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author: Roger Frank <rfrank@pglaf.org> 2025-10-15 02:38:23 -0700
committer: Roger Frank <rfrank@pglaf.org> 2025-10-15 02:38:23 -0700
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+<pre>
+
+The Project Gutenberg EBook of The plant-lore and garden-craft of Shakespeare, by 
+Henry Nicholson Ellacombe
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The plant-lore and garden-craft of Shakespeare
+
+Author: Henry Nicholson Ellacombe
+
+Release Date: March 25, 2009 [EBook #28407]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PLANT-LORE OF SHAKESPEARE ***
+
+
+
+
+Produced by Irma Spehar, Michael Zeug, Lisa Reigel, and
+the Online Distributed Proofreading Team at
+https://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive/Canadian
+Libraries)
+
+
+
+
+
+
+</pre>
+
+
+<div class="notebox">
+<p>Transcriber's Notes:</p>
+
+<p>Variations in spelling and hyphenation have been left as in the
+original. Some typographical and punctuation errors have been corrected.
+A complete list <a href="#TN">follows</a> the text. Greek words that may not display
+correctly in all browsers are transliterated in the text using hovers
+like this: <ins class="greek" title="biblos">&#946;&#953;&#946;&#955;&#959;&#962;</ins>. Position your mouse
+over the line to see the transliteration. <ins class="explain" title="diacritcal marks and special characters">Underlined letters</ins>
+indicate diacritical marks and special characters that may not be
+visible in all browsers.  Position your mouse over the line to see an
+explanation.</p>
+</div>
+
+<p class="gap"><span class="pagenum"><a name="Page_i" id="Page_i"></a>[<a href="./images/i.png">i</a>]</span></p>
+<h1><i>THE PLANT-LORE AND GARDEN-CRAFT OF<br />
+SHAKESPEARE.</i></h1>
+
+<p class="smallgap">&nbsp;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_ii" id="Page_ii"></a>[<a href="./images/ii.png">ii</a>]</span></p>
+<h2>PRESS NOTICES OF FIRST EDITION.</h2>
+
+
+<p>"It would be hard to name a better commonplace book for summer
+lawns.&nbsp;.&nbsp;.&nbsp;. The lover of poetry, the lover of gardening, and the lover
+of quaint, out-of-the-way knowledge will each find something to please
+him.&nbsp;.&nbsp;.&nbsp;. It is a delightful example of gardening literature."&mdash;<i>Pall
+Mall Gazette.</i></p>
+
+<p>"Mr. Ellacombe, with a double enthusiasm for Shakespeare and for
+his garden, has produced a very readable and graceful volume on the
+Plant-Lore of Shakespeare."&mdash;<i>Saturday Review.</i></p>
+
+<p>"Mr. Ellacombe brings to his task an enthusiastic love of horticulture,
+wedded to no inconsiderable practical and theoretical knowledge
+of it; a mind cultivated by considerable acquaintance with the
+Greek and Latin classics, and trained for this special subject by a course
+of extensive reading among the contemporaries of his author: and a
+capacity for patient and unwearied research, which he has shown by
+the stores of learning he has drawn from a class of books rarely dipped
+into by the student&mdash;Saxon and Early English herbals and books of
+leechcraft; the result is a work which is entitled from its worth to a
+place in every Shakesperian library."&mdash;<i>Spectator.</i></p>
+
+<p>"The work has fallen into the hands of one who knows not only the
+plants themselves, but also their literary history; and it may be said
+that Shakespeare's flowers now for the first time find an historian."&mdash;<i>Field.</i></p>
+
+<p>"A delightful book has been compiled, and it is as accurate as it is
+delightful."&mdash;<i>Gardener's Chronicle.</i></p>
+
+<p>"Mr. Ellacombe's book well deserves a place on the shelves of both
+the student of Shakespeare and the lover of plant lore."&mdash;<i>Journal of
+Botany.</i></p>
+
+<p>"By patient industry, systematically bestowed, Mr. Ellacombe has
+produced a book of considerable interest; .&nbsp;.&nbsp;. full of facts, grouped
+on principles of common sense about quotations from our great poet."&mdash;<i>Guardian.</i></p>
+
+<p>"Mr. Ellacombe is an old and faithful labourer in this field of
+criticism. His 'Plant-lore and Garden-craft of Shakespeare' .&nbsp;.&nbsp;.
+is the fullest and best book on the subject."&mdash;<i>The Literary World
+(American).</i></p>
+
+
+
+<hr style="width: 65%;" />
+<p class="gap"><span class="pagenum"><a name="Page_iii" id="Page_iii"></a>[<a href="./images/iii.png">iii</a>]</span></p>
+<h1>THE</h1>
+
+<h1>PLANT-LORE &amp; GARDEN-CRAFT</h1>
+
+<h1>OF</h1>
+
+<h1>SHAKESPEARE.</h1>
+
+<p class="gap">&nbsp;</p>
+<p class="p3">BY</p>
+
+<h2>REV. HENRY N. ELLACOMBE, M.A.,</h2>
+
+<p class="p4">OF ORIEL COLLEGE, OXFORD,<br />
+VICAR OF BITTON, GLOUCESTERSHIRE, AND HON. CANON OF BRISTOL.</p>
+
+
+<p class="gap">&nbsp;</p>
+<p class="p3">SECOND EDITION.</p>
+
+
+<p class="gap">&nbsp;</p>
+<p class="p3">PRINTED FOR<br />
+W. SATCHELL AND CO.,<br />
+AND SOLD BY,<br />
+SIMPKIN, MARSHALL, AND CO.,<br />
+LONDON.</p>
+
+<p class="p3">1884.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv"></a>[<a href="./images/iv.png">iv</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i7">"My Herbale booke in Folio I unfold.<br /></span>
+<span class="i7i">I pipe of plants, I sing of somer flowers."</span><br />
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Cutwode</span>, <i>Caltha Poetarum</i>, st. 1.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_v" id="Page_v"></a>[<a href="./images/v.png">v</a>]</span></p>
+<h2>TO THE READER.</h2>
+
+<p>"Faultes escaped in the Printing, correcte with your
+pennes; omitted by my neglygence, overslippe with patience;
+committed by ignorance, remit with favour."</p>
+
+<p class="author"><span class="smcap">Lily</span>, <i>Euphues and his England</i>, Address to the
+gentlemen Readers.</p>
+
+<p><span class="pagenum"><a name="Page_vi" id="Page_vi"></a>[<a href="./images/vi.png">vi</a>]</span></p>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_vii" id="Page_vii"></a>[<a href="./images/vii.png">vii</a>]</span></p>
+<h2>CONTENTS.</h2>
+
+<div class="centered">
+<table summary="table of contents" cellpadding="4" cellspacing="0" border="0">
+<tr>
+  <td class="tdleft" colspan="2"><span class="smcap">Introduction</span></td>
+  <td class="tdright"><a href="#Page_1">1</a></td>
+</tr>
+<tr>
+  <td class="tdleft" colspan="2"><span class="smcap">Plant-lore of Shakespeare</span></td>
+  <td class="tdright"><a href="#Page_7">7</a></td>
+</tr>
+<tr>
+  <td class="tdleft" colspan="2"><span class="smcap">Garden-craft of Shakespeare</span></td>
+  <td class="tdright"><a href="#Page_333">333</a></td>
+</tr>
+<tr>
+  <td class="tdleft" colspan="2"><span class="smcap">Appendix</span>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdright">I.</td>
+  <td class="tdleft"><span class="smcap">The Daisy</span></td>
+  <td class="tdright"><a href="#Page_359">359</a></td>
+</tr>
+<tr>
+  <td class="tdright">II.</td>
+  <td class="tdleft" style="padding-right: 2em;"><span class="smcap">The Seasons of Shakespeare's Plays</span></td>
+  <td class="tdright"><a href="#Page_379">379</a></td>
+</tr>
+<tr>
+  <td class="tdright">III.</td>
+  <td class="tdleft"><span class="smcap">Names of Plants</span></td>
+  <td class="tdright"><a href="#Page_391">391</a></td>
+</tr>
+<tr>
+  <td class="tdleft" colspan="2"><span class="smcap">Index of Plays</span></td>
+  <td class="tdright"><a href="#Page_421">421</a></td>
+</tr>
+<tr>
+  <td class="tdleft" colspan="2"><span class="smcap">General Index</span></td>
+  <td class="tdright"><a href="#Page_431">431</a></td>
+</tr>
+</table>
+</div>
+
+<p><span class="pagenum"><a name="Page_viii" id="Page_viii"></a>[<a href="./images/viii.png">viii</a>]</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_ix" id="Page_ix"></a>[<a href="./images/ix.png">ix</a>]</span></p>
+<h2>PREFACE TO THE SECOND EDITION.</h2>
+
+
+<p>Since the publication of the First Edition I have received
+many kind criticisms both from the public critics and from
+private friends. For these criticisms I am very thankful,
+and they have enabled me to correct some errors and to
+make some additions, which I hope will make the book
+more acceptable and useful.</p>
+
+<p>For convenience of reference I have added the line
+numbers to the passages quoted, taking both the quotations
+and the line numbers from the Globe Shakespeare. In a
+few instances I have not kept exactly to the text of the
+Globe Edition, but these are noted; and I have added
+the "Two Noble Kinsmen," which is not in that Edition.</p>
+
+<p>In other respects this Second Edition is substantially the
+same as the First.</p>
+
+<p class="author">H. N. E.</p>
+
+<p style="text-indent: 1em;"><span class="smcap">Bitton Vicarage, Gloucestershire</span>,<br />
+<span class="s11"><i>February, 1884</i></span>.</p>
+
+<p><span class="pagenum"><a name="Page_x" id="Page_x"></a>[<a href="./images/x.png">x</a>]</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi"></a>[<a href="./images/xi.png">xi</a>]</span></p>
+<h2>PREFACE TO FIRST EDITION.</h2>
+
+
+<p>The following Notes on the "Plant-lore and Garden-craft
+of Shakespeare" were published in "The Garden" from
+March to September, 1877.</p>
+
+<p>They are now republished with additions and with such
+corrections as the altered form of publication required or
+allowed.</p>
+
+<p>As the Papers appeared from week to week, I had to
+thank many correspondents (mostly complete strangers to
+myself) for useful suggestions and inquiries; and I would
+again invite any further suggestions or remarks, especially
+in the way of correction of any mistakes or omissions that
+I may have made, and I should feel thankful to any one
+that would kindly do me this favour.</p>
+
+<p>In republishing the Papers, I have been very doubtful
+whether I ought not to have rejected the cultural remarks
+on several of the plants, which I had added with a special
+reference to the horticultural character of "The Garden"
+newspaper. But I decided to retain them, on finding that
+they interested some readers, by whom the literary and
+Shakespearean notices were less valued.</p>
+
+<p>The weekly preparation of the Papers was a very pleasant
+study to myself, and introduced me to much literary and
+horticultural information of which I was previously ignorant.
+In republishing them I hope that some of my readers may
+meet with equal pleasure, and with some little information
+that may be new to them.</p>
+
+<p class="author">H. N. E.</p>
+
+<p style="text-indent: 1em;"><span class="smcap">Bitton Vicarage, Gloucestershire</span>,<br />
+<span class="s13"><i>May, 1878</i>.</span></p>
+
+<p><span class="pagenum"><a name="Page_xii" id="Page_xii"></a>[<a href="./images/xii.png">xii</a>]</span></p>
+
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_1" id="Page_1"></a>[<a href="./images/1.png">1</a>]</span></p>
+
+<div class="img">
+<img src="./images/illop1.png" alt="double A with birds and flowers" title="decoration" width="80%" />
+</div>
+
+
+<h2>INTRODUCTION.</h2>
+
+<p><span class="dropcapa"><span class="dropcap">A</span></span>LL the commentators on Shakespeare
+are agreed upon one point, that he
+was the most wonderfully many-sided
+writer that the world has yet seen.
+Every art and science are more or
+less noticed by him, so far as they
+were known in his day; every business
+and profession are more or less
+accurately described; and so it has
+come to pass that, though the main
+circumstances of his life are pretty well known, yet the
+students of every art and science, and the members of every
+business and profession, have delighted to claim him as
+their fellow-labourer. Books have been written at various
+times by various writers, which have proved (to the complete
+satisfaction of the writers) that he was a soldier,<a name="FNanchor_1:1_1" id="FNanchor_1:1_1"></a><a href="#Footnote_1:1_1" class="fnanchor">[1:1]</a> a sailor, a
+lawyer,<a name="FNanchor_1:2_2" id="FNanchor_1:2_2"></a><a href="#Footnote_1:2_2" class="fnanchor">[1:2]</a> an astronomer, a physician,<a name="FNanchor_1:3_3" id="FNanchor_1:3_3"></a><a href="#Footnote_1:3_3" class="fnanchor">[1:3]</a> a divine,<a name="FNanchor_1:4_4" id="FNanchor_1:4_4"></a><a href="#Footnote_1:4_4" class="fnanchor">[1:4]</a> a printer,<a name="FNanchor_1:5_5" id="FNanchor_1:5_5"></a><a href="#Footnote_1:5_5" class="fnanchor">[1:5]</a> an
+<span class="pagenum"><a name="Page_2" id="Page_2"></a>[<a href="./images/2.png">2</a>]</span>actor, a courtier, a sportsman, an angler,<a name="FNanchor_2:1_6" id="FNanchor_2:1_6"></a><a href="#Footnote_2:1_6" class="fnanchor">[2:1]</a> and I know not
+what else besides.</p>
+
+<p>I also propose to claim him as a fellow-labourer. A lover
+of flowers and gardening myself, I claim Shakespeare as
+equally a lover of flowers and gardening; and this I propose
+to prove by showing how, in all his writings, he exhibits his
+strong love for flowers, and a very fair, though not perhaps a
+very deep, knowledge of plants; but I do not intend to go
+further. That he was a lover of plants I shall have no
+difficulty in showing; but I do not, therefore, believe that he
+was a professed gardener, and I am quite sure he can in
+no sense be claimed as a botanist, in the scientific sense of
+the term. His knowledge of plants was simply the knowledge
+that every man may have who goes through the world
+with his eyes open to the many beauties of Nature that
+surround him, and who does not content himself with simply
+looking, and then passing on, but tries to find out something
+of the inner meaning of the beauties he sees, and to carry
+away with him some of the lessons which they were doubtless
+meant to teach. But Shakespeare was able to go further
+than this. He had the great gift of being able to describe
+what he saw in a way that few others have arrived at; he
+could communicate to others the pleasure that he felt himself,
+not by long descriptions, but by a few simple words, a
+few natural touches, and a few well-chosen epithets, which
+bring the plants and flowers before us in the freshest, and
+often in a most touching way.</p>
+
+<p>For this reason the study of the Plant-lore of Shakespeare
+is a very pleasant study, and there are other things which
+add to this pleasure. One especial pleasure arises from the
+thoroughly English character of his descriptions. It has often
+been observed that wherever the scenes of his plays are laid,
+and whatever foreign characters he introduces, yet they really
+are all Englishmen of the time of Elizabeth, and the scenes
+are all drawn from the England of his day. This is certainly
+true of the plants and flowers we meet with in the plays; they
+are thoroughly English plants that (with very few exceptions)
+he saw in the hedgerows and woods of Warwickshire,<a name="FNanchor_2:2_7" id="FNanchor_2:2_7"></a><a href="#Footnote_2:2_7" class="fnanchor">[2:2]</a> or in
+<span class="pagenum"><a name="Page_3" id="Page_3"></a>[<a href="./images/3.png">3</a>]</span>his own or his friends' gardens. The descriptions are thus
+thoroughly fresh and real; they tell of the country and of
+the outdoor life he loved, and they never smell of the study
+lamp. In this respect he differs largely from Milton, whose
+descriptions (with very few exceptions) recall the classic and
+Italian writers. He differs, too, from his contemporary
+Spenser, who has certainly some very sweet descriptions of
+flowers, which show that he knew and loved them, but are
+chiefly allusions to classical flowers, which he names in such
+a way as to show that he often did not fully know what they
+were, but named them because it was the right thing for a
+classical poet so to do. Shakespeare never names a flower
+or plant unnecessarily; they all come before us, when they
+do come, in the most natural way, as if the particular flower
+named was the only one that could be named on that
+occasion. We have nothing in his writings, for instance,
+like the long list of trees described (and in the most interesting
+way) in the first canto of the First Book of the "Faerie
+Queene," and indeed he is curiously distinct from all his
+contemporaries. Chaucer, before him, spoke much of
+flowers and plants, and drew them as from the life. In the
+century after him Herrick may be named as another who
+sung of flowers as he saw them; but the real contemporaries
+of Shakespeare are, with few exceptions,<a name="FNanchor_3:1_8" id="FNanchor_3:1_8"></a><a href="#Footnote_3:1_8" class="fnanchor">[3:1]</a> very silent on the
+subject. One instance will suffice. Sir Thomas Wyatt's
+poems are all professedly about the country&mdash;they abound
+in woods and vales, shepherds and swains&mdash;yet in all his
+poems there is scarcely a single allusion to a flower in a
+really natural way. And because Shakespeare only introduces
+flowers in their right place, and in the most purely
+natural way, there is one necessary result. I shall show that
+the number of flowers he introduces is large, but the number
+he omits, and which he must have known, is also very large,
+<span class="pagenum"><a name="Page_4" id="Page_4"></a>[<a href="./images/4.png">4</a>]</span>and well worth noting.<a name="FNanchor_4:1_9" id="FNanchor_4:1_9"></a><a href="#Footnote_4:1_9" class="fnanchor">[4:1]</a> He has no notice, under any name,
+of such common flowers as the Snowdrop, the Forget-me-Not,
+the Foxglove, the Lily of the Valley,<a name="FNanchor_4:2_10" id="FNanchor_4:2_10"></a><a href="#Footnote_4:2_10" class="fnanchor">[4:2]</a> and many others
+which he must have known, but which he has not named;
+because when he names a plant or flower, he does so not to
+show his own knowledge, but because the particular flower
+or plant is wanted in the particular place in which he uses it.</p>
+
+<p>Another point of interest in the Plant-lore of Shakespeare
+is the wide range of his observation. He gathers flowers for
+us from all sorts of places&mdash;from the "turfy mountains" and
+the "flat meads;" from the "bosky acres" and the "unshrubbed
+down;" from "rose-banks" and "hedges even-pleached."
+But he is equally at home in the gardens of the
+country gentlemen with their "pleached bowers" and "leafy
+orchards." Nor is he a stranger to gardens of a much higher
+pretension, for he will pick us famous Strawberries from the
+garden of my Lord of Ely in Holborn; he will pick us White
+and Red Roses from the garden of the Temple; and he will
+pick us "Apricocks" from the royal garden of Richard the
+Second's sad queen. I propose to follow Shakespeare into
+these many pleasant spots, and to pick each flower and note
+each plant which he has thought worthy of notice. I do not
+propose to make a selection of his plants, for that would not
+give a proper idea of the extent of his knowledge, but to note
+every tree, and plant, and flower that he has noted. And as
+I pick each flower, I shall let Shakespeare first tell us all he
+has to say about it; in other words, I shall quote every
+passage in which he names the plant or flower; for here,
+<span class="pagenum"><a name="Page_5" id="Page_5"></a>[<a href="./images/5.png">5</a>]</span>again, it would not do to make a selection from the passages,
+my object not being to give "floral extracts," but to let him
+say all he can in his own choice words. There is not much
+difficulty in this, but there is difficulty in determining how
+much or how little to quote. On the one hand, it often
+seems cruel to cut short a noble passage in the midst of which
+some favourite flower is placed; but, on the other hand, to
+quote at too great a length would extend the book beyond
+reasonable limits. The rule, therefore, must be to confine
+the quotations within as small a space as possible, only taking
+care that the space is not so small as entirely to spoil the
+beauty of the description. Then, having listened to all that
+Shakespeare has to say on each flower, I shall follow with
+illustrations (few and short) from contemporary writers; then
+with any observations that may present themselves in the
+identification of Shakespeare's plant with their modern representatives,
+finishing each with anything in the history or
+modern uses or cultivation of the plant that I think will
+interest readers.</p>
+
+<p>For the identification of the plants, we have an excellent
+and trustworthy guide in John Gerard, who was almost an
+exact contemporary of Shakespeare. Gerard's life ranged
+from 1545 to 1612, and Shakespeare's from 1564 to 1616.
+Whether they were acquainted or not we do not know, but
+it is certainly not improbable that they were; I should think
+it almost certain that they must have known each other's
+published works.<a name="FNanchor_5:1_11" id="FNanchor_5:1_11"></a><a href="#Footnote_5:1_11" class="fnanchor">[5:1]</a></p>
+
+<p><span class="pagenum"><a name="Page_6" id="Page_6"></a>[<a href="./images/6.png">6</a>]</span>
+My subject naturally divides itself into two parts&mdash;</p>
+
+<div class="blockquot"><p>First, The actual plants and flowers named by Shakespeare;
+Second, His knowledge of gardens and gardening.</p></div>
+
+<p>I now go at once to the first division, naming each plant
+in its alphabetical order.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1:1_1" id="Footnote_1:1_1"></a><a href="#FNanchor_1:1_1"><span class="label">[1:1]</span></a> "Was Shakespeare ever a Soldier?" by W. J. Thoms, F.S.A.,
+1865, 8vo.</p></div>
+
+<div class="footnote"><p><a name="Footnote_1:2_2" id="Footnote_1:2_2"></a><a href="#FNanchor_1:2_2"><span class="label">[1:2]</span></a> "Shakespeare's legal acquirements considered in a letter to J. P.
+Collier," by John, Lord Campbell, 1859, 12mo. "Shakespeare a Lawyer,"
+by W. L. Rushton, 1858, 12mo.</p></div>
+
+<div class="footnote"><p><a name="Footnote_1:3_3" id="Footnote_1:3_3"></a><a href="#FNanchor_1:3_3"><span class="label">[1:3]</span></a> "Remarks on the Medical Knowledge of Shakespeare," by J. C.
+Bucknill, 1860, 8vo.</p></div>
+
+<div class="footnote"><p><a name="Footnote_1:4_4" id="Footnote_1:4_4"></a><a href="#FNanchor_1:4_4"><span class="label">[1:4]</span></a> Eaton's "Shakespeare and the Bible," 1858, 8vo.</p></div>
+
+<div class="footnote"><p><a name="Footnote_1:5_5" id="Footnote_1:5_5"></a><a href="#FNanchor_1:5_5"><span class="label">[1:5]</span></a> "Shakespere and Typography; being an attempt to show Shakespere's
+personal connection with, and technical knowledge of, the Art
+of Printing," by William Blades, 1872, 8vo.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2:1_6" id="Footnote_2:1_6"></a><a href="#FNanchor_2:1_6"><span class="label">[2:1]</span></a> "Was Shakespeare an Angler," by H. N. Ellacombe, 1883, 12mo.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2:2_7" id="Footnote_2:2_7"></a><a href="#FNanchor_2:2_7"><span class="label">[2:2]</span></a> "The country around Stratford presents the perfection of quiet
+English scenery; it is remarkable for its wealth of lovely wild flowers,
+for its deep meadows on each side of the tranquil Avon, and for its rich,
+sweet woodlands."&mdash;<span class="smcap">E. Dowden's</span> <i>Shakespeare in Literature Primers</i>,
+1877.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3:1_8" id="Footnote_3:1_8"></a><a href="#FNanchor_3:1_8"><span class="label">[3:1]</span></a> The two chief exceptions are Ben Jonson (1574-1637) and William
+Browne (1590-1645). Jonson, though born in London, and living
+there the greatest part of his life, was evidently a real lover of flowers,
+and frequently shows a practical knowledge of them. Browne was also
+a keen observer of nature, and I have made several quotations from his
+"Britannia's Pastorals."</p></div>
+
+<div class="footnote"><p><a name="Footnote_4:1_9" id="Footnote_4:1_9"></a><a href="#FNanchor_4:1_9"><span class="label">[4:1]</span></a> Perhaps the most noteworthy plant omitted is Tobacco&mdash;Shakespeare
+must have been well acquainted with it, not only as every one in
+his day knew of it, but as a friend and companion of Ben Jonson, he
+must often have been in the company of smokers. Ben Jonson has
+frequent allusions to it, and almost all the sixteenth-century writers have
+something to say about it; but Shakespeare never names the herb, or
+alludes to it in any way whatever.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4:2_10" id="Footnote_4:2_10"></a><a href="#FNanchor_4:2_10"><span class="label">[4:2]</span></a> It seems probable that the Lily of the Valley was not recognized as a
+British plant in Shakespeare's time, and was very little grown even in
+gardens. Turner says, "Ephemer&#363; is called in duch meyblumle, in
+french Muguet. It groweth plentuously in Germany, but not in England
+that ever I coulde see, savinge in my Lordes gardine at Syon. The
+Poticaries in Germany do name it Lilium C&#333;vallium, it may be called in
+englishe May Lilies."&mdash;<i>Names of Herbes</i>, 1548. Coghan in 1596 says
+much the same: "I say nothing of them because they are not usuall in
+gardens."&mdash;<i>Haven of Health.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_5:1_11" id="Footnote_5:1_11"></a><a href="#FNanchor_5:1_11"><span class="label">[5:1]</span></a> I may mention the following works as more or less illustrating the
+Plant-lore of Shakespeare:&mdash;</p>
+
+<div class="blockquot"><p>1.&mdash;"Shakspere's Garden," by Sidney Beisly, 1864. I have to
+thank this author for information on a few points, but on the
+whole it is not a satisfactory account of the plants of Shakespeare,
+and I have not found it of much use.</p>
+
+<p>2.&mdash;"Flowers from Stratford-on-Avon," and</p>
+
+<p>3.&mdash;"Girard's Flowers of Shakespeare and of Milton," 2 vols.
+These two works are pretty drawing-room books, and do not
+profess to be more.</p>
+
+<p>4.&mdash;"Natural History of Shakespeare, being Selections of Flowers,
+Fruits, and Animals," arranged by Bessie Mayou, 1877. This
+gives the greater number of the passages in which flowers are
+named, without any note or comment.</p>
+
+<p>5.&mdash;"Shakespeare's Bouquet&mdash;the Flowers and Plants of Shakespeare,"
+Paisley, 1872. This is only a small pamphlet.</p>
+
+<p>6.&mdash;"The Rural Life of Shakespeare, as illustrated by his Works,"
+by J. C. Roach Smith, 8vo, London, 1870. A pleasant but
+short pamphlet.</p>
+
+<p>7.&mdash;"A Brief Guide to the Gardens of Shakespeare," 1863, 12mo,
+12 pages, and</p>
+
+<p>8.&mdash;"Shakespeare's Home and Rural Life," by James Walter,
+with Illustrations. 1874, folio. These two works are rather
+topographical guides than accounts of the flowers of Shakespeare.</p>
+
+<p>9.&mdash;"The Flowers of Shakespeare," depicted by Viola, coloured
+plates, 4to, 1882. A drawing-room book of little merit.</p>
+
+<p>10.&mdash;"The Shakspere Flora," by Leo H. Grindon, 12mo, 1883.
+A collection of very pleasant essays on the poetry of Shakespeare,
+and his knowledge of flowers.</p></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_7" id="Page_7"></a>[<a href="./images/7.png">7</a>]</span></p>
+<h2>PART I.</h2>
+
+<h2><i>THE PLANT-LORE OF SHAKESPEARE.</i></h2>
+
+<table class="poetryt" summary="Shakespearian quotes about flowers" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleft" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span style="padding-left: 4em;">Here's flowers for you.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleft"><i>Duke.</i></td>
+  <td class="tdleft">Away before me to sweet beds of flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act i, sc. 1.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_8" id="Page_8"></a>[<a href="./images/8.png">8</a>]</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_9" id="Page_9"></a>[<a href="./images/9.png">9</a>]</span></p>
+<div class="img">
+<img src="./images/plantloreillop9.png" alt="leaves and flowers decoration" title="decoration" width="90%" />
+</div>
+
+
+<h2>ACONITUM.</h2>
+
+<table class="poetryt" summary="aconitum quote" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>K. Henry.</i></td>
+  <td class="tdleft">The united vessel of their blood,<br />
+    Mingled with venom of suggestion&mdash;<br />
+    As, force perforce, the age will pour it in&mdash;<br />
+    Shall never leak, though it do work as strong<br />
+    As Aconitum or rash gunpowder.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd King Henry IV</i>, act iv, sc. 4 (44).</td>
+</tr>
+</table>
+
+<p>There is another place in which it is probable that
+Shakespeare alludes to the Aconite; he does not name it,
+but he compares the effects of the poison to gunpowder, as
+in the passage above.</p>
+
+<table class="poetryt" summary="possible aconite reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Romeo.</i></td>
+  <td class="tdleft"><span style="padding-left: 12em;">Let me have</span><br />
+    A dram of poison, such soon-speeding gear<br />
+    As will disperse itself through all the veins,<br />
+    That the life-weary taker may fall dead<br />
+    And that the trunk may be discharged of breath<br />
+    As violently as hasty powder fired<br /></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act v, sc. 1 (59).</td>
+</tr>
+</table>
+
+<p>The plant here named as being as powerful in its action
+as gunpowder is the Aconitum Napellus (the Wolf's bane
+or Monk's-hood). It is a member of a large family, all of
+which are more or less poisonous, and the common Monk's-hood
+as much so as any. Two species are found in America,
+but, for the most part, the family is confined to the northern
+portion of the Eastern Hemisphere, ranging from the Himalaya
+through Europe to Great Britain. It is now found
+wild in a few parts of England, but it is certainly not indigenous;
+it was, however, very early introduced into England,
+being found in all the English vocabularies of plants from
+the tenth century downwards, and frequently mentioned in
+the early English medical recipes.</p>
+
+<p><span class="pagenum"><a name="Page_10" id="Page_10"></a>[<a href="./images/10.png">10</a>]</span>
+Its names are all interesting. In the Anglo-Saxon Vocabularies
+it is called <i>thung</i>, which, however, seems to have
+been a general name for any very poisonous plant;<a name="FNanchor_10:1_12" id="FNanchor_10:1_12"></a><a href="#Footnote_10:1_12" class="fnanchor">[10:1]</a> it was
+then called Aconite, as the English form of its Greek and
+Latin name, but this name is now seldom used, being, by a
+curious perversion, solely given to the pretty little early-flowering
+Winter Aconite (<i>Eranthis hyemalis</i>), which is not
+a true Aconite, though closely allied; it then got the name
+of Wolf's-bane, as the direct translation of the Greek <i>lycoctonum</i>,
+a name which it had from the idea that arrows
+tipped with the juice, or baits anointed with it, would kill
+wolves and other vermin; and, lastly, it got the expressive
+names of Monk's-hood<a name="FNanchor_10:2_13" id="FNanchor_10:2_13"></a><a href="#Footnote_10:2_13" class="fnanchor">[10:2]</a> and the Helmet-flower, from the
+curious shape of the upper sepal overtopping the rest of the
+flower.</p>
+
+<p>As to its poisonous qualities, all authors agree that every
+species of the family is very poisonous, the A. ferox of the
+Himalaya being probably the most so. Every part of the
+plant, from the root to the pollen dust, seems to be equally
+powerful, and it has the special bad quality of being, to
+inexperienced eyes, so like some harmless plant, that the
+poison has been often taken by mistake with deadly results.
+This charge against the plant is of long standing, dating
+certainly from the time of Virgil&mdash;<i>miseros fallunt aconita
+legentes</i>&mdash;and, no doubt, from much before his time. As it
+<span class="pagenum"><a name="Page_11" id="Page_11"></a>[<a href="./images/11.png">11</a>]</span>was a common belief that poisons were antidotes against
+other poisons, the Aconite was supposed to be an antidote
+against the most deadly one&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4h">"I have heard that Aconite<br /></span>
+<span class="i0">Being timely taken hath a healing might<br /></span>
+<span class="i0">Against the scorpion's stroke."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Ben Jonson</span>, <i>Sejanus</i>, act iii, sc. 3.</p>
+
+<p>Yet, in spite of its poisonous qualities, the plant has
+always held, and deservedly, a place among the ornamental
+plants of our gardens; its stately habit and its handsome
+leaves and flowers make it a favourite. Nearly all the
+species are worth growing, the best, perhaps, being A. Napellus,
+both white and blue, A. paniculatum, A. japonicum,
+and A. autumnale. All the species grow well in shade and
+under trees. In Shakespeare's time Gerard grew in his
+London garden four species&mdash;A. lycoctonum, A. variegatum,
+A. Napellus, and A. Pyrenaicum.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_10:1_12" id="Footnote_10:1_12"></a><a href="#FNanchor_10:1_12"><span class="label">[10:1]</span></a> "<i>Aconita</i>, thung." &AElig;lfric's "Vocabulary," 10th century.</p>
+
+<p>"<i>Aconitum</i>, thung." Anglo-Saxon Vocabulary, 11th century.</p>
+
+<p>"<i>Aconita</i>, thung." "Durham Glossary of the names of Worts,"
+11th century.</p>
+
+<p>The ancient Vocabularies and Glossaries, to which I shall frequently
+refer, are printed in</p>
+
+<p>I. Wright's "Volume of Vocabularies," 1857.</p>
+
+<p>II. "Leechdoms, Wortcunning, and Starcraft of Early England,"
+by Rev. O. Cockayne, published under the direction of the Master of
+the Rolls, 3 vols., 1866.</p>
+
+<p>III. "Promptorium Parvulorum," edited by Albert Way, and published
+by the Camden Society, 3 vols., 1843-65.</p>
+
+<p>IV. "Catholicon Anglicum," edited by S. J. Hertage, and published
+by the Early English Text Society, 1881, and by the Camden Society,
+1882.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10:2_13" id="Footnote_10:2_13"></a><a href="#FNanchor_10:2_13"><span class="label">[10:2]</span></a> This was certainly its name in Shakespeare's time&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And with the Flower Monk's-hood makes a coole."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Cutwode</span>, <i>Caltha Poetarum</i>, 1599 (st. 117).</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>ACORN, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Oak">Oak</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>ALMOND.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Thersites.</i></td>
+  <td class="tdleft">The parrot will not do more for an Almond.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act v, sc. 2 (193).</td>
+</tr>
+</table>
+
+<p>"An Almond for a parrot" seems to have been a proverb
+for the greatest temptation that could be put before a man.
+The Almond tree is a native of Asia and North Africa, but
+it was very early introduced into England, probably by the
+Romans. It occurs in the Anglo-Saxon lists of plants, and
+in the "Durham Glossary" (11th century) it has the name
+of the "Easterne nutte-beam." The tree was always a
+favourite both for the beauty of its flowers, which come very
+early in the year, and for its Biblical associations, so that in
+Shakespeare's time the trees were "in our London gardens
+<span class="pagenum"><a name="Page_12" id="Page_12"></a>[<a href="./images/12.png">12</a>]</span>and orchards in great plenty" (Gerard). Before Shakespeare's
+time, Spenser had sung its praises thus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Like to an Almond tree ymounted hye<br /></span>
+<span class="i0i">On top of greene Selinis all alone<br /></span>
+<span class="i0i">With blossoms brave bedecked daintily;<br /></span>
+<span class="i0i">Whose tender locks do tremble every one<br /></span>
+<span class="i0i">At everie little breath that under Heaven is blowne."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, i. 7, 32.</p>
+
+<p>The older English name seems to have been Almande&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And Almandres gret plente,"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Romaunt of the Rose</i>;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Noyz de l'almande, nux Phyllidis,"<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Alexander Neckam</span>;</p>
+
+<p>and both this old name and its more modern form of
+Almond came to us through the French <i>amande</i> (Proven&ccedil;al,
+<i>amondala</i>), from the Greek and Latin <i>amygdalus</i>. What
+this word meant is not very clear, but the native Hebrew
+name of the plant (<i>shaked</i>) is most expressive. The word
+signifies "awakening," and so is a most fitting name for a
+tree whose beautiful flowers, appearing in Palestine in
+January, show the wakening up of Creation. The fruit also
+has always been a special favourite, and though it is strongly
+imbued with prussic acid, it is considered a wholesome fruit.
+By the old writers many wonderful virtues were attributed to
+the fruit, but I am afraid it was chiefly valued for its supposed
+virtue, that "five or six being taken fasting do keepe
+a man from being drunke" (Gerard).<a name="FNanchor_12:1_14" id="FNanchor_12:1_14"></a><a href="#Footnote_12:1_14" class="fnanchor">[12:1]</a> This popular error
+is not yet extinct.</p>
+
+<p>As an ornamental tree the Almond should be in every
+shrubbery, and, as in Gerard's time, it may still be planted
+in town gardens with advantage. There are several varieties
+of the common Almond, differing slightly in the colour and
+size of the flowers; and there is one little shrub (Amygdalus
+nana) of the family that is very pretty in the front row of a
+shrubbery. All the species are deciduous.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_12:1_14" id="Footnote_12:1_14"></a><a href="#FNanchor_12:1_14"><span class="label">[12:1]</span></a> "Plutarch mentions a great drinker of wine who, by the use of bitter
+almonds, used to escape being intoxicated."&mdash;<i>Flora Domestica</i>, p. 6.</p></div>
+
+
+<p><span class="pagenum"><a name="Page_13" id="Page_13"></a>[<a href="./images/13.png">13</a>]</span></p>
+<hr style="width: 65%;" />
+<h2>ALOES.</h2>
+
+<table class="poetryt" summary="aloe reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 20%;">&nbsp;</td>
+  <td class="tdleftt">And sweetens, in the suffering pangs it bears,<br />
+    The Aloes of all forces, shocks, and fears.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>A Lover's Complaint</i>, st. 39.</td>
+</tr>
+</table>
+
+<p>Aloes have the peculiarity that they are the emblems of the
+most intense bitterness and of the richest and most costly
+fragrance. In the Bible Aloes are mentioned five times, and
+always with reference to their excellence and costliness.<a name="FNanchor_13:1_15" id="FNanchor_13:1_15"></a><a href="#Footnote_13:1_15" class="fnanchor">[13:1]</a>
+Juvenal speaks of it only as a bitter&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i3h">"Animo corrupta superbo<br /></span>
+<span class="i0">Plus Aloes quam mellis habet" (vi. 180).<br /></span>
+</div></div>
+
+<p>Pliny describes it very minutely, and says, "Strong it is to
+smell unto, and bitter to taste" (xxvii. 4, Holland's translation).
+Our old English writers spoke of it under both
+aspects. It occurs in several recipes of the Anglo-Saxon
+Leechdoms, as a strong and bitter purgative. Chaucer notices
+its bitterness only&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The woful teres that they leten falle<br /></span>
+<span class="i0i">As bittre weren, out of teres kynde,<br /></span>
+<span class="i0i">For peyne, as is ligne Aloes or galle."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Troilus and Cryseide</i>, st. 159.</p>
+
+<p>But the author of the "Remedie of Love," formerly attributed
+to Chaucer, says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"My chambre is strowed with myrrhe and incense<br /></span>
+<span class="i0i">With sote savouring Aloes and sinnamone,<br /></span>
+<span class="i0i">Breathing an aromaticke redolence."<br /></span>
+</div></div>
+
+<p>Shakespeare only mentions the bitter quality.</p>
+
+<p>The two qualities are derived from two very different
+plants. The fragrant ointment is the product of an Indian
+shrub, Aquilaria agallochum; and the bitter purgative is
+from the true Aloes, A. Socotrina, A. vulgaris, and others.
+These plants were well known in Shakespeare's time, and
+were grown in England. Turner and Gerard describe them
+<span class="pagenum"><a name="Page_14" id="Page_14"></a>[<a href="./images/14.png">14</a>]</span>as the Sea Houseleek; and Gerard tells us that they were
+grown as vegetable curiosities, for "the herbe is alwaies
+greene, and likewise sendeth forth branches, though it
+remaine out of the earth, especially if the root be covered
+with lome, and now and then watered; for so being hanged
+on the seelings and upper posts of dining-roomes, it will not
+onely continue a long time greene, but it also groweth and
+bringeth forth new leaves."<a name="FNanchor_14:1_16" id="FNanchor_14:1_16"></a><a href="#Footnote_14:1_16" class="fnanchor">[14:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_13:1_15" id="Footnote_13:1_15"></a><a href="#FNanchor_13:1_15"><span class="label">[13:1]</span></a> Numbers xxiv. 6; Psalms xlv. 8; Proverbs vii. 17; Canticles iv.
+14; John xix. 39.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14:1_16" id="Footnote_14:1_16"></a><a href="#FNanchor_14:1_16"><span class="label">[14:1]</span></a> In the emblems of Camerarius (No. 92) is a picture of a room with
+an Aloe suspended.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>ANEMONE.</h2>
+
+<table class="poetryt" summary="anemone reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 20%;">&nbsp;</td>
+  <td class="tdleft">By this, the boy that by her side lay kill'd<br />
+    Was melted like a vapour from her sight,<br />
+    And in his blood that on the ground lay spill'd,<br />
+    A purple flower sprung up chequer'd with white.<br />
+    Resembling well his pale cheeks, and the blood<br />
+    Which in round drops upon their whiteness stood.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (1165).</td>
+</tr>
+</table>
+
+<p>Shakespeare does not actually name the Anemone, and I
+place this passage under that name with some doubt, but I
+do not know any other flower to which he could be referring.</p>
+
+<p>The original legend of the Anemone as given by Bion was
+that it sprung from the tears of Venus, while the Rose sprung
+from Adonis' blood&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0"><ins class="greek" title="aima rodon tiktei">&#7942;&#953;&#956;&#945; &#961;&#959;&#948;&#959;&#957; &#964;&#8055;&#954;&#964;&#949;&#953;</ins>. <ins class="greek" title="ta de dakrya tan anem&ocirc;nan">&#964;&#8049; &#948;&#8051; &#948;&#8049;&#954;&#961;&#965;&#945; &#964;&#8049;&#957; &#7936;&#957;&#949;&#956;&#8061;&#957;&#945;&#957;</ins>.<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Bion Idyll</i>, i, 66.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Wide as her lover's torrent blood appears<br /></span>
+<span class="i0i">So copious flowed the fountain of her tears;<br /></span>
+<span class="i0i">The Rose starts blushing from the sanguine dyes,<br /></span>
+<span class="i0i">And from her tears Anemones arise."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Polwhele's</span> <i>Translation</i>, 1786.</p>
+
+<p>But this legend was not followed by the other classical
+writers, who made the Anemone to be the flower of Adonis.
+Theocritus compares the Dog-rose (so called also in his day,
+<ins class="greek" title="kynosbatos">&#954;&#965;&#957;&#959;&#963;&#946;&#945;&#964;&#959;&#962;</ins>) and the Anemone with the Rose, and the Scholia
+<span class="pagenum"><a name="Page_15" id="Page_15"></a>[<a href="./images/15.png">15</a>]</span>comment on the passage thus&mdash;"Anemone, a scentless flower,
+which they report to have sprung from the blood of Adonis;
+and again Nicander says that the Anemone sprung from the
+blood of Adonis."</p>
+
+<p>The storehouse of our ancestors' pagan mythology was in
+Ovid, and his well-known lines are&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i3h">"Cum flos e sanguine concolor ortus</span><br />
+<span class="i0">Qualem, qu&aelig;; lento celant sub cortice granum</span><br />
+<span class="i0">Punica ferre solent; brevis est tamen usus in illis,</span><br />
+<span class="i0">Namque male h&aelig;rentem, et nimi&acirc; brevitate caducum</span><br />
+<span class="i0">Excutiunt idem qui pr&aelig;stant nomina, venti,"&mdash;</span><br />
+</div></div>
+
+<p>Thus translated by Golding in 1567, from whom it is very
+probable that Shakespeare obtained his information&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Of all one colour with the bloud, a flower she there did find,<br /></span>
+<span class="i0">Even like the flower of that same tree, whose fruit in tender rind<br /></span>
+<span class="i0">Have pleasant graines enclosede&mdash;howbeit the use of them is short,<br /></span>
+<span class="i0">For why, the leaves do hang so loose through lightnesse in such sort,<br /></span>
+<span class="i0">As that the windes that all things pierce<a name="FNanchor_15:1_17" id="FNanchor_15:1_17"></a><a href="#Footnote_15:1_17" class="fnanchor">[15:1]</a> with everie little blast<br /></span>
+<span class="i0">Do shake them off and shed them so as long they cannot last."<a name="FNanchor_15:2_18" id="FNanchor_15:2_18"></a><a href="#Footnote_15:2_18" class="fnanchor">[15:2]</a><br /></span>
+</div></div>
+
+<p>I feel sure that Shakespeare had some particular flower in
+view. Spenser only speaks of it as a flower, and gives no
+description&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"In which with cunning hand was pourtrahed<br /></span>
+<span class="i0i">The love of Venus and her Paramoure,<br /></span>
+<span class="i0i">The fayre Adonis, turned to a flowre."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, iii, 1, 34.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"When she saw no help might him restore<br /></span>
+<span class="i0i">Him to a dainty flowre she did transmew."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, iii, 1, 38.</p>
+
+<p>Ben Jonson similarly speaks of it as "Adonis' flower"
+(Pan's Anniversary), but with Shakespeare it is different; he
+describes the flower minutely, and as if it were a well-known
+flower, "purple chequered with white," and considering that
+<span class="pagenum"><a name="Page_16" id="Page_16"></a>[<a href="./images/16.png">16</a>]</span>in his day Anemone was supposed to be Adonis' flower
+(as it was described in 1647 by Alexander Ross in his
+"Mystagogus Poeticus," who says that Adonis "was by Venus
+turned into a red flower called Anemone"), and as I wish,
+if possible, to link the description to some special flower, I
+conclude that the evidence is in favour of the Anemone.
+Gerard's Anemone was certainly the same as ours, and the
+"purple" colour is no objection, for "purple" in Shakespeare's
+time had a very wide signification, meaning almost
+any bright colour, just as <i>purpureus</i> had in Latin,<a name="FNanchor_16:1_19" id="FNanchor_16:1_19"></a><a href="#Footnote_16:1_19" class="fnanchor">[16:1]</a> which
+had so wide a range that it was used on the one hand as
+the epithet of the blood and the poppy, and on the other as
+the epithet of the swan ("purpureis ales oloribus," Horace)
+and of a woman's white arms ("brachia purpurea candidiora
+nive," Albinovanus). Nor was "chequered" confined to
+square divisions, as it usually is now, but included spots of
+any size or shape.</p>
+
+<p>We have transferred the Greek name of Anemone to the
+English language, and we have further kept the Greek idea
+in the English form of "wind-flower." The name is explained
+by Pliny: "The flower hath the propertie to open
+but when the wind doth blow, wherefore it took the name
+Anemone in Greeke" ("Nat. Hist." xxi. 11, Holland's translation).
+This, however, is not the character of the Anemone
+as grown in English gardens; and so it is probable that the
+name has been transferred to a different plant than the
+classical one, and I think no suggestion more probable than
+Dr. Prior's that the classical Anemone was the Cistus, a
+shrub that is very abundant in the South of Europe; that
+certainly opens its flowers at other times than when the wind
+blows, and so will not well answer to Pliny's description,
+but of which the flowers are bright-coloured and most fugacious,
+and so will answer to Ovid's description. This
+fugacious character of the Anemone is perpetuated in Sir
+William Jones' lines ("Poet. Works," i, 254, ed. 1810)&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_17" id="Page_17"></a>[<a href="./images/17.png">17</a>]</span></p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Youth, like a thin Anemone, displays<br /></span>
+<span class="i0i">His silken leaf, and in a morn decays;"<br /></span>
+</div></div>
+
+<p>but the lines, though classical, are not true of the Anemone,
+though they would well apply to the Cistus.<a name="FNanchor_17:1_20" id="FNanchor_17:1_20"></a><a href="#Footnote_17:1_20" class="fnanchor">[17:1]</a></p>
+
+<p>Our English Anemones belong to a large family inhabiting
+cold and temperate regions, and numbering seventy species,
+of which three are British.<a name="FNanchor_17:2_21" id="FNanchor_17:2_21"></a><a href="#Footnote_17:2_21" class="fnanchor">[17:2]</a> These are A. Nemorosa, the
+common wood Anemone, the brightest spring ornament of
+our woods; A. Apennina, abundant in the South of Europe,
+and a doubtful British plant; and A. pulsatilla, the Passe, or
+Pasque flower, <i>i.e.</i>, the flower of Easter, one of the most
+beautiful of our British flowers, but only to be found on the
+chalk formation.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_15:1_17" id="Footnote_15:1_17"></a><a href="#FNanchor_15:1_17"><span class="label">[15:1]</span></a> Golding evidently adopted the reading "qui perflant omnia," instead
+of the reading now generally received, "qui pr&aelig;stant nomina."</p></div>
+
+<div class="footnote"><p><a name="Footnote_15:2_18" id="Footnote_15:2_18"></a><a href="#FNanchor_15:2_18"><span class="label">[15:2]</span></a> Gerard thought that Ovid's Anemone was the Venice Mallow&mdash;<i>Hibiscus
+trionum</i>&mdash;a handsome annual from the South of Europe.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16:1_19" id="Footnote_16:1_19"></a><a href="#FNanchor_16:1_19"><span class="label">[16:1]</span></a> In the "Nineteenth Century" for October, 1877, is an interesting
+article by Mr. Gladstone on the "colour-sense" in Homer, proving that
+Homer, and all nations in the earlier stages of their existence, have a
+very limited perception of colour, and a very limited and loosely applied
+nomenclature of colours. The same remark would certainly apply to the
+early English writers, not excluding Shakespeare.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17:1_20" id="Footnote_17:1_20"></a><a href="#FNanchor_17:1_20"><span class="label">[17:1]</span></a> Mr. Leo Grindon also identifies the classical Anemone with the
+Cistus. See a good account of it in "Gardener's Chronicle," June
+3, 1876.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17:2_21" id="Footnote_17:2_21"></a><a href="#FNanchor_17:2_21"><span class="label">[17:2]</span></a> The small yellow A. ranunculoides has been sometimes included
+among the British Anemones, but is now excluded. It is a rare plant,
+and an alien.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Apple" id="Apple"></a>APPLE.</h2>
+
+<table class="poetryt" summary="apple references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Sebastian.</i></td>
+  <td class="tdleft">I think he will carry this island home and give
+it his son for an Apple.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 1 (91).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_2" id="Apple_2"></a>2)</td>
+  <td class="tdleftt"><i>Malvolio.</i></td>
+  <td class="tdleft">Not yet old enough for a man, nor young enough
+for a boy; as a Squash is before 'tis a Peascod,
+or a Codling when 'tis almost an Apple.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act i, sc. 5 (165).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Antonio.</i></td>
+  <td class="tdleft">An Apple, cleft in two, is not more twin<br />
+    Than these two creatures.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act 5, sc. 1 (230).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Antonio.</i></td>
+  <td class="tdleft">An evil soul producing holy witness<br />
+    Is like a villain with a smiling cheek,<br />
+    A goodly Apple rotten at the heart.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act i, sc. 3 (100).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Tranio.</i></td>
+  <td class="tdleft">He in countenance somewhat doth resemble you.</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>Biondello.</i></td>
+  <td class="tdleft">As much as an Apple doth an oyster, and all one.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act iv, sc. 2 (100).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_18" id="Page_18"></a>[<a href="./images/18.png">18</a>]</span>(6)</td>
+  <td class="tdleftt"><i>Orleans.</i></td>
+  <td class="tdleft">Foolish curs, that run winking into the mouth
+of a Russian bear, and have their heads
+crushed like rotten Apples.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 7 (153).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Hortensio.</i></td>
+  <td class="tdleft">Faith, as you say, there's small choice in rotten
+Apples.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act i, sc. 1 (138).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Porter.</i></td>
+  <td class="tdleft">These are the youths that thunder at a playhouse,
+and fight for bitten Apples.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act v, sc. 4 (63).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_9" id="Apple_9"></a>9)</td>
+  <td class="tdleftt"><i>Song of Winter.</i></td>
+  <td class="tdleft">When roasted Crabs hiss in the bowl,<br />
+Then nightly sings the staring owl.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (935).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_10" id="Apple_10"></a>10)</td>
+  <td class="tdleftt"><i>Puck.</i></td>
+  <td class="tdleft">And sometime lurk I in a gossip's bowl<br />
+    In very likeness of a roasted Crab;<br />
+    And when she drinks, against her lips I bob,<br />
+    And on her wither'd dewlap pour the ale.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Fool.</i></td>
+  <td class="tdleft">Shal't see thy other daughter will use thee
+kindly; for though she's as like this as a Crab's
+like an Apple, yet I can tell what I can tell.</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>Lear.</i></td>
+  <td class="tdleft">Why, what can'st thou tell, my boy?</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>Fool.</i></td>
+  <td class="tdleft">She will taste as like this as a Crab does to a Crab.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act i, sc. 5 (14).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Caliban.</i></td>
+  <td class="tdleft">I prithee, let me bring thee where Crabs grow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 2 (171).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Petruchio.</i></td>
+  <td class="tdleft">Nay, come, Kate, come, you must not look so sour.</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>Katherine.</i></td>
+  <td class="tdleft">It is my fashion, when I see a Crab.</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>Petruchio.</i></td>
+  <td class="tdleft">Why, here's no Crab, and therefore look not
+sour.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act ii, sc. 1 (229).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Menonius.</i></td>
+  <td class="tdleft">We have some old Crab-trees here at home that will not<br />
+Be grafted to your relish.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act ii, sc. 1 (205).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Suffolk.</i></td>
+  <td class="tdleft"><span class="s13">Noble stock</span><br />
+Was graft with Crab-tree slip.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 2 (213).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Porter.</i></td>
+  <td class="tdleft">Fetch me a dozen Crab-tree staves, and strong
+ones.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act v, sc. 4 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_19" id="Page_19"></a>[<a href="./images/19.png">19</a>]</span>(<a name="Apple_17" id="Apple_17"></a>17)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">My skin hangs about me like an old lady's loose
+gown; I am withered like an old Apple-john.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 3 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_18" id="Apple_18"></a>18)</td>
+  <td class="tdleftt"><i>1st Drawer.</i></td>
+  <td class="tdleft">What the devil hast thou brought there?
+Apple-johns? Thou knowest Sir John cannot
+endure an Apple-john.</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>2nd Drawer.</i></td>
+  <td class="tdleft">Mass! thou sayest true; the prince once set a
+dish of Apple-johns before him, and told him
+there were five more Sir Johns; and putting
+off his hat, said, I will now take my leave of
+these six dry, round, old, withered knights.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 4 (1).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_19" id="Apple_19"></a>19)</td>
+  <td class="tdleftt"><i>Shallow.</i></td>
+  <td class="tdleft">Nay, you shall see my orchard, where, in an
+arbour, we will eat a last year's Pippin of my
+own graffing, with a dish of Caraways, and
+so forth.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>Davey.</i></td>
+  <td class="tdleft">There's a dish of Leather-coats for you.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 3 (1, 44).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(20)</td>
+  <td class="tdleftt"><i>Evans.</i></td>
+  <td class="tdleft">I pray you be gone; I will make an end of my
+dinner. There's Pippins and cheese to come.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act i, sc. 2 (11).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_21" id="Apple_21"></a>21)</td>
+  <td class="tdleftt"><i>Holofernes.</i></td>
+  <td class="tdleft">The deer was, as you know, <i>sanguis</i>, in blood;
+ripe as the Pomewater, who now hangeth
+like a jewel in the ear of <i>c&oelig;lo</i>&mdash;the sky, the
+welkin, the heaven; and anon falleth like a
+Crab on the face of <i>terra</i>&mdash;the soil, the land,
+the earth.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iv, sc. 2 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_22" id="Apple_22"></a>22)</td>
+  <td class="tdleftt"><i>Mercutio.</i></td>
+  <td class="tdleft">Thy wit is a very Bitter Sweeting; it is a most
+sharp sauce.</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft">And is it not well served in to a sweet goose?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 4 (83).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(23)</td>
+  <td class="tdleftt"><i>Petruchio.</i></td>
+  <td class="tdleft">What's this? A sleeve? 'Tis like a demi-cannon.<br />
+What! up and down, carved like an Apple-tart?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act iv, sc. 3 (88).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apple_24" id="Apple_24"></a>24)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">How like Eve's Apple doth thy beauty grow,<br />
+If thy sweet virtue answer not thy show!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> xciii.</td>
+</tr>
+</table>
+
+<p>Here Shakespeare names the Apple, the Crab, the Pippin,
+the Pomewater, the Apple-john, the Codling, the Caraway,
+the Leathercoat, and the Bitter-Sweeting. Of the Apple
+generally I need say nothing, except to notice that the name
+<span class="pagenum"><a name="Page_20" id="Page_20"></a>[<a href="./images/20.png">20</a>]</span>was not originally confined to the fruit now so called, but
+was a generic name applied to any fruit, as we still speak
+of the Love-apple, the Pine-apple,<a name="FNanchor_20:1_22" id="FNanchor_20:1_22"></a><a href="#Footnote_20:1_22" class="fnanchor">[20:1]</a> &amp;c. The Anglo-Saxon
+name for the Blackberry was the Bramble-apple; and Sir
+John Mandeville, in describing the Cedars of Lebanon,
+says: "And upon the hills growen Trees of Cedre, that
+ben fulle hye, and they beren longe Apples, and als grete as
+a man's heved"<a name="FNanchor_20:2_23" id="FNanchor_20:2_23"></a><a href="#Footnote_20:2_23" class="fnanchor">[20:2]</a> (cap. ix.). In the English Bible it is the
+same. The Apple is mentioned in a few places, but it is
+almost certain that it never means the Pyrus malus, but is
+either the Orange, Citron, or Quince, or is a general name
+for a tree fruit. So that when Shakespeare (<a href="#Apple_24">24</a>) and the
+other old writers speak of Eve's Apple, they do not necessarily
+assert that the fruit of the temptation was our Apple,
+but simply that it was some fruit that grew in Eden. The
+Apple (<i>pomum</i>) has left its mark in the language in the word
+"pomatum," which, originally an ointment made of Apples,
+is now an ointment in which Apples have no part.</p>
+
+<p>The Crab was held in far more esteem in the sixteenth
+century than it is with us. The roasted fruit served with hot
+ale (<a href="#Apple_9">9</a> and <a href="#Apple_10">10</a>) was a favourite Christmas dish, and even
+without ale the roasted Crab was a favourite, and this not for
+want of better fruit, for Gerard tells us that in his time "the
+stocke or kindred of Apples was infinite," but because they
+were considered pleasant food.<a name="FNanchor_20:3_24" id="FNanchor_20:3_24"></a><a href="#Footnote_20:3_24" class="fnanchor">[20:3]</a> Another curious use of
+Crabs is told in the description of Crab-wake, or "Crabbing
+the Parson," at Halesowen, Salop, on St. Kenelm's Day
+(July 17), in Brand's "Popular Antiquities" (vol. i. p. 342,
+Bohn's edition). Nor may we now despise the Crab tree,
+though we do not eat its fruit. Among our native trees
+there is none more beautiful than the Crab tree, both in
+flower and in fruit. An old Crab tree in full flower is a sight
+that will delight any artist, nor is it altogether useless; its
+wood is very hard and very lasting, and from its fruit
+<span class="pagenum"><a name="Page_21" id="Page_21"></a>[<a href="./images/21.png">21</a>]</span>verjuice is made, not, however, much in England, as I believe
+nearly all the verjuice now used is made in France.</p>
+
+<p>The Pippin, from being originally a general name for any
+Apple raised from pips and not from grafts, is now, and
+probably was in Shakespeare's time, confined to the bright-coloured,
+long-keeping Apples (Justice Shallow's was "last
+year's Pippin"), of which the Golden Pippin ("the Pippin
+burnished o'er with gold," Phillips) is the type.</p>
+
+<p>The Bitter-Sweeting (<a href="#Apple_22">22</a>) was an old and apparently a
+favourite Apple. It is frequently mentioned in the old
+writers, as by Gower, "Conf. Aman." viii. 174&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"For all such time of love is lore,<br /></span>
+<span class="i0i">And like unto the Bitter-swete,<a name="FNanchor_21:1_25" id="FNanchor_21:1_25"></a><a href="#Footnote_21:1_25" class="fnanchor">[21:1]</a><br /></span>
+<span class="i0i">For though it think a man fyrst swete<br /></span>
+<span class="i0i">He shall well felen at laste<br /></span>
+<span class="i2i">That it is sower."<br /></span>
+</div></div>
+
+<p>By Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Yet of that art they conne nought wexe sadde,<br /></span>
+<span class="i0i">For unto hem it is a Bitter Swete."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Prologue of the Chanoune's Yeman.</i></p>
+
+<p>And by Ben Jonson&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">That love's a Bitter-sweet I ne'er conceive<br /></span>
+<span class="i0i">Till the sour minute comes of taking leave,<br /></span>
+<span class="i0i">And then I taste it."<a name="FNanchor_21:2_26" id="FNanchor_21:2_26"></a><a href="#Footnote_21:2_26" class="fnanchor">[21:2]</a><br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Underwoods.</i></p>
+
+<p>Parkinson names it in his list of Apples, but soon dismisses
+it&mdash;"Twenty sorts of Sweetings, and none good." The
+name is now given to an Apple of no great value as a table
+fruit, but good as a cider apple, and for use in silk dyeing.</p>
+
+<p>It is not easy to identify the Pomewater (<a href="#Apple_21">21</a>). It was
+highly esteemed both by Shakespeare ("it hangeth like a
+jewel in the ear of <i>c&oelig;lo</i>") and many other writers. In
+Gerard's figure it looks like a Codling, and its Latin name
+is <i>Malus carbonaria</i>, which probably refers to its good
+qualities as a roasting Apple. The name Pomewater (or
+Water Apple) makes us expect a juicy but not a rich Apple,
+and with this agrees Parkinson's description: "The
+<span class="pagenum"><a name="Page_22" id="Page_22"></a>[<a href="./images/22.png">22</a>]</span>Pomewater is an excellent, good, and great whitish Apple, full of
+sap or moisture, somewhat pleasant sharp, but a little bitter
+withall; it will not last long, the winter frosts soon causing
+it to rot and perish." It must have been very like the
+modern Lord Suffield Apple, and though Parkinson says it
+will not last long, yet it is mentioned as lasting till the New
+Year in a tract entitled "Vox Graculi," 1623. Speaking of
+New Year's Day, the author says: "This day shall be given
+many more gifts than shall be asked for; and apples, egges,
+and oranges shall be lifted to a lofty rate; when a Pomewater
+bestuck with a few rotten cloves shall be worth more than
+the honesty of a hypocrite" (quoted by Brand, vol. i. 17,
+Bohn's edition).</p>
+
+<p>We have no such difficulty with the "dish of Apple-johns"
+(<a href="#Apple_17">17</a> and <a href="#Apple_18">18</a>). Hakluyt recommends "the Apple John that
+dureth two years to make show of our fruit" to be carried
+by voyagers.<a name="FNanchor_22:1_27" id="FNanchor_22:1_27"></a><a href="#Footnote_22:1_27" class="fnanchor">[22:1]</a> "The Deusan (<i>deux ans</i>) or Apple-john,"
+says Parkinson, "is a delicate fine fruit, well rellished when
+it beginneth to be fit to be eaten, and endureth good longer
+than any other Apple." With this description there is no
+difficulty in identifying the Apple-john with an Apple that
+goes under many names, and is figured by Maund as the
+Easter Pippin. When first picked it is of a deep green
+colour, and very hard. In this state it remains all the
+winter, and in April or May it becomes yellow and highly
+perfumed, and remains good either for cooking or dessert
+for many months.</p>
+
+<p>The Codling (<a href="#Apple_2">2</a>) is not the Apple now so called, but is the
+general name of a young unripe Apple.</p>
+
+<p>The "Leathercoats" (<a href="#Apple_19">19</a>) are the Brown Russets; and
+though the "dish of Caraways" in the same passage may
+refer to the Caraway or Caraway-russet Apple, an excellent
+little apple, that seems to be a variety of the Nonpareil, and
+has long been cultivated in England, yet it is almost certain
+that it means a dish of Caraway Seeds. (<i>See</i> <span class="smcap"><a href="#Carraways">Carraways</a></span>.)</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_20:1_22" id="Footnote_20:1_22"></a><a href="#FNanchor_20:1_22"><span class="label">[20:1]</span></a> See <span class="smcap"><a href="#Pine">Pine</a></span>, p. <a href="#Page_208">208</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20:2_23" id="Footnote_20:2_23"></a><a href="#FNanchor_20:2_23"><span class="label">[20:2]</span></a> "A peche appulle." "The appulys of a peche tre."&mdash;<i>Porkington
+MSS. in Early English Miscellany.</i> (Published by Warton Club.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_20:3_24" id="Footnote_20:3_24"></a><a href="#FNanchor_20:3_24"><span class="label">[20:3]</span></a> "As for Wildings and Crabs .&nbsp;.&nbsp;. their tast is well enough liked,
+and they carrie with them a quicke and a sharp smell; howbeit this gift
+they have for their harsh sournesse, that they have many a foule word
+and shrewd curse given them."&mdash;<span class="smcap">Philemon Holland's</span> <i>Pliny</i>, book
+xv. c. 14.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21:1_25" id="Footnote_21:1_25"></a><a href="#FNanchor_21:1_25"><span class="label">[21:1]</span></a> "Amor et melle et felle est fecundissimus."&mdash;<span class="smcap">Plautus.</span></p></div>
+
+<div class="footnote"><p><a name="Footnote_21:2_26" id="Footnote_21:2_26"></a><a href="#FNanchor_21:2_26"><span class="label">[21:2]</span></a> Juliet describes leave-taking in almost the same words&mdash;"Parting
+is such <i>sweet sorrow</i>."</p></div>
+
+<div class="footnote"><p><a name="Footnote_22:1_27" id="Footnote_22:1_27"></a><a href="#FNanchor_22:1_27"><span class="label">[22:1]</span></a> "Voyages," 1580, p. 466.</p></div>
+
+
+<p><span class="pagenum"><a name="Page_23" id="Page_23"></a>[<a href="./images/23.png">23</a>]</span></p>
+<hr style="width: 65%;" />
+<h2>APRICOTS.</h2>
+
+<table class="poetryt" summary="apricot references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Titania.</i></td>
+  <td class="tdleft">Be kind and courteous to this gentleman;<br />
+Hop in his walks, and gambol in his eyes;<br />
+Feed him with Apricocks and Dewberries,<br />
+With purple Grapes, green Figs, and Mulberries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (167).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apricot_2" id="Apricot_2"></a>2)</td>
+  <td class="tdleftt"><i>Gardener.</i></td>
+  <td class="tdleft">Go, bind thou up yon dangling Apricocks,
+Which, like unruly children, make their sire
+Stoop with oppression of their prodigal weight.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 4 (29).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Apricot_3" id="Apricot_3"></a>3)</td>
+  <td class="tdleftt"><i>Palamon.</i></td>
+  <td class="tdleft"> <span class="s13">Would I were,</span><br />
+For all the fortunes of my life hereafter,<br />
+Yon little tree, yon blooming Apricocke;<br />
+How I would spread and fling my wanton armes<br />
+In at her window! I would bring her fruit<br />
+Fit for the gods to feed on.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act ii, sc. 2 (291).</td>
+</tr>
+</table>
+
+<p>Shakespeare's spelling of the word "Apricocks" takes us
+at once to its derivation. It is derived undoubtedly from
+the Latin <i>pr&aelig;cox or pr&aelig;coquus</i>, under which name it is
+referred to by Pliny and Martial; but, before it became the
+English Apricot it was much changed by Italians, Spaniards,
+French, and Arabians. The history of the name is very
+curious and interesting, but too long to give fully here; a
+very good account of it may be found in Miller and in
+"Notes and Queries," vol. ii. p. 420 (1850). It will be
+sufficient to say here that it acquired its name of "the precocious
+tree," because it flowered and fruited earlier than
+the Peach, as explained in Lyte's "Herbal," 1578: "There
+be two kinds of Peaches, whereof the one kinde is late ripe,
+.&nbsp;.&nbsp;. the other kinds are soner ripe, wherefore they be called
+Abrecox or Aprecox." Of its introduction into England
+we have no very certain account. It was certainly grown in
+England before Turner's time (1548), though he says, "We
+have very few of these trees as yet;"<a name="FNanchor_23:1_28" id="FNanchor_23:1_28"></a><a href="#Footnote_23:1_28" class="fnanchor">[23:1]</a> but the only account
+of its introduction is by Hakluyt, who states that it was
+brought from Italy by one Wolf, gardener to King Henry
+the Eighth. If that be its true history, Shakespeare was in
+<span class="pagenum"><a name="Page_24" id="Page_24"></a>[<a href="./images/24.png">24</a>]</span>error in putting it into the garden of the queen of Richard
+the Second, nearly a hundred years before its introduction.<a name="FNanchor_24:1_29" id="FNanchor_24:1_29"></a><a href="#Footnote_24:1_29" class="fnanchor">[24:1]</a></p>
+
+<p>In Shakespeare's time the Apricot seems to have been
+grown as a standard; I gather this from the description in
+Nos. <a href="#Apricot_2">2</a> (see the entire passage s.v. "<a href="#Pruning">Pruning</a>" in Part II.)
+and <a href="#Apricot_3">3</a>, and from the following in Browne's "Britannia's
+Pastorals"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Or if from where he is<a name="FNanchor_24:2_30" id="FNanchor_24:2_30"></a><a href="#Footnote_24:2_30" class="fnanchor">[24:2]</a> he do espy<br /></span>
+<span class="i0i">Some Apricot upon a bough thereby<br /></span>
+<span class="i0i">Which overhangs the tree on which he stands,<br /></span>
+<span class="i0i">Climbs up, and strives to take them with his hands."<br /></span>
+</div></div>
+
+<p class="authorpoem">Book ii. Song 4.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_23:1_28" id="Footnote_23:1_28"></a><a href="#FNanchor_23:1_28"><span class="label">[23:1]</span></a> "Names of Herbes," s.v. Malus Armeniaca.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24:1_29" id="Footnote_24:1_29"></a><a href="#FNanchor_24:1_29"><span class="label">[24:1]</span></a> The Apricot has usually been supposed to have come from Armenia,
+but there is now little doubt that its original country is the Himalaya
+(M. Lavaillee).</p></div>
+
+<div class="footnote"><p><a name="Footnote_24:2_30" id="Footnote_24:2_30"></a><a href="#FNanchor_24:2_30"><span class="label">[24:2]</span></a> On a Cherry tree in an orchard.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>ASH.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Aufidius.</i></td>
+  <td class="tdleft"><span class="s19">Let me twine</span><br />
+Mine arms about that body, where against<br />
+My grained Ash an hundred times hath broke,<br />
+And starr'd the moon with splinters.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act iv, sc. 5 (112).</td>
+</tr>
+</table>
+
+<p>Warwickshire is more celebrated for its Oaks and Elms
+than for its Ash trees. Yet considering how common a
+tree the Ash is, and in what high estimation it was held by
+our ancestors, it is strange that it is only mentioned in this
+one passage. Spenser spoke of it as "the Ash for nothing
+ill;" it was "the husbandman's tree," from which he got
+the wood for his agricultural implements; and there was
+connected with it a great amount of mystic folk-lore, which
+was carried to its extreme limit in the Yggdrasil, or legendary
+Ash of Scandinavia, which was almost looked upon as the
+parent of Creation: a full account of this may be found in
+Mallet's "Northern Antiquities" and other works on Scandinavia.
+It is an English native tree,<a name="FNanchor_24:3_31" id="FNanchor_24:3_31"></a><a href="#Footnote_24:3_31" class="fnanchor">[24:3]</a> and it adds much to
+<span class="pagenum"><a name="Page_25" id="Page_25"></a>[<a href="./images/25.png">25</a>]</span>the beauty of any English landscape in which it is allowed
+to grow. It gives its name to many places, especially in the
+South, as Ashdown, Ashstead, Ashford, &amp;c.; but to see it
+in its full beauty it must be seen in our northern counties,
+though the finest in England is said to be at Woburn.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Oak, the Ash, and the Ivy tree,<br /></span>
+<span class="i0i">O, they flourished best at hame, in the north countrie."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Old Ballad.</i></p>
+
+<p>In the dales of Yorkshire it is especially beautiful, and
+any one who sees the fine old trees in Wharfdale and Wensleydale
+will confess that, though it may not have the rich
+luxuriance of the Oaks and Elms of the southern and midland
+counties, yet it has a grace and beauty that are all its
+own, so that we scarcely wonder that Gilpin called it "the
+Venus of the woods."</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_24:3_31" id="Footnote_24:3_31"></a><a href="#FNanchor_24:3_31"><span class="label">[24:3]</span></a> It is called in the "Promptorium Parvulorum" "Esche," and the
+seed vessels "Esche key."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>ASPEN.</h2>
+
+<table class="poetryt" summary="aspen references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Marcus.</i></td>
+  <td class="tdleft">O, had the monster seen those lily hands<br />
+Tremble, like Aspen leaves, upon a lute.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act 2, sc. 4 (44).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Hostess.</i></td>
+  <td class="tdleft">Feel, masters, how I shake.&nbsp;.&nbsp;.&nbsp;.&nbsp;. Yea, in
+very truth do I an 'twere an Aspen leaf.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 4 (114).</td>
+</tr>
+</table>
+
+<p>The Aspen or Aspe<a name="FNanchor_25:1_32" id="FNanchor_25:1_32"></a><a href="#Footnote_25:1_32" class="fnanchor">[25:1]</a> (<i>Populus tremula</i>) is one of our three
+native Poplars, and has ever been the emblem of enforced
+restlessness, on account of which it had in Anglo-Saxon
+times the expressive name of quick-beam. How this perpetual
+motion in the "light quivering Aspen" is produced
+has not been quite satisfactorily explained; and the medi&aelig;val
+legend that it supplied the wood of the Cross, and has
+never since ceased to tremble, is still told as a sufficient
+reason both in Scotland and England.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i7">"Oh! a cause more deep,<br /></span>
+<span class="i0">More solemn far the rustic doth assign,<br /></span>
+<span class="i0">To the strange restlessness of those wan leaves;<br /></span>
+<span class="pagenum"><a name="Page_26" id="Page_26"></a>[<a href="./images/26.png">26</a>]</span>
+<span class="i0">The cross, he deems, the blessed cross, whereon<br /></span>
+<span class="i0">The meek Redeemer bowed His head to death,<br /></span>
+<span class="i0">Was formed of Aspen wood; and since that hour<br /></span>
+<span class="i0">Through all its race the pale tree hath sent down<br /></span>
+<span class="i0">A thrilling consciousness, a secret awe,<br /></span>
+<span class="i0">Making them tremulous, when not a breeze<br /></span>
+<span class="i0">Disturbs the airy thistle-down, or shakes<br /></span>
+<span class="i0">The light lines of the shining gossamer."<br /></span>
+</div></div>
+
+<p class="authorscpoem">Mrs. Hemans.</p>
+
+<p>The Aspen has an interesting botanical history, as being
+undoubtedly, like the Scotch fir, one of the prim&aelig;val trees
+of Europe; while its grey bark and leaves and its pleasant
+rustling sound make the tree acceptable in our hedgerows,
+but otherwise it is not a tree of much use. In Spenser's
+time it was considered "good for staves;" and before his
+time the tree must have been more valued than it is now,
+for in the reign of Henry V. an Act of Parliament was passed
+(4 Henry V. c. 3) to prevent the consumption of Aspe,
+otherwise than for the making of arrows, with a penalty of
+an Hundred Shillings if used for making pattens or clogs.
+This Act remained in force till the reign of James I., when
+it was repealed. In our own time the wood is valued for
+internal panelling of rooms, and is used in the manufacture
+of gunpowder.</p>
+
+<p>By the older writers the Aspen was the favourite simile for
+female loquacity. The rude libel is given at full length in
+"The Schoole-house of Women" (511-545), concluding
+thus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Aspin lefe hanging where it be,<br /></span>
+<span class="i0i">With little winde or none it shaketh;<br /></span>
+<span class="i0i">A woman's tung in like wise taketh<br /></span>
+<span class="i0i">Little ease and little rest;<br /></span>
+<span class="i0i">For if it should the hart would brest."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Hazlitt's</span> <i>Popular English Poetry</i>, vol. iv, p. 126.</p>
+
+<p>And to the same effect Gerard concludes his account of the
+tree thus: "In English Aspe and Aspen tree, and may also
+be called Tremble, after the French name, considering it is
+the matter whereof women's tongues were made (as the
+poets and some others report), which seldom cease wagging."</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_25:1_32" id="Footnote_25:1_32"></a><a href="#FNanchor_25:1_32"><span class="label">[25:1]</span></a> "Espe" in "Promptorium Parvulorum." "Aspen" is the case-ending
+of "Aspe."</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_27" id="Page_27"></a>[<a href="./images/27.png">27</a>]</span></p>
+<h2>BACHELOR'S BUTTON.</h2>
+
+<table class="poetryt" summary="bachelor's button reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Hostess.</i></td>
+  <td class="tdleft">What say you to young Master Fenton? he capers,
+he dances, he has eyes of youth, he writes verses, he
+speaks holiday, he smells April and May; he will
+carry't, he will carry't; 'tis in his Buttons; he will
+carry't.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act iii, sc. 2 (67).</td>
+</tr>
+</table>
+
+<p>"Though the Bachelor's Button is not exactly named by
+Shakespeare, it is believed to be alluded to in this passage;
+and the supposed allusion is to a rustic divination by means
+of the flowers, carried in the pocket by men and under the
+apron by women, as it was supposed to retain or lose its
+freshness according to the good or bad success of the
+bearer's amatory prospects."<a name="FNanchor_27:1_33" id="FNanchor_27:1_33"></a><a href="#Footnote_27:1_33" class="fnanchor">[27:1]</a></p>
+
+<p>The true Bachelor's Button of the present day is the
+double Ranunculus acris, but the name is applied very
+loosely to almost any small double globular flowers. In
+Shakespeare's time it was probably applied still more loosely
+to any flowers in bud (according to the derivation from the
+French <i>bouton</i>). Button is frequently so applied by the
+old writers&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The more desire had I to goo<br /></span>
+<span class="i0i">Unto the roser where that grewe</span><br />
+<span class="i0i">The freshe Bothum so bright of hewe.</span><br />
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">But o thing lyked me right welle;</span><br />
+<span class="i0i">I was so nygh, I myght fele</span><br />
+<span class="i0i">Of the Bothom the swote odour</span><br />
+<span class="i0i">And also see the fresshe colour;</span><br />
+<span class="i0i">And that right gretly liked me."</span><br />
+</div></div>
+
+<p class="authorpoem"><i>Romaunt of the Rose.</i></p>
+
+<p>And by Shakespeare&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">The canker galls the infants of the Spring<br /></span>
+<span class="i0">Too oft before their Buttons be disclosed.<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Hamlet</i>, act i, sc. 3 (54).</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_27:1_33" id="Footnote_27:1_33"></a><a href="#FNanchor_27:1_33"><span class="label">[27:1]</span></a> Mr. J. Fitchett Marsh, of Hardwicke House, Chepstow, in "The
+Garden." I have to thank Mr. Marsh for much information kindly given
+both in "The Garden" and by letter.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_28" id="Page_28"></a>[<a href="./images/28.png">28</a>]</span></p>
+<h2>BALM, BALSAM, OR BALSAMUM.</h2>
+
+<table class="poetryt" summary="balsam references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>K. Richard.</i></td>
+  <td class="tdleft">Not all the water in the rough rude sea<br />
+Can wash the Balm from an anointed king.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 2 (54).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>K. Richard.</i></td>
+  <td class="tdleft">With mine own tears I wash away my Balm.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (207).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">'Tis not the Balm, the sceptre, and the ball.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iv, sc. 1 (277).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">Thy place is fill'd, thy sceptre wrung from thee,<br />
+Thy Balm wash'd off, wherewith thou wast anointed.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act iii, sc. 1 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">My pity hath been Balm to heal their wounds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 8 (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Lady Anne.</i></td>
+  <td class="tdleft">I pour the helpless Balm of my poor eyes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act i, sc. 2 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Troilus.</i></td>
+  <td class="tdleft">But, saying thus, instead of oil and Balm,<br />
+Thou lay'st in every gash that love hath given me<br />
+The knife that made it.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act i, sc. 1 (61).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>1st Senator.</i></td>
+  <td class="tdleft">We sent to thee, to give thy rages Balm.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act v, sc. 4 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>France.</i></td>
+  <td class="tdleft"><span class="s10">Balm of your age,</span><br />
+Most best, most dearest.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act i, sc. 1 (218).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">Let all the tears that should bedew my hearse<br />
+Be drops of Balm to sanctify thy head.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act iv, sc. 5 (114).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Mowbray.</i></td>
+  <td class="tdleft">I am disgraced, impeach'd, and baffled here:<br />
+Pierced to the soul with slander's venom'd spear;<br />
+The which no Balm can cure, but his heart-blood<br />
+Which breathed this poison.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act i, sc. 1 (170).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Dromio of Syracuse.</i></td>
+  <td class="tdleft"><span class="s15">Our fraughtage, Sir,</span><br />
+I have conveyed aboard, and I have bought<br />
+The oil, the Balsamum, and aqua vit&aelig;.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act iv, sc. 1 (187).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Alcibiades.</i></td>
+  <td class="tdleft">Is this the Balsam that the usuring Senate<br />
+Pours into captains' wounds?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iii, sc. 5 (110).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_29" id="Page_29"></a>[<a href="./images/29.png">29</a>]</span>(14)</td>
+  <td class="tdleftt"><i>Macbeth.</i></td>
+  <td class="tdleft">Sleep that knits up the ravell'd sleave of care,<br />
+The death of each day's life, sore labour's bath,<br />
+Balm of hurt minds, great Nature's second course,<br />
+Chief nourisher in life's feast.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act ii, sc. 2 (37).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Balsam_15" id="Balsam_15"></a>15)</td>
+  <td class="tdleftt"><i>Quickly.</i></td>
+  <td class="tdleft">The several chairs of order look you scour<br />
+With juice of Balm and every precious flower.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act v, sc. 5 (65).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Balsam_16" id="Balsam_16"></a>16)</td>
+  <td class="tdleftt"><i>Cleopatra.</i></td>
+  <td class="tdleft">As sweet as Balm, as soft as air, as gentle.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act v, sc. 2 (314).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">And trembling in her passion, calls it Balm,<br />
+Earth's sovereign salve to do a goddess good.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (27).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">And drop sweet Balm in Priam's painted wound.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (1466).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(19)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">With the drops of this most balmy time<br />
+My love looks fresh.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> cvii.</td>
+</tr>
+</table>
+
+<p>In all these passages, except the two last, the reference is
+to the Balm or Balsam which was imported from the East,
+from very early times, and was highly valued for its curative
+properties. The origin of Balsam was for a long time a
+secret, but it is now known to have been the produce of
+several gum-bearing trees, especially the Pistacia lentiscus
+and the Balsamodendron Gileadense; and now, as then,
+the name is not strictly confined to the produce of any one
+plant. But in Nos. <a href="#Balsam_15">15</a> and <a href="#Balsam_16">16</a> the reference is no doubt to
+the Sweet Balm of the English gardens (<i>Melissa officinalis</i>),
+a plant highly prized by our ancestors for its medicinal
+qualities (now known to be of little value), and still valued
+for its pleasant scent and its high value as a bee plant, which
+is shown by its old Greek and Latin names, Melissa, Mellissophyllum,
+and Apiastrum. The Bastard Balm (<i>Melittis melissophyllum</i>)
+is a handsome native plant, found sparingly in
+Devonshire, Hampshire, and a few other places, and is well
+worth growing wherever it can be induced to grow; but it is
+a very capricious plant, and is apparently not fond of garden
+cultivation. "Tr&egrave;s jolie plante, mais d'une culture difficile"
+(Vilmorin). It probably would thrive best in the shade, as
+it is found in copses.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_30" id="Page_30"></a>[<a href="./images/30.png">30</a>]</span></p>
+<h2>BARLEY.</h2>
+
+<table class="poetryt" summary="barley references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Ceres, most bounteous lady, thy rich leas<br />
+Of Wheat, Rye, Barley, Vetches, Oats, and Pease.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Barley_2" id="Barley_2"></a>2)</td>
+  <td class="tdleftt"><i>Constable.</i></td>
+  <td class="tdleft"><span class="s14">Can sodden water,</span><br />
+A drench for surrein'd jades, their Barley broth,<br />
+Decoct their cold blood to such valiant heat?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 5 (18).<a name="FNanchor_30:1_34" id="FNanchor_30:1_34"></a><a href="#Footnote_30:1_34" class="fnanchor">[30:1]</a></td>
+</tr>
+</table>
+
+<p>These two passages require little note. The Barley (<i>Hordeum
+vulgare</i>) of Shakespeare's time and our own is the same.
