INTRODUCTION. 
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duce new and varied combinations into its sim 
pie laws: but there are a few rudimentary rules 
that should not be neglected. “ When a flowel 
Js presented in its natural position, the senti¬ 
ment is to be understood affirmatively ; when 
reversed, negatively. For instance, a rose-bud, 
with its leaves and thorns, indicates ^fear with 
hope; but if reversed, it must be construed as 
saying, “you may neither fear nor hope.” 
Again, divest the same rose-bud of its thorns, 
and it permits the most sanguine hope ; deprive 
it of its petals and retain the thorns, and the 
worst fears may be entertained. The Marigold 
is emblematic of pain : place it on the head, 
and it signifies trouble of mind ; on the heart, 
the pangs of love; on the bosom, the disgusts 
of ennui. The pronoun I is expressed by in¬ 
clining the symbol to the right, and the pro¬ 
noun thou by inclining it to the left.” 
Mrs. Ilemans, in the passionate poetry of 
such lines as these, tells more than prose can 
hope to utter: 
“Bring flowers, young flowers, for the festal board, 
To wreathe the cup ere the wine is poured; 
Bring flowers !—they are springing in wood and vale, 
Their breath floats out on the southern gale, 
And the touch of the sunbeam hath waked the rose, 
To deck the hall where the bright wine flows. 
