers might have understood me rightly even without the aid of this explanation, which, however, it is as well for me to give, as I wish to be intelligible to _all_. A writer should endeavor to make it impossible for any one to misapprehend his meaning, though there are some writers of high name both in England and America who seem to delight in puzzling their readers.

At the bottom of page 200, allusion is made to the dotted lines at some of the open turns in the engraved labyrinth. By some accident or mistake the dots have been omitted, but any one can understand where the stop hedges which the dotted lines indicated might be placed so as to give the wanderer in the maze, additional trouble to find his way out of it.

[Ill.u.s.tration of a garden.]

ON FLOWERS AND FLOWER-GARDENS,

For lo, the winter is past, the rain is over and gone; the flowers appear on the earth, the time of the singing of birds is come, and the voice of the turtle is heard in our land.

_The Song of Solomon_.

These are thy glorious works, Parent of good!

Almighty, Thine this universal frame, Thus wondrous fair; Thyself how wondrous then!

_Milton_.

Soft roll your incense, herbs and fruits and flowers, In mingled clouds to HIM whose sun exalts Whose breath perfumes you, and whose pencil paints.

_Thomson_.

A taste for floriculture is spreading amongst Anglo-Indians. It is a good sign. It would be gratifying to learn that the same refining taste had reached the Natives also--even the lower cla.s.ses of them. It is a cheap enjoyment. A mere palm of ground may be glorified by a few radiant blossoms. A single clay jar of the rudest form may be so enriched and beautified with leaves and blossoms as to fascinate the eye of taste. An old basket, with a broken tile at the top of it, and the root of the acanthus within, produced an effect which seemed to Calimachus, the architect, "the work of the Graces." It suggested the idea of the capital of the Corinthian column, the most elegant architectural ornament that Art has yet conceived.

Flowers are the poor man's luxury; a refinement for the uneducated. It has been prettily said that the melody of birds is the poor man's music, and that flowers are the poor man's poetry. They are "a discipline of humanity," and may sometimes ameliorate even a coa.r.s.e and vulgar nature, just as the cherub faces of innocent and happy children are sometimes found to soften and purify the corrupted heart. It would be a delightful thing to see the swarthy cottagers of India throwing a cheerful grace on their humble sheds and small plots of ground with those natural embellishments which no productions of human skill can rival.

The peasant who is fond of flowers--if he begin with but a dozen little pots of geraniums and double daisies upon his window sills, or with a honeysuckle over his humble porch--gradually acquires a habit, not only of decorating the outside of his dwelling and of cultivating with care his small plot of ground, but of setting his house in order within, and making every thing around him agreeable to the eye. A love of cleanliness and neatness and simple ornament is a moral feeling. The country laborer, or the industrious mechanic, who has a little garden to be proud of, the work of his own hand, becomes attached to his place of residence, and is perhaps not only a better subject on that account, but a better neighbour--a better man. A taste for flowers is, at all events, infinitely preferable to a taste for the excitements of the pot-house or the tavern or the turf or the gaming table, or even the festal board, especially for people of feeble health--and above all, for the poor--who should endeavor to satisfy themselves with inexpensive pleasures.[001]

In all countries, civilized or savage, and on all occasions, whether of grief or rejoicing, a natural fondness for flowers has been exhibited, with more or less tenderness or enthusiasm. They beautify religious rites. They are national emblems: they find a place in the blazonry of heraldic devices. They are the gifts and the language of friendship and of love.

Flowers gleam in original hues from graceful vases in almost every domicile where Taste presides; and the hand of "nice Art" charms us with "counterfeit presentments" of their forms and colors, not only on the living canvas, but even on our domestic China-ware, and our mahogany furniture, and our wall-papers and hangings and carpets, and on our richest apparel for holiday occasions and our simplest garments for daily wear. Even human Beauty, the Queen of all loveliness on earth, engages Flora as her handmaid at the toilet, in spite of the dictum of the poet of 'The Seasons,' that "Beauty when unadorned is adorned the most."

Flowers are hung in graceful festoons both in churches and in ball-rooms.

They decorate the altar, the bride-bed, the cradle, and the bier.

They grace festivals, and triumphs, and processions; and cast a glory on gala days; and are amongst the last sad honors we pay to the objects of our love.