+We may note, however, that the Barley broth (<a href="#Barley_2">2</a>) of which
+the French Constable spoke so contemptuously as the food
+of English soldiers was probably beer, which long before the
+time of Henry V. was so celebrated that it gave its name to
+the plant (Barley being simply the Beer-plant), and in
+Shakespeare's time, "though strangers never heard of such
+a word or such a thing, by reason it is not everyewhere
+made," yet "our London Beere-Brewers would scorne to
+learne to make beere of either French or Dutch" (Gerard).</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_30:1_34" id="Footnote_30:1_34"></a><a href="#FNanchor_30:1_34"><span class="label">[30:1]</span></a> "Vires ordea prestant."&mdash;<i>Modus Cenandi</i>, 176. ("Babee's Book.")</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>BARNACLES.</h2>
+
+<table class="poetryt" summary="barnacle reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Caliban.</i></td>
+  <td class="tdleftt"><span class="s11">We shall lose our time</span><br />
+And all be turn'd to Barnacles.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (248).</td>
+</tr>
+</table>
+
+<p>It may seem absurd to include Barnacles among plants;
+but in the time of Shakespeare the Barnacle tree was firmly
+believed in, and Gerard gives a plate of "the Goose tree,
+Barnacle tree, or the tree bearing Geese," and says that he
+declares "what our eies have seene, and our hands have
+touched."</p>
+
+<p>A full account of the fable will be found in Harting's
+"Ornithology of Shakespeare," p. 247, and an excellent account
+in Lee's "Sea Fables Explained" (Fisheries Exhibition
+handbooks), p. 98. But neither of these writers have quoted
+<span class="pagenum"><a name="Page_31" id="Page_31"></a>[<a href="./images/31.png">31</a>]</span>the testimony of Sir John Mandeville, which is, however,
+well worth notice. When he was told in "Caldilhe" of
+a tree that bore "a lytylle Best in Flessche in Bon and
+Blode as though it were a lytylle Lomb, withouten Wolle,"
+he did not refuse to believe them, for he says, "I tolde hem
+of als gret a marveylle to hem that is amonges us; and that
+was of the Bernakes. For I tolde hem, that in our Contree
+weren Trees, that beren a Fruyt, that becomen Briddes
+fleeynge; and tho that fallen in the Water lyven, and thei
+that fallen on the Erthe dyen anon; and thei ben right gode
+to mannes mete. And here of had thei als gret marvaylle
+that sume of hem trowed, it were an impossible thing to be"
+("Voiage and Travaille," c. xxvi.).</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Bay" id="Bay"></a>BAY TREES.</h2>
+
+<table class="poetryt" summary="bay tree references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Captain.</i></td>
+  <td class="tdleft">'Tis thought the King is dead; we will not stay.<br />
+The Bay-trees in our country are all wither'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act ii, sc. 4 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Bawd.</i></td>
+  <td class="tdleft">Marry come up, my dish of chastity with Rosemary and Bays!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act iv, sc. 6 (159).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft"><i>The Vision</i>&mdash;Enter, solemnly tripping one after another, six
+personages, clad in white robes, wearing on their
+heads garlands of Bays, and golden vizards on
+their faces, branches of Bays or Palms in their
+hands.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act iv, sc. 2</td>
+</tr>
+</table>
+
+<p>It is not easy to determine what tree is meant in these
+passages. In the first there is little doubt that Shakespeare
+copied from some Italian source the superstition that the
+Bay trees in a country withered and died when any great
+calamity was approaching. We have no proof that such an
+idea ever prevailed in England. In the second passage
+reference is made to the decking of the chief dish at high
+feasts with garlands of flowers and evergreens. But the Bay
+tree had been too recently introduced from the South of
+Europe in Shakespeare's time to be so used to any great
+extent, though the tree was known long before, for it is mentioned
+in the Anglo-Saxon Vocabularies by the name of
+<span class="pagenum"><a name="Page_32" id="Page_32"></a>[<a href="./images/32.png">32</a>]</span>Beay-beam, that is, the Coronet tree;<a name="FNanchor_32:1_35" id="FNanchor_32:1_35"></a><a href="#Footnote_32:1_35" class="fnanchor">[32:1]</a> but whether the Beay-beam
+meant our Bay tree is very uncertain. We are not
+much helped in the inquiry by the notice of the "flourishing
+green Bay tree" in the Psalms, for it seems very certain that
+the Bay tree there mentioned is either the Oleander or the
+Cedar, certainly not the Laurus nobilis.</p>
+
+<p>The true Bay is probably mentioned by Spenser in the
+following lines&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Bay, quoth she, is of the victours born,<br /></span>
+<span class="i0i">Yielded them by the vanquisht as theyr meeds,<br /></span>
+<span class="i0i">And they therewith doe Poetes heads adorne<br /></span>
+<span class="i0i">To sing the glory of their famous deeds."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Amoretti</i>&mdash;Sonnet xxix.</p>
+
+<p>And in the following passage (written in the lifetime
+of Shakespeare) the Laurel and the Bay are both named as
+the same tree&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And when from Daphne's tree he plucks more Baies<br /></span>
+<span class="i0i">His shepherd's pipe may chant more heavenly lays."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Christopher Brooke</i>&mdash;<i>Introd. verses to</i> <span class="smcap">Browne's</span> <i>Pastorals.</i></p>
+
+<p>In the present day no garden of shrubs can be considered
+complete without the Bay tree, both the common one and
+especially the Californian Bay (<i>Oreodaphne Californica</i>),
+which, with its bright green lanceolate foliage and powerful
+aromatic scent (to some too pungent), deserves a place
+everywhere, and it is not so liable to be cut by the spring
+winds as the European Bay.<a name="FNanchor_32:2_36" id="FNanchor_32:2_36"></a><a href="#Footnote_32:2_36" class="fnanchor">[32:2]</a> Parkinson's high praise of
+the Bay tree (forty years after Shakespeare's death) is too
+long for insertion, but two short sentences may be quoted:
+"The Bay leaves are of as necessary use as any other in
+the garden or orchard, for they serve both for pleasure and
+profit, both for ornament and for use, both for honest civil
+<span class="pagenum"><a name="Page_33" id="Page_33"></a>[<a href="./images/33.png">33</a>]</span>uses and for physic, yea, both for the sick and for the sound,
+both for the living and for the dead; .&nbsp;.&nbsp;. so that from the
+cradle to the grave we have still use of it, we have still need
+of it."</p>
+
+<p>The Bay tree gives us a curious instance of the capriciousness
+of English plant names. Though a true Laurel
+it does not bear the name, which yet is given to two trees,
+the common (and Portugal) Laurel, and the Laurestinus,
+neither of which are Laurels&mdash;the one being a Cherry or
+Plum (<i>Prunus</i> or <i>Cerasus</i>), the other a Guelder Rose
+(<i>Viburnum</i>).<a name="FNanchor_33:1_37" id="FNanchor_33:1_37"></a><a href="#Footnote_33:1_37" class="fnanchor">[33:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_32:1_35" id="Footnote_32:1_35"></a><a href="#FNanchor_32:1_35"><span class="label">[32:1]</span></a> "The Anglo-Saxon Beay was not a ring only, or an armlet: it was
+also a coronet or diadem.&nbsp;.&nbsp;.&nbsp;. The Bays, then, of our Poets and the
+Bay tree were in reality the Coronet and the Coronet tree."&mdash;<span class="smcap">Cockayne</span>,
+<i>Spoon and Sparrow</i>, p. 21.</p></div>
+
+<div class="footnote"><p><a name="Footnote_32:2_36" id="Footnote_32:2_36"></a><a href="#FNanchor_32:2_36"><span class="label">[32:2]</span></a> The Californian Bay has not been established in England long
+enough to form a timber tree, but in America it is highly prized as one
+of the very best trees for cabinet work, especially for the ornamental
+parts of pianos.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33:1_37" id="Footnote_33:1_37"></a><a href="#FNanchor_33:1_37"><span class="label">[33:1]</span></a> For an interesting account of the Bay and the Laurels, giving the
+history of the names, &amp;c., see two papers by Mr. H. Evershed in
+"Gardener's Chronicle," September, 1876.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Beans" id="Beans"></a>BEANS.</h2>
+
+<table class="poetryt" summary="bean references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Puck.</i></td>
+  <td class="tdleft">When I a fat and Bean-fed horse beguile.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (45).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Carrier.</i></td>
+  <td class="tdleft">Peas and Beans are as dank here as a dog; and
+  that is the next way to give poor jades the bots.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 1 (9).</td>
+</tr>
+</table>
+
+<p>The Bean (<i>Faba vulgaris</i>), though an Eastern plant, was
+very early introduced into England as an article of food
+both for men and horses. As an article of human food
+opinions were divided, as now. By some it was highly
+esteemed&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Corpus alit Faba; stringit cum cortice ventrem,<br /></span>
+<span class="i0i">Desiccat fleuma, stomacum lumenque relidit"&mdash;<br /></span>
+</div></div>
+
+<p>is the description of the Bean in the "Modus Cenandi,"
+l. 182 ("Babee's Book," ii, 48). While H. Vaughan describes
+it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8">"The Bean<br /></span>
+<span class="i0">By curious pallats never sought;"<br /></span>
+</div></div>
+
+<p>and it was very generally used as a proverb of contempt&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_34" id="Page_34"></a>[<a href="./images/34.png">34</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"None other lif, sayd he, is worth a Bene."<a name="FNanchor_34:1_38" id="FNanchor_34:1_38"></a><a href="#Footnote_34:1_38" class="fnanchor">[34:1]</a><br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"But natheles I reche not a Bene."<a name="FNanchor_34:2_39" id="FNanchor_34:2_39"></a><a href="#Footnote_34:2_39" class="fnanchor">[34:2]</a><br /></span>
+</div></div>
+
+<p>It is not apparently a romantic plant, and yet there is no
+plant round which so much curious folk lore has gathered.
+This may be seen at full length in Phillips' "History of
+Cultivated Vegetables." It will be enough here to say
+that the Bean was considered as a sacred plant both by the
+Greeks and Romans, while by the Egyptian priests it was
+considered too unclean to be even looked upon; that it
+was used both for its convenient shape and for its sacred
+associations in all elections by ballot; that this custom
+lasted in England and in most Europeans countries to a
+very recent date in the election of the kings and queens at
+Twelfth Night and other feasts; and that it was of great
+repute in all popular divinations and love charms. I find
+in Miller another use of Beans, which we are thankful to
+note among the obsolete uses: "They are bought up in
+great quantities at Bristol for Guinea ships, as food for the
+negroes on their passage from Africa to the West Indies."</p>
+
+<p>As an ornamental garden plant the Bean has never
+received the attention it seems to deserve. A plant of
+Broad Beans grown singly is quite a stately plant, and the
+rich scent is an additional attraction to many, though to
+many others it is too strong, and it has a bad character&mdash;"Sleep
+in a Bean-field all night if you want to have awful
+dreams or go crazy," is a Leicestershire proverb:<a name="FNanchor_34:3_40" id="FNanchor_34:3_40"></a><a href="#Footnote_34:3_40" class="fnanchor">[34:3]</a> and the
+Scarlet Runner (which is also a Bean) is one of the most
+beautiful climbers we have. In England we seldom grow it
+for ornament, but in France I have seen it used with excellent
+effect to cover a trellis-screen, mixed with the large blue
+Convolvulus major.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_34:1_38" id="Footnote_34:1_38"></a><a href="#FNanchor_34:1_38"><span class="label">[34:1]</span></a> Chaucer, "The Marchandes Tale," 19.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34:2_39" id="Footnote_34:2_39"></a><a href="#FNanchor_34:2_39"><span class="label">[34:2]</span></a> Ibid., "The Man of Lawes Tale," prologue.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34:3_40" id="Footnote_34:3_40"></a><a href="#FNanchor_34:3_40"><span class="label">[34:3]</span></a> Copied from the medi&aelig;val proverb: "Cum faba florescit,
+stultorum copia crescit."</p></div>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_35" id="Page_35"></a>[<a href="./images/35.png">35</a>]</span></p>
+<h2>BILBERRY.</h2>
+
+<table class="poetryt" summary="bilberry reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Pistol.</i></td>
+  <td class="tdleft">Where fires thou find'st unraked and hearths unswept,<br />
+There pinch the maids as blue as Bilberry&mdash;<br />
+Our radiant Queen hates sluts and sluttery.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act v, sc. 5 (48).</td>
+</tr>
+</table>
+
+<p>The Bilberry is a common British shrub found on all
+mossy heaths, and very pretty both in flower and in fruit.
+Its older English name was Heathberry, and its botanical
+name is Vaccinium myrtillus. We have in Britain four
+species of Vaccinium: the Whortleberry or Bilberry (<i>V.
+myrtillus</i>), the Large Bilberry (<i>V. uliginosum</i>), the Crowberry
+(<i>V. vitis id&aelig;a</i>), and the Cranberry (<i>V. oxycoccos</i>). These
+British species, as well as the North American species (of
+which there are several), are all beautiful little shrubs in
+cultivation, but they are very difficult to grow; they require
+a heathy soil, moisture, and partial shade.</p>
+
+
+<hr style="width: 65%;" />
+<h2>BIRCH.</h2>
+
+<table class="poetryt" summary="birch reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Duke.</i></td>
+  <td class="tdleft"><span class="s21">Fond fathers,</span><br />
+Having bound up the threatening twigs of Birch,<br />
+Only to stick it in their children's sight<br />
+For terror, not to use, in time the rod<br />
+Becomes more mock'd than fear'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act i, sc. 3 (23).</td>
+</tr>
+</table>
+
+<p>Shakespeare only mentions this one unpleasant use of
+the Birch tree, the manufacture of Birch rods; and for
+such it seems to have been chiefly valued in his day. "I
+have not red of any vertue it hath in physick," says Turner;
+"howbeit, it serveth for many good uses, and for none
+better than for betynge of stubborn boys, that either lye
+or will not learn." Yet the Birch is not without interest.
+The word "Birch" is the same as "bark," meaning first
+the rind of a tree and then a barque or boat (from which
+we also get our word "barge"), and so the very name carries
+us to those early times when the Birch was considered one
+<span class="pagenum"><a name="Page_36" id="Page_36"></a>[<a href="./images/36.png">36</a>]</span>of the most useful of trees, as it still is in most northern
+countries, where it grows at a higher degree of latitude than
+any other tree. Its bark was especially useful, being useful
+for cordage, and matting, and roofing, while the tree itself
+formed the early British canoes, as it still forms the canoes
+of the North American Indians, for which it is well suited,
+from its lightness and ease in working.</p>
+
+<p>In Northern Europe it is the most universal and the most
+useful of trees. It is "the superlative tree in respect of the
+ground it covers, and in the variety of purposes to which it
+is converted in Lapland, where the natives sit in birchen
+huts on birchen chairs, wearing birchen boots and breeches,
+with caps and capes of the same material, warming themselves
+by fires of birchwood charcoal, reading books bound
+in birch, and eating herrings from a birchen platter, pickled
+in a birchen cask. Their baskets, boats, harness, and
+utensils are all of Birch; in short, from cradle to coffin, the
+Birch forms the peculiar environment of the Laplander."<a name="FNanchor_36:1_41" id="FNanchor_36:1_41"></a><a href="#Footnote_36:1_41" class="fnanchor">[36:1]</a>
+In England we still admire its graceful beauty, whether it
+grows in our woods or our gardens, and we welcome its
+pleasant odour on our Russia leather bound books; but we
+have ceased to make beer from its young shoots,<a name="FNanchor_36:2_42" id="FNanchor_36:2_42"></a><a href="#Footnote_36:2_42" class="fnanchor">[36:2]</a> and we
+hold it in almost as low repute (from the utilitarian point of
+view) as Turner and Shakespeare seem to have held it.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_36:1_41" id="Footnote_36:1_41"></a><a href="#FNanchor_36:1_41"><span class="label">[36:1]</span></a> "Gardener's Chronicle."</p></div>
+
+<div class="footnote"><p><a name="Footnote_36:2_42" id="Footnote_36:2_42"></a><a href="#FNanchor_36:2_42"><span class="label">[36:2]</span></a> "Although beer is now seldom made from birchen twigs, yet it is
+by no means an uncommon practice in some country districts to tap
+the white trunks of Birches, and collect the sweet sap which exudes
+from them for wine-making purposes. In some parts of Leicestershire
+this sap is collected in large quantities every spring, and birch wine, when
+well made, is a wholesome and by no means an unpleasant beverage."&mdash;B.
+in <i>The Garden</i>, April, 1877. "The Finlanders substitute the leaves
+of Birch for those of the tea-plant; the Swedes extract a syrup from the
+sap, from which they make a spirituous liquor. In London they make
+champagne of it. The most virtuous uses to which it is applied are
+brooms and wooden shoes."&mdash;<i>A Tour Round My Garden</i>, Letter xix.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>BITTER-SWEET, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <a href="#Apple_22"><span class="smcap">Apple</span> (22)</a>.</h2>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_37" id="Page_37"></a>[<a href="./images/37.png">37</a>]</span></p>
+<h2><a name="Blackberries" id="Blackberries"></a>BLACKBERRIES.</h2>
+
+<table class="poetryt" summary="blackberry references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Falstaff.</i></td>
+  <td class="tdleft">Give you a reason on compulsion!&mdash;if reasons
+were as plentiful as Blackberries, I would give
+no man a reason upon compulsion, I.<a name="FNanchor_37:1_43" id="FNanchor_37:1_43"></a><a href="#Footnote_37:1_43" class="fnanchor">[37:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 4 (263).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">Shall the blessed sun of heaven prove a micher
+and eat Blackberries?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (450).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Thersites.</i></td>
+  <td class="tdleft">That same dog-fox Ulysses is not proved worth
+a Blackberry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act v, sc. 4 (12).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">There is a man .&nbsp;.&nbsp;.&nbsp;. hangs odes upon Hawthorns
+and elegies on Brambles.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like it</i>, act iii, sc. 2 (379).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The thorny Brambles and embracing bushes,<br />
+As fearful of him, part, through whom he rushes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (629).</td>
+</tr>
+</table>
+
+<p>I here join together the tree and the fruit, the Bramble
+(<i>Rubus fruticosus</i>) and the Blackberry. There is not much
+to be said for a plant that is the proverbial type of a barren
+country or untidy cultivation, yet the Bramble and the Blackberry
+have their charms, and we could ill afford to lose them
+from our hedgerows. The name Bramble originally meant
+anything thorny, and Chaucer applied it to the Dog Rose&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"He was chaste and no lechour,<br /></span>
+<span class="i0i">And sweet as is the Bramble flower<br /></span>
+<span class="i1i">That bereth the red hepe."<br /></span>
+</div></div>
+
+<p>But in Shakespeare's time it was evidently confined to the
+Blackberry-bearing Bramble.</p>
+
+<p>There is a quaint legend of the origin of the plant which
+is worth repeating. It is thus pleasantly told by Waterton:
+"The cormorant was once a wool merchant. He entered
+into partnership with the Bramble and the bat, and they
+freighted a large ship with wool; she was wrecked, and the
+firm became bankrupt. Since that disaster the bat skulks
+about till midnight to avoid his creditors, the cormorant is
+for ever diving into the deep to discover its foundered
+<span class="pagenum"><a name="Page_38" id="Page_38"></a>[<a href="./images/38.png">38</a>]</span>vessel, while the Bramble seizes hold of every passing sheep
+to make up his loss by stealing the wool."</p>
+
+<p>As a garden plant, the common Bramble had better be
+kept out of the garden, but there are double pink and
+white-blossomed varieties, and others with variegated leaves,
+that are handsome plants on rough rockwork. The little
+Rubus saxatilis is a small British Bramble that is pretty on
+rockwork, and among the foreign Brambles there are some
+that should on no account be omitted where ornamental
+shrubs are grown. Such are the R. leucodermis from
+Nepaul, with its bright silvery bark and amber-coloured
+fruit; R. Nootkanus, with very handsome foliage, and
+pure white rose-like flowers; R. Arcticus, an excellent rockwork
+plant from Northern Europe, with very pleasant fruit,
+but difficult to establish; R. Australis (from New Zealand), a
+most quaint plant, with leaves so depauperated that it is
+apparently leafless, and hardy in the South of England; and
+R. deliciosus, a very handsome plant from the Rocky Mountains.
+There are several others well worth growing, but I
+mention these few to show that the Bramble is not altogether
+such a villainous and useless weed as it is proverbially
+supposed to be.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_37:1_43" id="Footnote_37:1_43"></a><a href="#FNanchor_37:1_43"><span class="label">[37:1]</span></a> <i>See</i> <span class="smcap"><a href="#Raisins">Raisins</a></span>, p. <a href="#Page_238">238</a>.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>BOX.</h2>
+
+<table class="poetryt" summary="box tree reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Maria.</i></td>
+  <td class="tdleft">Get ye all three into the Box tree.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act ii, sc. 5 (18).</td>
+</tr>
+</table>
+
+<p>The Box is a native British tree, and in the sixteenth
+century was probably much more abundant as a wild tree
+than it is now. Chaucer notes it as a dismal tree. He
+describes Palamon in his misery as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4h">"Like was he to byholde,<br /></span>
+<span class="i0">The Boxe tree or the Asschen deed and colde."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Knightes Tale.</i></p>
+
+<p>Spenser noted it as "The Box yet mindful of his olde
+offence," and in Shakespeare's time there were probably more
+woods of Box in England than the two which still remain
+<span class="pagenum"><a name="Page_39" id="Page_39"></a>[<a href="./images/39.png">39</a>]</span>at Box Hill, in Surrey, and Boxwell, in Gloucestershire.
+The name remains, though the trees are gone, in Box in
+Wilts, Boxgrove, Boxley, Boxmoor, Boxted, and Boxworth.<a name="FNanchor_39:1_44" id="FNanchor_39:1_44"></a><a href="#Footnote_39:1_44" class="fnanchor">[39:1]</a>
+From its wild quarters the Box tree was very early brought
+into gardens, and was especially valued, not only for its rich
+evergreen colour, but because, with the Yew, it could be
+cut and tortured into all the ungainly shapes which so delighted
+our ancestors in Shakespeare's time, though one of
+the most illustrious of them, Lord Bacon, entered his protest
+against such barbarisms: "I, for my part, do not like
+images cut out in Juniper or other garden stuff; they be for
+children" ("Essay of Gardens").</p>
+
+<p>The chief use of the Box now is for blocks for wood-carving,
+for which its close grain makes it the most suitable
+of all woods.<a name="FNanchor_39:2_45" id="FNanchor_39:2_45"></a><a href="#Footnote_39:2_45" class="fnanchor">[39:2]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_39:1_44" id="Footnote_39:1_44"></a><a href="#FNanchor_39:1_44"><span class="label">[39:1]</span></a> In Boxford, and perhaps in some of the other names, the word has
+no connection with the tree, but marks the presence of water or a
+stream.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39:2_45" id="Footnote_39:2_45"></a><a href="#FNanchor_39:2_45"><span class="label">[39:2]</span></a> In some parts of Europe almost a sacred character is given to the
+Box. For a curious record of blessing the Box, and of a sermon on the
+lessons taught by the Box, see "Gardener's Chronicle," April 19, 1873.</p></div>
+
+<hr style="width: 65%;" />
+<h2><a name="Bramble" id="Bramble"></a>BRAMBLE, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Blackberries">Blackberries</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Brier" id="Brier"></a>BRIER.</h2>
+
+<table class="poetryt" summary="brier references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ariel.</i></td>
+  <td class="tdleft"><span class="s8">So I charm'd their ears,</span><br />
+That calf-like they my lowing follow'd through<br />
+Tooth'd Briers, sharp Furzes, pricking Goss, and Thorns.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (178).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Fairy.</i></td>
+  <td class="tdleft">Over hill, over dale,<br />
+Thorough Bush, thorough Brier.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (2).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Thisbe.</i></td>
+  <td class="tdleft">Of colour like the red Rose on triumphant Brier.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 1 (90).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_40" id="Page_40"></a>[<a href="./images/40.png">40</a>]</span>(4)</td>
+  <td class="tdleftt"><i>Puck.</i></td>
+  <td class="tdleft">I'll lead you about a round,<br />
+Through bog, through bush, through Brake, through Brier.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (10).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Puck.</i></td>
+  <td class="tdleft">For Briers and Thorns at their apparel snatch.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 2 (29).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Hermia.</i></td>
+  <td class="tdleft"><span class="s4">Never so weary, never so in woe,</span><br />
+Bedabbled with the dew and torn with Briers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 2 (443).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Oberon.</i></td>
+  <td class="tdleft">Every elf and fairy sprite<br />
+Hop as light as bird from Brier.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 1 (400).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Adriana.</i></td>
+  <td class="tdleft">If aught possess thee from me, it is dross,<br />
+Usurping Ivy, Brier, or idle Moss.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act ii, sc. 2 (179).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Brier_9" id="Brier_9"></a>9)</td>
+  <td class="tdleftt"><i>Plantagenet.</i></td>
+  <td class="tdleft">From off this Brier pluck a white Rose with me.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 4 (30).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">O! how full of Briers is this working-day world!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act i, sc. 3 (12).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Brier_11" id="Brier_11"></a>11)</td>
+  <td class="tdleftt"><i>Helena.</i></td>
+  <td class="tdleft"><span class="s2">The time will bring on summer,</span><br />
+When Briers shall have leaves as well as Thorns,<br />
+And be as sweet as sharp.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well</i>, act iv, sc. 4 (32).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Polyxenes.</i></td>
+  <td class="tdleft">I'll have thy beauty scratched with Briers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (436).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">The Oaks bear mast, the Briers scarlet hips.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (422).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Coriolanus.</i></td>
+  <td class="tdleft"><span class="s6">Scratches with Briers,</span><br />
+Scars to move laughter only.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act iii, sc. 3 (51).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Quintus.</i></td>
+  <td class="tdleft"><span class="s8">What subtle hole is this,</span><br />
+Whose mouth is cover'd with rude-growing Briers?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act iii, sc. 3 (198).</td>
+</tr>
+</table>
+
+<p>In Shakespeare's time the "Brier" was not restricted
+to the Sweet Briar, as it usually is now; but it meant any
+sort of wild Rose, and even it would seem from No. <a href="#Brier_9">9</a> that
+it was applied to the cultivated Rose, for there the scene is
+laid in the Temple Gardens. In some of the passages it
+probably does not allude to any Rose, but simply to any
+<span class="pagenum"><a name="Page_41" id="Page_41"></a>[<a href="./images/41.png">41</a>]</span>wild thorny plant. That this was its common use then, we
+know from many examples. In "Le Morte Arthur," the
+Earl of Ascolot's daughter is described&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Hyr Rode was rede as blossom or Brere<br /></span>
+<span class="i0i">Or floure that springith in the felde" (179).<br /></span>
+</div></div>
+
+<p>And in "A Pleasant New Court Song," in the Roxburghe
+Ballads&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I stept me close aside<br /></span>
+<span class="i0i">Under a Hawthorn Bryer."<br /></span>
+</div></div>
+
+<p>It bears the same meaning in our Bibles, where "Thorns,"
+"Brambles," and "Briers," stand for any thorny and useless
+plant, the soil of Palestine being especially productive
+of thorny plants of many kinds. Wickliffe's translation of
+Matthew vii. 16, is&mdash;"Whether men gaderen grapis of
+thornes; or figis of Breris?" and Tyndale's translation is
+much the same&mdash;"Do men gaddre grapes of thornes, or
+figges of Bryeres?"<a name="FNanchor_41:1_46" id="FNanchor_41:1_46"></a><a href="#Footnote_41:1_46" class="fnanchor">[41:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_41:1_46" id="Footnote_41:1_46"></a><a href="#FNanchor_41:1_46"><span class="label">[41:1]</span></a> "Brere&mdash;Carduus, tribulus, vepres, veprecula."&mdash;<i>Catholicon
+Anglicum.</i></p></div>
+
+
+<hr style="width: 65%;" />
+<h2>BROOM.</h2>
+
+<table class="poetryt" summary="broom references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Broom_1" id="Broom_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft"><span class="s6">And thy Broom groves,</span><br />
+Whose shadow the dismissed bachelor loves,<br />
+Being lass-lorn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (66).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Broom_2" id="Broom_2"></a>2)</td>
+  <td class="tdleftt"><i>Puck.</i></td>
+  <td class="tdleft">I am sent with Broom before<br />
+To sweep the dust behind the door.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act v, sc. 1 (396).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Broom_3" id="Broom_3"></a>3)</td>
+  <td class="tdleftt"><i>Man.</i></td>
+  <td class="tdleft">I made good my place; at length they came to
+the Broomstaff with me.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act v, sc. 4 (56).</td>
+</tr>
+</table>
+
+<p>The Broom was one of the most popular plants of the
+Middle Ages. Its modern Latin name is <i>Cytisus scoparius</i>,
+but under its then Latin name of <i>Planta genista</i> it gave its
+name to the Plantagenet family, either in the time of Henry
+II., as generally reported, or probably still earlier. As the
+<span class="pagenum"><a name="Page_42" id="Page_42"></a>[<a href="./images/42.png">42</a>]</span>favourite badge of the family it appears on their monuments
+and portraits, and was embroidered on their clothes
+and imitated in their jewels. Nor was it only in England
+that the plant was held in such high favour; it was the
+special flower of the Scotch, and it was highly esteemed in
+many countries on the Continent, especially in Brittany.
+Yet, in spite of all this, there are only these three notices of
+the plant in Shakespeare, and of those three, two (<a href="#Broom_2">2</a> and <a href="#Broom_3">3</a>)
+refer to its uses when dead; and the third (<a href="#Broom_1">1</a>), though it
+speaks of it as living, yet has nothing to say of the remarkable
+beauties of this favourite British flower. Yet it has
+great beauties which cannot easily be overlooked. Its
+large, yellow flowers, its graceful habit of growth, and its
+fragrance&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sweet is the Broome-flowre, but yet sowre enough"&mdash;<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Spenser</span>, <i>Sonnet</i> xxvi.</p>
+
+<p>at once arrest the attention of the most careless observer of
+Nature. We are almost driven to the conclusion that
+Shakespeare could not have had much real acquaintance
+with the Broom, or he would not have sent his "dismissed
+bachelor" to "Broom-groves."<a name="FNanchor_42:1_47" id="FNanchor_42:1_47"></a><a href="#Footnote_42:1_47" class="fnanchor">[42:1]</a> I should very much doubt
+that the Broom could ever attain to the dimensions of a
+grove, though Steevens has a note on the passage that
+"near Gamlingay, in Cambridgeshire, it grows high enough
+to conceal the tallest cattle as they pass through it; and in
+places where it is cultivated still higher." Chaucer speaks
+of the Broom, but does not make it so much of a tree&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Amid the Broom he basked in the sun."<br /></span>
+</div></div>
+
+<p>And other poets have spoken of the Broom in the same
+way&mdash;thus Collins&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"When Dan Sol to slope his wheels began<br /></span>
+<span class="i0i">Amid the Broom he basked him on the ground."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Castle of Indolence</i>, canto i.</p>
+
+<p>And a Russian poet speaks of the Broom as a tree&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_43" id="Page_43"></a>[<a href="./images/43.png">43</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"See there upon the Broom tree's bough<br /></span>
+<span class="i0i">The young grey eagle flapping now."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Flora Domestica</i>, p. 68.</p>
+
+<p>As a garden plant it is perhaps seen to best advantage
+when mixed with other shrubs, as when grown quite by
+itself it often has an untidy look. There is a pure white
+variety which is very beautiful, but it is very liable to flower
+so abundantly as to flower itself to death. There are a few
+other sorts, but none more beautiful than the British.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_42:1_47" id="Footnote_42:1_47"></a><a href="#FNanchor_42:1_47"><span class="label">[42:1]</span></a> Yet Bromsgrove must be a corruption of Broom-grove, and there
+are other places in England named from the Broom.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Bulrush" id="Bulrush"></a>BULRUSH.</h2>
+
+<table class="poetryt" summary="bulrush reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Wooer.</i></td>
+  <td class="tdleft"><span class="s10">Her careless tresses</span><br />
+A wreake of Bulrush rounded.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 1 (104).</td>
+</tr>
+</table>
+
+<p class="center"><i>See</i> <span class="smcap"><a href="#Rush">Rush</a></span>, p. <a href="#Page_262">262</a>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>BURDOCK AND BURS.</h2>
+
+<table class="poetryt" summary="burdock and bur references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Celia.</i></td>
+  <td class="tdleft">They are but Burs, cousin, thrown upon thee in
+holiday foolery; if we walk not in the trodden
+paths our very petticoats will catch them.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">I could shake them off my coat; these Burs are in
+my heart.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act i, sc. 3 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Lucio.</i></td>
+  <td class="tdleft">Nay, friar, I am a kind of Bur; I shall stick.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iv, sc. 3 (149).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Lysander.</i></td>
+  <td class="tdleft">Hang oft, thou cat, thou Burr.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 2 (260).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Pandarus.</i></td>
+  <td class="tdleft">They are Burs, I can tell you; they'll stick
+where they are thrown.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act iii, sc. 2 (118).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Burgundy.</i></td>
+  <td class="tdleft"><span class="s10">And nothing teems</span><br />
+But hateful Docks, rough Thistles, Kecksies, Burs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (51).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_44" id="Page_44"></a>[<a href="./images/44.png">44</a>]</span>(6)</td>
+  <td class="tdleftt"><i>Cordelia.</i></td>
+  <td class="tdleft">Crown'd with rank Fumiter and Furrow-weeds,<br />
+With Burdocks, Hemlock, Nettles, Cuckoo-flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 4 (3).</td>
+</tr>
+</table>
+
+<p>The Burs are the unopened flowers of the Burdock
+(<i>Arctium lappa</i>), and their clinging quality very early obtained
+for them expressive names, such as <i>amor folia</i>, love
+leaves, and philantropium. This clinging quality arises
+from the bracts of the involucrum being long and stiff, and
+with hooked tips which attach themselves to every passing
+object. The Burdock is a very handsome plant when seen
+in its native habitat by the side of a brook, its broad leaves
+being most picturesque, but it is not a plant to introduce
+into a garden.<a name="FNanchor_44:1_48" id="FNanchor_44:1_48"></a><a href="#Footnote_44:1_48" class="fnanchor">[44:1]</a> There is another tribe of plants, however,
+which are sufficiently ornamental to merit a place in the
+garden, and whose Burs are even more clinging than those
+of the Burdock. These are the Ac&aelig;nas; they are mostly
+natives of America and New Zealand, and some of
+them (especially A. sarmentosa and A. microphylla) form
+excellent carpet plants, but their points being furnished with
+double hooks, like a double-barbed arrow, they have double
+powers of clinging.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_44:1_48" id="Footnote_44:1_48"></a><a href="#FNanchor_44:1_48"><span class="label">[44:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">A Clote-leef he had under his hood<br /></span>
+<span class="i0i">For swoot, and to keep his heed from hete."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Chaucer</span>, <i>Prologue of the Chanounes Yeman</i> (25).</p>
+
+<p>This Clote leaf is by many considered to be the Burdock leaf, but it
+was more probably the name of the Water-lily.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Burnet" id="Burnet"></a>BURNET.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Burgundy.</i></td>
+  <td class="tdleft">The even mead, that erst brought sweetly forth<br />
+The freckled Cowslip, Burnet, and green Clover.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V.</i> act v, sc. 2 (48).</td>
+</tr>
+</table>
+
+<p>The Burnet (<i>Poterium sanguisorba</i>) is a native plant of
+no great beauty or horticultural interest, but it was valued
+as a good salad plant, the leaves tasting of Cucumber, and
+Lord Bacon (contemporary with Shakespeare) seems to have
+been especially fond of it. He says ("Essay of Gardens"):</p>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45"></a>[<a href="./images/45.png">45</a>]</span>
+"Those flowers which perfume the air most delightfully, not
+passed by as the rest, but being trodden upon and crushed,
+are three&mdash;that is, Burnet, Wild Thyme, and Water Mints;
+therefore you are to set whole alleys of them, to have the
+pleasure when you walk or tread." Drayton had the same
+affection for it&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Burnet shall bear up with this,<br /></span>
+<span class="i0i">Whose leaf I greatly fancy."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Nymphal V.</i></p>
+
+<p>It also was, and still is, valued as a forage plant that will
+grow and keep fresh all the winter in dry barren pastures,
+thus often giving food for sheep when other food was
+scarce. It has occasionally been cultivated, but the result
+has not been very satisfactory, except on very poor land,
+though, according to the Woburn experiments, as reported
+by Sinclair, it contains a larger amount of nutritive matter
+in the spring than most of the Grasses. It has brown
+flowers, from which it is supposed to derive its name
+(Brunetto).<a name="FNanchor_45:1_49" id="FNanchor_45:1_49"></a><a href="#Footnote_45:1_49" class="fnanchor">[45:1]</a></p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_45:1_49" id="Footnote_45:1_49"></a><a href="#FNanchor_45:1_49"><span class="label">[45:1]</span></a> "Burnet colowre, Burnetum, burnetus."&mdash;<i>Promptorium Parvulorum.</i></p></div>
+
+
+<hr style="width: 65%;" />
+<h2>CABBAGE.</h2>
+
+<table class="poetryt" summary="cabbage reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Evans.</i></td>
+  <td class="tdleft"><i>Pauca verba</i>, Sir John; good worts.</td>
+</tr>
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Falstaff.</i></td>
+  <td class="tdleft">Good worts! good Cabbage.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act i, sc. 1 (123).</td>
+</tr>
+</table>
+
+<p>The history of the name is rather curious. It comes to
+us from the French <i>Chou cabus</i>, which is the French corruption
+of <i>Caulis capitatus</i>, the name by which Pliny described
+it.</p>
+
+<p>The Cabbage of Shakespeare's time was essentially the
+same as ours, and from the contemporary accounts it seems
+that the sorts cultivated were as good and as numerous as
+they are now. The cultivated Cabbage is the same specifically
+as the wild Cabbage of our sea-shores (<i>Brassica
+oleracea</i>) improved by cultivation. Within the last few
+years the Cabbage has been brought from the kitchen garden
+<span class="pagenum"><a name="Page_46" id="Page_46"></a>[<a href="./images/46.png">46</a>]</span>into the flower garden on account of the beautiful
+variegation of its leaves. This, however, is no novelty, for
+Parkinson said of the many sorts of Cabbage in his day:
+"There is greater diversity in the form and colour of the
+leaves of this plant than there is in any other that I know
+groweth on the ground.&nbsp;.&nbsp;.&nbsp;. Many of them being of no
+use with us for the table, but for delight to behold the
+wonderful variety of the works of God herein."</p>
+
+
+<hr style="width: 65%;" />
+<h2>CAMOMILE.</h2>
+
+<table class="poetryt" summary="camomile reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Falstaff.</i></td>
+  <td class="tdleft">Though the Camomile, the more it is trodden on the
+faster it grows, yet youth, the more it is wasted the
+sooner it wears.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 4 (443).</td>
+</tr>
+</table>
+
+<p>The low-growing Camomile, the emblem of the sweetness
+of humility, has the lofty names of Camomile (<i>Cham&aelig;melum</i>,
+<i>i.e.</i>, Apple of the Earth) and Anthemis nobilis. Its
+fine aromatic scent and bitter flavour suggested that it must
+be possessed of much medicinal virtue, while its low growth
+made it suitable for planting on the edges of flower-beds and
+paths, its scent being brought out as it was walked upon.
+For this purpose it was much used in Elizabethan gardens;
+"large walks, broad and long, close and open, like the
+Tempe groves in Thessaly, raised with gravel and sand,
+having seats and banks of Camomile; all this delights the
+mind, and brings health to the body."<a name="FNanchor_46:1_50" id="FNanchor_46:1_50"></a><a href="#Footnote_46:1_50" class="fnanchor">[46:1]</a> As a garden flower
+it is now little used, though its bright starry flower and fine
+scent might recommend it; but it is still to be found in herb
+gardens, and is still, though not so much as formerly, used
+as a medicine.</p>
+
+<p>Like many other low plants, the Camomile is improved
+by being pressed into the earth by rolling or otherwise, and
+there are many allusions to this in the old writers: thus
+Lily in his "Euphues" says: "The Camomile the more it
+<span class="pagenum"><a name="Page_47" id="Page_47"></a>[<a href="./images/47.png">47</a>]</span>is trodden and pressed down, the more it spreadeth;" and
+in the play, "The More the Merrier" (1608), we have&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Camomile shall teach thee patience<br /></span>
+<span class="i0i">Which riseth best when trodden most upon."<br /></span>
+</div></div>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_46:1_50" id="Footnote_46:1_50"></a><a href="#FNanchor_46:1_50"><span class="label">[46:1]</span></a> Lawson, "New Orchard," p. 54.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>CARDUUS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Holy_Thistle">Holy Thistle</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Carnations" id="Carnations"></a>CARNATIONS.</h2>
+
+<table class="poetryt" summary="carnation references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft">The fairest flowers o' the season<br />
+Are our Carnations and streak'd Gillyvors,<br />
+Which some call Nature's bastards.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (81).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Polyxenes.</i></td>
+  <td class="tdleft">Then make your garden rich in Gillyvors,<br />
+And do not call them bastards.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (98).</td>
+</tr>
+</table>
+
+<p>There are two other places in which Carnation is mentioned,
+but they refer to carnation colour&mdash;<i>i.e.</i>, to pure flesh
+colour.</p>
+
+<table class="poetryt" summary="more carnation references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(3)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Quickly.</i></td>
+  <td class="tdleft">'A could never abide Carnation; 'twas a colour
+he never liked.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act ii, sc. 3 (35).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Costard.</i></td>
+  <td class="tdleft">Pray you, sir, how much Carnation riband may a
+man buy for a remuneration?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iii, sc. 1 (146).</td>
+</tr>
+</table>
+
+<p>Dr. Johnson and others have supposed that the flower is
+so named from the colour, but that this is a mistake is made
+very clear by Dr. Prior. He quotes Spenser's "Shepherd's
+Calendar"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Bring Coronations and Sops-in-Wine<br /></span>
+<span class="i0i">Worn of Paramours."<br /></span>
+</div></div>
+
+<p>and so it is spelled in Lyte's "Herbal," 1578, coronations
+or cornations. This takes us at once to the origin of the
+name. The plant was one of those used in garlands (<i>coron&aelig;</i>),
+<span class="pagenum"><a name="Page_48" id="Page_48"></a>[<a href="./images/48.png">48</a>]</span>and was probably one of the most favourite plants used
+for that purpose, for which it was well suited by its shape
+and beauty. Pliny gives a long list of garland flowers
+(<i>Coronamentorum genera</i>) used by the Romans and Athenians,
+and Nicander gives similar lists of Greek garland
+plants (<ins class="greek" title="stephan&ocirc;matika anth&ecirc;">&#963;&#964;&#949;&#966;&#945;&#957;&#969;&#956;&#945;&#964;&#953;&#954;&#8048; &#7940;&#957;&#952;&#951;</ins>), in which the Carnation holds so
+high a place that it was called by the name it still has&mdash;Dianthus,
+or Flower of Jove.</p>
+
+<p>Its second specific name, Caryophyllus&mdash;<i>i.e.</i>, Nut-leaved&mdash;seems
+at first very inappropriate for a grassy leaved plant,
+but the name was first given to the Indian Clove-tree, and
+from it transferred to the Carnation, on account of its fine
+clove-like scent. Its popularity as an English plant is shown
+by its many names&mdash;Pink, Carnation, Gilliflower<a name="FNanchor_48:1_51" id="FNanchor_48:1_51"></a><a href="#Footnote_48:1_51" class="fnanchor">[48:1]</a> (an
+easily-traced and well-ascertained corruption from Caryophyllus),
+Clove, Picotee,<a name="FNanchor_48:2_52" id="FNanchor_48:2_52"></a><a href="#Footnote_48:2_52" class="fnanchor">[48:2]</a> and Sops-in-Wine, from the
+flowers being used to flavour wine and beer.<a name="FNanchor_48:3_53" id="FNanchor_48:3_53"></a><a href="#Footnote_48:3_53" class="fnanchor">[48:3]</a> There is an
+historical interest also in the flowers. All our Carnations,
+Picotees, and Cloves come originally from the single Dianthus
+caryophyllus; this is not a true British plant, but it
+holds a place in the English flora, being naturalized on
+Rochester and other castles. It is abundant in Normandy,
+and I found it (in 1874) covering the old castle of Falaise
+in which William the Conqueror was born. Since that I
+have found that it grows on the old castles of Dover, Deal,
+and Cardiff, all of them of Norman construction, as was
+<span class="pagenum"><a name="Page_49" id="Page_49"></a>[<a href="./images/49.png">49</a>]</span>Rochester, which was built by Gundulf, the special friend of
+William. Its occurrence on these several Norman castles
+make it very possible that it was introduced by the Norman
+builders, perhaps as a pleasant memory of their Norman
+homes, though it may have been accidentally introduced
+with the Normandy (Caen) stone, of which parts of the
+castles are built. How soon it became a florist's flower we
+do not know, but it must have been early, as in Shakespeare's
+time the sorts of Cloves, Carnations, and Pinks
+were so many that Gerard says: "A great and large volume
+would not suffice to write of every one at large in particular,
+considering how infinite they are, and how every yeare,
+every clymate and countrey, bringeth forth new sorts, and
+such as have not heretofore bin written of;" and so we may
+certainly say now&mdash;the description of the many kinds of
+Carnations and Picotees, with directions for their culture,
+would fill a volume.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_48:1_51" id="Footnote_48:1_51"></a><a href="#FNanchor_48:1_51"><span class="label">[48:1]</span></a> This is the more modern way of spelling it. In the first folio it is
+"Gillyvor." "Chaucer writes it Gylofre, but by associating it with the
+the Nutmeg and other spices, appears to mean the Clove Tree, which is,
+in fact, the proper signification."&mdash;<i>Flora Domestica.</i> In the "Digby
+Mysteries" (Mary Magdalene, l. 1363) the Virgin Mary is addressed as
+"the Jentyll Jelopher."</p></div>
+
+<div class="footnote"><p><a name="Footnote_48:2_52" id="Footnote_48:2_52"></a><a href="#FNanchor_48:2_52"><span class="label">[48:2]</span></a> Picotee is from the French word <i>picot&eacute;</i> marked with little
+pricks round the edge, like the "picots," on lace, <i>picot</i> being the
+technical term in France for the small twirls which in England are
+called "purl" or "pearl."</p></div>
+
+<div class="footnote"><p><a name="Footnote_48:3_53" id="Footnote_48:3_53"></a><a href="#FNanchor_48:3_53"><span class="label">[48:3]</span></a> Wine thus flavoured was evidently a very favourite beverage.
+"Bartholemeus Peytevyn tenet duas Caracutas terr&aelig; in Stony-Aston in
+Com. Somerset de Domino Rege in capite per servitium unius<a name="FNanchor_48-A_54" id="FNanchor_48-A_54"></a><a href="#Footnote_48-A_54" class="fnanchor">[48-a]</a>
+Sextarii vini Gariophilati reddendi Domino Regi per annum ad Natale
+Domini. Et valet dicta terra per ann. <i>xl.</i>"</p></div>
+
+<div class="footnote"><p><a name="Footnote_48-A_54" id="Footnote_48-A_54"></a><a href="#FNanchor_48-A_54"><span class="label">[48-a]</span></a> "A Sextary of July-flower wine, and a Sextary contained about
+a pint and a half, sometimes more."&mdash;<span class="smcap">Blount's</span> <i>Antient Tenures</i>.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Carraways" id="Carraways"></a>CARRAWAYS.</h2>
+
+<table class="poetryt" summary="carraway reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Shallow.</i></td>
+  <td class="tdleftt">Nay, you shall see my orchard, where, in an arbour
+we will eat a last year's Pippin of my own graffing,
+with a dish of Caraways and so forth.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act v, sc. 3 (1).</td>
+</tr>
+</table>
+
+<p>Carraways are the fruit of Carum carui, an umbelliferous
+plant of a large geographical range, cultivated in the eastern
+counties, and apparently wild in other parts of England,
+but not considered a true native. In Shakespeare's time the
+seed was very popular, and was much more freely used than
+in our day. "The seed," says Parkinson, "is much used
+to be put among baked fruit, or into bread, cakes, &amp;c., to
+give them a rellish. It is also made into comfits and put
+into Trageas or (as we call them in English) Dredges, that
+are taken for cold or wind in the body, as also are served
+to the table with fruit."</p>
+
+<p>Carraways are frequently mentioned in the old writers as
+an accompaniment to Apples. In a very interesting bill of
+fare of 1626, extracted from the account book of Sir Edward
+Dering, is the following&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_50" id="Page_50"></a>[<a href="./images/50.png">50</a>]</span></p>
+
+<div style="margin-left: 5%;">
+<p>"Carowaye and comfites, 6d.</p>
+
+<p style="font-size: 150%; font-weight: bold;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.<br />
+
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.</p>
+
+<p><span style="padding-left: .5em;">A Warden py that the cooke</span><br />
+<span style="padding-left: .5em;">Made&mdash;we fining y<sup>e</sup> Wardens. 2s. 4d.</span></p>
+
+<p style="font-size: 150%; font-weight: bold;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.</p>
+
+<p><span style="padding-left: 2.5em;">Second Course.</span></p>
+
+<p style="font-size: 150%; font-weight: bold;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.</p>
+
+<p><span style="padding-left: .5em;">A cold Warden pie.</span></p>
+
+<p style="font-size: 150%; font-weight: bold;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;.</p>
+
+<p><span style="padding-left: 2.5em;">Complement.</span><br />
+<span style="padding-left: .5em;">Apples and Carrawayes."&mdash;<i>Notes and Queries</i>, i, 99.</span></p>
+</div>
+
+<p>So in Russell's "Book of Nurture:" "After mete .&nbsp;.&nbsp;.
+pepyns Careaway in comfyte," line 78, and the same in line
+714; and in Wynkyn de Worde's "Boke of Kervynge"
+("Babee's Book," p. 266 and 271), and in F. Seager's
+"Schoole of Vertue" ("Babee's Book," p. 343)&mdash;</p>
+
+<div class="centered">
+<table summary="cheese with fruit and carroways" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdleft">"Then cheese with fruite</td>
+  <td class="tdleft">On the table set,</td>
+</tr>
+<tr>
+  <td class="tdleft"><span style="padding-left: .5em; padding-right: 2em;">With Bisketes or Carowayes&nbsp;</span></td>
+  <td class="tdleft">As you may get."</td>
+</tr>
+</table>
+</div>
+
+<p>The custom of serving roast Apples with a little saucerful
+of Carraway is still kept up at Trinity College, Cambridge,
+and, I believe, at some of the London Livery dinners.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CARROT.</h2>
+
+<table class="poetryt" summary="carrot reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Evans.</i></td>
+  <td class="tdleft">Remember, William, focative is <i>caret</i>,</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Quickly.</i></td>
+  <td class="tdleft">And that's a good root.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act iv, sc. 1 (55).</td>
+</tr>
+</table>
+
+<p>Dame Quickly's pun gives us our Carrot, a plant which,
+originally derived from our wild Carrot (<i>Daucus Carota</i>), was
+introduced as a useful vegetable by the Flemings in the time
+of Elizabeth, and has probably been very little altered or
+improved since the time of its introduction. In Shakespeare's
+time the name was applied to the "Yellow Carrot"
+or Parsnep, as well as to the Red one. The name of Carrot
+comes directly from its Latin or rather Greek name, Daucus
+<span class="pagenum"><a name="Page_51" id="Page_51"></a>[<a href="./images/51.png">51</a>]</span>Carota, but it once had a prettier name. The Anglo-Saxons
+called it "bird's-nest," and Gerard gives us the reason, and
+it is a reason that shows they were more observant of the
+habits of plants than we generally give them credit for:
+"The whole tuft (of flowers) is drawn together when the seed
+is ripe, resembling a bird's nest; whereupon it hath been
+named of some Bird's-nest."</p>
+
+
+<hr style="width: 65%;" />
+<h2>CEDAR.</h2>
+
+<table class="poetryt" summary="cedar references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Prospero.</i></td>
+  <td class="tdleft"><span class="s6">And by the spurs pluck'd up</span><br />
+The Pine and Cedar.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act v, sc. 1 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Dumain.</i></td>
+  <td class="tdleft">As upright as the Cedar.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iv, sc. 3 (89).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Cedar_3" id="Cedar_3"></a>3)</td>
+  <td class="tdleftt"><i>Warwick.</i></td>
+  <td class="tdleft">As on a mountain top the Cedar shows,<br />
+That keeps his leaves in spite of any storm.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act v, sc. 1 (205).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Cedar_4" id="Cedar_4"></a>4)</td>
+  <td class="tdleftt"><i>Warwick.</i></td>
+  <td class="tdleft">Thus yields the Cedar to the axe's edge,<br />
+Whose arms gave shelter to the princely eagle,<br />
+Under whose shade the ramping lion slept,<br />
+Whose top-branch o'erpeered Jove's spreading tree,<br />
+And kept low shrubs from winter's powerful wind.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act v, sc. 2 (11).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Cranmer.</i></td>
+  <td class="tdleft"><span class="s9">He shall flourish,</span><br />
+And, like a mountain Cedar, reach his branches<br />
+To all the plains about him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act v, sc. 5 (215).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Posthumus.</i></td>
+  <td class="tdleft">When from a stately Cedar shall be lopped
+branches, which, being dead many years,
+shall after revive.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act v, sc. 4 (140); and act v, sc. 5 (457).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Soothsayer.</i></td>
+  <td class="tdleft">The lofty Cedar, royal Cymbeline,<br />
+Personates thee. Thy lopp'd branches<br />
+.&nbsp;.&nbsp;.&nbsp;.&nbsp;. are now revived,<br />
+To the majestic Cedar join'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 5 (453).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_52" id="Page_52"></a>[<a href="./images/52.png">52</a>]</span>(8)</td>
+  <td class="tdleftt"><i>Gloucester.</i></td>
+  <td class="tdleft"><span class="s7">But I was born so high,</span><br />
+Our aery buildeth in the Cedar's top,<br />
+And dallies with the wind and scorns the sun.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act i, sc. 3 (263).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Coriolanus.</i></td>
+  <td class="tdleft"><span class="s8">Let the mutinous winds</span><br />
+Strike the proud Cedars 'gainst the fiery sun.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act v, sc. 3 (59).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Titus.</i></td>
+  <td class="tdleft">Marcus, we are but shrubs, no Cedars we.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act iv, sc. 3 (45).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Daughter.</i></td>
+  <td class="tdleft"><span class="s8">I have sent him where a Cedar,</span><br />
+Higher than all the rest, spreads like a Plane<br />
+Fast by a brook.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act ii, sc. 6 (4).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The sun ariseth in his majesty;<br />
+Who doth the world so gloriously behold<br />
+That Cedar-tops and hills seem burnished gold.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (856).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The Cedar stoops not to the base shrub's foot,<br />
+But low shrubs wither at the Cedar's root.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (664).</td>
+</tr>
+</table>
+
+<p>The Cedar is the classical type of majesty and grandeur,
+and superiority to everything that is petty and mean. So
+Shakespeare uses it, and only in this way; for it is very
+certain he never saw a living specimen of the Cedar of
+Lebanon. But many travellers in the East had seen it and
+minutely described it, and from their descriptions he derived
+his knowledge of the tree; but not only, and probably not
+chiefly from travellers, for he was well acquainted with his
+Bible, and there he would meet with many a passage that
+dwelt on the glories of the Cedar, and told how it was the
+king of trees, so that "the Fir trees were not like his boughs,
+and the Chestnut trees were not like his branches, nor any
+tree in the garden of God was like unto him in his beauty,
+fair by the multitude of his branches, so that all the trees
+of Eden that were in the garden of God envied him"
+(Ezekiel xxxi. 8, 9). It was such descriptions as these that
+supplied Shakespeare with his imagery, and which made our
+ancestors try to introduce the tree into England. But there
+seems to have been much difficulty in establishing it. Evelyn
+tried to introduce it, but did not succeed at first, and the
+tree is not mentioned in his "Sylva" of 1664. It was,
+<span class="pagenum"><a name="Page_53" id="Page_53"></a>[<a href="./images/53.png">53</a>]</span>however, certainly introduced in 1676, when it appears,
+from the gardeners' accounts, to have been planted at
+Bretby Park, Derbyshire ("Gardener's Chronicle," January,
+1877). I believe this is the oldest certain record of the
+planting of the Cedar in England, the next oldest being
+the trees in Chelsea Botanic Gardens, which were certainly
+planted in 1683. Since that time the tree has proved so
+suitable to the English soil that it is grown everywhere, and
+everywhere asserts itself as the king of evergreen trees,
+whether grown as a single tree on a lawn, or mixed in large
+numbers with other trees, as at Highclere Park, in Hampshire
+(Lord Carnarvon's). Among English Cedar trees
+there are probably none that surpass the fine specimens at
+Warwick Castle, which owe, however, much of their beauty
+to their position on the narrow strip of land between the
+Castle and the river. I mention these to call attention
+to the pleasant coincidence (for it is nothing more) that
+the most striking descriptions of the Cedar are given by
+Shakespeare to the then owner of the princely Castle of
+Warwick (Nos. <a href="#Cedar_3">3</a> and <a href="#Cedar_4">4</a>).</p>
+
+<p>The medi&aelig;val belief about the Cedar was that its wood
+was imperishable. "H&aelig;c Cedrus, A<sup>e</sup> sydyretre, et est talis
+nature quod nunquam putrescet in aqua nec in terra"
+(English Vocabulary&mdash;15th cent.); but as a timber tree
+the English-grown Cedar has not answered to its old reputation,
+so that Dr. Lindley called it "the worthless though
+magnificent Cedar of Lebanon."</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Cherry" id="Cherry"></a>CHERRY.</h2>
+
+<table class="poetryt" summary="cherry references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Helena.</i></td>
+  <td class="tdleft"><span class="s8">So we grew together,</span><br />
+Like to a double Cherry, seeming parted,<br />
+But yet a union in partition;<br />
+Two lovely berries moulded on one stem.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 2 (208).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Demetrius.</i></td>
+  <td class="tdleft"><span class="s7">O, how ripe in show</span><br />
+Thy lips, those kissing Cherries, tempting grow!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 2 (139).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_54" id="Page_54"></a>[<a href="./images/54.png">54</a>]</span>(3)</td>
+  <td class="tdleftt"><i>Constance.</i></td>
+  <td class="tdleft"><span class="s8">And it' grandam will</span><br />
+Give it a Plum, a Cherry, and a Fig.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act ii, sc. 1 (161).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Lady.</i></td>
+  <td class="tdleft"><span class="s8">'Tis as like you</span><br />
+As Cherry is to Cherry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act v, sc. 1 (170).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Cherry_5" id="Cherry_5"></a>5)</td>
+  <td class="tdleftt"><i>Gower.</i></td>
+  <td class="tdleft"><span class="s4">She with her neeld composes</span><br />
+Nature's own shape of bud, bird, branch, or berry;<br />
+That even her art sisters the natural Roses,<br />
+Her inkle, silk, twin with the rubied Cherry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act v, chorus (5).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Dromio of Syracuse.</i></td>
+  <td class="tdleft">Some devils ask but the paring of one's nail,<br />
+A Rush, a hair, a drop of blood, a pin,<br />
+A Nut, a Cherry-stone.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act iv, sc. 3 (72).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft"><span class="s10">Oh, when</span><br />
+The twyning Cherries shall their sweetness fall<br />
+Upon thy tasteful lips.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act i, sc. 1 (198).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">When he was by, the birds such pleasure took,<br />
+That some would sing, some other in their bills<br />
+Would bring him Mulberries and ripe-red Cherries.<br />
+He fed them with his sight, they him with berries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (1101).</td>
+</tr>
+</table>
+
+<p>Besides these, there is mention of "cherry lips"<a name="FNanchor_54:1_55" id="FNanchor_54:1_55"></a><a href="#Footnote_54:1_55" class="fnanchor">[54:1]</a> and
+"cherry-nose,"<a name="FNanchor_54:2_56" id="FNanchor_54:2_56"></a><a href="#Footnote_54:2_56" class="fnanchor">[54:2]</a> and the game of "cherry-pit."<a name="FNanchor_54:3_57" id="FNanchor_54:3_57"></a><a href="#Footnote_54:3_57" class="fnanchor">[54:3]</a> We have
+the authority of Pliny that the Cherry (<i>Prunus Cerasus</i>)
+was introduced into Italy from Pontus, and by the Romans
+was introduced into Britain. It is not, then, a true native,
+but it has now become completely naturalized in our woods
+and hedgerows, while the cultivated trees are everywhere
+favourites for the beauty of their flowers, and their rich and
+handsome fruit. In Shakespeare's time there were almost
+as many, and probably as good varieties, as there are now.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_54:1_55" id="Footnote_54:1_55"></a><a href="#FNanchor_54:1_55"><span class="label">[54:1]</span></a> <i>Midsummer Night's Dream</i>, act v, sc. 1; <i>Richard III</i>, act i, sc. 1;
+<i>Two Noble Kinsmen</i>, act iv, sc. 1.</p></div>
+
+<div class="footnote"><p><a name="Footnote_54:2_56" id="Footnote_54:2_56"></a><a href="#FNanchor_54:2_56"><span class="label">[54:2]</span></a> <i>Midsummer Night's Dream</i>, act v, sc. 1.</p></div>
+
+<div class="footnote"><p><a name="Footnote_54:3_57" id="Footnote_54:3_57"></a><a href="#FNanchor_54:3_57"><span class="label">[54:3]</span></a> <i>Twelfth Night</i>, act iii, sc. 4.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_55" id="Page_55"></a>[<a href="./images/55.png">55</a>]</span></p>
+<h2>CHESTNUTS.</h2>
+
+<table class="poetryt" summary="chestnut references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Witch.</i></td>
+  <td class="tdleft">A sailor's wife had Chestnuts in her lap,<br />
+And munch'd, and munch'd, and munch'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act i, sc. 3 (4).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Petruchio.</i></td>
+  <td class="tdleft">And do you tell me of a woman's tongue<br />
+That gives not half so great a blow to hear<br />
+As will a Chestnut in farmer's fire?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act i, sc. 2 (208).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">I' faith, his hair is of a good colour.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Celia.</i></td>
+  <td class="tdleft">An excellent colour; your Chestnut was ever the only colour.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 4 (11).</td>
+</tr>
+</table>
+
+<p>This is the Spanish or Sweet Chestnut, a fruit which
+seems to have been held in high esteem in Shakespeare's
+time, for Lyte, in 1578, says of it, "Amongst all kindes of
+wilde fruites the Chestnut is best and meetest for to be
+eaten." The tree cannot be regarded as a true native, but
+it has been so long introduced, probably by the Romans,
+that grand specimens are to be found in all parts of England;
+the oldest known specimen being at Tortworth, in
+Gloucestershire, which was spoken of as an old tree in
+the time of King Stephen; while the tree that is said to be
+the oldest and the largest in Europe is the Spanish Chestnut
+tree on Mount Etna, the famous Castagni du Centu Cavalli,
+which measures near the root 160 feet in circumference.
+It is one of our handsomest trees, and very useful for timber,
+and at one time it was supposed that many of our oldest
+buildings were roofed with Chestnut. This was the current
+report of the grand roof at Westminster Hall, but it is now
+discovered to be of Oak, and it is very doubtful whether the
+Chestnut timber is as lasting as it has long been supposed to be.</p>
+
+<p>The Horse Chestnut was probably unknown to Shakespeare.
+It is an Eastern tree, and in no way related to the
+true Chestnut, and though the name has probably no connection
+with horses or their food, yet it is curious that the
+petiole has (especially when dry) a marked resemblance to a
+horse's leg and foot, and that both on the parent stem and
+the petiole may be found a very correct representation of a
+horseshoe with its nails.<a name="FNanchor_55:1_58" id="FNanchor_55:1_58"></a><a href="#Footnote_55:1_58" class="fnanchor">[55:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_55:1_58" id="Footnote_55:1_58"></a><a href="#FNanchor_55:1_58"><span class="label">[55:1]</span></a> For an excellent description of the great differences between the
+Spanish and Horse Chestnut, see "Gardener's Chronicle," Oct. 29, 1881.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_56" id="Page_56"></a>[<a href="./images/56.png">56</a>]</span></p>
+<h2><a name="Clover" id="Clover"></a>CLOVER.</h2>
+
+<table class="poetryt" summary="clover references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Burgundy.</i></td>
+  <td class="tdleft">The even mead, that erst brought sweetly forth<br />
+The freckled Cowslip, Burnet, and green Clover.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Tamora.</i></td>
+  <td class="tdleft">I will enchant the old Andronicus<br />
+With words more sweet, and yet more dangerous,<br />
+Than baits to fish, or Honey-stalks to sheep,<br />
+When, as the one is wounded with the bait,<br />
+The other rotted with delicious food.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act iv, sc. 4 (89).</td>
+</tr>
+</table>
+
+<p>"Honey-stalks" are supposed to be the flower of the
+Clover. This seems very probable, but I believe the name
+is no longer applied. Of the Clover there are two points of
+interest that are worth notice. The Clover is one of the
+plants that claim to be the Shamrock of St. Patrick. This
+is not a settled point, and at the present day the Woodsorrel
+is supposed to have the better claim to the honour. But it
+is certain that the Clover is the "clubs" of the pack of
+cards. "Clover" is a corruption of "Clava," a club. In
+England we paint the Clover on our cards and call it
+"clubs," while in France they have the same figure, but
+call it "trefle."</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Cloves" id="Cloves"></a>CLOVES.</h2>
+
+<table class="poetryt" summary="cloves reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Biron.</i></td>
+  <td class="tdleft">A Lemon.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Longaville.</i></td>
+  <td class="tdleft"><span class="s8">Stuck with Cloves.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (633).<a name="FNanchor_56:1_59" id="FNanchor_56:1_59"></a><a href="#Footnote_56:1_59" class="fnanchor">[56:1]</a></td>
+</tr>
+</table>
+
+<p>As a mention of a vegetable product, I could not omit
+this passage, but the reference is only to the imported spice
+and not to the tree from which then, as now, the Clove was
+gathered. The Clove of commerce is the unexpanded flower
+of the Caryophyllus aromaticus, and the history of its
+<span class="pagenum"><a name="Page_57" id="Page_57"></a>[<a href="./images/57.png">57</a>]</span>discovery and cultivation by the Dutch in Amboyna, with the
+vain attempts they made to keep the monopoly of the
+profitable spice, is perhaps the saddest chapter in all the
+history of commerce. See a full account with description
+and plate of the plant in "Bot. Mag.," vol. 54, No. 2749.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_56:1_59" id="Footnote_56:1_59"></a><a href="#FNanchor_56:1_59"><span class="label">[56:1]</span></a> "But then 'tis as full of drollery as ever it can hold; 'tis like an
+orange stuck with Cloves as for conceipt."&mdash;<i>The Rehearsal</i>, 1671, act iii,
+sc. 1.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Cockle" id="Cockle"></a>COCKLE.</h2>
+
+<table class="poetryt" summary="cockle references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt"><i>Biron.</i></td>
+  <td class="tdleft">Allons! allons! sowed Cockle reap'd no Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iv, sc. 3 (383).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Coriolanus.</i></td>
+  <td class="tdleft"><span class="s10">We nourish 'gainst our senate</span><br />
+The Cockle of rebellion, insolence, sedition,<br />
+Which we ourselves have plough'd for, sow'd, and scatter'd,<br />
+By mingling them with us.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act iii, sc. 1 (69).</td>
+</tr>
+</table>
+
+<p>In Shakespeare's time the word "Cockle" was becoming
+restricted to the Corn-cockle (<i>Lychnis githago</i>), but both in
+his time, and certainly in that of the writers before him,
+it was used generally for any noxious weed that grew in
+corn-fields, and was usually connected with the Darnel and
+Tares.<a name="FNanchor_57:1_60" id="FNanchor_57:1_60"></a><a href="#Footnote_57:1_60" class="fnanchor">[57:1]</a> So Gower&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"To sowe Cockel with the Corn<br /></span>
+<span class="i0i">So that the tilthe is nigh forlorn,<br /></span>
+<span class="i0i">Which Crist sew first his owne hond&mdash;<br /></span>
+<span class="i0i">Now stant the Cockel in the lond<br /></span>
+<span class="i0i">Where stood whilom the gode greine,<br /></span>
+<span class="i0i">For the prelats now, as men sain,<br /></span>
+<span class="i0i">For slouthen that they shoulden tille."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Confessio Amantis</i>, lib. quintus (2-190, Paulli).</p>
+
+<p>Latimer has exactly the same idea: "Oh, that our prelates
+would bee as diligent to sowe the corne of goode
+doctrine as Sathan is to sow Cockel and Darnel."&nbsp;.&nbsp;.&nbsp;.
+"There was never such a preacher in England as he (the
+devil) is. Who is able to tel his dylygent preaching? which
+every daye and every houre laboreth to sowe Cockel and
+<span class="pagenum"><a name="Page_58" id="Page_58"></a>[<a href="./images/58.png">58</a>]</span>Darnel" (Latimer's Fourth Sermon). And to the same
+effect Spenser&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And thus of all my harvest-hope I have<br /></span>
+<span class="i1i">Nought reaped but a weedie crop of care,<br /></span>
+<span class="i0i">Which when I thought have thresht in swelling sheave,<br /></span>
+<span class="i1i">Cockle for corn, and chaff for barley bare."<br /></span>
+</div></div>
+
+<p>The Cockle or Campion is said to do mischief among the
+Wheat, not only, as the Poppy and other weeds, by occupying
+room meant for the better plant, but because the seed gets
+mixed with the corn, and then "what hurt it doth among
+corne, the spoyle unto bread, as well in colour, taste, and
+unwholsomness is better known than desired." So says
+Gerard, but I do not know how far modern experience
+confirms him. It is a pity the plant has so bad a character,
+for it is a very handsome weed, with a fine blue flower, and
+the seeds are very curious objects under the microscope,
+being described as exactly like a hedgehog rolled up.<a name="FNanchor_58:1_61" id="FNanchor_58:1_61"></a><a href="#Footnote_58:1_61" class="fnanchor">[58:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_57:1_60" id="Footnote_57:1_60"></a><a href="#FNanchor_57:1_60"><span class="label">[57:1]</span></a> "Cokylle&mdash;qu&aelig;dam aborigo, zazannia."&mdash;<i>Catholicon Anglicum.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_58:1_61" id="Footnote_58:1_61"></a><a href="#FNanchor_58:1_61"><span class="label">[58:1]</span></a> In Dorsetshire the Cockle is the bur of the Burdock. Barnes'
+Glossary of Dorset.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>COLOQUINTIDA.</h2>
+
+<table class="poetryt" summary="coloquintida reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iago.</i></td>
+  <td class="tdleft">The food that to him now is as luscious as Locusts, shall
+be to him shortly as bitter as Coloquintida.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (354).</td>
+</tr>
+</table>
+
+<p>The Coloquintida, or Colocynth, is the dried fleshy part of
+the fruit of the Cucumis or Citrullus colocynthis. As a drug
+it was imported in Shakespeare's time and long before, but
+he may also have known the plant. Gerard seems to have
+grown it, though from his describing it as a native of the
+sandy shores of the Mediterranean, he perhaps confused it
+with the Squirting Cucumber (<i>Momordica elaterium</i>). It
+is a native of Turkey, but has been found also in Japan.
+It is also found in the East, and we read of it in the
+history of Elisha: "One went out into the field to gather
+herbs, and found a wild Vine, and gathered thereof wild
+<span class="pagenum"><a name="Page_59" id="Page_59"></a>[<a href="./images/59.png">59</a>]</span>Gourds, his lap full."<a name="FNanchor_59:1_62" id="FNanchor_59:1_62"></a><a href="#Footnote_59:1_62" class="fnanchor">[59:1]</a> It is not quite certain what species
+of Gourd is here meant, but all the old commentators considered
+it to be the Colocynth,<a name="FNanchor_59:2_63" id="FNanchor_59:2_63"></a><a href="#Footnote_59:2_63" class="fnanchor">[59:2]</a> the word "vine" meaning
+any climbing plant, a meaning that is still in common use
+in America.</p>
+
+<p>All the tribe of Cucumbers are handsome foliaged plants,
+but they require room. On the Continent they are much
+more frequently grown in gardens than in England, but the
+hardy perennial Cucumber (<i>Cucumis perennis</i>) makes a very
+handsome carpet where the space can be spared, and the
+Squirting Cucumber (also hardy and perennial) is worth
+growing for its curious fruit. (<i>See also</i> <span class="smcap"><a href="#Pumpion">Pumpion</a></span>.)</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_59:1_62" id="Footnote_59:1_62"></a><a href="#FNanchor_59:1_62"><span class="label">[59:1]</span></a> 2 Kings iv. 39.</p></div>
+
+<div class="footnote"><p><a name="Footnote_59:2_63" id="Footnote_59:2_63"></a><a href="#FNanchor_59:2_63"><span class="label">[59:2]</span></a> "Invenitque quasi vitem sylvestrem, et collegit ex ea Colocynthidas
+agri."&mdash;<i>Vulgate.</i></p></div>
+
+
+<hr style="width: 65%;" />
+<h2>COLUMBINE.</h2>
+
+<table class="poetryt" summary="columbine references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Armado.</i></td>
+  <td class="tdleft">I am that flower,</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Dumain.</i></td>
+  <td class="tdleft"><span class="s13">That Mint.</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Longaville.</i></td>
+  <td class="tdleft"><span class="s22">That Columbine.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (661).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">There's Fennel for you and Columbines.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 5 (189).</td>
+</tr>
+</table>
+
+<p>This brings us to one of the most favourite of our old-fashioned
+English flowers. It is very doubtful whether it is
+a true native, but from early times it has been "carefully
+nursed up in our gardens for the delight both of its forme
+and colours" (Parkinson); yet it had a bad character, as we
+see from two passages quoted by Steevens&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"What's that&mdash;a Columbine?<br /></span>
+<span class="i0i">No! that thankless flower grows not in my garden."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>All Fools</i>, by <span class="smcap">Chapman</span>, 1605.</p>
+
+<p>and again in the 15th Song of Drayton's "Polyolbion"&mdash;</p>
+
+<p>
+"The Columbine amongst they sparingly do set."<br />
+</p>
+
+<p><span class="pagenum"><a name="Page_60" id="Page_60"></a>[<a href="./images/60.png">60</a>]</span>
+Spenser gave it a better character. Among his "gardyn of
+sweet floures, that dainty odours from them threw around,"
+he places&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Her neck lyke to a bounch of Cullambynes."<br /></span>
+</div></div>
+
+<p>And, still earlier, Skelton (1463-1529) spoke of it with high
+praise&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"She is the Vyolet,<br /></span>
+<span class="i0i">The Daysy delectable,<br /></span>
+<span class="i0i">The Columbine commendable,<br /></span>
+<span class="i0i">The Ielofer amyable."&mdash;<i>Phyllip Sparrow.</i><br /></span>
+</div></div>
+
+<p>Both the English and the Latin names are descriptive of
+the plant. Columbine, or the Dove-plant, calls our attention
+to the "resemblance of its nectaries to the heads of
+pigeons in a ring round a dish, a favourite device of ancient
+artists" (Dr. Prior); or to "the figure of a hovering dove
+with expanded wings, which we obtain by pulling off a
+single petal with its attached sepals" (Lady Wilkinson);
+though it may also have had some reference to the colour,
+as the word is used by Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Come forth now with thin eyghen Columbine."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Marchaundes Tale</i> (190).</p>
+
+<p>The Latin name, <i>Aquilegia</i>, is generally supposed to come
+from <i>aquilegus</i>, a water-collector, alluding to the water-holding
+powers of the flower; it may, however, be derived
+from <i>aquila</i>, an eagle, but this seems more doubtful.</p>
+
+<p>As a favourite garden flower, the Columbine found its
+way into heraldic blazonry. "It occurs in the crest of the
+old Barons Grey of Vitten, as may be seen in the garter coat
+of William Grey of Vitten" (Camden Society 1847), and is
+thus described in the Painter's bill for the ceremonial of the
+funeral of William Lord Grey of Vitten (MS. Coll. of Arms,
+i, 13, fol. 35a): "Item, his creste with the favron, or, sette
+on a leftehande glove, argent, out thereof issuyinge, caste
+over threade, a braunch of Collobyns, blue, the stalk vert."
+Old Gwillim also enumerates the Columbine among his
+"Coronary Herbs," as follows: "He beareth argent, a
+chevron sable between three Columbines slipped proper, by
+the name of Hall of Coventry. The Columbine is pleasing
+<span class="pagenum"><a name="Page_61" id="Page_61"></a>[<a href="./images/61.png">61</a>]</span>to the eye, as well in respect of the seemly (and not vulgar)
+shape as in regard of the azury colour thereof, and is holden
+to be very medicinable for the dissolving of imposthumations
+or swellings in the throat."</p>
+
+<p>As a garden plant the Columbine still holds a favourite
+place. Hardy, handsome, and easy of cultivation, it commends
+itself to the most ornamental as well as to the cottage
+garden, and there are so many different sorts (both species
+and varieties) that all tastes may be suited. Of the common
+species (A. vulgaris) there are double and single, blue, white,
+and red; there is the beautiful dwarf A. Pyrenaica, never
+exceeding six inches in height, but of a very rich deep blue;
+there are the red and yellow ones (A. Skinneri and A. formosa)
+from North America; and, to mention no more, there
+are the lovely A. c&oelig;rulea and the grand A. chrysantha from
+the Rocky Mountains, certainly two of the most desirable
+acquisitions to our hardy flowers that we have had in late
+years.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CORK.</h2>
+
+<table class="poetryt" summary="cork references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Rosalind.</i></td>
+  <td class="tdleft">I prythee take the Cork out of thy mouth, that I
+may hear thy tidings.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (213).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">As you'ld thrust a Cork into a hogshead.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iii, sc. 3 (95).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Cornwall.</i></td>
+  <td class="tdleft">Bind fast his Corky arms.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iii, sc. 7 (28).</td>
+</tr>
+</table>
+
+<p>It is most probable that Shakespeare had no further
+acquaintance with the Cork tree than his use of Corks. The
+living tree was not introduced into England till the latter
+part of the seventeenth century, yet is very fairly described
+both by Gerard and Parkinson. The Cork, however, was
+largely imported, and was especially used for shoes. Not
+only did "shoemakers put it in shoes and pantofles for
+warmness sake," but for its lightness it was used for the high-heeled
+shoes of the fashionable ladies. I suppose from the
+following lines that these shoes were a distinguishing part of
+a bride's trousseau&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_62" id="Page_62"></a>[<a href="./images/62.png">62</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Strip off my bride's array,<br /></span>
+<span class="i0i">My Cork-shoes from my feet,<br /></span>
+<span class="i0i">And, gentle mother, be not coy<br /></span>
+<span class="i0i">To bring my winding sheet."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Bride's Burial</i>&mdash;Roxburghe Ballads.</p>
+
+<p>The Cork tree is a necessary element in all botanic gardens,
+but as an ornamental tree it is not sufficiently distinct from
+the Ilex. Though a native of the South of Europe it is
+hardy in England.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CORN.</h2>
+
+<table class="poetryt" summary="corn references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Gonzalo.</i></td>
+  <td class="tdleft">No use of metal, Corn, or wine, or oil.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 1 (154).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Duke.</i></td>
+  <td class="tdleft">Our Corn's to reap, for yet our tithe's to sow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iv, sc. 1 (76).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft">Playing on pipes of Corn, (67)</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">The green Corn<br />
+Hath rotted ere his youth attained a beard.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (94).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>K. Edward.</i></td>
+  <td class="tdleft">What valiant foemen, like to autumn's Corn,<br />
+Have we mowed down in tops of all their pride!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act v, sc. 7 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Pucelle.</i></td>
+  <td class="tdleft">Talk like the vulgar sort of market men<br />
+That come to gather money for their Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry VI</i>, act iii, sc. 2 (4).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">Poor market folks that come to sell their Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (14).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">Good morrow, gallants! want ye Corn for bread?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Burgundy.</i></td>
+  <td class="tdleft">I trust, ere long, to choke thee with thine own,<br />
+And make thee curse the harvest of that Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (46).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Duchess.</i></td>
+  <td class="tdleft">Why droops my lord like over-ripened Corn<br />
+Hanging the head at Ceres' plenteous load?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act i, sc. 2. (1).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_63" id="Page_63"></a>[<a href="./images/63.png">63</a>]</span>(7)</td>
+  <td class="tdleftt"><i>Warwick.</i></td>
+  <td class="tdleft">His well-proportioned beard made rough and ragged<br />
+Like to the summer's Corn by tempest lodged.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 2 (175).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Mowbray.</i></td>
+  <td class="tdleft">We shall be winnow'd with so rough a wind<br />
+That even our Corn shall seem as light as chaff.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act iv, sc. 1 (194).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Macbeth.</i></td>
+  <td class="tdleft">Though bladed Corn be lodged and trees blown down.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act iv, sc. 1 (55).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Longaville.</i></td>
+  <td class="tdleft">He weeds the Corn, and still lets grow the weeding.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act i, sc. 1 (96).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Biron.</i></td>
+  <td class="tdleft">Allons! allons! sowed Cockle reap'd no Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc 3 (383).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Edgar.</i></td>
+  <td class="tdleft">Sleepest or wakest thou, jolly shepherd?<br />
+Thy sheep be in the Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iii, sc. 6 (43).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Cordelia.</i></td>
+  <td class="tdleft"><span class="s7">All the idle weeds that grow</span><br />
+In our sustaining Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 4 (6).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Demetrius.</i></td>
+  <td class="tdleft">First thrash the Corn, then after burn the straw.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act ii, sc. 3 (123).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Marcus.</i></td>
+  <td class="tdleft">O, let me teach you how to knit again<br />
+This scattered Corn into one mutual sheaf.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 3</td>
+  <td class="tdleftt">(70).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Pericles.</i></td>
+  <td class="tdleft">Our ships are stored with Corn to make your needy bread.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act i, sc. 4 (95).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td class="tdleftt"><i>Cleon.</i></td>
+  <td class="tdleft">Your grace that fed my country with your Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 3 (18).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td class="tdleftt"><i>Menenius.</i></td>
+  <td class="tdleft">For Corn at their own rates.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act i, sc. 1 (193).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Marcus.</i></td>
+  <td class="tdleft">The gods sent not Corn for the rich men only.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (211).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Marcus.</i></td>
+  <td class="tdleft">The Volsces have much Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (253).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Citizen.</i></td>
+  <td class="tdleft">We stood up about the Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 3 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Brutus.</i></td>
+  <td class="tdleft">Corn was given them gratis.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 1 (43).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Coriolanus.</i></td>
+  <td class="tdleft">Tell me of Corn!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (61).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">The Corn of the storehouse gratis.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (125).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">The Corn was not our recompense.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (120).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td colspan="2"><span class="pagenum"><a name="Page_64" id="Page_64"></a>[<a href="./images/64.png">64</a>]</span>&nbsp;</td>
+  <td class="tdleft"><span class="s7">This kind of service</span><br />
+Did not deserve Corn gratis.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act iii, sc. 1 (124).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(19)</td>
+  <td class="tdleftt"><i>Cranmer.</i></td>
+  <td class="tdleft">I am right glad to catch this good occasion<br />
+Most thoroughly to be winnow'd, where my chaff<br />
+And Corn shall fly asunder.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act v, sc. 1 (110).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(20)</td>
+  <td class="tdleftt"><i>Cranmer.</i></td>
+  <td class="tdleft">Her foes shake like a field of beaten Corn<br />
+And hang their heads with sorrow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 4 (32).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(21)</td>
+  <td class="tdleftt"><i>K. Richard.</i></td>
+  <td class="tdleft">We'll make foul weather with despised tears;<br />
+Our sighs and they shall lodge the summer Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 3 (161).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(22)</td>
+  <td class="tdleftt"><i>Arcite.</i></td>
+  <td class="tdleft"><span class="s16">And run</span><br />
+Swifter then winde upon a field of Corne<br />
+(Curling the wealthy eares) never flew.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act ii, sc. 3 (91).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(23)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">As Corn o'ergrown by weeds, so heedful fear<br />
+Is almost choked by unresisted lust.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (281).</td>
+</tr>
+</table>
+
+<p>I have made these quotations as short as possible. They
+could not be omitted, but they require no comment.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Cowslip" id="Cowslip"></a>COWSLIP.</h2>
+
+
+<table class="poetryt" summary="cowslip references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Burgundy.</i></td>
+  <td class="tdleft">The even mead that erst brought sweetly forth<br />
+The freckled Cowslip, Burnet, and green Clover.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">The Violets, Cowslips, and the Primroses,<br />
+Bear to my closet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act i, sc. 5 (83).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Iachimo.</i></td>
+  <td class="tdleft"><span class="s10">On her left breast</span><br />
+A mole, cinque-spotted, like the crimson drops<br />
+I' the bottom of a Cowslip.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 2 (37).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Ariel.</i></td>
+  <td class="tdleft">Where the bee sucks there suck I,<br />
+In a Cowslip's bell I lie.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act v, sc. 1 (88).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Thisbe.</i></td>
+  <td class="tdleft">Those yellow Cowslip cheeks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act v, sc. 1 (339).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_65" id="Page_65"></a>[<a href="./images/65.png">65</a>]</span>(<a name="Cowslip_6" id="Cowslip_6"></a>6)</td>
+  <td class="tdleftt"><i>Fairy.</i></td>
+  <td class="tdleft">The Cowslips tall her pensioners be;<br />
+In their gold coats spots you see;<br />
+Those be rubies, fairy favours,<br />
+In those freckles live their savours;<br />
+I must go seek some dewdrops here,<br />
+And hang a pearl in every Cowslip's ear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (10).<a name="FNanchor_65:1_64" id="FNanchor_65:1_64"></a><a href="#Footnote_65:1_64" class="fnanchor">[65:1]</a></td>
+</tr>
+</table>
+
+<p>"Cowslips! how the children love them, and go out into
+the fields on the sunny April mornings to collect them in
+their little baskets, and then come home and pick the pips
+to make sweet unintoxicating wine, preserving at the same
+time untouched a bunch of the goodliest flowers as a harvest-sheaf
+of beauty! and then the white soft husks are gathered
+into balls and tossed from hand to hand till they drop to
+pieces, to be trodden upon and forgotten. And so at last,
+when each sense has had its fill of the flower, and they are
+thoroughly tired of their play, the children rest from their
+celebration of the Cowslip. Blessed are such flowers that
+appeal to every sense." So wrote Dr. Forbes Watson in his
+very pretty and Ruskinesque little work "Flowers and
+Gardens," and the passage well expresses one of the chief
+charms of the Cowslip. It is the most favourite wild flower
+with children. It must have been also a favourite with
+Shakespeare, for his descriptions show that he had studied
+it with affection. The minute description in (<a href="#Cowslip_6">6</a>) should be
+noticed. The upright golden Cowslip is compared to one
+of Queen Elizabeth's Pensioners, who were splendidly dressed,
+and are frequently noticed in the literature of the day. With
+Mrs. Quickly they were the <i>ne plus ultra</i> of grandeur&mdash;"And
+yet there has been earls, nay, which is more, pensioners"
+("Merry Wives," act ii, sc. 2). Milton, too, sings in its
+praise&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Now the bright morning star, day's harbinger,<br /></span>
+<span class="i0i">Comes dancing from the East, and leads with her<br /></span>
+<span class="i0i">The flowering May, who from her green lap throws<br /></span>
+<span class="i0i">The yellow Cowslip and the pale Primrose."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Song on May Morning.</i></p>
+
+<p><span class="pagenum"><a name="Page_66" id="Page_66"></a>[<a href="./images/66.png">66</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Whilst from off the waters fleet,<br /></span>
+<span class="i0i">Then I set my printless feet<br /></span>
+<span class="i0i">O'er the Cowslip's velvet head<br /></span>
+<span class="i0i">That bends not as I tread."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Sabrina's Song in Comus.</i></p>
+
+<p>But in "Lycidas" he associates it with more melancholy
+ideas&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"With Cowslips wan that hang the pensive head,<br /></span>
+<span class="i0i">And every flower that sad embroidery wears."<br /></span>
+</div></div>
+
+<p>This association of sadness with the Cowslip is copied by
+Mrs. Hemans, who speaks of "Pale Cowslips, meet for
+maiden's early bier;" but these are exceptions. All the
+other poets who have written of the Cowslip (and they are
+very numerous) tell of its joyousness, and brightness, and
+tender beauty, and its "bland, yet luscious, meadow-breathing
+scent."</p>
+
+<p>The names of the plant are a puzzle; botanically it is a
+Primrose, but it is never so called. It has many names, but
+its most common are Paigle and Cowslip. Paigle has never
+been satisfactorily explained, nor has Cowslip. Our great
+etymologists, Cockayne and Dr. Prior and Wedgwood, are
+all at variance on the name; and Dr. Prior assures us that it
+has nothing to do with either "cows" or "lips," though
+the derivation, if untrue, is at least as old as Ben Jonson,
+who speaks of "Bright Dayes-eyes and the lips of Cowes."
+But we all believe it has, and, without inquiring too closely
+into the etymology, we connect the flower with the rich
+pastures and meadows of which it forms so pretty a spring
+ornament, while its fine scent recalls the sweet breath of the
+cow&mdash;"just such a sweet, healthy odour is what we find in
+cows; an odour which breathes around them as they sit at
+rest on the pasture, and is believed by many, perhaps with
+truth, to be actually curative of disease" (Forbes Watson).</p>
+
+<p>Botanically, the Cowslip is a very interesting plant. In all
+essential points the Primrose, Cowslip, and Oxlip are identical;
+the Primrose, however, choosing woods and copses
+and the shelter of the hedgerows, the Cowslip choosing the
+open meadows, while the Oxlip is found in either. The
+garden "Polyanthus of unnumbered dyes" (Thomson's
+"Seasons:" Spring) is only another form produced by
+<span class="pagenum"><a name="Page_67" id="Page_67"></a>[<a href="./images/67.png">67</a>]</span>cultivation, and is one of the most favourite plants in cottage
+gardens. It may, however, well be grown in gardens of
+more pretension; it is neat in growth, handsome in flower,
+of endless variety, and easy cultivation. There are also
+many varieties of the Cowslip, of different colours, double
+and single, which are very useful in the spring garden.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_65:1_64" id="Footnote_65:1_64"></a><a href="#FNanchor_65:1_64"><span class="label">[65:1]</span></a>Drayton also allotted the Cowslip as the special Fairies' flower&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i2">"For the queene a fitting bower,<br /></span>
+<span class="i0">(Quoth he) is that tall Cowslip flower."&mdash;<i>Nymphidia.</i><br /></span>
+</div></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>CRABS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Apple">Apple</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>CROCUS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Saffron">Saffron</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Crow-Flowers" id="Crow-Flowers"></a>CROW-FLOWERS.</h2>
+
+<table class="poetryt" summary="crow-flower reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Queen.</i></td>
+  <td class="tdleft">There with fantastic garlands did she come<br />
+Of Crow-flowers, Nettles, Daisies, and Long Purples.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 7 (169).</td>
+</tr>
+</table>
+
+<p>The Crow-flower is now the Buttercup,<a name="FNanchor_67:1_65" id="FNanchor_67:1_65"></a><a href="#Footnote_67:1_65" class="fnanchor">[67:1]</a> but in Shakespeare's
+time it was applied to the Ragged Robin (<i>Lychnis
+flos-cuculi</i>), and I should think that this was the flower that
+poor Ophelia wove into her garland. Gerard says, "They
+are not used either in medicine or in nourishment; but they
+serve for garlands and crowns, and to deck up gardens."
