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I NT R ODUC T10N. 
loves to recall the visions and fancies of youth—the man whose 
simple heartfelt stories are translated into every civilized tongue 
—never loses an opportunity of depicting the loveable intercourse 
which the people of the Scandinavian races hold with the floral 
world. In a sweet little sketch termed “ Das dumnies Buck ,” he 
has these appropriate remarks : “The withered oak-leaf in this 
book is to remind him of a friend, a schoolfellow, with whom 
he swore a life-long friendship. He fastened the leaf to his 
student-cap, in the greenwood, when the bond that was to be 
so lasting was made. Where does he live now ? The leaf is 
preserved, but the friendship is ended ! Here is a foreign hot¬ 
house plant, too tender for the gardens of the North ; it looks 
as fresh as if the petals still exhaled perfume ! It was given to 
him by a maiden in her father’s splendid garden. Here is a 
water-rose, a sweet water-rose, which he plucked himself, and 
which he has moistened with his own salt tears. And here is a 
nettle, and what can its leaves say ? What were his thoughts as 
he plucked it, and why has he preserved it here ? Here is a 
May-lily out of the forest solitude ; and here a perriwinkle- 
blossom from the parlour vase; and here a blade of ladies’-grass 
—what do they all typify ?” Well might Gothe exclaim, when 
thinking of such suggestive emblems as these, “ Some flowers 
are only lovely to the eye, but others are lovely to the heart.” 
Of England’s interest for floral symbolism what may be said 
here? Accused of neglecting the charming study, and of deem¬ 
ing it too trivial for the notice of this prosaic age, yet do her 
bards—still do her favourite minstrels, tune their lyres to hymn 
its evergreen delights. From the days of Dan Chaucer, the har¬ 
binger of English poesy, to the Tennysonian age, have our 
poets continually paid homage to the emblematic language of 
flowers, as may be proved by reference to the countless extracts 
in this work. 
A distinguished writer has the following observations on the 
subject of Shakspeare’s acquaintance with florigraphy: “Shak- 
speare has evinced in several of his plays a knowledge and a 
love of flowers ; but in no instance has he shown his taste and 
judgment in the selection of them with greater effect than in 
forming the coronal wreath of the lovely maniac, Ophelia. The 
queen describes the garland as composed of crow-flowers, nettles, 
daisies, and long-purples ; and there can be no question that 
