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been consulted as well as the sculpture of classical nations and the paintings of modern ages.

The assistance of the poets will be seen in

every page, and it would be unjust not to mention the author's obligation to Madame la Comptesse de Genlis, to Madame de Latour and also to the author of Parterre de Flore.In this symbolical assemblage the author has carefully avoided all indelicate allusions or double-entendre that could be offensive to modesty, his object has been to establish a settled collection of floral emblems, and to render them as amusing as the decorative dress of the poet, and the sparkling garb of the wit would allow. And although he presents a flower to fit every cap, none are personally intended, but the whole are offered for the selection of the wearer, and should weeds be discovered where flowers are expected, he flatters himself they will be few, and that those few will be found inoffensive, for although the work may be considered more adapted for amusement than for utility, he would not willingly offer en

tertainment through the assistance of immorality.

The author trusts that his work will not be condemned because it allows a communication of sentiment.

By all those token flowers, that tell
What words can never speak so well.”


It is observed by Lady Mary Wortley Montagu, that in Turkey, you may through the assistance of these emblems, either quarrel, reproach, or send letters of passion, friendship, or civility, or even news, without ever inking your fingers, for she says, there is no colour, no weed, no flower, no fruit, herb, nor feather, that has not a verse belonging to it.

When a Turkish lady sends a congratulatory message, or a ceremonious invitation, it is generally accompanied with some emblematical flowers carefully wrapt up in an embroidered handkerchief. The freshness of these flowers show the speed of the messenger, whilst the selection speaks in silent language the sentiments of the party from whom they are sent, and whose rank is also distinguished by the costliness or beauty of the embroidered envelop. These are merely the remains of the ancient customs of the eastern nations, where all was symbol, emblem, and allegory, and it must not be supposed that emblems were invented for the purposes of intrigue, since we find the scriptures full of the most beautiful parables, moral symbols, instructive allegories, and poetical emblems, that have ever been composed or collected.

It is presumed that the introduction of a few continental garlands in their native garb, will be found both agreeable to the taste of our readers, and in harmony with the subject of the work. With this expectation we present the following French wreaths of floral LA BOUQUETIERE.


J'ai des bouquets pour tous les goûts ;
Venez choisir dans ma corbeille;
De plusieurs les parfums sont doux;
De tous, la vertu sans pareille.
J'ai des soucis, pour les jaloux ;
La rose, pour l'amant fidele;
De l’ellébore, pour les fous;
Et pour l'amitié, l’immortelle.

J'offre la pensée aux auteurs ;
(Les leurs, bien souvent sont si fades.)
Des tournesols, aux vils flatteurs;
A tous nos braves, des grenades.
Pour les argus, j'ai des pavots,
Et pour les enfans, des clochettes ;
J'offre des villets d’inde aux sots;
De la fleur d'orange, aux coquettes.

Pour l'homme timide et discret

J'ai la modeste violette;
J'ai le narcisse et le muguet,
Pour le fat et pour la coquette

J'offre le myrte aux vrais amans;
Aux maris jaloux, des jonquilles ;
Des mignardises, aux mamans ;
Et du thym frais, aux vieilles filles.

Je réserve pour la pudeur
La délicate sensitive;
L'oreille d'ours à la laideur;
Des simples, à l'agnès naïve;
A la veuve dans les regrets
Mes scabieuses doivent plaire;
J'ai des couronnes de bluets
Pour la jeune et fraiche bergère.

J'offre aux filles à marier
L'iris, emblème d'espérance ;
A tous nos héros, le laurier;
Les boutons d’or, à l'opulence ;
Les tulipes, à la fierté;
Aux malheureux, la patience;
La fleur d'hortense, à la beauté
Et tous nos lis, à l'innocence.


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