+We do not now use the Ragged Robin for the decking of
+our gardens, not that we despise it, for it is a flower that all
+admire in the hedgerows, but because we have other
+members of the same family as easy to grow and more
+<span class="pagenum"><a name="Page_68" id="Page_68"></a>[<a href="./images/68.png">68</a>]</span>handsome, such as the double variety of the wild plant,
+L. Chalcedonica, L. Lagasc&aelig;, L. fulgens, L. Haagena, &amp;c.
+In Shakespeare's time the name was also given to the Wild
+Hyacinth, which is so named by Turner and Lyte; but this
+could scarcely have been the flower of Ophelia's garland,
+which was composed of the flowers of early summer, and
+not of spring. (See Appendix, p. <a href="#Page_388">388</a>.)</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_67:1_65" id="Footnote_67:1_65"></a><a href="#FNanchor_67:1_65"><span class="label">[67:1]</span></a> In Scotland the Wild Hyacinth is still called the Crow-flower&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sweet the Crow-flower's early bell<br /></span>
+<span class="i0i">Decks Gleniffer's dewy dell,<br /></span>
+<span class="i0i">Blooming like thy bonny sel,<br /></span>
+<span class="i0i">My young, my artless dearie, O."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Tannahill</span>, <i>Gloomy Winter</i>.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>CROWN IMPERIAL.</h2>
+
+<table class="poetryt" summary="crown imperial reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s8">Bold Oxlips, and</span><br />
+The Crown Imperial.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (125).</td>
+</tr>
+</table>
+
+<p>The Crown Imperial is a Fritillary (<i>F. imperialis</i>). It is
+a native of Persia, Afghanistan, and Cashmere, but it was
+very early introduced into England from Constantinople,
+and at once became a favourite. Chapman, in 1595, spoke
+of it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Fair Crown Imperial, Emperor of Flowers."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Ovid's</span> <i>Banquet of Sense</i>.</p>
+
+<p>Gerard had it plentifully in his garden, and Parkinson
+gave it the foremost place in his "Paradisus Terrestris."
+"The Crown Imperial," he says, "for its stately beautifulnesse
+deserveth the first place in this our garden of delight,
+to be here entreated of before all other Lillies." George
+Herbert evidently admired it much&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Then went I to a garden, and did spy<br /></span>
+<span class="i4i">A gallant flower,<br /></span>
+<span class="i0i">The Crown Imperial."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Peace</i> (13).</p>
+
+<p>And if not in Shakespeare's time, yet certainly very soon
+after, there were as many varieties as there are now. The
+plant, as a florist's flower, has stood still in a very remarkable
+way. Though it is apparently a plant that invites the
+attention of the hybridizing gardener, yet we still have but
+the two colours, the red and the yellow (a pure white would
+<span class="pagenum"><a name="Page_69" id="Page_69"></a>[<a href="./images/69.png">69</a>]</span>be a great acquisition), with single and double flowers,
+flowers in tiers, and with variegated leaves. And all these
+varieties have existed for more than two hundred years.</p>
+
+<p>As a stately garden plant it should be in every garden.
+It flowers early, and then dies down. But it should be
+planted rather in the background, as the whole plant has an
+evil smell, especially in sunshine. Yet it should have a
+close attention, if only to study and admire the beautiful
+interior of the flower. I know of no other flower that is
+similarly formed, and it cannot be better described than in
+Gerard's words: "In the bottome of each of the bells
+there is placed six drops of most cleere shining sweet water,
+in taste like sugar, resembling in shew faire Orient pearles,
+the which drops if you take away, there do immediately
+appeare the like; notwithstanding, if they may be suffered
+to stand still in the floure according to his owne nature,
+they wil never fall away, no, not if you strike the plant
+untill it be broken." How these drops are formed, and
+what service they perform in the economy of the flower,
+has not been explained, as far as I am aware; but there is
+a pretty German legend which tells how the flower was
+originally white and erect, and grew in its full beauty in the
+garden of Gethsemane, where it was often noticed and
+admired by our Lord; but in the night of the agony, as our
+Lord passed through the garden, all the other flowers bowed
+their head in sorrowful adoration, the Crown Imperial alone
+remaining with its head unbowed, but not for long&mdash;sorrow
+and shame took the place of pride, she bent her proud<a name="FNanchor_69:1_66" id="FNanchor_69:1_66"></a><a href="#Footnote_69:1_66" class="fnanchor">[69:1]</a>
+head, and blushes of shame, and tears of sorrow soon followed,
+and so she has ever continued, with bent head,
+blushing colour, and ever-flowing tears. It is a pretty
+legend, and may be found at full length in "Good Words
+for the Young," August, 1870.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_69:1_66" id="Footnote_69:1_66"></a><a href="#FNanchor_69:1_66"><span class="label">[69:1]</span></a> The bent head of the Crown Imperial could not well escape
+notice&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Polyanthus, and with prudent head,<br /></span>
+<span class="i0i">The Crown Imperial, ever bent on earth,<br /></span>
+<span class="i0i">Favouring her secret rites, and pearly sweets."&mdash;<span class="smcap">Forster.</span><br /></span>
+</div></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_70" id="Page_70"></a>[<a href="./images/70.png">70</a>]</span></p>
+<h2><a name="Cuckoo" id="Cuckoo"></a>CUCKOO-BUDS AND FLOWERS.</h2>
+
+<table class="poetryt" summary="cuckoo-bud references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Cuckoo_1" id="Cuckoo_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Song of Spring.</i></td>
+  <td class="tdleft">When Daisies pied, and Violets blue,<br />
+<span style="padding-left: 1em;">And Lady-smocks all silver-white,</span><br />
+And Cuckoo-buds of yellow hue,<br />
+<span style="padding-left: 1em;">Do paint the meadows with delight.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (904).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Cuckoo_2" id="Cuckoo_2"></a>2)</td>
+  <td class="tdleftt"><i>Cordelia.</i></td>
+  <td class="tdleft"><span class="s12">He was met even now</span><br />
+As mad as the vex'd sea; singing aloud;<br />
+Crown'd with rank Fumiter and Furrow-weeds,<br />
+With Burdocks, Hemlock, Nettles, Cuckoo-flowers,<br />
+Darnel, and all the idle weeds that grow<br />
+In our sustaining Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 4 (1).</td>
+</tr>
+</table>
+
+<p>There is a difficulty in deciding what flower Shakespeare
+meant by Cuckoo-buds. We now always give the name to
+the Meadow Cress (<i>Cardamine pratensis</i>), but it cannot be
+that in either of these passages, because that flower is mentioned
+under its other name of Lady-smocks in the previous
+line (No. <a href="#Cuckoo_1">1</a>), nor is it "of yellow hue;" nor does it grow
+among Corn, as described in No. <a href="#Cuckoo_2">2</a>. Many plants have been
+suggested, and the choice seems to me to lie between two.
+Mr. Swinfen Jervis<a name="FNanchor_70:1_67" id="FNanchor_70:1_67"></a><a href="#Footnote_70:1_67" class="fnanchor">[70:1]</a> decides without hesitation in favour of
+Cowslips, and the yellow hue painting the meadows in spring
+time gives much force to the decision; Schmidt gives the
+same interpretation; but I think the Buttercup, as suggested
+by Dr. Prior, will still better meet the requirements.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_70:1_67" id="Footnote_70:1_67"></a><a href="#FNanchor_70:1_67"><span class="label">[70:1]</span></a> "Dictionary of the Language of Shakespeare," 1868.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>CUPID'S FLOWER, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Pansies">Pansies</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>CURRANTS.</h2>
+
+<table class="poetryt" summary="currant references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Currant_1" id="Currant_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clown.</i></td>
+  <td class="tdleft">What am I to buy for our sheep-shearing feast?<br />
+  Three pound of Sugar, five pound of Currants.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (39).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_71" id="Page_71"></a>[<a href="./images/71.png">71</a>]</span>(<a name="Currant_2" id="Currant_2"></a>2)</td>
+  <td class="tdleftt"><i>Theseus.</i></td>
+  <td class="tdleft">I stamp this kisse upon thy Currant lippe.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act i, sc. 1 (241).</td>
+</tr>
+</table>
+
+<p>The Currants of (<a href="#Currant_1">1</a>) are the Currants of commerce, the
+fruit of the Vitis Corinthiaca, whence the fruit has derived
+its name of Corans, or Currants.</p>
+
+<p>The English Currants are of an entirely different family;
+and are closely allied to the Gooseberry. The Currants&mdash;black,
+white, and red&mdash;are natives of the northern parts
+of Europe, and are probably wild in Britain. They do
+not seem to have been much grown as garden fruit till the
+early part of the sixteenth century, and are not mentioned by
+the earlier writers; but that they were known in Shakespeare's
+time we have the authority of Gerard, who, speaking
+of Gooseberries, says: "We have also in our London
+gardens another sort altogether without prickes, whose fruit
+is very small, lesser by muche than the common kinde, but
+of a perfect red colour." This "perfect red colour" explains
+the "currant lip" of No. <a href="#Currant_2">2</a>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CYME, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Senna">Senna</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>CYPRESS.<a name="FNanchor_71:1_68" id="FNanchor_71:1_68"></a><a href="#Footnote_71:1_68" class="fnanchor" style="font-weight: normal; font-size: 60%;">[71:1]</a></h2>
+
+<table class="poetryt" summary="cypress references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Suffolk.</i></td>
+  <td class="tdleft">Their sweetest shade, a grove of Cypress trees!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 2 (322).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_72" id="Page_72"></a>[<a href="./images/72.png">72</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Aufidius.</i></td>
+  <td class="tdleft">I am attended at the Cypress grove.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act i, sc. 10 (30).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Gremio.</i></td>
+  <td class="tdleft">In ivory coffers I have stuff'd my crowns,<br />
+In Cypress chests my arras counterpoints.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act ii, sc. 1 (351).</td>
+</tr>
+</table>
+
+<p>The Cypress (<i>Cupressus sempervirens</i>), originally a native
+of Mount Taurus, is found abundantly through all the South
+of Europe, and is said to derive its name from the Island of
+Cyprus. It was introduced into England many years before
+Shakespeare's time, but is always associated in the old authors
+with funerals and churchyards; so that Spenser calls it the
+"Cypress funereal," which epithet he may have taken from
+Pliny's description of the Cypress: "Natu morosa, fructu
+supervacua, baccis torva, foliis amara, odore violenta, ac ne
+umbr&acirc; quidem gratiosa&mdash;Diti sacra, et ideo funebri signo ad
+domos posita" ("Nat. Hist.," xvi. 32).</p>
+
+<p>Sir John Mandeville mentions the Cypress in a very
+curious way: "The Cristene men, that dwellen beyond the
+See, in Grece, seyn that the tree of the Cros, that we callen
+Cypresse, was of that tree that Adam ete the Appule of; and
+that fynde thei writen" ("Voiage," &amp;c., cap. 2). And the old
+poem of the "Squyr of lowe degre," gives the tree a sacred
+pre-eminence&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The tre it was of Cypresse,<br /></span>
+<span class="i0i">The fyrst tre that Iesu chese."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Ritson's</span> <i>Ear. Eng. Met. Romances</i>, viii. (31).</p>
+
+<p>"In the Arundel MS. 42 may be found an alphabet of
+plants.&nbsp;.&nbsp;.&nbsp;. The author mentions his garden 'by Stebenhythe
+by syde London,' and relates that he brought a bough
+of Cypress with its Apples from Bristol 'into Estbritzlond,'
+fresh in September, to show that it might be propagated by
+slips."&mdash;<i>Promptorium Parvulorum</i>, app. 67.</p>
+
+<p>The Cypress is an ornamental evergreen, but stiff in its
+growth till it becomes of a good age; and for garden purposes
+the European plant is becoming replaced by the richer
+forms from Asia and North America, such as C. Lawsoniana,
+macrocarpa, Lambertiana, and others.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_71:1_68" id="Footnote_71:1_68"></a><a href="#FNanchor_71:1_68"><span class="label">[71:1]</span></a> Cypress, or Cyprus (for the word is spelt differently in the different
+editions), is also mentioned by Shakespeare in the following&mdash;</p>
+
+<table class="poetryt" summary="more cypress references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clown.</i></td>
+  <td class="tdleft">In sad Cypress let me be laid.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act ii, sc. 4.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Olivia.</i></td>
+  <td class="tdleft"><span class="s6">To one of your receiving</span><br />
+Enough is shown; and Cyprus, not a bosom,<br />
+Hides my poor heart.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 1.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Autolycus.</i></td>
+  <td class="tdleft">Lawn as white as driven snow,<br />
+Cyprus, black as e'er was crow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3.</td>
+</tr>
+</table>
+
+<p>But in all these cases the Cypress is not the name of the plant, but is
+the fabric which we now call crape, the "sable stole of Cypre's lawn"
+of Milton's "Penseroso."</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_73" id="Page_73"></a>[<a href="./images/73.png">73</a>]</span></p>
+<h2><a name="Daffodils" id="Daffodils"></a>DAFFODILS.<a name="FNanchor_73:1_69" id="FNanchor_73:1_69"></a><a href="#Footnote_73:1_69" class="fnanchor" style="font-weight: normal; font-size: 60%;">[73:1]</a></h2>
+
+<table class="poetryt" summary="daffodil references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Autolycus.</i></td>
+  <td class="tdleft">When Daffodils begin to peer,<br />
+<span style="padding-left: 1em;">With heigh! the doxy o'er the dale,</span><br />
+Why, then comes in the sweet o' the year.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (1).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Daffodil_2" id="Daffodil_2"></a>2)</td>
+  <td class="tdleftt"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s16">Daffodils</span><br />
+That come before the swallow dares, and take<br />
+The winds of March with beauty.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 4 (118).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Wooer.</i></td>
+  <td class="tdleft">With chaplets on their heads of Daffodillies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 1 (94).</td>
+</tr>
+</table>
+
+<p class="center"><i>See also</i> <span class="smcap"><a href="#Narcissus">Narcissus</a></span>, p. <a href="#Page_175">175</a>.</p>
+
+<p>Of all English plants there have been none in such constant
+favour as the Daffodil, whether known by its classical
+name of Narcissus, or by its more popular names of Daffodil,
+or Daffadowndilly, and Jonquil. The name of Narcissus it
+gets from being supposed to be the same as the plant so
+named by the Greeks first and the Romans afterwards. It
+is a question whether the plants are the same, and I believe
+most authors think they are not; but I have never been
+able to see very good reasons for their doubts. The name
+Jonquil comes corrupted through the French, from <i>juncifolius</i>
+or "rush-leaf," and is properly restricted to those
+species of the family which have rushy leaves. "Daffodil"
+is commonly said to be a corruption of Asphodel ("Daffodil
+is <ins class="greek" title="Asphodelon">&#913;&#963;&#966;&#959;&#948;&#949;&#955;&#959;&#957;</ins>, and has capped itself with a letter which
+eight hundred years ago did not belong to it."&mdash;<span class="smcap">Cockayne</span>,
+<i>Spoon and Sparrow</i>, 19), with which plant it was confused
+(as it is in Lyte's "Herbal"), but Lady Wilkinson says very
+positively that "it is simply the old English word 'affodyle,'<a name="FNanchor_73:2_70" id="FNanchor_73:2_70"></a><a href="#Footnote_73:2_70" class="fnanchor">[73:2]</a>
+<span class="pagenum"><a name="Page_74" id="Page_74"></a>[<a href="./images/74.png">74</a>]</span>which signifies 'that which cometh early.'" "Daffadowndilly,"
+again is supposed to be but a playful corruption of
+"Daffodil," but Dr. Prior argues (and he is a very safe
+authority) that it is rather a corruption of "Saffron Lily."
+Daffadowndilly is not used by Shakespeare, but it is used by
+his contemporaries, as by Spenser frequently, and by H.
+Constable, who died in 1604&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Diaphenia, like the Daffadowndilly,<br /></span>
+<span class="i0i">White as the sun, fair as the Lilly,<br /></span>
+<span class="i2i">Heigh, ho! how I do love thee!"<br /></span>
+</div></div>
+
+<p>But however it derived its pretty names, it was the
+favourite flower of our ancestors as a garden flower, and
+especially as the flower for making garlands, a custom very
+much more common then than it is now. It was the
+favourite of all English poets. Gower describes the Narcissus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"For in the winter fresh and faire<br /></span>
+<span class="i0i">The flowres ben, which is contraire<br /></span>
+<span class="i0i">To kind, and so was the folie<br /></span>
+<span class="i0i">Which fell of his surquedrie"&mdash;<i>i.e.</i>, of Narcissus.<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Confes. Aman.</i> lib. prim. (1. 121 Paulli).</p>
+
+<p>Shakespeare must have had a special affection for it, for in
+all his descriptions there is none prettier or more suggestive
+than Perdita's short but charming description of the Daffodil
+(No. <a href="#Daffodil_2">2</a>). A small volume might be filled with the many
+poetical descriptions of this "delectable and sweet-smelling
+flower," but there are some which are almost classical, and
+which can never be omitted, and which will bear repetition,
+however well we know them. Milton says, "The Daffodillies
+fill their cups with tears."<a name="FNanchor_74:1_71" id="FNanchor_74:1_71"></a><a href="#Footnote_74:1_71" class="fnanchor">[74:1]</a> There are Herrick's well-known
+lines&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Fair Daffodils, we weep to see<br /></span>
+<span class="i0i">You haste away so soon,<br /></span>
+<span class="i1i">As yet the early-rising sun<br /></span>
+<span class="i0i">Has not attained his noon;<br /></span>
+<span class="pagenum"><a name="Page_75" id="Page_75"></a>[<a href="./images/75.png">75</a>]</span>
+<span class="i4i">Stay, stay,<br /></span>
+<span class="i0i">Until the hastening day<br /></span>
+<span class="i4i">Has run<br /></span>
+<span class="i0i">But to the even-song;<br /></span>
+<span class="i0i">And having prayed together, we<br /></span>
+<span class="i1i">Will go with you along.<br /></span>
+</div><div class="stanza">
+<span class="i0i">We have short time to stay as you,<br /></span>
+<span class="i1i">We have as short a spring,<br /></span>
+<span class="i0i">As quick a growth to meet decay,<br /></span>
+<span class="i1i">As you or anything.<br /></span>
+<span class="i4i">We die,<br /></span>
+<span class="i0i">As your hours do, and dry</span><br />
+<span class="i4i">Away,<br /></span>
+<span class="i0i">Like to the summer's rain,<br /></span>
+<span class="i1i">Or as the pearls of morning dew,<br /></span>
+<span class="i0i">Ne'er to be found again."<br /></span>
+</div></div>
+
+<p>And there are Keats' and Shelley's well-known and
+beautiful lines which bring down the praises of the Daffodil
+to our own day. Keats says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A thing of beauty is a joy for ever,<br /></span>
+<span class="i0i">Its loveliness increases, it will never<br /></span>
+<span class="i0i">Pass into nothingness.&nbsp;.&nbsp;.&nbsp;.&nbsp;.<br /></span>
+<span class="i0i">.&nbsp;.&nbsp;.&nbsp;.&nbsp;.&nbsp;. In spite of all<br /></span>
+<span class="i0i">Some shape of beauty moves away the pale<br /></span>
+<span class="i0i">From our dark spirits. Such the sun, the moon,<br /></span>
+<span class="i0i">Trees old and young, sprouting a shady boon<br /></span>
+<span class="i0i">For simple sheep; and such are Daffodils<br /></span>
+<span class="i0i">With the green world they live in."<br /></span>
+</div></div>
+
+<p>Shelley is still warmer in his praise&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Narcissus, the fairest among them all,<br /></span>
+<span class="i0i">Who gaze on their eyes in the stream's recess,<br /></span>
+<span class="i0i">Till they die of their own dear loveliness."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Sensitive Plant</i>, p. 1.</p>
+
+<p>Nor must Wordsworth be left out when speaking of the
+poetry of Daffodils. His stanzas are well known, while his
+sister's prose description of them is the most poetical of all:
+"They grew among the mossy stones; .&nbsp;.&nbsp;. some rested
+their heads on these stones as on a pillow, the rest tossed
+<span class="pagenum"><a name="Page_76" id="Page_76"></a>[<a href="./images/76.png">76</a>]</span>and reeled and danced, and seemed as if they verily
+laughed with the wind, they looked so gay and glancing."<a name="FNanchor_76:1_72" id="FNanchor_76:1_72"></a><a href="#Footnote_76:1_72" class="fnanchor">[76:1]</a></p>
+
+<p>But it is time to come to prose. The Daffodil of Shakespeare
+is the Wild Daffodil (<i>Narcissus pseudo-Narcissus</i>)
+that is found in abundance in many parts of England. This
+is the true English Daffodil, and there is only one other
+species that is truly native&mdash;the N. biflorus, chiefly found in
+Devonshire. But long before Shakespeare's time a vast
+number had been introduced from different parts of Europe,
+so that Gerard was able to describe twenty-four different
+species, and had "them all and every of them in our
+London gardens in great abundance." The family, as at
+present arranged by Mr. J. G. Baker, of the Kew Herbarium,
+consists of twenty-one species, with several sub-species
+and varieties; all of which should be grown. They
+are all, with the exception of the Algerian species, which
+almost defy cultivation in England, most easy of cultivation&mdash;"Magn&acirc;
+cur&acirc; non indigent Narcissi." They only require
+after the first planting to be let alone, and then they will
+give us their graceful flowers in varied beauty from February
+to May. The first will usually be the grand N. maximus,
+which may be called the King of Daffodils, though some
+authors have given to it a still more illustrious name. The
+"Rose of Sharon" was the large yellow Narcissus, common
+in Palestine and the East generally, of which Mahomet
+said: "He that has two cakes of bread, let him sell one of
+them for some flower of the Narcissus, for bread is the food
+of the body, but Narcissus is the food of the soul." From
+these grand leaders of the tribe we shall be led through the
+Hoop-petticoats, the many-flowered Tazettas, and the sweet
+<span class="pagenum"><a name="Page_77" id="Page_77"></a>[<a href="./images/77.png">77</a>]</span>Jonquils, till we end the Narcissus season with the Poets'
+Narcissus (Ben Jonson's "chequ'd and purple-ringed Daffodilly"),
+certainly one of the most graceful flowers that
+grows, and of a peculiar fragrance that no other flower has;
+so beautiful is it, that even Dr. Forbes Watson's description
+of it is scarcely too glowing: "In its general expression
+the Poets' Narcissus seems a type of maiden purity and
+beauty, yet warmed by a love-breathing fragrance; and yet
+what innocence in the large soft eye, which few can rival
+amongst the whole tribe of flowers. The narrow, yet vivid
+fringe of red, so clearly seen amidst the whiteness, suggests
+again the idea of purity, gushing passion&mdash;purity with a
+heart which can kindle into fire."</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_73:1_69" id="Footnote_73:1_69"></a><a href="#FNanchor_73:1_69"><span class="label">[73:1]</span></a> This account of the Daffodil, and the accounts of some other flowers,
+I have taken from a paper by myself on the common English names of
+plants read to the Bath Field Club in 1870, and published in the
+"Transactions" of the Club, and afterwards privately printed.&mdash;H. N. E.</p></div>
+
+<div class="footnote"><p><a name="Footnote_73:2_70" id="Footnote_73:2_70"></a><a href="#FNanchor_73:2_70"><span class="label">[73:2]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Herbe orijam and Thyme and Violette<br /></span>
+<span class="i0i">Eke Affodyle and savery thereby sette."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Palladius on Husbandrie</i>, book i, 1014. (E. E. Text Soc.)</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_74:1_71" id="Footnote_74:1_71"></a><a href="#FNanchor_74:1_71"><span class="label">[74:1]</span></a> "The cup in the centre of the flower is supposed to contain the tears
+of Narcissus, to which Milton alludes; .&nbsp;.&nbsp;. and Virgil in the following&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i7">'Pars intra septa domorum<br /></span>
+<span class="i0">Narcissi lacrymas .&nbsp;.&nbsp;. ponunt.'"&mdash;<i>Flora Domestica</i>, 268.<br /></span>
+</div></div>
+</div>
+
+<div class="footnote"><p><a name="Footnote_76:1_72" id="Footnote_76:1_72"></a><a href="#FNanchor_76:1_72"><span class="label">[76:1]</span></a> The "Quarterly Review," quoting this description, says that "few
+poets ever lived who could have written a description so simple and
+original, so vivid and descriptive." Yet it is an unconscious imitation
+of Homer's account of the Narcissus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"<ins class="greek" title="narkisson th'">&#957;&#8049;&#961;&#954;&#953;&#963;&#963;&#8057;&#957; &#952;'</ins> .&nbsp;.&nbsp;.<br /></span>
+<span class="i0i"><ins class="greek" title="thaumaston gano&ocirc;nta; sebas de te pasin idesthai">&#952;&#945;&#965;&#956;&#945;&#963;&#964;&#8056;&#957; &#947;&#945;&#957;&#8057;&#969;&#957;&#964;&#945;; &#963;&#8051;&#946;&#945;&#962; &#948;&#8051; &#964;&#949; &#960;&#8118;&#963;&#953;&#957; &#7984;&#948;&#8051;&#963;&#952;&#945;&#953;</ins><br /></span>
+<span class="i0i"><ins class="greek" title="athanatois te theois &ecirc;de thn&ecirc;tois anthr&ocirc;pois">&#7936;&#952;&#945;&#957;&#8049;&#964;&#959;&#953;&#962; &#964;&#949; &#952;&#949;&#959;&#8150;&#962; &#7968;&#948;&#8050; &#952;&#957;&#951;&#964;&#959;&#8150;&#962; &#7936;&#957;&#952;&#961;&#8061;&#960;&#959;&#953;&#962;</ins>;<br /></span>
+<span class="i0i"><ins class="greek" title="tou kai apo rhiz&ecirc;s hekaton kara exepephykei;">&#964;&#959;&#8166; &#954;&#945;&#8054; &#7936;&#960;&#8056; &#8165;&#8055;&#950;&#951;&#962; &#7953;&#954;&#945;&#964;&#8056;&#957; &#954;&#8049;&#961;&#945; &#7952;&#958;&#949;&#960;&#949;&#966;&#8059;&#954;&#949;&#953;</ins>;<br /></span>
+<span class="i0i"><ins class="greek" title="k&ecirc;&ocirc;dei t' odm&ecirc; pas t' ouranos eurys hyperthen">&#954;&#951;&#8061;&#948;&#949;&#953; &#964;' &#8000;&#948;&#956;&#8134; &#960;&#8118;&#962; &#964;' &#959;&#8016;&#961;&#945;&#957;&#8056;&#962; &#949;&#8016;&#961;&#8058;&#962; &#8021;&#960;&#949;&#961;&#952;&#949;&#957;</ins>,<br /></span>
+<span class="i0i"><ins class="greek" title="gaia te pas' egelasse, kai halmyron oidma thalass&ecirc;s">&#947;&#945;&#8150;&#8049; &#964;&#949; &#960;&#8118;&#963;' &#7952;&#947;&#8051;&#955;&#945;&#963;&#963;&#949;, &#954;&#945;&#8054; &#7937;&#955;&#956;&#965;&#961;&#8056;&#957; &#959;&#7990;&#948;&#956;&#945; &#952;&#945;&#955;&#8049;&#963;&#963;&#951;&#962;</ins>."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Hymn to Demeter</i>, 8-14.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>DAISIES.</h2>
+
+<table class="poetryt" summary="daisy references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Song of Spring.</i></td>
+  <td class="tdleftt">When Daisies pied, and Violets, &amp;c.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (904). (<i>See</i> <span class="smcap"><a href="#Cuckoo">Cuckoo-buds</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Lucius.</i></td>
+  <td class="tdleft"><span class="s20">Let us</span><br />
+Find out the prettiest Daisied plot we can,<br />
+And make him with our pikes and partizans<br />
+A grave.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (397).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">There's a Daisy.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 5 (183).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">There with fantastic garlands did she come
+Of Crow-flowers, Nettles, Daisies, and Long Purples.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 7 (169).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Without the bed her other faire hand was<br />
+On the green coverlet; whose perfect white<br />
+Show'd like an April Daisy on the Grass.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (393).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Daisies smel-lesse, yet most quaint.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, Introd. song.</td>
+</tr>
+</table>
+
+<p class="center"><i>See</i> <span class="smcap">Appendix.</span> I., p. <a href="#Page_359">359</a>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DAMSONS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Plums">Plums</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_78" id="Page_78"></a>[<a href="./images/78.png">78</a>]</span></p>
+<h2>DARNEL.</h2>
+
+<table class="poetryt" summary="darnel references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Cordelia.</i></td>
+  <td class="tdleft">Darnel, and all the idle weeds that grow<br />
+In our sustaining Corn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 4 (5). (<i>See</i> <span class="smcap"><a href="#Cuckoo">Cuckoo-flowers</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Burgundy.</i></td>
+  <td class="tdleft"><span class="s14">Her fallow leas,</span><br />
+The Darnel, Hemlock, and rank Fumitory<br />
+Doth root upon.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (44).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Pucelle.</i></td>
+  <td class="tdleft">Good morrow, Gallants! want ye Corn for bread?<br />
+I think the Duke of Burgundy will fast,<br />
+Before he'll buy again at such a rate;<br />
+'Twas full of Darnel; do you like the taste?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry VI</i>, act iii, sc. 2 (41).</td>
+</tr>
+</table>
+
+<p>Virgil, in his Fifth Eclogue, says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Grandia s&aelig;pe quibus mandavimus hordea solcis<br /></span>
+<span class="i0i">Infelix lolium et steriles dominantur aven&aelig;."<br /></span>
+</div></div>
+
+<p>Thus translated by Thomas Newton, 1587&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sometimes there sproutes abundant store<br /></span>
+<span class="i1i">Of baggage, noisome weeds,<br /></span>
+<span class="i0i">Burres, Brembles, Darnel, Cockle, Dawke,<br /></span>
+<span class="i1i">Wild Oates, and choaking seedes."<br /></span>
+</div></div>
+
+<p>And the same is repeated in the first Georgic, and in both
+places <i>lolium</i> is always translated Darnel, and so by common
+consent Darnel is identified with the Lolium temulentum or
+wild Rye Grass. But in Shakespeare's time Darnel, like
+<a href="#Cockle">Cockle</a> (which see), was the general name for any hurtful
+weed. In the old translation of the Bible, the Zizania,
+which is now translated Tares, was sometime translated
+Cockle,<a name="FNanchor_78:1_73" id="FNanchor_78:1_73"></a><a href="#Footnote_78:1_73" class="fnanchor">[78:1]</a> and Newton, writing in Shakespeare's time, says&mdash;"Under
+the name of Cockle and Darnel is comprehended
+all vicious, noisom and unprofitable graine, encombring and
+hindring good corne."&mdash;<i>Herball to the Bible.</i> The Darnel
+is not only injurious from choking the corn, but its seeds
+become mixed with the true Wheat, and so in Dorsetshire&mdash;and
+<span class="pagenum"><a name="Page_79" id="Page_79"></a>[<a href="./images/79.png">79</a>]</span>perhaps in other parts&mdash;it has the name of "Cheat"
+(Barnes' Glossary), from its false likeness to Wheat. It
+was this false likeness that got for it its bad character.
+"Darnell or Juray," says Lyte ("Herball," 1578), "is a vitious
+graine that combereth or anoyeth corne, especially Wheat,
+and in his knotten straw, blades, or leaves is like unto
+Wheate." Yet Lindley says that "the noxious qualities of
+Darnel or Lolium temulentum seem to rest upon no certain
+proof" ("Vegetable Kingdom," p. 116).</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_78:1_73" id="Footnote_78:1_73"></a><a href="#FNanchor_78:1_73"><span class="label">[78:1]</span></a> "When men were a sleepe, his enemy came and oversowed Cockle
+among the wheate, and went his way."&mdash;<i>Rheims Trans.</i>, 1582. For
+further early references to Cockle or Darnel see note on "Darnelle" in
+the "Catholicon Anglicum," p. 90, and Britten's "English Plant
+Names," p. 143.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Date" id="Date"></a>DATES.</h2>
+
+<table class="poetryt" summary="date references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clown.</i></td>
+  <td class="tdleft">I must have Saffron to colour the Warden pies&mdash;Mace&mdash;Dates?
+none; that's out of my note.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Nurse.</i></td>
+  <td class="tdleft">They call for Dates and Quinces in the pastry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iv, sc. 4 (2).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Parolles.</i></td>
+  <td class="tdleft">Your Date is better in your pie and your porridge
+than in your cheek.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act i, sc. 1 (172).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Pandarus.</i></td>
+  <td class="tdleft">Do you know what a man is? Is not birth,
+beauty, good shape, discourse, manhood, learning,
+gentleness, virtue, youth, liberality, and
+such like, the spice and salt that season a man?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Cressida.</i></td>
+  <td class="tdleft">Ay, a minced man; and then to be baked with
+no Date in the pye; for then the man's date's out.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act i, sc. 2 (274).</td>
+</tr>
+</table>
+
+<p>The Date is the well-known fruit of the Date Palm
+(<i>Ph&oelig;nix dactylifera</i>), the most northern of the Palms. The
+Date Palm grows over the whole of Southern Europe, North
+Africa, and South-eastern Asia; but it is not probable that
+Shakespeare ever saw the tree, though Neckam speaks of it
+in the twelfth century, and Lyte describes it, and Gerard
+made many efforts to grow it; he tried to grow plants from
+the seed, "the which I have planted many times in my
+garden, and have grown to the height of three foot, but the
+first frost hath nipped them in such sort that they perished,
+<span class="pagenum"><a name="Page_80" id="Page_80"></a>[<a href="./images/80.png">80</a>]</span>notwithstanding mine industrie by covering them, or what
+else I could do for their succour." The fruit, however, was
+imported into England in very early times, and was called
+by the Anglo-Saxons Finger-Apples, a curious name, but
+easily explained as the translation of the Greek name for the
+fruit, <ins class="greek" title="daktyloi">&#948;&#945;&#954;&#964;&#965;&#955;&#959;&#953;</ins> which was also the origin of the word date, of
+which the olden form was dactylle.<a name="FNanchor_80:1_74" id="FNanchor_80:1_74"></a><a href="#Footnote_80:1_74" class="fnanchor">[80:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_80:1_74" id="Footnote_80:1_74"></a><a href="#FNanchor_80:1_74"><span class="label">[80:1]</span></a> "A dactylle frute dactilis."&mdash;<i>Catholicon Anglicum.</i></p></div>
+
+
+<hr style="width: 65%;" />
+<h2>DEAD MEN'S FINGERS.</h2>
+
+<table class="poetryt" summary="dead men's fingers reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Queen.</i></td>
+  <td class="tdleftt">Our cold maids do Dead Men's Fingers call them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 7 (172).</td>
+</tr>
+</table>
+
+<p class="center"><i>See</i> <span class="smcap"><a href="#Long_Purples">Long Purples</a></span>, p. <a href="#Page_148">148</a>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DEWBERRIES.</h2>
+
+<table class="poetryt" summary="dewberry reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Titania.</i></td>
+  <td class="tdleft">Feed him with Apricocks and Dewberries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (169).</td>
+</tr>
+</table>
+
+<p>The Dewberry (<i>Rubus c&aelig;sius</i>) is a handsome fruit, very
+like the Blackberry, but coming earlier. It has a peculiar
+sub-acid flavour, which is much admired by some, as it
+must have been by Titania, who joins it with such fruits as
+Apricots, Grapes, Figs, and Mulberries. It may be readily
+distinguished from the Blackberry by the fruit being composed
+of a few larger drupes, and being covered with a
+glaucous bloom.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Dians_Bud" id="Dians_Bud"></a>DIAN'S BUD.</h2>
+
+<table class="poetryt" summary="dian's bud reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Oberon.</i></td>
+  <td class="tdleft">Be, as thou wast wont to be<br />
+<span class="s12">(touching her eyes with an herb),</span><br />
+See, as thou wast wont to see;<br />
+<span class="pagenum"><a name="Page_81" id="Page_81"></a>[<a href="./images/81.png">81</a>]</span>
+Dian's Bud o'er Cupid's flower<br />
+Hath such force and blessed power.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (76).</td>
+</tr>
+</table>
+
+<p>The same herb is mentioned in act iii, sc. 2 (366)&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Then crush this herb into Lysander's eye,<br /></span>
+<span class="i0">Whose liquor hath this virtuous property,<br /></span>
+<span class="i0">To take from thence all error, with his might,<br /></span>
+<span class="i0">And make his eyeballs roll with wonted sight.<br /></span>
+</div></div>
+
+<p>But except in these two passages I believe the herb is not
+mentioned by any author. It can be nothing but Shakespeare's
+translation of Artemisia, the herb of Artemis or
+Diana, a herb of wonderful virtue according to the writers
+before Shakespeare's day. (<i>See</i> <span class="smcap"><a href="#Wormwood">Wormwood</a></span>.)</p>
+
+
+<hr style="width: 65%;" />
+<h2>DOCKS.</h2>
+
+<table class="poetryt" summary="docks references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Burgundy.</i></td>
+  <td class="tdleft"><span class="s11">And nothing teems</span><br />
+But hateful Docks, rough Thistles, Kecksies, Burs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (51).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Antonio.</i></td>
+  <td class="tdleft">He'd sow it with Nettle seed,</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Sebastian.</i></td>
+  <td class="tdleft" style="padding-left: 1em;">Or Docks, or Mallows.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 1 (145).</td>
+</tr>
+</table>
+
+<p>The Dock may be dismissed with little note or comment,
+merely remarking that the name is an old one, and is
+variously spelled as dokke, dokar, doken, &amp;c. An old
+name for the plant was "Patience;" the "bitter patience"
+of Spenser, which is supposed by Dr. Prior to be a corruption
+of Passions.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DOGBERRY.</h2>
+
+<p class="center">(<i>Dramatis person&aelig;</i> in <i>Much Ado About Nothing.</i>)</p>
+
+<p>The Dogberry is the fruit either of the Cornus sanguinea
+or of the Euonymus Europ&aelig;us. Parkinson limits the name
+<span class="pagenum"><a name="Page_82" id="Page_82"></a>[<a href="./images/82.png">82</a>]</span>to the Cornus, and says: "We for the most part call it the
+<i>Dogge berry tree</i>, because the berries are not fit to be eaten,
+or to be given to a dogge." The plant is only named by
+Shakespeare as a man's name, but it could scarcely be
+omitted, as I agree with Mr. Milner that it was "probable
+that our dramatist had the tree in his mind when he gave a
+name to that fine fellow for a 'sixth and lastly,' Constable,
+Dogberry of the Watch" ("Country Pleasures," p. 229).</p>
+
+
+<hr style="width: 65%;" />
+<h2>EBONY.</h2>
+
+<table class="poetryt" summary="ebony references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>King.</i></td>
+  <td class="tdleft" style="padding-left: 2em;">The Ebon-coloured ink.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act i, sc. 1 (245).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>King.</i></td>
+  <td class="tdleft">By heaven, thy love is black as Ebony.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Biron.</i></td>
+  <td class="tdleft">Is Ebony like her? O wood divine!<br />
+A wife of such wood were felicity.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 3 (247).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">The clearstores towards the south north are as
+lustrous as Ebony.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act iv, sc. 2 (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Pistol.</i></td>
+  <td class="tdleft">Rouse up revenge from Ebon den.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act v, sc. 5 (39).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Death's Ebon dart, to strike him dead.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (948).</td>
+</tr>
+</table>
+
+<p>The Ebony as a tree was unknown in England in the time
+of Shakespeare. The wood was introduced, and was the
+typical emblem of darkness. The timber is the produce of
+more than one species, but comes chiefly from Diospyros
+Ebenum, Ebenaster, Melanoxylon, Mabola, &amp;c. (Lindley),
+all natives of the East.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Eglantine" id="Eglantine"></a>EGLANTINE.</h2>
+
+<table class="poetryt" summary="eglantine references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Oberon.</i></td>
+  <td class="tdleft">I know a bank where the wild Thyme blows,<br />
+Where Oxlips and the nodding Violet grows;<br />
+<span class="pagenum"><a name="Page_83" id="Page_83"></a>[<a href="./images/83.png">83</a>]</span>
+Quite over-canopied with luscious Woodbine,<br />
+With sweet Musk-Roses and with Eglantine.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (249).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Arviragus.</i></td>
+  <td class="tdleft"><span class="s16">Thou shalt not lack</span><br />
+The flower that's like thy face, pale Primrose, nor<br />
+The azured Harebell, like thy veins, no, nor<br />
+The leaf of Eglantine, whom not to slander,<br />
+Out-sweeten'd not thy breath.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (220).</td>
+</tr>
+</table>
+
+<p>If Shakespeare had only written these two passages they
+would sufficiently have told of his love for simple flowers.
+None but a dear lover of such flowers could have written
+these lines. There can be no doubt that the Eglantine in
+his time was the Sweet Brier&mdash;his notice of the sweet leaf
+makes this certain. Gerard so calls it, but makes some
+confusion&mdash;which it is not easy to explain&mdash;by saying that
+the flowers are white, whereas the flowers of the true Sweet
+Brier are pink. In the earlier poets the name seems to
+have been given to any wild Rose, and Milton certainly
+did not consider the Eglantine and the Sweet Brier to be
+identical. He says ("L'Allegro")&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Through the Sweet Briar or the Vine,<br /></span>
+<span class="i1i">Or the twisted Eglantine."<br /></span>
+</div></div>
+
+<p>But Milton's knowledge of flowers was very limited. Herrick
+has some pretty lines on the flower, in which it seems most
+probable that he was referring to the Sweet Brier&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"From this bleeding hand of mine<br /></span>
+<span class="i0i">Take this sprig of Eglantine,<br /></span>
+<span class="i0i">Which, though sweet unto your smell,<br /></span>
+<span class="i0i">Yet the fretful Briar will tell,<br /></span>
+<span class="i0i">He who plucks the sweets shall prove<br /></span>
+<span class="i0i">Many Thorns to be in love."<br /></span>
+</div></div>
+
+<p>It was thus the emblem of pleasure mixed with pain&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sweet is the Eglantine, but pricketh nere."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Spenser</span>, <i>Sonnet</i> xxvi.</p>
+
+<p>And so its names pronounced it to be; it was either the
+Sweet Brier, or it was Eglantine, the thorny plant (Fr.,
+<i>aiglentier</i>). There was also an older name for the plant, of
+which I can give no explanation. It was called Bedagar.
+<span class="pagenum"><a name="Page_84" id="Page_84"></a>[<a href="./images/84.png">84</a>]</span>"Bedagar dicitur gallice aiglentier" (John de Gerlande).
+"<i>Bedagrage</i>, spina alba, wit-thorn" (Harl. MS., No. 978 in
+"Reliqui&aelig; Antiqu&aelig;," i, 36).<a name="FNanchor_84:1_75" id="FNanchor_84:1_75"></a><a href="#Footnote_84:1_75" class="fnanchor">[84:1]</a> The name still exists, though
+not in common use; but only as the name of a drug made
+from "the excrescences on the branches of the Rose, and
+particularly on those of the wild varieties" (Parsons on the
+Rose).</p>
+
+<p>It is a native of Britain, but not very common, being
+chiefly confined to the South of England. I have found it
+on Maidenhead Thicket. As a garden plant it is desirable
+for the extremely delicate scent of its leaves, but the flower
+is not equal to others of the family. There is, however, a
+double-flowered variety, which is handsome. The fruit of
+the single flowered tree is large, and of a deep red colour,
+and is said to be sometimes made into a preserve. In
+modern times this is seldom done, but it may have been
+common in Shakespeare's time, for Gerard says quaintly:
+"The fruit when it is ripe maketh most pleasant meats and
+banqueting dishes, as tarts and such like, the making whereof
+I commit to the cunning cooke, and teeth to eat them in
+the rich man's mouth." And Drayton says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"They'll fetch you conserve from the hip,<br /></span>
+<span class="i0i">And lay it softly on your lip."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Nymphal II.</i></p>
+
+<p>Eglantine has a further interest in being one of the many
+thorny trees from which the sacred crown of thorns was
+supposed to be made&mdash;"And afterwards he was led into a
+garden of Cayphas, and there he was crowned with Eglantine"
+(Sir John Mandeville).</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_84:1_75" id="Footnote_84:1_75"></a><a href="#FNanchor_84:1_75"><span class="label">[84:1]</span></a> "Est et cynosrodos, rosa camina, ung eglantier, folia myrti habens,
+sed paulo majora; recta assurgens in mediam altitudinem inter arborem
+et fruticem; fert spongiolas, quibus utuntur medici, ad malefica capitis
+ulcera, la malle tigne, vocatur antem vulgo in officinis pharmacopolarum,
+bedegar."&mdash;<i>Stephani de re Hortensi Libellus</i>, p. 17, 1536.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>ELDER.</h2>
+
+<table class="poetryt" summary="elder references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Arviragus.</i></td>
+  <td class="tdleft">And let the stinking Elder, grief, untwine<br />
+His perishing root with the increasing Vine!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (59).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_85" id="Page_85"></a>[<a href="./images/85.png">85</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Host.</i></td>
+  <td class="tdleft">What says my &AElig;sculapius? my Galen? my heart of Elder?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act ii, sc. 3 (29).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Saturninus.</i></td>
+  <td class="tdleft"><span class="s9">Look for thy reward</span><br />
+Among the Nettles at the Elder tree,</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">This is the pit and this the Elder tree.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act ii, sc. 3 (271).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Williams.</i></td>
+  <td class="tdleft">That's a perilous shot out of an Elder gun, that
+a poor and private displeasure can do against a monarch.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iv, sc. 1 (200).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Elder_5" id="Elder_5"></a>5)</td>
+  <td class="tdleftt"><i>Holofernes.</i></td>
+  <td class="tdleft">Begin, sir, you are my Elder.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Biron.</i></td>
+  <td class="tdleft">Well followed; Judas was hanged on an Elder.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (608).</td>
+</tr>
+</table>
+
+<p>There is, perhaps, no tree round which so much of contradictory
+folk-lore has gathered as the Elder tree.<a name="FNanchor_85:1_76" id="FNanchor_85:1_76"></a><a href="#Footnote_85:1_76" class="fnanchor">[85:1]</a> With
+many it was simply "the stinking Elder," of which nothing
+but evil could be spoken. Biron (No. <a href="#Elder_5">5</a>) only spoke the
+common medi&aelig;val notion that "Judas was hanged on an
+Elder;" and so firm was this belief that Sir John Mandeville
+was shown the identical tree at Jerusalem, "and faste
+by is zit, the Tree of Eldre that Judas henge himself upon,
+for despeyr that he hadde, when he solde and betrayed oure
+Lord." This was enough to give the tree a bad fame, which
+other things helped to confirm&mdash;the evil smell of its leaves,
+the heavy narcotic smell of its flowers, its hard and heartless
+wood,<a name="FNanchor_85:2_77" id="FNanchor_85:2_77"></a><a href="#Footnote_85:2_77" class="fnanchor">[85:2]</a> and the ugly drooping black fungus that is almost
+exclusively found on it (though it occurs also on the Elm),
+which was vulgarly called the Ear of Judas (<i>Hirneola auricula
+Jud&aelig;</i>). This was the bad character; but, on the other
+hand, there were many who could tell of its many virtues,
+so that in 1644 appeared a book entirely devoted to its
+praises. This was "The Anatomie of the Elder, translated
+from the Latin of Dr. Martin Blockwich by C. de Iryngio"
+<span class="pagenum"><a name="Page_86" id="Page_86"></a>[<a href="./images/86.png">86</a>]</span>(<i>i.e.</i>, Christ. Irvine), a book that, in its Latin and English
+form, went through several editions. And this favourable
+estimate of the tree is still very common in several parts of
+the Continent. In the South of Germany it is believed to
+drive away evil spirits, and the name "'Holderstock'
+(Elder Stock) is a term of endearment given by a lover to
+his beloved, and is connected with Hulda, the old goddess
+of love, to whom the Elder tree was considered sacred." In
+Denmark and Norway it is held in like esteem, and in the
+Tyrol an "Elder bush, trained into the form of a cross, is
+planted on the new-made grave, and if it blossoms the soul
+of the person lying beneath it is happy." And this use of
+the Elder for funeral purposes was, perhaps, also an old
+English custom; for Spenser, speaking of Death, says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">The Muses that were wont greene Baies to weare,<br /></span>
+<span class="i0">Now bringen bittre Eldre braunches seare."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Shepherd's Calendar&mdash;November.</i></p>
+
+<p>Nor must we pass by the high value that was placed on the
+wood both by the Jews and Greeks. It was the wood chiefly
+used for musical instruments, so that the name Sambuke was
+applied to several very different instruments, from the fact
+that they were all made of Elder wood. The "sackbut,"
+"dulcimer," and "pipe" of Daniel iii. are all connected
+together in this manner.</p>
+
+<p>As a garden plant the common Elder is not admissible,
+though it forms a striking ornament in the wild hedgerows
+and copses, while its flowers yield the highly perfumed Elder-flower
+water, and its fruits give the Elder wine; but the tree
+runs into many varieties, several of which are very ornamental,
+the leaves being often very finely divided and jagged,
+and variegated both with golden and silver blotches. There
+is a handsome species from Canada (Sambucus Canadensis),
+which is worth growing in shrubberies, as it produces its
+pure white flowers in autumn.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_85:1_76" id="Footnote_85:1_76"></a><a href="#FNanchor_85:1_76"><span class="label">[85:1]</span></a> Called also Eldern in the sixteenth and seventeenth centuries, and
+still earlier, Eller or Ellyr ("Catholicon Anglicum"). "The Ellern is
+a tree with long bowes, ful sounde and sad wythout, and ful holowe
+within, and ful of certayne nesshe pyth."&mdash;<i>Clanvil de prop.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_85:2_77" id="Footnote_85:2_77"></a><a href="#FNanchor_85:2_77"><span class="label">[85:2]</span></a> From the facility with which the hard wood can be hollowed out,
+the tree was from very ancient times called the Bore-tree. See "Catholicon
+Anglicum," s.v. Bur-tre.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_87" id="Page_87"></a>[<a href="./images/87.png">87</a>]</span></p>
+<h2>ELM.</h2>
+
+<table class="poetryt" summary="elm references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Adriana.</i></td>
+  <td class="tdleft">Thou art an Elm, my husband, I a Vine,<br />
+Whose weakness married to thy stronger state<br />
+Makes me with thy strength to communicate.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act ii, sc. 2 (176).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft"><span class="s12">The female Ivy so</span><br />
+Enrings the barky fingers of the Elm.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Poins.</i></td>
+  <td class="tdleft">Answer, thou dead Elm, answer!<a name="FNanchor_87:1_78" id="FNanchor_87:1_78"></a><a href="#Footnote_87:1_78" class="fnanchor">[87:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc, 4 (358).</td>
+</tr>
+</table>
+
+<p>Though Vineyards were more common in England in the
+sixteenth century than now, yet I can nowhere find that the
+Vines were ever trained, in the Italian fashion, to Elms or
+Poplars. Yet Shakespeare does not stand alone in thus
+speaking of the Elm in its connection with the Vine.
+Spenser speaks of "the Vine-prop Elme," and Milton&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8">"They led the Vine<br /></span>
+<span class="i0">To wed her Elm; she spoused, about him twines<br /></span>
+<span class="i0">Her marriageable arms, and with her brings<br /></span>
+<span class="i0">Her dower, the adopted clusters, to adorn<br /></span>
+<span class="i0">His barren leaves."<br /></span>
+</div></div>
+
+<p>And Browne&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i7">"She, whose inclination<br /></span>
+<span class="i0">Bent all her course to him-wards, let him know<br /></span>
+<span class="i0">He was the Elm, whereby her Vine did grow."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Britannia's Pastorals</i>, book i, song 1.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8">"An Elm embraced by a Vine,<br /></span>
+<span class="i0">Clipping so strictly that they seemed to be<br /></span>
+<span class="i0">One in their growth, one shade, one fruit, one tree;<br /></span>
+<span class="i0">Her boughs his arms; his leaves so mixed with hers,<br /></span>
+<span class="i0">That with no wind he moved, but straight she stirs."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Ibid.</i>, ii, 4.</p>
+
+<p>But I should think that neither Shakespeare, nor Browne,
+nor Milton ever saw an English Vine trained to an Elm; they
+were simply copying from the classical writers.</p>
+
+<p><span class="pagenum"><a name="Page_88" id="Page_88"></a>[<a href="./images/88.png">88</a>]</span>The Wych Elm is probably a true native, but the more
+common Elm of our hedgerows is a tree of Southern
+Europe and North Africa, and is of such modern introduction
+into England that in Evelyn's time it was rarely
+seen north of Stamford. It was probably introduced into
+Southern England by the Romans.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_87:1_78" id="Footnote_87:1_78"></a><a href="#FNanchor_87:1_78"><span class="label">[87:1]</span></a> Why Falstaff should be called a dead Elm is not very apparent;
+but the Elm was associated with death as producing the wood for
+coffins. Thus Chaucer speaks of it as "the piler Elme, the cofre unto
+careyne," <i>i.e.</i>, carrion ("Parliament of Fowles," 177).</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>ERINGOES.</h2>
+
+<table class="poetryt" summary="eringoes reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Falstaff.</i></td>
+  <td class="tdleft">Let the sky rain Potatoes; let it thunder to the tune
+of Green Sleeves, hail kissing-comfits, and snow Eringoes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act v, sc. 5 (20).</td>
+</tr>
+</table>
+
+<p>Gerard tells us that Eringoes are the candied roots of the
+Sea Holly (<i>Eryngium maritimum</i>), and he gives the recipe
+for candying them. I am not aware that the Sea Holly is
+ever now so used, but it is a very handsome plant as it is
+seen growing on the sea shore, and its fine foliage makes it
+an ornamental plant for a garden. But as used by Falstaff I
+am inclined to think that the vegetable he wished for was
+the Globe Artichoke, which is a near ally of the Eryngium,
+was a favourite diet in Shakespeare's time, and was reputed
+to have certain special virtues which are not attributed to
+the Sea Holly, but which would more accord with Falstaff's
+character.<a name="FNanchor_88:1_79" id="FNanchor_88:1_79"></a><a href="#Footnote_88:1_79" class="fnanchor">[88:1]</a> I cannot, however, anywhere find that the
+Artichoke was called Eringoes.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_88:1_79" id="Footnote_88:1_79"></a><a href="#FNanchor_88:1_79"><span class="label">[88:1]</span></a> For these supposed virtues of the Artichoke see Bullein's "Book of
+Simples."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>FENNEL.</h2>
+
+<table class="poetryt" summary="fennel references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ophelia.</i></td>
+  <td class="tdleft">There's Fennel for you and Columbines.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc 5 (189).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">And a' plays at quoits well, and eats conger and Fennel.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 4 (266).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_89" id="Page_89"></a>[<a href="./images/89.png">89</a>]</span>
+The Fennel was always a plant of high reputation. The
+Plain of Marathon was so named from the abundance of
+Fennel (<ins class="greek" title="marathron">&#956;&#945;&#961;&#945;&#952;&#961;&#959;&#957;</ins>) growing on it.<a name="FNanchor_89:1_80" id="FNanchor_89:1_80"></a><a href="#Footnote_89:1_80" class="fnanchor">[89:1]</a> And like all strongly scented
+plants, it was supposed by the medical writers to abound in
+"virtues." Gower, describing the star Pleiades, says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Eke his herbe in speciall<br /></span>
+<span class="i0i">The vertuous Fenel it is."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Aman.</i>, lib. sept. (3, 129. Paulli.)</p>
+
+<p>These virtues cannot be told more pleasantly than by Longfellow&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Above the lowly plants it towers,<br /></span>
+<span class="i0i">The Fennel with its yellow flowers,<br /></span>
+<span class="i0i">And in an earlier age than ours<br /></span>
+<span class="i0i">Was gifted with the wondrous powers&mdash;<br /></span>
+<span class="i1i">Lost vision to restore.<br /></span>
+<span class="i0i">It gave men strength and fearless mood,<br /></span>
+<span class="i0i">And gladiators fierce and rude<br /></span>
+<span class="i0i">Mingled it with their daily food:<br /></span>
+<span class="i0i">And he who battled and subdued<br /></span>
+<span class="i1i">A wreath of Fennel wore."<br /></span>
+</div></div>
+
+<p>"Yet the virtues of Fennel, as thus enumerated by Longfellow,
+do not comprise either of those attributes of the
+plant which illustrate the two passages from Shakespeare.
+The first alludes to it as an emblem of flattery, for which
+ample authority has been found by the commentators.<a name="FNanchor_89:2_81" id="FNanchor_89:2_81"></a><a href="#Footnote_89:2_81" class="fnanchor">[89:2]</a>
+Florio is quoted for the phrase 'Dare finocchio,' <i>to give
+fennel</i>, as meaning <i>to flatter</i>. In the second quotation the
+allusion is to the reputation of Fennel as an inflammatory
+herb with much the same virtues as are attributed to Eringoes."&mdash;Mr.
+<span class="smcap">J. F. Marsh</span> in <i>The Garden</i>.</p>
+
+<p>The English name was directly derived from its Latin
+name <i>F&oelig;niculum</i>, which may have been given it from its
+hay-like smell (<i>f&oelig;num</i>), but this is not certain. We have
+another English word derived from the Giant Fennel of the
+South of Europe (<i>ferula</i>); this is the ferule, an instrument of
+punishment for small boys, also adopted from the Latin, the
+<span class="pagenum"><a name="Page_90" id="Page_90"></a>[<a href="./images/90.png">90</a>]</span>Roman schoolmaster using the stalks of the Fennel for the
+same purpose as the modern schoolmaster uses the cane.</p>
+
+<p>The early poets looked on the Fennel as an emblem of
+the early summer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Hyt befell yn the month of June<br /></span>
+<span class="i0i">When the Fenell hangeth yn toun."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Lib&aelig;us Diaconus.</i>(1225).</p>
+
+<p>As a useful plant, the chief use is as a garnishing and sauce
+for fish. Large quantities of the seed are said to be imported
+to flavour gin, but this can scarcely be called useful. As
+ornamental plants, the large Fennels (F. Tingitana, F. campestris,
+F. glauca, &amp;c.) are very desirable where they can
+have the necessary room.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_89:1_80" id="Footnote_89:1_80"></a><a href="#FNanchor_89:1_80"><span class="label">[89:1]</span></a> "Fennelle or Fenkelle, feniculum maratrum."&mdash;<i>Catholicon Anglicum.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_89:2_81" id="Footnote_89:2_81"></a><a href="#FNanchor_89:2_81"><span class="label">[89:2]</span></a></p>
+
+<table class="poetryt" summary="fennel reference" style="width: 80%; margin-left: 2em;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">"</td>
+  <td class="tdleftt" style="width: 5%;"><i>Christophers.</i></td>
+  <td class="tdleft">No, my <i>good lord</i>.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Count.</i></td>
+  <td class="tdleft">Your <i>good lord</i>! O, how this smells of Fennel."</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><span class="smcap">Ben Jonson</span>, <i>The Case Altered</i>, act ii, sc. 2.</td>
+</tr>
+</table>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>FERN.</h2>
+
+<table class="poetryt" summary="fern reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Gadshill.</i></td>
+  <td class="tdleft">We have the receipt of Fern-seed&mdash;we walk invisible.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Chamberlain.</i></td>
+  <td class="tdleft">Now, by my faith, I think you are more beholding
+to the night than to Fern-seed for your walking invisible.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 1 (95).</td>
+</tr>
+</table>
+
+<p>There is a fashion in plants as in most other things, and
+in none is this more curiously shown than in the estimation
+in which Ferns are and have been held. Now-a-days it is
+the fashion to admire Ferns, and few would be found bold
+enough to profess an indifference to them. But it was not
+always so. Theocritus seems to have admired the Fern&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Like Fern my tresses o'er my temples streamed."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Idyll</i> xx. (<i>Calverley.</i>)</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Come here and trample dainty Fern and Poppy blossom."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Idyll</i> v. (<i>Calverley.</i>)</p>
+
+<p>But Virgil gives it a bad character, speaking of it as "filicem
+invisam." Horace is still more severe, "neglectis urenda filix
+innascitur agris." The Anglo-Saxon translation of Boethius
+spoke contemptuously of the "Thorns, and the Furzes, and
+the Fern, and all the weeds" (Cockayne). And so it was in
+Shakespeare's time. Butler spoke of it as the&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_91" id="Page_91"></a>[<a href="./images/91.png">91</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Fern, that vile, unuseful weed,<br /></span>
+<span class="i0i">That grows equivocably without seed."<br /></span>
+</div></div>
+
+<p>Cowley spoke the opinion of his day as if the plant had
+neither use nor beauty&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Nec caulem natura mihi, nec Floris honorem,<br /></span>
+<span class="i1i">Nec mihi vel semen dura Noverca dedit&mdash;<br /></span>
+<span class="i0i">Nec me sole fovet, nec cultis crescere in hortis<br /></span>
+<span class="i1i">Concessum, et Foliis gratia nulla meis&mdash;<br /></span>
+<span class="i0i">Herba invisa Deis poteram c&oelig;loque videri,<br /></span>
+<span class="i1i">Et spurio Terr&aelig; nata puerperio."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Plantarum</i>, lib. i.</p>
+
+<p>And later still Gilpin, who wrote so much on the beauties of
+country scenery at the close of the last century, has nothing
+better to say for Ferns than that they are noxious weeds, to be
+classed with "Thorns and Briers, and other ditch trumpery."
+The fact, no doubt, is that Ferns were considered something
+"uncanny and eerie;" our ancestors could not understand
+a plant which seemed to them to have neither flower nor
+seed, and so they boldly asserted it had neither. "This
+kinde of Ferne," says Lyte in 1587, "beareth neither flowers
+nor sede, except we shall take for sede the black spots
+growing on the backsides of the leaves, the whiche some do
+gather thinking to worke wonders, but to say the trueth it is
+nothing els but trumperie and superstition." A plant so
+strange must needs have strange qualities, but the peculiar
+power attributed to it of making persons invisible arose
+thus:&mdash;It was the age in which the doctrine of signatures
+was fully believed in; according to which doctrine Nature,
+in giving particular shapes to leaves and flowers, had thereby
+plainly taught for what diseases they were specially useful.<a name="FNanchor_91:1_82" id="FNanchor_91:1_82"></a><a href="#Footnote_91:1_82" class="fnanchor">[91:1]</a>
+Thus a heart-shaped leaf was for heart disease, a liver-shaped
+for the liver, a bright-eyed flower was for the eyes, a foot-shaped
+flower or leaf would certainly cure the gout, and so
+on; and then when they found a plant which certainly grew
+and increased, but of which the organs of fructification were
+invisible, it was a clear conclusion that properly used the
+plant would confer the gift of invisibility. Whether the
+<span class="pagenum"><a name="Page_92" id="Page_92"></a>[<a href="./images/92.png">92</a>]</span>people really believed this or not we cannot say,<a name="FNanchor_92:1_83" id="FNanchor_92:1_83"></a><a href="#Footnote_92:1_83" class="fnanchor">[92:1]</a> but they
+were quite ready to believe any wonder connected with the
+plant, and so it was a constant advertisement with the quacks.
+Even in Addison's time "it was impossible to walk the streets
+without having an advertisement thrust into your hand of a
+doctor who had arrived at the knowledge of the Green and
+Red Dragon, and had discovered the female Fern-seed.
+Nobody ever knew what this meant" ("Tatler," No. 240).
+But to name all the superstitions connected with the Fern
+would take too much space.</p>
+
+<p>The name is expressive; it is a contraction of the Anglo-Saxon
+<i>fepern</i>, and so shows that some of our ancestors
+marked its feathery form; and its history as a garden plant
+is worth a few lines. So little has it been esteemed as a
+garden plant that Mr. J. Smith, the ex-Curator of the Kew
+Gardens, tells us that in the year 1822 the collection of
+Ferns at Kew was so extremely poor that "he could not
+estimate the entire Kew collection of exotic Ferns at that
+period at more than forty species" (Smith's "Ferns, British
+and Exotic," introduction). Since that time the steadily
+increasing admiration of Ferns has caused collectors to send
+them from all parts of the world, so that in 1866 Mr. Smith
+was enabled to describe about a thousand species, and now
+the number must be much larger; and the closer search for
+Ferns has further brought into notice a very large number
+of most curious varieties and monstrosities, which it is still
+more curious to observe are, with very few exceptions, confined
+to the British species.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_91:1_82" id="Footnote_91:1_82"></a><a href="#FNanchor_91:1_82"><span class="label">[91:1]</span></a> See Brown's "Religio Medici," p. ii. 2.</p></div>
+
+<div class="footnote"><p><a name="Footnote_92:1_83" id="Footnote_92:1_83"></a><a href="#FNanchor_92:1_83"><span class="label">[92:1]</span></a> It probably was the real belief, as we find it so often mentioned as
+a positive fact; thus Browne&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Poor silly fool! thou striv'st in vain to know<br /></span>
+<span class="i0i">If I enjoy or love where thou lov'st so;<br /></span>
+<span class="i0i">Since my affection ever secret tried<br /></span>
+<span class="i0i">Blooms like the Fern, and seeds still unespied."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Poems</i>, p. 26 (Sir E. Brydges' edit. 1815).</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_93" id="Page_93"></a>[<a href="./images/93.png">93</a>]</span></p>
+<h2>FIGS.</h2>
+
+<table class="poetryt" summary="fig references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Titania.</i></td>
+  <td class="tdleft">Feed him with Apricocks and Dewberries,<br />
+With purple Grapes, green Figs, and Mulberries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (169).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Constance.</i></td>
+  <td class="tdleft"><span class="s7">And its grandam will</span><br />
+Give it a Plum, a Cherry, and a Fig.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act ii, sc. 1 (161).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Guard.</i></td>
+  <td class="tdleft"><span class="s8">Here is a rural fellow</span><br />
+That will not be denied your Highness's presence,<br />
+He brings you Figs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act v, sc. 2 (233).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>1st Guard.</i></td>
+  <td class="tdleft">A simple countryman that brought her Figs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (342).</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Ditto.</i></td>
+  <td class="tdleft"><span class="s10">These Fig-leaves</span><br />
+Have slime upon them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 2 (354).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Fig_5" id="Fig_5"></a>5)</td>
+  <td class="tdleftt"><i>Pistol.</i></td>
+  <td class="tdleft">When Pistol lies, do this; and Fig me, like<br />
+The bragging Spaniard.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act v, sc. 3 (123).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Fig_6" id="Fig_6"></a>6)</td>
+  <td class="tdleftt"><i>Pistol.</i></td>
+  <td class="tdleft">Die and be damned, and Figo for thy friendship.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Fluellen.</i></td>
+  <td class="tdleft">It is well.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Pistol.</i></td>
+  <td class="tdleft"><span class="s7">The Fig of Spain.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 6 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Fig_7" id="Fig_7"></a>7)</td>
+  <td class="tdleftt"><i>Pistol.</i></td>
+  <td class="tdleft">The Figo for thee, then.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">Virtue! a Fig!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (322).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">Blessed Fig's end!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 1 (256).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Horner.</i></td>
+  <td class="tdleft">I'll pledge you all, and a Fig for Peter.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 3 (66).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Pistol.</i></td>
+  <td class="tdleft">"Convey," the wise it call; "steal!" foh! a Fico
+for the phrase!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act i, sc. 3 (32).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Charmian.</i></td>
+  <td class="tdleft">O excellent! I love long life better than Figs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act i, sc. 2 (32).</td>
+</tr>
+</table>
+
+<p>In some of these passages (as <a href="#Fig_5">5</a>, <a href="#Fig_6">6</a>, <a href="#Fig_7">7</a>, and perhaps in more)
+the reference is to a grossly insulting and indecent gesture
+called "making the fig." It was a most unpleasant custom,
+which largely prevailed throughout Europe in Shakespeare's
+time, and on which I need not dwell. It is fully described
+in Douce's "Illustrations of Shakespeare," i, 492.</p>
+
+<p>In some of the other quotations the reference is simply to
+the proverbial likeness of a Fig to a matter of the least
+<span class="pagenum"><a name="Page_94" id="Page_94"></a>[<a href="./images/94.png">94</a>]</span>importance.<a name="FNanchor_94:1_84" id="FNanchor_94:1_84"></a><a href="#Footnote_94:1_84" class="fnanchor">[94:1]</a> But in the others the dainty fruit, the green
+Fig, is noticed.</p>
+
+<p>The Fig tree, celebrated from the earliest times for the
+beauty of its foliage and for its "sweetness and good fruit"
+(Judges ix. 11), is said to have been introduced into England
+by the Romans; but the more reliable accounts attribute its
+introduction to Cardinal Pole, who is said to have planted
+the Fig tree still living at Lambeth Palace. Botanically,
+the Fig is of especial interest. The Fig, as we eat it, is
+neither fruit nor flower, though partaking of both, being
+really the hollow, fleshy receptacle enclosing a multitude of
+flowers, which never see the light, yet come to full perfection
+and ripen their seed. The Fig stands alone in this peculiar
+arrangement of its flowers, but there are other plants of which
+we eat the unopened or undeveloped flowers, as the Artichoke,
+the Cauliflower, the Caper, the Clove, and the Pine Apple.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_94:1_84" id="Footnote_94:1_84"></a><a href="#FNanchor_94:1_84"><span class="label">[94:1]</span></a> This proverbial worthlessness of the Fig is of ancient date.
+Theocritus speaks of <ins class="greek" title="sykinoi andres">&#963;&#965;&#954;&#953;&#957;&#959;&#953; &#945;&#957;&#948;&#961;&#949;&#962;</ins>, useless men; Horace, "Olim
+truncus eram ficulnus, inutile lignum;" and Juvenal, "Sterilis mala
+robora ficus."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>FILBERTS.</h2>
+
+<table class="poetryt" summary="filbert reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Caliban.</i></td>
+  <td class="tdleft">I'll bring thee to clustering Filberds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 2(174). (<i>See</i> <span class="smcap"><a href="#Hazel">Hazel</a></span>.)</td>
+</tr>
+</table>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Flag" id="Flag"></a>FLAGS.</h2>
+
+<table class="poetryt" summary="flag reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>C&aelig;sar.</i></td>
+  <td class="tdleft"><span class="s10">This common body</span><br />
+Like to a vagabond Flag upon the stream<br />
+Goes to and back, lackeying the varying tide,<br />
+To rot itself with motion.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">
+<i>Antony and Cleopatra</i>, act i, sc. 4 (44).</td>
+</tr>
+</table>
+
+<p>We now commonly call the Iris a Flag, and in Shakespeare's
+time the Iris pseudoacorus was called the Water
+Flag, and so this passage might, perhaps, have been placed
+<span class="pagenum"><a name="Page_95" id="Page_95"></a>[<a href="./images/95.png">95</a>]</span>under Flower-de-luce. But I do not think that the Flower-de-luce
+proper was ever called a Flag at that time, whereas
+we know that many plants, especially the Reeds and Bulrushes,
+were called in a general way Flags. This is the case
+in the Bible, the language of which is always a safe guide in
+the interpretation of contemporary literature. The mother
+of Moses having placed the infant in the ark of Bulrushes,
+"laid it in the Flags by the river's brink," and the daughter
+of Pharaoh "saw the ark among the Flags." Job asks,
+"Can the Flag grow without water?" and Isaiah draws the
+picture of desolation when "the brooks of defence shall be
+emptied and dried up, and the Reeds and the Flags shall
+wither." But in these passages, not only is the original
+word very loosely translated, but the original word itself was
+so loosely used that long ago Jerome had said it might mean
+any marsh plant, <i>quidquid in palude virens nascitur</i>. And
+in the same way I conclude that when Shakespeare named
+the Flag he meant any long-leaved waterside plant that is
+swayed to and fro by the stream, and that therefore this
+passage might very properly have been placed under Rushes.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FLAX.</h2>
+
+<table class="poetryt" summary="flax references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ford.</i></td>
+  <td class="tdleft">What, a hodge-pudding? a bag of Flax?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act v, sc. 5 (159).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Clifford.</i></td>
+  <td class="tdleft">Beauty that the tyrant oft reclaims<br />
+Shall to my flaming wrath be oil and Flax.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act v, sc. 2 (54).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Sir Toby.</i></td>
+  <td class="tdleft">Excellent; it hangs like Flax in a distaff.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act i, sc. 3 (108).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>3rd Servant.</i></td>
+  <td class="tdleft">Go thou: I'll fetch some Flax and white of eggs<br />
+To apply to his bleeding face.<a name="FNanchor_95:1_85" id="FNanchor_95:1_85"></a><a href="#Footnote_95:1_85" class="fnanchor">[95:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iii, sc. 7 (106).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_96" id="Page_96"></a>[<a href="./images/96.png">96</a>]</span>(5)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">His beard was as white as snow,<br />
+All Flaxen was his poll.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 5 (195).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Leontes.</i></td>
+  <td class="tdleft">My wife deserves a name<br />
+As rank as any Flax-wench.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act i, sc. 2 (276).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Emilia.</i></td>
+  <td class="tdleft"><span class="s13">It could</span><br />
+No more be hid in him, than fire in Flax.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act v, sc. 3 (113).</td>
+</tr>
+</table>
+
+<p>The Flax of commerce (<i>Linum usitatissimum</i>) is not a
+true native, though Turner said: "I have seen flax or lynt
+growyng wilde in Sommerset shyre" ("Herbal," part ii. p. 39);
+but it takes kindly to the soil, and soon becomes naturalized
+in the neighbourhood of any Flax field or mill. We have,
+however, three native Flaxes in England, of which the
+smallest, the Fairy Flax (<i>L. catharticum</i>), is one of the
+most graceful ornaments of our higher downs and hills.<a name="FNanchor_96:1_86" id="FNanchor_96:1_86"></a><a href="#Footnote_96:1_86" class="fnanchor">[96:1]</a>
+The Flax of commerce, which is the plant referred to by
+Shakespeare, is supposed to be a native of Egypt, and we
+have early notice of it in the Book of Exodus; and the
+microscope has shown that the cere-cloths of the most ancient
+Egyptian mummies are made of linen. It was very early
+introduced into England, and the spinning of Flax was the
+regular occupation of the women of every household, from
+the mistress downwards, so that even queens are represented
+in the old illuminations in the act of spinning, and "the
+spinning-wheel was a necessary implement in every household,
+from the palace to the cottage."&mdash;<span class="smcap">Wright</span>, <i>Domestic
+Manners</i>. The occupation is now almost gone, driven out
+by machinery, but it has left its mark on our language, at
+least on our legal language, which acknowledges as the
+only designation of an unmarried woman that she is "a
+spinster."</p>
+
+<p>A crop of Flax is one of the most beautiful, from the rich
+colour of the flowers resting on their dainty stalks. But it
+is also most useful; from it we get linen, linseed oil, oilcake,
+and linseed-meal; nor do its virtues end there, for "Sir
+<span class="pagenum"><a name="Page_97" id="Page_97"></a>[<a href="./images/97.png">97</a>]</span>John Herschel tells us the surprising fact that old linen
+rags will, when treated with sulphuric acid, yield more than
+their own weight of sugar. It is something even to have
+lived in days when our worn-out napkins may possibly
+reappear on our tables in the form of sugar."&mdash;<span class="smcap">Lady
+Wilkinson.</span></p>
+
+<p>As garden plants the Flaxes are all ornamental. There
+are about eighty species, some herbaceous and some shrubby,
+and of almost all colours, and in most of the species the
+colours are remarkably bright and clear. There is no finer
+blue than in L. usitatissimum, no finer yellow than in L.
+trigynum, or finer scarlet than in L. grandiflorum.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_95:1_85" id="Footnote_95:1_85"></a><a href="#FNanchor_95:1_85"><span class="label">[95:1]</span></a> "<i>Juniper.</i> Go get white of egg and a little Flax, and close the breach
+of the head; it is the most conducible thing that can be."&mdash;<span class="smcap">Ben
+Jonson</span>, <i>The Case Altered</i>, act ii, sc. 4.</p></div>
+
+<div class="footnote"><p><a name="Footnote_96:1_86" id="Footnote_96:1_86"></a><a href="#FNanchor_96:1_86"><span class="label">[96:1]</span></a> "From the abundant harvests of this elegant weed on the upland
+pastures, prepared and manufactured by supernatural skill, 'the good
+people' were wont, in the olden time, to procure the necessary supplies
+of linen!"&mdash;<span class="smcap">Johnston.</span></p></div>
+
+
+<hr style="width: 65%;" />
+<h2>FLOWER-DE-LUCE.</h2>
+
+<table class="poetryt" summary="flower-de-luce references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s8">Lilies of all kinds,</span><br />
+The Flower-de-luce being one.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winters Tale</i>, act iv, sc. 4 (126).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">What sayest thou, my fair Flower-de-luce?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (323).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Messenger.</i></td>
+  <td class="tdleft">Cropped are the Flower-de-luces in your arms;<br />
+Of England's coat one half is cut away.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry VI</i>, act i, sc. 1 (80).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Pucelle.</i></td>
+  <td class="tdleft">I am prepared; here is my keen-edged sword<br />
+Deck'd with five Flower-de-luces on each side.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act i, sc. 2 (98).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>York.</i></td>
+  <td class="tdleft">A sceptre shall it have, have I a soul,
+On which I'll toss the Flower-de-luce of France.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act v, sc. 1 (10).</td>
+</tr>
+</table>
+
+<p>Out of these five passages four relate to the Fleur-de-luce
+as the cognizance of France, and much learned ink has been
+spilled in the endeavour to find out what flower, if any, was
+intended to be represented, so that Mr. Planch&eacute; says that
+"next to the origin of heraldry itself, perhaps nothing connected
+with it has given rise to so much controversy as the
+origin of this celebrated charge." It has been at various
+times asserted to be an Iris, a Lily, a sword-hilt, a spearhead,
+and a toad, or to be simply the Fleur de St. Louis.
+<span class="pagenum"><a name="Page_98" id="Page_98"></a>[<a href="./images/98.png">98</a>]</span><i>Adhuc sub judice lis est</i>&mdash;and it is never likely to be satisfactorily
+settled. I need not therefore dwell on it, especially
+as my present business is to settle not what the Fleur-de-luce
+meant in the arms of France, but what it meant in Shakespeare's
+writings. But here the same difficulty at once
+meets us, some writers affirming stoutly that it is a Lily,
+others as stoutly that it is an Iris. For the Lily theory
+there are the facts that Shakespeare calls it one of the
+Lilies, and that the other way of spelling it is Fleur-de-lys.
+I find also a strong confirmation of this in the writings of
+St. Francis de Sales (contemporary with Shakespeare).
+"Charity," he says, "comprehends the seven gifts of the
+Holy Ghost, and resembles a beautiful Flower-de-luce, which
+has six leaves whiter than snow, and in the middle the
+pretty little golden hammers" ("Philo," book xi., Mulholland's
+translation). This description will in no way fit
+the Iris, but it may very well be applied to the White Lily.
+Chaucer, too, seems to connect the Fleur-de-luce with the
+Lily&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Her nekke was white as the Flour de Lis."<br /></span>
+</div></div>
+
+<p>These are certainly strong authorities for saying that the
+Flower-de-luce is the Lily. But there are as strong or
+stronger on the other side. Spenser separates the Lilies
+from the Flower-de-luces in his pretty lines&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Strow mee the grounde with Daffadown-Dillies,<br /></span>
+<span class="i0i">And Cowslips, and Kingcups, and lov&eacute;d Lillies;<br /></span>
+<span class="i5i">The Pretty Pawnce<br /></span>
+<span class="i5i">And the Chevisaunce<br /></span>
+<span class="i0i">Shall match with the fayre Floure Delice."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Shepherd's Calendar.</i></p>
+
+<p>Ben Jonson separates them in the same way&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Bring rich Carnations, Flower-de-luces, Lillies."<br /></span>
+</div></div>
+
+<p>Lord Bacon also separates them: "In April follow the
+double White Violet, the Wall-flower, the Stock-Gilliflower,
+the Cowslip, the Flower-de-luces, and Lilies of all Natures;"
+and so does Drayton&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Lily and the Flower de Lis<br /></span>
+<span class="i0i">For colours much contenting."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Nymphal V.</i></p>
+
+<p><span class="pagenum"><a name="Page_99" id="Page_99"></a>[<a href="./images/99.png">99</a>]</span>
+In heraldry also the Fleur-de-lis and the Lily are two distinct
+bearings. Then, from the time of Turner in 1568,
+through Gerard and Parkinson to Miller, all the botanical
+writers identify the Iris as the plant named, and with this
+judgment most of our modern writers agree.<a name="FNanchor_99:1_87" id="FNanchor_99:1_87"></a><a href="#Footnote_99:1_87" class="fnanchor">[99:1]</a> We may,
+therefore, assume that Shakespeare meant the Iris as the
+flower given by Perdita, and we need not be surprised at his
+classing it among the Lilies. Botanical classification was
+not very accurate in his day, and long after his time two
+such celebrated men as Redout&eacute; and De Candolle did not
+hesitate to include in the "Liliac&aelig;," not only Irises, but
+Daffodils, Tulips, Fritillaries, and even Orchids.</p>
+
+<p>What Iris Shakespeare especially alluded to it is useless to
+inquire. We have two in England that are indigenous&mdash;one
+the rich golden-yellow (<i>I. pseudacorus</i>), which in some
+favourable positions, with its roots in the water of a brook,
+is one of the very handsomest of the tribe; the other the
+Gladwyn (<i>I. f&oelig;tidissima</i>), with dull flowers and strong-smelling
+leaves, but with most handsome scarlet fruit, which
+remain on the plant and show themselves boldly all through
+the winter and early spring. Of other sorts there is a large
+number, so that the whole family, according to the latest
+account by Mr. Baker, of Kew, contains ninety-six distinct
+species besides varieties. They come from all parts of the
+world, from the Arctic Circle to the South of China; they
+are of all colours, from the pure white Iris Florentina to the
+almost black I. Susiana; and of all sizes, from a few inches
+to four feet or more. They are mostly easy of cultivation
+and increase readily, so that there are few plants better
+suited for the hardy garden or more ornamental.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_99:1_87" id="Footnote_99:1_87"></a><a href="#FNanchor_99:1_87"><span class="label">[99:1]</span></a> G. Fletcher's Flower-de-luce was certainly the Iris&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Flower-de-Luce and the round specks of dew<br /></span>
+<span class="i0i">That hung upon the azure leaves did shew<br /></span>
+<span class="i0i">Like twinkling stars that sparkle in the evening blue."<br /></span>
+</div></div>
+
+<p>The "leaves" here must be the petals.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_100" id="Page_100"></a>[<a href="./images/100.png">100</a>]</span></p>
+<h2>FUMITER, FUMITORY.</h2>
+
+<table class="poetryt" summary="fumiter references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Cordelia.</i></td>
+  <td class="tdleft">Crown'd with rank Fumiter and Furrow-weeds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 4 (3). (<i>See</i> <span class="smcap"><a href="#Cuckoo">Cuckoo-flowers</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Burgundy.</i></td>
+  <td class="tdleft"><span class="s17">Her fallow leas</span><br />
+The Darnel, Hemlock, and rank Fumitory<br />
+Doth root upon.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (44).</td>
+</tr>
+</table>
+
+<p>Of Fumitories we have five species in England, all of
+them weeds in cultivated grounds and in hedgerows. None
+of them can be considered garden plants, but they are closely
+allied to the Corydalis, of which there are several pretty
+species, and to the very handsome Dielytras, of which one
+species&mdash;D. spectabilis&mdash;ranks among the very handsomest
+of our hardy herbaceous plants. How the plant acquired its
+name of Fumitory&mdash;<i>fume-terre</i>, earth-smoke&mdash;is not very
+satisfactorily explained, though many explanations have been
+given; but that the name was an ancient one we know from
+the interesting Stockholm manuscript of the eleventh century
+published by Mr. J. Pettigrew, and of which a few lines are
+worth quoting. (The poem is published in the "Arch&aelig;ologia,"
+vol. xxx.)&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Fumiter is erbe, I say,<br /></span>
+<span class="i0i">Yt spryngyth &#299; April et in May,<br /></span>
+<span class="i0i">In feld, in town, in yard, et gate,<br /></span>
+<span class="i0i">Yer lond is fat and good in state,<br /></span>
+<span class="i0i">Dun red is his flour<br /></span>
+<span class="i0i">Ye erbe smek lik in colowur."<br /></span>
+</div></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Furze" id="Furze"></a>FURZE.</h2>
+
+<table class="poetryt" summary="furze references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ariel.</i></td>
+  <td class="tdleft"><span class="s7">So I charm'd their ears,</span><br />
+That calf-like they my lowing follow'd through<br />
+Tooth'd Briers, sharp Furzes, pricking Goss, and Thorns.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (178).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Gonzalo.</i></td>
+  <td class="tdleft">Now would I give a thousand furlongs of sea for
+an acre of barren ground, long Heath, brown
+Furze, anything.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act i, sc. 1 (70).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_101" id="Page_101"></a>[<a href="./images/101.png">101</a>]</span>We now call the Ulex Europ&aelig;us either Gorse, or Furze, or
+Whin; but in the sixteenth century I think that the Furze
+and Gorse were distinguished (<i>see</i> <span class="smcap"><a href="#Gorse">Gorse</a></span>), and that the
+brown Furze was the Ulex. It is a most beautiful plant, and
+with its golden blossoms and richly scented flowers is the
+glory of our wilder hill-sides. It is especially a British plant,
+for though it is found in other parts of Europe, and even in
+the Azores and Canaries, yet I believe it is nowhere found
+in such abundance or in such beauty as in England. Gerard
+says, "The greatest and highest that I did ever see do grow
+about Excester, in the West Parts of England;" and those
+that have seen it in Devonshire will agree with him. It
+seems to luxuriate in the damp, mild climate of Devonshire,
+and to see it in full flower as it covers the low hills that abut
+upon the Channel between Ilfracombe and Clovelly is a sight
+to be long remembered. It is, indeed, a plant that we may
+well be proud of. Linn&aelig;us could only grow it in a greenhouse,
+and there is a well-known story of Dillenius that
+when he first saw the Furze in blossom in England he fell
+on his knees and thanked God for sparing his life to see so
+beautiful a part of His creation. The story may be apocryphal,
+but we have a later testimony from another celebrated
+traveller who had seen the glories of tropical scenery, and
+yet was faithful to the beauties of the wild scenery of England.
+Mr. Wallace bears this testimony: "I have never
+seen in the tropics such brilliant masses of colour as even
+England can show in her Furze-clad commons, her glades
+of Wild Hyacinths, her fields of Poppies, her meadows of
+Buttercups and Orchises, carpets of yellow, purple, azure
+blue, and fiery crimson, which the tropics can rarely exhibit.
