Flowers And Flower-Gardens Part 15

_Beaumont's and Fletcher's "Philaster."_

There from richer banks Culling out flowers, which in a learned order Do become characters, whence they disclose Their mutual meanings, garlands then and nosegays Being framed into epistles.

_Cartwright's "Love's Covenant."_

An exquisite invention this, Worthy of Love's most honied kiss, This art of writing _billet-doux_ In buds and odours and bright hues, In saying all one feels and thinks In clever daffodils and pinks, Uttering (as well as silence may,) The sweetest words the sweetest way.

_Leigh Hunt_.

Yet, no--not words, for they But half can tell love's feeling; Sweet flowers alone can say What pa.s.sion fears revealing.[066]

A once bright rose's withered leaf-- A towering lily broken-- Oh, these may paint a grief No words could e'er have spoken.

_Moore_.

By all those token flowers that tell What words can ne'er express so well.

_Byron_.

A mystic language, perfect in each part.

Made up of bright hued thoughts and perfumed speeches.

_Adams_.

If we are to believe Shakespeare it is not human beings only who use a floral language:--

Fairies use flowers for their charactery.

Sir Walter Scott tells us that:--

The myrtle bough bids lovers live--

A sprig of hawthorn has the same meaning as a sprig of myrtle: it gives hope to the lover--the sweet heliotrope tells the depth of his pa.s.sion,--if he would charge his mistress with levity he presents the larkspur,--and a leaf of nettle speaks her cruelty. Poor Ophelia (in _Hamlet_) gives rosemary for remembrance, and pansies (_pensees_) for thoughts. The laurel indicates victory in war or success with the Muses,

"The meed of mighty conquerors and poets sage."

The ivy wreathes the brows of criticism. The fresh vine-leaf cools the hot forehead of the baccha.n.a.l. Bergamot and jessamine imply the fragrance of friendship.

The Olive is the emblem of peace--the Laurel, of glory--the Rue, of grace or purification (Ophelia's _Herb of Grace O'Sundays_)--the Primrose, of the spring of human life--the Bud of the White Rose, of Girl-hood,--the full blossom of the Red Rose, of consummate beauty--the Daisy, of innocence,--the b.u.t.ter-cup, of gold--the Houstania, of content--the Heliotrope, of devotion in love--the Cross of Jerusalem, of devotion in religion--the Forget-me-not, of fidelity--the Myrrh, of gladness--the Yew, of sorrow--the Michaelmas Daisy, of cheerfulness in age--the Chinese Chrysanthemum, of cheerfulness in adversity--the Yellow Carnation, of disdain--the Sweet Violet, of modesty--the white Chrysanthemum, of truth--the Sweet Sultan, of felicity--the Sensitive Plant, of maiden shyness--the Yellow Day Lily, of coquetry--the Snapdragon, of presumption--the Broom, of humility--the Amaryllis, of pride--the Gra.s.s, of submission--the Fuschia, of taste--the Verbena, of sensibility--the Nasturtium, of splendour--the Heath, of solitude--the Blue Periwinkle, of early friendship--the Honey-suckle, of the bond of love--the Trumpet Flower, of fame--the Amaranth, of immortality--the Adonis, of sorrowful remembrance,--and the Poppy, of oblivion.

The Witch-hazel indicates a spell,--the Cape Jasmine says _I'm too happy_--the Laurestine, _I die if I am neglected_--the American Cowslip, _You are a divinity_--the Volkamenica j.a.ponica, _May you be happy_--the Rose-colored Chrysanthemum, _I love_,--and the Venus' Car, _Fly with me_.

For the following ill.u.s.trations of the language of flowers I am indebted to a useful and well conducted little periodical published in London and ent.i.tled the _Family Friend_;--the work is a great favorite with the fair s.e.x.

"Of the floral grammar, the first rule to be observed is, that the p.r.o.noun _I_ or _me_ is expressed by inclining the symbol flower to the _left_, and the p.r.o.noun _thou_ or _thee_ by inclining it to the _right_.

When, however, it is not a real flower offered, but a representation upon paper, these positions must be reversed, so that the symbol leans to the heart of the person whom it is to signify.