I remember the death of a sweet little English girl of but a year old, over whom, in her small coffin, a young and lovely mother sprinkled the freshest and fairest flowers. The task seemed to soften--perhaps to sweeten--her maternal grief. I shall never forget the sight. The bright-hued blossoms seemed to make her oblivious for a moment of the darkness and corruption to which she was so soon to consign her priceless treasure. The child's sweet face, even in death, reminded me that the flowers of the field and garden, however lovely, are all outshone by human beauty. What floral glory of the wild-wood, or what queen of the parterre, in all the pride of bloom, laughing in the sun-light or dancing in the breeze, hath a charm that could vie for a single moment with the soft and holy l.u.s.tre of that motionless and faded human lily? I never more deeply felt the force of Milton's n.o.ble phrase "_the human face divine_" than when gazing on that sleeping child. The fixed placid smile, the smoothly closed eye with its transparent lid, the air of profound tranquillity, the simple purity (elevated into an aspect of bright intelligence, as if the little cherub already experienced the beat.i.tude of another and a better world,) were perfectly angelic--and mocked all attempt at description. "Of such is the Kingdom of Heaven!"

O flower of an earthly spring! destined to blossom in the eternal summer of another and more genial region! Loveliest of lovely children--loveliest to the last! More beautiful in death than aught still living! Thou seemest now to all who miss and mourn thee but a sweet name--a fair vision--a precious memory;--but in reality thou art a more truly living thing than thou wert before or than aught thou hast left behind. Thou hast come early into a rich inheritance. Thou hast now a substantial existence, a genuine glory, an everlasting possession, beyond the sky. Thou hast exchanged the frail flowers that decked thy bier for amaranthine hues and fragrance, and the brief and uncertain delights of mortal being for the eternal and perfect felicity of angels!

I never behold elsewhere any of the specimens of the several varieties of flowers which the afflicted parent consigned to the hallowed little coffin without recalling to memory the sainted child taking her last rest on earth. The mother was a woman of taste and sensibility, of high mind and gentle heart, with the liveliest sense of the loveliness of all lovely things; and it is hardly necessary to remind the reader how much refinement such as hers may sometimes alleviate the severity of sorrow.

Byron tells us that the stars are

A beauty and a mystery, and create In us such love and reverence from afar That fortune, fame, power, life, have named themselves _a star_.

But might we not with equal justice say that every thing excellent and beautiful and precious has named itself _a flower_?

If stars teach as well as shine--so do flowers. In "still small accents"

they charm "the nice and delicate ear of thought" and sweetly whisper that "the hand that made them is divine."

The stars are the poetry of heaven--the clouds are the poetry of the middle sky--the flowers are the poetry of the earth. The last is the loveliest to the eye and the nearest to the heart. It is incomparably the sweetest external poetry that Nature provides for man. Its attractions are the most popular; its language is the most intelligible.

It is of all others the best adapted to every variety and degree of mind. It is the most endearing, the most familiar, the most homefelt, and congenial. The stars are for the meditation of poets and philosophers; but flowers are not exclusively for the gifted or the scientific; they are the property of all. They address themselves to our common nature. They are equally the delight of the innocent little prattler and the thoughtful sage. Even the rude unlettered rustic betrays some feeling for the beautiful in the presence of the lovely little community of the field and garden. He has no sympathy for the stars: they are too mystical and remote. But the flowers as they blush and smile beneath his eye may stir the often deeply hidden lovingness and gentleness of his nature. They have a social and domestic aspect to which no one with a human heart can be quite indifferent. Few can doat upon the distant flowers of the sky as many of us doat upon the flowers at our feet. The stars are wholly independent of man: not so the sweet children of Flora. We tend upon and cherish them with a parental pride.

They seem especially meant for man and man for them. They often need his kindest nursing. We place them with guardian hand in the brightest light and the most wholesome air. We quench with liquid life their sun-raised thirst, or shelter them from the wintry blast, or prepare and enrich their nutritious beds. As they pine or prosper they agitate us with tender anxieties, or thrill us with exultation and delight. In the little plot of ground that fronts an English cottage the flowers are like members of the household. They are of the same family. They are almost as lovely as the children that play with them--though their happy human a.s.sociates may be amongst

The sweetest things that ever grew Beside a human door.

The Greeks called flowers the _Festival of the eye_: and so they are: but they are something else, and something better.