+We have smaller masses of colour in our Hawthorns and
+Crab trees, our Holly and Mountain Ash, our Broom, Foxgloves,
+Primroses, and purple Vetches, which clothe with
+gay colours the length and breadth of our land" ("Malayan
+Archipelago," ii. 296).</p>
+
+<p>As a garden shrub the Furze may be grown either as
+a single lawn shrub or in the hedge or shrubbery. Everywhere
+it will be handsome both in its single and double
+varieties, and as it bears the knife well, it can be kept
+within limits. The upright Irish form also makes an elegant
+shrub, but does not flower so freely as the typical plant.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_102" id="Page_102"></a>[<a href="./images/102.png">102</a>]</span></p>
+<h2>GARLICK.</h2>
+
+<table class="poetryt" summary="garlick references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Bottom.</i></td>
+  <td class="tdleft">And, most clear actors, eat no Onions nor Garlic,
+for we are to utter sweet breath.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 2 (42).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Lucio.</i></td>
+  <td class="tdleft">He would mouth with a beggar, though she
+smelt brown bread and Garlic.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iii, sc. 2 (193).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Hotspur.</i></td>
+  <td class="tdleft"><span class="s8">I had rather live</span><br />
+With cheese and Garlic in a windmill.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 1 (161).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Menenius.</i></td>
+  <td class="tdleft"><span class="s7">You that stood so much</span><br />
+Upon the voice of occupation, and<br />
+The breath of Garlic-eaters.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act iv, sc. 6 (96).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Dorcas.</i></td>
+  <td class="tdleft">Mopsa must be your mistress; marry, Garlic
+to mend her kissing with.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (162).</td>
+</tr>
+</table>
+
+<p>There is something almost mysterious in the Garlick that
+it should be so thoroughly acceptable, almost indispensable,
+to many thousands, while to others it is so horribly offensive
+as to be unbearable. The Garlick of Egypt was one
+of the delicacies that the Israelites looked back to with fond
+regret, and we know from Herodotus that it was the daily
+food of the Egyptian labourer; yet, in later times, the
+Mohammedan legend recorded that "when Satan stepped
+out from the Garden of Eden after the fall of man, Garlick
+sprung up from the spot where he placed his left foot,
+and Onions from that which his right foot touched, on
+which account, perhaps, Mohammed habitually fainted at
+the sight of either." It was the common food also of the
+Roman labourer, but Horace could only wonder at the
+"dura messorum illia" that could digest the plant "cicutis
+allium nocentius." It was, and is the same with its medical
+virtues. According to some it was possessed of every
+virtue,<a name="FNanchor_102:1_88" id="FNanchor_102:1_88"></a><a href="#Footnote_102:1_88" class="fnanchor">[102:1]</a> so that it had the name of Poor Man's Treacle
+<span class="pagenum"><a name="Page_103" id="Page_103"></a>[<a href="./images/103.png">103</a>]</span>(the word treacle not having its present meaning, but
+being the Anglicised form of theriake, or heal-all<a name="FNanchor_103:1_89" id="FNanchor_103:1_89"></a><a href="#Footnote_103:1_89" class="fnanchor">[103:1]</a>); while,
+on the other hand, Gerard affirmed "it yieldeth to the
+body no nourishment at all; it ingendreth naughty and
+sharpe bloud."</p>
+
+<p>Bullein describes it quaintly: "It is a grosse kinde of
+medicine, verye unpleasant for fayre Ladies and tender Lilly
+Rose colloured damsels which often time profereth sweet
+breathes before gentle wordes, but both would do very
+well" ("Book of Simples"). Yet if we could only divest it
+of its evil smell, the wild Wood Garlick would rank among
+the most beautiful of our British plants. Its wide leaves are
+very similar to those of the Lily of the Valley, and its starry
+flowers are of the very purest white. But it defies picking,
+and where it grows it generally takes full possession, so that
+I have known several woods&mdash;especially on the Cotswold
+Hills&mdash;that are to be avoided when the plant is in flower.
+The woods are closely carpeted with them, and every step
+you take brings out their f&oelig;tid odour. There are many
+species grown in the gardens, some of which are even very
+sweet smelling (as A. odorum and A. fragrans); but these
+are the exceptions, and even these have the Garlick scent
+in their leaves and roots. Of the rest many are very
+pretty and worth growing, but they are all more or less
+tainted with the evil habits of the family.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_102:1_88" id="Footnote_102:1_88"></a><a href="#FNanchor_102:1_88"><span class="label">[102:1]</span></a> "You (<i>i.e.</i>, citizens) are still sending to the apothecaries, and still
+crying out to 'fetch Master Doctor to me;' but our (<i>i.e.</i>, countrymen's)
+apothecary's shop is our garden full of pot herbs, and our doctor is a
+good clove of Garlic."&mdash;<i>The Great Frost of January, 1608.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_103:1_89" id="Footnote_103:1_89"></a><a href="#FNanchor_103:1_89"><span class="label">[103:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Crist, which that is to every harm triacle."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Chaucer</span>, <i>Man of Lawes Tale</i>.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Treacle was there anone forthe brought."<br /></span>
+</div></div>
+<p class="authorpoem"><i>Le Morte Arthur</i>, 864.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>GILLIFLOWERS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap">Carnations</span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>GINGER.</h2>
+
+<table class="poetryt" summary="ginger references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clown.</i></td>
+  <td class="tdleft">I must have Saffron to colour the Warden pies&mdash;Mace&mdash;Dates?
+none, that's out of my note;
+Nutmegs, seven&mdash;a race or two of Ginger,
+but that I may beg.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_104" id="Page_104"></a>[<a href="./images/104.png">104</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Sir Toby.</i></td>
+  <td class="tdleft">Dost thou think, because thou art virtuous,
+ there shall be no more cakes and ale.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">Yes, by St. Anne, and Ginger shall be hot i' the
+  mouth too.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act ii, sc. 3 (123).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Pompey.</i></td>
+  <td class="tdleft">First, here's Young Master Rash, he's in for a
+commodity of brown paper and old Ginger,
+nine score and seventeen pounds, of which he
+made five marks ready money; marry, then,
+Ginger was not much in request, for the old
+women were all dead.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iv, sc. 3 (4).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Salanio.</i></td>
+  <td class="tdleft">I would she were as lying a gossip in that as
+ever knapped Ginger.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act iii, sc. 1 (9).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>2nd Carrier.</i></td>
+  <td class="tdleft">I have a gammon of bacon and two razes of
+Ginger to be delivered as far as Charing Cross.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 1 (26).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Orleans.</i></td>
+  <td class="tdleft">He's of the colour of the Nutmeg.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Dauphin.</i></td>
+  <td class="tdleft">And of the heat of the Ginger.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 7 (20).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Julia.</i></td>
+  <td class="tdleft">What is't you took up so Gingerly?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Gentlemen of Verona</i>, act i, sc. 2 (70).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Costard.</i></td>
+  <td class="tdleft">An I had but one penny in the world, thou
+should'st have it to buy Ginger-bread.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 1 (74).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Ginger_9" id="Ginger_9"></a>9)</td>
+  <td class="tdleftt"><i>Hotspur.</i></td>
+  <td class="tdleft">Swear me, Kate, like a lady as thou art,<br />
+A good mouth-filling oath, and leave "in sooth,"<br />
+And such protest of pepper Ginger-bread<br />
+To velvet-guards and Sunday-citizens.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 1 (258).</td>
+</tr>
+</table>
+
+<p>Ginger was well known both to the Greeks and Romans.
+It was imported from Arabia, together with its name, Zingiberri,
+which it has retained, with little variation, in all
+languages.</p>
+
+<p>When it was first imported into England is not known,
+but probably by the Romans, for it occurs as a common
+ingredient in many of the Anglo-Saxon medical recipes.
+Russell, in the "Boke of Nurture," mentions several kinds
+of Ginger; as green and white, "colombyne, valadyne, and
+Maydelyn." In Shakespeare's time it was evidently very
+common and cheap.</p>
+
+<p><span class="pagenum"><a name="Page_105" id="Page_105"></a>[<a href="./images/105.png">105</a>]</span>
+It is produced from the roots of Zingiber officinale, a
+member of the large and handsome family of the Ginger-worts.
+The family contains some of the most beautiful of
+our greenhouse plants, as the Hedychiums, Alpinias, and
+Mantisias; and, though entirely tropical, most of the species
+are of easy cultivation in England. Ginger is very easily
+reared in hotbeds, and I should think it very probable that
+it may have been so grown in Shakespeare's time. Gerard
+attempted to grow it, but he naturally failed, by trying to
+grow it in the open ground as a hardy plant; yet "it
+sprouted and budded forth greene leaves in my garden in
+the heate of somer;" and he tells us that plants were sent
+him by "an honest and expert apothecarie, William Dries,
+of Antwerp," and "that the same had budded and grown in
+the said Dries' garden."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GOOSEBERRIES.</h2>
+
+<table class="poetryt" summary="gooseberry reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Falstaff.</i></td>
+  <td class="tdleft">All the other gifts appertinent to man, as the malice
+of this age shapes them, are not worth a Gooseberry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act i, sc. 2 (194).
+</td>
+</tr>
+</table>
+
+<p>The Gooseberry is probably a native of the North of
+England, but Turner said (s.v. <i>uva crispa</i>) "it groweth
+onely that I have sene in England, in gardines, but I have
+sene it in Germany abrode in the fieldes amonge other
+busshes."</p>
+
+<p>The name has nothing to do with the goose. Dr. Prior
+has satisfactorily shown that the word is a corruption of
+"Crossberry." By the writers of Shakespeare's time, and
+even later, it was called Feaberry (Gerard, Lawson, and
+others), and in one of the many books on the Plague published
+in the sixteenth century, the patient is recommended to
+eat "thepes, or goseberries" ("A Counsell against the
+Sweate," fol. 23).</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_106" id="Page_106"></a>[<a href="./images/106.png">106</a>]</span></p>
+<h2><a name="Gorse" id="Gorse"></a>GORSE <span style="font-weight: normal; font-size: 70%; font-variant: small-caps;">or</span> GOSS.</h2>
+
+<table class="poetryt" summary="gorse reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ariel.</i></td>
+  <td class="tdleft">Tooth'd Briers, sharp Furzes, pricking Goss, and Thorns.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (180).</td>
+</tr>
+</table>
+
+<p>In speaking of the <a href="#Furze">Furze</a> (which see), I said that in
+Shakespeare's time the Furze and Gorse were probably
+distinguished, though now the two names are applied to
+the same plant. "In the 15th Henry VI. (1436), license
+was given to Humfrey, Duke of Gloucester, to inclose 200
+acres of land&mdash;pasture, wode, hethe, vrises,<a name="FNanchor_106:1_90" id="FNanchor_106:1_90"></a><a href="#Footnote_106:1_90" class="fnanchor">[106:1]</a> and gorste
+(<i>bruere, et jampnorum</i>), and to form thereof a Park at
+Greenwich."&mdash;<i>Rot. Parl.</i> iv. 498.<a name="FNanchor_106:2_91" id="FNanchor_106:2_91"></a><a href="#Footnote_106:2_91" class="fnanchor">[106:2]</a> This proves that the
+"Gorst" was different from the "Vrise," and it may very
+likely have been the Petty Whin. "Pricking Goss," however,
+may be only a generic term, like Bramble and Brier,
+for any wild prickly plant.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_106:1_90" id="Footnote_106:1_90"></a><a href="#FNanchor_106:1_90"><span class="label">[106:1]</span></a> There is a hill near Lansdown (Bath) now called Frizen or Freezing
+Hill. Within memory of man it was covered with Gorse. This was
+probably the origin of the name, "Vrisen Hill."</p></div>
+
+<div class="footnote"><p><a name="Footnote_106:2_91" id="Footnote_106:2_91"></a><a href="#FNanchor_106:2_91"><span class="label">[106:2]</span></a> "Promptorium Parvulorum," p. 162, note.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>GOURD.</h2>
+
+<table class="poetryt" summary="gourd reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Pistol.</i></td>
+  <td class="tdleft">For Gourd and fullam holds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act i, sc. 3 (94).</td>
+</tr>
+</table>
+
+<p>I merely mention this to point out that "Gourd," though
+probably originally derived from the fruit, is not the fruit
+here, but is an instrument of gambling. The fruit, however,
+was well known in Shakespeare's time, and was used as the
+type of intense greenness&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Whose c&oelig;rule stream, rombling in pebble-stone,<br /></span>
+<span class="i0i">Crept under Moss, as green as any Gourd."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Spenser</span>, <i>Virgil's Gnat</i>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GRACE, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Rue">Rue</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_107" id="Page_107"></a>[<a href="./images/107.png">107</a>]</span></p>
+<h2>GRAPES, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Vines">Vines</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>GRASSES.</h2>
+
+<table class="poetryt" summary="grass references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Gonzalo.</i></td>
+  <td class="tdleft">How lush and lusty the Grass looks! how green!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 1 (52).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Iris.</i></td>
+  <td class="tdleft">Here, on this Grass-plot, in this very place<br />
+To come and sport.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (73).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Ceres.</i></td>
+  <td class="tdleft"><span class="s6">Why hath thy Queen</span><br />
+Summon'd me hither to this short-grass'd green?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (82).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Lysander.</i></td>
+  <td class="tdleft"><span class="s6">When Ph&oelig;be doth behold</span><br />
+Her silver visage in the watery glass,<br />
+Decking with liquid pearl the bladed Grass.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act i, sc. 1 (209).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>King.</i></td>
+  <td class="tdleft">Say to her, we have measured many miles<br />
+To tread a measure with her on this Grass.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Boyet.</i></td>
+  <td class="tdleft">They say, that they have measured many miles<br />
+To tread a measure with her on the Grass.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (184).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">I am no great Nebuchadnezzar, sir, I have not much skill in Grass.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act iv, sc. 5 (21).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Luciana.</i></td>
+  <td class="tdleft">If thou art changed to aught, 'tis to an ass.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Dromio of Syracuse.</i></td>
+  <td class="tdleftt">'Tis true; she rides me, and I long for Grass.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act ii, sc. 2 (201).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Bolingbroke.</i></td>
+  <td class="tdleft"><span class="s11">Here we march</span><br />
+Upon the Grassy carpet of the plain.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 3 (49).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>King Richard.</i></td>
+  <td class="tdleft"><span class="s19">And bedew</span><br />
+Her pasture's Grass with faithful English blood.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (100).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Ely.</i></td>
+  <td class="tdleft">Grew like the summer Grass, fastest by night,
+Unseen, yet crescive in his faculty.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act i, sc. 1 (65).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>King Henry.</i></td>
+  <td class="tdleft"><span class="s13">Mowing like Grass</span><br />
+Your fresh-fair virgins and your flowering infants.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 3 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_108" id="Page_108"></a>[<a href="./images/108.png">108</a>]</span>(12)</td>
+  <td class="tdleftt"><i>Grandpre.</i></td>
+  <td class="tdleft">And in their pale dull mouths the gimmal bit<br />
+Lies foul with chew'd Grass, still and motionless.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iv, sc. 2 (49).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Suffolk.</i></td>
+  <td class="tdleft">Though standing naked on a mountain top<br />
+Where biting cold would never let Grass grow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 2 (336).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Cade.</i></td>
+  <td class="tdleft">All the realm shall be in common; and in Cheapside
+shall my palfrey go to Grass.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 2 (74).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Cade.</i></td>
+  <td class="tdleft">Wherefore on a brick wall have I climbed into
+this garden, to see if I can eat Grass or pick
+a Sallet another while, which is not amiss to
+cool a man's stomach this hot weather.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 10 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Cade.</i></td>
+  <td class="tdleft">If I do not leave you all as dead as a door-nail,
+I pray God I may never eat Grass more.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (42).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td class="tdleftt"><i>1st Bandit.</i></td>
+  <td class="tdleft">We cannot live on Grass, on berries, water,<br />
+As beasts and birds and fishes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (425).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td class="tdleftt"><i>Saturninus.</i></td>
+  <td class="tdleft">These tidings nip me, and I hang the head<br />
+As Flowers with frost or Grass beat down with storms.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act iv, sc. 4 (70).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(19)</td>
+  <td class="tdleftt"><i>Hamlet.</i></td>
+  <td class="tdleft">Ay but, sir, "while the Grass grows"&mdash;the proverb is something musty.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iii, sc. 2 (358).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(20)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">He is dead and gone, lady,<br />
+<span style="padding-left: 1em;">He is dead and gone;</span><br />
+At his head a Grass-green turf,<br />
+<span style="padding-left: 1em;">At his heels a stone.</span><br /></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 5 (29).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(21)</td>
+  <td class="tdleftt"><i>Salarino.</i></td>
+  <td class="tdleft"><span class="s9">I should be still</span><br />
+Plucking the Grass to know where sits the wind.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act i, sc. 1 (17).</td>
+</tr>
+</table>
+
+<p>In and before Shakespeare's time Grass was used as a
+general term for all plants. Thus Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And every grass that groweth upon roote<br /></span>
+<span class="i0i">Sche schal eek know, to whom it will do boote<br /></span>
+<span class="i0i">Al be his woundes never so deep and wyde."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Squyeres Tale.</i></p>
+
+<p><span class="pagenum"><a name="Page_109" id="Page_109"></a>[<a href="./images/109.png">109</a>]</span>It is used in the same general way in the Bible, "the
+Grass of the field."</p>
+
+<p>In the whole range of botanical studies the accurate study
+of the Grasses is, perhaps, the most difficult as the genus is
+the most extensive, for Grasses are said to "constitute, perhaps,
+a twelfth part of the described species of flowering
+plants, and at least nine-tenths of the number of individuals
+comprising the vegetation of the world" (Lindley), so that a
+full study of the Grasses may almost be said to be the work
+of a lifetime. But Shakespeare was certainly no such student
+of Grasses: in all these passages Grass is only mentioned in
+a generic manner, without any reference to any particular
+Grass. The passages in which hay is mentioned, I have not
+thought necessary to quote.</p>
+
+
+<hr style="width: 65%;" />
+<h2>HAREBELL.</h2>
+
+<table class="poetryt" summary="harebell reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Arviragus.</i></td>
+  <td class="tdleft"><span class="s17">Thou shalt not lack</span><br />
+The flower that's like thy face, pale Primrose, nor<br />
+The azured Harebell, like thy veins.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (220). (<i>See</i> <span class="smcap"><a href="#Eglantine">Eglantine</a></span>.)</td>
+</tr>
+</table>
+
+<p>The Harebell of Shakespeare is undoubtedly the Wild
+Hyacinth (<i>Scilla nutans</i>), the "sanguine flower inscribed
+with woe" of Milton's "Lycidas," though we must bear in
+mind that the name is applied differently in various parts of
+the island; thus "the Harebell of Scotch writers is the
+Campanula, and the Bluebell, so celebrated in Scottish song,
+is the Wild Hyacinth or Scilla; while in England the same
+names are used conversely, the Campanula being the Bluebell
+and the Wild Hyacinth the Harebell" ("Poets' Pleasaunce")&mdash;but
+this will only apply in poetry; in ordinary
+language, at least in the South of England, the Wild Hyacinth
+is the Bluebell, and is the plant referred to by Shakespeare
+as the Harebell.</p>
+
+<p>It is one of the chief ornaments of our woods,<a name="FNanchor_109:1_92" id="FNanchor_109:1_92"></a><a href="#Footnote_109:1_92" class="fnanchor">[109:1]</a> growing
+<span class="pagenum"><a name="Page_110" id="Page_110"></a>[<a href="./images/110.png">110</a>]</span>in profusion wherever it establishes itself, and being found
+of various colours&mdash;pink, white, and blue. As a garden
+flower it may well be introduced into shrubberies, but as a
+border plant it cannot compete with its rival relation, the
+Hyacinthus orientalis, which is the parent of all the fine
+double and many coloured Hyacinths in which the florists
+have delighted for the last two centuries.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_109:1_92" id="Footnote_109:1_92"></a><a href="#FNanchor_109:1_92"><span class="label">[109:1]</span></a> "'Dust of sapphire,' writes my friend Dr. John Brown to me of
+the wood Hyacinths of Scotland in the spring; yes, that is so&mdash;each
+bud more beautiful itself than perfectest jewel."&mdash;<span class="smcap">Ruskin</span>, <i>Proserpina</i>,
+p. 73.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>HARLOCKS.</h2>
+
+<table class="poetryt" summary="harlocks reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Cordelia.</i></td>
+  <td class="tdleft">Crown'd with rank Fumiter and Furrow-weeds,<br />
+With Harlocks, Hemlock, Nettles, Cuckoo-flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 4 (3). (<i>See</i> <span class="smcap"><a href="#Cuckoo">Cuckoo-flowers</a></span>.)</td>
+</tr>
+</table>
+
+<p>I cannot do better than follow Dr. Prior on this word:
+"Harlock, as usually printed in 'King Lear' and in Drayton,
+ecl. 4&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'The Honeysuckle, the Harlocke,<br /></span>
+<span class="i0i">The Lily and the Lady-smocke,'<br /></span>
+</div></div>
+
+<p>is a word that does not occur in the Herbals, and which the
+commentators have supposed to be a misprint for Charlock.
+There can be little doubt that Hardock is the correct reading,
+and that the plant meant is the one now called Burdock."
+Schmidt also adopts Burdock as the right interpretation.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Hawthorn" id="Hawthorn"></a>HAWTHORNS.</h2>
+
+<table class="poetryt" summary="hawthorn references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Rosalind.</i></td>
+  <td class="tdleft">There's a man hangs odes upon Hawthorns and
+elegies on Brambles.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (379).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Quince.</i></td>
+  <td class="tdleft">This green plot shall be our stage, this Hawthorn-brake
+our tiring house.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Helena.</i></td>
+  <td class="tdleft"><span class="s13">Your tongue's sweet air,</span><br />
+More tuneable than lark to shepherd's ear,<br />
+When Wheat is green, when Hawthorn-buds appear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act i, sc. 1 (183).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_111" id="Page_111"></a>[<a href="./images/111.png">111</a>]</span>(4)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">I cannot cog and say thou art this and that, like
+a many of these lisping Hawthorn-buds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act iii, sc. 3 (76).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">Gives not the Hawthorn-bush a sweeter shade<br />
+To shepherds looking on their silly sheep,<br />
+Than doth a rich embroider'd canopy<br />
+To kings that fear their subjects' treachery?<br />
+O yes, it doth; a thousand-fold it doth.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act ii, sc. 5 (42).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Edgar.</i></td>
+  <td class="tdleft">Through the sharp Hawthorn blows the cold
+wind (<i>bis</i>).</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iii, sc. 4 (47 and 102).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Arcite.</i></td>
+  <td class="tdleft">Againe betake you to yon Hawthorne house.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iii, sc. 1 (90).</td>
+</tr>
+</table>
+
+<p>Under its many names of Albespeine, Whitethorn, Haythorn
+or Hawthorn, May, and Quickset, this tree has ever
+been a favourite with all lovers of the country.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Among the many buds proclaiming May,<br /></span>
+<span class="i0i">Decking the field in holiday array,<br /></span>
+<span class="i0i">Striving who shall surpass in braverie,<br /></span>
+<span class="i0i">Mark the faire blooming of the Hawthorn tree,<br /></span>
+<span class="i0i">Who, finely cloathed in a robe of white,<br /></span>
+<span class="i0i">Fills full the wanton eye with May's delight.<br /></span>
+<span class="i0i">Yet for the braverie that she is in<br /></span>
+<span class="i0i">Doth neither handle card nor wheel to spin,<br /></span>
+<span class="i0i">Nor changeth robes but twice; is never seen<br /></span>
+<span class="i0i">In other colours but in white or green."<br /></span>
+</div></div>
+
+<p>such is Browne's advice in his "Britannia's Pastorals" (ii.
+2). He, like the other early poets, clearly loved the tree
+for its beauty; and in picturesque beauty the Hawthorn
+yields to none, when it can be seen in some sheltered valley
+growing with others of its kind, and allowed to grow unpruned,
+for then in the early summer it is literally a sheet
+of white, yet beautifully relieved by the tender green of
+the young leaves, and by the bright crimson of the anthers,
+and loaded with a scent that is most delicate and refreshing.
+But not only for its beauty is the Hawthorn a favourite tree,
+but also for its many pleasant associations&mdash;it is essentially
+the May tree, the tree that tells that winter is really past,
+and that summer has fairly begun. Hear Spenser&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_112" id="Page_112"></a>[<a href="./images/112.png">112</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Thilke same season, when all is yclade<br /></span>
+<span class="i0i">With pleasaunce; the ground with Grasse, the woods<br /></span>
+<span class="i0i">With greene leaves, the bushes with blooming buds,<br /></span>
+<span class="i0i">Youngthes folke now flocken in everywhere<br /></span>
+<span class="i0i">To gather May-baskets and smelling Brere;<br /></span>
+<span class="i0i">And home they hasten the postes to dight,<br /></span>
+<span class="i0i">And all the kirk-pillours eare day-light,<br /></span>
+<span class="i0i">With Hawthorne-buds, and sweet Eglantine,<br /></span>
+<span class="i0i">And girlondes of Roses, and soppes-in-wine."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Shepherd's Calendar&mdash;May.</i></p>
+
+<p>Yet in spite of its pretty name, and in spite of the poets,
+the Hawthorn now seldom flowers till June, and I should
+suppose it is never in flower on May Day, except perhaps in
+Devonshire and Cornwall; and it is very doubtful if it ever
+were so found, except in these southern counties, though
+some fancy that the times of flowering of several of our
+flowers are changed, and in some instances largely changed.
+But "it was an old custom in Suffolk, in most of the farmhouses,
+that any servant who could bring in a branch of
+Hawthorn in full blossom on the 1st of May was entitled to
+a dish of cream for breakfast. This custom is now disused,
+not so much from the reluctance of the masters to give the
+reward, as from the inability of the servants to find the
+Whitethorn in flower."&mdash;<span class="smcap">Brand's</span> <i>Antiquities</i>.<a name="FNanchor_112:1_93" id="FNanchor_112:1_93"></a><a href="#Footnote_112:1_93" class="fnanchor">[112:1]</a> Even those
+who might not see the beauty of an old Thorn tree,
+have found its uses as one of the very few trees that will
+grow thick in the most exposed places, and so give pleasant
+shade and shelter in places where otherwise but little shade
+and shelter could be found.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Every shepherd tells his tale<br /></span>
+<span class="i0i">Under the Hawthorn in the dale."&mdash;<span class="smcap">Milton.</span><br /></span>
+</div></div>
+
+<p>And "at Hesket, in Cumberland, yearly on St. Barnabas'
+Day, by the highway side under a Thorn tree is kept the
+court for the whole forest of Englewood."&mdash;<i>History of
+Westmoreland.</i></p>
+
+<p>The Thorn may well be admitted as a garden shrub either
+<span class="pagenum"><a name="Page_113" id="Page_113"></a>[<a href="./images/113.png">113</a>]</span>in its ordinary state, or in its beautiful double white, red, and
+pink varieties, and those who like to grow curious trees
+should not omit the Glastonbury Thorn, which flowers at
+the ordinary time, and bears fruit, but also buds and flowers
+again in winter, showing at the same time the new flowers
+and the older fruit.</p>
+
+<p>Nor must we omit to mention that the Whitethorn is one
+of the trees that claims to have been used for the sacred
+Crown of Thorns. It is most improbable that it was so, in
+fact almost certain that it was not; but it was a medi&aelig;val
+belief, as Sir John Mandeville witnesses: "Then was our
+Lord yled into a gardyn, and there the Jewes scorned hym,
+and maden hym a crowne of the branches of the Albiespyne,
+that is Whitethorn, that grew in the same gardyn, and
+setten yt upon hys heved. And therefore hath the Whitethorn
+many virtues. For he that beareth a branch on hym
+thereof, no thundre, ne no maner of tempest may dere hym,
+ne in the howse that it is ynne may non evil ghost enter."</p>
+
+<p>And we may finish the Hawthorn with a short account of
+its name, which is interesting:&mdash;"Haw," or "hay," is the
+same word as "hedge" ("sepes, id est, <i>haies</i>," John de Garlande),
+and so shows the great antiquity of this plant as
+used for English hedges. In the north, "haws" are still
+called "haigs;" but whether Hawthorn was first applied to
+the fruit or the hedge, whether the hedge was so called
+because it was made of the Thorn tree that bears the haws,
+or whether the fruit was so named because it was borne on
+the hedge tree, is a point on which etymologists differ.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_112:1_93" id="Footnote_112:1_93"></a><a href="#FNanchor_112:1_93"><span class="label">[112:1]</span></a> "Gilbert White in his 'Naturalists' Calendar' as the result of observations
+taken from 1768 to 1793 puts down the flowering of the
+Hawthorn as occurring in different years upon dates so widely apart as
+the twentieth of April and the eleventh of June."&mdash;<span class="smcap">Milner's</span> <i>Country
+Pleasures</i>, p. 83.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Hazel" id="Hazel"></a>HAZEL.</h2>
+
+
+<table class="poetryt" summary="hazel references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Mercutio.</i></td>
+  <td class="tdleft">Her [Queen Mab's] chariot is an empty Hazel-nut<br />
+Made by the joiner squirrel or old grub,<br />
+Time out o' mind the fairies' coachmakers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act i, sc. 4 (67).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Petruchio.</i></td>
+  <td class="tdleft"><span class="s10">Kate like the Hazel twig</span><br />
+Is straight and slender and as brown in hue<br />
+As Hazel-nuts and sweeter than the kernels.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act ii, sc. 1 (255).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_114" id="Page_114"></a>[<a href="./images/114.png">114</a>]</span>(3)</td>
+  <td class="tdleftt"><i>Caliban.</i></td>
+  <td class="tdleft">I'll bring thee to clustering Filberts.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 2 (174).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Touchstone.</i></td>
+  <td class="tdleft">Sweetest Nut hath sourest rind,<br />
+<span style="padding-left: 1em;">Such a Nut is Rosalind.</span><br /></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (115).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Celia.</i></td>
+  <td class="tdleft">For his verity in love I do think him as concave
+as a covered goblet or a worm-eaten Nut.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 4 (25).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Lafeu.</i></td>
+  <td class="tdleft">Believe this of me, there can be no kernel in
+this light Nut.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act ii, sc. 5 (46).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Mercutio.</i></td>
+  <td class="tdleft">Thou wilt quarrel with a man for cracking Nuts,
+having no other reason but because thou hast Hazel eyes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iii, sc. 1 (20).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Thersites.</i></td>
+  <td class="tdleft">Hector shall have a great catch, if he knock out
+either of your brains; a' were as good crack
+a fusty Nut with no kernel.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act ii, sc. 1 (109).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Gonzalo.</i></td>
+  <td class="tdleft">I'll warrant him for drowning; though the ship
+were no stronger than a Nut-shell.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act i, sc. 1 (49).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft">I have a venturous fairy that shall seek<br />
+The squirrel's hoard, and fetch thee new Nuts.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (40).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Hamlet.</i></td>
+  <td class="tdleft">O God, I could be bounded in a Nut-shell and
+count myself a king of infinite space, were it
+not that I have bad dreams.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act ii, sc. 2 (260).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Dromio of Syracuse.</i></td>
+  <td class="tdleft">Some devils ask but the parings of one's nail,<br />
+A Rush, a hair, a drop of blood, a pin,<br />
+A Nut, a Cherry-stone.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act iv, sc. 3 (72).</td>
+</tr>
+</table>
+
+<p>Dr. Prior has decided that "'Filbert' is a barbarous
+compound of <i>phillon</i> or <i>feuille</i>, a leaf, and <i>beard</i>, to denote
+its distinguishing peculiarity, the leafy involucre projecting
+beyond the nut." But in the times before Shakespeare the
+name was more poetically said to be derived from the nymph
+Phyllis. Nux Phyllidos is its name in the old vocabularies,
+and Gower ("Confessio Amantis") tells us why&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_115" id="Page_115"></a>[<a href="./images/115.png">115</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Phyllis in the same throwe<br /></span>
+<span class="i0i">Was shape into a Nutte-tree,<br /></span>
+<span class="i0i">That alle men it might see;<br /></span>
+<span class="i0i">And after Phyllis philliberde,<br /></span>
+<span class="i0i">This tre was cleped in the yerde"<br /></span>
+</div></div>
+
+<p class="authorpoem">(Lib. quart.),</p>
+
+<p>and so Spenser spoke of it as "'Phillis' philbert" (Elegy
+17).<a name="FNanchor_115:1_94" id="FNanchor_115:1_94"></a><a href="#Footnote_115:1_94" class="fnanchor">[115:1]</a></p>
+
+<p>The Nut, the Filbert, and the Cobnut, are all botanically
+the same, and the two last were cultivated in England long
+before Shakespeare's time, not only for the fruit, but also,
+and more especially, for the oil.</p>
+
+<p>There is a peculiarity in the growth of the Nut that
+is worth the notice of the botanical student. The male
+blossoms, or catkins (anciently called "agglettes or blowinges"),
+are mostly produced at the ends of the year's
+shoots, while the pretty little crimson female blossoms are
+produced close to the branch; they are completely sessile
+or unstalked. Now in most fruit trees, when a flower is
+fertilized, the fruit is produced exactly in the same place,
+with respect to the main tree, that the flower occupied; a
+Peach or Apricot, for instance, rests upon the branch which
+bore the flower. But in the Nut a different arrangement
+prevails. As soon as the flower is fertilized it starts away
+from the parent branch; a fresh branch is produced, bearing
+leaves and the Nut or Nuts at the end, so that the Nut is
+produced several inches away from the spot on which the
+flower originally was. I know of no other tree that produces
+its fruit in this way, nor do I know what special
+benefit to the plant arises from this arrangement.</p>
+
+<p>Much folk-lore has gathered round the Hazel tree and
+the Nuts. The cracking of Nuts, with much fortune-telling
+connected therewith, was the favourite amusement on All
+Hallow's Eve (Oct. 31), so that the Eve was called Nutcrack
+Night. I believe the custom still exists; it certainly has
+not been very long abolished, for the Vicar of Wakefield
+and his neighbours "religiously cracked Nuts on All
+<span class="pagenum"><a name="Page_116" id="Page_116"></a>[<a href="./images/116.png">116</a>]</span>Hallow's Eve." And in many places "an ancient custom
+prevailed of going a Nutting on Holy Rood Day (Sept. 14),
+which it was esteemed quite unlucky to omit."&mdash;<span class="smcap">Forster.</span><a name="FNanchor_116:1_95" id="FNanchor_116:1_95"></a><a href="#Footnote_116:1_95" class="fnanchor">[116:1]</a></p>
+
+<p>A greater mystery connected with the Hazel is the divining
+rod, for the discovery of water and metals. This has always
+by preference been a forked Hazel-rod, though sometimes
+other rods are substituted. The belief in its power dates
+from a very early period, and is by no means extinct. The
+divining-rod is said to be still used in Cornwall, and firmly
+believed in; nor has this belief been confined to the uneducated.
+Even Linn&aelig;us confessed himself to be half a
+convert to it, and learned treatises have been written
+accepting the facts, and accounting for them by electricity
+or some other subtle natural agency. Most of us, however,
+will rather agree with Evelyn's cautious verdict, that the
+virtues attributed to the forked stick "made out so solemnly
+by the attestation of magistrates, and divers other learned
+and credible persons, who have critically examined matters
+of fact, is certainly next to a miracle, and requires a strong
+faith."</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_115:1_94" id="Footnote_115:1_94"></a><a href="#FNanchor_115:1_94"><span class="label">[115:1]</span></a> "Hic fullus&mdash;a fylberd-tre."&mdash;<i>Nominale</i>, 15th cent.</p>
+
+<p>"Fylberde, notte&mdash;Fillum."</p>
+
+<p>"Filberde, tre&mdash;Phillis."&mdash;<i>Promptorium Parvulorum.</i></p>
+
+<p>"The Filbyrdes hangyng to the ground."&mdash;<i>Squyr of Lowe Degre</i> (37).</p></div>
+
+<div class="footnote"><p><a name="Footnote_116:1_95" id="Footnote_116:1_95"></a><a href="#FNanchor_116:1_95"><span class="label">[116:1]</span></a> See a long account of the connection of nuts with All Hallow's Eve
+in Hanson, "Med. &aelig;vi Calend." i. 363.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>HEATH.</h2>
+
+<table class="poetryt" summary="heath reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Gonzalo.</i></td>
+  <td class="tdleft">Now would I give a thousand furlongs of sea for an
+acre of barren ground, long Heath, brown Furze, anything.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act i, sc. 1 (70).</td>
+</tr>
+</table>
+
+<p>There are other passages in which the word Heath occurs
+in Shakespeare, but in none else is the flower referred to;
+the other references are to an open heath or common. And
+in this place no special Heath can be selected, unless by
+"long Heath" we suppose him to have meant the Ling
+(<i>Calluna vulgaris</i>). And this is most probable, for so Lyte
+calls it. "There is in this countrie two kindes of Heath,
+one which beareth the flowres alongst the stemmes, and is
+called Long Heath." But it is supposed by some that the
+correct reading is "Ling, Heath," &amp;c., and in that case
+Heath will be a generic word, meaning any of the British
+<span class="pagenum"><a name="Page_117" id="Page_117"></a>[<a href="./images/117.png">117</a>]</span>
+species (<i>see</i> <span class="smcap"><a href="#Ling">Ling</a></span>)]. Of British species there are five, and
+wherever they exist they are dearly prized as forming a rich
+element of beauty in our landscapes. They are found all
+over the British Islands, and they seem to be quite indifferent
+as to the place of their growth. They are equally beautiful
+in the extreme Highlands of Scotland, or on the Quantock
+and Exmoor Hills of the South&mdash;everywhere they clothe the
+hill-sides with a rich garment of purple that is wonderfully
+beautiful, whether seen under the full influence of the
+brightest sunshine, or under the dark shadows of the
+blackest thundercloud. And the botanical geography of
+the Heath tribe is very remarkable; it is found over the
+whole of Europe, in Northern Asia, and in Northern Africa.
+Then the tribe takes a curious leap, being found in immense
+abundance, both of species and individuals, in Southern
+Africa, while it is entirely absent from North and South
+America. Not a single species has been found in the New
+World. A few plants of Calluna vulgaris have been found
+in Newfoundland and Massachusetts, but that is not a true
+Heath.</p>
+
+<p>As a garden plant the Heath has been strangely neglected.
+Many of the species are completely hardy, and will make
+pretty evergreen bushes of from 2ft. to 4ft. high, but they
+are better if kept close-grown by constant clipping. The
+species best suited for this treatment are E. Mediterranea,
+E. arborea, and E. codonoides. Of the more humble-growing
+species, E. vagans (the Cornish Heath) will grow
+easily in most gardens, though in its native habitat it is confined
+to the serpentine formation; nor must we omit E.
+herbacea, which also will grow anywhere, and, if clipped
+yearly after flowering, will make a most beautiful border to
+any flower-bed; or it may be used more extensively, as it is
+at Doddington Park, in Gloucestershire (Sir Gerald Codrington's),
+where there is a large space in front of the house,
+several yards square, entirely filled with E. herbacea. When
+this is in flower (and it is so for nearly two months, or sometimes
+more) the effect, as seen from above, is of the richest
+Turkey carpet, but of such a colour and harmony as no
+Turkey carpet ever attained.</p>
+
+<p>Several of the South-European Heaths were cultivated in
+England in Shakespeare's time.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_118" id="Page_118"></a>[<a href="./images/118.png">118</a>]</span></p>
+<h2><a name="Hebenon" id="Hebenon"></a>HEBENON OR HEBONA.<a name="FNanchor_118:1_96" id="FNanchor_118:1_96"></a><a href="#Footnote_118:1_96" class="fnanchor" style="font-weight: normal; font-size: 60%;">[118:1]</a></h2>
+
+<table class="poetryt" summary="hebenon reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ghost.</i></td>
+  <td class="tdleft">Upon my secure hour thy uncle stole,<br />
+With juice of cursed Hebenon in a vial,<br />
+And in the porches of my ear did pou<br />
+The leperous distilment; whose effect<br />
+Holds such an enmity with blood of man<br />
+That swift as quicksilver it courses through<br />
+The natural gates and alleys of the body,<br />
+And with a sudden vigour it doth posset<br />
+And curd, like eager droppings into milk,<br />
+The thin and wholesome blood; so did it mine;<br />
+And a most instant tetter bark'd about,<br />
+Most lazar-like, with vile and loathsome crust,<br />
+All my smooth body.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act i, sc. 5 (61).</td>
+</tr>
+</table>
+
+<p>Before and in the time of Shakespeare other writers had
+spoken of the narcotic and poisonous effects of Heben,
+Hebenon, or Hebona. Gower says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4">"Ful of delite,<br /></span>
+<span class="i0">Slepe hath his hous, and of his couche,<br /></span>
+<span class="i0">Within his chambre if I shall touche,<br /></span>
+<span class="i0">Of Hebenus that slepy tre<br /></span>
+<span class="i0">The bordes all aboute be."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Aman.</i>, lib. quart. (ii. 103, Paulli).</p>
+
+<p>Spenser says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Faire Venus sonne,&nbsp;.&nbsp;.&nbsp;.<br /></span>
+<span class="i0i">Lay now thy deadly Heben bow apart."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, introd., st. 3.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"There (in Mammon's garden) Cypresse grew in greatest store,<br /></span>
+<span class="i0i">And trees of bitter gall and Heben sad."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, book ii, c. viij, st. 17.</p>
+
+<p>And he speaks of a "speare of Heben wood," and "a Heben
+launce." Marlowe, a contemporary and friend of Shakespeare,
+makes Barabas curse his daughter with&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"In few the blood of Hydra, Lerna's bane,<br /></span>
+<span class="i0i">The juice of Hebon, and Cocytus breath,<br /></span>
+<span class="i0i">And all the poison of the Stygian pool."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Jew of Malta</i>, act iii, st. 4.</p>
+
+<p><span class="pagenum"><a name="Page_119" id="Page_119"></a>[<a href="./images/119.png">119</a>]</span>
+It may be taken for granted that all these authors allude
+to the same tree, but what tree is meant has sorely puzzled
+the commentators. Some naturally suggested the Ebony,
+and this view is supported by the respectable names of
+Archdeacon Nares, Douce, Schmidt, and Dyce. A larger
+number pronounced with little hesitation in favour of
+Henbane (<i>Hyoscyamus niger</i>), the poisonous qualities of
+which were familiar to the contemporaries of Shakespeare,
+and were supposed by most of the botanical writers of his
+day (and on the authority of Pliny) to be communicated by
+being poured into the ears. But the Henbane is not a tree,
+as Gower's "Hebenus" and Spenser's "Heben" certainly
+were; and though it will satisfy some of the requirements
+of the plant named by Shakespeare, it will not satisfy all.<a name="FNanchor_119:1_97" id="FNanchor_119:1_97"></a><a href="#Footnote_119:1_97" class="fnanchor">[119:1]</a></p>
+
+<p>It might have been supposed that the difficulty would at
+once have been cleared up by reference to the accounts of
+the death of Hamlet's father, as given by Saxo Grammaticus,
+and the old "Hystorie of Hamblet," but neither of these
+writers attribute his death to poison.<a name="FNanchor_119:2_98" id="FNanchor_119:2_98"></a><a href="#Footnote_119:2_98" class="fnanchor">[119:2]</a></p>
+
+<p>The question has lately been very much narrowed and
+satisfactorily settled (for the present, certainly, and probably
+altogether) by Dr. Nicholson and the Rev. W. A. Harrison.
+These gentlemen have decided that the true reading is
+Hebona, and that Hebona is the Yew. Their views are
+stated at full length in two exhaustive papers contributed to
+the New Shakespeare Society, and published in their "Transactions."<a name="FNanchor_119:3_99" id="FNanchor_119:3_99"></a><a href="#Footnote_119:3_99" class="fnanchor">[119:3]</a>
+The full argument is too long for insertion here,
+<span class="pagenum"><a name="Page_120" id="Page_120"></a>[<a href="./images/120.png">120</a>]</span>and my readers will thank me for referring them to the
+papers in the "Transactions." The main arguments are based
+on three facts: 1. That in nearly all the northern nations
+(including, of course, Denmark) the name of the Yew is
+more or less like Heben. 2. That all the effects attributed
+by Shakespeare to the action of Hebona are described as
+arising from Yew-poisoning by different medical writers,
+some of them contemporary with him, and some writing
+with later experiences. 3. That the <i>post mortem</i> appearances
+after Yew-poisoning and after snake-poisoning are
+very similar, and it was "given out, that sleeping in my
+orchard, a serpent stung me."</p>
+
+<p>But it may well be asked, How could Shakespeare have
+known of all these effects, which (as far as our present search
+has discovered) are not named by any one writer of his
+time, and some of which have only been made public from
+the results of Yew-poisoning since his day? I think the
+question can be answered in a very simple way. The
+effects are described with such marked minuteness that it
+seems to me not only very probable, but almost certain,
+that Shakespeare must have been an eye-witness of a case of
+Yew-poisoning, and that what he saw had been so photographed
+on his mind that he took the first opportunity that
+presented itself to reproduce the picture. With his usual
+grand contempt for perfect accuracy he did not hesitate to
+sweep aside at once the strict historical records of the old
+king's death, and in its place to paint for us a cold-blooded
+murder carried out by means which he knew from his
+personal experience to be possible, and which he felt himself
+able to describe with a minuteness which his knowledge
+of his audiences assured him would not be out of place
+even in that great tragedy.</p>
+
+<p>The objection to the Yew theory of Hebona, that the
+Yew is named by Shakespeare under its more usual name,
+is no real objection. On the same ground Ebony and
+Henbane must be excluded; together with Gilliflowers,
+which he elsewhere speaks of as Carnations; and Woodbine,
+because he also speaks of Honeysuckle.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_118:1_96" id="Footnote_118:1_96"></a><a href="#FNanchor_118:1_96"><span class="label">[118:1]</span></a> Hebona is the reading of the First Quarto (1603) and of the Second
+Quarto (1604), and is decided by the critics to be the true reading.</p></div>
+
+<div class="footnote"><p><a name="Footnote_119:1_97" id="Footnote_119:1_97"></a><a href="#FNanchor_119:1_97"><span class="label">[119:1]</span></a> Mr. Beisley suggests Enoron, <i>i.e.</i>, Nightshade, which Mr. Dyce
+describes as "a villainous conjecture." In my first edition I expressed
+my belief that Hebenon was either Henbane or a general term for a
+deadly poisonous plant; but I had not then seen Dr. Nicholson's and
+Mr. Harrison's papers.</p></div>
+
+<div class="footnote"><p><a name="Footnote_119:2_98" id="Footnote_119:2_98"></a><a href="#FNanchor_119:2_98"><span class="label">[119:2]</span></a> Saxo Grammaticus: "Ubi datus parricidio locus, cruenta manu
+mentis libidinem satiavit; trucidati quoque fratris uxore potitus, incestum
+parricidio adjecit."&mdash;<i>Histori&aelig; Danorum</i>, lib. iii, fol. xxvii,
+Ed. 1514.</p>
+
+<p>"The Historye of Hamblet, Prince of Denmark:" Fergon "having
+secretly assembled certain men and perceiving himself strong enough to
+execute his enterprise, Horvendile, his brother, being at a banquet with
+his friends, sodainely set upon him, where he slewe him as treacherously,
+as cunningly he purged himselfe of so detestable a murder to his
+subjects."&mdash;<span class="smcap">Collier's</span> <i>Shakespeare's Library</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_119:3_99" id="Footnote_119:3_99"></a><a href="#FNanchor_119:3_99"><span class="label">[119:3]</span></a> "Hamlet's Cursed Hebenon," by Dr. R. B. Nicholson, M.D. (read
+Nov. 14, 1879). "Hamlet's Juice of Cursed Hebona," by Rev. W. A.
+Harrison, M.A. (read May 12, 1882). Both the papers are published
+in the "Transactions" of the Society.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_121" id="Page_121"></a>[<a href="./images/121.png">121</a>]</span></p>
+<h2>HEMLOCK.</h2>
+
+
+<table class="poetryt" summary="hemlock references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Burgundy.</i></td>
+  <td class="tdleft"><span class="s6">Her fallow leas</span><br />
+The Darnel, Hemlock, and rank Fumitory<br />
+Doth root upon.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (44).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>3rd Witch.</i></td>
+  <td class="tdleft">Root of Hemlock digg'd i' the dark.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act iv, sc. 1 (25).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Cordelia.</i></td>
+  <td class="tdleft">Crown'd with rank Fumiter and Furrow-weeds,<br />
+With Burdocks, Hemlock, Nettles, Cuckoo-flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 4 (3).</td>
+</tr>
+</table>
+
+<p>One of the most poisonous of a suspicious family (the
+Umbellifer&aelig;), "the great Hemlocke doubtlesse is not
+possessed of any one good facultie, as appeareth by his
+lothsome smell and other apparent signes," and with this
+evil character the Hemlock was considered to be only fit
+for an ingredient of witches' broth&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I ha' been plucking (plants among)<br /></span>
+<span class="i0i">Hemlock, Henbane, Adder's Tongue,<br /></span>
+<span class="i0i">Nightshade, Moonwort, Leppard's-bane."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Ben Jonson</span>, <i>Witches' Song in the Masque of the Queens</i>.</p>
+
+<p>Yet the Hemlock adds largely to the beauty of our hedgerows;
+its spotted tall stems and its finely cut leaves make
+it a handsome weed, and the dead stems and dried umbels
+are marked features in the winter appearance of the hedges.
+As a poison it has an evil notoriety, being supposed to be
+the poison by which Socrates was put to death, though this
+is not quite certain. It is not, however, altogether a useless
+plant&mdash;"It is a valuable medicinal plant, and in autumn
+the ripened stem is cut into pieces to make reeds for
+worsted thread."&mdash;<span class="smcap">Johnston.</span></p>
+
+
+<hr style="width: 65%;" />
+<h2>HEMP.</h2>
+
+<table class="poetryt" summary="hemp references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Pistol.</i></td>
+  <td class="tdleft">Let gallows gape for dog; let man go free,<br />
+And let not Hemp his windpipe suffocate.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 6 (45).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Chorus.</i></td>
+  <td class="tdleft"><span class="s6">And in them behold</span><br />
+Upon the Hempen tackle ship-boys climbing.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, chorus (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_122" id="Page_122"></a>[<a href="./images/122.png">122</a>]</span>(3)</td>
+  <td class="tdleftt"><i>Puck.</i></td>
+  <td class="tdleft">What Hempen homespuns have we swaggering here?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (79).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Cade.</i></td>
+  <td class="tdleft">Ye shall have a Hempen caudle then, and the pap
+of a hatchet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iv, sc. 7 (95).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Hostess.</i></td>
+  <td class="tdleft">Thou Hemp-seed.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 1 (64).</td>
+</tr>
+</table>
+
+<p>In all these passages, except the last, the reference is to
+rope made from Hemp, and not to the Hemp plant, and it
+is very probable that Shakespeare never saw the plant. It
+was introduced into England long before his time, and
+largely cultivated, but only in few parts of England, and
+chiefly in the eastern counties. I do not find that it was
+cultivated in gardens in his time, but it is a plant well
+deserving a place in any garden, and is especially suitable
+from its height and regular growth, for the central plant
+of a flower-bed. It is supposed to be a native of India, and
+seems capable of cultivation in almost any climate.<a name="FNanchor_122:1_100" id="FNanchor_122:1_100"></a><a href="#Footnote_122:1_100" class="fnanchor">[122:1]</a></p>
+
+<p>The name has a curious history. "The Greek <ins class="greek" title="kannabis">&#954;&#8049;&#957;&#957;&#945;&#946;&#953;&#962;</ins>,
+and Latin <i>cannabis</i>, are both identical with the Sanscrit
+<i>kanam</i>, as well as with the German <i>hanf</i>, and the English
+<i>hemp</i>. More directly from <i>cannabis</i> comes canvas, made
+up of hemp or flax, and canvass, to discuss: <i>i.e.</i>, sift a question;
+metaphorically from the use of hempen sieves or
+sifters."&mdash;<span class="smcap">Birdwood's</span> <i>Handbook to the Indian Court</i>, p. 23.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_122:1_100" id="Footnote_122:1_100"></a><a href="#FNanchor_122:1_100"><span class="label">[122:1]</span></a> In Shakespeare's time the vulgar name for Hemp was Neckweed,
+and there is a curious account of it under that name by William
+Bullein, in "The Booke of Compounds," f. 68.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>HERB OF GRACE, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Rue">Rue</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>HOLLY.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Song.</i></td>
+  <td class="tdleft">Heigh-ho! sing, heigh-ho! unto the green Holly:<br />
+Most friendship is feigning, most loving mere folly:<br />
+<span style="padding-left: 4.5em;">Then, heigh-ho, the Holly!</span><br />
+<span style="padding-left: 4.5em;">This life is most jolly.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act ii, sc. 7 (180).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_123" id="Page_123"></a>[<a href="./images/123.png">123</a>]</span>
+From this single notice of the Holly in Shakespeare, and
+from the slight account of it in Gerard, we might conclude
+that the plant was not the favourite in the sixteenth century
+that it is in the nineteenth; but this would be a mistake.
+The Holly entered largely into the old Christmas carols.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i2">"Christmastide<br /></span>
+<span class="i0">Comes in like a bride,<br /></span>
+<span class="i0">With Holly and Ivy clad"&mdash;<br /></span>
+</div></div>
+
+<p>and it was from the earliest times used for the decoration
+of houses and churches at Christmas. It does not,
+however, derive its name from this circumstance, though it
+was anciently spelt "holy," or called the "holy tree," for
+the name comes from a very different source, and is identical
+with "holm," which, indeed, was its name in the time
+of Gerard and Parkinson, and is still its name in some
+parts of England, though it has almost lost its other old
+name of Hulver,<a name="FNanchor_123:1_101" id="FNanchor_123:1_101"></a><a href="#Footnote_123:1_101" class="fnanchor">[123:1]</a> except in the eastern counties, where
+the word is still in use. But as an ornamental tree it
+does not seem to have been much valued, though in the
+next century Evelyn is loud in the praises of this "incomparable
+tree," and admired it both for its beauty and
+its use. It is certainly the handsomest of our native evergreens,
+and is said to be finer in England than in any other
+country; and as seen growing in its wild habitats in our
+forests, as it may be seen in the New Forest and the Forest
+of Dean, it stands without a rival, equally beautiful in
+summer and in winter; in summer its bright glossy leaves
+shining out distinctly in the midst of any surrounding
+greenery, while as "the Holly that outdares cold winter's
+ire" (Browne), it is the very emblem of bright cheerfulness,
+with its foliage uninjured in the most severe weather, and its
+rich coral berries, sometimes borne in the greatest profusion,
+delighting us with their brilliancy and beauty. And as a
+garden shrub, the Holly still holds its own, after all the fine
+exotic shrubs that have been introduced into our gardens
+during the present century. It can be grown as a single
+shrub, or it may be clipped, and will then form the best and
+the most impregnable hedge that can be grown. No other
+<span class="pagenum"><a name="Page_124" id="Page_124"></a>[<a href="./images/124.png">124</a>]</span>plant will compare with it as a hedge plant, if it be only
+properly attended to, and we can understand Evelyn's pride
+in his "glorious and refreshing object," a Holly hedge 160ft.
+in length, 7ft. in height, and 5ft. in diameter, which he
+could show in his "poor gardens at any time of the year,
+glittering with its armed and vernished leaves," and "blushing
+with their natural corale." Nor need we be confined to
+plain green in such a hedge. The Holly runs into a great
+many varieties, with the leaves of all shapes and sizes, and
+blotched and variegated in different fashions and colours.
+All of these seem to be comparatively modern. In the
+time of Gerard and Parkinson there seems to have been
+only the one typical species, and perhaps the Hedgehog
+Holly.</p>
+
+<p>I may finish the notice of the Holly by quoting two most
+remarkable uses of the tree mentioned by Parkinson:
+"With the flowers of Holly, saith Pliny from Pythagoras,
+water is made ice; and againe, a staffe of the tree throwne
+at any beast, although it fall short by his defect that threw
+it, will flye to him, as he lyeth still, by the speciall property
+of the tree." He may well add&mdash;"This I here relate that
+you may understand the fond and vain conceit of those
+times, which I would to God we were not in these dayes
+tainted withal."</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_123:1_101" id="Footnote_123:1_101"></a><a href="#FNanchor_123:1_101"><span class="label">[123:1]</span></a> "<i>Hulwur</i>-tre (huluyr), hulmus, hulcus aut huscus."&mdash;<i>Promptorium
+Parvulorum.</i></p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Holy_Thistle" id="Holy_Thistle"></a>HOLY THISTLE.</h2>
+
+<table class="poetryt" summary="holy thistle reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Margaret.</i></td>
+  <td class="tdleft">Get you some of this distilled Carduus Benedictus,
+and lay it to your heart; it is the only
+thing for a qualm.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Hero.</i></td>
+  <td class="tdleft">There thou prickest her with a Thistle.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Beatrice.</i></td>
+  <td class="tdleft">Benedictus! Why Benedictus? You have some
+moral in this Benedictus.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Margaret.</i></td>
+  <td class="tdleft">Moral! No, by my troth, I have no moral
+meaning: I meant plain Holy Thistle.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act iii, sc. 4 (73).</td>
+</tr>
+</table>
+
+<p>The <i>Carduus benedictus</i>, or Blessed Thistle, is a handsome
+annual from the South of Europe, and obtained its
+name from its high reputation as a heal-all, being supposed
+<span class="pagenum"><a name="Page_125" id="Page_125"></a>[<a href="./images/125.png">125</a>]</span>even to cure the plague, which was the highest praise that
+could be given to a medicine in those days. It is mentioned
+in all the treatises on the Plague, and especially by Thomas
+Brasbridge, who, in 1578, published his "Poore Mans
+Jewell, that is to say, a Treatise of the Pestilence: vnto
+which is annexed a declaration of the vertues of the Hearbes
+Carduus Benedictus and Angelica." This little book
+Shakespeare may have seen; it speaks of the virtues of the
+"distilled" leaves: it says, "it helpeth the hart," "expelleth
+all poyson taken in at the mouth and other corruption that
+doth hurt and annoye the hart," and that "the juyce of it is
+outwardly applied to the bodie" ("lay it to your heart"), and
+concludes, "therefore I counsell all them that have Gardens
+to nourish it, that they may have it always to their own use,
+and the use of their neighbours that lacke it." The plant
+has long lost this high character.</p>
+
+
+<hr style="width: 65%;" />
+<h2>HONEYSTALKS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Clover">Clover</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Honeysuckle" id="Honeysuckle"></a>HONEYSUCKLE.</h2>
+
+<table class="poetryt" summary="honeysuckle references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Honeysuckle_1" id="Honeysuckle_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Hero.</i></td>
+  <td class="tdleft">And bid her steal into the pleached bower<br />
+Where Honeysuckles, ripen'd by the sun,<br />
+Forbid the sun to enter.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act iii, sc. 1 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Honeysuckle_2" id="Honeysuckle_2"></a>2)</td>
+  <td class="tdleftt"><i>Ursula.</i></td>
+  <td class="tdleft">So angle we for Beatrice; who even now<br />
+Is couched in the Woodbine coverture.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (29).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Honeysuckle_3" id="Honeysuckle_3"></a>3)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft">Sleep thou, and I will wind thee in my arms.<br />
+So doth the Woodbine the sweet Honeysuckle<br />
+Gently entwist; the Female Ivy so<br />
+Enrings the barky fingers of the Elm.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Hostess.</i></td>
+  <td class="tdleft">O thou Honeysuckle villain.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 1 (52).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Oberon.</i></td>
+  <td class="tdleft">I know a bank where the wild Thyme blows,<br />
+Where Oxlips and the nodding Violet grows,<br />
+Quite over-canopied with luscious Woodbine.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (249).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_126" id="Page_126"></a>[<a href="./images/126.png">126</a>]</span>
+I have joined together here the Woodbine and the
+Honeysuckle, because there can be little doubt that in
+Shakespeare's time the two names belonged to the same
+plant,<a name="FNanchor_126:1_102" id="FNanchor_126:1_102"></a><a href="#Footnote_126:1_102" class="fnanchor">[126:1]</a> and that the Woodbine was (where the two names
+were at all discriminated, as in No. <a href="#Honeysuckle_3">3</a>), applied to the plant
+generally, and Honeysuckle to the flower. This seems
+very clear by comparing together Nos. <a href="#Honeysuckle_1">1</a> and <a href="#Honeysuckle_2">2</a>. In earlier
+writings the name was applied very loosely to almost any
+creeping or climbing plant. In an Anglo-Saxon Vocabulary
+of the eleventh century it is applied to the Wild Clematis
+("Viticella&mdash;Weoden-binde"); while in Archbishop &AElig;lfric's
+"Vocabulary" of the tenth century it is applied to the
+Hedera nigra, which may be either the Common or the
+Ground Ivy ("Hedera nigra&mdash;Wude-binde"); and in the
+Herbarium and Leechdom books of the twelfth century it is
+applied to the Capparis or Caper-plant, by which, however
+(as Mr. Cockayne considers), the Convolvulus Sepium is
+meant. After Shakespeare's time again the words began to
+be used confusedly. Milton does not seem to have been
+very clear in the matter. In "Paradise Lost" he makes
+our first parents "wind the Woodbine round this arbour"
+(perhaps he had Shakespeare's arbour in his mind); and
+in "Comus" he tells us of&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8h">"A bank<br /></span>
+<span class="i0">With ivy-canopied, and interwove<br /></span>
+<span class="i0">With flaunting Honeysuckle."<a name="FNanchor_126:2_103" id="FNanchor_126:2_103"></a><a href="#Footnote_126:2_103" class="fnanchor">[126:2]</a><br /></span>
+</div></div>
+
+<p>While in "Lycidas" he tells of&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Musk Rose and the well-attired Woodbine."<br /></span>
+</div></div>
+
+<p>And we can scarcely suppose that he would apply two such
+contrary epithets as "flaunting" and "well-attired" to the
+same plant. And now the name, as of old, is used with
+great uncertainty, and I have heard it applied to many
+<span class="pagenum"><a name="Page_127" id="Page_127"></a>[<a href="./images/127.png">127</a>]</span>plants, and especially to the small sweet-scented Clematis
+(<i>C. flammula</i>).</p>
+
+<p>But with the Honeysuckle there is no such difficulty.
+The name is an old one, and in its earliest use was no doubt
+indifferently applied to many sweet-scented flowers (the
+Primrose amongst them); but it was soon attached exclusively
+to our own sweet Honeysuckle of the woods and
+hedges. We have two native species (Lonicera periclymenum
+and L. xylosteum), and there are about eighty exotic
+species, but none of them sweeter or prettier than our own,
+which, besides its fragrant flowers, has pretty, fleshy, red
+fruit.</p>
+
+<p>The Honeysuckle has ever been the emblem of firm and
+fast affection&mdash;as it climbs round any tree or bush, that is
+near it, not only clinging to it faster than Ivy, but keeping
+its hold so tight as to leave its mark in deep furrows on the
+tree that has supported it. The old writers are fond of
+alluding to this. Bullein in "The Book of Simples," 1562,
+says very prettily, "Oh, how swete and pleasant is Wood-binde,
+in woodes or arbours, after a tender, soft rain: and
+how friendly doe this herbe, if I maie so name it, imbrace
+the bodies, armes, and branches of trees, with his long
+winding stalkes, and tender leaves, openyng or spreading
+forthe his swete Lillis, like ladie's fingers, em&#333;g the thornes
+or bushes," and there is no doubt from the context that he
+is here referring to the Honeysuckle. Chaucer gives the
+crown of Woodbine to those who were constant in love&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And tho that weare chaplets on their hede<br /></span>
+<span class="i0i">Of fresh Woodbine, be such as never were<br /></span>
+<span class="i0i">To love untrue in word, thought, ne dede,<br /></span>
+<span class="i0i">But aye stedfast; ne for pleasaunce ne fere,<br /></span>
+<span class="i0i">Though that they should their hertes al to-tere,<br /></span>
+<span class="i0i">Would never flit, but ever were stedfast<br /></span>
+<span class="i0i">Till that there lives there asunder brast."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Flower and the Leaf.</i></p>
+
+<p>The two last lines well describe the fast union between
+the Honeysuckle and its mated tree.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_126:1_102" id="Footnote_126:1_102"></a><a href="#FNanchor_126:1_102"><span class="label">[126:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Woodbines of sweet honey full."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Beaumont and Fletcher</span>, <i>Tragedy of Valentinian</i>.</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_126:2_103" id="Footnote_126:2_103"></a><a href="#FNanchor_126:2_103"><span class="label">[126:2]</span></a> Milton probably took the idea from Theocritus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i9">"Ivy reaches up and climbs,<br /></span>
+<span class="i0">Gilded with blossom-dust about its lip;<br /></span>
+<span class="i0">Round which a Woodbine wreathes itself, and flaunts<br /></span>
+<span class="i0">Her saffron fruitage."&mdash;<i>Idyll</i> i. (<i>Calverley</i>).<br /></span>
+</div></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_128" id="Page_128"></a>[<a href="./images/128.png">128</a>]</span></p>
+<h2><a name="Hyssop" id="Hyssop"></a>HYSSOP.</h2>
+
+<table class="poetryt" summary="hyssop reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iago.</i></td>
+  <td class="tdleft">'Tis in ourselves that we are thus or thus. Our bodies
+are our gardens, to the which our wills are gardeners;
+so that if we will plant Nettles or sow Lettuce, set
+Hyssop, and weed up Thyme, supply it with one gender
+of herbs or distract it with many, either to have it sterile
+with idleness, or maimed with industry, why, the power
+and corrigible authority of this lies in our wills.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (322).</td>
+</tr>
+</table>
+
+<p>We should scarcely expect such a lesson of wisdom drawn
+from the simple herb-garden in the mouth of the greatest
+knave and villain in the whole range of Shakespeare's writings.
+It was the preaching of a deep hypocrite, and while
+we hate the preacher we thank him for his lesson.<a name="FNanchor_128:1_104" id="FNanchor_128:1_104"></a><a href="#Footnote_128:1_104" class="fnanchor">[128:1]</a></p>
+
+<p>The Hyssop (<i>Hyssopus officinalis</i>) is not a British plant,
+but it was held in high esteem in Shakespeare's time. Spenser
+spoke of it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sharp Isope good for green wounds remedies"&mdash;<br /></span>
+</div></div>
+
+<p>and Gerard grew in his garden five or six different species
+or varieties. He does not tell us where his plants came
+from, and perhaps he did not know. It comes chiefly from
+Austria and Siberia; yet Greene in his "Philomela," 1615,
+speaks of "the Hyssop growing in America, that is liked of
+strangers for the smell, and hated of the inhabitants for the
+operation, being as prejudicial to the one as delightsome
+to the other." It is now very little cultivated, for it is not a
+plant of much beauty, and its medicinal properties are not
+much esteemed; yet it is a plant that must always have an
+interest to readers of the Bible; for there it comes before
+us as the plant of purification, as the plant of which the
+study was not beneath the wisdom of Solomon, and especially
+<span class="pagenum"><a name="Page_129" id="Page_129"></a>[<a href="./images/129.png">129</a>]</span>as the plant that added to the cruelties of the Crucifixion.
+Whether the Hyssop of Scripture is the Hyssopus officinalis
+is still a question, but at the present time the most modern
+research has decided that it is.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_128:1_104" id="Footnote_128:1_104"></a><a href="#FNanchor_128:1_104"><span class="label">[128:1]</span></a> It seems likely from the following passage from Lily's "Euphues,
+the anatomy of wit," 1617, that the plants were not named at random
+by Iago, but that there was some connection between them. "Good
+gardeners, in their curious knots, mixe Isope with Time, as aiders the
+one with the others; the one being dry, the other moist." The gardeners
+of the sixteenth century had a firm belief in the sympathies
+and antipathies of plants.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>INSANE ROOT.</h2>
+
+<table class="poetryt" summary="insane root reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Banquo.</i></td>
+  <td class="tdleft">Were such things here as we do speak about?<br />
+Or have we eaten on the Insane Root<br />
+That takes the reason prisoner?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act i, sc. 3 (83).</td>
+</tr>
+</table>
+
+<p>It is very possible that Shakespeare had no particular plant
+in view, but simply referred to any of the many narcotic
+plants which, when given in excess, would "take the reason
+prisoner." The critics have suggested many plants&mdash;the
+Hemlock, the Henbane, the Belladonna, the Mandrake, &amp;c.,
+each one strengthening his opinion from coeval writers.
+In this uncertainty I should incline to the Henbane from
+the following description by Gerard and Lyte. "This herbe
+is called .&nbsp;.&nbsp;. of Apuleia-Mania" (Lyte). "Henbane is
+called .&nbsp;.&nbsp;. of Pythagoras, Zoroaster, and Apuleius, Insana"
+(Gerard).</p>
+
+
+<hr style="width: 65%;" />
+<h2>IVY.</h2>
+
+<table class="poetryt" summary="ivy references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Titania.</i></td>
+  <td class="tdleft"><span class="s11">The female Ivy so</span><br />
+Enrings the barky fingers of the Elm.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Prospero.</i></td>
+  <td class="tdleft"><span class="s12">That now he was</span><br />
+The Ivy which had hid my princely trunk<br />
+And suck'd my verdure out on't.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act i, sc. 2 (85).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Adriana.</i></td>
+  <td class="tdleft">If ought possess thee from me, it is dross,<br />
+Usurping Ivy, Brier, or idle Moss.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act ii, sc. 2 (179).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_130" id="Page_130"></a>[<a href="./images/130.png">130</a>]</span>(4)</td>
+  <td class="tdleftt"><i>Shepherd.</i></td>
+  <td class="tdleft">They have scared away two of my best sheep,
+which I fear the wolf will sooner find than the
+master; if anywhere I have them 'tis by the
+seaside browsing of Ivy.<a name="FNanchor_130:1_105" id="FNanchor_130:1_105"></a><a href="#Footnote_130:1_105" class="fnanchor">[130:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iii, sc. 3 (66).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Perithores.</i></td>
+  <td class="tdleft"><span class="s12">His head's yellow,</span><br />
+Hard hayr'd, and curl'd, thicke twin'd like Ivy tops,<br />
+Not to undoe with thunder.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 2 (115).</td>
+</tr>
+</table>
+
+<p>The rich evergreen of "the Ivy never sear" (Milton)
+recommended it to the Romans to be joined with the Bay
+in the chaplets of poets&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i3">"Hanc sine tempora circum<br /></span>
+<span class="i0">Inter victrices Hederam tibi serpere lauros."&mdash;<span class="smcap">Virgil.</span><br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i3">"Seu condis amabile carmen<br /></span>
+<span class="i0">Prima feres Heder&aelig; victricis pr&aelig;mia."&mdash;<span class="smcap">Horace.</span><br /></span>
+</div></div>
+
+<p>And in medi&aelig;val times it was used with Holly for Christmas
+decorations, so that Bullein called it "the womens Christmas
+Herbe." But the old writers always assumed a curious
+rivalry between the two&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Holly and Ivy made a great party<br /></span>
+<span class="i0i">Who should have the mastery<br /></span>
+<span class="i3i">In lands where they go."<br /></span>
+</div></div>
+
+<p>And there is a well-known carol of the time of Henry VI.,
+which tells of the contest between the two, and of the
+mastery of the Holly; it is in eight stanzas, of which I
+extract the last four&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Holly he hath berries as red as any Rose,<br /></span>
+<span class="i0i">The foresters, the hunters, keep them from the does;<br /></span>
+<span class="i0i">Ivy she hath berries as black as any Sloe,<br /></span>
+<span class="i0i">There come the owls and eat them as they go;<br /></span>
+<span class="i0i">Holly he hath birds, a full fair flock,<br /></span>
+<span class="i0i">The nightingale, the popinjay, the gentle laverock;<br /></span>
+<span class="i0i">Good Ivy, say to us, what birds hast thou?<br /></span>
+<span class="i0i">None but the owlet that cries 'How, how!'"<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_131" id="Page_131"></a>[<a href="./images/131.png">131</a>]</span>
+Thus the Ivy was not allowed the same honour inside the
+houses of our ancestors as the Holly, but it held its place
+outside the houses as a sign of good cheer to be had within.
+The custom is now extinct, but formerly an Ivy bush (called
+a tod of Ivy) was universally hung out in front of taverns in
+England, as it still is in Brittany and Normandy. Hence
+arose two proverbs&mdash;"Good wine needs no bush," <i>i.e.</i>, the
+reputation is sufficiently good without further advertisement;
+and "An owl in an Ivy bush," as "perhaps denoting originally
+the union of wisdom or prudence with conviviality, as 'Be
+merry and wise.'"&mdash;<span class="smcap">Nares.</span></p>
+
+<p>The Ivy was a plant as much admired by our grandfathers
+of the fifteenth and sixteenth centuries as it is now by us.
+Spenser was evidently fond of it&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And nigh thereto a little chappel stoode<br /></span>
+<span class="i0i">Which being all with Yvy overspread<br /></span>
+<span class="i0i">Deckt all the roofe, and shadowing the rode<br /></span>
+<span class="i0i">Seem'd like a grove faire branched over hed."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, vi, v, 25.</p>
+
+<p>In another place he speaks of it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Wanton Yvie, flouring fayre."&mdash;<i>F. Q.</i>, ii, v, 29.<br /></span>
+</div></div>
+
+<p>And in another place&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Amongst the rest the clambering Ivie grew<br /></span>
+<span class="i0i">Knitting his wanton armes with grasping hold,<br /></span>
+<span class="i0i">Least that the Poplar happely should rew<br /></span>
+<span class="i0i">Her brother's strokes, whose boughs she doth enfold<br /></span>
+<span class="i0i">With her lythe twigs till they the top survew,<br /></span>
+<span class="i0i">And paint with pallid greene her buds of gold."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Virgil's</span> <i>Gnat</i>.</p>
+
+<p>Chaucer describes it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The erbe Ivie that groweth in our yard that mery is."<br /></span>
+</div></div>
+
+<p>And in the same poem he prettily describes it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The pallid Ivie building his own bowre."<br /></span>
+</div></div>
+
+<p>As a wild plant, the Ivy is found in Europe, Asia, and
+Africa, but not in America, and wherever it is found it loves
+to cover old walls and buildings, and trees of every sort,
+<span class="pagenum"><a name="Page_132" id="Page_132"></a>[<a href="./images/132.png">132</a>]</span>with its close and rich drapery and clusters of black fruit,<a name="FNanchor_132:1_106" id="FNanchor_132:1_106"></a><a href="#Footnote_132:1_106" class="fnanchor">[132:1]</a>
+and where it once establishes itself it is always beautiful, but
+not always harmless. Both on trees and buildings it requires
+very close watching. It will very soon destroy soft-wooded
+trees, such as the Poplar and the Ash, by its tight embrace,
+not by sucking out the sap, but by preventing the outward
+growth of the shoots, and checking&mdash;and at length preventing&mdash;the
+flow of sap; and in buildings it is no doubt beneficial
+as long as it is closely watched and kept in place, but
+if allowed to drive its roots into joints, or to grow under
+roofs, the swelling roots and branches will soon displace any
+masonry, and cause immense mischief.</p>
+
+<p>We have only one species of Ivy in England, and there
+are only two real species recognized by present botanists,
+but there are infinite varieties, and many of them very beautiful.
+These variegated Ivies were known to the Greeks
+and Romans, and were highly prized by them, one especially
+with white fruit (at present not known) was the type
+of beauty. No higher praise could be given to a beauty
+than that she was "Hedera formosior alba." These varieties
+are scarcely mentioned by Gerard and Parkinson, and probably
+were not much valued; they are now in greater repute,
+and nothing will surpass them for rapidly and effectually
+covering any bare spaces.</p>
+
+<p>I need scarcely add that the Ivy is so completely hardy
+that it will grow in any aspect and in any soil; that its
+flowers are the staple food of bees in the late autumn; and
+that all the varieties grow easily from cuttings at almost any
+time of the year.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_130:1_105" id="Footnote_130:1_105"></a><a href="#FNanchor_130:1_105"><span class="label">[130:1]</span></a> Sheep feeding on Ivy&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"My sheep have Honeysuckle bloom for pasture; Ivy grows<br /></span>
+<span class="i0i">In multitudes around them, and blossoms like the Rose."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Theocritus</span>, <i>Idyll</i> v. (<i>Calverley</i>).</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_132:1_106" id="Footnote_132:1_106"></a><a href="#FNanchor_132:1_106"><span class="label">[132:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i3">"The Ivy-mesh<br /></span>
+<span class="i0">Shading the Ethiop berries."&mdash;<span class="smcap">Keats</span>, <i>Endymion</i>.<br /></span>
+</div></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>KECKSIES.</h2>
+
+<table class="poetryt" summary="kecksie reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Burgundy.</i></td>
+  <td class="tdleft"><span class="s19">And nothing teems</span><br />
+But hateful Docks, rough Thistles, Kecksies, Burs,<br />
+Losing both beauty and utility.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (51).</td>
+</tr>
+</table>
+
+<p>Kecksies or Kecks are the dried and withered stems of
+the Hemlock, and the name is occasionally applied to the
+<span class="pagenum"><a name="Page_133" id="Page_133"></a>[<a href="./images/133.png">133</a>]</span>living plant. It seems also to have been used for any dry
+weeds&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"All the wyves of Tottenham came to se that syght,<br /></span>
+<span class="i0i">With Wyspes, and Kexis, and ryschys ther lyght,<br /></span>
+<span class="i0i">To fech hom ther husbandes, that wer tham trouth plyght."<br /></span>
+</div></div>
+
+<p class="authorpoem">"The Tournament of Tottenham," in<br />
+<span class="smcap">Ritson's</span> <i>Ancient Songs and Ballads</i>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>KNOT-GRASS.</h2>
+
+<table class="poetryt" summary="knot-grass reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Lysander.</i></td>
+  <td class="tdleft"><span class="s13">Get you gone, you dwarf;</span><br />
+You minimus, of hindering Knot-grass made;<br />
+You bead, you Acorn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 2 (328).</td>
+</tr>
+</table>
+
+<p>The Knot-grass is the Polygonum aviculare, a British
+weed, low, straggling, and many-jointed, hence its name of
+Knot-grass. There is no doubt that this is the plant meant,
+and its connection with a dwarf is explained by the belief,
+probably derived from some unrecorded character detected
+by the "doctrine of signatures," that the growth of children
+could be stopped by a diet of Knot-grass. Steevens quotes
+Beaumont and Fletcher to this effect, and this will probably
+explain the epithet "hindering." But there may be another
+explanation. Johnston tells us that in the north, "being
+difficult to cut in the harvest time, or to pull in the process
+of weeding, it has obtained the sobriquet of the Deil's-lingels."
+From this it may well be called "hindering," just
+as the Ononis, from the same habit of catching the plough and
+harrow, has obtained the prettier name of "Rest-harrow."</p>
+
+<p>But though Shakespeare's Knot-grass is undoubtedly the
+Polygonum, yet the name was also given to another plant,
+for this cannot be the plant mentioned by Milton&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i7">"The chewing flocks<br /></span>
+<span class="i0">Had ta'en their supper on the savoury herb<br /></span>
+<span class="i0">Of Knot-grass dew-besprent."&mdash;<i>Comus.</i><br /></span>
+</div></div>
+
+<p>In this case it must be one of the pasture Grasses, and
+may be Agrostis stolonifera, as it is said to be in Aubrey's
+"Natural History of Wilts" (Dr. Prior).</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_134" id="Page_134"></a>[<a href="./images/134.png">134</a>]</span></p>
+<h2>LADY-SMOCKS.</h2>
+
+<table class="poetryt" summary="lady-smocks reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Song of Spring.</i></td>
+  <td class="tdleft"><span style="padding-left: 1em;">And Lady-smocks all silver-white,</span><br />
+And Cuckoo-buds of yellow hue,<br />
+<span style="padding-left: 1em;">Do paint the meadows with delight.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (905).</td>
+</tr>
+</table>
+
+<p>Lady-smocks are the flowers of Cardamine pratensis, the
+pretty early meadow flower of which children are so fond,
+and of which the popularity is shown by its many names:
+Lady-smocks, Cuckoo-flower,<a name="FNanchor_134:1_107" id="FNanchor_134:1_107"></a><a href="#Footnote_134:1_107" class="fnanchor">[134:1]</a> Meadow Cress, Pinks, Spinks,
+Bog-spinks, and May-flower, and "in Northfolke, Canterbury
+Bells." The origin of the name is not very clear. It
+is generally explained from the resemblance of the flowers
+to smocks hung out to dry, but the resemblance seems to
+me rather far-fetched. According to another explanation,
+"the Lady-smock, a corruption of Our Lady's-smock, is so
+called from its first flowering about Lady-tide. It is a pretty
+purplish white, tetradynamous plant, which blows from Lady-tide
+till the end of May, and which during the latter end of
+April covers the moist meadows with its silvery-white, which
+looks at a distance like a white sheet spread over the fields."&mdash;<i>Circle
+of the Seasons.</i> Those who adopt this view called
+the plant Our Lady's-smock, but I cannot find that name in
+any old writers. Drayton, coeval with Shakespeare, says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i12">"Some to grace the show,<br /></span>
+<span class="i0">Of Lady-smocks most white do rob each neighbouring mead,<br /></span>
+<span class="i0">Wherewith their loose locks most curiously they braid."<br /></span>
+</div></div>
+
+<p>And Isaac Walton, in the next century, drew that pleasant
+picture of himself sitting quietly by the waterside&mdash;"looking
+down the meadows I could see here a boy gathering Lilies
+and Lady-smocks, and there a girl cropping Culverkeys and
+Cowslips."<a name="FNanchor_134:2_108" id="FNanchor_134:2_108"></a><a href="#Footnote_134:2_108" class="fnanchor">[134:2]</a></p>
+
+<p><span class="pagenum"><a name="Page_135" id="Page_135"></a>[<a href="./images/135.png">135</a>]</span>There is a double variety of the Lady-smock which makes
+a handsome garden plant, and there is a remarkable
+botanical curiosity connected with the plant which should
+be noticed. The plant often produces in the autumn small
+plants upon the leaves, and by the means of these little
+parasites the plant is increased, and even if the leaves are
+detached from the plant, and laid upon moist congenial
+soil, young plants will be produced. This is a process that
+is well known to gardeners in the propagation of Begonias,
+and it is familiar to us in the proliferous Ferns, where young
+plants are produced on the surface or tips of the fronds;
+and Dr. Masters records "the same condition as a teratological
+occurrence in the leaves of Hyacinthus Pouzolsii,
+Drosera intermedia, Arabis pumila, Chelidonum majus,
+Chirita Sinensis, Epicia bicolor, Zamia, &amp;c."&mdash;<i>Vegetable
+Teratology</i>, p. 170.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_134:1_107" id="Footnote_134:1_107"></a><a href="#FNanchor_134:1_107"><span class="label">[134:1]</span></a> "Ladies-smock.&mdash;A kind of water cresses, of whose virtue it partakes;
+and it is otherwise called Cuckoo-flower."&mdash;<span class="smcap">Phillips</span>, <i>World of
+Words</i>, 1696.</p></div>
+
+<div class="footnote"><p><a name="Footnote_134:2_108" id="Footnote_134:2_108"></a><a href="#FNanchor_134:2_108"><span class="label">[134:2]</span></a> Culverkeys is mentioned in Dennis' "Secrets of Angling" as a
+meadow flower: "pale Ganderglas, and azor Culverkayes." It is also
+mentioned by Aubrey, in his "Natural History of Wilts;" but the name
+is found in no other writer, and is now extinct. It is difficult to say what
+plant is meant; many have been suggested: the Columbine, the Meadow
+Orchis, the Bluebell, &amp;c. I think it must be the Meadow Geranium,
+which is certainly "azor" almost beyond any other British plant.
+"Culver" is a dove or pigeon, and "keyes" or "kayes" are the seeds
+of a plant, and the seeds of the Geranium were all likened to the claws
+of birds, so that our British species is called G. columbinum.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>LARK'S HEELS.</h2>
+
+<table class="poetryt" summary="lark's heels reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 20%;">&nbsp;</td>
+  <td class="tdleft">Larks heels trim.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, Introd. song.</td>
+</tr>
+</table>
+
+<p>Lark's heels is one of the many names of the Garden
+Delphinium, otherwise called Larkspur, Larksclaw, Larkstoes.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Laurel" id="Laurel"></a>LAUREL.</h2>
+
+<table class="poetryt" summary="laurel references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clarence.</i></td>
+  <td class="tdleft"><span class="s4">To whom the heavens in thy nativity</span><br />
+Adjudged an Olive branch and Laurel crown<br />
+As likely to be blest in peace and war.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act iv, sc. 6 (33).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_136" id="Page_136"></a>[<a href="./images/136.png">136</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Titus.</i></td>
+  <td class="tdleft">Cometh Andronicus bound with Laurel boughs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act i, sc. 1 (74).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Cleopatra.</i></td>
+  <td class="tdleft"><span class="s10">Upon your sword</span><br />
+Sit Laurel victory.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act i, sc. 3 (99).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Ulysses.</i></td>
+  <td class="tdleft">Prerogative of age, crowns, sceptres, Laurels.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act i, sc. 3 (107).</td>
+</tr>
+</table>
+
+<p>This is one of the plants which Shakespeare borrowed
+from the classical writers; it is not the Laurel of our day,
+which was not introduced till after his death,<a name="FNanchor_136:1_109" id="FNanchor_136:1_109"></a><a href="#Footnote_136:1_109" class="fnanchor">[136:1]</a> but the
+Laurea Apollinis, the Laurea Delphica&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Laurel meed of mightie conquerors<br /></span>
+<span class="i0i">And poet's sage,"&mdash;<span class="smcap">Spenser</span>;<br /></span>
+</div></div>
+
+<p>that is, the Bay. This is the tree mentioned by Gower&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"This Daphne into a Lorer tre<br /></span>
+<span class="i0i">Was turned, whiche is ever grene,<br /></span>
+<span class="i0i">In token, as yet it may be sene,<br /></span>
+<span class="i0i">That she shalle dwelle a maiden stille."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Aman.</i> lib. terc.</p>
+
+<p>There can be little doubt that the Laurel of Chaucer also
+was the Bay, the&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i3h">"Fresh grene Laurer tree<br /></span>
+<span class="i0">That gave so passing a delicious smelle<br /></span>
+<span class="i0">According to the Eglantere ful welle."<br /></span>
+</div></div>
+
+<p>He also spoke of it as the emblem of enduring freshness&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Myn herte and al my lymes be as grene<br /></span>
+<span class="i0i">As Laurer, through the yeer is for to seene."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Marchaundes Tale.</i></p>
+
+<p>The Laurel in Lyte's "Herbal" (the Lauriel or Lourye)
+seems to be the Daphne Laureola. But unconsciously
+Chaucer and Shakespeare spoke with more botanical accuracy
+than we do, the Bay being a true Laurel, while the
+Laurel is a Cherry (<i>see</i> <span class="smcap"><a href="#Bay">Bay</a></span>).</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_136:1_109" id="Footnote_136:1_109"></a><a href="#FNanchor_136:1_109"><span class="label">[136:1]</span></a> The first Laurel grown in Europe was grown by Clusius in 1576.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_137" id="Page_137"></a>[<a href="./images/137.png">137</a>]</span></p>
+<h2>LAVENDER.</h2>
+
+<table class="poetryt" summary="lavender reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s9">Here's flowers for you;</span><br />
+Hot Lavender, Mints, Savory, Marjoram.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (103).</td>
+</tr>
+</table>
+
+<p>The mention of Lavender always recalls Walton's pleasant
+picture of "an honest ale-house, where we shall find a
+cleanly room, Lavender in the windows, and twenty ballads
+stuck against the wall, and my hostess, I may tell you, is
+both cleanly and handsome and civil." Whether it is from
+this familiar, old-fashioned picture, or from some inherent
+charm in the plant, it is hard to say, but it is certain that the
+smell of Lavender is always associated with cleanliness and
+freshness.<a name="FNanchor_137:1_110" id="FNanchor_137:1_110"></a><a href="#Footnote_137:1_110" class="fnanchor">[137:1]</a></p>
+
+<p>It is not a British plant, but is a native of the South of
+Europe in dry and barren places, and it was introduced into
+England in the sixteenth century, but it probably was not a
+common plant in Shakespeare's time, for though it is mentioned
+by Spenser as "the Lavender still gray" ("Muiopotmos"),
+and by Gerard as growing in his garden, it is not
+mentioned by Bacon in his list of sweet-smelling plants.