The second rule is, that the opposite of a particular sentiment expressed by a flower presented upright is denoted when the symbol is reversed; thus a rose-bud sent upright, with its thorns and leaves, means, "_I fear, but I hope_." If the bud is returned upside down, it means, "_You must neither hope nor fear_." Should the thorns, however, be stripped off, the signification is, "_There is everything to hope_;"

but if stript of its leaves, "_There is everything to fear_." By this it will be seen that the expression of almost all flowers may be varied by a change in their positions, or an alteration of their state or condition. For example, the marigold flower placed in the hand signifies "_trouble of spirits_;" on the heart, "_trouble or love_;" on the bosom, "_weariness_." The pansy held upright denotes "_heart's ease_;"

reversed, it speaks the contrary. When presented upright, it says, "_Think of me_;" and when pendent, "_Forget me_." So, too, the amaryllis, which is the emblem of pride, may be made to express, "_My pride is humbled_," or, "_Your pride is checked_," by holding it downwards, and to the right or left, as the sense requires. Then, again, the wallflower, which is the emblem of fidelity in misfortune, if presented with the stalk upward, would intimate that the person to whom it was turned was unfaithful in the time of trouble.

The third rule has relation to the manner in which certain words may be represented; as, for instance, the articles, by tendrils with single, double, and treble branches, as under--

[Ill.u.s.tration of _The_, _An_ & _A_.]

The numbers are represented by leaflets running from one to eleven, as thus--

[Ill.u.s.tration of '1', '2', '3', '4', '5', & '6'.]

From eleven to twenty, berries are added to the ten leaves thus--

[Ill.u.s.tration of '12' & '15'.]

From twenty to one hundred, compound leaves are added to the other ten for the decimals, and berries stand for the odd numbers so--

[Ill.u.s.tration of '20', '34' & '56'.]

A hundred is represented by ten tens; and this may be increased by a third leaflet and a branch of berries up to 999.

[Ill.u.s.tration of '100'.]

A thousand may be symbolized by a frond of fern, having ten or more leaves, and to this a common leaflet may be added to increase the number of thousands. In this way any given number may be represented in foliage, such as the date of a year in which a birthday, or other event, occurs, to which it is desirable to make allusion, in an emblematic wreath or floral picture. Thus, if I presented my love with a mute yet eloquent expression of good wishes on her eighteenth birthday, I should probably do it in this wise:--Within an evergreen wreath (_lasting as my affection_), consisting of ten leaflets and eight berries (_the age of the beloved_), I would place a red rose bud (_pure and lovely_), or a white lily (_pure and modest_), its spotless petals half concealing a ripe strawberry (_perfect excellence_); and to this I might add a blossom of the rose-scented geranium (_expressive of my preference_), a peach blossom to say "_I am your captive_" fern for sincerity, and perhaps bachelor's b.u.t.tons for _hope in love_"--_Family Friend_.

There are many anecdotes and legends and cla.s.sical fables to ill.u.s.trate the history of shrubs and flowers, and as they add something to the peculiar interest with which we regard individual plants, they ought not to be quite pa.s.sed over by the writers upon Floriculture.

THE FLOS ADONIS.

The Flos Adonis, a blood-red flower of the Anemone tribe, is one of the many plants which, according to ancient story sprang from the tears of Venus and the blood of her coy favorite.

Rose cheeked Adonis hied him to the chase Hunting he loved, but love he laughed to scorn

_Shakespeare_.

Venus, the G.o.ddess of Beauty, the mother of Love, the Queen of Laughter, the Mistress of the Graces and the Pleasures, could make no impression on the heart of the beautiful son of Myrrha, (who was changed into a myrrh tree,) though the pa.s.sion-stricken charmer looked and spake with the lip and eye of the fairest of the immortals. Shakespeare, in his poem of _Venus and Adonis_, has done justice to her burning eloquence, and the l.u.s.tre of her unequalled loveliness. She had most earnestly, and with all a true lover's care entreated Adonis to avoid the dangers of the chase, but he slighted all her warnings just as he had slighted her affections. He was killed by a wild boar. Shakespeare makes Venus thus lament over the beautiful dead body as it lay on the blood-stained gra.s.s.

Alas, poor world, what treasure hast thou lost!

What face remains alive that's worth the viewing?

Whose tongue is music now? What can'st thou boast Of things long since, or any thing ensuing?

The flowers are sweet, their colors fresh and trim, But true sweet beauty lived and died with him.