Part 15 (1/2)

_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 friends.h.i.+p.

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 friends.h.i.+p--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.