+The fine aromatic smell is found in all parts of the shrub,
+but the essential oil is only produced from the flowers. As
+a garden plant it is found in every garden, but its growth as
+an extensive field crop is chiefly confined to the neighbourhood
+of Mitcham and Carshalton in Surrey; and there at
+the time of the picking of the flowers, and still more in the
+later autumn when the old woody plants are burned, the air
+for a long distance is strongly and most pleasantly impregnated
+with the delicate perfume.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_137:1_110" id="Footnote_137:1_110"></a><a href="#FNanchor_137:1_110"><span class="label">[137:1]</span></a> The very name suggests this association. Lavender is the English
+form of the Latin name, Lavendula; "lavendula autem dicta quoniam
+magnum vectigal Genevensibus mercatoribus pr&aelig;bet quotannis in
+Africam eam ferentibus, ubi lavandis fovendisque corporibus Lybes ea
+utuntur, nec nisi decocto ejus abluti, mane domo egrediuntur."&mdash;<i>Stephani
+Libellus de re Hortensi</i>, 1536, p. 54. The old form of our
+"laundress" was "a Lavendre."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>LEATHERCOAT, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Apple">Apple</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_138" id="Page_138"></a>[<a href="./images/138.png">138</a>]</span></p>
+<h2>LEEK.</h2>
+
+<table class="poetryt" summary="leek references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Thisbe.</i></td>
+  <td class="tdleft">His eyes were green as Leeks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act v, sc. 1 (342).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Pistol.</i></td>
+  <td class="tdleft">Tell him I'll knock his Leek about his pate upon
+Saint Davy's Day.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iv, sc. 1 (54).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Fluellen.</i></td>
+  <td class="tdleft">If your majesties is remembered of it, the Welshmen
+did good service in a garden where Leeks
+did grow, wearing Leeks in their Monmouth
+caps; which your majesty knows to this hour is
+an honourable badge of the service; and I do
+believe your majesty takes no scorn to wear the
+Leek upon Saint Tavy's Day.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 7 (101).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">In act v, sc. 1, is the encounter between Fluellen and Pistol,
+when he makes the bully eat the Leek; this causes
+such frequent mention of the Leek that it would be
+necessary to extract the whole scene, which, therefore,
+I will simply refer to in this way.</td>
+</tr>
+</table>
+
+<p>We can scarcely understand the very high value that was
+placed on Leeks in olden times. By the Egyptians the plant
+was almost considered sacred, "Porrum et c&aelig;pe nefas violare
+et frangere morsu" (Juvenal); we know how Leeks were
+relished in Egypt by the Israelites; and among the Greeks
+they "appear to have constituted so important a part in
+ancient gardens, that the term <ins class="greek" title="prasia">&#960;&#961;&#945;&#963;&#953;&#8049;</ins>, or a bed, derived its
+name from <ins class="greek" title="prason">&#960;&#961;&#945;&#963;&#959;&#957;</ins>, the Greek word for Onion," or Leek<a name="FNanchor_138:1_111" id="FNanchor_138:1_111"></a><a href="#Footnote_138:1_111" class="fnanchor">[138:1]</a>
+(Daubeny); while among the Anglo-Saxons it was very
+much the same. The name is pure Anglo-Saxon, and
+originally meant any vegetable; then it was restricted to any
+bulbous vegetable, before it was finally further restricted to
+our Leek; and "its importance was considered so much
+above that of any other vegetable, that <i>leac-tun</i>, the Leek-garden,
+became the common name of the kitchen garden,
+and <i>leac-ward</i>, the Leek-keeper, was used to designate the
+gardener" (Wright). The plant in those days gave its name
+<span class="pagenum"><a name="Page_139" id="Page_139"></a>[<a href="./images/139.png">139</a>]</span>to the Broad Leek which is our present Leek, the Yne Leek
+or Onion, the Garleek (Garlick), and others of the same tribe,
+while it was applied to other plants of very different families,
+as the Hollow Leek (<i>Corydalis cava</i>), and the House Leek
+(<i>Sempervivum tectorum</i>).</p>
+
+<p>It seems to have been considered the hardiest of all
+flowers. In the account of the Great Frost of 1608, "this
+one infallible token" is given in proof of its severity. "The
+Leek whose courage hath ever been so undaunted that he
+hath borne up his lusty head in all storms, and could never
+be compelled to shrink for hail, snow, frost, or showers, is
+now by the violence and cruelty of this weather beaten unto
+the earth, being rotted, dead, disgraced, and trod upon."</p>
+
+<p>Its popularity still continues among the Welsh, by whom
+it is still, I believe, very largely cultivated; but it does not
+seem to have been much valued in England in Shakespeare's
+time, for Gerard has but little to say of its virtues, but much
+of its "hurts." "It hateth the body, ingendreth naughty
+blood, causeth troublesome and terrible dreames, offendeth
+the eyes, dulleth the sight, &amp;c." Nor does Parkinson give
+a much more favourable account. "Our dainty eye now
+refuseth them wholly, in all sorts except the poorest; they
+are used with us sometimes in Lent to make pottage, and is
+a great and generall feeding in Wales with the vulgar
+gentlemen." It was even used as the proverbial expression
+of worthlessness, as in the "Roumaunt of the Rose," where
+the author says, speaking of "Phiciciens and Advocates"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"For by her wille, without leese,<br /></span>
+<span class="i0i">Everi man shulde be seke,<br /></span>
+<span class="i0i">And though they die, they settle not a Leke."<br /></span>
+</div></div>
+
+<p>And by Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And other suche, deare ynough a Leeke."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Prologue of the Chanoune's Tale.</i></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The beste song that ever was made<br /></span>
+<span class="i0i">Ys not worth a Leky's blade,<br /></span>
+<span class="i0i">But men will tend ther tille."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Child of Bristowe.</i></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_138:1_111" id="Footnote_138:1_111"></a><a href="#FNanchor_138:1_111"><span class="label">[138:1]</span></a> For a testimony of the high value placed on the Leek by the Greeks
+see a poem on <ins class="greek" title="M&ocirc;ly">&#924;&#8182;&#955;&#965;</ins>, in "Anonymi Carmen de Herbis" in the "Poet&aelig;
+Bucolici et didactici."</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_140" id="Page_140"></a>[<a href="./images/140.png">140</a>]</span></p>
+<h2>LEMON.</h2>
+
+<table class="poetryt" summary="lemon reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Biron.</i></td>
+  <td class="tdleft">A Lemon.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Longaville.</i></td>
+  <td class="tdleft"><span class="s4">Stuck with Cloves.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (654).</td>
+</tr>
+</table>
+
+<p class="center"><i>See</i> <span class="smcap"><a href="#Orange">Orange</a> and <a href="#Cloves">Cloves</a></span>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>LETTUCE.</h2>
+
+<table class="poetryt" summary="lettuce reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iago.</i></td>
+  <td class="tdleft">If we will plant Nettles or sow Lettuce. (<i>See</i> <span class="smcap"><a href="#Hyssop">Hyssop</a></span>.)</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (324).</td>
+</tr>
+</table>
+
+<p>This excellent vegetable with its Latin name probably
+came to us from the Romans.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Letuce of lac derivyed is perchaunce;<br /></span>
+<span class="i0i">For milk it hath or yeveth abundaunce."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Palladius on Husbandrie</i>, ii, 216 (15th cent.) E. E. Text Soc.</p>
+
+<p>It was cultivated by the Anglo-Saxons, who showed their
+knowledge of its narcotic qualities by giving it the name of
+Sleepwort; it is mentioned by Spenser as "cold Lettuce"
+("Muiopotmos"). And in Shakespeare's time the sorts
+cultivated were very similar to, and probably as good as,
+ours.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Lily" id="Lily"></a>LILY.</h2>
+
+<table class="poetryt" summary="lily references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Thy banks with Pioned and Lilied<a name="FNanchor_140:1_112" id="FNanchor_140:1_112"></a><a href="#Footnote_140:1_112" class="fnanchor">[140:1]</a> brims.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (64).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Launce.</i></td>
+  <td class="tdleft">Look you, she is as white as a Lily and as small as a wand.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Gentlemen of Verona</i>, act ii, sc. 3 (22).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Julia.</i></td>
+  <td class="tdleft">The air hath starved the Roses in her cheeks,<br />
+And pinch'd the Lily-tincture of her face.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 4 (160).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Flute.</i></td>
+  <td class="tdleft">Most radiant Pyramus, most Lily-white of hue.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (94).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Thisbe.</i></td>
+  <td class="tdleft">These Lily lips.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 1 (337).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_141" id="Page_141"></a>[<a href="./images/141.png">141</a>]</span>(6)</td>
+  <td class="tdleftt"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s12">Lilies of all kinds,</span><br />
+The Flower-de-luce being one!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (126).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Princess.</i></td>
+  <td class="tdleft">Now by my maiden honour, yet as pure<br />
+As the unsullied Lily.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (351).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Lily_8" id="Lily_8"></a>8)</td>
+  <td class="tdleftt"><i>Queen Katharine.</i></td>
+  <td class="tdleft"><span class="s18">Like the Lily</span><br />
+That once was mistress of the field and flourish'd,<br />
+I'll hang my head, and perish.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act iii, sc. 1 (151).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Cranmer.</i></td>
+  <td class="tdleft"><span class="s14">Yet a virgin,</span><br />
+A most unspotted Lily shall she pass<br />
+To the ground.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 5 (61).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Troilus.</i></td>
+  <td class="tdleft">Give me swift transportance to those fields,<br />
+Where I may wallow in the Lily beds<br />
+Proposed for the deserver.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act iii, sc. 2 (12).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Marcus.</i></td>
+  <td class="tdleft">O, had the monster seen those Lily hands<br />
+Tremble, like Aspen leaves, upon a lute.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act ii, sc. 4 (44).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Titus.</i></td>
+  <td class="tdleft"><span class="s13">Fresh tears</span><br />
+Stood on her cheeks as doth the honey-dew<br />
+Upon a gather'd Lily almost wither'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 1 (111).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Iachimo.</i></td>
+  <td class="tdleft">How bravely thou becomest thy bed, fresh Lily!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act ii, sc. 2 (15).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Guiderius.</i></td>
+  <td class="tdleft"><span class="s10">O sweetest, fairest Lily!</span><br />
+My brother wears thee not the one half so well,<br />
+As when thou grew'st thyself.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 2 (201).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Constance.</i></td>
+  <td class="tdleft">Of Nature's gifts thou may'st with Lilies boast,<br />
+And with the half-blown Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act iii, sc. 1 (53).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Salisbury.</i></td>
+  <td class="tdleft">To gild refined gold, to paint the Lily,<br />
+To throw a perfume on the Violet,</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td>Is wasteful and ridiculous excess.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 2 (11).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td class="tdleftt"><i>Kent.</i></td>
+  <td class="tdleft">A Lily-livered, action-taking knave.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act ii, sc. 2 (18).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td class="tdleftt"><i>Macbeth.</i></td>
+  <td class="tdleft">Thou Lily-liver'd boy.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act v, sc. 3 (15).</td>
+</tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_142" id="Page_142"></a>[<a href="./images/142.png">142</a>]</span>(19)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">For sweetest things turn sourest by their deeds;<br />
+Lilies that fester smell far worse than weeds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> xciv.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(20)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Nor did I wonder at the Lily's white,<br />
+Nor praise the deep vermilion of the Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xcviii.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(21)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The Lily I condemned for thy hand.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xcix.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(22)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Their silent war of Lilies and of Roses<br />
+Which Tarquin view'd in her fair face's field.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (71).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(23)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Her Lily hand her rosy cheek lies under,<br />
+Cozening the pillow of a lawful kiss.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (386).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(24)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft"><span class="s10">The colour in thy face</span><br />
+That even for anger makes the Lily pale,<br />
+And the red Rose blush at her own disgrace.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (477).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(25)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">A Lily pale with damask die to grace her.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Passionate Pilgrim</i> (89).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(26)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Full gently now she takes him by the hand,<br />
+A Lily prison'd in a jail of snow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (361).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(27)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">She locks her Lily fingers one in one.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (228).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(28)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft"><span class="s9">Whose wonted Lily white</span><br />
+With purple tears, that his wound wept, was drench'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (1053).</td>
+</tr>
+</table>
+
+<p>Which is the queen of flowers? There are two rival
+candidates for the honour&mdash;the Lily and the Rose; and as
+we look on the one or the other, our allegiance is divided,
+and we vote the crown first to one and then to the other.
+We should have no difficulty "were t'other fair charmer
+away," but with two such candidates, both equally worthy
+of the honour, we vote for a diarchy instead of a monarchy,
+and crown them both.<a name="FNanchor_142:1_113" id="FNanchor_142:1_113"></a><a href="#Footnote_142:1_113" class="fnanchor">[142:1]</a> Yet there are many that would at
+<span class="pagenum"><a name="Page_143" id="Page_143"></a>[<a href="./images/143.png">143</a>]</span>once choose the Lily for the queen, and that without hesitation,
+and they would have good authority for their choice.
+"O Lord, that bearest rule," says Esdras, "of the whole
+world, Thou hast chosen Thee of all the flowers thereof one
+Lily." Spenser addresses the Lily as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Lily, lady of the flow'ring field"&mdash;<i>F. Q.</i>, ii, 6, 16,<br /></span>
+</div></div>
+
+<p>which is the same as Shakespeare's "mistress of the field,"
+(<a href="#Lily_8">8</a>), and many a poet since his time has given the same vote
+in many a pretty verse, which, however, it would take too
+much space to quote at length; so that I will content
+myself with these few lines by Alexander Montgomery
+(coeval with Shakespeare)&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I love the Lily as the first of flowers<br /></span>
+<span class="i1i">Whose stately stalk so straight up is and stay;<br /></span>
+<span class="i0i">To whom th' lave ay lowly louts and cowers<br /></span>
+<span class="i1i">As bound so brave a beauty to obey."<br /></span>
+</div></div>
+
+<p>Montgomery here has clearly in his mind's eye the Lily
+now so called; but the name was not so restricted in the
+earlier writers. "Lilium, cojus vox generali et licentiosa
+usurpatione adscribitur omni flori commendabili" (Laurembergius,
+1632). This was certainly the case with the Greek
+and Roman writers, and it is so in our English Bible in most
+of the cases where the word is used, but perhaps not universally
+so. It is so used by Gower, describing Tarquin
+cutting off the tall flowers, by some said to be Poppies and
+by others Lilies&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And in the garden as they gone,<br /></span>
+<span class="i0i">The Lilie croppes one and one,<br /></span>
+<span class="i0i">Where that they were sprongen out,<br /></span>
+<span class="i0i">He smote off, as they stood about."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Ama.</i> lib. sept.</p>
+
+<p>It is used in the same way by Bullein when, speaking of the
+flower of the Honeysuckle (<i>see</i> <span class="smcap"><a href="#Honeysuckle">Honeysuckle</a></span>), and it must
+have been used in the same sense by Isaak Walton, when
+he saw a boy gathering "Lilies and Lady-smocks" in the
+meadows.</p>
+
+<p>We have still many records of this loose way of speaking
+of the Lily, in the Water Lily, the Lily of the Valley, the
+<span class="pagenum"><a name="Page_144" id="Page_144"></a>[<a href="./images/144.png">144</a>]</span>Lent Lily, St. Bruno's Lily, the Scarborough Lily, the Belladonna
+Lily, and several others, none of which are true Lilies.</p>
+
+<p>But it is time to come to Shakespeare's Lilies. In all
+the twenty-eight passages the greater portion simply recall
+the Lily as the type of elegance and beauty, without any
+special reference to the flower, and in many the word is
+only used to express a colour, Lily-white. But in the
+others he doubtless had some special plant in view, and
+there are two species which, from contemporary writers,
+seem to have been most celebrated in his day. The one
+is the pure White Lily (<i>Lilium candidum</i>), a plant of which
+the native country is not yet quite accurately ascertained.
+It is reported to grow wild in abundance in Lebanon, and
+it probably came to England from the East in very early
+times. It was certainly largely grown in Europe in the
+Middle Ages, and was universally acknowledged by artists,
+sculptors, and architects, as the emblem of female elegance
+and purity, and none of us would dispute its claim to such
+a position. There is no other Lily which can surpass it,
+when well grown, in stateliness and elegance, with sweet-scented
+flowers of the purest white and the most graceful
+shape, and crowning the top of the long leafy stem with
+such a coronal as no other plant can show. On the rare
+beauties and excellences of the White Lily it would be easy
+to fill a volume merely with extracts from old writers, and
+such a volume would be far from uninteresting. Those
+who wish for some such account may refer to the "Monographie
+Historique et Litt&eacute;raire des Lis," par Fr. de Cannart
+d'Hamale, 1870. There they will find more than fifty pages
+of the botany, literary history, poetry, and medical uses of
+the plant, together with its application to religious emblems,
+numismatics, heraldry, painting, &amp;c. Two short extracts
+will suffice here:&mdash;"Le lis blanc, surnomm&eacute; la fleur des
+fleurs, les d&eacute;lices de Venus, la Rose de Junon, qu'Anguillara
+d&eacute;signa sous le nom d'Ambrosia, probablement &agrave; cause de
+son parfum suivant, et pent &ecirc;tre aussi de sa soidisante
+divine origine, se place tout naturellement &agrave; le t&ecirc;te de ce
+groupe splendide." "C'est le Lis classique, par excellence,
+et en m&ecirc;me temps le plus beau du genre."</p>
+
+<p>The other is the large Scarlet or Chalcedonian Lily; and
+this also is one of the very handsomest, though its beauty
+<span class="pagenum"><a name="Page_145" id="Page_145"></a>[<a href="./images/145.png">145</a>]</span>is of a very different kind to the White Lily. The habit
+of the plant is equally stately, and is indeed very grand,
+but the colours are of the brightest and clearest red. These
+two plants were abundantly grown in Shakespeare's time,
+but besides these there do not seem to have been more
+than about half-a-dozen species in cultivation. There
+are now forty-six recognized species, besides varieties in
+great number.</p>
+
+<p>The Lily has a very wide geographical range, spreading
+from Central Europe to the Philippines, and species are
+found in all quarters of the globe, though the chief homes
+of the family seem to be in California and Japan. Yet we
+have no wild Lily in England. Both the Martagon and the
+Pyrenean Lily have been found, but there is no doubt they
+are garden escapes.</p>
+
+<p>As a garden plant it may safely be said that no garden
+can make any pretence to the name that cannot show a
+good display of Lilies, many or few. Yet the Lily is a
+most capricious plant; while in one garden almost any sort
+will grow luxuriantly, in a neighbouring garden it is found
+difficult to grow any in a satisfactory manner. Within the
+last few years their culture has been much studied, and by
+the practical knowledge of such great growers of the family
+as G. F. Wilson, H. J. Elwes, and other kindred liliophilists,
+we shall probably in a few years have many difficulties
+cleared up both in the botanical history and the cultivation
+of this lovely tribe.</p>
+
+<p>But we cannot dismiss the Lily without a few words of
+notice of its sacred character. It is the flower specially
+dedicated to the Virgin Mary, and which is so familiar to
+us in the old paintings of the Annunciation. But it has, of
+course, a still higher character as a sacred plant from the
+high honour placed on it by our Lord in the Sermon on the
+Mount. After all that has been written on "the Lilies of
+the field," critics have not yet decided whether any, and,
+if so, what particular plant was meant. Each Eastern
+traveller seems to have selected the flower that he most
+admired in Palestine, and then to pronounce that that
+must be the Lily referred to. Thus, at various times it has
+been decided to be the Rose, the Crown Imperial, the
+White Lily, the Chalcedonian Lily, the Oleander, the Wild
+<span class="pagenum"><a name="Page_146" id="Page_146"></a>[<a href="./images/146.png">146</a>]</span>Artichoke, the Sternbergia, the Tulip, and many others, but
+the most generally received opinion now is, that if a true
+Lily at all, the evidence runs most strongly in favour of the
+L. Chalcedonicum; but that Dean Stanley's view is more
+probably the correct one, that the term "Lily" is generic,
+alluding to the many beautiful flowers, both of the Lily
+family and others, which abound in Palestine. The question,
+though deeply interesting, is not one for which we need to
+be over-curious as to the true answer. All of us, and
+gardeners especially, may be thankful for the words which
+have thrown a never dying charm over our favourites, and
+have effectually stopped any foolish objections that may be
+brought against the deepest study of flowers, as a petty
+study, with no great results. To any such silly objections
+(and we often hear them) the answer is a very short and
+simple one&mdash;that we have been bidden by the very highest
+authority to "consider the Lilies."</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_140:1_112" id="Footnote_140:1_112"></a><a href="#FNanchor_140:1_112"><span class="label">[140:1]</span></a> This is a modern reading, the older and more correct reading is
+"twilled."</p></div>
+
+<div class="footnote"><p><a name="Footnote_142:1_113" id="Footnote_142:1_113"></a><a href="#FNanchor_142:1_113"><span class="label">[142:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Within the garden's peaceful scene<br /></span>
+<span class="i1i">Appeared two lovely foes,<br /></span>
+<span class="i0i">Aspiring to the rank of Queen,<br /></span>
+<span class="i1i">The Lily and the Rose.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Yours is, she said, the noblest hue,<br /></span>
+<span class="i1i">And yours the statelier mien,<br /></span>
+<span class="i0i">And till a third surpasses you<br /></span>
+<span class="i1i">Let each be deemed a Queen."&mdash;<span class="smcap">Cowper.</span><br /></span>
+</div></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>LIME.</h2>
+
+<table class="poetryt" summary="lime references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ariel.</i></td>
+  <td class="tdleft"><span class="s10">All prisoners, sir,</span><br />
+In the Line-grove which weather-fends your cell.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act v, sc. 1 (9).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Prospero.</i></td>
+  <td class="tdleft">Come, hang them on this Line.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (193).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Stephano.</i></td>
+  <td class="tdleft">Mistress Line, is not this my jerkin?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (235).</td>
+</tr>
+</table>
+
+<p>It is only in comparatively modern times that the old
+name of Line or Linden, or Lind,<a name="FNanchor_146:1_114" id="FNanchor_146:1_114"></a><a href="#Footnote_146:1_114" class="fnanchor">[146:1]</a> has given place to Lime.
+The tree is a doubtful native, but has been long introduced,
+perhaps by the Romans. It is a very handsome tree when
+allowed room, but it bears clipping well, and so is very often
+tortured into the most unnatural shapes. It was a very
+favourite tree with our forefathers to plant in avenues, not
+only for its rapid growth, but also for the delicious scent of
+its flowers; but the large secretions of honey-dew which
+<span class="pagenum"><a name="Page_147" id="Page_147"></a>[<a href="./images/147.png">147</a>]</span>load the leaves, and the fact that it comes late into leaf and
+sheds its leaves very early, have rather thrown it out of
+favour of late years. As a useful tree it does not rank very
+high, except for wood-carvers, who highly prize its light,
+easily-cut wood, that keeps its shape, and is very little liable
+to crack or split either in the working or afterwards. Nearly
+all Grinling Gibbons' delicate carving is in Lime wood. To
+gardeners the Lime is further useful as furnishing the
+material for bast or bazen mats,<a name="FNanchor_147:1_115" id="FNanchor_147:1_115"></a><a href="#Footnote_147:1_115" class="fnanchor">[147:1]</a> which are made from
+its bark, and interesting as being the origin of the name of
+Linn&aelig;us.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_146:1_114" id="Footnote_146:1_114"></a><a href="#FNanchor_146:1_114"><span class="label">[146:1]</span></a> "Be ay of chier as light as lyf on Lynde."&mdash;<span class="smcap">Chaucer</span>, <i>The Clerkes
+Tale</i>, <i>l'envoi</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_147:1_115" id="Footnote_147:1_115"></a><a href="#FNanchor_147:1_115"><span class="label">[147:1]</span></a> "Between the barke and the woode of this tree, there bee thin
+pellicles or skins lying in many folds together, whereof are made bands
+and cords called Bazen ropes."&mdash;<span class="smcap">Philemon Holland's</span> <i>Pliny's Nat.
+Hist.</i> xvi. 14. The chapter is headed "Of the Line or Linden Tree."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Ling" id="Ling"></a>LING.</h2>
+
+<table class="poetryt" summary="ling reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Gonzalo.</i></td>
+  <td class="tdleft">Now would I give a thousand furlongs of sea for an
+acre of barren ground, Ling, Heath, brown Furze,
+anything.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act i, sc. 1 (70).</td>
+</tr>
+</table>
+
+<p>If this be the correct reading (and not Long Heath) the
+reference is to the Heather or Common Ling (<i>Calluna vulgaris</i>).
+This is the plant that is generally called Ling in the
+South of England, but in the North of England the name is
+given to the Cotton Grass (<i>Eriophorum</i>). It is very probable,
+however, that no particular plant is intended, but that
+it means any rough, wild vegetation, especially of open
+moors and heaths.</p>
+
+
+<hr style="width: 65%;" />
+<h2>LOCUSTS.</h2>
+
+<table class="poetryt" summary="locust reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iago.</i></td>
+  <td class="tdleft">The food that to him now is as luscious as Locusts, shall
+be to him shortly as bitter as Coloquintida.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (354).</td>
+</tr>
+</table>
+
+<p>The Locust is the fruit of the Carob tree (<i>Ceratonia
+siliqua</i>), a tree that grows naturally in many parts of the
+South of Europe, the Levant, and Syria, and is largely cultivated
+<span class="pagenum"><a name="Page_148" id="Page_148"></a>[<a href="./images/148.png">148</a>]</span>for its fruit.<a name="FNanchor_148:1_116" id="FNanchor_148:1_116"></a><a href="#Footnote_148:1_116" class="fnanchor">[148:1]</a> These are like Beans, full of sweet pulp,
+and are given in Spain and other southern countries to
+horses, pigs, and cattle, and they are occasionally imported
+into England for the same purpose. The Carob was cultivated
+in England before Shakespeare's time. "They grow
+not in this countrie," says Lyte, "yet, for all that, they be
+sometimes in the gardens of some diligent Herboristes, but
+they be so small shrubbes that they can neither bring forth
+flowers nor fruite." It was also grown by Gerard, and
+Shakespeare may have seen it; but it is now very seldom
+seen in any collection, though the name is preserved among
+us, as the jeweller's carat weight is said to have derived its
+name from the Carob Beans, which were used for weighing
+small objects.</p>
+
+<p>The origin of the tree being called Locust is a little
+curious. Readers of the New Testament, ignorant of
+Eastern customs, could not understand that St. John could
+feed on the insect locust, which, however, is now known to
+be a common and acceptable article of food, so they looked
+about for some solution of their difficulty, and decided that
+the Locusts were the tender shoots of the Carob tree, and
+that the wild honey was the luscious juice of the Carob fruit.
+Having got so far it was easy to go farther, and so the Carob
+soon got the names of St. John's Bread and St. John's
+Beans, and the monks of the desert showed the very trees
+by which St. John's life was supported. But though the
+Carob tree did not produce the locusts on which St. John
+fed, there is little or no doubt that "the husks which the
+swine did eat," and which the Prodigal Son longed for,
+were the produce of the Carob tree.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_148:1_116" id="Footnote_148:1_116"></a><a href="#FNanchor_148:1_116"><span class="label">[148:1]</span></a> Pods of the Carob tree were found in a house at Pompeii. For an
+account of the use of the Locust as an article of food, both in ancient
+and modern times, see Hogg's "Classical Plants of Sicily," p. 114.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Long_Purples" id="Long_Purples"></a>LONG PURPLES.</h2>
+
+<table class="poetryt" summary="long purple reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Queen.</i></td>
+  <td class="tdleft">There with fantastic garlands did she come<br />
+Of Crow-flowers, Nettles, Daisies, and Long Purples,<br />
+That liberal shepherds give a grosser name,<br />
+But our cold maids do Dead Men's Fingers call them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 7 (169).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_149" id="Page_149"></a>[<a href="./images/149.png">149</a>]</span>
+In "Flowers from Stratford-on-Avon" (a pretty book published
+a few years ago with plates of twelve of Shakespeare's
+flowers) it is said that "there can be no doubt that the Wild
+Arum is the plant alluded to by Shakespeare as forming part
+of the nosegay of the crazed Ophelia;" but the authoress
+gives no authority for this statement, and I believe that
+there can be no reasonable doubt that the Long Purples and
+Dead Men's Fingers are the common purple Orchises of the
+woods and meadows (Orchis morio, O. mascula, and O.
+maculata). The name of Dead Men's Fingers was given to
+them from the pale palmate roots of some of the species (O.
+latifolia, O. maculata, and Gymnadenia conopsea), and this
+seems to have been its more common name.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Then round the meddowes did she walke,<br /></span>
+<span class="i0i">Catching each flower by the stalke,<br /></span>
+<span class="i0i">Such as within the meddowes grew,<br /></span>
+<span class="i0i">As Dead Man's Thumb and Harebell blew;<br /></span>
+<span class="i0i">And as she pluckt them, still cried she,<br /></span>
+<span class="i0i">Alas! there's none 'ere loved like me."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Roxburghe Ballads.</i></p>
+
+<p>As to the other names to which the Queen alludes, we
+need not inquire too curiously; they are given in all their
+"liberality" and "grossness" in the old Herbals, but as
+common names they are, fortunately, extinct. The name
+of Dead Men's Fingers still lingers in a few places, but
+Long Purples has been transferred to a very different plant.
+It is named by Clare and Tennyson&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Gay Long-purples with its tufty spike;<br /></span>
+<span class="i0i">She'd wade o'er shoes to reach it in the dyke."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Clare's</span> <i>Village Minstrel</i>, ii, 90.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Round thee blow, self-pleached deep,<br /></span>
+<span class="i0i">Bramble Roses, faint and pale,<br /></span>
+<span class="i0i">And Long Purples of the dale."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>A Dirge</i>, <span class="smcap">Tennyson</span>.</p>
+
+<p>But in both these passages the plant intended is the Lythrum
+salicaria, or Purple Loosestrife.</p>
+
+<p>The meadow Orchis, though so common, is thus without
+any common English name; for though I have often asked
+country people for its name, I have never obtained one;
+<span class="pagenum"><a name="Page_150" id="Page_150"></a>[<a href="./images/150.png">150</a>]</span>and so it is another of those curious instances which are so
+hard to explain, where an old and common English word
+has been replaced by a Greek or Latin word, which must
+be entirely without meaning to nine-tenths of those who use
+it.<a name="FNanchor_150:1_117" id="FNanchor_150:1_117"></a><a href="#Footnote_150:1_117" class="fnanchor">[150:1]</a> There are similar instances in Crocus, Cyclamen,
+Hyacinth, Narcissus, Anemone, Beet, Lichen, Polyanthus,
+Polypody, Asparagus, and others.</p>
+
+<p>The Orchid family is certainly the most curious in the
+vegetable kingdom, as it is almost the most extensive, except
+the Grasses. Growing all over the world, in any climate,
+and in all kinds of situations, it numbers 3000 species, of
+which we have thirty-seven native species in England; and
+with their curious irregular flowers, often of very beautiful
+colours, and of wonderful quaintness and variety of shape,
+they are everywhere so distinct that the merest tyro in
+botany can separate them from any other flower, and the
+deepest student can find endless puzzles in them, and increasing
+interest.</p>
+
+<p>Though the most beautiful are exotics, and are the chief
+ornaments of our stoves and hothouses, yet our native species
+are full of interest and beauty. Of their botanical interest
+we have a most convincing proof in Darwin's "Fertilization
+of Orchids," a book that is almost entirely confined to the
+British Orchids, and which, in its wonderfully clear statements,
+and its laborious collection of many little facts all
+leading up to his scientific conclusions, is certainly not the
+least to be admired among his other learned and careful
+books. And as to their horticultural interest, it is most
+surprising that so few gardeners make the use of them that
+they might. They were not so despised in Shakespeare's
+time, for Gerard grew a large number in his garden. It is
+true that some of them are very impatient of garden cultivation,
+especially those of the Ophrys section (such as the Bee,
+Fly, and Spider Orchises), and the rare O. hircina, which
+<span class="pagenum"><a name="Page_151" id="Page_151"></a>[<a href="./images/151.png">151</a>]</span>will seldom remain in the garden above two or three years,
+except under very careful and peculiar cultivation. But, on
+the other hand, there are many that rejoice in being transferred
+to a garden, especially O. maculata, O. mascula, O.
+pyramidalis, and the Butterfly Orchis of both kinds (Habenaria
+bifolia and chlorantha). These, if left undisturbed,
+increase in size and beauty every year, their flowers become
+larger, and their leaves (in O. maculata and O. mascula)
+become most beautifully spotted. They may be placed anywhere,
+but their best place seems to be among low shrubs,
+or on the rockwork. Nor must the hardy Orchid grower
+omit the beautiful American species, especially the Cypripedia
+(C. spectabile, C. pubescens, C. acaule, and others).
+They are among the most beautiful of low hardy plants, and
+they succeed perfectly in any peat border that is not too
+much exposed to the sun. The only caution required is to
+leave them undisturbed; they resent removal and broken
+roots; and though I hold it to be one of the first rules of
+good gardening to give away to others as much as possible,
+yet I would caution any one against dividing his good clumps
+of Cypripedia. The probability is that both giver and
+receiver will lose the plants. If, however, a plant must be
+divided, the whole plant should be carefully lifted, and most
+gently pulled to pieces with the help of water.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_150:1_117" id="Footnote_150:1_117"></a><a href="#FNanchor_150:1_117"><span class="label">[150:1]</span></a> Though country people generally have no common name for the
+Orchis morio, yet it is called in works on English Botany the Fool
+Orchis; and it has the local names of "Crake-feet" in Yorkshire; of
+"giddy-gander" in Dorset; and "Keatlegs and Neatlegs" in Kent.
+Dr. Prior also gives the names "Goose and goslings" and "Gander-gooses"
+for Orchis morio, and "Standerwort" for Orchis mascula. This
+last is the Anglo-Saxon name for the flower, but it is now, I believe,
+quite extinct.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>LOVE-IN-IDLENESS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Pansies">Pansy</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>MACE.</h2>
+
+<table class="poetryt" summary="mace reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clown.</i></td>
+  <td class="tdleft">I must have Saffron to colour the warden-pies&mdash;Mace&mdash;Dates?
+none.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (48).</td>
+</tr>
+</table>
+
+<p>The Mace is the pretty inner rind that surrounds the
+Nutmeg, when ripe. It was no doubt imported with the
+Nutmeg in Shakespeare's time. (<i>See</i> <span class="smcap"><a href="#Nutmeg">Nutmeg</a></span>.)</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_152" id="Page_152"></a>[<a href="./images/152.png">152</a>]</span></p>
+<h2>MALLOWS.</h2>
+
+<table class="poetryt" summary="mallow reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Antonio.</i></td>
+  <td class="tdleft">He'ld sow't with Nettle seed.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Sebastian.</i></td>
+  <td class="tdleft">Or Docks, or Mallows.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 1 (145).</td>
+</tr>
+</table>
+
+<p>The Mallow is the common roadside weed (<i>Malva sylvestris</i>),
+which is not altogether useless in medicine, though
+the Marsh Mallow far surpasses it in this respect. Ben
+Jonson speaks of it as an article of food&mdash;</p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The thresher .&nbsp;.&nbsp;. feeds on Mallows and such bitter herbs."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Fox</i>, act i, sc. 1.</p>
+
+<p>It is not easy to believe that our common Wild Mallow was
+so used, and Jonson probably took the idea from Horace&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Me pascant oliv&aelig;,<br /></span>
+<span class="i0i">Me chichorea, levesque malv&aelig;."<br /></span>
+</div></div>
+
+<p>But the common Mallow is a dear favourite with children,
+who have ever loved to collect, and string, and even
+eat its "cheeses:" and these cheeses are a delight to
+others besides children. Dr. Lindley, certainly one of
+the most scientific of botanists, can scarcely find words
+to express his admiration of them. "Only compare a
+vegetable cheese," he says, "with all that is exquisite in
+marking and beautiful in arrangement in the works of man,
+and how poor and contemptible do the latter appear.&nbsp;.&nbsp;.&nbsp;.
+Nor is it alone externally that this inimitable beauty is to be
+discovered; cut the cheese across, and every slice brings to
+view cells and partitions, and seeds and embryos, arranged
+with an unvarying regularity, which would be past belief if
+we did not know from experience, how far beyond all that
+the mind can conceive, is the symmetry with which the
+works of Nature are constructed."</p>
+
+<p>As a garden plant of course the Wild Mallow has no place,
+though the fine-cut leaves and faint scent of the Musk
+Mallow (<i>M. moschata</i>) might demand a place for it in those
+parts where it is not wild, and especially the white variety,
+which is of the purest white, and very ornamental. But
+our common Mallow is closely allied to some of the handsomest
+plants known. The Hollyhock is one very near
+<span class="pagenum"><a name="Page_153" id="Page_153"></a>[<a href="./images/153.png">153</a>]</span>relation, the beautiful Hibiscus is another, and the very
+handsome Fremontia Californica is a third that has only
+been added to our gardens during the last few years. Nor
+is it only allied to beauty, for it also claims as a very near
+relation a plant which to many would be considered the
+most commercially useful plant in the world, the Cotton-plant.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Mandrake" id="Mandrake"></a>MANDRAGORA, OR MANDRAKES.</h2>
+
+<table class="poetryt" summary="mandragora references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Cleopatra.</i></td>
+  <td class="tdleft">Give me to drink Mandragora.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Charmian.</i></td>
+  <td class="tdleft"><span class="s24">Why, madam?</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Cleopatra.</i></td>
+  <td class="tdleft">That I might sleep out this great gap of time,<br />
+My Antony is away.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act i, sc. 5 (4).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft"><span class="s4">Not Poppy, nor Mandragora,</span><br />
+Nor all the drowsy syrups of the world<br />
+Shall ever medicine thee to that sweet sleep<br />
+Which thou owedst yesterday.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act iii, sc. 3 (330).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">Thou Mandrake.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act i, sc. 2 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Ditto.</i></td>
+  <td class="tdleft">They called him Mandrake.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 2 (338).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Suffolk.</i></td>
+  <td class="tdleft">Would curses kill, as doth the Mandrake's groan.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 2 (310).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Juliet.</i></td>
+  <td class="tdleft">And shrieks like Mandrakes' torn out of the earth<br />
+That living mortals, hearing them, run mad.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iv, sc. 3 (47).</td>
+</tr>
+</table>
+
+<p>There is, perhaps, no plant on which so many books and
+treatises (containing for the most part much sad nonsense)
+have been written as the Mandrake, and there is certainly
+no plant round which so much superstition has gathered, all
+of which is more or less silly and foolish, and a great deal
+that is worse than silly. This, no doubt, arose from its first
+mention in connection with Leah and Rachel, and then in
+the Canticles, which, perhaps, shows that even in those days
+some strange qualities were attributed to the plant; but how
+from that beginning such, and such wide-spread, superstitions
+could have arisen, it is hard to say. I can scarcely tell
+these superstitious fables in better words than Gerard
+<span class="pagenum"><a name="Page_154" id="Page_154"></a>[<a href="./images/154.png">154</a>]</span>described them: "There hath been many ridiculous tales
+brought up of this plant, whether of old wives or some
+runagate surgeons or physicke-mongers I know not.&nbsp;.&nbsp;.&nbsp;. They
+adde that it is never or very seldome to be found
+growing naturally but under a gallowes, where the matter
+that has fallen from a dead body hath given it the shape of
+a man, and the matter of a woman the substance of a
+female plant, with many other such doltish dreams. They
+fable further and affirme that he who would take up a
+plant thereof must tie a dog thereunto to pull it up, which
+will give a great shreeke at the digging up, otherwise, if a
+man should do it, he should surely die in a short space
+after." This, with the addition that the plant is decidedly
+narcotic, will sufficiently explain all Shakespeare's references.
+Gerard, however, omits to notice one thing which, in justice
+to our forefathers, should not be omitted. These fables on
+the Mandrake are by no means English medi&aelig;val fables,
+but they were of foreign extraction, and of very ancient date.
+Josephus tells the same story as held by the Jews in his
+time and before his time. Columella even spoke of the
+plant as "semi-homo;" and Pythagoras called it "Anthropomorphus;"
+and Dr. Daubeny has published in his "Roman
+Husbandry" a most curious drawing from the Vienna MS.
+of Dioscorides in the fifth century, "representing the
+Goddess of Discovery presenting to Dioscorides the root of
+this Mandrake" (of thoroughly human shape) "which she
+had just pulled up, while the unfortunate dog which had
+been employed for that purpose is depicted in the agonies
+of death."<a name="FNanchor_154:1_118" id="FNanchor_154:1_118"></a><a href="#Footnote_154:1_118" class="fnanchor">[154:1]</a> All these beliefs have long, I should hope,
+been extinct among us; yet even now artists who draw the
+plant are tempted to fancy a resemblance to the human
+figure, and in the "Flora Gr&aelig;ca," where, for the most part,
+the figures of the plants are most beautifully accurate, the
+figure of the Mandrake is painfully human.<a name="FNanchor_154:2_119" id="FNanchor_154:2_119"></a><a href="#Footnote_154:2_119" class="fnanchor">[154:2]</a></p>
+
+<p><span class="pagenum"><a name="Page_155" id="Page_155"></a>[<a href="./images/155.png">155</a>]</span>
+As a garden plant, the Mandrake is often grown, but more
+for its curiosity than its beauty; the leaves appear early in
+the spring, followed very soon by its dull and almost inconspicuous
+flowers, and then by its Apple-like fruit. This
+is the Spring Mandrake (<i>Mandragora vernalis</i>), but the
+Autumn Mandrake (<i>M. autumnalis</i> or <i>microcarpa</i>) may be
+grown as an ornamental plant. The leaves appear in the
+autumn, and are succeeded by a multitude of pale-blue
+flowers about the size of and very much resembling the
+Anemone pulsatilla (see Sweet's "Flower Garden," vol. vii.
+No. 325). These remain in flower a long time. In my
+own garden they have been in flower from the beginning of
+November till May. I need only add that the Mandrake is
+a native of the South of Europe and other countries bordering
+on the Mediterranean, but it was very early introduced into
+England. It is named in Archbishop &AElig;lfric's "Vocabulary"
+in the tenth century with the very expressive name of "Earth-apple;"
+it is again named in an Anglo-Saxon Vocabulary of
+the eleventh century (in the British Museum), but without
+any English equivalent; and Gerard cultivated both sorts
+in his garden.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_154:1_118" id="Footnote_154:1_118"></a><a href="#FNanchor_154:1_118"><span class="label">[154:1]</span></a> In the "Bestiary of Philip de Thaun" (12 cent.), published in
+Wright's Popular Treatises on Science written during the Middle Ages,
+the male and female Mandrake are actually reckoned among living
+beasts (p. 101).</p></div>
+
+<div class="footnote"><p><a name="Footnote_154:2_119" id="Footnote_154:2_119"></a><a href="#FNanchor_154:2_119"><span class="label">[154:2]</span></a> For some curious early English notices of the Mandrake, see
+"Promptorium Parvulorum," p. 324, note. See also Brown's
+"Vulgar Errors," book ii. c. 6, and Dr. M. C. Cooke's "Freaks of
+Plant Life."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Marigold" id="Marigold"></a>MARIGOLD.</h2>
+
+<table class="poetryt" summary="marigold references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft">The Marigold that goes to bed wi' the sun,<br />
+And with him rises weeping; these are flowers<br />
+Of middle summer.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">
+<i>Winter's Tale</i>, act iv, sc. 4 (105).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Marina.</i></td>
+  <td class="tdleft">The purple Violets and Marigolds<br />
+Shall, as a carpet, hang upon thy grave<br />
+While summer-days do last.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">
+<i>Pericles</i>, act iv, sc. 1 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Song.</i></td>
+  <td class="tdleft">And winking Mary-buds begin<br />
+To ope their golden eyes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">
+<i>Cymbeline</i>, act ii, sc. 3 (25).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Marigolds on death-beds blowing.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">
+<i>Two Noble Kinsmen</i>, Introd. song.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Great princes' favourites their fair leaves spread<br />
+But as the Marigolds at the sun's eye.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> xxv.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_156" id="Page_156"></a>[<a href="./images/156.png">156</a>]</span>(6)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Her eyes, like Marigolds, had sheathed their light,<br />
+And canopied in darkness sweetly lay,<br />
+Till they might open to adorn the day.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">
+<i>Lucrece</i> (397).</td>
+</tr>
+</table>
+
+<p>There are at least three plants which claim to be the old
+Marigold. 1. The Marsh Marigold (<i>Caltha palustris</i>). This
+is a well-known golden flower&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The wild Marsh Marigold shines like fire in swamps and hollows gray."<br /></span>
+</div></div>
+
+<p class="authorscpoem">Tennyson.</p>
+
+<p>And there is this in favour of its being the flower meant,
+that the name signifies the golden blossom of the marish or
+marsh; but, on the other hand, the Caltha does not fulfil
+the conditions of Shakespeare's Marigold&mdash;it does not open
+and close its flowers with the sun. 2. The Corn Marigold
+(<i>Chrysanthemum segetum</i>), a very handsome but mischievous
+weed in Corn-fields, not very common in England and said
+not to be a true native, but more common in Scotland, where
+it is called Goulands. I do not think this is the flower,
+because there is no proof, as far as I know, that it was called
+Marigold in Shakespeare's time. 3. The Garden Marigold
+or Ruddes (<i>Calendula officinalis</i>). I have little doubt this
+is the flower meant; it was always a great favourite in our
+forefathers' gardens, and it is hard to give any reason why
+it should not be so in ours. Yet it has been almost completely
+banished, and is now seldom found but in the gardens
+of cottages and old farmhouses, where it is still prized for
+its bright and almost everlasting flowers (looking very like a
+Gazania) and evergreen tuft of leaves, while the careful
+housewife still picks and carefully stores the petals of the
+flowers, and uses them in broths and soups, believing them
+to be of great efficacy, as Gerard said they were, "to
+strengthen and comfort the heart;" though scarcely perhaps
+rating them as high as Fuller: "we all know the many and
+sovereign vertues .&nbsp;.&nbsp;. in your leaves, the Herb Generall in
+all pottage" ("Antheologie," 1655, p. 52).</p>
+
+<p>The two properties of the Marigold&mdash;that it was always in
+flower, and that it turned its flowers to the sun and followed
+his guidance in their opening and shutting&mdash;made it a very
+favourite flower with the poets and emblem writers. T.
+Forster, in the "Circle of the Seasons," 1828, says that
+"this plant received the name of Calendula, because it was
+<span class="pagenum"><a name="Page_157" id="Page_157"></a>[<a href="./images/157.png">157</a>]</span>in flower on the calends of nearly every month. It has
+been called Marigold for a similar reason, being more or
+less in blow at the times of all the festivals of the Blessed
+Virgin Mary, the word gold having reference to its golden
+rays, likened to the rays of light around the head of the
+Blessed Virgin." This is ingenious, and, as he adds, "thus
+say the old writers," it is worth quoting, though he does not
+say what old writer gave this derivation, which I am very
+sure is not the true one. The old name is simply <i>goldes</i>.
+Gower, describing the burning of Leucothoe, says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"She sprong up out of the molde<br /></span>
+<span class="i0i">Into a flour, was named Golde,<br /></span>
+<span class="i0i">Which stant governed of the Sonne."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Aman.</i>, lib. quint.</p>
+
+<p>Chaucer spoke of the "yellow Goldes;"<a name="FNanchor_157:1_120" id="FNanchor_157:1_120"></a><a href="#Footnote_157:1_120" class="fnanchor">[157:1]</a> in the "Promptorium
+Parvulorum" we have "Goolde, herbe, solsequium,
+quia sequitur solem, elitropium, calendula;" and Spenser
+says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And if I her like ought on earth might read<br /></span>
+<span class="i0i">I would her liken to a crowne of Lillies,<br /></span>
+<span class="i0i">Upon a virgin brydes adorned head,<br /></span>
+<span class="i0i">With Roses dight and Goolds and Daffodillies."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Colin Clout.</i></p>
+
+<p>But it was its other quality of opening or shutting its
+flowers at the sun's bidding that made the Marigold such a
+favourite with the old writers, especially those who wrote on
+religious emblems. It was to them the emblem of constancy
+in affection,<a name="FNanchor_157:2_121" id="FNanchor_157:2_121"></a><a href="#Footnote_157:2_121" class="fnanchor">[157:2]</a> and sympathy in joy and sorrow, though it was
+also the emblem of the fawning courtier, who can only shine
+when everything is bright. As the emblem of constancy, it
+was to the old writers what the Sunflower was to Moore&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_158" id="Page_158"></a>[<a href="./images/158.png">158</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Sunflower turns on her god when he sets<br /></span>
+<span class="i0i">The same look which she did when he rose."<br /></span>
+</div></div>
+
+<p>It was the Heliotrope or Solsequium or Turnesol of our
+forefathers, and is the flower often alluded to under that
+name.<a name="FNanchor_158:1_122" id="FNanchor_158:1_122"></a><a href="#Footnote_158:1_122" class="fnanchor">[158:1]</a> "All yellow flowers," says St. Francis de Sales, "and,
+above all, those that the Greeks call Heliotrope, and we call
+Sunflower, not only rejoice at the sight of the sun, but follow
+with loving fidelity the attraction of its rays, gazing at the
+sun, and turning towards it from its rising to its setting"
+("Divine Love," Mulholland's translation).</p>
+
+<p>Of this higher and more religious use of the emblematic
+flower there are frequent examples. I will only give one
+from G. Withers, a contemporary of Shakespeare's later life&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"When with a serious musing I behold<br /></span>
+<span class="i0i">The grateful and obsequious Marigold,<br /></span>
+<span class="i0i">How duly every morning she displays<br /></span>
+<span class="i0i">Her open breast when Ph&oelig;bus spreads his rays;<br /></span>
+<span class="i0i">How she observes him in his daily walk,<br /></span>
+<span class="i0i">Still bending towards him her small slender stalk;<br /></span>
+<span class="i0i">How when he down declines she droops and mourns,<br /></span>
+<span class="i0i">Bedewed, as 'twere, with tears till he returns;<br /></span>
+<span class="i0i">And how she veils her flowers when he is gone.<br /></span>
+<span class="i0i">When this I meditate, methinks the flowers<br /></span>
+<span class="i0i">Have spirits far more generous than ours,<br /></span>
+<span class="i0i">And give us fair examples to despise<br /></span>
+<span class="i0i">The servile fawnings and idolatries<br /></span>
+<span class="i0i">Wherewith we court these earthly things below,<br /></span>
+<span class="i0i">Which merit not the service we bestow."<br /></span>
+</div></div>
+
+<p>From the time of Withers the poets treated the Marigold
+very much as the gardeners did&mdash;they passed it by altogether
+as beneath their notice.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_157:1_120" id="Footnote_157:1_120"></a><a href="#FNanchor_157:1_120"><span class="label">[157:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"That werud of yolo Guldes a garland."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Knightes Tale.</i></p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_157:2_121" id="Footnote_157:2_121"></a><a href="#FNanchor_157:2_121"><span class="label">[157:2]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"You the Sun to her must play,<br /></span>
+<span class="i0i">She to you the Marigold,<br /></span>
+<span class="i0i">To none but you her leaves unfold."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Middleton and Rowley</span>, <i>The Spanish Gipsy</i>.</p>
+
+<p>See also Thynne's "Emblems," No. 18; and Cutwode's "Caltha
+Poetarum," 1599, st. 18, 19.</p></div>
+
+<div class="footnote"><p><a name="Footnote_158:1_122" id="Footnote_158:1_122"></a><a href="#FNanchor_158:1_122"><span class="label">[158:1]</span></a> "Solsequium vel heliotropium; Solsece vel sigel-hwerfe" (<i>i.e.</i>, sun-seeker
+or sun-turner).&mdash;<span class="smcap">&AElig;lfric's</span> <i>Vocabulary</i>.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Marigolde; solsequium, sponsa solis."&mdash;<i>Catholicon Anglicum.</i><br /></span>
+</div></div>
+
+<p>In a note Mr. Herttage says, "the oldest name for the plant was
+<i>ymbglidegold</i>, that which moves round with the sun."</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_159" id="Page_159"></a>[<a href="./images/159.png">159</a>]</span></p>
+<h2><a name="Marjoram" id="Marjoram"></a>MARJORAM.</h2>
+
+<table class="poetryt" summary="marjoram references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s12">Here's flowers for you;</span><br />
+Hot Lavender, Mints, Savory, Marjoram.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (103).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Lear.</i></td>
+  <td class="tdleft">Give the word.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Edgar.</i></td>
+  <td class="tdleft"><span class="s12">Sweet Marjoram.</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Lear.</i></td>
+  <td class="tdleft"><span class="s26">Pass.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 6 (93).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The Lily I condemned for thy hand,<br />
+And buds of Marjoram had stolen thy hair.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> xcix.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">Indeed, sir, she was the sweet Marjoram of the
+Salad, or rather the Herb-of-grace.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act iv, sc. 5 (17).</td>
+</tr>
+</table>
+
+<p>In Shakespeare's time several species of Marjoram were
+grown, especially the Common Marjoram (<i>Origanum vulgare</i>),
+a British plant, the Sweet Marjoram (<i>O. Marjorana</i>), a plant
+of the South of Europe, from which the English name comes,<a name="FNanchor_159:1_123" id="FNanchor_159:1_123"></a><a href="#Footnote_159:1_123" class="fnanchor">[159:1]</a>
+and the Winter Marjoram (<i>O. Horacleoticum</i>). They were
+all favourite pot herbs, so that Lyte calls the common one
+"a delicate and tender herb," "a noble and odoriferous
+plant;" but, like so many of the old herbs, they have now
+fallen into disrepute. The comparison of a man's hair to the
+buds of Marjoram is not very intelligible, but probably it
+was a way of saying that the hair was golden.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_159:1_123" id="Footnote_159:1_123"></a><a href="#FNanchor_159:1_123"><span class="label">[159:1]</span></a> See "Catholicon Anglicum," s.v. Marioron and note.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>MARYBUDS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Marigold">Marigold</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>MAST.</h2>
+
+<table class="poetryt" summary="mast reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Timon.</i></td>
+  <td class="tdleft">The Oaks bear Mast, the Briers scarlet hips.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (174).</td>
+</tr>
+</table>
+
+<p>We still call the fruit of beech, beech-masts, but do not
+apply the name to the acorn. It originally meant food used
+for fatting, especially for fatting swine. See note in
+"Promptorium Parvulorum," p. 329, giving several instances
+of this use, and Strattmann, s.v. M&aelig;st.</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_160" id="Page_160"></a>[<a href="./images/160.png">160</a>]</span></p>
+<h2>MEDLAR.</h2>
+
+<table class="poetryt" summary="medlar references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Apemantus.</i></td>
+  <td class="tdleft">There's a Medlar for thee, eat it.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">On what I hate I feed not.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Apemantus.</i></td>
+  <td class="tdleft">Dost hate a Medlar?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">Ay, though it looks like thee.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Apemantus.</i></td>
+  <td class="tdleft">An thou hadst hated Meddlers sooner, thou
+shouldst have loved thyself better now.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (305).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Lucio.</i></td>
+  <td class="tdleft">They would have married me to the rotten Medlar.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iv, sc. 3 (183).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Touchstone.</i></td>
+  <td class="tdleft">Truly the tree yields bad fruit.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">I'll graff it with you, and then I shall graff it with
+a Medlar; then it will be the earliest fruit in
+the country, for you'll be rotten ere you be
+half ripe, and that's the right virtue of the
+Medlar.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (122).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Mercutio.</i></td>
+  <td class="tdleft">Now will he sit under a Medlar tree.<br />
+And wish his mistress were that kind of fruit<br />
+As maids call Medlars when they laugh alone.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 1 (80).<a name="FNanchor_160:1_124" id="FNanchor_160:1_124"></a><a href="#Footnote_160:1_124" class="fnanchor">[160:1]</a></td>
+</tr>
+</table>
+
+<p>The Medlar is an European tree, but not a native of England;
+it has, however, been so long introduced as to be now
+completely naturalized, and is admitted into the English
+flora. It is mentioned in the early vocabularies, and Chaucer
+gives it a very prominent place in his description of a beautiful
+garden&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"I was aware of the fairest Medler tree<br /></span>
+<span class="i0i">That ever yet in alle my life I sie,<br /></span>
+<span class="i0i">As ful of blossomes as it might be;<br /></span>
+<span class="i0i">Therein a goldfinch leaping pretile<br /></span>
+<span class="i0i">Fro' bough to bough, and as him list, he eet<br /></span>
+<span class="i0i">Here and there of buddes and floweres sweet."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Flower and the Leaf</i> (240).</p>
+
+<p>And certainly a fine Medlar tree "ful of blossomes" is a
+handsome ornament on any lawn. There are few deciduous
+trees that make better lawn trees. There is nothing stiff
+about the growth even from its early youth; it forms a low,
+<span class="pagenum"><a name="Page_161" id="Page_161"></a>[<a href="./images/161.png">161</a>]</span>irregular, picturesque tree, excellent for shade, with very
+handsome white flowers, followed by the curious fruit; it will
+not, however, do well in the North of England or Scotland.</p>
+
+<p>It does not seem to have been a favourite fruit with our
+forefathers. Bullein says "the fruite called the Medler is used
+for a medicine and not for meate;" and Shakespeare only
+used the common language of his time when he described
+the Medlar as only fit to be eaten when rotten. Chaucer
+said just the same&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"That ilke fruyt is ever lenger the wers<br /></span>
+<span class="i0i">Till it be rote in mullok or in stree&mdash;<br /></span>
+<span class="i0i">We olde men, I drede, so fare we,<br /></span>
+<span class="i0i">Till we be roten, can we not be rype."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Reeves Tale.</i></p>
+
+<p>And many others writers to the same effect. But, in fact, the
+Medlar when fit to be eaten is no more rotten than a ripe
+Peach, Pear, or Strawberry, or any other fruit which we do
+not eat till it has reached a certain stage of softness. There
+is a vast difference between a ripe and a rotten Medlar, though
+it would puzzle many of us to say when a fruit (not a Medlar
+only) is ripe, that is, fit to be eaten. These things are
+matters of taste and fashion, and it is rather surprising to find
+that we are accused, and by good judges, of eating Peaches
+when rotten rather than ripe. "The Japanese always eat
+their Peaches in an unripe state. In the 'Gartenflora' Dr.
+Regel says, in some remarks on Japanese fruit trees, that the
+Japanese regard a ripe Peach as rotten."</p>
+
+<p>There are a few varieties of the Medlar, differing in the
+size and flavour of the fruits, which were also cultivated in
+Shakespeare's time.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_160:1_124" id="Footnote_160:1_124"></a><a href="#FNanchor_160:1_124"><span class="label">[160:1]</span></a> So Chester speaks of it as "the Young Man's Medlar" ("Love's
+Martyr," p. 96, New Sh. Soc.).</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>MINTS.</h2>
+
+<table class="poetryt" summary="mint references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s9">Here's flowers for you;</span><br />
+Hot Lavender, Mints, Savory, Marjoram.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (103).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Armado.</i></td>
+  <td class="tdleft">I am that flower,</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Dumain.</i></td>
+  <td class="tdleft"><span class="s13">That Mint.</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Longaville.</i></td>
+  <td class="tdleft"><span class="s22">That Columbine.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (661).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_162" id="Page_162"></a>[<a href="./images/162.png">162</a>]</span>
+The Mints are a large family of highly-perfumed, strong-flavoured
+plants, of which there are many British species, but
+too well known to call for any further description.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MISTLETOE.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Tamora.</i></td>
+  <td class="tdleft">The trees, though summer, yet forlorn and lean,<br />
+O'ercome with Moss and baleful Mistletoe.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act ii, sc. 3 (94).</td>
+</tr>
+</table>
+
+<p>The Mistletoe was a sore puzzle to our ancestors, almost
+as great a mystery as the Fern. While they admired its
+fresh, evergreen branches, and pretty transparent fruit, and
+used it largely in the decoration of their houses at Christmas,
+they looked on the plant with a certain awe. Something of
+this, no doubt, arose from its traditional connection with the
+Druids, which invested the plant with a semi-sacred character,
+as a plant that could drive away evil spirits; yet it was also
+looked upon with some suspicion, perhaps also arising from
+its use by our heathen ancestors, so that, though admitted
+into houses, it was not (or very seldom) admitted into churches.
+And this character so far still attaches to the Mistletoe,
+that it is never allowed with the Holly and Ivy and Box
+to decorate the churches, and Gay's lines were certainly
+written in error&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Now with bright Holly all the temples strow,<br /></span>
+<span class="i0i">With Laurel green and sacred Mistletoe."<br /></span>
+</div></div>
+
+<p>The mystery attaching to the Mistletoe arose from the
+ignorance as to its production. It was supposed not to
+grow from its seeds, and how it was produced was a fit
+subject for speculation and fable. Virgil tells the story
+thus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Quale solet sylvis brumali frigore viscum<br /></span>
+<span class="i0i">Fronde virere nov&acirc;, quod non sua seminat arbos,<br /></span>
+<span class="i0i">Et croceo f&oelig;tu teretes circumdare truncos."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>&AElig;neid</i>, vi, 205.</p>
+
+<p>In this way Virgil elegantly veils his ignorance, but his
+commentator in the eighteenth century (Delphic Classics)
+<span class="pagenum"><a name="Page_163" id="Page_163"></a>[<a href="./images/163.png">163</a>]</span>tells the tale without any doubts as to its truth. "Non
+nascitur e semine proprio arboris, at neque ex insidentum
+volucrum fimo, ut putavere veteres, sed ex ipso arborum
+vitali excremento." This was the opinion of the great Lord
+Bacon; he ridiculed the idea that the Mistletoe was propagated
+by the operation of a bird as an idle tradition, saying
+that the sap which produces the plant is such as "the tree
+doth excerne and cannot assimilate," and Browne ("Vulgar
+Errors") was of the same opinion. But the opposite
+opinion was perpetuated in the very name ("Mistel: fimus,
+muck," Cockayne),<a name="FNanchor_163:1_125" id="FNanchor_163:1_125"></a><a href="#Footnote_163:1_125" class="fnanchor">[163:1]</a> and was held without any doubt by
+most of the writers in Shakespeare's time&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Upon the oak, the plumb-tree and the holme,<br /></span>
+<span class="i0i">The stock-dove and the blackbird should not come,<br /></span>
+<span class="i0i">Whose mooting on the trees does make to grow<br /></span>
+<span class="i0i">Rots-curing hyphear, and the Mistletoe."</span><br />
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Browne</span>, <i>Brit. Past.</i> i, 1.</p>
+
+<p>So that we need not blame Gerard when he boldly said
+that "this excrescence hath not any roote, neither doth
+encrease himselfe of his seed, as some have supposed, but
+it rather commethe of a certaine moisture gathered together
+upon the boughes and joints of the trees, through the barke
+whereof this vaporous moisture proceeding bringeth forth
+the Misseltoe." We now know that it is produced exclusively
+from the seeds probably lodged by the birds, and
+that it is easily grown and cultivated. It will grow and has
+been found on almost any deciduous tree, preferring those
+with soft bark, and growing very seldom on the Oak.<a name="FNanchor_163:2_126" id="FNanchor_163:2_126"></a><a href="#Footnote_163:2_126" class="fnanchor">[163:2]</a>
+Those who wish for full information upon the
+<span class="pagenum"><a name="Page_164" id="Page_164"></a>[<a href="./images/164.png">164</a>]</span>proportionate distribution of the Mistletoe on different British
+trees will find a good summary in "Notes and Queries," vol.
+iii. p. 226.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_163:1_125" id="Footnote_163:1_125"></a><a href="#FNanchor_163:1_125"><span class="label">[163:1]</span></a> "<i>Mistel</i> est a <i>mist</i> stercus, quod ex stercore avium pronascitur,
+nec aliter pronasci potest."&mdash;<span class="smcap">Wachter</span>, <i>Glossary</i> (quoted in "Notes
+and Queries," 3rd series, vii. 157. In the same volume are several
+papers on the origin of the word). Dr. Prior derives it from <i>mistl</i>
+(different), and <i>tan</i> (twig), being so unlike the tree it grows upon.</p></div>
+
+<div class="footnote"><p><a name="Footnote_163:2_126" id="Footnote_163:2_126"></a><a href="#FNanchor_163:2_126"><span class="label">[163:2]</span></a> Mistletoe growing on an oak had a special legendary value. Its
+rarity probably gave it value in the eyes of the Druids, and much later
+it had its mystic lore. "By sitting upon a hill late in a evening, near
+a Wood, in a few nights a fire drake will appeare, mark where it
+lighteth, and then you shall find an oake with Mistletoe thereon, at the
+Root whereof there is a Misle-childe, whereof many strange things are
+conceived. <i>Beati qui non crediderunt.</i>"&mdash;<span class="smcap">Plat.</span>, <i>Garden of Eden</i>,
+1659, No. 68.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>MOSS.</h2>
+
+<table class="poetryt" summary="moss references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Adriana.</i></td>
+  <td class="tdleft">If ought possess thee from me, it is dross,<br />
+Usurping Ivy, Brier, or idle Moss.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act ii, sc. 2 (179).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Tamora.</i></td>
+  <td class="tdleft">The trees, though summer, yet forlorn and lean,<br />
+O'ercome with Moss and baleful Mistletoe.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act ii, sc. 3 (94).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Apemantus.</i></td>
+  <td class="tdleft"><span class="s13">These Moss'd trees</span><br />
+That have outlived the eagle.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (223).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Hotspur.</i></td>
+  <td class="tdleft">Steeples and Moss-grown towers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 1 (33).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Oliver.</i></td>
+  <td class="tdleft">Under an Oak whose boughs were Moss'd with age,<br />
+And high top bald with dry antiquity.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iv, sc. 3 (105).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Moss_6" id="Moss_6"></a>6)</td>
+  <td class="tdleftt"><i>Arviragus.</i></td>
+  <td class="tdleft"><span class="s10">The ruddock would,</span><br />
+With charitable bill,</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft"><span class="s10">bring thee all this;</span><br />
+Yea, and furr'd Moss besides, when flowers are none,<br />
+To winter-ground thy corse.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (224).<a name="FNanchor_164:1_127" id="FNanchor_164:1_127"></a><a href="#Footnote_164:1_127" class="fnanchor">[164:1]</a></td>
+</tr>
+</table>
+
+<p>If it were not for the pretty notice of Moss in the last
+passage (<a href="#Moss_6">6</a>), we should be inclined to say that Shakespeare
+had as little regard for "idle Moss" as for the "baleful
+Mistletoe." In his day Moss included all the low-growing
+and apparently flowerless carpet plants which are now
+divided into the many families of Mosses, Lichens, Club
+<span class="pagenum"><a name="Page_165" id="Page_165"></a>[<a href="./images/165.png">165</a>]</span>Mosses, Hepatic&aelig;, Jungermanni&aelig;, &amp;c., &amp;c. And these
+plants, though holding no rank in the eyes of a florist, are
+yet deeply interesting, perhaps no family of plants more so,
+to those who have time and patience to study them. The
+Club Mosses, indeed, may claim a place in the garden
+if they can only be induced to grow, but that is a difficult
+task, and the tenderer Lycopodiums are always favourites
+when well grown among greenhouse Ferns; but for the
+most part, the Mosses must be studied in their native
+haunts, and when so studied, they are found to be full
+of beauty and of wonderful construction. Nor are they
+without use, and it is rather strange that Shakespeare should
+have so markedly called them "idle," or useless, considering
+that in his day many medical virtues were attributed
+to them. This reputation for medical virtues they have
+now all lost, except the Iceland Moss, which is still in use
+for invalids; but the Mosses have other uses. The Reindeer
+Moss (<i>Cladonia rangiferina</i>) and Roch-hair (<i>Alectoria
+jubata</i>) are indispensable to the Laplander as food for his
+reindeer, and Usnea florida is used in North America as
+food for cattle; the Iceland Moss (<i>Cetraria Islandica</i>) is
+equally indispensable as an article of food to all the inhabitants
+of the extreme North; and the Tripe de la Roche (<i>Gyrophora
+cylindrica</i>) has furnished food to the Arctic explorers
+when no other food could be obtained; while many dyes
+are produced from the Lichens, especially the Cudbear
+(a most discordant corruption of the name of the discoverer,
+Mr. Cuthbert), which is the produce of the Rock Moss
+(<i>Lecanora tartarea</i>). So that even to us the Mosses have
+their uses, even if they do not reach the uses that they
+have in North Sweden, where, according to Miss Bremer,
+"the forest, which is the countryman's workshop, is his
+storehouse, too. With the various Lichens that grow upon
+the trees and rocks, he cures the virulent diseases with
+which he is sometimes afflicted, dyes the articles of clothes
+which he wears, and poisons the noxious and dangerous
+animals which annoy him."</p>
+
+<p>As to the beauty of Mosses and Lichens we have only to
+ask any artist or go into any exhibition of pictures. Their
+great beauty has been so lovingly described by Ruskin
+("Modern Painters"), that no one can venture to do more
+<span class="pagenum"><a name="Page_166" id="Page_166"></a>[<a href="./images/166.png">166</a>]</span>than quote his description. It is well known to many, but
+none will regret having it called to their remembrance&mdash;"placuit
+semel&mdash;decies repetita placebit"&mdash;space, however,
+will oblige me somewhat to curtail it. "Meek creatures!
+the first mercy of the earth, veiling with hushed softness its
+dentless rocks: creatures full of pity, covering with strange
+and tender honour the sacred disgrace of ruin, laying quiet
+fingers on the trembling stones to teach them rest. No
+words that I know of will say what these Mosses are; none
+are delicate enough, none perfect enough, none rich enough.&nbsp;.&nbsp;.&nbsp;.&nbsp;. They
+will not be gathered like the flowers for chaplet
+or love token; but of these the wild bird will make its nest
+and the wearied child its pillow, and as the earth's first
+mercy so they are its last gift to us. When all other service
+is vain from plant and tree, the soft Mosses and grey Lichens
+take up their watch by the headstone. The woods, the
+blossoms, the gift-bearing Grasses have done their parts for
+a time, but these do service for ever. Trees for the builder's
+yard, flowers for the bride's chamber, Corn for the granary,
+Moss for the grave."</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_164:1_127" id="Footnote_164:1_127"></a><a href="#FNanchor_164:1_127"><span class="label">[164:1]</span></a> There may be special appropriateness in the selection of the "furr'd
+Moss" to "winter-ground thy corse." "The final duty of Mosses is to
+die; the main work of other leaves is in their life, but these have
+to form the earth, out of which other leaves are to grow."&mdash;<span class="smcap">Ruskin</span>,
+<i>Proserpina</i>, p. 20.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>MULBERRIES.</h2>
+
+<table class="poetryt" summary="mulberry references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Titania.</i></td>
+  <td class="tdleft">Feed him with Apricocks and Dewberries,<br />
+With purple Grapes, green Figs, and Mulberries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (169).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Volumnia.</i></td>
+  <td class="tdleft"><span class="s13">Thy stout heart,</span><br />
+Now humble as the ripest Mulberry<br />
+That will not bear the handling.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act iii, sc. 2 (78).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Prologue.</i></td>
+  <td class="tdleft">Thisby tarrying in Mulberry shade.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act v, sc. 1 (149).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Wooer.</i></td>
+  <td class="tdleft"><span class="s14">Palamon is gone</span><br />
+Is gone to the wood to gather Mulberries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 1 (87).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The birds would bring him Mulberries and ripe-red Cherries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (1103). (<i>See</i> <span class="smcap"><a href="#Cherry">Cherries</a></span>.)</td>
+</tr>
+</table>
+
+<p>We do not know when the Mulberry, which is an Eastern
+tree, was introduced into England, but probably very early.
+<span class="pagenum"><a name="Page_167" id="Page_167"></a>[<a href="./images/167.png">167</a>]</span>We find in Archbishop &AElig;lfric's "Vocabulary," "morus vel
+rubus, mor-beam," but it is doubtful whether that applies to
+the Mulberry or Blackberry, as in the same catalogue Blackberries
+are mentioned as "flavi vel mori, blace-berian."
+There is no doubt that Morum was a Blackberry as well as
+a Mulberry in classical times. Our Mulberry is probably
+the fruit mentioned by Horace&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i7h">"Ille salubres<br /></span>
+<span class="i0">&AElig;states peraget, qui nigris prandia Moris<br /></span>
+<span class="i0">Finiet ante gravem qu&aelig; legerit arbore solem."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Sat.</i> ii, 4, 24.</p>
+
+<p>And it certainly is the fruit mentioned by Ovid&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"In duris h&aelig;rentia mora rubetis."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Metam.</i>, i, 105.</p>
+
+<p>In the Dictionarius of John de Garlande (thirteenth century)<a name="FNanchor_167:1_128" id="FNanchor_167:1_128"></a><a href="#Footnote_167:1_128" class="fnanchor">[167:1]</a>
+we find, "Hec sunt nomina silvestrium arborum, qui sunt in
+luco magistri Johannis; quercus cum fago, pinus cum lauro,
+celsus gerens celsa;" and Mr. Wright translates "celsa" by
+"Mulberries," without, however, giving his authority for this
+translation.<a name="FNanchor_167:2_129" id="FNanchor_167:2_129"></a><a href="#Footnote_167:2_129" class="fnanchor">[167:2]</a> But whenever introduced, it had been long
+established in England in Shakespeare's time.</p>
+
+<p>It must have been a common tree even in Anglo-Saxon
+times, for the favourite drink, Morat, was a compound of
+honey flavoured with Mulberries (Turner's "Anglo-Saxons").<a name="FNanchor_167:3_130" id="FNanchor_167:3_130"></a><a href="#Footnote_167:3_130" class="fnanchor">[167:3]</a>
+Spenser spoke of it&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"With love juice stained the Mulberie,<br /></span>
+<span class="i0i">The fruit that dewes the poet's braine."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Elegy</i>, 18.</p>
+
+<p>Gerard describes it as "high and full of boughes," and
+growing in sundry gardens in England, and he grew in his
+own London garden both the Black and the White Mulberry.
+Lyte also, before Gerard, describes it and says: "It is called
+<span class="pagenum"><a name="Page_168" id="Page_168"></a>[<a href="./images/168.png">168</a>]</span>in the fayning of Poetes the wisest of all other trees, for this
+tree only among all others bringeth forth his leaves after the
+cold frostes be past;" and the Mulberry Garden, often mentioned
+by the old dramatists, "occupied the site of the present
+Buckingham Palace and Gardens, and derived its name
+from a garden of Mulberry trees planted by King James I.
+in 1609, in which year 935<i>l.</i> was expended by the king in
+the planting of Mulberry trees near the Palace of Westminster."<a name="FNanchor_168:1_131" id="FNanchor_168:1_131"></a><a href="#Footnote_168:1_131" class="fnanchor">[168:1]</a></p>
+
+<p>As an ornamental tree for any garden, the Mulberry needs
+no recommendation, being equally handsome in shape, in
+foliage, and in fruit. It is a much prized ornament in all old
+gardens, so that it has been well said that an old Mulberry
+tree on the lawn is a patent of nobility to any garden; and it
+is most easy of cultivation; it will bear removal when of a
+considerable size, and so easily can it be propagated from
+cuttings that a story is told of Mr. Payne Knight that he cut
+large branches from a Mulberry tree to make standards for
+his clothes-lines, and that each standard took root, and
+became a flourishing Mulberry tree.</p>
+
+<p>Though most of us only know of the common White or
+Black Mulberry, yet, where it is grown for silk culture (as it
+is now proposed to grow it in England, with a promised profit
+of from &pound;70 to &pound;100 per acre for the silk, and an additional
+profit of from &pound;100 to &pound;500 per acre from the grain
+(eggs)!!), great attention is paid to the different varieties; so
+that M. de Quatrefuges briefly describes six kinds cultivated
+in one valley in France, and Royle remarks, "so many
+varieties have been produced by cultivation that it is difficult
+to ascertain whether they all belong to one species; they
+are," as he adds, "nearly as numerous as those of the silkworm"
+(Darwin).</p>
+
+<p>We have good proof of Shakespeare's admiration of the
+Mulberry in the celebrated Shakespeare Mulberry growing in
+his garden at New Place at Stratford-on-Avon. "That Shakespeare
+planted this tree is as well authenticated as anything
+of that nature can be, .&nbsp;.&nbsp;. and till this was planted there
+was no Mulberry tree in the neighbourhood. The tree was
+celebrated in many a poem, one especially by Dibdin, but
+<span class="pagenum"><a name="Page_169" id="Page_169"></a>[<a href="./images/169.png">169</a>]</span>about 1752, the then owner of New Place, the Rev. Mr.
+Gastrell, bought and pulled down the house, and wishing, as
+it should seem, to be 'damned to everlasting fame,' he had
+some time before cut down Shakespeare's celebrated Mulberry
+tree, to save himself the trouble of showing it to those
+whose admiration of our great poet led them to visit the
+poetick ground on which it stood."&mdash;<span class="smcap">Malone.</span> The pieces
+were made into many snuff-boxes<a name="FNanchor_169:1_132" id="FNanchor_169:1_132"></a><a href="#Footnote_169:1_132" class="fnanchor">[169:1]</a> and other mementoes of
+the tree.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Mulberry tree was hung with blooming wreaths;<br /></span>
+<span class="i0i">The Mulberry tree stood centre of the dance;<br /></span>
+<span class="i0i">The Mulberry tree was hymn'd with dulcet strains;<br /></span>
+<span class="i0i">And from his touchwood trunk the Mulberry tree<br /></span>
+<span class="i0i">Supplied such relics as devotion holds<br /></span>
+<span class="i0i">Still sacred, and preserves with pious care."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Cowper</span>, <i>Task</i>, book vi.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_167:1_128" id="Footnote_167:1_128"></a><a href="#FNanchor_167:1_128"><span class="label">[167:1]</span></a> The Dictionarius of John de Garlande is published in Wright's
+"Vocabularies." His garden was probably in the neighbourhood of
+Paris, but he was a thorough Englishman, and there is little doubt that
+his description of a garden was drawn as much from his English as from
+his French experience.</p></div>
+
+<div class="footnote"><p><a name="Footnote_167:2_129" id="Footnote_167:2_129"></a><a href="#FNanchor_167:2_129"><span class="label">[167:2]</span></a> The authority may be in the "Promptorium Parvulorum:" "Mulberry,
+Morum (selsus)."</p></div>
+
+<div class="footnote"><p><a name="Footnote_167:3_130" id="Footnote_167:3_130"></a><a href="#FNanchor_167:3_130"><span class="label">[167:3]</span></a> "Moratum potionis genus, f. ex vino et moris dilutis confect&aelig;."&mdash;<i>Glossarium
+Adelung.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_168:1_131" id="Footnote_168:1_131"></a><a href="#FNanchor_168:1_131"><span class="label">[168:1]</span></a> Cunningham's "Handbook of London," p. 346, with many quotations
+from the old dramatists.</p></div>
+
+<div class="footnote"><p><a name="Footnote_169:1_132" id="Footnote_169:1_132"></a><a href="#FNanchor_169:1_132"><span class="label">[169:1]</span></a> Some of these snuff-boxes were inscribed with the punning motto
+"Memento Mori."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Mushroom" id="Mushroom"></a>MUSHROOMS.</h2>
+
+<table class="poetryt" summary="mushroom references" style="width: 80%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Mushroom_1" id="Mushroom_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Prospero.</i></td>
+  <td class="tdleft"><span class="s10">You demi-puppets, that</span><br />
+By moonshine do the greensour ringlets make,<br />
+Whereof the ewe not bites, and you whose pastime<br />
+Is to make midnight Mushrooms.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act v, sc. 1 (36).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Mushroom_2" id="Mushroom_2"></a>2)</td>
+  <td class="tdleftt"><i>Fairy.</i></td>
+  <td class="tdleft">I do wander everywhere.<br />
+Swifter than the moon's sphere;<br />
+And I serve the fairy queen,<br />
+To dew her orbs upon the green.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (6).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Mushroom_3" id="Mushroom_3"></a>3)</td>
+  <td class="tdleftt"><i>Quickly.</i></td>
+  <td class="tdleft">And nightly, meadow-fairies, look you sing,<br />
+Like to the Garter's compass, in a ring:<br />
+The expressure that it bears, green let it be,<br />
+More fertile-fresh than all the field to see.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act v, sc. 5 (69).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Mushroom_4" id="Mushroom_4"></a>4)</td>
+  <td class="tdleftt"><i>Ajax.</i></td>
+  <td class="tdleft">Toadstool, learn me the proclamation.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act ii, sc. 1 (22).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_170" id="Page_170"></a>[<a href="./images/170.png">170</a>]</span>
+The three first passages, besides the notice of the Mushroom,
+contain also the notice of the fairy-rings, which are
+formed by fungi, though probably Shakespeare knew little
+of this. No. <a href="#Mushroom_4">4</a> names the Toadstool, and the four passages
+together contain the whole of Shakespeare's fungology, and
+it is little to be wondered at that he has not more to say on
+these curious plants. In his time "Mushrumes or Toadstooles"
+(they were all classed together) were looked on
+with very suspicious eyes, though they were so much eaten
+that we frequently find in the old herbals certain remedies
+against "a surfeit of Mushrooms." Why they should have
+been connected with toads has never been explained, but it
+was always so&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The grieslie Todestoole growne there mought I see,<br /></span>
+<span class="i0i">And loathed paddocks lording on the same."&mdash;<span class="smcap">Spenser.</span><br /></span>
+</div></div>
+
+<p>They were associated with other loathsome objects besides
+toads, for "Poisonous Mushrooms groweth where old
+rusty iron lieth, or rotten clouts, or neere to serpent's dens
+or rootes of trees that bring forth venomous fruit.<a name="FNanchor_170:1_133" id="FNanchor_170:1_133"></a><a href="#Footnote_170:1_133" class="fnanchor">[170:1]</a> .&nbsp;.&nbsp;. Few
+of them are good to be eaten, and most of them do
+suffocate and strangle the eater. Therefore, I give my
+advice unto those that love such strange and new-fangled
+meates to beware of licking honey among thornes, lest the
+sweetnesse of one do not counteracte the sharpnesse and
+pricking of the other." This was Gerard's prudent advice
+on the eating of "Mushrumes and Toadstooles," but nowadays
+we know better. The fungologists tell us that those
+who refuse to eat any fungus but the Mushroom (<i>Agaricus
+campestris</i>) are not only foolish in rejecting most delicate
+luxuries, but also very wrong in wasting most excellent and
+nutritious food. Fungologists are great enthusiasts, and it
+may be well to take their prescription <i>cum grano salis</i>; but
+we may qualify Gerard's advice by the well-known enthusiastic
+description of Dr. Badham, who certainly knew much
+more of fungology than Gerard, and did not recommend
+to others what he had not personally tried himself. After
+praising the beauty of an English autumn, even in comparison
+with Italy, he thus concludes his pleasant and useful
+<span class="pagenum"><a name="Page_171" id="Page_171"></a>[<a href="./images/171.png">171</a>]</span>book, "The Esculent Funguses of England": "I have myself
+witnessed whole hundredweights of rich, wholesome diet
+rotting under trees, woods teeming with food, and not one
+hand to gather it.&nbsp;.&nbsp;.&nbsp;. I have, indeed, grieved when I reflected
+on the straitened conditions of the lower orders to see
+pounds innumerable of extempore beefsteaks growing on
+our Oaks in the shape of <i>Fistula hepatica</i>; <i>Ag. fusipes</i>, to
+pickle in clusters under them; <i>Puffballs</i>, which some of our
+friends have not inaptly compared to sweet-bread for the
+rich delicacy of their unassisted flavour; <i>Hydna</i>, as good as
+oysters, which they very much resemble in taste; <i>Agaricus
+deliciosus</i>, reminding us of tender lamb's kidneys: the beautiful
+yellow <i>Chantarelle</i>, that <i>kalon kagathon</i> of diet, growing
+by the bushel, and no basket but our own to pick up a few
+specimens in our way; the sweet nutty-flavoured <i>Boletus</i>, in
+vain calling himself <i>edulis</i> when there was none to believe
+him; the dainty <i>Orcella</i>; the <i>Ag. hetherophyllus</i>, which
+tastes like the crawfish when grilled; the <i>Ag. ruber</i> and <i>Ag.
+virescens</i>, to cook in any way, and equally good in all."</p>
+
+<p>As to the fairy rings (Nos. <a href="#Mushroom_1">1</a>, <a href="#Mushroom_2">2</a>, and <a href="#Mushroom_3">3</a>) a great amount of
+legendary lore was connected with them. Browne notices
+them&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8">"A pleasant mead<br /></span>
+<span class="i0">Where fairies often did their measures tread,<br /></span>
+<span class="i0">Which in the meadows makes such circles green<br /></span>
+<span class="i0">As if with garlands it had crowned been."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Britannia's Pastorals.</i></p>
+
+<p>Cowley said&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Where once such fairies dance,<br /></span>
+<span class="i1i">No grass does ever grow;"<br /></span>
+</div></div>
+
+<p>and in Shakespeare's time the sheep refused to eat the grass
+on the fairy rings (<a href="#Mushroom_1">1</a>); I believe they now feed on it, but I
+have not been able to ascertain this with certainty. Others,
+besides the sheep, avoided them. "When the damsels of
+old gathered may-dew on the grass, which they made use of
+to improve their complexions, they left undisturbed such of
+it as they perceived on the fairy rings, apprehensive that the
+fairies should in revenge destroy their beauty, nor was it
+reckoned safe to put the foot within the rings, lest they
+should be liable to fairies' power."&mdash;<span class="smcap">Douce's</span> <i>Illustrations</i>,
+p. 180.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_170:1_133" id="Footnote_170:1_133"></a><a href="#FNanchor_170:1_133"><span class="label">[170:1]</span></a> Herrick calls them "brownest Toadstones."</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_172" id="Page_172"></a>[<a href="./images/172.png">172</a>]</span></p>
+<h2>MUSK ROSES, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Roses">Rose</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>MUSTARD.</h2>
+
+<table class="poetryt" summary="mustard references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Mustard_1" id="Mustard_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Doll.</i></td>
+  <td class="tdleft">They say Poins has a good wit.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">He a good wit? hang him, baboon! his wit's as
+thick as Tewksbury Mustard; there is no more
+conceit in him than in a mallet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 4 (260).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft">Pease-blossom! Cobweb! Moth! and Mustardseed!
+</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">Your name, I beseech you, sir?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mustardseed.</i></td>
+  <td class="tdleft"><span class="s8">Mustardseed.</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">Good Master Mustardseed, I know your patience
+well; that same cowardly giant-like ox-beef hath
+devoured many a gentleman of your house: I
+promise you your kindred hath made my eyes
+water ere now. I desire your more acquaintance,
+good Master Mustardseed.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (165, 194).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">Where's the Mounsieur Mustardseed?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mustardseed.</i></td>
+  <td class="tdleft"><span class="s8">Ready.</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">Give me your neaf, Mounsieur Mustardseed. Pray
+you, leave your courtesy, good mounsieur.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mustardseed.</i></td>
+  <td class="tdleft"><span class="s8">What's your will?</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">Nothing, good mounsieur, but to help Cavalery
+Cobweb to scratch.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (18).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Grumio.</i></td>
+  <td class="tdleft">What say you to a piece of beef and Mustard?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Katharine.</i></td>
+  <td class="tdleft">A dish that I do love to feed upon.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Grumio.</i></td>
+  <td class="tdleft">Ay, but the Mustard is too hot a little.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Katharine.</i></td>
+  <td class="tdleft">Why then, the beef, and let the Mustard rest.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Grumio.</i></td>
+  <td class="tdleft">Nay, then, I will not; you shall have the Mustard,<br />
+Or else you get no beef of Grumio.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Katharine.</i></td>
+  <td class="tdleft">Then both, or one, or anything thou wilt.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Grumio.</i></td>
+  <td class="tdleft">Why then, the Mustard without the beef.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act iv, sc. 3 (23).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">Where learned you that oath, fool?
+</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><span class="pagenum"><a name="Page_173" id="Page_173"></a>[<a href="./images/173.png">173</a>]</span><i>Touchstone.</i></td>
+  <td class="tdleft">Of a certain knight that swore by his honour
+they were good pancakes, and swore by his
+honour the mustard was naught; now I'll
+stand to it, the pancakes were naught, and
+the Mustard was good, yet was the knight
+not forsworn.&nbsp;.&nbsp;.&nbsp;.&nbsp;.
+You are not forsworn; no more was this
+knight swearing by his honour, for he never
+had any; or if he had, he had sworn it away
+before he ever saw those cakes or that
+Mustard.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act i, sc. 2 (65).</td>
+</tr>
+</table>
+
+<p>The following passage from Coles, in 1657, will illustrate
+No. <a href="#Mustard_1">1</a>: "In Gloucestershire about Teuxbury they grind
+Mustard and make it into balls which are brought to London
+and other remote places as being the best that the world
+affords." These Mustard balls were the form in which
+Mustard was usually sold, until Mrs. Clements, of Durham,
+in the last century, invented the method of dressing mustard-flour,
+like wheat-flour, and made her fortune with
+Durham Mustard; and it has been supposed that this was
+the only form in which Mustard was sold in Shakespeare's
+time, and that it was eaten dry as we eat pepper. But the
+following from an Anglo-Saxon Leech-book seems to speak
+of it as used exactly in the modern fashion. After mentioning
+several ingredients in a recipe for want of appetite
+for meat, it says: "Triturate all together&mdash;eke out with
+vinegar as may seem fit to thee, so that it may be wrought
+into the form in which Mustard is tempered for flavouring,
+put it then into a glass vessel, and then with bread, or with
+whatever meat thou choose, lap it with a spoon, that will
+help" ("Leech Book," ii. 5, Cockayne's translation). And
+Parkinson's account is to the same effect: "The seeds
+hereof, ground between two stones, fitted for the purpose,
+and called a quern, with some good vinegar added to it to
+make it liquid and running, is that kind of Mustard that is
+usually made of all sorts to serve as sauce both for fish and
+flesh." And to the same effect the "Boke of Nurture"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Yet make moche of Mustard, and put it not away,<br /></span>
+<span class="i0i">For with every dische he is dewest who so lust to assay."<br /></span>
+</div></div>
+
+<p class="authorpoem">(L. 853).</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_174" id="Page_174"></a>[<a href="./images/174.png">174</a>]</span></p>
+<h2><a name="Myrtle" id="Myrtle"></a>MYRTLE.</h2>
+
+<table class="poetryt" summary="myrtle references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Euphronius.</i></td>
+  <td class="tdleft">I was of late as petty to his ends<br />
+As is the morn-dew on the Myrtle-leaf<br />
+To his grand sea.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act iii, sc. 12 (8).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Isabella.</i></td>
+  <td class="tdleft"><span class="s14">Merciful Heaven,</span><br />
+Thou rather with thy sharp and sulphurous bolt<br />
+Split'st the unwedgeable and gnarled Oak<br />
+Than the soft Myrtle.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act ii, sc. 2 (114).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Venus, with young Adonis sitting by her,<br />
+Under a Myrtle shade began to woo him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Passionate Pilgrim</i> (143).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Then sad she hasteth to a Myrtle grove.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (865).</td>
+</tr>
+</table>
+
+<p>Myrtle is of course the English form of <i>myrtus</i>; but the
+older English name was Gale, a name which is still applied
+to the bog-myrtle.<a name="FNanchor_174:1_134" id="FNanchor_174:1_134"></a><a href="#Footnote_174:1_134" class="fnanchor">[174:1]</a> Though a most abundant shrub in the
+South of Europe, and probably introduced into England
+before the time of Shakespeare, the myrtle was only grown
+in a very few places, and was kept alive with difficulty, so
+that it was looked upon not only as a delicate and an elegant
+rarity, but as the established emblem of refined beauty. In
+the Bible it is always associated with visions and representations
+of peacefulness and plenty, and Milton most fitly uses
+it in the description of our first parents' "blissful bower"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i9h">"The roofe<br /></span>
+<span class="i0">Of thickest covert was inwoven shade,<br /></span>
+<span class="i0">Laurel and Mirtle, and what higher grew<br /></span>
+<span class="i0">Of firm and fragrant leaf."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Paradise Lost</i>, iv.</p>
+
+<p>In heathen times the Myrtle was dedicated to Venus, and
+from this arose the custom in medi&aelig;val times of using the
+flowers for bridal garlands, which thus took the place of
+Orange blossoms in our time.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The lover with the Myrtle sprays<br /></span>
+<span class="i0i">Adorns his crisped cresses."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Drayton</span>, <i>Muse's Elysium</i>.</p>
+
+<p><span class="pagenum"><a name="Page_175" id="Page_175"></a>[<a href="./images/175.png">175</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And I will make thee beds of Roses,<br /></span>
+<span class="i0i">And a thousand fragrant posies,<br /></span>
+<span class="i0i">A cap of flowers, and a kirtle<br /></span>
+<span class="i0i">Embroidered o'er with leaves of Myrtle."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Roxburghe Ballads.</i></p>
+
+<p>As a garden shrub every one will grow the Myrtle that
+can induce it to grow. There is no difficulty in its cultivation,
+provided only that the climate suits it, and the climate that
+suits it best is the neighbourhood of the sea. Virgil describes
+the Myrtles as "amantes littora myrtos," and those who have
+seen the Myrtle as it grows on the Devonshire and Cornish
+coasts will recognise the truth of his description.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_174:1_134" id="Footnote_174:1_134"></a><a href="#FNanchor_174:1_134"><span class="label">[174:1]</span></a> "Gayle; mirtus."&mdash;<i>Catholicon Anglicum</i>, p. 147, with note.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Narcissus" id="Narcissus"></a>NARCISSUS.</h2>
+
+<table class="poetryt" summary="narcissus reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Emilia.</i></td>
+  <td class="tdleft">This garden has a world of pleasures in't,<br />
+What flowre is this?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Servant.</i></td>
+  <td class="tdleft"><span class="s16">'Tis called Narcissus, madam.</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Emilia.</i></td>
+  <td class="tdleft">That was a faire boy certaine, but a foole,<br />
+To love himselfe; were there not maides enough?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act ii, sc. 2 (130).</td>
+</tr>
+</table>
+
+<p class="center"><i>See</i> <span class="smcap"><a href="#Daffodils">Daffodils</a></span>, p. <a href="#Page_73">73</a>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>NETTLES.</h2>
+
+<table class="poetryt" summary="nettle references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Cordelia.</i></td>
+  <td class="tdleft">Crown'd with rank Fumiter and Furrow-weeds,<br />
+With Burdocks, Hemlock, Nettles, Cuckoo-flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 4. (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Nettle_2" id="Nettle_2"></a>2)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">Crow-flowers, Nettles, Daisies, and Long Purples.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 7 (170). (<i>See</i> <span class="smcap"><a href="#Crow-Flowers">Crow-flowers</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Antonio.</i></td>
+  <td class="tdleft">He'd sow't with Nettle-seed.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 1 (145).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Saturninus.</i></td>
+  <td class="tdleft"><span class="s8">Look for thy reward</span><br />
+Among the Nettles at the Elder Tree.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act ii, sc. 3 (271).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_176" id="Page_176"></a>[<a href="./images/176.png">176</a>]</span>(<a name="Nettle_5" id="Nettle_5"></a>5)</td>
+  <td class="tdleftt"><i>Sir Toby.</i></td>
+  <td class="tdleft">How now, my Nettle of India?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act ii, sc. 5 (17).<a name="FNanchor_176:1_135" id="FNanchor_176:1_135"></a><a href="#Footnote_176:1_135" class="fnanchor">[176:1]</a></td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>King Richard.</i></td>
+  <td class="tdleft">Yield stinging Nettles to my enemies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 2 (18).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Hotspur.</i></td>
+  <td class="tdleft">I tell you, my lord fool, out of this Nettle, danger,
+we pluck this flower, safety.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 3 (8).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Ely.</i></td>
+  <td class="tdleft">The Strawberry grows underneath the Nettle.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act i, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Cressida.</i></td>
+  <td class="tdleft">I'll spring up in his tears, an 'twere a Nettle
+against May.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act i, sc. 2 (190).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Menenius.</i></td>
+  <td class="tdleft">We call a Nettle but a Nettle, and<br />
+The fault of fools but folly.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act ii, sc. 1 (207).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Laertes.</i></td>
+  <td class="tdleft">Goads, Thorns, Nettles, tails of wasps.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act i, sc. 2 (329).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">If we will plant Nettles or sow Lettuce.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (324). (<i>See</i> <span class="smcap"><a href="#Hyssop">Hyssop</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Nettles_13" id="Nettles_13"></a>13)</td>
+  <td class="tdleftt"><i>Palamon.</i></td>
+  <td class="tdleft"><span class="s9">Who do bear thy yoke</span><br />
+As 'twer a wreath of roses, yet is heavier<br />
+Than lead itselfe, stings more than Nettles.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act v, sc. 1 (101).</td>
+</tr>
+</table>
+
+<p>The Nettle needs no introduction; we are all too well
+acquainted with it, yet it is not altogether a weed to be
+despised. We have two native species (Urtica urens and U.
+dioica) with sufficiently strong qualities, but we have a third
+(U. pilulifera) very curious in its manner of bearing its female
+flowers in clusters of compact little balls, which is far more
+virulent than either of our native species, and is said by
+Camden to have been introduced by the Romans to chafe
+their bodies when frozen by the cold of Britain. The story
+is probably quite apocryphal, but the plant is an alien, and
+only grows in a few places.</p>
+
+<p>Both the Latin and English names of the plant record its
+qualities. Urtica is from <i>uro</i>, to burn; and Nettle is (etymologically)
+the same word as needle, and the plant is so
+named, not for its stinging qualities, but because at one
+<span class="pagenum"><a name="Page_177" id="Page_177"></a>[<a href="./images/177.png">177</a>]</span>time the Nettle supplied the chief instrument of sewing; not
+the instrument which holds the thread, and to which we now
+confine the word needle, but the thread itself, and very good
+thread it made. The poet Campbell says in one of his
+letters&mdash;"I have slept in Nettle sheets, and dined off a
+Nettle table-cloth, and I have heard my mother say that she
+thought Nettle cloth more durable than any other linen."
+It has also been used for making paper, and for both these
+purposes, as well as for rope-making, the Rhea fibre of the
+Himalaya, which is simply a gigantic Nettle (<i>Urtica</i> or
+<i>B&ouml;hmeria nivea</i>), is very largely cultivated. Nor is the
+Nettle to be despised as an article of food.<a name="FNanchor_177:1_136" id="FNanchor_177:1_136"></a><a href="#Footnote_177:1_136" class="fnanchor">[177:1]</a> In many parts
+of England the young shoots are boiled and much relished.
+In 1596 Coghan wrote of it: "I will speak somewhat of the
+Nettle that Gardeners may understand what wrong they do
+in plucking it for the weede, seeing it is so profitable to
+many purposes.&nbsp;.&nbsp;.&nbsp;. Cunning cookes at the spring of the
+yeare, when Nettles first bud forth, can make good pottage
+with them, especially with red Nettles" ("Haven of Health,"
+p. 86). In February, 1661, Pepys made the entry in his
+diary&mdash;"We did eat some Nettle porridge, which was made
+on purpose to-day for some of their coming, and was very
+good." Andrew Fairservice said of himself&mdash;"Nae doubt I
+should understand my trade of horticulture, seeing I was
+bred in the Parish of Dreepdaily, where they raise lang Kale
+under glass, and force the early Nettles for their spring
+Kale" ("Rob Roy," c. 7). Gipsies are said to cook it as
+an excellent vegetable, and M. Soyer tried hard, but almost
+in vain, to recommend it as a most dainty dish. Having so
+many uses, we are not surprised to find that it has at times
+been regularly cultivated as a garden crop, so that I have
+somewhere seen an account of tithe of Nettles being taken;
+and in the old churchwardens' account of St. Michael's,
+Bath, is the entry in the year 1400, "Pro Urticis venditis ad
+Lawrencium Bebbe, 2d."</p>
+
+<p>Nettles are much used in the neighbourhood of London
+to pack plums and other fruit with bloom on them, so that
+in some market gardens they are not only not destroyed,
+<span class="pagenum"><a name="Page_178" id="Page_178"></a>[<a href="./images/178.png">178</a>]</span>but encouraged, and even cultivated. And this is an old
+practice; Lawson's advice in 1683 was&mdash;"For the gathering
+of all other stone-fruit, as Nectarines, Apricots, Peaches,
+Pear-plums, Damsons, Bullas, and such like, .&nbsp;.&nbsp;. in the
+bottom of your large sives where you put them, you shall lay
+Nettles, and likewise in the top, for that will ripen those
+that are most unready" ("New Orchard," p. 96).</p>
+
+<p>The "Nettle of India" (No. <a href="#Nettle_5">5</a>) has puzzled the commentators.
+It is probably not the true reading; if the true
+reading, it may only mean a Nettle of extra-stinging quality;
+but it may also mean an Eastern plant that was used to
+produce cowage, or cow-itch. "The hairs of the pods of
+Mucuna pruriens, &amp;c., constitute the substance called cow-itch,
+a mechanical Anthelmintic."&mdash;<span class="smcap">Lindley.</span> This plant is
+said to have been called the Nettle of India, but I do not
+find it so named in Shakespeare's time.</p>
+
+<p>In other points the Nettle is a most interesting plant.
+Microscopists find in it most beautiful objects for the microscope;
+entomologists value it, for it is such a favourite of
+butterflies and other insects, that in Britain alone upwards
+of thirty insects feed solely on the Nettle plant, and it is
+one of those curious plants which mark the progress of
+civilization by following man wherever he goes.<a name="FNanchor_178:1_137" id="FNanchor_178:1_137"></a><a href="#Footnote_178:1_137" class="fnanchor">[178:1]</a></p>
+
+<p>But as a garden plant the only advice to be given is to
+keep it out of the garden by every means. In good cultivated
+ground it becomes a sad weed if once allowed a
+settlement. The Himalayan B&ouml;hmerias, however, are handsome,
+but only for their foliage; and though we cannot,
+perhaps, admit our roadside Dead Nettles, which however
+are much handsomer than many foreign flowers which we
+carefully tend and prize, yet the Austrian Dead Nettle
+(<i>Lamium orvala</i>, "Bot. Mag.," v. 172) may be well admitted
+as a handsome garden plant.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_176:1_135" id="Footnote_176:1_135"></a><a href="#FNanchor_176:1_135"><span class="label">[176:1]</span></a> This a modern reading; the correct reading is "metal."</p></div>
+
+<div class="footnote"><p><a name="Footnote_177:1_136" id="Footnote_177:1_136"></a><a href="#FNanchor_177:1_136"><span class="label">[177:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Si forte in medio positorum abstemius herbis<br /></span>
+<span class="i0i">Vivis et Urtica."&mdash;<span class="smcap">Horace</span>, <i>Ep.</i> i, 10, 8.<br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Mihi festa luce coquatar Urtica."&mdash;<span class="smcap">Persius</span> vi, 68.<br /></span>
+</div></div>
+</div>
+
+<div class="footnote"><p><a name="Footnote_178:1_137" id="Footnote_178:1_137"></a><a href="#FNanchor_178:1_137"><span class="label">[178:1]</span></a> "L'ortie s'&eacute;tablit partout dans les contr&eacute;es temper&eacute;es &agrave; la suite de
+l'homme pour disparaitre bient&ocirc;t si le lieu on elle s'est ainsi implante&egrave;
+cesse d'etre habit&eacute;."&mdash;<span class="smcap">M. Lavaillee</span>, <i>Sur les Arbres</i>, &amp;c., 1878.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>NUT, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Hazel">Hazel</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_179" id="Page_179"></a>[<a href="./images/179.png">179</a>]</span></p>
+<h2><a name="Nutmeg" id="Nutmeg"></a>NUTMEG.</h2>
+
+<table class="poetryt" summary="nutmeg references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Dauphin.</i></td>
+  <td class="tdleft">He's [the horse] of the colour of the Nutmeg.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 7 (20).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">I must have .&nbsp;.&nbsp;. Nutmegs Seven.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (50).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Armado.</i></td>
+  <td class="tdleft">The omnipotent Mars, of lances the almighty,<br />
+Gave Hector a gift&mdash;</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Dumain.</i></td>
+  <td class="tdleft"><span class="s17">A gilt Nutmeg.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (650).</td>
+</tr>
+</table>
+
+<p>Gerard gives a very fair description of the Nutmeg tree
+under the names of Nux moschata or Myristica; but it is
+certain that he had not any personal knowledge of the tree,
+which was not introduced into England or Europe for nearly
+200 years after. Shakespeare could only have known the
+imported Nut and the Mace which covers the Nut inside
+the shell, and they were imported long before his time.
+Chaucer speaks of it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Notemygge to put in ale<br /></span>
+<span class="i0i">Whether it be moist or stale,<br /></span>
+<span class="i1i">Or for to lay in cofre."&mdash;<i>Sir Thopas.</i><br /></span>
+</div></div>
+
+<p>And in another poem we have&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And trees ther were gret foisoun,<br /></span>
+<span class="i0i">That beren notes in her sesoun.<br /></span>
+<span class="i0i">Such as men Notemygges calle<br /></span>
+<span class="i0i">That swote of savour ben withalle."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Romaunt of the Rose.</i></p>
+
+<p>The Nutmeg tree (<i>Myrista officinalis</i>) "is a native of the
+Molucca or Spice Islands, principally confined to that group
+denominated the Islands of Banda, lying in lat. 4&deg; 30&acute;
+south; and there it bears both blossom and fruit at all
+seasons of the year" ("Bot. Mag.," 2756, with a full history
+of the spice, and plates of the tree and fruit).</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_180" id="Page_180"></a>[<a href="./images/180.png">180</a>]</span></p>
+<h2><a name="Oak" id="Oak"></a>OAK.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Prospero.</i></td>
+  <td class="tdleft">If thou more murmur'st, I will rend an Oak,<br />
+And peg thee in his knotty entrails,</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act i, sc. 2 (294).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Prospero.</i></td>
+  <td class="tdleft"><span class="s11">To the dread rattling thunder</span><br />
+Have I given fire, and rifted Jove's stout Oak
+With his own bolt.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 1 (44).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Quince.</i></td>
+  <td class="tdleft">At the Duke's Oak we meet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act i, sc. 2 (113).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Benedick.</i></td>
+  <td class="tdleft">An Oak with but one green leaf on it would
+have answered her.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act ii, sc. 1 (247).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Isabella.</i></td>
+  <td class="tdleft">Thou split'st the unwedgeable and gnarled Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act ii, sc. 2 (114). (<i>See</i> <span class="smcap"><a href="#Myrtle">Myrtle</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>1st Lord.</i></td>
+  <td class="tdleft"><span class="s14">He lay along</span><br />
+Under an Oak, whose antique root peeps out<br />
+Upon the brook that brawls along this wood.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act ii, sc. 1 (30).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Oliver.</i></td>
+  <td class="tdleft">Under an Oak, whose boughs were Mossed with age,<br />
+And high top bald with dry antiquity.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 3 (156).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Paulina.</i></td>
+  <td class="tdleft">As ever Oak or stone was sound.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act ii, sc. 3 (89).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Messenger.</i></td>
+  <td class="tdleft">And many strokes, though with a little axe,<br />
+Hew down and fell the hardest-timber'd Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act ii, sc. 1 (54).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Mrs. Page.</i></td>
+  <td class="tdleft">There is an old tale goes that Herne the Hunter,<br />
+Sometime a keeper here in Windsor Forest,<br />
+Doth all the winter time at still midnight<br />
+Walk round about an Oak, with great ragg'd horns.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Page.</i></td>
+  <td class="tdleft">Why yet there want not many that do fear<br />
+In deep of night to walk by this Herne's Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mrs. Ford.</i></td>
+  <td class="tdleft">That Falstaff at that Oak shall meet with us.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act iv, sc. 4 (28).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_181" id="Page_181"></a>[<a href="./images/181.png">181</a>]</span>&nbsp;</td>
+  <td class="tdleftt"><i>Fenton.</i></td>
+  <td class="tdleft">To night at Herne's Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act iv, sc. 6 (19).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">Be you in the park about midnight at Herne's
+Oak, and you shall see wonders.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 1 (11).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mrs. Page.</i></td>
+  <td class="tdleft">They are all couched in a pit hard by Herne's Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mrs. Ford.</i></td>
+  <td class="tdleft">The hour draws on. To the Oak, to the Oak!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 3 (14).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Quickly.</i></td>
+  <td class="tdleft"><span class="s7">Till 'tis one o'clock</span><br />
+Our dance of custom round about the Oak<br />
+Of Herne the Hunter, let us not forget.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 5 (78).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">That numberless upon me stuck as leaves<br />
+Do on the Oak, have with one winter's brush<br />
+Fell from their boughs, and left me open, bare<br />
+For every storm that blows.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (263).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">The Oaks bear mast, the Briers scarlet hips.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (422).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Montano.</i></td>
+  <td class="tdleft">What ribs of Oak, when mountains melt on them,<br />
+Can hold the mortise?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act ii, sc. 1 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">She that so young could give out such a seeming<br />
+To seel her father's eyes up close as Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 3 (209).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Marcius.</i></td>
+  <td class="tdleft"><span class="s8">He that depends</span><br />
+Upon your favours swims with fins of lead<br />
+And hews down Oaks with rushes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act i, sc. 1 (183).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Arviragus.</i></td>
+  <td class="tdleft">To thee the Reed is as the Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (267).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td class="tdleftt"><i>Lear.</i></td>
+  <td class="tdleft">Oak-cleaving thunderbolts.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iii, sc. 2 (5).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td class="tdleftt"><i>Nathaniel.</i></td>
+  <td class="tdleft">Though to myself forsworn, to thee I'll faithful prove;<br />
+Those thoughts to me were Oaks, to thee like Osiers bow'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iv, sc. 2 (111).</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">[The same lines in the "Passionate Pilgrim."]</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_182" id="Page_182"></a>[<a href="./images/182.png">182</a>]</span>(19)</td>
+  <td class="tdleftt"><i>Nestor.</i></td>
+  <td class="tdleft"><span class="s5">When the splitting wind</span><br />
+Makes flexible the knees of knotted Oaks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act i, sc. 3 (49).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(20)</td>
+  <td class="tdleftt"><i>Volumnia.</i></td>
+  <td class="tdleft">To a cruel war I sent him, from whence he returned,
+his brows bound with Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act i, sc. 3 (14).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Volumnia.</i></td>
+  <td class="tdleft">He comes the third time home with the Oaken garland.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 1 (137).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Cominius.</i></td>
+  <td class="tdleft">He proved best man i' the field, and for his meed<br />
+Was brow-bound with the Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 2 (101).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>2nd Senator.</i></td>
+  <td class="tdleft">The worthy fellow is our general; he's the
+rock, the Oak, not to be wind-shaken.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 2 (116).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Volumnia.</i></td>
+  <td class="tdleft">To charge thy sulphur with a bolt<br />
+That should but rive an Oak.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 3 (152).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(21)</td>
+  <td class="tdleftt"><i>Casca.</i></td>
+  <td class="tdleft">I have seen tempests when the scolding winds<br />
+Have rived the knotty Oaks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Julius C&aelig;sar</i>, act i, sc. 3 (5).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(22)</td>
+  <td class="tdleftt"><i>Celia.</i></td>
+  <td class="tdleft">I found him under a tree like a dropped Acorn.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">It may well be called Jove's tree, when it drops
+forth such fruit.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (248).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(23)</td>
+  <td class="tdleftt"><i>Prospero.</i></td>
+  <td class="tdleft"><span class="s7">Thy food shall be</span><br />
+The fresh-brook muscles, wither'd roots, and husks<br />
+Wherein the Acorn cradled.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act i, sc. 2 (462).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(24)</td>
+  <td class="tdleftt"><i>Puck.</i></td>
+  <td class="tdleft"><span class="s7">All their elves for fear</span><br />
+Creep into Acorn-cups, and hide them there.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (30).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(25)</td>
+  <td class="tdleftt"><i>Lysander.</i></td>
+  <td class="tdleft">Get you gone, you dwarf&mdash;you beed&mdash;you Acorn!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 2 (328).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(26)</td>
+  <td class="tdleftt"><i>Posthumus.</i></td>
+  <td class="tdleft">Like a full-Acorned boar&mdash;a German one.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act ii, sc. 5 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(27)</td>
+  <td class="tdleftt"><i>Messenger.</i></td>
+  <td class="tdleft">About his head he weares the winner's Oke.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 2 (154).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(28)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Time's glory is .&nbsp;.&nbsp;.&nbsp;.<br />
+To dry the old Oak's sap.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (950).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_183" id="Page_183"></a>[<a href="./images/183.png">183</a>]</span>
+Here are several very pleasant pictures, and there is so
+much of historical and legendary lore gathered round the
+Oaks of England that it is very tempting to dwell upon
+them. There are the historical Oaks connected with the
+names of William Rufus, Queen Elizabeth, and Charles II.;
+there are the wonderful Oaks of Wistman's Wood (certainly
+the most weird and most curious wood in England, if not
+in Europe); there are the many passages in which our old
+English writers have loved to descant on the Oaks of England
+as the very emblems of unbroken strength and unflinching
+constancy; there is all the national interest which
+has linked the glories of the British navy with the steady
+and enduring growth of her Oaks; there is the wonderful
+picturesqueness of the great Oak plantations of the New
+Forest, the Forest of Dean, and other royal forests; and
+the equally, if not greater, picturesqueness of the English
+Oak as the chief ornament of our great English parks;
+there is the scientific interest which suggested the growth of
+the Oak for the plan of our lighthouses, and many other
+interesting points. It is very tempting to stop on each and
+all of these, but the space is too limited, and they can all be
+found ably treated of and at full length in any of the books
+that have been written on the English forest trees.</p>
+
+
+<hr style="width: 65%;" />
+<h2>OATS.</h2>
+
+<table class="poetryt" summary="oat references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Ceres, most bounteous lady, thy rich leas<br />
+Of Wheat, Rye, Barley, Vetches, Oats, and Pease.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Spring Song.</i></td>
+  <td class="tdleftt">When shepherds pipe on Oaten straws.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (913).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">Truly a peck of provender; I could munch
+your good dry Oats.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (35).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Grumio.</i></td>
+  <td class="tdleft">Ay, sir, they be ready; the Oats have eaten
+the horses.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act iii, sc. 2 (207).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_184" id="Page_184"></a>[<a href="./images/184.png">184</a>]</span>(5)</td>
+  <td class="tdleftt"><i>First Carrier.</i></td>
+  <td class="tdleft">Poor fellow, never joyed since the price of
+Oats rose&mdash;it was the death of him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 1 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Captain.</i></td>
+  <td class="tdleft">I cannot draw a cart, nor eat dried Oats,<br />
+If it be man's work, I'll do it.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act v, sc. 3 (38).</td>
+</tr>
+</table>
+
+<p>Shakespeare's Oats need no comment, except to note
+that the older English name for Oats was Haver (<i>see</i>
+"Promptorium Parvulorum," p. 372; and "Catholicon
+Anglicum," p. 178, with the notes). The word was in use
+in Shakespeare's time, and still survives in the northern parts
+of England.</p>
+
+
+<hr style="width: 65%;" />
+<h2>OLIVE.</h2>
+
+<table class="poetryt" summary="olive references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clarence.</i></td>
+  <td class="tdleft">To whom the heavens in thy nativity<br />
+Adjudged an Olive branch.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act iv, sc. 6 (33). (<i>See</i> <span class="smcap"><a href="#Laurel">Laurel</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Alcibiades.</i></td>
+  <td class="tdleft">Bring me into your city,<br />
+And I will use the Olive with my sword.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act v, sc. 4 (81).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>C&aelig;sar.</i></td>
+  <td class="tdleft">Prove this a prosperous day, the three-nook'd world<br />
+Shall bear the Olive freely.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act iv, sc. 6 (5).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Rosalind.</i></td>
+  <td class="tdleft">If you will know my house<br />
+'Tis at the tuft of Olives here hard by.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 5 (74).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Oliver.</i></td>
+  <td class="tdleft">Where, in the purlieus of this forest stands<br />
+A sheepcote fenced about with Olive trees?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 3 (77).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Viola.</i></td>
+  <td class="tdleft">I bring no overture of war, no taxation of
+homage; I hold the Olive in my hand; my
+words are as full of peace as matter.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act i, sc. 5 (224).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Westmoreland.</i></td>
+  <td class="tdleft">There is not now a rebel's sword unsheath'd,<br />
+But peace puts forth her Olive everywhere.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act iv, sc. 4 (86).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">And peace proclaims Olives of endless age.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> cvii.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_185" id="Page_185"></a>[<a href="./images/185.png">185</a>]</span>
+There is no certain record by which we can determine
+when the Olive tree was first introduced into England.
+Miller gives 1648 as the earliest date he could discover, at
+which time it was grown in the Oxford Botanic Garden.
+But I have no doubt it was cultivated long before that.
+Parkinson knew it as an English tree in 1640, for he says:
+"It flowereth in the beginning of summer in the warmer
+countries, but very late <i>with us</i>; the fruite ripeneth in
+autumne in Spain, &amp;c., but seldome <i>with us</i>" ("Herball,"
+1640). Gerard had an Oleaster in his garden in 1596, which
+Mr. Jackson considers to have been the Olea Europea, and
+with good reason, as in his account of the Olive in the
+"Herbal" he gives Oleaster as one of the synonyms of
+Olea sylvestris, the wild Olive tree. But I think its introduction
+is of a still earlier date. In the Anglo-Saxon
+"Leech Book," of the tenth century, published under the
+direction of the Master of the Rolls, I find this prescription:
+"Pound Lovage and Elder rind and Oleaster, that
+is, wild Olive tree, mix them with some clear ale and give
+to drink" (book i. c. 37, Cockayne's translation). As I
+have never heard that the bark of the Olive tree was imported,
+it is only reasonable to suppose that the leeches of
+the day had access to the living tree. If this be so, the
+tree was probably imported by the Romans, which they are
+very likely to have done. But it seems very certain that it
+was in cultivation in England in Shakespeare's time and he
+may have seen it growing.</p>
+
+<p>But in most of the eight passages in which he names the
+Olive, the reference to it is mainly as the recognized emblem
+of peace; and it is in that aspect, and with thoughts of
+its touching Biblical associations that we must always think
+of the Olive. It is <i>the</i> special plant of honour in the
+Bible, by "whose fatness they honour God and man,"
+linked with the rescue of the one family in the ark, and with
+the rescue of the whole family of man in the Mount of
+Olives. Every passage in which it is named in the Bible tells
+the uniform tale of its usefulness, and the emblematical lessons
+it was employed to teach; but I must not dwell on them.
+Nor need I say how it was equally honoured by Greeks and
+Romans. As a plant which produced an abundant and
+necessary crop of fruit with little or no labour (<ins class="greek" title="phyteum'">&#966;&#8059;&#964;&#949;&#965;&#956;'</ins>
+<span class="pagenum"><a name="Page_186" id="Page_186"></a>[<a href="./images/186.png">186</a>]</span><ins class="greek" title="acheir&ocirc;ton autopoion">&#7936;&#967;&#949;&#8055;&#961;&#969;&#964;&#959;&#957; &#7936;&#965;&#964;&#8057;&#960;&#959;&#953;&#959;&#957;</ins>, Sophocles; "non ulla est oleis cultura,"
+Virgil), it was looked upon with special pride, as one of the
+most blessed gifts of the gods, and under the constant
+protection of Minerva, to whom it was thankfully dedicated.<a name="FNanchor_186:1_138" id="FNanchor_186:1_138"></a><a href="#Footnote_186:1_138" class="fnanchor">[186:1]</a></p>
+
+<p>We seldom see the Olive in English gardens, yet it is a
+good evergreen tree to cover a south wall, and having grown
+it for many years, I can say that there is no plant&mdash;except,
+perhaps, the Christ's Thorn&mdash;which gives such universal
+interest to all who see it. It is quite hardy, though the
+winter will often destroy the young shoots; but not even
+the winter of 1860 did any serious mischief, and fine old
+trees may occasionally be seen which attest its hardiness.
+There is one at Hanham Hall, near Bristol, which must be
+of great age. It is at least 30ft. high, against a south wall,
+and has a trunk of large girth; but I never saw it fruit or
+flower in England until this year (1877), when the Olive in
+my own garden flowered, but did not bear fruit. Miller
+records trees at Campden House, Kensington, which, in
+1719, produced a good number of fruit large enough for
+pickling, and other instances have been recorded lately.
+Perhaps if more attention were paid to the grafting, fruit
+would follow. The Olive has the curious property that it
+seems to be a matter of indifference whether, as with other
+fruit, the cultivated sort is grafted on the wild one, or the
+wild on the cultivated one; the latter plan was certainly
+sometimes the custom among the Greeks and Romans, as
+we know from St. Paul (Romans xi. 16-25) and other
+writers, and it is sometimes the custom now. There are a
+great number of varieties of the cultivated Olive, as of other
+cultivated fruit.</p>
+
+<p>One reason why the Olive is not more grown as a garden
+tree is that it is a tree very little admired by most travellers.
+Yet this is entirely a matter of taste, and some of the
+greatest authorities are loud in its praises as a picturesque
+tree. One short extract from Ruskin's account of the tree
+will suffice, though the whole description is well worth reading.
+"The Olive," he says, "is one of the most characteristic
+and beautiful features of all southern scenery.&nbsp;.&nbsp;.&nbsp;. What
+the Elm and the Oak are to England, the Olive is to
+<span class="pagenum"><a name="Page_187" id="Page_187"></a>[<a href="./images/187.png">187</a>]</span>Italy.&nbsp;.&nbsp;.&nbsp;. It had been well for painters to have felt and
+seen the Olive tree, to have loved it for Christ's sake; .&nbsp;.&nbsp;. to
+have loved it even to the hoary dimness of its delicate
+foliage, subdued and faint of hue, as if the ashes of the
+Gethsemane agony had been cast upon it for ever; and to
+have traced line by line the gnarled writhing of its intricate
+branches, and the pointed fretwork of its light and narrow
+leaves, inlaid on the blue field of the sky, and the small,
+rosy-white stars of its spring blossoming, and the heads of
+sable fruit scattered by autumn along its topmost boughs&mdash;the
+right, in Israel, of the stranger, the fatherless, and the
+widow&mdash;and, more than all, the softness of the mantle,
+silver-grey, and tender, like the down on a bird's breast,
+with which far away it veils the undulation of the mountains."&mdash;<i>Stones
+of Venice</i>, vol. iii. p. 176.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_186:1_138" id="Footnote_186:1_138"></a><a href="#FNanchor_186:1_138"><span class="label">[186:1]</span></a> <i>See</i> Spenser's account of the first introduction of the Olive in
+"Muiopotmos."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>ONIONS.</h2>
+
+<table class="poetryt" summary="onion references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Bottom.</i></td>
+  <td class="tdleft">And, most dear actors, eat no Onions nor
+Garlic, for we are to utter sweet breath.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 2 (42).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Lafeu.</i></td>
+  <td class="tdleft">Mine eyes smell Onions, I shall weep anon:<br />
+Good Tom Drum, lend me a handkercher.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act v, sc. 3 (321).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Enobarbus.</i></td>
+  <td class="tdleft">Indeed the tears live in Onion that should
+water this Sorrow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act i, sc. 2 (176).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Enobarbus.</i></td>
+  <td class="tdleft"><span class="s5">Look, they weep,</span><br />
+And I, an ass, am Onion-eyed.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 2 (34).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Lord.</i></td>
+  <td class="tdleft">And if the boy have not a woman's gift<br />
+To rain a shower of commanded tears,<br />
+An Onion will do well for such a shift,<br />
+Which in a napkin being close conveyed<br />
+Shall in despite enforce a watery eye.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">
+<i>Taming of the Shrew</i>, Induction, sc. 1 (124).</td>
+</tr>
+</table>
+
+<p>There is no need to say much of the Onion in addition to
+what I have already said on the Garlick and Leek, except to
+<span class="pagenum"><a name="Page_188" id="Page_188"></a>[<a href="./images/188.png">188</a>]</span>note that Onions seem always to have been considered more
+refined food than Leek and Garlick. Homer makes Onions
+an important part of the elegant little repast which Hecamede
+set before Nestor and Machaon&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Before them first a table fair she spread,<br /></span>
+<span class="i0i">Well polished and with feet of solid bronze;<br /></span>
+<span class="i0i">On this a brazen canister she placed,<br /></span>
+<span class="i0i">And Onions as a relish to the wine,<br /></span>
+<span class="i0i">And pale clear honey and pure Barley meal."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Iliad</i>, book xi. (Lord Derby's translation).</p>
+
+<p>But in the time of Shakespeare they were not held in
+such esteem. Coghan, writing in 1596, says of them:
+"Being eaten raw, they engender all humourous and corruptible
+putrifactions in the stomacke, and cause fearful dreames,
+and if they be much used they snarre the memory and
+trouble the understanding" ("Haven of Health," p. 58).</p>
+
+<p>The name comes directly from the French <i>oignon</i>, a bulb,
+being the bulb <i>par excellence</i>, the French name coming from
+the Latin <i>unio</i>, which was the name given to some species
+of Onion, probably from the bulb growing singly. It may be
+noted, however, that the older English name for the Onion
+was Ine, of which we may perhaps still have the remembrance
+in the common "Inions." The use of the Onion to
+promote artificial crying is of very old date, Columella
+speaking of "lacrymosa c&aelig;pe," and Pliny of "c&aelig;pis odor
+lacrymosus." There are frequent references to the same
+use in the old English writers.</p>
+
+<p>The Onion has been for so many centuries in cultivation
+that its native home has been much disputed, but it has now
+"according to Dr. Regel ('Gartenflora,' 1877, p. 264) been
+definitely determined to be the mountains of Central Asia.
+It has also been found in a wild state in the Himalaya
+Mountains."&mdash;<i>Gardener's Chronicle.</i></p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Orange" id="Orange"></a>ORANGE.</h2>
+
+<table class="poetryt" summary="orange references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Beatrice.</i></td>
+  <td class="tdleft">The count is neither sad nor sick, nor merry
+nor well; but civil count, civil as an Orange,
+and something of that jealous complexion.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act ii, sc. 1 (303).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_189" id="Page_189"></a>[<a href="./images/189.png">189</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Claudio.</i></td>
+  <td class="tdleft">Give not this rotten Orange to your friend.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act iv, sc. 1 (33).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">I will discharge it either in your straw-coloured
+beard, your Orange-tawny beard.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act i, sc. 2 (95).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">The ousel cock so black of hue<br />
+With Orange-tawny bill.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 1 (128).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Menenius.</i></td>
+  <td class="tdleft">You wear out a good wholesome forenoon in
+hearing a cause between an Orange-wife and
+a fosset-seller.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act ii, sc. 1 (77).</td>
+</tr>
+</table>
+
+<p>I should think it very probable that Shakespeare may
+have seen both Orange and Lemon trees growing in England.
+The Orange is a native of the East Indies, and no
+certain date can be given for its introduction into Europe.
+Under the name of the Median Apple a tree is described
+first by Theophrastus, and then by Virgil and Palladius,
+which is supposed by some to be the Orange; but as they
+all describe it as unfit for food, it is with good reason supposed
+that the tree referred to is either the Lemon or Citron.
+Virgil describes it very exactly&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Ipsa ingens arbor, faciemque simillima lauro<br /></span>
+<span class="i0i">Et si non alium late jactaret odorem<br /></span>
+<span class="i0i">Laurus erat; folia hand ullis labentia ventis<br /></span>
+<span class="i0i">Flos ad prima tenax."&mdash;<i>Georgic</i> ii, 131.<br /></span>
+</div></div>
+
+<p>Dr. Daubeny, who very carefully studied the plants of
+classical writers, decides that the fruit here named is the
+Lemon, and says that it "is noticed only as a foreign fruit,
+nor does it appear that it was cultivated at that time in
+Italy, for Pliny says it will only grow in Media and Assyria,
+though Palladius in the fourth century seems to have been
+familiar with it, and it was known in Greece at the time of
+Theophrastus." But if Oranges were grown in Italy or
+Greece in the time of Pliny and Palladius, they did not continue
+in cultivation. Europe owes the introduction or reintroduction
+to the Portuguese, who brought them from the
+East, and they were grown in Spain in the eleventh century.
+The first notice of them in Italy was in the year 1200, when
+a tree was planted by St. Dominic at Rome. The first
+grown in France is said to have been the old tree which
+<span class="pagenum"><a name="Page_190" id="Page_190"></a>[<a href="./images/190.png">190</a>]</span>lived at the Orangery at Versailles till November, 1876, and
+was called the Grand Bourbon. "In 1421 the Queen of
+Navarre gave the gardener the seed from Pampeluna; hence
+sprang the plant, which was subsequently transported to
+Chantilly. In 1532 the Orange tree was sent to Fontainebleau,
+whence, in 1684, Louis XIV. transferred it to Versailles,
+where it remained the largest, finest, and most fertile
+member of the Orangery, its head being 17yds. round." It
+is not likely that a tree of such beauty should be growing so
+near England without the English gardeners doing their
+utmost to establish it here. But the first certain record is
+generally said to be in 1595, when (on the authority of
+Bishop Gibson) Orange trees were planted at Beddington,
+in Surrey, the plants being raised from seeds brought into
+England by Sir Walter Raleigh. The date, however, may
+be placed earlier, for in Lyte's "Herbal" (1578) it is stated
+that "In this countrie the Herboristes do set and plant the
+Orange trees in there gardens, but they beare no fruite
+without they be wel kept and defended from cold, and yet
+for all that they beare very seldome." There are no Oranges
+in Gerard's catalogue of 1596, and though he describes the
+trees in his "Herbal," he does not say that he then grew
+them or had seen them growing. But by 1599 he had
+obtained them, for they occur in his catalogue of that date
+under the name of "Malus orantia, the Arange or Orange
+tree," so that it is certainly very probable that Shakespeare
+may have seen the Orange as a living tree.</p>
+
+<p>As to the beauty of the Orange tree, there is but one
+opinion. Andrew Marvel described it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i5">"The Orange bright,<br /></span>
+<span class="i0">Like golden lamps in a green night."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Bermudas.</i></p>
+
+<p>George Herbert drew a lesson from its power of constant
+fruiting&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Oh that I were an Orenge tree,<br /></span>
+<span class="i2i">That busie plant;<br /></span>
+<span class="i0i">Then should I ever laden be,<br /></span>
+<span class="i2i">And never want<br /></span>
+<span class="i0i">Some fruit for him that dressed me."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Employment.</i></p>
+
+<p><span class="pagenum"><a name="Page_191" id="Page_191"></a>[<a href="./images/191.png">191</a>]</span>
+And its handsome evergreen foliage, its deliciously scented
+flowers, and its golden fruit&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A fruit of pure Hesperian gold<br /></span>
+<span class="i1i">That smelled ambrosially"&mdash;<br /></span>
+</div></div>
+
+<p class="authorscpoem">Tennyson.</p>
+
+<p>at once demand the admiration of all. It only fails in one
+point to make it a plant for every garden: it is not fully
+hardy in England. It is very surprising to read of those
+first trees at Beddington, that "they were planted in the
+open ground, under a movable covert during the winter
+months; that they always bore fruit in great plenty and
+perfection; that they grew on the south side of a wall, not
+nailed against it, but at full liberty to spread; that they
+were 14ft. high, the girth of the stem 29in., and the
+spreading of the branches one way 9ft., and 12ft. another;
+and that they so lived till they were entirely killed by the
+great frost in 1739-40."&mdash;<span class="smcap">Miller.</span><a name="FNanchor_191:1_139" id="FNanchor_191:1_139"></a><a href="#Footnote_191:1_139" class="fnanchor">[191:1]</a> These trees must have
+been of a hardy variety, for certainly Orange trees, even
+with such protection, do not now so grow in England, except
+in a few favoured places on the south coast. There is one
+species which is fairly hardy, the Citrus trifoliata, from
+Japan,<a name="FNanchor_191:2_140" id="FNanchor_191:2_140"></a><a href="#Footnote_191:2_140" class="fnanchor">[191:2]</a> forming a pretty bush with sweet flowers, and small
+but useless fruit (seldom, I believe, produced out-of-doors);
+it is often used as a stock on which to graft the better kinds,
+but perhaps it might be useful for crossing, so as to give its
+hardiness to a variety with better flower and fruit.</p>
+
+<p>Commercially the Orange holds a high place, more than
+20,000 good fruit having been picked from one tree, and
+England alone importing about 2,000,000 bushels annually.
+These are almost entirely used as a dessert fruit and for
+marmalade, but it is curious that they do not seem to have
+been so used when first imported. Parkinson makes no
+mention of their being eaten raw, but says they "are used
+as sauce for many sorts of meats, in respect of the sweet
+sourness giving a relish and delight whereinsoever they are
+used;" and he mentions another curious use, no longer in
+<span class="pagenum"><a name="Page_192" id="Page_192"></a>[<a href="./images/192.png">192</a>]</span>fashion, I believe, but which might be worth a trial: "The
+seeds being cast into the grounde in the spring time will
+quickly grow up, and when they are a finger's length high,
+being pluckt up and put among Sallats, will give them a
+marvellous fine aromatick or spicy tast, very acceptable."<a name="FNanchor_192:1_141" id="FNanchor_192:1_141"></a><a href="#Footnote_192:1_141" class="fnanchor">[192:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_191:1_139" id="Footnote_191:1_139"></a><a href="#FNanchor_191:1_139"><span class="label">[191:1]</span></a> In an "Account of Gardens Round London in 1691," published in
+the "Arch&aelig;ologia," vol. xii., these Orange trees are described as if
+always under glass.</p></div>
+
+<div class="footnote"><p><a name="Footnote_191:2_140" id="Footnote_191:2_140"></a><a href="#FNanchor_191:2_140"><span class="label">[191:2]</span></a> "Bot. Mag.," 6513.</p></div>
+
+<div class="footnote"><p><a name="Footnote_192:1_141" id="Footnote_192:1_141"></a><a href="#FNanchor_192:1_141"><span class="label">[192:1]</span></a> For an account of the early importation of the fruit see "Promptorium
+Parvulorum," p. 371, note.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>OSIER, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Willow">Willow</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>OXLIPS.</h2>
+
+<table class="poetryt" summary="oxlips references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s8">Bold Oxlips, and</span><br />
+The Crown Imperial.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (125).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Oberon.</i></td>
+  <td class="tdleft">I know a bank where the wild Thyme blows,<br />
+Where Oxlips and the nodding Violet grows.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (249).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Oxlips in their cradles growing.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, Intro. song.</td>
+</tr>
+</table>
+
+<p>The true Oxlip (<i>Primula eliator</i>) is so like both the
+Primrose and Cowslip that it has been by many supposed to
+be a hybrid between the two. Sir Joseph Hooker, however,
+considers it a true species. It is a handsome plant, but it
+is probably not the "bold Oxlip" of Shakespeare, or the
+plant which is such a favourite in cottage gardens. The
+true Oxlip (P. elatior of Jacquin) is an eastern counties'
+plant; while the common forms of the Oxlip are hybrids
+between the Cowslip and Primrose. (<i>See</i> <span class="smcap"><a href="#Cowslip">Cowslip</a></span> and
+<span class="smcap"><a href="#Primrose">Primrose</a></span>.)</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Palm" id="Palm"></a>PALM TREE.</h2>
+
+<table class="poetryt" summary="palm tree references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Palm_1" id="Palm_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Rosalind.</i></td>
+  <td class="tdleft">Look here what I found on a Palm tree.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (185).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_193" id="Page_193"></a>[<a href="./images/193.png">193</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Hamlet.</i></td>
+  <td class="tdleft">As love between them like the Palm might flourish.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act v, sc. 2 (40).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Volumnia.</i></td>
+  <td class="tdleft">And bear the Palm for having bravely shed<br />
+Thy wife and children's blood.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act v, sc. 3 (117).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Cassius.</i></td>
+  <td class="tdleft">And bear the Palm alone.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Julius C&aelig;sar</i>, act i, sc. 2 (131).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Painter.</i></td>
+  <td class="tdleft">You shall see him a Palm in Athens again, and
+flourish with the highest.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act v, sc. 1 (12).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleft" colspan="2"><i>The Vision.</i>&mdash;Enter, solemnly tripping one after another, six
+personages, clad in white robes, wearing on their heads
+garlands of Bays, and golden vizards on their faces,
+branches of Bays or Palm in their hands.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act iv, sc. 2.</td>
+</tr>
+</table>
+
+<p>To these passages may be added the following, in which
+the Palm tree is certainly alluded to though it is not mentioned
+by name&mdash;</p>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Sebastian.</i></td>
+  <td class="tdleft"><span class="s11">That in Arabia</span><br />
+There is one tree, the Ph&oelig;nix' throne; one Ph&oelig;nix<br />
+At this hour reigning there.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iii, sc. 3 (22).<a name="FNanchor_193:1_142" id="FNanchor_193:1_142"></a><a href="#Footnote_193:1_142" class="fnanchor">[193:1]</a></td>
+</tr>
+</table>
+
+<p>And from the poem by Shakespeare, published in Chester's
+"Love's Martyr," 1601.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Let the bird of loudest lay<br /></span>
+<span class="i1i">On the sole Arabian tree<br /></span>
+<span class="i1i">Herald sad and Trumpet be,<br /></span>
+<span class="i0i">To whose sound chaste wings obey."<br /></span>
+</div></div>
+
+<p>Two very distinct trees are named in these passages. In
+the last five the reference is to the true Palm of Biblical and
+classical fame, as the emblem of victory, and the typical
+representation of life and beauty in the midst of barren
+waste and deserts. And we are not surprised at the veneration
+in which the tree was held, when we consider either
+<span class="pagenum"><a name="Page_194" id="Page_194"></a>[<a href="./images/194.png">194</a>]</span>the wonderful grace of the tree, or its many uses in its
+native countries, so many, that Pliny says that the Orientals
+reckoned 360 uses to which the Palm tree could be applied.
+Turner, in 1548, said: "I never saw any perfit Date tree
+yet, but onely a little one that never came to perfection;"<a name="FNanchor_194:1_143" id="FNanchor_194:1_143"></a><a href="#Footnote_194:1_143" class="fnanchor">[194:1]</a>
+and whether Shakespeare ever saw a living Palm tree is doubtful,
+but he may have done so. (<i>See</i> <span class="smcap"><a href="#Date">Date</a></span>.) Now there are
+a great number grown in the large houses of botanic and
+other gardens, the Palm-house at Kew showing more and
+better specimens than can be seen in any other collection
+in Europe: even the open garden can now boast of a few
+species that will endure our winters without protection.
+Cham&aelig;rops humilis and Fortunei seem to be perfectly
+hardy, and good specimens may be seen in several gardens;
+Corypha australis is also said to be quite hardy, and there
+is little doubt but that the Date Palm (<i>Ph&oelig;nix dactylifera</i>),
+which has long been naturalized in the South of Europe,
+would live in Devonshire and Cornwall, and that of the
+thousand species of Palms growing in so many different
+parts of the world, some will yet be found that may grow
+well in the open air in England.</p>
+
+<p>But the Palm tree in No. <a href="#Palm_1">1</a> is a totally different tree, and
+much as Shakespeare has been laughed at for placing a
+Palm tree in the Forest of Arden, the laugh is easily turned
+against those who raise such an objection. The Palm tree
+of the Forest of Arden is the</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4h">"Satin-shining Palm<br /></span>
+<span class="i0">On Sallows in the windy gleams of March"&mdash;<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Idylls of the King</i>&mdash;Vivien.</p>
+
+<p>that is, the Early Willow (<i>Salix caprea</i>) and I believe it is
+so called all over England, as it is in Northern Germany,
+and probably in other northern countries. There is little
+doubt that the name arose from the custom of using the
+Willow branches with the pretty golden catkins on Palm
+Sunday as a substitute for Palm branches.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"In Rome upon Palm Sunday they bear true Palms,<br /></span>
+<span class="i0i">The Cardinals bow reverently and sing old Psalms;<br /></span>
+<span class="pagenum"><a name="Page_195" id="Page_195"></a>[<a href="./images/195.png">195</a>]</span>
+<span class="i0i">Elsewhere those Psalms are sung 'mid Olive branches,<br /></span>
+<span class="i0i">The Holly branch supplies the place among the avalanches;<br /></span>
+<span class="i0i">More northern climes must be content with the sad Willow."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Goethe</span> (quoted by Seeman).</p>
+
+<p>But besides Willow branches, Yew branches are sometimes
+used for the same purpose, and so we find Yews called
+Palms. Evelyn says they were so called in Kent; they are
+still so called in Ireland, and in the churchwarden's accounts
+of Woodbury, Devonshire, is the following entry: "Memorandum,
+1775. That a Yew or Palm tree was planted in the
+churchyard, ye south side of the church, in the same place
+where one was blown down by the wind a few days ago,
+this 25th of November."<a name="FNanchor_195:1_144" id="FNanchor_195:1_144"></a><a href="#Footnote_195:1_144" class="fnanchor">[195:1]</a></p>
+
+<p>How Willow or Yew branches could ever have been
+substituted for such a very different branch as a Palm it is
+hard to say, but in lack of a better explanation, I think it
+not unlikely that it might have arisen from the direction
+for the Feast of Tabernacles in Leviticus xxiii. 40: "Ye
+shall take you on the first day the boughs of goodly trees,
+the branches of Palm trees, and the boughs of thick trees,
+and Willows of the brook." But from whatever cause the
+name and the custom was derived, the Willow was so
+named in very early times, and in Shakespeare's time
+the name was very common. Here is one instance among
+many&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Lambs frisk and play, the shepherds pipe all day,<br /></span>
+<span class="i0i">The Palms and May make country houses gay,<br /></span>
+<span class="i0i">And we hear aye birds tune this merry lay&mdash;<br /></span>
+<span class="i0i">Cuckoo, jug-jug, pee-we, to-witta-woo."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">T. Nash.</span> 1567-1601.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_193:1_142" id="Footnote_193:1_142"></a><a href="#FNanchor_193:1_142"><span class="label">[193:1]</span></a> I do not include among "Palms" the passage in <i>Hamlet</i>, act i, sc.
+1: "In the most high and palmy state of Rome," because I bow to
+Archdeacon Nares' judgment that "palmy" here means "grown to
+full height, in allusion to the palms of the stag's horns, when they have
+attained to their utmost growth." He does not, however, decide this
+with certainty, and the question may be still an open one.</p></div>
+
+<div class="footnote"><p><a name="Footnote_194:1_143" id="Footnote_194:1_143"></a><a href="#FNanchor_194:1_143"><span class="label">[194:1]</span></a> "Names of Herbes," s.v. Palma.</p></div>
+
+<div class="footnote"><p><a name="Footnote_195:1_144" id="Footnote_195:1_144"></a><a href="#FNanchor_195:1_144"><span class="label">[195:1]</span></a> In connection with this, Turner's account of the Palm in 1538 is
+worth quoting: "Palm&#257; arborem in anglia nunq' me vidisse memini.
+Indie tamen ramis palmar&#363; (ut illi loq&#363;ntur) s&oelig;pius sacerdot&#275; dicent&#275;
+andivi. Bendic eti&#257; et hos palmar&#363; ramos, qu&#363; pr&oelig;ter salignas frondes
+nihil omnino vider&#275; ego, quid alii viderint nescio. Si nobis palmarum
+frondes non suppeterent; pr&oelig;staret me judice mutare lectionem et
+dicere. Benedic hos salic&#363; ramos q' falso et mendaciter salicum frondes
+palmarum frondes vocare."&mdash;<span class="smcap">Libellus</span>, <i>De re Herbaria</i>, s.v. Palma.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_196" id="Page_196"></a>[<a href="./images/196.png">196</a>]</span></p>
+<h2><a name="Pansies" id="Pansies"></a>PANSIES.</h2>
+
+<table class="poetryt" summary="pansy references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ophelia.</i></td>
+  <td class="tdleft">And there is Pansies&mdash;that's for thoughts.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 5 (176).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Lucentio.</i></td>
+  <td class="tdleft">But see, while idly I stood looking on,<br />
+I found the effect of Love-in-idleness.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act i, sc. 1 (155).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Oberon.</i></td>
+  <td class="tdleft">Yet mark'd I where the bolt of Cupid fell:<br />
+It fell upon a little western flower,<br />
+Before milk-white, now purple with love's wound,<br />
+And maidens call it Love-in-idleness.<br />
+Fetch me that flower; the herb I show'd thee once;<br />
+The juice of it on sleeping eye-lids laid<br />
+Will make or man or woman madly dote<br />
+Upon the next live creature that it sees.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (165).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Oberon.</i></td>
+  <td class="tdleft">Dian's Bud o'er Cupid's flower<br />
+Hath such free and blessed power.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (78).</td>
+</tr>
+</table>
+
+<p>The Pansy is one of the oldest favourites in English
+gardens, and the affection for it is shown in the many names
+that were given to it. The Anglo-Saxon name was Banwort
+or Bonewort, though why such a name was given to it we
+cannot now say. Nor can we satisfactorily explain its
+common names of Pansy or Pawnce (from the French,
+<i>pens&eacute;es</i>&mdash;"that is, for thoughts," says Ophelia), or Heart's-ease,<a name="FNanchor_196:1_145" id="FNanchor_196:1_145"></a><a href="#Footnote_196:1_145" class="fnanchor">[196:1]</a>
+which name was originally given to the Wallflower.
+The name Cupid's flower seems to be peculiar to Shakespeare,
+but the other name, Love-in-idle, or idleness, is said
+to be still in use in Warwickshire, and signifies love in vain,
+or to no purpose, as in Chaucer: "The prophet David
+saith; If God ne kepe not the citee, in ydel waketh he
+that keptit it."<a name="FNanchor_196:2_146" id="FNanchor_196:2_146"></a><a href="#Footnote_196:2_146" class="fnanchor">[196:2]</a> And in Tyndale's translation of the New
+<span class="pagenum"><a name="Page_197" id="Page_197"></a>[<a href="./images/197.png">197</a>]</span>Testament, "I have prechid to you, if ye holden, if ye hav
+not bileved ideli" (1 Cor. xv. 2). "Beynge plenteuous in
+werk of the Lord evermore, witynge that youre traveil is not
+idel in the Lord" (1 Cor. xv. 58).</p>
+
+<p>But beside these more common names, Dr. Prior mentions
+the following: "Herb Trinity, Three faces under a hood,
+Fancy, Flamy,<a name="FNanchor_197:1_147" id="FNanchor_197:1_147"></a><a href="#Footnote_197:1_147" class="fnanchor">[197:1]</a> Kiss me, Cull me or Cuddle me to you,
+Tickle my fancy, Kiss me ere I rise, Jump up and kiss me,
+Kiss me at the garden gate, Pink of my John, and several
+more of the same amatory character."</p>
+
+<p>Spenser gives the flower a place in his "Royal aray" for
+Elisa&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Strowe me the grounde with Daffadowndillies,<br /></span>
+<span class="i0i">And Cowslips, and Kingcups, and loved Lillies,<br /></span>
+<span class="i3i">The pretie Pawnce,<br /></span>
+<span class="i3i">And the Chevisaunce<br /></span>
+<span class="i0i">Shall match with the fayre Flower Delice."<br /></span>
+</div></div>
+
+<p>And in another place he speaks of the "Paunces trim"&mdash;<i>F. Q.</i>,
+iii. 1. Milton places it in Eve's couch&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i5h">"Flowers were the couch,<br /></span>
+<span class="i0">Pansies, and Violets, and Asphodel,<br /></span>
+<span class="i0">And Hyacinth, earth's freshest, softest lap."<br /></span>
+</div></div>
+
+<p>He names it also as part of the wreath of Sabrina&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Pansies, Pinks, and gaudy Daffadils;"<br /></span>
+</div></div>
+
+<p>and as one of the flowers to strew the hearse of Lycidas&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The White Pink and the Pansie streaked with jet,<br /></span>
+<span class="i0i">The glowing Violet."<br /></span>
+</div></div>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_196:1_145" id="Footnote_196:1_145"></a><a href="#FNanchor_196:1_145"><span class="label">[196:1]</span></a> "The Pansie Heart's ease Maiden's call."&mdash;<span class="smcap">Drayton</span> <i>Ed.</i>, ix.</p></div>
+
+<div class="footnote"><p><a name="Footnote_196:2_146" id="Footnote_196:2_146"></a><a href="#FNanchor_196:2_146"><span class="label">[196:2]</span></a> And again&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The other heste of hym is this,<br /></span>
+<span class="i0i">Take not in ydel my name or amys."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Pardeners Tale.</i></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Eterne God, that through thy purveance<br /></span>
+<span class="i0i">Ledest this world by certein governance,<br /></span>
+<span class="i0i">In idel, as men sein, ye nothinge make."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Frankelynes Tale.</i></p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_197:1_147" id="Footnote_197:1_147"></a><a href="#FNanchor_197:1_147"><span class="label">[197:1]</span></a> "Flamy, because its colours are seen in the flame of wood."&mdash;<i>Flora
+Domestica</i>, 166.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>PARSLEY.</h2>
+
+
+<table class="poetryt" summary="parsley reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Biondello.</i></td>
+  <td class="tdleft">I knew a wench married in an afternoon as she
+went to the garden for Parsley to stuff a rabbit.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act iv, sc 4 (99).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_198" id="Page_198"></a>[<a href="./images/198.png">198</a>]</span>
+Parsley is the abbreviated form of Apium petroselinum,
+and is a common name to many umbelliferous plants, but
+the garden Parsley is the one meant here. This well-known
+little plant has the curious botanic history that no one can
+tell what is its native country. In 1548 Turner said, "Perseley
+groweth nowhere that I knowe, but only in gardens."<a name="FNanchor_198:1_148" id="FNanchor_198:1_148"></a><a href="#Footnote_198:1_148" class="fnanchor">[198:1]</a> It
+is found in many countries, but is always considered an
+escape from cultivation. Probably the plant has been so
+altered by cultivation as to have lost all likeness to its
+original self.</p>
+
+<p>Our forefathers seem to have eaten the parsley <i>root</i> as well
+as the leaves&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Quinces and Peris ciryppe with Parcely rotes<br /></span>
+<span class="i1i">Right so bygyn your mele."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Russell's</span> <i>Boke of Nurture</i>, 826.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Peres and Quynces in syrupe with Percely rotes."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Wynkyn de Worde's</span> <i>Boke of Kervynge</i>.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_198:1_148" id="Footnote_198:1_148"></a><a href="#FNanchor_198:1_148"><span class="label">[198:1]</span></a> "Names of Herbes," s.v. Apium.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>PEACH</h2>
+
+<table class="poetryt" summary="peach references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Prince Henry.</i></td>
+  <td class="tdleft">To take note how many pair of silk stockings
+thou hast, viz., these, and those that were thy
+Peach-coloured ones!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 2 (17).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Pompey.</i></td>
+  <td class="tdleft">Then there is here one Master Caper, at the suit
+of Master Threepile the mercer, for some four suits of
+Peach-coloured satin, which now peaches him a beggar.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iv, sc. 3 (10).</td>
+</tr>
+</table>
+
+<p>The references here are only to the colour of the Peach
+blossom, yet the Peach tree was a well-known tree in Shakespeare's
+time, and the fruit was esteemed a great delicacy,
+and many different varieties were cultivated. Botanically
+the Peach is closely allied to the Almond, and still more
+closely to the Apricot and Nectarine; indeed, many writers
+consider both the Apricot and Nectarine to be only varieties
+of the Peach.</p>
+
+<p>The native country of the Peach is now ascertained to be
+<span class="pagenum"><a name="Page_199" id="Page_199"></a>[<a href="./images/199.png">199</a>]</span>China, and not Persia, as the name would imply. It probably
+came to the Romans through Persia, and was by them
+introduced into England. It occurs in Archbishop's &AElig;lfric's
+"Vocabulary" in the tenth century, "Persicarius, Perseoctreow;"
+and John de Garlande grew it in the thirteenth
+century, "In virgulto Magistri Johannis, pessicus fert
+pessica." It is named in the "Promptorium Parvulorum" as
+"Peche, or Peske, frute&mdash;Pesca Pomum Persicum;" and
+in a note the Editor says: "In a role of purchases for the
+Palace of Westminster preserved amongst the miscellaneous
+record of the Queen's remembrance, a payment occurs, Will
+le Gardener, pro iij koygnere, ij pichere iij<i>s.</i>&mdash;pro groseillere
+iij<i>d</i>, pro j peschere vj<i>d.</i>" <span class="smcap">a.d.</span> 1275, 4 Edw: 1&mdash;</p>
+
+<p>We all know and appreciate the fruit of the Peach, but
+few seem to know how ornamental a tree is the Peach, quite
+independent of the fruit. In those parts where the soil and
+climate are suitable, the Peach may be grown as an ornamental
+spring flowering bush. When so grown preference
+is generally given to the double varieties, of which there are
+several, and which are not by any means the new plants that
+they are generally supposed to be, as they were cultivated
+both by Gerard and Parkinson.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Pear" id="Pear"></a>PEAR.</h2>
+
+<table class="poetryt" summary="pear references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Falstaff.</i></td>
+  <td class="tdleft">I warrant they would whip me with their fine wits
+till I were as crest-fallen as a dried Pear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act iv, sc. 5 (101).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Parolles.</i></td>
+  <td class="tdleft">Your virginity, your old virginity, is like one of
+our French withered Pears, it looks ill, it eats
+drily; marry, 'tis a withered Pear; it was
+formerly better; marry, yet 'tis a withered Pear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act i, sc. 1 (174).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">I must have Saffron to colour the Warden pies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Mercutio.</i></td>
+  <td class="tdleft">O, Romeo .&nbsp;.&nbsp;. thou a Poperin Pear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 1 (37).</td>
+</tr>
+</table>
+
+<p>If we may judge by these few notices, Shakespeare does
+not seem to have had much respect for the Pear, all the
+<span class="pagenum"><a name="Page_200" id="Page_200"></a>[<a href="./images/200.png">200</a>]</span>references to the fruit being more or less absurd or unpleasant.
+Yet there were good Pears in his day, and so
+many different kinds that Gerard declined to tell them at
+length, for "the stocke or kindred of Pears are not to be
+numbered; every country hath his peculiar fruit, so that to
+describe them apart were to send an owle to Athens, or to
+number those things that are without number."</p>
+
+<p>Of these many sorts Shakespeare mentions by name but
+two, the Warden and the Poperin, and it is not possible to
+identify these with modern varieties with any certainty. The
+Warden was probably a general name for large keeping and
+stewing Pears, and the name was said to come from the
+Anglo-Saxon <i>wearden</i>, to keep or preserve, in allusion to its
+lasting qualities. But this is certainly a mistake. In an
+interesting paper by Mr. Hudson Turner, "On the State of
+Horticulture in England in early times, chiefly previous to
+the fifteenth century," printed in the "Arch&aelig;ological Journal,"
+vol. v. p. 301, it is stated that "the Warden Pear had its
+origin and its name from the horticultural skill of the
+Cistercian Monks of Wardon Abbey in Bedfordshire, founded
+in the twelfth century. Three Warden Pears appeared in
+the armorial bearings of the Abbey."</p>
+
+<p>It was certainly an early name. In the "Catholicon
+Anglicum" we find: "A Parmayn, volemum, Anglice, a
+Warden;" and in Parkinson's time the name was still in use,
+and he mentions two varieties, "The Warden or Lukewards
+Pear are of two sorts, both white and red, both great and
+small." (The name of Lukewards seems to point to St.
+Luke's Day, October 18, as perhaps the time either for picking
+the fruit or for its ripening.) "The Spanish Warden is
+greater than either of both the former, and better also."
+And he further says: "The Red Warden and the Spanish
+Warden are reckoned amongst the most excellent of Pears,
+either to bake or to roast, for the sick or for the sound&mdash;and
+indeed the Quince and the Warden are the only two fruits
+that are permitted to the sick to eat at any time." The
+Warden pies of Shakespeare's day, coloured with Saffron,
+have in our day been replaced by stewed Pears coloured
+with Cochineal.<a name="FNanchor_200:1_149" id="FNanchor_200:1_149"></a><a href="#Footnote_200:1_149" class="fnanchor">[200:1]</a></p>
+
+<p><span class="pagenum"><a name="Page_201" id="Page_201"></a>[<a href="./images/201.png">201</a>]</span>
+I can find no guide to the identification of the Poperin
+Pear, beyond Parkinson's description: "The summer Popperin
+and the winter Popperin, both of them very good,
+firm, dry Pears, somewhat spotted and brownish on the
+outside. The green Popperin is a winter fruit of equal
+goodnesse with the former." It was probably a Flemish
+Pear, and may have been introduced by the antiquary
+Leland, who was made Rector of Popering by Henry VIII.
+The place is further known to us as mentioned by Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A knyght was fair and gent<br /></span>
+<span class="i0i">In batail and in tornament,<br /></span>
+<span class="i1i">His name was Sir Thopas.<br /></span>
+<span class="i0i">Alone he was in fer contre,<br /></span>
+<span class="i0i">In Flaundres, all beyonde the se,<br /></span>
+<span class="i1i">At Popering in the place."<br /></span>
+</div></div>
+
+<p>As a garden tree the Pear is not only to be grown for its
+fruit, but as a most ornamental tree. Though the individual
+flowers are not, perhaps, so handsome as the Apple blossoms,
+yet the growth of the tree is far more elegant; and an old
+Pear tree, with its curiously roughened bark, its upright, tall,
+pyramidal shape, and its sheet of snow-white blossoms, is a
+lovely ornament in the old gardens and lawns of many of
+our country houses. It is by some considered a British tree,
+but it is probably only a naturalized foreigner, originally
+introduced by the Romans.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_200:1_149" id="Footnote_200:1_149"></a><a href="#FNanchor_200:1_149"><span class="label">[200:1]</span></a> The Warden was sometimes spoken of as different from Pears. Sir
+Hugh Platt speaks of "Wardens <i>or</i> Pears."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Peas" id="Peas"></a>PEAS.</h2>
+
+<table class="poetryt" summary="pea references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Ceres, most bounteous lady, thy rich leas<br />
+Of Wheat, Rye, Barley, Vetches, Oats, and Pease.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Carrier.</i></td>
+  <td class="tdleft">Peas and Beans are as dank here as a dog.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 1 (9). (<i>See</i> <span class="smcap"><a href="#Beans">Beans</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Biron.</i></td>
+  <td class="tdleft">This fellow picks up wit, as pigeons Pease.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (315).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">I had rather have a handful or two of dried Peas.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_202" id="Page_202"></a>[<a href="./images/202.png">202</a>]</span>(5)</td>
+  <td class="tdleftt"><i>Fool.</i></td>
+  <td class="tdleft">That a shealed Peascod?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act i, sc. 4 (219).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Peas_6" id="Peas_6"></a>6)</td>
+  <td class="tdleftt"><i>Touchstone.</i></td>
+  <td class="tdleft">I remember the wooing of a Peascod instead of her.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act ii, sc. 4 (51).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Malvolio.</i></td>
+  <td class="tdleft">Not yet old enough to be a man, nor young
+enough for a boy; as a Squash is before 'tis
+a Peascod, or a Codling when 'tis almost an
+Apple.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act i, sc. 5 (165).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Hostess.</i></td>
+  <td class="tdleft">Well, fare thee well! I have known thee these
+twenty-nine years come Peascod time.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 4 (412).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Leontes.</i></td>
+  <td class="tdleft">How like, methought, I then was to this kernel,<br />
+This Squash, this gentleman.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act i, sc. 2 (159).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt" colspan="2"><i>Peascod, Pease-Blossom, and Squash</i>&mdash;Dramatis person&aelig;
+       in <i>Midsummer Night's Dream</i>.</td>
+</tr>
+</table>
+
+<p>There is no need to say much of Peas, but it may be
+worth a note in passing that in old English we seldom meet
+with the word Pea. Peas or Pease (the Anglicised form of
+Pisum) is the singular, of which the plural is Peason.
+"Pisum is called in Englishe a Pease;" says Turner&mdash;</p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Alle that for me thei doo pray,<br /></span>
+<span class="i0i">Helpeth me not to the uttermost day<br /></span>
+<span class="i0i">The value of a Pese."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Child of Bristowe</i>, p. 570.</p>
+
+<p>And the word was so used in and after Shakespeare's time,
+as by Ben Jonson&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A pill as small as a pease."&mdash;<i>Magnetic Lady.</i><br /></span>
+</div></div>
+
+<p>The Squash is the young Pea, before the Peas are formed
+in it, and the Peascod is the ripe shell of the Pea before it
+is shelled.<a name="FNanchor_202:1_150" id="FNanchor_202:1_150"></a><a href="#Footnote_202:1_150" class="fnanchor">[202:1]</a> The garden Pea (<i>Pisum sativum</i>) is the cultivated
+form of a plant found in the South of Europe, but
+very much altered by cultivation. It was probably not
+introduced into England as a garden vegetable long before
+<span class="pagenum"><a name="Page_203" id="Page_203"></a>[<a href="./images/203.png">203</a>]</span>Shakespeare's time. It is not mentioned in the old lists of
+plants before the sixteenth century, and Fuller tells us that
+in Queen Elizabeth's time they were brought from Holland,
+and were "fit dainties for ladies, they came so far and cost
+so dear."</p>
+
+<p>The beautiful ornamental Peas (Sweet Peas, Everlasting
+Peas, &amp;c.) are of different family (Lathyrus, not Pisum), but
+very closely allied. There is a curious amount of folklore
+connected with Peas, and in every case the Peas and
+Peascods are connected with wooing the lasses. This explains
+Touchstone's speech (No. <a href="#Peas_6">6</a>). Brand gives several
+instances of this, from which one stanza from Browne's
+"Pastorals" may be quoted&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Peascod greene, oft with no little toyle,<br /></span>
+<span class="i0i">He'd seek for in the fattest, fertil'st soile,<br /></span>
+<span class="i0i">And rend it from the stalke to bring it to her,<br /></span>
+<span class="i0i">And in her bosom for acceptance wooe her."<br /></span>
+</div></div>
+
+<p class="authorpoem">Book ii, song 3.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_202:1_150" id="Footnote_202:1_150"></a><a href="#FNanchor_202:1_150"><span class="label">[202:1]</span></a> The original meaning of Peascod is a bag of peas. Cod is bag as
+Matt. x. 10&mdash;"ne codd, ne hlaf, ne feo on heora gyrdlum&mdash;'not a bag,
+not a loaf, not (fee) money in their girdles.'"&mdash;<span class="smcap">Cockayne</span>, <i>Spoon and
+Sparrow</i>, p. 518.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>PEONY, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <a href="#Piony">PIONY</a>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>PEPPER.</h2>
+
+<table class="poetryt" summary="pepper references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Hotspur.</i></td>
+  <td class="tdleft">Such protest of Pepper-gingerbread.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 1 (260). (<i>See</i> <span class="smcap">Ginger</span>, <a href="#Ginger_9">9</a>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">An I have not forgotten what the inside of a
+church is made of, I am a Pepper-corn, a
+brewer's horse.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 3 (8).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Poins.</i></td>
+  <td class="tdleft">Pray God, you have not murdered some of them.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">Nay, that's past praying for, for I have Peppered two of them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 4 (210).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">I have led my ragamuffins, where they are Peppered.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 3 (36).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Mercutio.</i></td>
+  <td class="tdleft">I am Peppered, I warrant, for this world.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iii, sc. 1 (102).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_204" id="Page_204"></a>[<a href="./images/204.png">204</a>]</span>(6)</td>
+  <td class="tdleftt"><i>Ford.</i></td>
+  <td class="tdleft">He cannot 'scape me, 'tis impossible he
+should; he cannot creep into a halfpenny
+purse or into a Pepper-box.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act iii, sc. 5 (147).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Sir Andrew.</i></td>
+  <td class="tdleft">Here's the challenge, read it; I warrant there's
+vinegar and Pepper in't.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act iii, sc. 4 (157).</td>
+</tr>
+</table>
+
+<p>Pepper is the seed of Piper nigrum, "whose drupes form
+the black Pepper of the shops when dried with the skin upon
+them, and white Pepper when that flesh is removed by
+washing."&mdash;<span class="smcap">Lindley.</span> It is, like all the pepperworts, a
+native of the Tropics, but was well known both to the
+Greeks and Romans. By the Greeks it was probably not
+much used, but in Rome it seems to have been very common,
+if we may judge by Horace's lines&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Deferar in vicum, vendentem thus et odores,<br /></span>
+<span class="i0i">Et piper, et quidquid chartis amicitur ineptis."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Epistol&aelig;</i> ii, 1-270.</p>
+
+<p>And in another place he mentions "Pipere albo" as an
+ingredient in cooking. Juvenal mentions it as an article of
+commerce, "piperis coemti" (Sat. xiv. 293). Persius speaks
+of it in more than one passage, and Pliny describes it so
+minutely that he evidently not only knew the imported spice,
+but also had seen the living plant. By the Romans it was
+probably introduced into England, being frequently met with
+in the Anglo-Saxon Leech-books. It is mentioned by
+Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And in an erthen pot how put is al,<br /></span>
+<span class="i0i">And salt y-put in and also Paupere."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Prologue of the Chanoune's Yeman.</i></p>
+
+<p>It was apparently, like Ginger, a very common condiment
+in Shakespeare's time, and its early introduction into England
+as an article of commerce is shown by passages in our old
+law writers, who speak of the reservation of rent, not only in
+money, but in "pepper, cummim, and wheat;" whence
+arose the familiar reservation of a single peppercorn as a
+rent so nominal as to have no appreciable pecuniary value.<a name="FNanchor_204:1_151" id="FNanchor_204:1_151"></a><a href="#Footnote_204:1_151" class="fnanchor">[204:1]</a></p>
+
+<p><span class="pagenum"><a name="Page_205" id="Page_205"></a>[<a href="./images/205.png">205</a>]</span>
+The red or Cayenne Pepper is made from the ground
+seeds of the Capsicum, but I do not find that it was used to
+known in the sixteenth century.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_204:1_151" id="Footnote_204:1_151"></a><a href="#FNanchor_204:1_151"><span class="label">[204:1]</span></a> Littleton does not mention Pepper when speaking of rents reserved
+otherwise than in money, but specifies as instances, "un chival, ou un
+esperon dor, ou un clovegylofer"&mdash;a horse, a golden spur, or a clove
+gilliflower.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>PIG-NUTS.</h2>
+
+<table class="poetryt" summary="pig-nut reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Caliban.</i></td>
+  <td class="tdleft">I prythee let me bring thee where Crabs grow;<br />
+And I with my long nails will dig thee Pig-nuts.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 2 (171).</td>
+</tr>
+</table>
+
+<p>Pig-nuts or Earth-nuts are the tuberous roots of Conopodium
+denudatum (<i>Bunium flexuosum</i>), a common weed in
+old upland pastures; it is found also in woods. This root
+is really of a pleasant flavour when first eaten, but leaves an
+unpleasant taste in the mouth. It is said to be much improved
+by roasting, and to be then quite equal to Chestnuts.
+Yet it is not much prized in England except by pigs and
+children, who do not mind the trouble of digging for it.
+But the root lies deep, and the stalk above it is very brittle,
+and "when the little 'howker' breaks the white shank he at
+once desists from his attempt to reach the root, for he believes
+that it will elude his search by sinking deeper and
+deeper into the ground" (Johnston). I have never heard
+of its being cultivated in England, but it is cultivated in
+some European countries, and much prized as a wholesome
+and palatable root.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Pine" id="Pine"></a>PINE.</h2>
+
+<table class="poetryt" summary="pine references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Prospero.</i></td>
+  <td class="tdleft"><span class="s8">She did confine thee,</span></td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">Into a cloven Pine;</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft"><span class="s8">It was mine art,</span><br />
+When I arrived and heard thee, that made gape<br />
+The Pine and let thee out.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act i, sc. 2 (273).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Suffolk.</i></td>
+  <td class="tdleft">Thus droops this lofty Pine and hangs his sprays.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act ii, sc. 3 (45).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_206" id="Page_206"></a>[<a href="./images/206.png">206</a>]</span>(3)</td>
+  <td class="tdleftt"><i>Prospero.</i></td>
+  <td class="tdleft"><span class="s8">And by the spurs plucked up</span><br />
+The Pine and Cedar.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act v, sc. 1 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Agamemnon.</i></td>
+  <td class="tdleft">As knots, by the conflux of meeting sap,<br />
+Infect the sound Pine and divert his grain<br />
+Tortive and errant from his course of growth.<br /></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act i, sc. 3 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Antony.</i></td>
+  <td class="tdleft"><span class="s5">Where yonder Pine does stand</span><br />
+I shall discover all.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft"><span class="s5">This Pine is bark'd</span><br />
+That overtopped them all.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act iv, sc. 12 (23).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Belarius.</i></td>
+  <td class="tdleft"><span class="s10">As the rudest wind</span><br />
+That by the top doth take the mountain Pine,<br />
+And make him stoop to the vale.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (174).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>1st Lord.</i></td>
+  <td class="tdleft">Behind the tuft of Pines I met them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act ii, sc. 1 (33).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Pine_8" id="Pine_8"></a>8)</td>
+  <td class="tdleftt"><i>Richard.</i></td>
+  <td class="tdleft">But when from under this terrestrial ball<br />
+He fires the proud top of the eastern Pines.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 2 (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Antonio.</i></td>
+  <td class="tdleft">You may as well forbid the mountain Pines<br />
+To wag their high tops and to make no noise,<br />
+When they are fretten with the gusts of heaven.<br /></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act iv, sc. 1 (75).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Ay me! the bark peel'd from the lofty Pine,<br />
+His leaves will wither, and his sap decay;<br />
+So must my soul, her bark being peel'd away.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (1167).</td>
+</tr>
+</table>
+
+<p>In No. <a href="#Pine_8">8</a> is one of those delicate touches which show
+Shakespeare's keen observation of nature, in the effect of the
+rising sun upon a group of Pine trees. Mr. Ruskin says
+that with the one exception of Wordsworth no other English
+poet has noticed this. Wordsworth's lines occur in one of
+his minor poems on leaving Italy&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"My thoughts become bright like yon edging of Pines<br /></span>
+<span class="i1i">On the steep's lofty verge&mdash;how it blackened the air!<br /></span>
+<span class="i0i">But touched from behind by the sun, it now shines<br /></span>
+<span class="i1i">With threads that seem part of its own silver hair."<br /></span>
+</div></div>
+
+<p>While Mr. Ruskin's account of it is this: "When the sun
+<span class="pagenum"><a name="Page_207" id="Page_207"></a>[<a href="./images/207.png">207</a>]</span>rises behind a ridge of Pines, and those Pines are seen from
+a distance of a mile or two against his light, the whole form
+of the tree, trunk, branches and all, becomes one frost-work
+of intensely brilliant silver, which is relieved against the clear
+sky like a burning fringe, for some distance on either side of
+the sun."&mdash;<i>Stones of Venice</i>, i. 240.</p>
+
+<p>The Pine is the established emblem of everything that is
+"high and lifted up," but always with a suggestion of dreariness
+and solitude. So it is used by Shakespeare and by
+Milton, who always associated the Pine with mountains; and
+so it has always been used by the poets, even down to our
+own day. Thus Tennyson&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"They came, they cut away my tallest Pines&mdash;<br /></span>
+<span class="i0i">My dark tall Pines, that plumed the craggy ledge&mdash;<br /></span>
+<span class="i0i">High o'er the blue gorge, and all between<br /></span>
+<span class="i0i">The snowy peak and snow-white cataract<br /></span>
+<span class="i0i">Fostered the callow eaglet; from beneath<br /></span>
+<span class="i0i">Whose thick mysterious boughs in the dark morn<br /></span>
+<span class="i0i">The panther's roar came muffled while I sat<br /></span>
+<span class="i0i">Down in the valley."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Complaint of &AElig;none.</i></p>
+
+<p>Sir Walter Scott similarly describes the tree in the pretty
+and well-known lines&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Aloft the Ash and warrior Oak<br /></span>
+<span class="i0i">Cast anchor in the rifted rock;<br /></span>
+<span class="i0i">And higher yet the Pine tree hung<br /></span>
+<span class="i0i">His shattered trunk, and frequent flung,<br /></span>
+<span class="i0i">Where seemed the cliffs to meet on high,<br /></span>
+<span class="i0i">His boughs athwart the narrow sky."<br /></span>
+</div></div>
+
+<p>Yet the Pine which was best known to Shakespeare, and
+perhaps the only Pine he knew, was the Pinus sylvestris, or
+Scotch fir, and this, though flourishing on the highest hills
+where nothing else will flourish, certainly attains its fullest
+beauty in sheltered lowland districts. There are probably
+much finer Scotch firs in Devonshire than can be found in
+Scotland. This is the only indigenous Fir, though the Pinus
+pinaster claims to be a native of Ireland, some cones having
+been supposed to be found in the bogs, but the claim is not
+generally allowed (there is no proof of the discovery of
+the cones); and yet it has become so completely naturalized
+on the coast of Dorsetshire, especially about Bournemouth,
+<span class="pagenum"><a name="Page_208" id="Page_208"></a>[<a href="./images/208.png">208</a>]</span>that it has been admitted into the last edition of Sowerby's
+"English Botany."</p>
+
+<p>But though the Scotch Fir is a true native, and was
+probably much more abundant in England formerly than it
+is now, the tree has no genuine English name, and apparently
+never had. Pine comes directly and without change from
+the Latin, <i>Pinus</i>, as one of the chief products, pitch, comes
+directly from the Latin, <i>pix</i>. In the early vocabularies it is
+called "Pin-treow," and the cones are "Pin-nuttes." They
+were also called "Pine apples," and the tree was called the
+Pine-Apple Tree.<a name="FNanchor_208:1_152" id="FNanchor_208:1_152"></a><a href="#Footnote_208:1_152" class="fnanchor">[208:1]</a> This name was transferred to the rich
+West Indian fruit<a name="FNanchor_208:2_153" id="FNanchor_208:2_153"></a><a href="#Footnote_208:2_153" class="fnanchor">[208:2]</a> from its similarity to a fir-cone, and so was
+lost to the fruit of the fir-tree, which had to borrow a new
+name from the Greek; but it was still in use in Shakespeare's
+day&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sweete smelling Firre that frankensence provokes,<br /></span>
+<span class="i0i">And Pine Apples from whence sweet juyce doth come."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Chester's</span> <i>Love's Martyr</i>.</p>
+
+<p>And Gerard describing the fruit of the Pine Tree, says:
+"This Apple is called in .&nbsp;.&nbsp;. Low Dutch, Pyn Appel, and
+in English, Pine-apple, clog, and cones." We also find
+"Fyre-tree," which is a true English word meaning the "fire-tree;"
+but I believe that "Fir" was originally confined to
+the timber, from its large use for torches, and was not till
+later years applied to the living tree.</p>
+
+<p>The sweetness of the Pine seeds, joined to the difficulty
+of extracting them, and the length of time necessary for their
+ripening, did not escape the notice of the emblem-writers of
+the sixteenth and seventeenth centuries. With them it was
+the favourite emblem of the happy results of persevering
+labour. Camerarius, a contemporary of Shakespeare and a
+great botanist, gives a pretty plate of a man holding a Fir-cone,
+with this moral: "Sic ad virtutem et honestatem et
+laudabiles actiones non nisi per labores ac varias difficultates
+perveniri potest, at postea sequuntur suavissimi fructus."
+He acknowledges his obligation for this moral to the
+<span class="pagenum"><a name="Page_209" id="Page_209"></a>[<a href="./images/209.png">209</a>]</span>proverb of Plautus: "Qui e nuce nucleum esse vult, frangat
+nucem" ("Symbolorum," &amp;c., 1590).</p>
+
+<p>In Shakespeare's time a few of the European Conifers
+were grown in England, including the Larch, but only as
+curiosities. The very large number of species which now
+ornament our gardens and Pineta from America and Japan
+were quite unknown. The many uses of the Pine&mdash;for its
+timber, production of pitch, tar, resin, and turpentine&mdash;were
+well known and valued. Shakespeare mentions both pitch
+and tar.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_208:1_152" id="Footnote_208:1_152"></a><a href="#FNanchor_208:1_152"><span class="label">[208:1]</span></a> For many examples see "Catholicon Anglicum," s.v. Pyne-Tree,
+with note.</p></div>
+
+<div class="footnote"><p><a name="Footnote_208:2_153" id="Footnote_208:2_153"></a><a href="#FNanchor_208:2_153"><span class="label">[208:2]</span></a> The West Indian Pine Apple is described by Gerard as "Ananas,
+the Pinea, or Pine Thistle."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>PINKS.</h2>
+
+<table class="poetryt" summary="pink references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Romeo.</i></td>
+  <td class="tdleft">A most courteous exposition.
+</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mercutio.</i></td>
+  <td class="tdleft">Nay, I am the very Pink of courtesy.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft">Pink for flower.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Mercutio.</i></td>
+  <td class="tdleft">Right.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft">Why, then is my pump well flowered.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 4 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Maiden.</i></td>
+  <td class="tdleft">Pinks of odour faint.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, Introd. song.</td>
+</tr>
+</table>
+
+<p>To these may perhaps be added the following, from the
+second verse sung by Mariana in "Measure for Measure,"
+act iv, sc. 1 (337)&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Hide, oh hide, those hills of snow<br /></span>
+<span class="i1">Which thy frozen bosom bears!<br /></span>
+<span class="i0">On whose tops the Pinks that grow<br /></span>
+<span class="i1">Are of those that April wears.<br /></span>
+</div></div>
+
+<p>The authority is doubtful, but it is attributed to Shakespeare
+in some editions of his poems.</p>
+
+<p>The Pink or Pincke was, as now, the name of the smaller
+sorts of Carnations, and was generally applied to the single
+sorts. It must have been a very favourite flower, as we may
+gather from the phrase "Pink of courtesy," which means
+courtesy carried to its highest point; and from Spenser's
+pretty comparison&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Her lovely eyes like Pincks but newly spred."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Amoretti</i>, Sonnet 64.</p>
+
+<p><span class="pagenum"><a name="Page_210" id="Page_210"></a>[<a href="./images/210.png">210</a>]</span>
+The name has a curious history. It is not, as most of us
+would suppose, derived from the colour, but the colour gets
+its name from the plant. The name (according to Dr. Prior)
+comes through <i>Pinksten</i> (German), from Pentecost, and so
+was originally applied to one species&mdash;the Whitsuntide Gilliflower.
+From this it was applied to other species of the
+same family. It is certainly "a curious accident," as Dr.
+Prior observes, "that a word that originally meant 'fiftieth'
+should come to be successively the name of a festival of the
+Church, of a flower, of an ornament in muslin called <i>pinking</i>,
+of a colour, and of a sword stab." Shakespeare uses
+the word in three of its senses. First, as applied to a
+colour&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Come, thou monarch of the Vine,<br /></span>
+<span class="i0">Plumpy Bacchus with Pink eyne.<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Antony and Cleopatra</i>, act ii, sc. 7.<a name="FNanchor_210:1_154" id="FNanchor_210:1_154"></a><a href="#Footnote_210:1_154" class="fnanchor">[210:1]</a></p>
+
+<p>Second, as applied to an ornament of dress in Romeo's
+person&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Then is my pump well flowered;<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Romeo and Juliet</i>, act ii, sc. 4.</p>
+
+<p><i>i.e.</i>, well pinked. And in Grumio's excuses to Petruchio for
+the non-attendance of the servants&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Nathaniel's coat, Sir, was not fully made,<br /></span>
+<span class="i0">And Gabriel's pumps were all unpinked<br /></span>
+<span class="i0">I' the heel.<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Taming of the Shrew</i>, act iv, sc. 1.</p>
+
+<p>And thirdly, as the pinked ornament in muslin&mdash;</p>
+
+<div class="blockquot">
+<p>There's a haberdasher's wife of small wit near him, that railed upon me
+till her Pink'd porringer fell off her head.</p>
+</div>
+
+<p class="authorpoem"><i>Henry VIII</i>, act v, sc. 3.</p>
+
+<p>And as applied to the flower in the passage quoted above.
+He also uses it in another sense&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">This Pink is one of Cupid's carriers;<br /></span>
+<span class="i0">Clap on more sail&mdash;pursue!<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Merry Wives of Windsor</i>, act ii, sc. 7.</p>
+
+<p>where pink means a small country vessel often mentioned
+under that name by writers of the sixteenth century.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_210:1_154" id="Footnote_210:1_154"></a><a href="#FNanchor_210:1_154"><span class="label">[210:1]</span></a> It is very probable that this does not refer to the colour&mdash;"Pink = winking,
+half-shut."&mdash;<span class="smcap">Schmidt.</span> And see Nares, s.v. Pinke eyne.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_211" id="Page_211"></a>[<a href="./images/211.png">211</a>]</span></p>
+<h2><a name="Piony" id="Piony"></a>PIONY.</h2>
+
+<table class="poetryt" summary="piony reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Thy banks with Pioned and twilled brims,<br />
+Which spongy April at thy best betrims,<br />
+To make cold nymphs chaste crowns.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (65).</td>
+</tr>
+</table>
+
+<p>There is much dispute about this passage, the dispute
+turning on the question whether "Pioned" has reference to
+the Peony flower or not. The word by some is supposed to
+mean only "digged," and it doubtless often had this meaning,<a name="FNanchor_211:1_155" id="FNanchor_211:1_155"></a><a href="#Footnote_211:1_155" class="fnanchor">[211:1]</a>
+though the word is now obsolete, and only survives
+with us in "pioneer," which, in Shakespeare's time, meant
+"digger" only, and not as now, "one who goes before to
+prepare the way"&mdash;thus Hamlet&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Well said, old mole! cans't work i' the earth so fast?<br /></span>
+<span class="i0">A worthy pioner?<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Hamlet</i>, act i, sc. 5 (161).</p>
+
+<p>and again&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">There might you see the labouring pioner<br /></span>
+<span class="i0">Begrim'd with sweat, and smeared all with dust.<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Lucrece</i> (1380).</p>
+
+<p>But this reading seems very tame, tame in itself, and doubly
+tame when taken in connection with the context, and "Certainly
+savours more of the commentators' prose than of
+Shakespeare's poetry" ("Edinburgh Review," 1872, p. 363).
+I shall assume, therefore, that the flower is meant, spelt in
+the form of "Piony," instead of Peony or P&aelig;ony.<a name="FNanchor_211:2_156" id="FNanchor_211:2_156"></a><a href="#Footnote_211:2_156" class="fnanchor">[211:2]</a></p>
+
+<p>The P&aelig;ony (<i>P. corallina</i>) is sometimes allowed a place in
+the British flora, having been found apparently wild at the
+Steep Holmes in the Bristol Channel and a few other places,
+<span class="pagenum"><a name="Page_212" id="Page_212"></a>[<a href="./images/212.png">212</a>]</span>but it is now considered certain that in all these places it is
+a garden escape. Gerard gave one such habitat: "The
+male Peionie groweth wilde upon a Coneyberry in Betsome,
+being in the parish of Southfleet, in Kent, two miles from
+Gravesend, and in the ground sometimes belonging to a
+farmer there, called John Bradley;" but on this his editor
+adds the damaging note: "I have been told that our author
+himselfe planted that Peionee there, and afterwards seemed
+to find it there by accident; and I do believe it was so, because
+none before or since have ever seen or heard of it
+growing wild since in any part of this kingdome."</p>
+
+<p>But though not a native plant, it had been cultivated in
+England long before Shakespeare's and Gerard's time. It
+occurs in most of the old vocabularies from the tenth century
+downwards, and in Shakespeare's time the English
+gardens had most of the European species that are now
+grown, including also the handsome double-red and white
+varieties. Since his time the number of species and varieties
+has been largely increased by the addition of the Chinese and
+Japanese species, and by the labours of the French nurserymen,
+who have paid more attention to the flower than the
+English.</p>
+
+<p>In the hardy flower garden there is no more showy family
+than the P&aelig;ony. They have flowers of many colours, from
+almost pure white and pale yellow to the richest crimson;
+and they vary very much in their foliage, most of them
+having large fleshy leaves, "not much unlike the leaves of
+the Walnut tree," but some of them having their leaves
+finely cut and divided almost like the leaves of Fennel (<i>P.
+tenuifolia</i>). They further vary in that some are herbaceous,
+disappearing entirely in winter, while others, Moutan or
+Tree P&aelig;onies, are shrubs; and in favourable seasons, when
+the shrub is not injured by spring frosts, there is no grander
+shrub than an old Tree P&aelig;ony in full flower.</p>
+
+<p>Of the many different species the best are the Moutans,
+which, according to Chinese tradition, have been grown in
+China for 1500 years, and which are now produced in great
+variety of colour; P. corallina, for the beauty of its coral-like
+seeds; P. Cretica, for its earliness in flowering; P.
+tenuifolia, single and double, for its elegant foliage; P.
+Whitmaniana, for its pale yellow but very fleeting flowers,
+<span class="pagenum"><a name="Page_213" id="Page_213"></a>[<a href="./images/213.png">213</a>]</span>which, before they are fully expanded, have all the appearance
+of immense Globe-flowers (<i>trollius</i>); P. lobata, for the
+wonderful richness of its bright crimson flowers; and P.
+Whitleji, a very old and very double form of P. edulis, of
+great size, and most delicate pink and white colour.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_211:1_155" id="Footnote_211:1_155"></a><a href="#FNanchor_211:1_155"><span class="label">[211:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Which to outbarre, with painful pyonings,<br /></span>
+<span class="i0i">From sea to sea, he heapt a mighty mound!"<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Spenser</span>, <i>F. Q.</i>, ii, 10, 46.</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_211:2_156" id="Footnote_211:2_156"></a><a href="#FNanchor_211:2_156"><span class="label">[211:2]</span></a> The name was variously spelt, <i>e.g.</i>&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And other trees there was mane one<br /></span>
+<span class="i0i">The Pyany, the Poplar, and the Plane."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Squyr of Lowe Degre</i>, 39.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The pretie Pinke and purple Pianet."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Cutwode</span>, <i>Caltha Poetarum</i>, 1599, st. 24.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A Pyon (Pyion A.) dionia, herba est."&mdash;<i>Catholicon Anglicum.</i><br /></span>
+</div></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>PIPPIN, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Apple">Apple</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>PLANE.</h2>
+
+<table class="poetryt" summary="plane reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Daughter.</i></td>
+  <td class="tdleft"><span class="s7">I have sent him where a Cedar,</span><br />
+Higher than all the rest, spreads like a Plane<br />
+Fast by a brook.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act ii, sc. 6 (4).</td>
+</tr>
+</table>
+
+<p>There is no certain record how long the Plane has been
+introduced into England; it is certainly not a native tree,
+nor even an European tree, but came from the East, and
+was largely planted and much admired both by the Greeks
+and Romans. We know from Pliny that it was growing in
+France in his day on the part opposite Britain, and the
+name occurs in the old vocabularies. But from Turner's
+evidence in 1548 it must have been a very scarce tree
+in the sixteenth century. He says: "I never saw any Plaine
+tree in Englande, saving once in Northumberlande besyde
+Morpeth, and an other at Barnwell Abbey besyde Cambryge."
+And more than a hundred years later Evelyn records a
+special visit to Lee to inspect one as a great curiosity. The
+Plane is not only a very handsome tree, and a fast grower,
+but from the fact that it yearly sheds its bark it has become
+one of the most useful trees for growing in towns. The
+wood is of very little value. To the emblem writers the
+Plane was an example of something good to the eye, but of
+no real use. Camerarius so moralizes it (Pl. xix.), and,
+quoting Virgil's "steriles platanos," he says of it, "umbram
+non fructum platanus dat."</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_214" id="Page_214"></a>[<a href="./images/214.png">214</a>]</span></p>
+<h2>PLANTAIN.</h2>
+
+<table class="poetryt" summary="plantain references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Costard.</i></td>
+  <td class="tdleft">O sir, Plantain, a plain Plantain! no l'envoy,
+no l'envoy; no salve, sir, but a Plantain.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Moth.</i></td>
+  <td class="tdleft">By saying that a costard was broken in a shin.
+Then call'd you for the l'envoy.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Costard.</i></td>
+  <td class="tdleft">True! and I for a Plantain.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Loves Labour's Lost</i>, act iii, sc. 1 (76).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft">Your Plantain leaf is excellent for that.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Benvolio.</i></td>
+  <td class="tdleft"><span class="s6">For what, I pray thee?</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft"><span class="s12">For your broken shin.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act i, sc. 2 (52).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Plantain_3" id="Plantain_3"></a>3)</td>
+  <td class="tdleftt"><i>Troilus.</i></td>
+  <td class="tdleft">As true as steel, as Plantage to the moon.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act iii, sc. 2 (184).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Palamon.</i></td>
+  <td class="tdleft"><span class="s5">These poore slight sores</span><br />
+Neede not a Plantin.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act i, sc. 2 (65).</td>
+</tr>
+</table>
+
+<p>The most common old names for the Plantain were Waybroad
+(corrupted to Weybread, Wayborn, and Wayforn)
+and Ribwort. It was also called Lamb's-tongue and
+Kemps, while the flower spike with the stalk was called
+Cocks and Cockfighters (still so called by children).<a name="FNanchor_214:1_157" id="FNanchor_214:1_157"></a><a href="#Footnote_214:1_157" class="fnanchor">[214:1]</a> The
+old name of Ribwort was derived from the ribbed leaves,
+while Waybroad marked its universal appearance, scattered
+by all roadsides and pathways, and literally bred by the
+wayside. It has a similar name in German, Wegetritt, that
+is Waytread; and on this account the Swedes name the
+plant Wagbredblad, and the Indians of North America
+Whiteman's Foot, for it springs up near every new settlement,
+having sprung up after the English settlers, not only
+in America, but also in Australia and New Zealand&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Whereso'er they move, before them<br /></span>
+<span class="i0i">Swarms the stinging fly, the Ahmo,<br /></span>
+<span class="i0i">Swarms the bee, the honey-maker:<br /></span>
+<span class="pagenum"><a name="Page_215" id="Page_215"></a>[<a href="./images/215.png">215</a>]</span>
+<span class="i0i">Wheresoe'er they tread, beneath them<br /></span>
+<span class="i0i">Springs a flower unknown among us,<br /></span>
+<span class="i0i">Springs the 'White man's foot' in blossom."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Longfellow's</span> <i>Hiawatha</i>.</p>
+
+<p>And "so it is a mistake to say that Plantain is derived from
+the likeness of the plant to the sole of the foot, as in
+Richardson's Dictionary. Rather say, because the herb
+grows under the sole of the foot."&mdash;<span class="smcap">Johnston.</span> How, or
+when, or why the plant lost its old English names to take
+the Latin name of Plantain, it is hard to say. It occurs in
+a vocabulary of the names of plants of the middle of the
+thirteenth century&mdash;"Plantago, Planteine, Weibrode," and
+apparently came to us from the French, "Cy est assets de
+Planteyne, Weybrede."&mdash;<span class="smcap">Walter de Biblesworth</span> (13th
+cent.) But with the exception of Chaucer<a name="FNanchor_215:1_158" id="FNanchor_215:1_158"></a><a href="#Footnote_215:1_158" class="fnanchor">[215:1]</a> I believe
+Shakespeare is almost the only early writer that uses the
+name, though it is very certain that he did not invent it;
+but "Plantage" (No <a href="#Plantain_3">3</a>), which is doubtless the same plant,
+is peculiar to him.<a name="FNanchor_215:2_159" id="FNanchor_215:2_159"></a><a href="#Footnote_215:2_159" class="fnanchor">[215:2]</a></p>
+
+<p>It was as a medical herb that our forefathers chiefly valued
+the Plantain, and for medical purposes its reputation was of
+the very highest. In a book of recipes (Lacnunga) of the
+eleventh century, by &AElig;lfric, is an address to the Waybroad,
+which is worth extracting at length&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And thou, Waybroad!<br /></span>
+<span class="i0i">Mother of worts,<br /></span>
+<span class="i0i">Open from eastward,<br /></span>
+<span class="i0i">Mighty within;<br /></span>
+<span class="i0i">Over thee carts creaked,<br /></span>
+<span class="i0i">Over thee Queens rode,<br /></span>
+<span class="i0i">Over thee brides bridalled,<br /></span>
+<span class="i0i">Over thee bulls breathed,<br /></span>
+<span class="i0i">All these thou withstood'st<br /></span>
+<span class="i0i">Venom and vile things<br /></span>
+<span class="i0i">And all the loathly ones<br /></span>
+<span class="i0i">That through the land rove."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Cockayne's</span> <i>Translation</i>.</p>
+
+<p><span class="pagenum"><a name="Page_216" id="Page_216"></a>[<a href="./images/216.png">216</a>]</span>
+In another earlier recipe book the Waybroad is prescribed
+for twenty-two diseases, one after another; and in another
+of the same date we are taught how to apply it: "If a man
+ache in half his head .&nbsp;.&nbsp;. delve up Waybroad without iron
+ere the rising of the sun, bind the roots about the head with
+Crosswort by a red fillet, soon he will be well." But the
+Plantain did not long sustain its high reputation, which even
+in Shakespeare's time had become much diminished. "I
+find," says Gerard, "in ancient writers many good-morrowes,
+which I think not meet to bring into your memorie againe;
+as that three roots will cure one griefe, four another disease,
+six hanged about the neck are good for another maladie,
+&amp;c., all which are but ridiculous toys." Yet the bruised
+leaves still have some reputation as a styptic and healing
+plaster among country herbalists, and perhaps the alleged
+virtues are not altogether fanciful.</p>
+
+<p>As a garden plant the Plantain can only be regarded as a
+weed and nuisance, especially on lawns, where it is very
+difficult to destroy them. Yet there are some curious
+varieties which may claim a corner where botanical curiosities
+are grown. The Plantain seems to have a peculiar
+tendency to run into abnormal forms, many of which will
+be found described and figured in Dr. Masters' "Vegetable
+Teratology," and among these forms are two which are
+exactly like a double green Rose, and have been cultivated
+as the Rose Plantain for many years. They were grown by
+Gerard, who speaks of "the beauty which is in the plant,"
+and compared it to "a fine double Rose of a hoary or rusty
+greene colour." Parkinson also grew it and valued it
+highly.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_214:1_157" id="Footnote_214:1_157"></a><a href="#FNanchor_214:1_157"><span class="label">[214:1]</span></a> Of these names Plantain properly belongs to Plantago major;
+Lamb's-tongue to P. media; and Kemps, Cocks, and Ribwort to P.
+lanceolata.</p></div>
+
+<div class="footnote"><p><a name="Footnote_215:1_158" id="Footnote_215:1_158"></a><a href="#FNanchor_215:1_158"><span class="label">[215:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"His forehead dropped as a stillatorie<br /></span>
+<span class="i0i">Were ful of Plantayn and peritorie."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Prologue of the Chanoune's Yeman.</i></p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_215:2_159" id="Footnote_215:2_159"></a><a href="#FNanchor_215:2_159"><span class="label">[215:2]</span></a> Nares, and Schmidt from him, consider Plantage = anything
+planted.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Plums" id="Plums"></a>PLUMS, WITH DAMSONS AND PRUNES.</h2>
+
+<table class="poetryt" summary="plum references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Constance.</i></td>
+  <td class="tdleft">Give grandam kingdom, and it grandam will<br />
+Give it a Plum, a Cherry, and a Fig.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act ii, sc. 1 (161).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Hamlet.</i></td>
+  <td class="tdleft">The satirical rogue says here that old men have
+grey beards, that their faces are wrinkled, their
+eyes purging thick amber and Plum-tree gum.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act ii, sc. 2 (198).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_217" id="Page_217"></a>[<a href="./images/217.png">217</a>]</span>(<a name="Plum_3" id="Plum_3"></a>3)</td>
+  <td class="tdleftt"><i>Simpcox.</i></td>
+  <td class="tdleft"><span class="s5">A fall off a tree.</span></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Wife.</i></td>
+  <td class="tdleft">A Plum-tree, master.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Gloucester.</i></td>
+  <td class="tdleft">Mass, thou lovedst Plums well that wouldst venture so.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Simpcox.</i></td>
+  <td class="tdleft">Alas! good master, my wife desired some Damsons,<br />
+And made me climb with danger of my life.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act ii, sc. 1 (196).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Evans.</i></td>
+  <td class="tdleft">I will dance and eat Plums at your wedding.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act v, sc. 5.<a name="FNanchor_217:1_160" id="FNanchor_217:1_160"></a><a href="#Footnote_217:1_160" class="fnanchor">[217:1]</a></td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The mellow Plum doth fall, the green sticks fast,<br />
+Or, being early pluck'd, is sour to taste.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (527).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Like a green Plum that hangs upon a tree,<br />
+And falls, through wind, before the fall should be.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Passionate Pilgrim</i> (135).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Slender.</i></td>
+  <td class="tdleft">Three veneys for a dish of stewed Prunes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act i, sc. 1 (295).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">There's no more faith in thee than in a stewed Prune.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 3 (127).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Pompey.</i></td>
+  <td class="tdleft">Longing (saving your honour's presence) for stewed Prunes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">And longing, as I said, for Prunes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">You being then, if you he remembered, cracking
+the stones of the foresaid Prunes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act ii, sc. 1 (92).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">Four pounds of Prunes, and as many of Raisins of the sun.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winters Tale</i>, act iv, sc. 3 (51).</td>
+</tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">Hang him, rogue; he lives upon mouldy stewed
+Prunes and dried cakes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 4 (158).</td>
+</tr>
+</table>
+
+<p>Plums, Damsons, and Prunes may conveniently be joined
+together, Plums and Damsons being often used synonymously
+(as in No. <a href="#Plum_3">3</a>), and Prunes being the dried Plums.
+The Damsons were originally, no doubt, a good variety from
+the East, and nominally from Damascus.<a name="FNanchor_217:2_161" id="FNanchor_217:2_161"></a><a href="#Footnote_217:2_161" class="fnanchor">[217:2]</a> They seem to
+<span class="pagenum"><a name="Page_218" id="Page_218"></a>[<a href="./images/218.png">218</a>]</span>have been considered great delicacies, as in a curious allegorical
+drama of the fifteenth century, called "La Nef de
+Sante," of which an account is given by Mr. Wright:
+"Bonne-Compagnie, to begin the day, orders a collation, at
+which, among other things, are served Damsons (<i>Prunes
+de Damas</i>), which appear at this time to have been considered
+as delicacies. There is here a marginal direction to
+the purport that if the morality should be performed in the
+season when real Damsons could not be had, the performers
+must have some made of wax to look like real ones" ("History
+of Domestic Manners," &amp;c.).</p>
+
+<p>The garden Plums are a good cultivated variety of our
+own wild Sloe, but a variety that did not originate in England,
+and may very probably have been introduced by the
+Romans. The Sloe and Bullace are, speaking botanically,
+two sub-species of Prunus communis, while the Plum is a
+third sub-species (P. communis domestica). The garden
+Plum is occasionally found wild in England, but is certainly
+not indigenous. It is somewhat strange that our wild plant
+is not mentioned by Shakespeare under any of its well-known
+names of Sloe, Bullace, and Blackthorn. Not only
+is it a shrub of very marked appearance in our hedgerows
+in early spring, when it is covered with its pure white blossoms,
+but Blackthorn staves were indispensable in the rough
+game of quarterstaff, and the Sloe gave point to more than
+one English proverb: "as black as a Sloe," was a very
+common comparison, and "as useless as a Sloe," or "not
+worth a Sloe," was as common.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sir Amys answered, 'Tho'<br /></span>
+<span class="i0i">I give thee thereof not one Sloe!<br /></span>
+<span class="i0i">Do right all that thou may!"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Amys and Amylion</i>&mdash;<span class="smcap">Ellis's</span> <i>Romances</i>.</p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The offecial seyde, Thys ys nowth<br /></span>
+<span class="i0i">Be God, that me der bowthe,<br /></span>
+<span class="i0i">Het ys not worthe a Sclo."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Frere and His Boy</i>&mdash;<span class="smcap">Ritson's</span> <i>Ancient Popular Poetry</i>.</p>
+
+<p>Though even as a fruit the Sloe had its value, and was
+not altogether despised by our ancestors, for thus Tusser
+advises&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_219" id="Page_219"></a>[<a href="./images/219.png">219</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"By thend of October go gather up Sloes,<br /></span>
+<span class="i0i">Have thou in readines plentie of thoes,<br /></span>
+<span class="i0i">And keepe them in bed-straw, or still on the bow,<br /></span>
+<span class="i0i">To staie both the flix of thyselfe and thy cow."<br /></span>
+</div></div>
+
+<p>As soon as the garden Plum was introduced, great attention
+seems to have been paid to it, and the gardeners of
+Shakespeare's time could probably show as good Plums as
+we can now. "To write of Plums particularly," said
+Gerard, "would require a peculiar volume.&nbsp;.&nbsp;.&nbsp;. Every
+clymate hath his owne fruite, far different from that of other
+countries; my selfe have threescore sorts in my garden, and
+all strange and rare; there be in other places many more
+common, and yet yearly commeth to our hands others not
+before knowne."</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_217:1_160" id="Footnote_217:1_160"></a><a href="#FNanchor_217:1_160"><span class="label">[217:1]</span></a> Omitted in the Globe edition.</p></div>
+
+<div class="footnote"><p><a name="Footnote_217:2_161" id="Footnote_217:2_161"></a><a href="#FNanchor_217:2_161"><span class="label">[217:2]</span></a> Bullein, in his "Government of Health," 1588, calls them
+"Damaske Prunes."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>POMEGRANATE.</h2>
+
+<table class="poetryt" summary="pomegranate references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Lafeu.</i></td>
+  <td class="tdleft">Go to, sir, you were beaten in Italy for picking
+a kernel out of a Pomegranate.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act ii, sc. 3 (275).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Juliet.</i></td>
+  <td class="tdleft">It was the nightingale and not the lark,<br />
+That pierced the fearful hollow of thine ear;<br />
+Nightly she sings on yon Pomegranate tree.<a name="FNanchor_219:1_162" id="FNanchor_219:1_162"></a><a href="#Footnote_219:1_162" class="fnanchor">[219:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iii, sc. 5 (2).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Francis.</i></td>
+  <td class="tdleft">Anon, anon, sir, Look down into the Pomegarnet,
+Ralph.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 4 (41).</td>
+</tr>
+</table>
+
+<p>There are few trees that surpass the Pomegranate in interest
+and beauty combined. "Whoever has seen the Pomegranate
+in a favourable soil and climate, whether as a single
+shrub or grouped many together, has seen one of the most
+beautiful of green trees; its spiry shape and thick-tufted
+foliage of vigorous green, each growing shoot shaded into
+tenderer verdure and bordered with crimson and adorned
+<span class="pagenum"><a name="Page_220" id="Page_220"></a>[<a href="./images/220.png">220</a>]</span>with the loveliest flowers; filmy petals of scarlet lustre are
+put forth from the solid crimson cup, and the ripe fruit of
+richest hue and most admirable shape."&mdash;<span class="smcap">Lady Calcott's</span>
+<i>Scripture Herbal</i>. A simpler but more valued testimony to
+the beauty of the Pomegranate is borne in its selection for
+the choicest ornaments on the ark of the Tabernacle, on
+the priest's vestments, and on the rich capitals of the pillars
+in the Temple of Solomon.</p>
+
+<p>The native home of the Pomegranate is not very certainly
+known, but the evidence chiefly points to the North
+of Africa. It was very early cultivated in Egypt, and was
+one of the Egyptian delicacies so fondly remembered by the
+Israelites in their desert wanderings, and is frequently met
+with in Egyptian sculpture. It was abundant in Palestine,
+and is often mentioned in the Bible, and always as an
+object of beauty and desire. It was highly appreciated by
+the Greeks and Romans, but it was probably not introduced
+into Italy in very early times, as Pliny is the first author
+that certainly mentions it, though some critics have supposed
+that the <i>aurea mala</i> and <i>aurea poma</i> of Virgil and Ovid
+were Pomegranates. From Italy the tree soon spread into
+other parts of Europe, taking with it its Roman name of
+<i>Punica malus</i> or <i>Pomum granatum</i>. <i>Punica</i> showed the
+country from which the Romans derived it, while <i>granatum</i>
+(full of grains) marked the special characteristic of the
+fruit that distinguished it from all other so-called Apples.
+Gerard says: "Pomegranates grow in hot countries,
+towards the south in Italy, Spaine, and chiefly in the kingdom
+of Granada, which is thought to be so named of the
+great multitude of Pomegranates, which be commonly called
+<i>Granata</i>."<a name="FNanchor_220:1_163" id="FNanchor_220:1_163"></a><a href="#Footnote_220:1_163" class="fnanchor">[220:1]</a> This derivation is very doubtful, but was commonly
+accepted in Gerard's day.<a name="FNanchor_220:2_164" id="FNanchor_220:2_164"></a><a href="#Footnote_220:2_164" class="fnanchor">[220:2]</a> The Pomegranate lives
+and flowers well in England, but when it was first introduced
+is not recorded. I do not find it in the old vocabularies,
+but a prominent place is given to it in "that
+Gardeyn, wele wrought," "the garden that so lyked me;"&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_221" id="Page_221"></a>[<a href="./images/221.png">221</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"There were, and that I wote fulle well,<br /></span>
+<span class="i0i">Of Pomgarnettys a fulle gret delle,<br /></span>
+<span class="i0i">That is a fruit fulle welle to lyke,<br /></span>
+<span class="i0i">Namely to folk whaune they ben sike."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Romaunt of the Rose.</i></p>
+
+<p>Turner describes it in 1548: "Pomegranat trees growe
+plentuously in Italy and in Spayne, and there are certayne
+in my Lorde's gardene at Syon, but their fruite cometh
+never with perfection."<a name="FNanchor_221:1_165" id="FNanchor_221:1_165"></a><a href="#Footnote_221:1_165" class="fnanchor">[221:1]</a></p>
+
+<p>Gerard had it in 1596, but from his description it seems
+that it was a recent acquisition. "I have recovered," he
+says, "divers young trees hereof, by sowing of the seed or
+grains of the height of three or four cubits, attending God's
+leisure for floures and fruit." Three years later, in 1599, it
+is noticed for its flowers in Buttes's "Dyet's Dry Dinner" (as
+quoted by Brand), where it is asserted that "if one eate
+three small Pomegranate flowers (they say) for a whole yeare
+he shall be safe from all manner of eyesore;" and Gerard
+speaks of the "wine which is pressed forth of the Pomegranate
+berries named Rhoitas or wine of Pomegranates,"
+but this may have been imported. But, when introduced, it
+at once took kindly to its new home, so that Parkinson was
+able to describe its flowers and fruits from personal observation.
+In all the southern parts of England it grows very
+well, and is one of the very best trees we have to cover a
+south wall; it also grows well in towns, as may be seen at
+Bath, where a great many very fine specimens have been
+planted in the areas in front of the houses, and have grown
+to a considerable height. When thus planted and properly
+pruned, the tree will bear its beautiful flowers from May all
+through the summer; but generally the tree is so pruned
+that it cannot flower. It should be pruned like a Banksian
+Rose, and other plants that bear their flowers on last year's
+shoots, <i>i.e.</i>, simply thinned, but not cut back or spurred.
+With this treatment the branches may be allowed to grow
+in their natural way without being nailed in, and if the
+single-blossomed species be grown, the flowers in good
+summers will bear fruit. In 1876 I counted on a tree in
+Bath more than sixty fruit; the fruits will perhaps seldom
+<span class="pagenum"><a name="Page_222" id="Page_222"></a>[<a href="./images/222.png">222</a>]</span>be worth eating, but they are curious and handsome. The
+sorts usually grown are the pure scarlet (double and single),
+and a very double variety with the flowers somewhat variegated.
+These are the most desirable, but there are a few
+other species and varieties, including a very beautiful dwarf
+one from the East Indies that is too tender for our climate
+out-of-doors, but is largely grown on the Continent as a
+window plant.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_219:1_162" id="Footnote_219:1_162"></a><a href="#FNanchor_219:1_162"><span class="label">[219:1]</span></a> In illustration of Juliet's speech Mr. Knight very aptly quotes a
+similar remark from Russell's "History of Aleppo," adding that a
+"friend whose observations as a traveller are as accurate as his descriptions
+are graphic and forcible, informs us that throughout his journeys
+in the East he never heard such a choir of nightingales as in a row of
+Pomegranate trees that skirt the road from Smyrna to Bondjia."</p></div>
+
+<div class="footnote"><p><a name="Footnote_220:1_163" id="Footnote_220:1_163"></a><a href="#FNanchor_220:1_163"><span class="label">[220:1]</span></a> In a Bill of Medicines furnished for the use of Edward I. 1306-7, is&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Item pro malis granatis vi. lx s.<br /></span>
+<span class="i0i">Item pro vino malorum granatorun xx lb., lx s."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Arch&aelig;ological Journal</i>, xiv, 27.</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_220:2_164" id="Footnote_220:2_164"></a><a href="#FNanchor_220:2_164"><span class="label">[220:2]</span></a> See Prescott's "Ferdinand and Isabella," vol. iii. p. 346, note
+(Ed. 1849)&mdash;the arms of the city are a split Pomegranate.</p></div>
+
+<div class="footnote"><p><a name="Footnote_221:1_165" id="Footnote_221:1_165"></a><a href="#FNanchor_221:1_165"><span class="label">[221:1]</span></a> "Names of Herbes," s.v. Malus Punica.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>POMEWATER, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Apple">Apple</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>POPERING, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Pear">Pear</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>POPPY.</h2>
+
+<table class="poetryt" summary="poppy reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iago.</i></td>
+  <td class="tdleft"><span class="s6">Not Poppy or Mandragora,</span><br />
+Nor all the drowsy syrups of the world,<br />
+Shall ever medicine thee to that sweet sleep<br />
+Which thou ownedst yesterday.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act iii, sc. 3 (330).</td>
+</tr>
+</table>
+
+<p>The Poppy had of old a few other names, such as Corn-rose
+and Cheese-bowls (a very old name for the flower), and
+being "of great beautie, although of evil smell, our gentlewomen
+doe call it Jone Silverpin." This name is difficult
+of explanation, even with Parkinson's help, who says it
+meanes "faire without and foule within," but it probably
+alludes to its gaudy colour and worthlessness. But these
+names are scarcely the common names of the plant, but rather
+nicknames; the usual name is, and always has been, Poppy,
+which is an easily traced corruption from the Latin <i>papaver</i>,
+the Saxon and Early English names being variously spelt,
+<i>popig</i> and <i>papig</i>, <i>popi</i> and <i>papy</i>; so that the Poppy is another
+<span class="pagenum"><a name="Page_223" id="Page_223"></a>[<a href="./images/223.png">223</a>]</span>instance of a very common and conspicuous English plant
+known only or chiefly by its Latin name Anglicised.</p>
+
+<p>Our common English Poppy, "being of a beautiful and
+gallant red colour," is certainly one of the handsomest of
+our wild flowers, and a Wheat field with a rich undergrowth
+of scarlet Poppies is a sight very dear to the artist,<a name="FNanchor_223:1_166" id="FNanchor_223:1_166"></a><a href="#Footnote_223:1_166" class="fnanchor">[223:1]</a> while
+the weed is not supposed to do much harm to the farmer.
+But this is not the Poppy mentioned by Iago, for its narcotic
+qualities are very small; the Poppy that he alludes to
+is the Opium Poppy (<i>P. somniferum</i>). This Poppy was well
+known and cultivated in England long before Shakespeare's
+day, but only as a garden ornament; the Opium was then,
+as now, imported from the East. Its deadly qualities were
+well known. Gower describes it&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"There is growend upon the ground<br /></span>
+<span class="i0i">Popy that bereth the sede of slepe."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Aman.</i>, lib. quint. (2, 102 Paulli).</p>
+
+<p>Spenser speaks of the plant as the "dull Poppy," and
+describing the Garden of Proserpina, he says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"There mournful Cypress grew in greatest store,<br /></span>
+<span class="i0i">And trees of bitter gall, and Heben sad,<br /></span>
+<span class="i0i">Dead-sleeping Poppy, and black Hellebore,<br /></span>
+<span class="i0i">Cold Coloquintida."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, ii, 7, 52.<br /></p>
+
+<p>And Drayton similarly describes it&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Here Henbane, Poppy, Hemlock here,<br /></span>
+<span class="i0i">Procuring deadly sleeping."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Nymphal</i> v.</p>
+
+<p>The name of opium does not seem to have been in
+general use, except among the apothecaries. Chaucer,
+however, uses it&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i2">"A claire made of a certayn wyn,<br /></span>
+<span class="i0">With necotykes, and opye of Thebes fyn."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Knightes Tale.</i></p>
+
+<p><span class="pagenum"><a name="Page_224" id="Page_224"></a>[<a href="./images/224.png">224</a>]</span>
+And so does Milton&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4">"Which no cooling herb<br /></span>
+<span class="i0">Or medicinal liquor can asswage,<br /></span>
+<span class="i0">Nor breath of vernal air from Snowy Alp;<br /></span>
+<span class="i0">Sleep hath forsook and given me o'er<br /></span>
+<span class="i0">To death's benumming opium as my only cure."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Samson Agonistes.</i></p>
+
+<p>Many of the Poppies are very ornamental garden plants.
+The pretty yellow Welsh Poppy (<i>Meconopsis Cambrica</i>), abundant
+at Cheddar Cliffs, is an excellent plant for the rockwork
+where, when once established, it will grow freely and
+sow itself; and for the same place the little Papaver Alpinum,
+with its varieties, is equally well suited. For the
+open border the larger Poppies are very suitable, especially
+the great Oriental Poppy (<i>P. orientale</i>) and the grand
+scarlet Siberian Poppy (<i>P. bracteatum</i>), perhaps the most
+gorgeous of hardy plants: while among the rarer species of
+the tribe we must reckon the Meconopses of the Himalayas
+(<i>M. Wallichi</i> and <i>M. Nepalensis</i>), plants of singular beauty
+and elegance, but very difficult to grow, and still more difficult
+to keep, even if once established; for though perfectly
+hardy, they are little more than biennials. Besides these
+Poppies, the large double garden Poppies are very showy
+and of great variety in colour, but they are only annuals.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_223:1_166" id="Footnote_223:1_166"></a><a href="#FNanchor_223:1_166"><span class="label">[223:1]</span></a> "We usually think of the Poppy as a coarse flower; but it is the
+most transparent and delicate of all the blossoms of the field. The
+rest, nearly all of them, depend on the texture of their surface for
+colour. But the Poppy is painted <i>glass</i>; it never glows so brightly as
+when the sun shines through it. Wherever it is seen, against the light
+or with the light, always it is a flame, and warms the wind like a blown
+ruby."&mdash;<span class="smcap">Ruskin</span>, <i>Proserpina</i>, p. 86.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>POTATO.</h2>
+
+<table class="poetryt" summary="potato references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Thersites.</i></td>
+  <td class="tdleft">How the devil Luxury, with his fat rump and
+Potato-finger, tickles these together.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act v, sc. 2 (55).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">Let the sky rain Potatoes; let it thunder to the
+tune of Green Sleeves, hail kissing-comfits,
+and snow Eringoes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act v, sc. 5 (20).</td>
+</tr>
+</table>
+
+<p>The chief interest in these two passages is that they
+contain almost the earliest notice of Potatoes after their
+introduction into England. The generally received account
+is that they were introduced into Ireland in 1584 by Sir
+<span class="pagenum"><a name="Page_225" id="Page_225"></a>[<a href="./images/225.png">225</a>]</span>Walter Raleigh, and from thence brought into England;
+but the year of their first planting in England is not
+recorded. They are not mentioned by Lyte in 1586.
+Gerard grew them in 1597, but only as curiosities, under
+the name of Virginian Potatoes (<i>Battata Virginianorum</i> and
+<i>Pappas</i>), to distinguish them from the Spanish Potato, or
+Convolvulus Battatas, which had been long grown in
+Europe, and in the first edition of his "Herbal" is his
+portrait, showing him holding a Potato in his hand. They
+seem to have grown into favour very slowly, for half a century
+after their introduction, Waller still spoke of them as
+one of the tropical luxuries of the Bermudas&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"With candy'd Plantains and the juicy Pine,<br /></span>
+<span class="i0i">On choicest Melons and sweet Grapes they dine,<br /></span>
+<span class="i0i">And with Potatoes fat their wanton swine."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Battel of the Summer Islands.</i></p>
+
+<p>Potato is a corruption of Batatas or Patatas.</p>
+
+<p>As soon as the Potato arrived in England, it was at once
+invested with wonderful restorative powers, and in a long
+exhaustive note in Steevens' Shakespeare, Mr. Collins has
+given all the passages in the early writers in which the
+Potato is mentioned, and in every case they have reference
+to these supposed virtues. These passages, which are
+chiefly from the old dramatists, are curious and interesting
+in the early history of the Potato, and as throwing light on
+the manners of our ancestors; but as in every instance they
+are all more or less indelicate, I refrain from quoting them
+here.</p>
+
+<p>As a garden plant, we now restrict the Potato to the
+kitchen garden and the field, but it belongs to a very large
+family, the Solanace&aelig; or Nightshades, of which many members
+are very ornamental, though as they chiefly come from
+the tropical regions, there are very few that can be treated
+as entirely hardy plants. One, however, is a very beautiful
+climber&mdash;the Solanum jasminoides from South America&mdash;and
+quite hardy in the South of England. Trained against
+a wall it will soon cover it, and when once established will
+bear its handsome trusses of white flowers with yellow
+anthers in great profusion during the whole summer. A
+better known member of the family is the Petunia, very
+<span class="pagenum"><a name="Page_226" id="Page_226"></a>[<a href="./images/226.png">226</a>]</span>handsome, but little better than an annual. The pretty
+Winter Cherry (<i>Physalis alkekengi</i>) is another member of
+the family, and so is the Mandrake (<i>see</i> <span class="smcap"><a href="#Mandrake">Mandrake</a></span>). The
+whole tribe is poisonous, or at least to be suspected, yet it
+contains a large number of most useful plants, as the Potato,
+Tomato, Tobacco, Datura, and Cayenne Pepper.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Primrose" id="Primrose"></a>PRIMROSE.</h2>
+
+<table class="poetryt" summary="primrose references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Queen.</i></td>
+  <td class="tdleft">The Violets, Cowslips, and the Primroses,<br />
+Bear to my closet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act i, sc. 5 (83).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">I would be blind with weeping, sick with groans,<br />
+Look pale as Primrose with blood-drinking sighs,<br />
+And all to have the noble duke alive.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 2 (62).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Arviragus.</i></td>
+  <td class="tdleft"><span class="s8">Thou shalt not lack</span><br />
+The flower that's like thy face, pale Primrose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (220).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Hermia.</i></td>
+  <td class="tdleft">In the wood where often you and I<br />
+Upon faint Primrose-beds were wont to lie.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act i, sc. 1 (214).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s7">Pale Primroses,</span><br />
+That die unmarried, ere they can behold<br />
+Bright Ph&oelig;bus in his strength.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (122).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Primrose_6" id="Primrose_6"></a>6)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">Like a puff'd and reckless libertine,<br />
+Himself the Primrose path of dalliance treads<br />
+And recks not his own rede.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act i, sc. 3 (49).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Primrose_7" id="Primrose_7"></a>7)</td>
+  <td class="tdleftt"><i>Porter.</i></td>
+  <td class="tdleft">I had thought to have let in some of all professions
+that go the Primrose way to the everlasting bonfire.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act ii, sc. 3 (20).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Primrose, first-born child of Ver<br />
+Merry spring-time's harbinger,<br />
+<span style="padding-left: 1em;">With her bells dim.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, Introd. song.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Witness this Primrose bank whereon I lie.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (151).</td>
+</tr>
+</table>
+
+<p>Whenever we speak of spring flowers, the first that comes
+<span class="pagenum"><a name="Page_227" id="Page_227"></a>[<a href="./images/227.png">227</a>]</span>into our minds is the Primrose. Both for its simple beauty
+and for its early arrival among us we give it the first place
+over</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Whatsoever other flowre of worth<br /></span>
+<span class="i0i">And whatso other hearb of lovely hew,<br /></span>
+<span class="i0i">The joyous Spring out of the ground brings forth<br /></span>
+<span class="i0i">To cloath herself in colours fresh and new."<br /></span>
+</div></div>
+
+<p>It is a plant equally dear to children and their elders, so
+that I cannot believe that there is any one (except Peter
+Bell) to whom</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A Primrose by the river's brim<br /></span>
+<span class="i0i">A yellow Primrose is to him&mdash;<br /></span>
+<span class="i0i">And it is nothing more;"<br /></span>
+</div></div>
+
+<p>rather I should believe that W. Browne's "Wayfaring
+Man" is a type of most English countrymen in their simple
+admiration of the common flower&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"As some wayfaring man passing a wood,<br /></span>
+<span class="i0i">Whose waving top hath long a sea-mark stood,<br /></span>
+<span class="i0i">Goes jogging on and in his mind nought hath,<br /></span>
+<span class="i0i">But how the Primrose finely strews the path,<br /></span>
+<span class="i0i">Or sweetest Violets lay down their heads<br /></span>
+<span class="i0i">At some tree's roots or mossy feather beds."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Britannia's Pastorals</i>, i, 5.</p>
+
+<p>It is the first flower, except perhaps the Daisy, of which a
+child learns the familiar name; and yet it is a plant of unfailing
+interest to the botanical student, while its name is
+one of the greatest puzzles to the etymologist. The common
+and easy explanation of the name is that it means the first
+Rose of the year, but (like so many explanations that are
+derived only from the sound and modern appearance of a
+a name) this is not the true account. The full history of
+the name is too long to give here, but the short account is
+this&mdash;"The old name was Prime Rolles&mdash;or primerole.
+Primerole is an abbreviation of Fr., <i>primeverole</i>: It., <i>primaverola</i>,
+diminutive of <i>prima vera</i> from <i>flor di prima vera</i>, the
+first spring flower. <i>Primerole</i>, as an outlandish unintelligible
+word, was soon familiarized into <i>primerolles</i>, and this into
+<i>primrose</i>."&mdash;<span class="smcap">Dr. Prior.</span> The name Primrose was not at
+first always applied to the flower, but was an old English
+word, used to show excellence&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_228" id="Page_228"></a>[<a href="./images/228.png">228</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A fairer nymph yet never saw mine eie,<br /></span>
+<span class="i0i">She is the pride and Primrose of the rest."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Spenser</span>, <i>Colin Clout</i>.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Was not I [the Briar] planted of thine own hande<br /></span>
+<span class="i0i">To bee the Primrose of all thy lande;<br /></span>
+<span class="i0i">With flow'ring blossomes to furnish the prime<br /></span>
+<span class="i0i">And scarlet berries in sommer time?"<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Spenser</span>, <i>Shepherd's Calendar&mdash;Februarie</i>.</p>
+
+<p>It was also a flower name, but not of our present Primrose,
+but of a very different plant. Thus in a Nominale of the
+fifteenth century we have "hoc ligustrum, a Primerose;" and
+in a Pictorial Vocabulary of the same date we have "hoc
+ligustrum, A<sup>ce</sup> a Prymrose;" and in the "Promptorium
+Parvulorum," "Prymerose, primula, calendula, ligustrum"&mdash;and
+this name for the Privet lasted with a slight alteration
+into Shakespeare's time. Turner in 1538 says, "ligustrum
+arbor est non herba ut literator&#363; vulgus credit; nihil que
+minus est quam a Prymerose." In Tusser's "Husbandry"
+we have "set Privie or Prim" (September Abstract), and&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Now set ye may<br /></span>
+<span class="i0i">The Box and Bay<br /></span>
+<span class="i0i">Hawthorn and Prim<br /></span>
+<span class="i1i">For clothe's trim"&mdash;(<i>January Abstract</i>).<br /></span>
+</div></div>
+
+<p>And so it is described by Gerard as the Privet or Prim Print
+(<i>i.e.</i>, <i>prim&eacute; printemps</i>), and even in the seventeenth century,
+Cole says of ligustrum, "This herbe is called Primrose."
+When the name was fixed to our present plant I cannot say,
+but certainly before Shakespeare's time, though probably not
+long before. It is rather remarkable that the flower, which
+we now so much admire, seems to have been very much
+overlooked by the writers before Shakespeare. In the very
+old vocabularies it does not at all appear by its present
+Latin name, Primula vulgaris, but that is perhaps not to be
+wondered at, as nearly all the old botanists applied that
+name to the Daisy. But neither is it much noticed by any
+English name. I can only find it in two of the vocabularies.
+In an English Vocabulary of the fourteenth century is "H&aelig;c
+pimpinella, A<sup>e</sup> primerolle," but it is very doubtful if this can
+be our Primrose, as the Pimpernel of old writers was the
+<span class="pagenum"><a name="Page_229" id="Page_229"></a>[<a href="./images/229.png">229</a>]</span>Burnet. Gower mentions it as the flower of the star Canis
+Minor&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"His stone and herbe as saith the scole<br /></span>
+<span class="i0i">Ben Achates and Primerole."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Aman.</i> lib. sept. (3, 130. Paulli).</p>
+
+<p>And in the treatise of Walter de Biblesworth (13th century)
+is&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Primerole et primeveyre (cousloppe)<br /></span>
+<span class="i0i">Sur tere aperunt en tems de veyre."<br /></span>
+</div></div>
+
+<p>I should think there is no doubt this is our Primrose. Then
+we have Chaucer's description of a fine lady&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Hir schos were laced on hir legges hyghe<br /></span>
+<span class="i0i">Sche was a Primerole, a piggesneyghe<br /></span>
+<span class="i0i">For any lord have liggyng in his bedde,<br /></span>
+<span class="i0i">Or yet for any gode yeman to wedde."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Milleres Tale.</i></p>
+
+<p>I have dwelt longer than usual on the name of this flower,
+because it gives us an excellent example of how much literary
+interest may be found even in the names of our common
+English plants.</p>
+
+<p>But it is time to come from the name to the flower. The
+English Primrose is one of a large family of more than fifty
+species, represented in England by the Primrose, the Oxlip,
+the Cowslip, and the Bird's-eye Primrose of the North of
+England and Scotland. All the members of the family,
+whether British or exotic, are noted for the simple beauty of
+their flowers, but in this special character there is none that
+surpasses our own. "It is the very flower of delicacy and
+refinement; not that it shrinks from our notice, for few
+plants are more easily seen, coming as it does when there is
+a dearth of flowers, when the first birds are singing, and the
+first bees humming, and the earliest green putting forth in
+the March and April woods; and it is one of those plants
+which dislikes to be looking cheerless, but keeps up a
+smouldering fire of blossom from the very opening of the
+year, if the weather will permit."&mdash;<span class="smcap">Forbes Watson.</span> It is
+this character of cheerfulness that so much endears the
+flower to us; as it brightens up our hedgerows after the
+dulness of winter, the harbinger of many brighter perhaps,
+but not more acceptable, beauties to come, it is the very
+<span class="pagenum"><a name="Page_230" id="Page_230"></a>[<a href="./images/230.png">230</a>]</span>emblem of cheerfulness. Yet it is very curious to note what
+entirely different ideas it suggested to our forefathers. To
+them the Primrose seems always to have brought associations
+of sadness, or even worse than sadness, for the "Primrose
+paths" and "Primrose ways" of Nos. <a href="#Primrose_6">6</a> and <a href="#Primrose_7">7</a> are meant
+to be suggestive of pleasures, but sinful pleasures.</p>
+
+<p>Spenser associates it with death in some beautiful lines, in
+which a husband laments the loss of a young and beautiful
+wife&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Mine was the Primerose in the lowly shade!<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Oh! that so fair a flower so soon should fade,<br /></span>
+<span class="i0i">And through untimely tempest fade away."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Daphnidia</i>, 232.</p>
+
+<p>In another place he speaks of it as "the Primrose trew"&mdash;<i>Prothalamion</i>;
+but in another place his only epithet for
+it is "green," which quite ignores its brightness&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And Primroses greene<br /></span>
+<span class="i0i">Embellish the sweete Violet."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Shepherd's Calendar&mdash;April.</i></p>
+
+<p>Shakespeare has no more pleasant epithets for our favourite
+flower than "pale," "faint," "that die unmarried;" and
+Milton follows in the same strain yet sadder. Once, indeed,
+he speaks of youth as "Brisk as the April buds in Primrose
+season" ("Comus"); but only in three passages does he
+speak of the Primrose itself, and in two of these he connects
+it with death&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Bring the rathe Primrose that forsaken dies,<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">And every flower that sad embroidery wears."&mdash;<i>Lycidas.</i><br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"O fairest flower, no sooner blown but blasted,<br /></span>
+<span class="i0i">Soft silken Primrose fading timelesslie;<br /></span>
+<span class="i0i">Summer's chief honour, if thou hadst outlasted<br /></span>
+<span class="i0i">Bleak winter's force that made thy blossoms drie."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>On the Death of a Fair Infant.</i></p>
+
+<p>His third account is a little more joyous&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Now the bright morning star, daye's harbinger,<br /></span>
+<span class="i0i">Comes dancing from the East, and leads with her<br /></span>
+<span class="pagenum"><a name="Page_231" id="Page_231"></a>[<a href="./images/231.png">231</a>]</span>
+<span class="i0i">The flowery May, who from her green lap throws<br /></span>
+<span class="i0i">The yellow Cowslip and the pale Primrose."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>On May Morning.</i></p>
+
+<p>And nearly all the poets of that time spoke in the same
+strain, with the exception of Ben Jonson and the two
+Fletchers. Jonson spoke of it as "the glory of the spring"
+and as "the spring's own spouse." Giles Fletcher says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Every bush lays deeply perfumed<br /></span>
+<span class="i0i">With Violets; the wood's late wintry head,<br /></span>
+<span class="i0i">Wide flaming Primroses set all on fire."<br /></span>
+</div></div>
+
+<p>And Phineas Fletcher&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Primrose lighted new her flame displays,<br /></span>
+<span class="i0i">And frights the neighbour hedge with fiery rays.<br /></span>
+<span class="i0i">And here and there sweet Primrose scattered.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Nature seem'd work'd by Art, so lively true,<br /></span>
+<span class="i0i">A little heaven or earth in narrow space she drew."<br /></span>
+</div></div>
+
+<p>I can only refer very shortly to the botanical interest of
+the Primula, and that only to direct attention to Mr. Darwin's
+paper in the "Journal of the Linn&aelig;an Society," 1862, in which
+he records his very curious and painstaking inquiries into
+the dimorphism of the Primula, a peculiarity in the Primula
+that gardeners had long recognized in their arrangement of
+Primroses as "pin-eyed" and "thrum-eyed." It is perhaps
+owing to this dimorphism that the family is able to show a
+very large number of natural hybrids. These have been
+carefully studied by Professor Kerner, of Innspruck, and it
+seems not unlikely that a further study will show that all the
+European so-called species are natural hybrids from a very
+few parents.</p>
+
+<p>Yet a few words on the Primrose as a garden plant. If
+the Primrose be taken from the hedges in November, and
+planted in beds thickly in the garden, they make a beautiful
+display of flowers and foliage from February till the beds
+are required for the summer flowers; and there are few of
+our wild flowers that run into so many varieties in their wild
+state. In Pembrokeshire and Cardiganshire I have seen the
+wild Primrose of nearly all shades of colour, from the purest
+white to an almost bright red, and these can all be brought
+<span class="pagenum"><a name="Page_232" id="Page_232"></a>[<a href="./images/232.png">232</a>]</span>into the garden with a certainty of success and a certainty
+of rapid increase. There are also many double varieties, all
+of which are more often seen in cottage gardens than elsewhere;
+yet no gardener need despise them.</p>
+
+<p>One other British Primrose, the Bird's-eye Primrose,
+almost defies garden cultivation, though in its native habitats
+in the north it grows in most ungenial places. I have seen
+places in the neighbourhood of the bleak hill of Ingleborough,
+where it almost forms the turf; yet away from its
+native habitat it is difficult to keep, except in a greenhouse.
+For the cultivation of the other non-English species, I
+cannot do better than refer to an excellent paper by Mr.
+Niven in the "The Garden" for January 29, 1876, in which
+he gives an exhaustive account of them.</p>
+
+<p>I am not aware that Primroses are of any use in medicine
+or cookery, yet Tusser names the Primrose among "seeds
+and herbs for the kitchen," and Lyte says "the Cowslips,
+Primroses, and Oxlips are now used dayly amongst other
+pot herbes, but in physicke there is no great account made
+of them." They occur in heraldy. The arms of the Earls
+of Rosebery (Primrose) are three Primroses within a double
+tressure fleury counter-fleury, or.</p>
+
+
+<hr style="width: 65%;" />
+<h2>PRUNES, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Plums">Plums</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Pumpion" id="Pumpion"></a>PUMPION.</h2>
+
+<table class="poetryt" summary="pumpion reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Mrs. Ford.</i></td>
+  <td class="tdleft">Go to, then. We'll use this unwholesome humidity,
+  this gross watery Pumpion.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act iii, sc. 3 (42).</td>
+</tr>
+</table>
+
+<p>The old name for the Cucumber (in &AElig;lfric's "Vocabulary")
+is hwer-hwette, <i>i.e.</i>, wet ewer, but Pumpion, Pompion, and
+Pumpkin were general terms including all the Cucurbitace&aelig;
+such as Melons, Gourds, Cucumbers, and Vegetable Marrows.
+All were largely grown in Shakespeare's days, but I should
+<span class="pagenum"><a name="Page_233" id="Page_233"></a>[<a href="./images/233.png">233</a>]</span>think the reference here must be to one of the large useless
+Gourds, for Mrs. Ford's comparison is to Falstaff, and
+Gourds were grown large enough to bear out even that
+comparison. "The Gourd groweth into any forme or
+fashion you would have it, .&nbsp;.&nbsp;.&nbsp;. being suffered to clime
+upon an arbour where the fruit may hang; it hath beene
+seene to be nine foot long." And the little value placed
+upon the whole tribe helped to bear out the comparison.
+They were chiefly good to "cure copper faces, red and
+shining fierce noses (as red as red Roses), with pimples,
+pumples, rubies, and such-like precious faces." This was
+Gerard's account of the Cucumber, while of the Cucumber
+Pompion, which was evidently our Vegetable Marrow, and
+of which he has described and figured the variety which
+we now call the Custard Marrow, he says, "it maketh a
+man apt and ready to fall into the disease called the
+colericke passion, and of some the felonie."</p>
+
+<p>Mrs. Ford's comparison of a big loutish man to an overgrown
+Gourd has not been lost in the English language, for
+"bumpkin" is only another form of "Pumpkin," and Mr.
+Fox Talbot, in his "English Etymologies," has a very
+curious account of the antiquity of the nickname. "The
+Greeks," he says, "called a very weak and soft-headed
+person a Pumpion, whence the proverb <ins class="greek" title="peponos malak&ocirc;teros">&#960;&#949;&#960;&#959;&#957;&#959;&#962; &#956;&#945;&#955;&#945;&#954;&#969;&#964;&#949;&#961;&#959;&#962;</ins>,
+softer than a Pumpion; and even one of Homer's heroes,
+incensed at the timidity of his soldiers, exclaims <ins class="greek" title="&ocirc; pepones">&#8032; &#960;&#949;&#960;&#959;&#957;&#949;&#962;</ins>,
+you Pumpions! So also <i>cornichon</i> (Cucumber) is a term of
+derision in French."</p>
+
+<p>Yet the Pumpion or Gourd had its uses, moral uses.
+Modern critics have decided that Jonah's Gourd, "which
+came up in a night and perished in a night," was not a
+Gourd, but the Palma Christi, or Castor-oil tree. But our
+forefathers called it a Gourd, and believing that it was so,
+they used the Gourd to point many a moral and illustrate
+many a religious emblem. Thus viewed it was the standing
+emblem of the rapid growth and quick decay of evil-doers
+and their evil deeds. "Cito nata, cito pereunt," was the
+history of the evil deeds, while the doers of them could only
+say&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Quasi solstitialis herba fui,<br /></span>
+<span class="i0i">Repente exortus sum, repente occidi."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Plautus.</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_234" id="Page_234"></a>[<a href="./images/234.png">234</a>]</span></p>
+<h2>QUINCE.</h2>
+
+<table class="poetryt" summary="quince reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Nurse.</i></td>
+  <td class="tdleft">They call for Dates and Quinces in the pastry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iv, sc. 4 (2).</td>
+</tr>
+</table>
+
+<p>Quince is also the name of one of the "homespun actors"
+in "Midsummer Night's Dream," and is no doubt there used
+as a ludicrous name. The name was anciently spelt "coynes"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And many homely trees ther were<br /></span>
+<span class="i0i">That Peches, Coynes, and Apples bere,<br /></span>
+<span class="i0i">Medlers, Plommes, Perys, Chesteyns,<br /></span>
+<span class="i0i">Cherys, of which many oon fayne is."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Romaunt of the Rose.</i></p>
+
+<p>The same name occurs in the old English vocabularies, as
+in a Nominale of the fifteenth century, "h&aelig;c cocianus, a
+coventre;" in an English vocabulary of the fourteenth
+century, "Hoc coccinum, a quoyne," and in the treatise of
+Walter de Biblesworth, in the thirteenth century&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Issi troverez en ce verger<br /></span>
+<span class="i0i">Estang un sek Coigner (a Coyn-tre, Quince-tre)."<br /></span>
+</div></div>
+
+<p>And there is little doubt that "Quince" is a corruption of
+"coynes" which again is a corruption, not difficult to trace,
+of Cydonia, one of the most ancient cities of Crete, where
+the Quince tree is indigenous, and whence it derived its
+name of Pyrus Cydonia, or simply Cydonia. If not indigenous
+elsewhere in the East, it was very soon cultivated,
+and especially in Palestine. It is not yet a settled point,
+and probably never will be, but there is a strong consensus
+of most of the best commentators, that the <i>Tappuach</i> of
+Scripture, always translated Apple, was the Quince. It is
+supposed to be the fruit alluded to in the Canticles, "As
+the Apple tree among the trees of the wood, so is my
+beloved among the sons; I sat down under his shadow
+with great delight, and his fruit was sweet to my taste;"
+and in Proverbs, "A word fitly spoken is like Apples of
+gold in pictures of silver;" and the tree is supposed to have
+given its name to various places in Palestine, as Tappuach,
+Beth-Tappuach, and Aen-Tappuach.</p>
+
+<p>By the Greeks and Romans the Quince was held in
+<span class="pagenum"><a name="Page_235" id="Page_235"></a>[<a href="./images/235.png">235</a>]</span>honour as the fruit especially sacred to Venus, who is often
+represented as holding a Quince in her right hand, the gift
+which she received from Paris. In other sculptures "the
+amorous deities pull Quinces in gardens and play with them.
+For persons to send Quinces in presents, to throw them at
+each other, to eat them together, were all tokens of love; to
+dream of Quinces was a sign of successful love" (Rosenmuller).
+The custom was handed down to medi&aelig;val times. It was at
+a wedding feast that "they called for Dates and Quinces in
+the pastry;" and Brand quotes a curious passage from the
+"Praise of Musicke," 1586 ("Romeo and Juliet" was published
+in 1596)&mdash;"I come to marriages, wherein as our
+ancestors did fondly, and with a kind of doting, maintaine
+many rites and ceremonies, some whereof were either
+shadowes or abodements of a pleasant life to come, as the
+eating of a Quince Peare to be a preparative of sweet and
+delightful dayes between the married persons."</p>
+
+<p>To understand this high repute in which the Quince was
+held, we must remember that the Quince of hot countries
+differs somewhat from the English Quince. With us the
+fruit is of a fine, handsome shape, and of a rich golden
+colour when fully ripe, and of a strong scent, which is very
+agreeable to many, though too heavy and overpowering to
+others. But the rind is rough and woolly, and the flesh is
+harsh and unpalatable, and only fit to be eaten when cooked.
+In hotter countries the woolly rind is said to disappear, and
+the fruit can be eaten raw; and this is the case not only in
+Eastern countries, but also in the parts of Tropical America
+to which the tree has been introduced from Europe.</p>
+
+<p>In England the Quince is probably less grown now than
+it was in Shakespeare's time&mdash;yet it may well be grown as an
+ornamental shrub even by those who do not appreciate its
+fruit. It forms a thick bush, with large white flowers,
+followed in the autumn by its handsome fruit, and requires
+no care. "They love shadowy, moist places;" "It delighteth
+to grow on plaine and even ground and somewhat moist withall."
+This was Lyte's and Gerard's experience, and I have
+never seen handsomer bushes or finer fruit than I once saw
+on some neglected bushes that skirted a horsepond on a farm
+in Kent; the trees were evidently revelling in their state of
+moisture and neglect. The tree has a horticultural value as
+<span class="pagenum"><a name="Page_236" id="Page_236"></a>[<a href="./images/236.png">236</a>]</span>giving an excellent stock for Pear-trees, on which it has a
+very remarkable effect, for "Cabanis asserts that when certain
+Pears are grafted on the Quince, their seeds yield more
+varieties than do the seeds of the same variety of Pear
+when grafted on the wild Pear."&mdash;<span class="smcap">Darwin.</span> Its economic
+value is considered to be but small, being chiefly used for
+Marmalade,<a name="FNanchor_236:1_167" id="FNanchor_236:1_167"></a><a href="#Footnote_236:1_167" class="fnanchor">[236:1]</a> but in Shakespeare's time, Browne spoke of it
+as "the stomach's comforter, the pleasing Quince," and
+Parkinson speaks highly of it, for "there is no fruit growing
+in the land," he says, "that is of so many excellent uses as
+this, serving as well to make many dishes of meat for the
+table, as for banquets, and much more for their physical
+virtues, whereof to write at large is neither convenient for
+me nor for this work."</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_236:1_167" id="Footnote_236:1_167"></a><a href="#FNanchor_236:1_167"><span class="label">[236:1]</span></a> This was a very old use for the Quince. Wynkyn de Worde, in the
+"Boke of Kervynge" (p. 266), speaks of "char de Quynce;" and
+John Russell, in the "Boke of Nurture" (l. 75), speaks of "chare de
+Quynces." This was Quince marmalade.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>RADISH.</h2>
+
+<table class="poetryt" summary="radish references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Falstaff.</i></td>
+  <td class="tdleft">When a' was naked, he was, for all the world, like
+a fork'd Radish.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act iii, sc. 2 (333).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Falstaff.</i></td>
+  <td class="tdleft">If I fought not with fifty of them, I am a bunch
+of Radish.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 4 (205).</td>
+</tr>
+</table>
+
+<p>There can be no doubt that the Radish was so named
+because it was considered by the Romans, for some reason
+unknown to us, <i>the</i> root <i>par excellence</i>. It was used by
+them, as by us, "as a stimulus before meat, giving an appetite
+thereunto"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i7h">"Acria circum<br /></span>
+<span class="i0">Rapula, lactuc&aelig;, Radices, qualia lassum<br /></span>
+<span class="i0">Pervellunt stomachum."&mdash;<span class="smcap">Horace.</span><br /></span>
+</div></div>
+
+<p>But it was cultivated, or allowed to grow, to a much larger
+size than we now think desirable. Pliny speaks of Radishes
+weighing 40lb. each, and others speak even of 60lb. and
+100lb. But in Shakespeare's time the Radish was very
+much what it is now, a pleasant salad vegetable, but of no
+<span class="pagenum"><a name="Page_237" id="Page_237"></a>[<a href="./images/237.png">237</a>]</span>great value. We read, however, of Radishes being put to
+strange uses. Lupton, a writer of Shakespeare's day, says:
+"If you would kill snakes and adders strike them with a
+large Radish, and to handle adders and snakes without harm,
+wash your hands in the juice of Radishes and you may do
+without harm" ("Notable Things," 1586).</p>
+
+<p>We read also of great attempts being made to procure oil
+from the seed, but to no great effect. Hakluyt, in describing
+the sufficiency of the English soil to produce everything
+necessary in the manufacture of cloth, says: "So as there
+wanteth, if colours might be brought in and made naturall,
+but onely oile; the want whereof if any man could devise
+to supply at the full with anything that might become naturall
+in this realme, he, whatsoever he were that might bring it
+about, might deserve immortal fame in this our Commonwealth,
+and such a devise was offered to Parliament and
+refused, because they denied to allow him a certain liberty,
+some others having obtained the same before that practised
+to work that effect by Radish seed, which onely made a trial
+of small quantity, and that went no further to make that
+oile in plenty, and now he that offered this devise was a
+merchant, and is dead, and withal the devise is dead with
+him" ("Voiages," vol. ii.).</p>
+
+<p>The Radish is not a native of Britain, but was probably
+introduced by the Romans, and was well-known to the Anglo-Saxon
+gardener under its present name, but with a closer
+approach to the Latin, being called R&aelig;dic, or Radiolle.<a name="FNanchor_237:1_168" id="FNanchor_237:1_168"></a><a href="#Footnote_237:1_168" class="fnanchor">[237:1]</a></p>
+
+<p>A curious testimony to the former high reputation of the
+Radish survives in the "Annual Radish Feast at Levens
+Hall, a custom dating from time immemorial, and supposed
+by some to be a relic of feudal times, held on May 12th at
+Levens Hall, the seat of the Hon. Mrs. Howard, and adjoining
+the high road about midway between Kendal and Milnthorpe.
+Tradition hath it that the Radish feast arose out
+of a rivalry between the families of Levens Hall and Dallam
+Tower, as to which should entertain the Corporation with
+their friends and followers, and in which Levens Hall
+eventually carried the palm. The feast is provided on the
+bowling green in front of the Hall, where several long tables
+<span class="pagenum"><a name="Page_238" id="Page_238"></a>[<a href="./images/238.png">238</a>]</span>are plentifully spread with Radishes and brown bread and
+butter, the tables being repeatedly furnished with guests"
+("Gardener's Chronicle").</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_237:1_168" id="Footnote_237:1_168"></a><a href="#FNanchor_237:1_168"><span class="label">[237:1]</span></a> "Catholicon Anglicum."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Raisins" id="Raisins"></a>RAISINS.</h2>
+
+<table class="poetryt" summary="raisin reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clown.</i></td>
+  <td class="tdleft">Four pounds of Prunes and as many of Raisins o' the sun.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (51).</td>
+</tr>
+</table>
+
+<p>Raisins are alluded to, if not actually named, in "1st
+Henry IV.," act ii, sc. 4, when Falstaff says: "If reasons
+were as plentiful as Blackberries, I would give no man a
+reason upon compulsion, I&mdash;&mdash;" "It seems that a pun
+underlies this, the association of reasons with Blackberries
+springing out of the fact that <i>reasons</i> sounded like <i>raisins</i>."&mdash;<span class="smcap">Earle</span>,
+<i>Philology</i>, &amp;c.</p>
+
+<p>Bearing in mind that Raisin is a corruption of <i>racemus</i>, a
+bunch of Grapes, we can understand that the word was not
+always applied, as it is now, to the dried fruit, but was sometimes
+applied to the bunch of Grapes as it hung ripe on the
+tree&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"For no man at the firste stroke<br /></span>
+<span class="i0i">He may not felle down an Oke;<br /></span>
+<span class="i0i">Nor of the Reisins have the wyne<br /></span>
+<span class="i0i">Till Grapes be ripe and welle afyne."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Romaunt of the Rose.</i></p>
+
+<p>The best dried fruit were Raisins of the sun, <i>i.e.</i>, dried in
+the sun, to distinguish them from those which were dried in
+ovens. They were, of course, foreign fruit, and were largely
+imported. The process of drying in the sun is still the
+method in use, at least, with "the finer kinds, such as
+Muscatels, which are distinguished as much by the mode
+of drying as by the variety and soil in which they are grown,
+the finest being dried on the Vines before gathering, the
+stalk being partly cut through when the fruits are ripe, and
+the leaves being removed from near the clusters, so as to
+allow the full effect of the sun in ripening."</p>
+
+<p>The Grape thus becomes a Raisin, but it is still further
+<span class="pagenum"><a name="Page_239" id="Page_239"></a>[<a href="./images/239.png">239</a>]</span>transformed when it reaches the cook; it then becomes a
+Plum, for Plum pudding has, as we all know, Raisins for its
+chief ingredient and certainly no Plums; and the Christmas
+pie into which Jack Horner put in his thumb and pulled out
+a Plum must have been a mince-pie, also made of Raisins;
+but how a cooked Raisin came to be called a Plum is not
+recorded. In Devonshire and Dorsetshire it undergoes a
+further transformation, for there Raisins are called Figs, and
+a Plum pudding is called a Fig pudding.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Reed" id="Reed"></a>REEDS.</h2>
+
+<table class="poetryt" summary="reed references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Reed_1" id="Reed_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>2nd Servant.</i></td>
+  <td class="tdleft">I had as lief have a Reed that will do me no
+service, as a partizan I could not heave.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act ii, sc. 7 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Arviragus.</i></td>
+  <td class="tdleft">Fear no more the frown o' the great,<br />
+Thou art past the tyrant's stroke;<br />
+Care no more to clothe and eat;<br />
+To thee the Reed is as the Oak;<br />
+The sceptre, learning, physick, must<br />
+All follow this, and come to dust.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (264).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Reed_3" id="Reed_3"></a>3)</td>
+  <td class="tdleftt"><i>Ariel.</i></td>
+  <td class="tdleft">His tears run down his beard, like winter's drops<br />
+From eaves of Reeds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act v, sc. 1 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Ariel.</i></td>
+  <td class="tdleft">With hair up-staring&mdash;then like Reeds, not hair&mdash;</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act i, sc. 2 (213).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Hotspur.</i></td>
+  <td class="tdleft"><span class="s9">Swift Severn's flood;</span><br />
+Who then, affrighted with their bloody looks,<br />
+Ran fearfully among the trembling Reeds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act 1, sc. 3 (103).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Reed_6" id="Reed_6"></a>6)</td>
+  <td class="tdleftt"><i>Portia.</i></td>
+  <td class="tdleft">And speak between the change of man and boy<br />
+With a Reed voice.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act iii, sc. 4 (66).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Reed_7" id="Reed_7"></a>7)</td>
+  <td class="tdleftt"><i>Wooer.</i></td>
+  <td class="tdleft">In the great Lake that lies behind the Pallace<br />
+From the far shore thick set with Reeds and Sedges.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft"><span class="pagenum"><a name="Page_240" id="Page_240"></a>[<a href="./images/240.png">240</a>]</span><span class="s10">The Rushes and the Reeds</span><br />
+Had so encompast it.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 1 (71, 80).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">To Simois' Reedy banks the red blood ran.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (1437).
+</td>
+</tr>
+</table>
+
+<p>Reed is a general term for almost any water-loving, grassy
+plant, and so it is used by Shakespeare. In the Bible it is
+perhaps possible to identify some of the Reeds mentioned,
+with the Sugar Cane in some places, with the Papyrus in
+others, and in others with the Arundo donax. As a Biblical
+plant it has a special interest, not only as giving the emblem
+of the tenderest mercy that will be careful even of "the
+bruised Reed," but also as entering largely into the mockery
+of the Crucifixion: "They put a Reed in His right hand,"
+and "they filled a sponge full of vinegar, and put it upon a
+Reed and gave Him to drink." The Reed in these passages
+was probably the Arundo donax, a very elegant Reed, which
+was used for many purposes in Palestine, and is a most
+graceful plant for English gardens, being perfectly hardy,
+and growing every year from 12ft. to 14ft. in height, but
+very seldom flowering.<a name="FNanchor_240:1_169" id="FNanchor_240:1_169"></a><a href="#Footnote_240:1_169" class="fnanchor">[240:1]</a></p>
+
+<p>But in Shakespeare, as in most writers, the Reed is
+simply the emblem of weakness, tossed about by and bending
+to a superior force, and of little or no use&mdash;"a Reed that
+will do me no service" (No. <a href="#Reed_1">1</a>). It is also the emblem of
+the blessedness of submission, and of the power that lies in
+humility to outlast its oppressor&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Like as in tempest great,<br /></span>
+<span class="i1i">Where wind doth bear the stroke,<br /></span>
+<span class="i0i">Much safer stands the bowing Reed<br /></span>
+<span class="i1i">Then doth the stubborn Oak."<br /></span>
+</div></div>
+
+<p>Shakespeare mentions but two uses to which the Reed was
+applied, the thatching of houses (No. <a href="#Reed_3">3</a>), and the making of
+Pan or Shepherd's pipes (No. <a href="#Reed_6">6</a>). Nor has he anything to
+say of its beauty, yet the Reeds of our river sides (<i>Arundo</i>
+<span class="pagenum"><a name="Page_241" id="Page_241"></a>[<a href="./images/241.png">241</a>]</span><i>phragmites</i>) are most graceful plants, especially when they
+have their dark plumes of flowers, and this Milton seems to
+have felt&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Forth flourish't thick the flustering Vine, forth crept<br /></span>
+<span class="i0i">The swelling Gourd, up stood the Cornie Reed<br /></span>
+<span class="i0i">Embattled in her field."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Paradise Lost</i>, book vii.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_240:1_169" id="Footnote_240:1_169"></a><a href="#FNanchor_240:1_169"><span class="label">[240:1]</span></a> I have only been able to find one record of the flowering of Arundo
+donax in England&mdash;"Mem: Arundo donax in flower, 15th September,
+1762, the first time I ever saw it, but this very hot dry summer has
+made many exotics flower.&nbsp;.&nbsp;.&nbsp;. It bears a handsome tassel of flowers."&mdash;<span class="smcap">P.
+Collinson's</span> <i>Hortus Collinsonianus</i>.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>RHUBARB.</h2>
+
+<table class="poetryt" summary="rhubarb reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Macbeth.</i></td>
+  <td class="tdleft">What Rhubarb, Cyme, or what purgative drug<br />
+Would scour these English hence?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act v, sc. 3 (55).</td>
+</tr>
+</table>
+
+<p>Andrew Boorde writing from Spayne in 1535, to Thomas
+Cromwell, says, "I have sent to your Mastershipp the seeds
+of Reuberbe the whiche come forth of Barbary in this
+parte ytt ys had for a grett tresure."<a name="FNanchor_241:1_170" id="FNanchor_241:1_170"></a><a href="#Footnote_241:1_170" class="fnanchor">[241:1]</a> But the plant
+does not seem to have become established and Shakespeare
+could only have known the imported drug, for the
+Rheum was first grown by Parkinson, though it had
+been described in an uncertain way both by Lyte and
+Gerard. Lyte said: "Rha, as it is thought, hath great
+broad leaves;" and then he says: "We have found here in
+the gardens of certaine diligent herboristes that strange
+plant which is thought by some to be Rha or Rhabarbum;"
+but from the figure it is very certain that the plant was not
+a Rheum. After the time of Parkinson, it was largely grown
+for the sake of producing the drug, and it is still grown in
+England to some extent for the same purpose, chiefly in the
+neighbourhood of Banbury; though it is doubtful whether
+any of the species now grown in England are the true
+species that has long produced Turkey Rhubarb. The plant
+is now grown most extensively as a spring vegetable, though I
+cannot find when it first began to be so used. Parkinson
+evidently tried it and thought well of it. "The leaves have a
+fine acid taste; a syrup, therefore, made with the juice and
+<span class="pagenum"><a name="Page_242" id="Page_242"></a>[<a href="./images/242.png">242</a>]</span>sugar cannot but be very effectual in dejected appetites."
+Yet even in 1807 Professor Martyn, the editor of "Millar's
+Dictionary," in a long article on the Rhubarb, makes no
+mention of its culinary qualities, but in 1822 Phillips speaks
+of it as largely cultivated for spring tarts, and forced for the
+London markets, "medical men recommending it as one of
+the most cooling and wholesome tarts sent to table."</p>
+
+<p>As a garden plant the Rhubarb is highly ornamental,
+though it is seldom seen out of the kitchen garden, but
+where room can be given to them, Rheum palmatum or
+Rheum officinale, will always be admired as some of the
+handsomest of foliage plants. The finest species of the
+family is the Himalayan Rheum nobile, but it is exceedingly
+difficult to grow. Botanically the Rhubarb is allied to the
+Dock and Sorrel, and all the species are herbaceous.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_241:1_170" id="Footnote_241:1_170"></a><a href="#FNanchor_241:1_170"><span class="label">[241:1]</span></a> Quoted in Furnival's forewords to Boorde's "Introduction to
+Knowledge," p. 56.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>RICE.</h2>
+
+<table class="poetryt" summary="rice reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Clown.</i></td>
+  <td class="tdleft">Let me see; what am I to buy for our sheep-shearing
+feast? Three pound of sugar, five pound of Currants,
+Rice&mdash;&mdash;What will this sister of mine do with Rice?<a name="FNanchor_242:1_171" id="FNanchor_242:1_171"></a><a href="#Footnote_242:1_171" class="fnanchor">[242:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (38).</td>
+</tr>
+</table>
+
+<p>Shakespeare may have had no more acquaintance with
+Rice than his knowledge of the imported grain, which
+seems to have been long ago introduced into England, for
+in a Nominale of the fifteenth century we have "Hoc risi,
+indeclinabile, Ryse." And in the "Promptorium Parvulorum,"
+"Ryce, frute. Risia, vel risi, n. indecl. secundum
+quosdam, vel risium, vel risorum granum (rizi vel granum
+Indicum)." Turner was acquainted with it: "Ryse groweth
+plentuously in watery myddowes between Myllane and
+Pavia."<a name="FNanchor_242:2_172" id="FNanchor_242:2_172"></a><a href="#Footnote_242:2_172" class="fnanchor">[242:2]</a> And Shakespeare may have seen the plant, for
+Gerard grew it in his London garden, though "the floure
+did not show itselfe by reason of the injurie of our unseasonable
+yeare 1596." It is a native of Africa, and was soon
+<span class="pagenum"><a name="Page_243" id="Page_243"></a>[<a href="./images/243.png">243</a>]</span>transferred to Europe as a nourishing and wholesome grain,
+especially for invalids&mdash;"sume hoc ptisanarium oryz&aelig;,"
+says the doctor to his patient in Horace, and it is mentioned
+both by Dioscorides and Theophrastus. It has been occasionally
+grown in England as a curiosity, but seldom comes
+to any perfection out-of-doors, as it requires a mixture of
+moisture and heat that we cannot easily give it. There are
+said to be species in the North of China growing in dry
+places, which would perhaps be hardy in England and easier
+of cultivation, but I am not aware that they have ever been
+introduced.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_242:1_171" id="Footnote_242:1_171"></a><a href="#FNanchor_242:1_171"><span class="label">[242:1]</span></a> In 1468 the price of rice was 3d. a pound = 3s. of our money
+("Babee's Book," xxx.).</p></div>
+
+<div class="footnote"><p><a name="Footnote_242:2_172" id="Footnote_242:2_172"></a><a href="#FNanchor_242:2_172"><span class="label">[242:2]</span></a> "Names of Herbes," s.v. Oryza.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Roses" id="Roses"></a>ROSES.</h2>
+
+<table class="poetryt" summary="rose references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Rose_1" id="Rose_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Titania.</i></td>
+  <td class="tdleft">Some to kill cankers in the Musk-rose buds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 3 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft">And stick Musk-Roses in thy sleek, smooth head.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Julia.</i></td>
+  <td class="tdleft">The air hath starved the Roses in her cheeks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Gentlemen of Verona</i>, act iv, sc. 4 (159).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Song.</i></td>
+  <td class="tdleft">There will we make our beds of Roses<br />
+And a thousand fragrant posies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act iii, sc. 1 (19).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_5" id="Rose_5"></a>5)</td>
+  <td class="tdleftt"><i>Autolycus.</i></td>
+  <td class="tdleft">Gloves as sweet as Damask Roses.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (222).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Olivia.</i></td>
+  <td class="tdleft">C&aelig;sario, by the Roses of the spring,<br />
+By maidhood, honour, truth, and everything,<br />
+I love thee so.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act iii, sc. 1 (161).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_7" id="Rose_7"></a>7)</td>
+  <td class="tdleftt"><i>Diana.</i></td>
+  <td class="tdleft"><span class="s10">When you have our Roses,</span><br />
+You barely leave us thorns to prick ourselves<br />
+And mock us with our bareness.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act iv, sc. 2 (18).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Lord.</i></td>
+  <td class="tdleft">Let one attend him with a silver basin<br />
+Full of Rose-water and bestrew'd with flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, Induction, sc. 1 (55).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Petruchio.</i></td>
+  <td class="tdleft"><span class="s4">I'll say she looks as clear</span><br />
+As morning Roses newly wash'd with dew.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 1 (173).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_244" id="Page_244"></a>[<a href="./images/244.png">244</a>]</span>(10)</td>
+  <td class="tdleftt"><i>Tyrrell.</i></td>
+  <td class="tdleft">Their lips were four red Roses on a stalk,<br />
+Which in their summer beauty kiss'd each other.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act iv, sc. 3 (12).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Friar.</i></td>
+  <td class="tdleft">The Roses in thy lips and cheeks shall fade<br />
+To paly ashes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iv, sc. 1 (99).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft">Remnants of packthread and old cakes of Roses<br />
+Were thinly scatter'd, to make up a show.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 1 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_13" id="Rose_13"></a>13)</td>
+  <td class="tdleftt"><i>Hamlet.</i></td>
+  <td class="tdleft">With two Provincial Roses on my razed shoes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iii, sc. 2 (287).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Laertes.</i></td>
+  <td class="tdleft"><span class="s5">O Rose of May,</span><br />
+Dear maid, kind sister, sweet Ophelia!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 5 (157).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Duke.</i></td>
+  <td class="tdleft">For women are as Roses, whose fair flower<br />
+Being once display'd doth fall that very hour.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act ii, sc. 4 (39).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Constance.</i></td>
+  <td class="tdleft">Of Nature's gifts, thou may'st with Lilies boast,<br />
+And with the half-blown Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act iii, sc. 1 (153).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">But soft, but see, or rather do not see,<br />
+My fair Rose wither.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act v, sc. 1 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_18" id="Rose_18"></a>18)</td>
+  <td class="tdleftt"><i>Hotspur.</i></td>
+  <td class="tdleft">To put down Richard, that sweet lovely Rose,<br />
+And plant this Thorn, this canker, Bolingbroke.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act i, sc. 3 (175).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(19)</td>
+  <td class="tdleftt"><i>Hostess.</i></td>
+  <td class="tdleft">Your colour, I warrant you, is as red as any Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act ii, sc. 4 (27).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_20" id="Rose_20"></a>20)</td>
+  <td class="tdleftt"><i>York.</i></td>
+  <td class="tdleft">Then will I raise aloft the milk-white Rose,<br />
+With whose sweet smell the air shall be perfumed.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act i, sc. 1 (254).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(21)</td>
+  <td class="tdleftt"><i>Don John.</i></td>
+  <td class="tdleft">I had rather be a canker in a hedge than a Rose in his grace.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act i, sc. 3 (27).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_22" id="Rose_22"></a>22)</td>
+  <td class="tdleftt"><i>Theseus.</i></td>
+  <td class="tdleft">But earthlier happy is the Rose distill'd<br />
+Than that which withering on the virgin Thorn<br />
+Grows, lives, and dies in single blessedness.<a name="FNanchor_244:1_173" id="FNanchor_244:1_173"></a><a href="#Footnote_244:1_173" class="fnanchor">[244:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act i, sc. 1 (76).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_245" id="Page_245"></a>[<a href="./images/245.png">245</a>]</span>(23)</td>
+  <td class="tdleftt"><i>Lysander.</i></td>
+  <td class="tdleft">How now, my love! Why is your cheek so pale?<br />
+How chance the Roses there do fade so fast?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act i, sc. 1 (128).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(24)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft">The seasons alter: hoary-headed frosts<br />
+Fall in the fresh lap of the crimson Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 1 (107).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(25)</td>
+  <td class="tdleftt"><i>Thisbe.</i></td>
+  <td class="tdleft">Of colour like the red Rose on triumphant Brier.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 1 (95).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_26" id="Rose_26"></a>26)</td>
+  <td class="tdleftt"><i>Biron.</i></td>
+  <td class="tdleft">Why should I joy in any abortive mirth?<br />
+At Christmas I no more desire a Rose<br />
+Than wish a snow in May's new-fangled mirth,<br />
+But like of each thing that in season grows.<a name="FNanchor_245:1_174" id="FNanchor_245:1_174"></a><a href="#Footnote_245:1_174" class="fnanchor">[245:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act i, sc. 1 (105).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_27" id="Rose_27"></a>27)</td>
+  <td class="tdleftt"><i>King</i> (reads).</td>
+  <td class="tdleft">So sweet a kiss the golden sun gives not<br />
+To those fresh morning drops upon the Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 3 (26).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(28)</td>
+  <td class="tdleftt"><i>Boyet.</i></td>
+  <td class="tdleft">Blow like sweet Roses in this summer air.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Princess.</i></td>
+  <td class="tdleft">How blow? how blow? Speak to be understood.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Boyet.</i></td>
+  <td class="tdleft">Fair ladies mask'd are Roses in their bud;<br />
+Dismask'd, their damask sweet commixture shown,<br />
+Are angels veiling clouds, or Roses blown.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 2 (293).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(29)</td>
+  <td class="tdleftt"><i>Touchstone.</i></td>
+  <td class="tdleft">He that sweetest Rose will find,<br />
+Must find Love's prick and Rosalind.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (117).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_30" id="Rose_30"></a>30)</td>
+  <td class="tdleftt"><i>Countess.</i></td>
+  <td class="tdleft"><span class="s17">This Thorn</span><br />
+Doth to our Rose of youth rightly belong.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act i, sc. 3 (135).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(31)</td>
+  <td class="tdleftt"><i>Bastard.</i></td>
+  <td class="tdleft"><span class="s12">My face so thin,</span><br />
+That in mine ear I durst not stick a Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act i, sc. 1 (141).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(32)</td>
+  <td class="tdleftt"><i>Antony.</i></td>
+  <td class="tdleft"><span class="s8">Tell him he wears the Rose</span><br />
+Of youth upon him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act iii, sc. 13 (20).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(33)</td>
+  <td class="tdleftt"><i>Cleopatra.</i></td>
+  <td class="tdleft">Against the blown Rose may they stop their nose<br />
+That kneel'd unto the buds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (39).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_246" id="Page_246"></a>[<a href="./images/246.png">246</a>]</span>(<a name="Rose_34" id="Rose_34"></a>34)</td>
+  <td class="tdleftt"><i>Boult.</i></td>
+  <td class="tdleft">For flesh and blood, sir, white and red, you shall
+see a Rose; and she were a Rose indeed!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act iv, sc. 6 (37).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(35)</td>
+  <td class="tdleftt"><i>Gower.</i></td>
+  <td class="tdleft">Even her art sisters the natural Roses.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, chorus (7). (<i>See</i> <span class="smcap">Cherry</span>, No. <a href="#Cherry_5">5</a>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_36" id="Rose_36"></a>36)</td>
+  <td class="tdleftt"><i>Juliet.</i></td>
+  <td class="tdleft">What's in a name? That which we call a Rose<br />
+By any other name would smell as sweet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 2 (43).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(37)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">The expectancy and Rose of the fair state.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iii, sc. 1 (160).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(38)</td>
+  <td class="tdleftt"><i>Hamlet.</i></td>
+  <td class="tdleft">Such an act .&nbsp;.&nbsp;. takes off the Rose<br />
+From the fair forehead of an innocent love,<br />
+And sets a blister there.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 4 (40).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(39)</td>
+  <td class="tdleftt"><i>Othello.</i></td>
+  <td class="tdleft"><span class="s4">When I have pluck'd the Rose,</span><br />
+I cannot give it vital growth again,<br />
+It needs must wither. I'll smell it on the tree.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act v, sc. 2 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(40)</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">Rose-cheeked youth.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (86).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(41)</td>
+  <td class="tdleftt"><i>Othello.</i></td>
+  <td class="tdleft">Thou young and Rose-lipp'd cherubim.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act iv, sc. 2 (63).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(42)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Roses, their sharp spines being gone,<br />
+Not royall in their smells alone<br />
+But in their hue.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, Introd. song.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(43)</td>
+  <td class="tdleftt"><i>Emilia.</i></td>
+  <td class="tdleft"><span class="s10">Of all flowres</span><br />
+Methinks a Rose is best.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Woman.</i></td>
+  <td class="tdleft"><span class="s19">Why, gentle madam?</span><br /></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Emilia.</i></td>
+  <td class="tdleft">It is the very Embleme of a maide.<br />
+For when the west wind courts her gently,<br />
+How modestly she blows, and paints the Sun<br />
+With her chaste blushes? When the north winds neere her,<br />
+Rude and impatient, then, like Chastity,<br />
+Shee locks her beauties in her bud againe,<br />
+And leaves him to base Briers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 2 (160).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(44)</td>
+  <td class="tdleft"><i>Wooer.</i></td>
+  <td class="tdleft">With cherry lips and cheekes of Damaske Roses.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 2 (95).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(45)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>See</i> <span class="smcap">Nettles</span>, No. <a href="#Nettles_13">13</a>.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(46)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Roses have thorns and silver fountains mud,<br />
+And loathsome canker lives in sweetest bud.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> xxxv.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_247" id="Page_247"></a>[<a href="./images/247.png">247</a>]</span>(47)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The Rose looks fair, but fairer we it deem<br />
+For that sweet odour that doth in it live.<br />
+The canker-blooms have full as deep a dye<br />
+As the perfumed tincture of the Roses,<br />
+Hang on such thorns, and play as wantonly<br />
+When summer's breath their masked buds discloses;<br />
+But, for their virtue only is their show,<br />
+They live unwoo'd and unrespected fade;<br />
+Die to themselves&mdash;sweet Roses do not so;<br />
+Of their sweet deaths are sweetest odours made.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> liv.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(48)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Why should poor beauty indirectly seek<br />
+Roses of shadow, since his Rose is true?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> lxvii.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(49)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Shame, like a canker in the fragrant Rose,<br />
+Doth spot the beauty of thy budding name.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xcv.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(50)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Nor did I wonder at the Lily's white,<br />
+Nor praise the deep vermilion of the Rose.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xcviii.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_51" id="Rose_51"></a>51)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The Roses fearfully in thorns did stand,<br />
+One blushing shame, another white despair;<br />
+A third, nor red nor white, had stol'n of both<br />
+And to his robbery had annex'd thy breath.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xcix.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rose_52" id="Rose_52"></a>52)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">I have seen Roses damask'd, red and white,<br />
+But no such Roses see I in her cheeks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> cxxx.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(53)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">More white and red than dove and Roses are.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (10).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(54)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">What though the Rose has prickles? yet 'tis plucked.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (574).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(55)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Who, when he lived, his breath and beauty set<br />
+Gloss on the Rose, smell to the Violet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (935).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(56)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Their silent war of Lilies and of Roses.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (71).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(57)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">O how her fear did make her colour rise,<br />
+First red as Roses that on lawn we lay,<br />
+Then white as lawn, the Roses took away.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (257).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(58)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">That even for anger makes the Lily pale,<br />
+And the red Rose blush at her own disgrace.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (477).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(59)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">I know what Thorns the growing Rose defends.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (492).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(60)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Rose-cheeked Adonis hied him to the chase.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis.</i> (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(61)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft"><span class="s21">A sudden pale,</span><br />
+Like lawn being spread upon the blushing Rose,<br />
+Usurps her cheek.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (589).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_248" id="Page_248"></a>[<a href="./images/248.png">248</a>]</span>(62)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">That beauty's Rose might never die.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> i.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(63)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Nothing this wide universe I call
+Save thou, my Rose; in it thou art my all.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> cix.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(64)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft"><span class="s11">Rosy lips and cheeks</span><br />
+Within time's bending sickle's compass come.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> cxvi.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(65)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Sweet Rose, fair flower, untimely pluck'd, soon vaded,<br />
+Pluck'd in the bud, and vaded in the spring!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>The Passionate Pilgrim</i> (131).</td>
+</tr>
+</table>
+
+<p>In addition to these many passages, there are perhaps
+thirty more in which the Rose is mentioned with reference
+to the Red and White Roses of the houses of York and
+Lancaster. To quote these it would be necessary to extract
+an entire act, which is very graphic, but too long. I must,
+therefore, content myself with the beginning and the end
+of the chief scene, and refer the reader who desires to see it
+<i>in extenso</i> to "1st Henry VI.," act ii, sc. 4. The scene is in
+the Temple Gardens, and Plantagenet and Somerset thus
+begin the fatal quarrel&mdash;</p>
+
+<table class="poetryt" summary="roses of houses of York and Lancaster" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Plantagenet.</i></td>
+  <td class="tdleft">Let him that is a true-born gentleman<br />
+And stands upon the honour of his birth,<br />
+If he suppose that I have pleaded truth,<br />
+From off this Brier pluck a White Rose with me.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Somerset.</i></td>
+  <td class="tdleft">Let him that is no coward nor no flatterer,<br />
+But dare maintain the party of the truth,<br />
+Pluck a Red Rose from off this Thorn with me.</td>
+</tr>
+</table>
+
+<p>And Warwick's wise conclusion on the whole matter is&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8h">This brawl to-day,<br /></span>
+<span class="i0">Grown to this faction in the Temple Garden,<br /></span>
+<span class="i0">Shall send, between the Red Rose and the White,<br /></span>
+<span class="i0">A thousand souls to death and deadly night.<br /></span>
+</div></div>
+
+<p>There are further allusions to the same Red and White
+Roses in "3rd Henry VI.," act i, sc. 1 and 2, act ii, sc. 5, and
+act v, sc. 1; "1st Henry VI.," act iv, sc. 1; and "Richard
+III.," act v, sc. 4.</p>
+
+<p>There is no flower so often mentioned by Shakespeare as
+the Rose, and he would probably consider it the queen of
+flowers, for it was so deemed in his time. "The Rose doth
+<span class="pagenum"><a name="Page_249" id="Page_249"></a>[<a href="./images/249.png">249</a>]</span>deserve the cheefest and most principall place among all
+flowers whatsoever, being not onely esteemed for his beautie,
+vertues, and his fragrant and odoriferous smell, but also
+because it is the honore and ornament of our English
+Scepter."&mdash;<span class="smcap">Gerard.</span> Yet the kingdom of the Rose even
+then was not undisputed; the Lily was always its rival (<i>see</i>
+<span class="smcap"><a href="#Lily">Lily</a></span>), for thus sang Walter de Biblesworth in the thirteenth
+century&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"En &ccedil;o verger troveroums les flurs<br /></span>
+<span class="i0i">Des queus issunt les doux odours (swote smel)<br /></span>
+<span class="i0i">Les herbes ausi pur medicine<br /></span>
+<span class="i0i">La flur de Rose, la flur de Liz (lilie)<br /></span>
+<span class="i0i">Liz vaut per royne, Rose pur piz."<br /></span>
+</div></div>
+
+<p>But a little later the great Scotch poet Dunbar, who lived
+from 1460 to 1520, that is, a century before Shakespeare,
+asserted the dignity of the Rose as even superior to the
+Thistle of Scotland.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Nor hold none other flower in sic dainty<br /></span>
+<span class="i1i">As the fresh Rose of colour red and white;<br /></span>
+<span class="i0i">For if thou dost, hurt is thine honesty,<br /></span>
+<span class="i1i">Considering that no flower is so perfite,<br /></span>
+<span class="i1i">So full of virtue, pleasaunce, and delight,<br /></span>
+<span class="i0i">So full of blissful angelic beauty,<br /></span>
+<span class="i0i">Imperial birth, honour, and dignity."<br /></span>
+</div></div>
+
+<p>Volumes have been written, and many more may still be
+written, on the delights of the Rose, but my present business
+is only with the Roses of Shakespeare. In many of the
+above passages the Rose is simply the emblem of all that is
+loveliest and brightest and most beautiful upon earth, yet
+always with the underlying sentiment that even the brightest
+has its dark side, as the Rose has its thorns; that the
+worthiest objects of our earthly love are at the very best but
+short-lived; that the most beautiful has on it the doom of
+decay and death. These were the lessons which even the
+heathen writers learned from their favourite Roses, and
+which Christian writers of all ages loved to learn also, not
+from the heathen writers, but from the beautiful flowers
+themselves. "The Rose is a beautiful flower," said St. Basil,
+"but it always fills me with sorrow by reminding me of my
+<span class="pagenum"><a name="Page_250" id="Page_250"></a>[<a href="./images/250.png">250</a>]</span>sins, for which the earth was doomed to bear thorns." And
+it would be easy to fill a volume, and it would not be a
+cheerless volume, with beautiful and expressive passages from
+poets, preachers, and other authors, who have taken the Rose
+to point the moral of the fleeting nature of all earthly things.
+Herrick in four lines tells the whole&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Gather ye Roses while ye may<br /></span>
+<span class="i1i">Old time is still a-flying,<br /></span>
+<span class="i0i">And the same flower that smiles to-day,<br /></span>
+<span class="i1i">To-morrow will be dying."<br /></span>
+</div></div>
+
+<p>But Shakespeare's notices of the Rose are not all emblematical
+and allegorical. He mentions these distinct sorts of
+Roses&mdash;the Red Rose, the White Rose, the Musk Rose, the
+Proven&ccedil;al Rose, the Damask Rose, the Variegated Rose,
+the Canker Rose, and the Sweet Briar.</p>
+
+<p>The Canker Rose is the wild Dog Rose, and the name is
+sometimes applied to the common Red Poppy.</p>
+
+<p>The Red Rose and the Proven&ccedil;al Rose (No. <a href="#Rose_13">13</a>) are no
+doubt the same, and are what we now call R. centifolia, or
+the Cabbage Rose; a Rose that has been supposed to be a
+native of the South of Europe, but Dr. Lindley preferred "to
+place its native country in Asia, because it has been found
+wild by Bieberstein with double flowers, on the eastern side
+of Mount Caucasus, whither it is not likely to have escaped
+from a garden."<a name="FNanchor_250:1_175" id="FNanchor_250:1_175"></a><a href="#Footnote_250:1_175" class="fnanchor">[250:1]</a> We do not know when it was introduced
+into England, but it was familiar to Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The savour of the Roses swote<br /></span>
+<span class="i0i">Me smote right to the hert&eacute; rote,<br /></span>
+<span class="i0i">As I hadde alle embawmed be.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Of Roses there were grete wone,<br /></span>
+<span class="i0i">So faire were never in Rone."<br /></span>
+</div></div>
+
+<p><i>i.e.</i>, in Provence, at the mouth of the Rhone. For beauty in
+shape and exquisite fragrance, I consider this Rose to be
+still unrivalled; but it is not a fashionable Rose, and
+<span class="pagenum"><a name="Page_251" id="Page_251"></a>[<a href="./images/251.png">251</a>]</span>is usually found in cottage gardens, or perhaps in some
+neglected part of gardens of more pretensions. I believe
+it is considered too loose in shape to satisfy the floral critics
+of exhibition flowers, and it is only a summer Rose, and so
+contrasts unfavourably with the Hybrid Perpetuals. Still,
+it is a delightful Rose, delightful to the eye, delightful for
+its fragrance, and most delightful from its associations.</p>
+
+<p>The White Rose of York (No. <a href="#Rose_20">20</a>) has never been satisfactorily
+identified. It was clearly a cultivated Rose, and by
+some is supposed to have been only the wild White Rose
+(<i>R. arvensis</i>) grown in a garden. But it is very likely to
+have been the Rosa alba, which was a favourite in English
+gardens in Shakespeare's time, and was very probably introduced
+long before his time, for it is the double variety of
+the wild White Rose, and Gerard says of it: "The double
+White Rose doth grow wilde in many hedges of Lancashire
+in great abundance, even as Briers do with us in these
+southerly parts, especially in a place of the countrey called
+Leyland, and in a place called Roughford, not far from
+Latham." It was, therefore, not a new gardener's plant in
+his time, as has been often stated. I have little doubt that
+this is the White Rose of York; it is not the R. alba of Dr.
+Lindley's monograph, but the double variety of the British
+R. arvensis.</p>
+
+<p>The White Rose has a very ancient interest for Englishmen,
+for "long before the brawl in the Temple Gardens,
+the flower had been connected with one of the most ancient
+names of our island. The elder Pliny, in discussing the
+etymology of the word Albion, suggests that the land may
+have been so named from the White Roses which abounded
+in it&mdash;'Albion insula sic dicta ab albis rupibus, quas mare
+alluit, vel ob rosas albas quibus abundat.' Whatever we
+may think of the etymological skill displayed in the
+suggestion .&nbsp;.&nbsp;. we look with almost a new pleasure on the Roses
+of our own hedgerows, when regarding them as descended
+in a straight line from the 'rosas albas' of those far-off
+summers."&mdash;<i>Quarterly Review</i>, vol. cxiv.</p>
+
+<p>The Damask Rose (No. <a href="#Rose_5">5</a>) remains to us under the same
+name, telling its own history. There can be little doubt
+that the Rose came from Damascus, probably introduced
+into Europe by the Crusaders or some of the early travellers
+<span class="pagenum"><a name="Page_252" id="Page_252"></a>[<a href="./images/252.png">252</a>]</span>in the East, who speak in glowing terms of the beauties of
+the gardens of Damascus. So Sir John Mandeville describes
+the city&mdash;"In that Cytee of Damasce, there is gret plentee
+of Welles, and with in the Cytee and with oute, ben many
+fayre Gardynes and of dyverse frutes. Non other Cytee is
+not lyche in comparison to it, of fayre Gardynes, and of
+fayre desportes."&mdash;<i>Voiage and Travaile</i>, cap. xi. And
+in our own day the author of "E&ouml;then" described the same
+gardens as he saw them: "High, high above your head,
+and on every side all down to the ground, the thicket is
+hemmed in and choked up by the interlacing boughs that
+droop with the weight of Roses, and load the slow air with
+their damask breath. There are no other flowers. The
+Rose trees which I saw were all of the kind we call
+'damask;' they grow to an immense height and size."&mdash;<i>E&ouml;then</i>,
+ch. xxvii. It was not till long after the Crusades
+that the Damask Rose was introduced into England, for
+Hakluyt in 1582 says: "In time of memory many things
+have been brought in that were not here before, as the
+Damaske Rose by Doctour Linaker, King Henry the Seventh
+and King Henrie the Eight's Physician."&mdash;<i>Voiages</i>, vol. ii.<a name="FNanchor_252:1_176" id="FNanchor_252:1_176"></a><a href="#Footnote_252:1_176" class="fnanchor">[252:1]</a></p>
+
+<p>As an ornamental Rose the Damask Rose is still a
+favourite, though probably the real typical Rosa Damascena
+is very seldom seen&mdash;but it has been the parent of a large
+number of hybrid Roses, which the most critical Rosarian
+does not reject. The whole family are very sweet-scented,
+so that "sweet as Damask Roses" was a proverb, and
+Gerard describes the common Damaske as "in other
+respects like the White Rose; the especiale difference consisteth
+in the colour and smell of the floures, for these are
+of a pale red colour and of a more pleasant smell, and fitter
+for meate or medicine."</p>
+
+<p>The Musk Roses (No. <a href="#Rose_1">1</a>) were great favourites with our
+forefathers. This Rose (<i>R. moschata</i>) is a native of the North
+of Africa and of Spain, and has been also found in Nepaul.
+Hakluyt gives the exact date of its introduction. "The
+turkey cockes and hennes," he says, "were brought about
+fifty yeres past, the Artichowe in time of King Henry the
+<span class="pagenum"><a name="Page_253" id="Page_253"></a>[<a href="./images/253.png">253</a>]</span>Eight, and of later times was procured out of Italy the
+Muske Rose plant, the Plumme called the Perdigwena, and
+two kindes more by the Lord Cromwell after his travel."&mdash;<i>Voiages</i>,
+vol. ii. It is a long straggling Rose, bearing
+bunches of single flowers, and is very seldom seen except
+against the walls of some old houses. "You remember the
+great bush at the corner of the south wall just by the blue
+drawing-room windows; that is the old Musk Rose, Shakespeare's
+Musk Rose, which is dying out through the kingdom
+now."&mdash;<i>My Lady Ludlow</i>, by Mrs. Gaskell. But wherever
+it is grown it is highly prized, not so much for the beauty as
+for the delicate scent of its flowers. The scent is unlike
+the scent of any other Rose, or of any other flower, but it is
+very pleasant, and not overpowering; and the plant has the
+peculiarity that, like the Sweet Briar, but unlike other
+Roses, it gives out its scent of its own accord and unsought,
+and chiefly in the evening, so that if the window of a bedroom
+near which this rose is trained is left open, the scent
+will soon be perceived in the room. This peculiarity did
+not escape the notice of Lord Bacon. "Because the breath
+of flowers," he says, "is far sweeter in the air (when it comes
+and goes like the warbling of music) than in the hand,
+therefore nothing is more fit for that delight than to know
+what be the flowers and plants that do best perfume the air.
+Roses, damask and red, are fast flowers of their smells, so
+that you may walk by a whole row of them, and find nothing
+of their sweetness, yea, though it be in a morning's dew.
+Bays, likewise, yield no smell as they grow, Rosemary little,
+nor Sweet Marjoram; that which above all others yields the
+sweetest smell in the air is the Violet, especially the white
+double Violet which comes twice a year, about the middle
+of April, and about Bartholomew-tide; next to that is the
+Musk-rose."&mdash;<i>Essay of Gardens.</i></p>
+
+<p>The Roses mentioned in Nos. <a href="#Rose_34">34</a>, <a href="#Rose_51">51</a>, and <a href="#Rose_52">52</a> as a mixture
+of red and white must have been the mottled or variegated
+Roses, commonly called the York and Lancaster Roses;<a name="FNanchor_253:1_177" id="FNanchor_253:1_177"></a><a href="#Footnote_253:1_177" class="fnanchor">[253:1]</a>
+<span class="pagenum"><a name="Page_254" id="Page_254"></a>[<a href="./images/254.png">254</a>]</span>these are old Roses, and very probably quite as old as the
+sixteenth century. There are two varieties: in one each
+petal is blotched with white and pink; this is the R. versicolor
+of Parkinson, and is a variety of R. Damascena; in the
+other most of the petals are white, but with a mixture of
+pink petals; this is the Rosa mundi or Gloria mundi, and is
+a variety of R. Gallica.</p>
+
+<p>These, with the addition of the Eglantine or Sweet Brier
+(<i>see</i> <span class="smcap"><a href="#Eglantine">Eglantine</a></span>), are the only Roses that Shakespeare
+directly names, and they were the chief sorts grown in his
+time, but not the only sorts; and to what extent Roses were
+cultivated in Shakespeare's time we have a curious proof in
+the account of the grant of Ely Place, in Holborn, the property
+of the Bishops of Ely. "The tenant was Sir Christopher
+Hatton (Queen Elizabeth's handsome Lord Chancellor)
+to whom the greater portion of the house was let in 1576 for
+the term of twenty-one years. The rent was a Red Rose,
+ten loads of hay, and ten pounds per annum; Bishop Cox,
+on whom this hard bargain was forced by the Queen, reserving
+to himself and his successors the right of walking in the
+gardens, and gathering twenty bushels of Roses yearly."&mdash;<span class="smcap">Cunningham.</span>
+We have records also of the garden cultivation
+of the Rose in London long before Shakespeare's time.
+"In the Earl of Lincoln's garden in Holborn in 24 Edw. I.,
+the only flowers named are Roses, of which a quantity was
+sold, producing three shillings and twopence."&mdash;<span class="smcap">Hudson
+Turner.</span></p>
+
+<p>My space forbids me to enter more largely into any
+account of these old species, or to say much of the many
+very interesting points in the history of the Rose, but two or
+three points connected with Shakespeare's Roses must not
+be passed over. First, its name. He says through Juliet
+(No. <a href="#Rose_36">36</a>) that the Rose by any other name would smell as
+sweet. But the whole world is against him. Rose was its
+old Latin name corrupted from its older Greek name, and
+the same name, with slight and easily-traced differences, has
+clung to it in almost all European countries.</p>
+
+<p>Shakespeare also mentions its uses in Rose-water and
+Rose-cakes, and it was only natural to suppose that a flower
+so beautiful and so sweet was meant by Nature to be of great
+use to man. Accordingly we find that wonderful virtues
+<span class="pagenum"><a name="Page_255" id="Page_255"></a>[<a href="./images/255.png">255</a>]</span>were attributed to it,<a name="FNanchor_255:1_178" id="FNanchor_255:1_178"></a><a href="#Footnote_255:1_178" class="fnanchor">[255:1]</a> and an especial virtue was attributed
+to the dewdrops that settled on the full-blown Rose. Shakespeare
+alludes to these in Nos. <a href="#Rose_22">22</a> and <a href="#Rose_27">27</a>; and from these
+were made cosmetics only suited to the most extravagant.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The water that did spryng from ground<br /></span>
+<span class="i1i">She would not touch at all,<br /></span>
+<span class="i0i">But washt her hands with dew of Heaven<br /></span>
+<span class="i1i">That on sweet Roses fall."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Lamentable Fall of Queen Ellinor.</i>&mdash;Roxburghe Ballads.</p>
+
+<p>And as with their uses, so it was also with their history.
+Such a flower must have a high origin, and what better
+origin than the pretty medi&aelig;val legend told to us by Sir
+John Mandeville?&mdash;"At Betheleim is the Felde <i>Floridus</i>,
+that is to seyne, the <i>Feld florisched</i>; for als moche as a fayre
+mayden was blamed with wrong and sclaundered, for whiche
+cause sche was demed to the Dethe, and to be brent in that
+place, to the whiche she was ladd; and as the Fyre began to
+brent about hire, sche made hire preyeres to oure Lord, that
+als wissely as sche was not gylty of that Synne, that He
+wolde helpe hire and make it to be knowen to alle men, of
+his mercyfulle grace. And when sche hadde thus seyd, sche
+entered into the Fuyr; and anon was the Fuyr quenched
+and oute; and the Brondes that weren brennynge becomen
+red Roseres, and the Brondes that weren not kyndled becomen
+white Roseres, full of Roses. And these weren the
+first Roseres and Roses, both white and rede, that evere ony
+man saughe."&mdash;<i>Voiage and Travaile</i>, cap. vi.</p>
+
+<p>With this pretty legend I may well conclude the account
+of Shakespeare's Roses, commending, however, M. Biron's
+sensible remarks on unseasonable flowers (No. <a href="#Rose_26">26</a>) to those
+who estimate the beauty of a flower or anything else in proportion
+to its being produced out of its natural season.</p>
+
+<hr style="width:90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_244:1_173" id="Footnote_244:1_173"></a><a href="#FNanchor_244:1_173"><span class="label">[244:1]</span></a> This was a familiar idea with the old writers: "Therefore, sister
+Bud, grow wise by my folly, and know it is far greater happinesse to
+lose thy virginity in a good hand than to wither on the stalk whereon
+thou growest."&mdash;<span class="smcap">Thomas Fuller</span>, <i>Antheologia</i>, p. 32. (See also
+Chester's "Cantoes," No. 13, p. 137, New Shak. Soc.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_245:1_174" id="Footnote_245:1_174"></a><a href="#FNanchor_245:1_174"><span class="label">[245:1]</span></a> "Non vivunt contra naturam, qui hieme concupiscunt rosas?"&mdash;<span class="smcap">Seneca</span>,
+<i>Ep.</i> 122.</p></div>
+
+<div class="footnote"><p><a name="Footnote_250:1_175" id="Footnote_250:1_175"></a><a href="#FNanchor_250:1_175"><span class="label">[250:1]</span></a> We have an old record of the existence of large double Roses in
+Asia by Herodotus, who tells us, that in a part of Macedonia were the
+so-called gardens of Midas, in which grew native Roses, each one having
+sixty petals, and of a scent surpassing all others ("Hist.," viii. 138).</p></div>
+
+<div class="footnote"><p><a name="Footnote_252:1_176" id="Footnote_252:1_176"></a><a href="#FNanchor_252:1_176"><span class="label">[252:1]</span></a> The Damask Rose was imported into England at an earlier date
+but probably only as a drug. It is mentioned in a "Bill of Medicynes
+furnished for the use of Edward I., 1306-7: 'Item pro aqua rosata de
+Damasc,' lb. xl, iiii<i>li.</i>"&mdash;<i>Arch&aelig;ological Journal</i>, vol. xiv. 271.</p></div>
+
+<div class="footnote"><p><a name="Footnote_253:1_177" id="Footnote_253:1_177"></a><a href="#FNanchor_253:1_177"><span class="label">[253:1]</span></a> The York and Lancaster Roses were a frequent subject for the
+epigram writers; and gave occasion for one of the happiest of English
+epigrams. On presenting a White Rose to a Lancastrian lady&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"If this fair Rose offend thy sight,<br /></span>
+<span class="i1i">It in thy bosom wear;<br /></span>
+<span class="i0i">'Twill blush to find itself less white,<br /></span>
+<span class="i1i">And turn Lancastrian there."<br /></span>
+</div></div>
+</div>
+
+<div class="footnote"><p><a name="Footnote_255:1_178" id="Footnote_255:1_178"></a><a href="#FNanchor_255:1_178"><span class="label">[255:1]</span></a> "A Rose beside his beauty is a cure."&mdash;<span class="smcap">G. Herbert</span>, <i>Providence</i>.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_256" id="Page_256"></a>[<a href="./images/256.png">256</a>]</span></p>
+<h2>ROSEMARY.</h2>
+
+<table class="poetryt" summary="rosemary references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Rosemary_1" id="Rosemary_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s15">Reverend Sirs,</span><br />
+For you there's Rosemary and Rue; these keep<br />
+Seeming and savour all the winter long;<br />
+Grace and remembrance be to you both.<a name="FNanchor_256:1_179" id="FNanchor_256:1_179"></a><a href="#Footnote_256:1_179" class="fnanchor">[256:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (73).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Bawd.</i></td>
+  <td class="tdleft">Marry, come up, my dish of chastity with Rosemary and bays.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act iv, sc. 6 (159).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Edgar.</i></td>
+  <td class="tdleft">Bedlam beggars, who, with roaring voices<br />
+Strike in their numb'd and mortified bare arms<br />
+Pins, wooden pricks, and sprigs of Rosemary.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lear</i>, act ii, sc. 3 (14).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">There's Rosemary, that's for remembrance; pray, love, remember.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 5 (175).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Nurse.</i></td>
+  <td class="tdleft">Doth not Rosemary and Romeo begin both with a letter?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft">Ay, nurse; what of that? both with an R.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Nurse.</i></td>
+  <td class="tdleft">Ah, mocker! that's the dog's name; R is for the &mdash;&mdash;.
+No; I know it begins with some other
+letter:&mdash;and she hath the prettiest sententious
+of it, of you and Rosemary, that it would do you
+good to hear it.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 4 (219).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Friar.</i></td>
+  <td class="tdleft">Dry up your tears, and stick your Rosemary<br />
+On this fair corse.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 5 (79).</td>
+</tr>
+</table>
+
+<p>The Rosemary is not a native of Britain, but of the sea-coast
+of the South of Europe, where it is very abundant. It
+was very early introduced into England, and is mentioned in
+an Anglo-Saxon Herbarium under its Latin name of Ros
+marinus, and is there translated by Bothen, <i>i.e.</i> Thyme; also
+in an Anglo-Saxon Vocabulary of the eleventh century, where
+it is translated Feld-madder and Sun-dew. In these places
+our present plant may or may not be meant, but there is no
+doubt that it is the one referred to in an ancient English
+poem of the fourteenth century, on the virtues of herbs,
+published in Wright and Halliwell's "Reliqui&aelig; Antiqu&aelig;."
+The account of "The Gloriouse Rosemaryne" is long, but
+the beginning and ending are worth quoting&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_257" id="Page_257"></a>[<a href="./images/257.png">257</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"This herbe is callit Rosemaryn<br /></span>
+<span class="i0i">Of vertu that is gode and fyne;<br /></span>
+<span class="i0i">But alle the vertues tell I ne cane,<br /></span>
+<span class="i0i">No I trawe no erthely man.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Of thys herbe telles Galiene<br /></span>
+<span class="i0i">That in hys contree was a quene,<br /></span>
+<span class="i0i">Gowtus and Crokyt as he hath tolde,<br /></span>
+<span class="i0i">And eke sexty yere olde;<br /></span>
+<span class="i0i">Sor and febyl, where men hyr sey<br /></span>
+<span class="i0i">Scho semyth wel for to dey;<br /></span>
+<span class="i0i">Of Rosmaryn scho toke sex po<ins class="explain" title="w with marcon">w&#772;</ins>de,<br /></span>
+<span class="i0i">And grownde hyt wel in a stownde,<br /></span>
+<span class="i0i">And bathed hir threyes everi day,<br /></span>
+<span class="i0i">Nine mowthes, as I herde say,<br /></span>
+<span class="i0i">And afterwarde anoynitte wel hyr hede<br /></span>
+<span class="i0i">With good bame as I rede;<br /></span>
+<span class="i0i">Away fel alle that olde flessche,<br /></span>
+<span class="i0i">And yo<ins class="explain" title="w with marcon">w&#772;</ins>ge i-sprong tender and nessche;<br /></span>
+<span class="i0i">So fresshe to be scho then began<br /></span>
+<span class="i0i">Scho coveytede couplede be to man." (Vol. i, 196).<br /></span>
+</div></div>
+
+<p>We can now scarcely understand the high favour in which
+Rosemary was formerly held; we are accustomed to see it
+neglected, or only tolerated in some corner of the kitchen
+garden, and not often tolerated there. But it was very
+different in Shakespeare's time, when it was in high favour
+for its evergreen leaves and fine aromatic scent, remaining
+a long time after picking, so long, indeed, that both leaves
+and scent were almost considered everlasting. This was its
+great charm, and so Spenser spoke of it as "the cheerful
+Rosemarie" and "refreshing Rosemarine," and good Sir
+Thomas More had a great affection for it. "As for Rosemarine,"
+he said, "I lett it run alle over my garden walls,
+not onlie because my bees love it, but because tis the herb
+sacred to remembrance, and therefore to friendship; whence
+a sprig of it hath a dumb language that maketh it the chosen
+emblem at our funeral wakes and in our buriall grounds."
+And Parkinson gives a similar account of its popularity as a
+garden plant: "Being in every woman's garden, it were
+sufficient but to name it as an ornament among other sweet
+herbs and flowers in our gardens. In this our land, where
+it hath been planted in noblemen's and great men's gardens
+against brick walls, and there continued long, it riseth up in
+<span class="pagenum"><a name="Page_258" id="Page_258"></a>[<a href="./images/258.png">258</a>]</span>time unto a very great height, with a great and woody stem
+of that compasse that, being cloven out into boards, it hath
+served to make lutes or such like instruments, and here with
+us carpenters' rules and to divers others purposes." It was
+the favourite evergreen wherever the occasion required an
+emblem of constancy and perpetual remembrance, such
+especially as weddings and funerals, at both of which it was
+largely used; and so says Herrick of "The Rosemarie
+Branch"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Grow for two ends, it matters not at all,<br /></span>
+<span class="i0i">Be't for my bridall or my buriall."<br /></span>
+</div></div>
+
+<p>Its use at funerals was very widespread, for Laurembergius
+records a pretty custom in use in his day, 1631, at Frankfort:
+"Is mos apud nos retinetur, dum cupresso humile, vel
+rore marino, non solum coronamus funera jamjam ducenda,
+sed et iis appendimus ex iisdem herbis litteras collectas,
+significatrices nominis ejus qu&aelig; defuncta est. Nam in
+puellarum funeribus h&aelig;c fere fieri solent" ("Horticultur&aelig;,"
+cap. vj.).</p>
+
+<p>Its use at weddings is pleasantly told in the old ballad of
+"The Bride's Good-morrow"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The house is drest and garnisht for your sake<br /></span>
+<span class="i1i">With flowers gallant and green;<br /></span>
+<span class="i0i">A solemn feast your comely cooks do ready make,<br /></span>
+<span class="i1i">Where all your friends will be seen:<br /></span>
+<span class="i0i">Young men and maids do ready stand<br /></span>
+<span class="i0i">With sweet Rosemary in their hand&mdash;<br /></span>
+<span class="i1i">A perfect token of your virgin's life.<br /></span>
+<span class="i0i">To wait upon you they intend<br /></span>
+<span class="i0i">Unto the church to make an end:<br /></span>
+<span class="i1i">And God make thee a joyfull wedded wife."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Roxburghe Ballads</i>, vol. i.</p>
+
+<p>It probably is one of the most lasting of evergreens after
+being gathered, though we can scarcely credit the statement
+recorded by Phillips that "it is the custom in France to put
+a branch of Rosemary in the hands of the dead when in the
+coffin, and we are told by Valmont Bomare, in his 'Histoire
+Naturelle,' that when the coffins have been opened after
+several years, the plant has been found to have vegetated so
+much that the leaves have covered the corpse." These were
+<span class="pagenum"><a name="Page_259" id="Page_259"></a>[<a href="./images/259.png">259</a>]</span>the general and popular uses of the Rosemary, but it was of
+high repute as a medicine, and still holds a place, though
+not so high as formerly, in the "Pharmacop&oelig;ia." "Rosemary,"
+says Parkinson, "is almost of as great use as Bayes,
+both for inward and outward remedies, and as well for civill
+as physicall purposes&mdash;inwardly for the head and heart, outwardly
+for the sinews and joynts; for civile uses, as all do
+know, at weddings, funerals, &amp;c., to bestow among friends;
+and the physicall are so many that you might as well be
+tyred in the reading as I in the writing, if I should set down
+all that might be said of it."</p>
+
+<p>With this high character we may well leave this good, old-fashioned
+plant, merely noting that the name is popularly
+but erroneously supposed to mean the Rose of Mary. It
+has no connection with either Rose or Mary, but is the Ros
+marinus, or Ros Maris (as in Ovid&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Ros maris, et laurus, nigraque myrtus olent;"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>De Arte Aman.</i>, iii, 390),</p>
+
+<p>the plant that delights in the sea-spray; and so the old
+spelling was Rosmarin. Gower says of the Star Alpheta&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"His herbe proper is Rosmarine;"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Conf. Aman.</i>, lib. sept.</p>
+
+<p>a spelling which Shenstone adopted&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And here trim Rosmarin that whilom crowned<br /></span>
+<span class="i0i">The daintiest garden of the proudest peer."<br /></span>
+</div></div>
+
+<p>It was also sometimes called Guardrobe, being "put into
+chests and presses among clothes, to preserve them from
+mothes and other vermine."</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_256:1_179" id="Footnote_256:1_179"></a><a href="#FNanchor_256:1_179"><span class="label">[256:1]</span></a> Grace was symbolized by the Rue, or Herb of Grace, and remembrance
+by the Rosemary.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Rue" id="Rue"></a>RUE.</h2>
+
+<table class="poetryt" summary="rue references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft">For you there's Rosemary and Rue.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (74). (<i>See</i> <span class="smcap">Rosemary</span>, No. <a href="#Rosemary_1">1</a>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rue_2" id="Rue_2"></a>2)</td>
+  <td class="tdleftt"><i>Gardener.</i></td>
+  <td class="tdleft">Here did she fall a tear; here in this place<br />
+I'll set a bank of Rue, sour Herb of Grace:<br />
+Rue, even for ruth, here shortly shall beseen,<br />
+In the remembrance of a weeping queen.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 4 (104).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_260" id="Page_260"></a>[<a href="./images/260.png">260</a>]</span>(<a name="Rue_3" id="Rue_3"></a>3)</td>
+  <td class="tdleftt"><i>Antony.</i></td>
+  <td class="tdleft">Grace grow where these drops fall.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act iv, sc. 2 (38).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">There's Rue for you; and here's some for me:
+we may call it Herb-grace o' Sundays: O, you
+must wear your Rue with a difference.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 5 (181).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">Indeed, sir, she was the Sweet Marjoram of the
+salad, or rather the Herb of Grace.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Lafeu.</i></td>
+  <td class="tdleft">They are not salad-herbs, you knave, they are
+nose-herbs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act iv, sc. 5 (17).</td>
+</tr>
+</table>
+
+<p>Comparing (<a href="#Rue_2">2</a>) and (<a href="#Rue_3">3</a>) together, there is little doubt that the
+same herb is alluded to in both; and it is, perhaps, alluded
+to, though not exactly named, in the following:</p>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdleftt" style="width: 20%;"><i>Friar Laurence.</i></td>
+  <td class="tdleftt">In man, as well as herbs, grace and rude will.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 3 (28).</td>
+</tr>
+</table>
+
+<p>Shakespeare thus gives us the two names for the same
+plant, Rue and Herb of Grace, and though at first sight
+there seems to be little or no connection between the two
+names, yet really they are so closely connected, that the one
+name was derived from, or rather suggested by, the other.
+Rue is the English form of the Greek and Latin <i>ruta</i>, a word
+which has never been explained, and in its earlier English
+form of <i>rude</i> came still nearer to the Latin original. But
+<i>ruth</i> was the English word for sorrow and remorse, and <i>to
+rue</i> was to be sorry for anything, or to have pity;<a name="FNanchor_260:1_180" id="FNanchor_260:1_180"></a><a href="#Footnote_260:1_180" class="fnanchor">[260:1]</a> we still
+say a man will rue a particular action, <i>i.e.</i>, be sorry for it;
+and so it was a natural thing to say that a plant which was
+so bitter, and had always borne the name <i>Rue</i> or <i>Ruth</i>, must
+be connected with repentance. It was, therefore, the Herb
+of Repentance, and this was soon transformed into the Herb
+of Grace (in 1838 Loudon said, "It is to this day called Ave
+Grace in Sussex"), repentance being the chief sign of grace;
+and it is not unlikely that this idea was strengthened by the
+connection of Rue with the bitter herbs of the Bible, though
+it is only once mentioned, and then with no special remark,
+<span class="pagenum"><a name="Page_261" id="Page_261"></a>[<a href="./images/261.png">261</a>]</span>except as a tithable garden herb, together with Anise and
+Cummin.</p>
+
+<p>The Rue, like Lavender and Rosemary, is a native of the
+more barren parts of the coasts of the Mediterranean, and
+has been found on Mount Tabor, but it was one of the
+earliest occupants of the English Herb garden. It is very
+frequently mentioned in the Saxon Leech Books, and
+entered so largely into their prescriptions that it must have
+been very extensively grown. Its strong aromatic smell,<a name="FNanchor_261:1_181" id="FNanchor_261:1_181"></a><a href="#Footnote_261:1_181" class="fnanchor">[261:1]</a>
+and bitter taste, with the blistering quality of the leaves,
+soon established its character as almost a heal-all.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Rew bitter a worthy gres (herb)<br /></span>
+<span class="i0i">Mekyl of myth and vertu is."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Stockholm MS.</i>, 1305.</p>
+
+<p>Even beasts were supposed to have discovered its virtues,
+so that weasels were gravely said, and this by such men as
+Pliny, to eat Rue when they were preparing themselves for
+a fight with rats and serpents. Its especial virtue was an
+eye-salve, a use which Milton did not overlook&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i10h">"To nobler sights<br /></span>
+<span class="i0">Michael from Adam's eyes the filme removed<br /></span>
+<span class="i0">Which that false fruit which promised clearer sight<br /></span>
+<span class="i0">Had bred; then purged with Euphrasie and Rue<br /></span>
+<span class="i0">The visual nerve, for he had much to see:"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Paradise Lost</i>, book xi.;</p>
+
+<p>and which was more fully stated in the old lines of the
+Schola Salerni&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Nobilis est Ruta quia lumina reddit acuta;<br /></span>
+<span class="i0i">Auxilio rut&aelig;, vir lippe, videbis acute;<br /></span>
+<span class="i0i">Cruda comesta recens oculos Caligine purgat;<br /></span>
+<span class="i0i">Ruta facit castum, dat lumen, et ingerit astum;<br /></span>
+<span class="i0i">Cocta facit Ruta et de pollicibus loca tuta."<br /></span>
+</div></div>
+
+<p>After reading this high moral and physical character of
+the herb, it is rather startling to find that "It is believed
+that if stolen from a neighbour's garden it would prosper
+better." It was, however, an old belief&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"They sayen eke stolen sede is butt the bette."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Palladius on Husbandrie</i> (c. 1420) iv, 269.</p>
+
+<p><span class="pagenum"><a name="Page_262" id="Page_262"></a>[<a href="./images/262.png">262</a>]</span>
+"It is a common received opinion that Rue will grow the
+better if it bee filtched out of another man's garden."&mdash;<span class="smcap">Holland's</span>
+<i>Pliny</i>, xix. 7.</p>
+
+<p>As other medicines were introduced the Rue declined in
+favour, so that Parkinson spoke of it with qualified praise&mdash;"Without
+doubt it is a most wholesom herb, although
+bitter and strong. Some do rip up a bead-rowl of the
+virtues of Rue, .&nbsp;.&nbsp;. but beware of the too-frequent or overmuch
+use therof." And Dr. Daubeny says of it, "It is a
+powerful stimulant and narcotic, but not much used in
+modern practise."</p>
+
+<p>As a garden plant, the Rue forms a pretty shrub for a
+rock-work, if somewhat attended to, so as to prevent its
+becoming straggling and untidy. The delicate green and
+peculiar shape of the leaves give it a distinctive character,
+which forms a good contrast to other plants.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_260:1_180" id="Footnote_260:1_180"></a><a href="#FNanchor_260:1_180"><span class="label">[260:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Rewe on my child, that of thyn gentilnesse<br /></span>
+<span class="i0i">Rewest on every sinful in destresse."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Chaucer</span>, <i>The Man of Lawes Tale</i>.</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_261:1_181" id="Footnote_261:1_181"></a><a href="#FNanchor_261:1_181"><span class="label">[261:1]</span></a> "Ranke-smelling Rue."&mdash;<span class="smcap">Spenser</span>, <i>Muiopotmos</i>.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Rush" id="Rush"></a>RUSH.</h2>
+
+<table class="poetryt" summary="rush references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Rush_1" id="Rush_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Rosalind.</i></td>
+  <td class="tdleft">He taught me how to know a man in love; in
+which cage of Rushes I am sure you are not prisoner.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (388).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Ph&oelig;be.</i></td>
+  <td class="tdleft"><span class="s9">Lean but on a Rush,</span><br />
+The cicatrice and capable impressure<br />
+Thy palm some moment keeps.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 5 (22).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rush_3" id="Rush_3"></a>3)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">As fit as Tib's Rush for Tom's forefinger.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act ii, sc. 2 (24).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rush_4" id="Rush_4"></a>4)</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft"><span class="s9">Let wantons light of heart</span><br />
+Tickle the senseless Rushes with their heels.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act i, sc. 4 (35).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Dromio of Syracuse.</i></td>
+  <td class="tdleft">Some devils ask but the parings of one's nail,<br />
+A Rush, a hair, a drop of blood, a pin,<br />
+A Nut, a Cherry-stone.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act iv, sc. 3 (72).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Bastard.</i></td>
+  <td class="tdleft"><span class="s10">A Rush will be a beam</span><br />
+To hang thee on.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act iv, sc. 3 (129).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_263" id="Page_263"></a>[<a href="./images/263.png">263</a>]</span>(<a name="Rush_7" id="Rush_7"></a>7)</td>
+  <td class="tdleftt"><i>1st Groom.</i></td>
+  <td class="tdleft">More Rushes, more Rushes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act v, sc. 5 (1).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Eros.</i></td>
+  <td class="tdleft">He's walking in the garden&mdash;thus; and spurns<br />
+The Rush that lies before him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act iii, sc. 5 (17).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Othello.</i></td>
+  <td class="tdleft">Man but a Rush against Othello's breast,<br />
+And he retires.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act v, sc. 2 (270).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rush_10" id="Rush_10"></a>10)</td>
+  <td class="tdleftt"><i>Grumio.</i></td>
+  <td class="tdleft">Is supper ready, the house trimmed, Rushes
+strewed, cobwebs swept?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act iv, sc. 1 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rush_11" id="Rush_11"></a>11)</td>
+  <td class="tdleftt"><i>Katherine.</i></td>
+  <td class="tdleft">Be it moon or sun, or what you please,<br />
+And if you please to call it a Rush-candle,<br />
+Henceforth I vow it shall be so for me.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 5 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rush_12" id="Rush_12"></a>12)</td>
+  <td class="tdleftt"><i>Glendower.</i></td>
+  <td class="tdleft">She bids you on the wanton Rushes lay you down,<br />
+And rest your gentle head upon her lap.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 1 (214).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Marcius.</i></td>
+  <td class="tdleft"><span class="s16">He that depends</span><br />
+Upon your favours swims with fins of lead<br />
+And hews down Oaks with Rushes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act i, sc. 1 (183).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rush_14" id="Rush_14"></a>14)</td>
+  <td class="tdleftt"><i>Iachimo.</i></td>
+  <td class="tdleft"><span class="s11">Our Tarquin thus</span><br />
+Did softly press the Rushes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act ii, sc. 2 (12).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Senator.</i></td>
+  <td class="tdleft"><span class="s17">Our gates</span><br />
+Which yet seem shut, we have but pinn'd with Rushes!<br />
+They'll open of themselves.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act i, sc. 4 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">And being lighted, by the light he spies<br />
+Lucretia's glove, wherein her needle sticks;<br />
+He takes it from the Rushes where it lies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (316).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>See</i> <span class="smcap">Reeds</span>, No. <a href="#Reed_7">7</a>.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Rush_18" id="Rush_18"></a>18)</td>
+  <td class="tdleftt"><i>Wooer.</i></td>
+  <td class="tdleft"><span class="s13">Rings she made</span><br />
+Of Rushes that grew by, and to 'em spoke<br />
+The prettiest posies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 1 (109).</td>
+</tr>
+</table>
+
+<p class="center"><i>See also</i> <span class="smcap"><a href="#Flag">Flag</a>, <a href="#Reed">Reed</a></span>, <i>and</i> <span class="smcap"><a href="#Bulrush">Bulrush</a></span>.</p>
+
+<p>Like the Reed, the Rush often stands for any water-loving,
+<span class="pagenum"><a name="Page_264" id="Page_264"></a>[<a href="./images/264.png">264</a>]</span>grassy plant, and, like the Reed, it was the emblem of yielding
+weakness and of uselessness.<a name="FNanchor_264:1_182" id="FNanchor_264:1_182"></a><a href="#Footnote_264:1_182" class="fnanchor">[264:1]</a> The three principal
+Rushes referred to by Shakespeare are the Common Rush
+(<i>Juncus communis</i>), the Bulrush (<i>Scirpus lacustris</i>), and the
+Sweet Rush (<i>Acorus calamus</i>).</p>
+
+<p>The Common Rush, though the mark of badly cultivated
+ground, and the emblem of uselessness, was not without its
+uses, some of which are referred to in Nos. <a href="#Rush_1">1</a>, <a href="#Rush_3">3</a>, and <a href="#Rush_11">11</a>.
+In Nos. <a href="#Rush_3">3</a> and <a href="#Rush_18">18</a> reference is made to the Rush-ring, a ring,
+no doubt, originally meant and used for the purposes of
+honest betrothal, but afterwards so vilely used for the purposes
+of mock marriages, that even as early as 1217 Richard
+Bishop of Salisbury had to issue his edict against the use of
+"annulum de junco."</p>
+
+<p>The Rush betrothal ring is mentioned by Spenser&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"O thou great shepheard, Lobbin, how great is thy griefe!<br /></span>
+<span class="i0i">Where bene the nosegayes that she dight for thee?<br /></span>
+<span class="i0i">The coloured chaplets wrought with a chiefe,<br /></span>
+<span class="i0i">The knotted Rush-ringes and gilt Rosemarie."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Shepherd's Calendar&mdash;November.</i></p>
+
+<p>And by Quarles&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i12">"Love-sick swains<br /></span>
+<span class="i0">Compose Rush-rings, and Myrtle-berry chains,<br /></span>
+<span class="i0">And stuck with glorious King-cups in their bonnets,<br /></span>
+<span class="i0">Adorned with Laurel slip, chant true love sonnets."<br /></span>
+</div></div>
+
+<p>But the uses of the Rush were not all bad. Newton, in
+1587, said of the Rush&mdash;"It is a round smooth shoote
+without joints or knots, having within it a white substance
+or pith, which being drawn forth showeth like long white,
+soft, gentle, and round thread, and serveth for many purposes.
+Heerewith be made manie pretie imagined devises
+for Bride-ales and other solemnities, as little baskets,
+hampers, frames, pitchers, dishes, combs, brushes, stooles,
+chaires, purses with strings, girdles, and manie such other
+<span class="pagenum"><a name="Page_265" id="Page_265"></a>[<a href="./images/265.png">265</a>]</span>pretie and curious and artificiall conceits, which at such times
+many do take the paines to make and hang up in their
+houses, as tokens of good will to the new married Bride;
+and after the solemnities ended, to bestow abroad for Bride-gifts
+or presents." It was this "white substance or pith"
+from which the Rush candle (No. <a href="#Rush_11">11</a>) was and still is made:
+a candle which in early days was probably the universal
+candle, which, till within a few years, was the night candle
+of every sick chamber, in which most of us can recollect it as
+a most ghastly object as it used to stand, "stationed in a
+basin on the floor, where it glimmered away like a gigantic
+lighthouse in a particularly small piece of water" (Pickwick),
+till expelled by the night-lights, and which is still
+made by Welsh labourers, and, I suppose, in Shakespeare's
+time was the only candle used by the poor.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"If your influence be quite damm'd up<br /></span>
+<span class="i0i">With black usurping mists, some gentle taper,<br /></span>
+<span class="i0i">Though a Rush-candle from the wicker hole<br /></span>
+<span class="i0i">Of some clay habitation, visit us<br /></span>
+<span class="i0i">With thy long levell'd rule of streaming light."&mdash;<i>Comus.</i><br /></span>
+</div></div>
+
+<p>But the chief use of Rushes in those days was to strew
+the floors of houses and churches (Nos. <a href="#Rush_4">4</a>, <a href="#Rush_7">7</a>, <a href="#Rush_10">10</a>, <a href="#Rush_12">12</a>, and
+<a href="#Rush_14">14</a>). This custom seems to have been universal in all
+houses of any pretence. "William the son of William of
+Alesbury holds three roods of land of the Lord the King in
+Alesbury in Com. Buck by the service of finding straw for
+the bed of the Lord the King, and to strew his chamber,
+and also of finding for the King when he comes to Alesbury
+straw for his bed, and besides this Grass or Rushes
+to make his chamber pleasant."&mdash;<span class="smcap">Blunt's</span> <i>Tenures</i>. The
+custom went on even to our own day in Norwich Cathedral,
+and the "picturesque custom still lingers in the West of
+strewing the floors of the churches on Whit Sunday with
+Rushes freshly pulled from the meadows. This custom
+attains its highest perfection in the church of St. Mary Redcliffe
+at Bristol. On 'Rush Sunday' the floor is strewn
+with Rushes. All the merchants throw open their conservatories
+for the vicar to take his choice of their flowers,
+and the pulpit, the lectern, the choir, and the communion
+rails and table present a scene of great beauty."&mdash;<i>The
+Garden</i>, May, 1877.</p>
+
+<p><span class="pagenum"><a name="Page_266" id="Page_266"></a>[<a href="./images/266.png">266</a>]</span>
+For this purpose the Sweet-scented Rush was always
+used where it could be procured, and when first laid down
+it must have made a pleasant carpet; but it was a sadly
+dirty arrangement, and gives us a very poor idea of the
+cleanliness of even the best houses, though it probably was
+not the custom all through the year, as Newton says, speaking
+of Sedges, but evidently confusing the Sedge with the
+Sweet-scented Rush, "with the which many in this countrie
+do use in sommer time to straw their parlours and churches,
+as well for cooleness as for pleasant smell."<a name="FNanchor_266:1_183" id="FNanchor_266:1_183"></a><a href="#Footnote_266:1_183" class="fnanchor">[266:1]</a> This Rush
+(<i>Acorus calamus</i>) is a British plant, with broad leaves, which
+have a strong cinnamon-like smell, which obtained for the
+plant the old Saxon name of Beewort. Another (so-called)
+Rush, the Flowering Rush (<i>Butomus umbellatus</i>), is one
+of the very handsomest of the British plants, bearing on a
+long straight stem a large umbel of very handsome pink
+flowers. Wherever there is a pond in a garden, these fine
+Rushes should have a place, though they may be grown in
+the open border where the ground is not too dry.</p>
+
+<p>There is a story told by Sir John Mandeville in connection
+with Rushes which is not easy to understand.
+According to his account, our Saviour's crown of thorns
+was made of Rushes! "And zif alle it be so that men
+seyn that this Croune is of Thornes, zee shall undirstande
+that it was of Jonkes of the See, that is to sey, Russhes of
+the See, that prykken als scharpely as Thornes. For I
+have seen and beholden many times that of Parys and that
+of Constantynoble, for thei were bothe on, made of Russches
+of the See. But men have departed hem in two parties, of
+the which on part is at Parys, and the other part is at Constantynoble&mdash;and
+I have on of the precyouse Thornes,
+that semethe licke a white Thorn, and that was zoven to
+me for great specyaltee.&nbsp;.&nbsp;.&nbsp;. The Jewes setten him in
+<span class="pagenum"><a name="Page_267" id="Page_267"></a>[<a href="./images/267.png">267</a>]</span>a chayere and clad him in a mantelle, and then made thei
+the Croune of Jonkes of the See."&mdash;<i>Voiage and Travaile,</i>
+c. 2.</p>
+
+<p>I have no certainty to what Rush the pleasant old traveller
+can here refer. I can only guess that as Rushes and
+Sedges were almost interchangeable names, he may have
+meant the Sea Holly, formerly called the Holly-sedge, of
+which there is a very appropriate account given in an old
+Saxon runelay thus translated by Cockayne: "Hollysedge
+hath its dwelling oftenest in a marsh, it waxeth in water,
+woundeth fearfully, burneth with blood (<i>i.e.</i>, draws blood and
+pains) every one of men who to it offers any handling."<a name="FNanchor_267:1_184" id="FNanchor_267:1_184"></a><a href="#Footnote_267:1_184" class="fnanchor">[267:1]</a></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_264:1_182" id="Footnote_264:1_182"></a><a href="#FNanchor_264:1_182"><span class="label">[264:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Around the islet at its lowest edge,<br /></span>
+<span class="i2i">Lo, there beneath, where breaks th' encircling wave,<br /></span>
+<span class="i2i">The yielding mud is thick with Rushes crowned.<br /></span>
+<span class="i0i">No other flower with frond or leafy growth<br /></span>
+<span class="i2i">Or hardened fibre there can life sustain,<br /></span>
+<span class="i2i">For none bend safely to the watery shock."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Dante</span>, <i>Purgatorio</i>, canto i. (Johnston).</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_266:1_183" id="Footnote_266:1_183"></a><a href="#FNanchor_266:1_183"><span class="label">[266:1]</span></a> "In the South of Europe Juniper branches were used for this purpose,
+as they still are in Sweden."&mdash;<i>Flora Domestica</i>, p. 213.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"As I have seen upon a bridal day,<br /></span>
+<span class="i0i">Full many maids clad in their best array,<br /></span>
+<span class="i0i">In honour of the bride, come with their flaskets<br /></span>
+<span class="i0i">Filled full of flowers, other in wicker baskets<br /></span>
+<span class="i0i">Bring from the Marish Rushes, to overspread<br /></span>
+<span class="i0i">The ground whereon to Church the lovers tread."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Browne's</span> <i>Brit. Past.</i>, i, 2.</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_267:1_184" id="Footnote_267:1_184"></a><a href="#FNanchor_267:1_184"><span class="label">[267:1]</span></a> I leave this as I first wrote it, but I have to thank Mr. Britten for
+the very probable suggestion that Sir John Mandeville was right. Not
+only does the <i>Juncus acutus</i> "prykken als scharpely as Thornes," but
+"what is shown in Paris at the present day as the crown of Thorns is
+certainly, as Sir John says, made of rushes; the curious may consult
+M. Rohault de Fleury's sumptuous 'M&eacute;moire sur les Instruments de la
+Passion,' for a full description of it."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>RYE.</h2>
+
+<table class="poetryt" summary="rye references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Ceres, most bounteous lady, thy rich leas<br />
+Of Wheat, Rye, Barley, Vetches, Oats, and Pease.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Iris.</i></td>
+  <td class="tdleft">You sunburnt sicklemen, of August weary,<br />
+Come hither from the furrow and be merry;<br />
+Make holiday; your Rye-straw hats put on.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (135).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Song.</i></td>
+  <td class="tdleft">Between the acres of the Rye<br />
+These pretty country folks would lye.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act v, sc. 3 (23).</td>
+</tr>
+</table>
+
+<p>The Rye of Shakespeare's time was identical with our
+own (<i>Secale cereale</i>). It is not a British plant, and its
+native country is not exactly known; but it seems probable
+that both the plant and the name came from the region of
+the Caucasus.</p>
+
+<p>As a food-plant Rye was not in good repute in Shakespeare's
+time. Gerard said of it, "It is harder to digest
+<span class="pagenum"><a name="Page_268" id="Page_268"></a>[<a href="./images/268.png">268</a>]</span>than Wheat, yet to rusticke bodies that can well digest it, it
+yields good nourishment." But "recent investigations by
+Professor Wanklyn and Mr. Cooper appear to give the first
+place to Rye as the most nutritious of all our cereals. Rye
+contains more gluten, and is pronounced by them one-third
+richer than Wheat. Rye, moreover, is capable of thriving
+in almost any soil."&mdash;<i>Gardener's Chronicle</i>, 1877.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Saffron" id="Saffron"></a>SAFFRON.</h2>
+
+<table class="poetryt" summary="saffron references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ceres.</i></td>
+  <td class="tdleft">Who (<i>i.e.</i>, Iris), with thy Saffron wings upon my flowers,<br />
+Diffusest honeydrops, refreshing showers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (78).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Antipholus of Ephesus.</i></td>
+  <td class="tdleftt">Did this companion with the Saffron face<br />
+Revel and feast it at my house to day?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act iv, sc. 4 (64).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">I must have Saffron to colour the Warden pies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Lafeu.</i></td>
+  <td class="tdleft">No, no, no, your son was misled with a snipt-taffeta
+fellow there, whose villanous Saffron would
+have made all the unbaked and doughy youth of
+a nation in his colour.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act iv, sc. 5 (1).</td>
+</tr>
+</table>
+
+<p>Saffron (from its Arabic name, <i>al zahafaran</i>) was not, in
+Shakespeare's time, limited to the drug or to the Saffron-bearing
+Crocus (<i>C. sativus</i>), but it was the general name for
+all the Croci, and was even extended to the Colchicums,
+which were called Meadow Saffrons.<a name="FNanchor_268:1_185" id="FNanchor_268:1_185"></a><a href="#Footnote_268:1_185" class="fnanchor">[268:1]</a> We have no Crocus
+really a native of Britain, but a few species (C. vernus,
+C. nudiflorus, C. aureus, and C. biflorus) have been so
+naturalized in certain parts as to be admitted, though very
+doubtfully, into the British flora; but the Saffron Crocus
+can in no way be considered a native, and the history of its
+introduction into England is very obscure. It is mentioned
+<span class="pagenum"><a name="Page_269" id="Page_269"></a>[<a href="./images/269.png">269</a>]</span>several times in the Anglo-Saxon Leech Books: "When he
+bathes, let him smear himself with oil; mingle it with
+Saffron."&mdash;<i>Tenth Century Leech Book</i>, ii. 37. "For dimness
+of eyes, thus one must heal it: take Celandine one spoonful,
+and Aloes, and Crocus (Saffron in French)."&mdash;<i>Schools of
+Medicine</i>, tenth century, c. 22. In these instances it may
+be only the imported drug; but the name occurs in an
+English Vocabulary among the Nomina herbarum: "Hic
+Crocus, A<sup>e</sup> Safurroun;" and in a Pictorial Vocabulary of the
+fourteenth century, "Hic Crocus, An<sup>ce</sup> Safryn;" so that I
+think the plant must have been in cultivation in England at
+that time. The usual statement, made by one writer after
+another, is that it was introduced by Sir Thomas Smith into
+the neighbourhood of Walden in the time of Edward III.,
+but the original authority for this statement is unknown.
+The most authentic account is that by Hakluyt in 1582,
+and though it is rather long, it is worth extracting in full.
+It occurs in some instructions in "Remembrances for
+Master S.," who was going into Turkey, giving him hints
+what to observe in his travels: "Saffron, the best of the
+universall world, groweth in this realme.&nbsp;.&nbsp;.&nbsp;. It is a spice
+that is cordiall, and may be used in meats, and that is excellent
+in dying of yellow silks. This commodity of Saffron
+groweth fifty miles from Tripoli, in Syria, on an high hyll,
+called in those parts Gasian, so as there you may learn at
+that part of Tripoli the value of the pound, the goodnesse
+of it, and the places of the vent. But it is said that from
+that hyll there passeth yerely of that commodity fifteen
+moiles laden, and that those regions notwithstanding lacke
+sufficiency of that commodity. But if a vent might be found,
+men would in Essex (about Saffron Walden), and in Cambridgeshire,
+revive the trade for the benefit of the setting of
+the poore on worke. So would they do in Herefordshire
+by Wales, where the best of all England is, in which place
+the soil yields the wilde Saffron commonly, which showeth
+the natural inclination of the same soile to the bearing of
+the right Saffron, if the soile be manured and that way employed.&nbsp;.&nbsp;.
+It is reported at Saffron Walden that a pilgrim,
+proposing to do good to his countrey, stole a head of Saffron,
+and hid the same in his Palmer's staffe, which he had made
+hollow before of purpose, and so he brought the root into
+<span class="pagenum"><a name="Page_270" id="Page_270"></a>[<a href="./images/270.png">270</a>]</span>this realme with venture of his life, for if he had bene taken,
+by the law of the countrey from whence it came, he had died
+for the fact."&mdash;<i>English Voiages, &amp;c.</i>, vol. ii. From this account
+it seems clear that even in Hakluyt's time Saffron had
+been so long introduced that the history of its introduction
+was lost; and I think it very probable that, as was suggested
+by Coles in his "Adam in Eden" (1657), we are indebted
+to the Romans for this, as for so many of our useful plants.
+But it is not a Roman or Italian plant. Spenser wrote of
+it as&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Saffron sought for in Cilician soyle&mdash;"<a name="FNanchor_270:1_186" id="FNanchor_270:1_186"></a><a href="#Footnote_270:1_186" class="fnanchor">[270:1]</a><br /></span>
+</div></div>
+
+<p>and Browne&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Saffron confected in Cilicia"&mdash;<i>Brit. Past.</i>, i, 2;<br /></span>
+</div></div>
+
+<p>which information they derived from Pliny. It is supposed
+to be a native of Asia Minor, but so altered by long cultivation
+that it never produces seed either in England or in
+other parts of Europe.<a name="FNanchor_270:2_187" id="FNanchor_270:2_187"></a><a href="#Footnote_270:2_187" class="fnanchor">[270:2]</a> This fact led M. Chappellier, of
+Paris, who has for many years studied the history of the
+plant, to the belief that it was a hybrid; but finding that
+when fertilized with the pollen of a Crocus found wild in
+Greece, and known as C. sativus var. Gr&aelig;cus (<i>Orphanidis</i>),
+it produces seed abundantly, he concludes that it is a variety
+of that species, which it very much resembles, but altered
+and rendered sterile by cultivation. It is not now much
+cultivated in England, but we have abundant authority
+from Tusser, Gerard, Parkinson, Camden, and many other
+writers, that it was largely cultivated before and after Shakespeare's
+time, and that the quality of the English Saffron
+<span class="pagenum"><a name="Page_271" id="Page_271"></a>[<a href="./images/271.png">271</a>]</span>was very superior.<a name="FNanchor_271:1_188" id="FNanchor_271:1_188"></a><a href="#Footnote_271:1_188" class="fnanchor">[271:1]</a> The importance of the crop is shown
+by its giving its name to Saffron Walden in Essex,<a name="FNanchor_271:2_189" id="FNanchor_271:2_189"></a><a href="#Footnote_271:2_189" class="fnanchor">[271:2]</a> and to
+Saffron Hill in London, which "was formerly a part of Ely
+Gardens" (of which we shall hear again when we come to
+speak of Strawberries), "and derives its name from the crops
+of Saffron which it bore."&mdash;<span class="smcap">Cunningham.</span> The plant has
+in the same way given its name to Zaffarano, a village in
+Sicily, near Mount Etna, and to Zafaranboly, "ville situ&eacute;e
+pr&egrave;s Inobole en Anatolie, au sud-est de l'ancienne H&eacute;racl&eacute;e."&mdash;<span class="smcap">Chappellier.</span>
+The plant is largely cultivated in many
+parts of Europe, but the chief centres of cultivation are in
+the arrondissement of Pithiviers in France, and the province
+of Arragon in Spain; and the chief consumers are the Germans.
+It has also been largely cultivated in China for a
+great many years, and the bulbs now imported from China
+are found to be, in many points, superior to the European&mdash;"l'invasion
+Tartare aurait port&eacute; le Safran en Chine, et
+de leur c&ocirc;t&eacute; les crois&eacute;s l'auraient import&eacute; en Europe."&mdash;<span class="smcap">Chappellier.</span></p>
+
+<p>I need scarcely say that the parts of the plant that produce
+the Saffron are the sweet-scented stigmata, the "Crocei
+odores" of Virgil; but the use of Saffron has now so gone
+out of fashion, that it may be well to say something of its
+uses in the time of Shakespeare, as a medicine, a dye, and a
+confection. On all three points its virtues were so many that
+there is a complete literature on Crocus. I need not name
+all the books on the subject, but the title page of one (a
+duodecimo of nearly three hundred pages) may be quoted
+as an example: "Crocologia seu curiosa Croci Regis Vegetabilium
+enucleatio continens Illius etymologiam, differencias,
+tempus quo viret et floret, culturam, collectionem,
+usum mechanicum, Pharmaceuticum, Chemico medicum,
+omnibus pene humani corporis partibus destinatum additis
+diversis observationibus et questionibus Crocum concernentibus
+ad normam et formam S. R. I. Academi&aelig; Natur&aelig;
+curiosorum congesta a Dan: Ferdinando Hertodt, Phys. et
+<span class="pagenum"><a name="Page_272" id="Page_272"></a>[<a href="./images/272.png">272</a>]</span>Med. Doc., &amp;c., &amp;c. Jen&aelig;. 1671." After this we may content
+ourselves with Gerard's summary of its virtues: "The
+moderate use of it is good for the head, and maketh sences
+more quicke and lively, shaketh off heavy and drowsie sleep
+and maketh a man mery." For its use in confections this
+will suffice from the "Apparatus Plantarum" of Laurembergius,
+1632: "In re familiari vix ullus est telluris
+habitatus angulus ubi non sit Croci quotodiana usurpatio,
+aspersi vel incocti cibis." And as to its uses as a dye, its
+penetrating powers were proverbial, of which Luther's Sermons
+will supply an instance: "As the Saffron bag that
+hath bene ful of Saffron, or hath had Saffron in it, doth ever
+after savour and smel of the swete Saffron that it contayneth;
+so our blessed Ladye which conceived and bare Christe in
+her wombe, dyd ever after resemble the maners and vertues
+of that precious babe which she bare" ("Fourth Sermon,"
+1548). One of the uses to which Saffron was applied in the
+Middle Ages was for the manufacture of the beautiful gold
+colour used in the illumination of missals, &amp;c., where the
+actual gold was not used. This is the recipe from the work
+of Theophilus in the eleventh century: "If ye wish to decorate
+your work in some manner take tin pure and finely
+scraped; melt it and wash it like gold, and apply it with the
+same glue upon letters or other places which you wish to
+ornament with gold or silver; and when you have polished
+it with a tooth, take Saffron with which silk is colored,
+moistening it with clear of egg without water, and when it
+has stood a night, on the following day cover with a pencil
+the places which you wish to gild, the rest holding the place
+of silver" (Book i, c. 23, Hendrie's translation).</p>
+
+<p>Though the chief fame of the Saffron Crocus is as a field
+plant, yet it is also a very handsome flower; but it is a most
+capricious one, which may account for the area of cultivation
+being so limited. In some places it entirely refuses to
+flower, as it does in my own garden, where I have cultivated
+it for many years but never saw a flower, while in a
+neighbour's garden, under apparently the very same conditions
+of soil and climate, it flowers every autumn. But
+if we cannot succeed with the Saffron Crocus, there are
+many other Croci which were known in the time of Shakespeare,
+and grown not "for any other use than in regard of
+<span class="pagenum"><a name="Page_273" id="Page_273"></a>[<a href="./images/273.png">273</a>]</span>their beautiful flowers of several varieties, as they have been
+carefully sought out and preserved by divers to furnish a
+garden of dainty curiosity." Gerard had in his garden only
+six species; Parkinson had or described thirty-one different
+sorts, and after his time new kinds were not so much sought
+after till Dean Herbert collected and studied them. His
+monograph of the Crocus, in 1847, contained the account
+of forty-one species, besides many varieties. The latest
+arrangement of the family by Mr. George Maw, of Broseley,
+contains sixty-eight species, besides varieties; of these all
+are not yet in cultivation, but every year sees some fresh
+addition to the number, chiefly by the unwearied exertions
+in finding them in their native habitats, and the liberal distribution
+of them when found, of Mr. Maw, to whom all
+the lovers of the Crocus are deeply indebted. And the
+Croci are so beautiful that we cannot have too many of
+them; they are, for the most part, perfectly hardy, though
+some few require a little protection in winter; they are of
+an infinite variety of colour, and some flower in the spring
+and some in the autumn. Most of us call the Crocus a
+spring flower, yet there are more autumnal than vernal
+species, but it is as a spring flower that we most value it.
+The common yellow Crocus is almost as much "the first-born
+of the year's delight" as the Snowdrop. No one can
+tell its native country, but it has been the brightest ornament
+of our gardens, not only in spring, but even in winter,
+for many years. It was probably first introduced during
+Shakespeare's life. "It hath floures," says Gerard, "of a
+most perfect shining yellow colour, seeming afar off to be a
+hot glowing coal of fire. That pleasant plant was sent unto
+me from Robinus, of Paris, that painful and most curious
+searcher of simples." From that beginning perhaps it has
+found its way into every garden, for it increases rapidly, is
+very hardy, and its brightness commends it to all. It is the
+"most gladsome of the early flowers. None gives more
+glowing welcome to the season, or strikes on our first glance
+with a ray of keener pleasure, when, with some bright morning's
+warmth, the solitary golden fringes have kindled into
+knots of thick-clustered yellow bloom on the borders of the
+cottage garden. At a distance the eye is caught by that
+glowing patch, its warm heart open to the sun, and dear to
+<span class="pagenum"><a name="Page_274" id="Page_274"></a>[<a href="./images/274.png">274</a>]</span>the honey-gathering bees which hum around the chalices."&mdash;<span class="smcap">Forbes
+Watson.</span></p>
+
+<p>With this pretty picture I may well close the account of
+the Crocus, but not because the subject is exhausted, for it
+is very tempting to go much further, and to speak of the
+beauties of the many species, and of the endless forms and
+colours of the grand Dutch varieties; and whatever admiration
+may be expressed for the common yellow Dutch Crocus,
+the same I would also give to almost every member of this
+lovely and cheerful family.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_268:1_185" id="Footnote_268:1_185"></a><a href="#FNanchor_268:1_185"><span class="label">[268:1]</span></a> Fuller says of the crocodile&mdash;"He hath his name of <ins class="greek" title="chrocho-deilos">&#967;&#961;&#959;&#967;&#8057;-&#948;&#949;&#953;&#955;&#959;&#962;</ins>,
+or the Saffron-fearer, knowing himself to be all poison, and it all antidote."&mdash;<i>Worthies
+of England</i>, i, 336, ed. 1811.</p></div>
+
+<div class="footnote"><p><a name="Footnote_270:1_186" id="Footnote_270:1_186"></a><a href="#FNanchor_270:1_186"><span class="label">[270:1]</span></a> "Cilician," or "Corycean," were the established classical epithets
+to use when speaking of the Saffron. Cowley quotes&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Corycii pressura Croci"&mdash;<span class="smcap">Lucan</span>;<br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Ultima Corycio qu&aelig; cadit aura Croco"&mdash;<span class="smcap">Martial</span>;<br /></span>
+</div></div>
+
+<p>and adds the note&mdash;"Omnes Poet&aelig; hoc quasi solenni quodam Epitheto
+utuntur. Corycus nomen urbis et montis in Cilicia, ubi laudatissimus
+Crocus nascebatur."&mdash;<i>Plantarum</i>, lib. i, 49.</p></div>
+
+<div class="footnote"><p><a name="Footnote_270:2_187" id="Footnote_270:2_187"></a><a href="#FNanchor_270:2_187"><span class="label">[270:2]</span></a> "Saffron is .&nbsp;.&nbsp;. a native of Cashmere, .&nbsp;.&nbsp;. and the .&nbsp;.&nbsp;. Saffron
+Crocus and the Hemp plant have followed their (the Aryans) migrations
+together throughout the temperate zone of the globe."&mdash;<span class="smcap">Birdwood</span>,
+<i>Handbook to the Indian Court</i>, p. 23.</p></div>
+
+<div class="footnote"><p><a name="Footnote_271:1_188" id="Footnote_271:1_188"></a><a href="#FNanchor_271:1_188"><span class="label">[271:1]</span></a> "Our English hony and Safron is better than any that commeth
+from any strange or foregn land."&mdash;<span class="smcap">Bullein</span>, <i>Government of Health</i>,
+1588.</p></div>
+
+<div class="footnote"><p><a name="Footnote_271:2_189" id="Footnote_271:2_189"></a><a href="#FNanchor_271:2_189"><span class="label">[271:2]</span></a> The arms of the borough of Saffron Walden are "three Saffron
+flowers walled in."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>SAMPHIRE.</h2>
+
+<table class="poetryt" summary="samphire reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Edgar.</i></td>
+  <td class="tdleft"><span class="s15">Half-way down</span><br />
+Hangs one that gathers Samphire, dreadful trade!<br />
+Methinks he seems no bigger than his head.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iv, sc. 6 (14).</td>
+</tr>
+</table>
+
+<p>Being found only on rocks, the Samphire was naturally
+associated with St. Peter, and so it was called in Italian
+Herba di San Pietro, in English Sampire and Rock Sampier<a name="FNanchor_274:1_190" id="FNanchor_274:1_190"></a><a href="#Footnote_274:1_190" class="fnanchor">[274:1]</a>&mdash;in
+other words, Samphire is simply a corruption of
+Saint Peter. The plant grows round all the coasts of Great
+Britain and Ireland, wherever there are suitable rocks on
+which it can grow, and on all the coasts of Europe, except
+the northern coasts; and it is a plant very easily recognized,
+if not by its pale-green, fleshy leaves, yet certainly by its
+taste, or its "smell delightful and pleasant." The leaves
+form the pickle, "the pleasantest sauce, most familiar, and
+best agreeing with man's body," but now much out of
+fashion. In Shakespeare's time the gathering of Samphire
+was a regular trade, and Steevens quotes from Smith's
+"History of Waterford" to show the danger attending the
+trade: "It is terrible to see how people gather it, hanging by
+a rope several fathoms from the top of the impending rocks,
+as it were in the air." In our own time the quantity required
+could be easily got without much danger, for it grows in
+places perfectly accessible in sufficient quantity for the
+present requirements, for in some parts it grows away from
+the cliffs, so that "the fields about Porth Gwylan, in
+<span class="pagenum"><a name="Page_275" id="Page_275"></a>[<a href="./images/275.png">275</a>]</span>Carnarvonshire, are covered with it." It may even be grown
+in the garden, especially in gardens near the sea, and makes
+a pretty plant for rockwork.</p>
+
+<p>There is a story connected with the Samphire which shows
+how botanical knowledge, like all other knowledge, may be
+of great service, even where least expected. Many years ago
+a ship was wrecked on the Sussex coast, and a small party
+were left on a rock not far from land. To their horror they
+found the sea rising higher and higher, and threatening
+before long to cover their place of refuge. Some of them
+proposed to try and swim for land, and would have done so,
+but just as they were preparing for it an officer saw a plant
+of Samphire growing on the rock, and told them they might
+stay and trust to that little plant that the sea would rise no
+further, for that the Samphire, though always growing within
+the spray of the sea, never grows where the sea could actually
+touch it. They believed him and were saved.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_274:1_190" id="Footnote_274:1_190"></a><a href="#FNanchor_274:1_190"><span class="label">[274:1]</span></a> Dr. Prior.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>SAVORY.</h2>
+
+<table class="poetryt" summary="savory reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s11">Here's flowers for you;</span><br />
+Hot Lavender, Mints, Savory, Marjoram.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4. (103).</td>
+</tr>
+</table>
+
+<p>Savory might be supposed to get its name as being a plant
+of special savour, but the name comes from its Latin name
+<i>Saturcia</i>, through the Italian <i>Savoreggia</i>. It is a native of
+the South of Europe, probably introduced into England by
+the Romans, for it is mentioned in the Anglo-Saxon recipes
+under the imported name of Savorie. It was a very favourite
+plant in the old herb gardens, and both kinds, the Winter
+and Summer Savory, were reckoned "among the farsing or
+farseting herbes, as they call them" (Parkinson), <i>i.e.</i>, herbs
+used for stuffing.<a name="FNanchor_275:1_191" id="FNanchor_275:1_191"></a><a href="#Footnote_275:1_191" class="fnanchor">[275:1]</a> Both kinds are still grown in herb
+gardens, but are very little used.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_275:1_191" id="Footnote_275:1_191"></a><a href="#FNanchor_275:1_191"><span class="label">[275:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"His typet was ay farsud ful of knyfes<br /></span>
+<span class="i0i">And pynnes, for to give fair wyves."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Canterbury Tale</i>, Prologue.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The farced title running before the King."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Henry V</i>, act iv, sc. 1 (431).</p>
+
+<p>The word still exists as "forced;" <i>e.g.</i>, "a forced leg of mutton,"
+"forced meat balls."</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_276" id="Page_276"></a>[<a href="./images/276.png">276</a>]</span></p>
+<h2>SEDGE.</h2>
+
+<table class="poetryt" summary="sedge references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>2nd Servant.</i></td>
+  <td class="tdleft">And Cytherea all in Sedges hid,<br />
+Which seem to move and wanton with her breath,<br />
+Even as the waving Sedges play with wind.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, Induction, sc. 2. (53).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Iris.</i></td>
+  <td class="tdleft">You nymphs, called Naiads, of the winding brooks,<br />
+With your Sedged crowns and ever-harmless looks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (128).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Julia.</i></td>
+  <td class="tdleft">The current that with gentle murmur glides,<br />
+Thou knowest, being stopped, impatiently doth rage;<br />
+But when his fair course is not hindered,<br />
+He makes sweet music with the enamell'd stones,<br />
+Giving a gentle kiss to every Sedge<br />
+He overtaketh in his pilgrimage;<br />
+And so by many winding nooks he strays<br />
+With willing sport to the wild ocean.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Gentlemen of Verona</i>, act ii, sc. 7 (25).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Benedick.</i></td>
+  <td class="tdleft">Alas, poor hurt fowl! now will he creep into Sedges.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act ii, sc. 1 (209).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Hotspur.</i></td>
+  <td class="tdleft">The gentle Severn's Sedgy bank.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act i, sc. 3 (98).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>See</i> <span class="smcap">Reeds</span>, No. <a href="#Reed_7">7</a>.</td>
+</tr>
+</table>
+
+<p>Sedge is from the Anglo-Saxon Secg, and meant almost
+any waterside plant. Thus we read of the Moor Secg, and
+the Red Secg, and the Sea Holly (<i>Eryngium maritimum</i>) is
+called the Holly Sedge. And so it was doubtless used by
+Shakespeare. In our day Sedge is confined to the genus
+Carex, a family growing in almost all parts of the world, and
+containing about 1000 species, of which we have fifty-eight
+in Great Britain; they are most graceful ornaments both
+of our brooks and ditches; and some of them will make
+handsome garden plants. One very handsome species&mdash;perhaps
+the handsomest&mdash;is C. pendula, with long tassel-like
+flower-spikes hanging down in a very beautiful form, which
+is not uncommon as a wild plant, and can easily be grown
+<span class="pagenum"><a name="Page_277" id="Page_277"></a>[<a href="./images/277.png">277</a>]</span>in the garden, and the flower-spikes will be found very handsome
+additions to tall nosegays. There is another North
+American species, C. Fraseri, which is a good plant for the
+north side of a rock-work: it is a small plant, but the flower
+is a spike of the purest white, and is very curious, and unlike
+any other flower.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Senna" id="Senna"></a>SENNA.</h2>
+
+<table class="poetryt" summary="senna reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Macbeth.</i></td>
+  <td class="tdleft">What Rhubarb, Senna, or what purgative drug<br />
+Would scour these English hence?<a name="FNanchor_277:1_192" id="FNanchor_277:1_192"></a><a href="#Footnote_277:1_192" class="fnanchor">[277:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act v, sc. 3 (55).</td>
+</tr>
+</table>
+
+<p>Even in the time of Shakespeare several attempts were
+made to grow the Senna in England, but without success;
+so that he probably only knew it as an important "purgative
+drug." The Senna of commerce is made from the leaves of
+Cassia lanceolata and Cassia Senna, both natives of Africa,
+and so unfitted for open-air cultivation in England. The
+Cassias are a large family, mostly with handsome yellow
+flowers, some of which are very ornamental greenhouse
+plants; and one from North America, Cassia Marylandica,
+may be considered hardy in the South of England.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_277:1_192" id="Footnote_277:1_192"></a><a href="#FNanchor_277:1_192"><span class="label">[277:1]</span></a> In this passage the old reading for "Senna" is "Cyme," and this
+is the reading of the Globe Shakespeare; but I quote the passage with
+"Senna" because it is so printed in many editions.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>SPEARGRASS.</h2>
+
+<table class="poetryt" summary="speargrass reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Peto.</i></td>
+  <td class="tdleft">He persuaded us to do the like.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Bardolph.</i></td>
+  <td class="tdleft">Yea, and to tickle our noses with Speargrass to
+make them bleed, and then to beslubber our garments
+with it and swear it was the blood of true men.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 4 (339).</td>
+</tr>
+</table>
+
+<p>Except in this passage I can only find Speargrass mentioned
+in Lupton's "Notable Things," and there without any description,
+only as part of a medical recipe: "Whosoever is tormented
+with sciatica or the hip gout, let them take an herb
+<span class="pagenum"><a name="Page_278" id="Page_278"></a>[<a href="./images/278.png">278</a>]</span>called Speargrass, and stamp it and lay a little thereof upon
+the grief." The plant is not mentioned by Lyte, Gerard,
+Parkinson, or the other old herbalists, and so it is somewhat
+of a puzzle. Steevens quotes from an old play, "Victories
+of Henry the Fifth": "Every day I went into the field, I
+would take a straw and thrust it into my nose, and make my
+nose bleed;" but a straw was never called Speargrass. Asparagus
+was called Speerage, and the young shoots might
+have been used for the purpose, but I have never heard of
+such a use; Ranunculus flammula was called Spearwort,
+from its lanceolate leaves, and so (according to Cockayne)
+was Carex acuta, still called Spiesgrass in German. Mr.
+Beisly suggests the Yarrow or Millfoil; and we know from
+several authorities (Lyte, Hollybush, Gerard, Phillip, Cole,
+Skinner, and Lindley) that the Yarrow was called Nosebleed;
+but there seems no reason to suppose that it was
+ever called Speargrass, or could have been called a Grass at
+all, though the term Grass was often used in the most
+general way. Dr. Prior suggests the Common Reed, which
+is probable. I have been rather inclined to suppose it to
+be one of the Horse-tails (Equiseta).<a name="FNanchor_278:1_193" id="FNanchor_278:1_193"></a><a href="#Footnote_278:1_193" class="fnanchor">[278:1]</a> They are very sharp
+and spearlike, and their rough surfaces would soon draw
+blood; and as a decoction of Horse-tail was a remedy for
+stopping bleeding of the nose, I have thought it very probable
+that such a supposed virtue could only have arisen
+when remedies were sought for on the principle of "similia
+similibus curantur;" so that a plant, which in one form
+produced nose-bleeding, would, when otherwise administered,
+be the natural remedy. But I now think that all
+these suggested plants must give way in favour of the common
+Couch-grass (<i>Triticum repens</i>). In the eastern counties,
+this is still called Speargrass; and the sharp underground
+stolons might easily draw blood, when the nose is tickled
+with them. The old emigrants from the eastern counties
+took the name with them to America, but applied it to a Poa
+(Webster's "Dictionary," s.v. Speargrass).</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_278:1_193" id="Footnote_278:1_193"></a><a href="#FNanchor_278:1_193"><span class="label">[278:1]</span></a> "Hippurus Anglice dicitur sharynge gyrs."&mdash;<span class="smcap">Turner's</span> <i>Libellus</i>,
+1538.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_279" id="Page_279"></a>[<a href="./images/279.png">279</a>]</span></p>
+<h2>SQUASH, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Peas">Peas</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>STOVER.</h2>
+
+<table class="poetryt" summary="stover reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Thy turfy mountains, where live nibbling sheep,<br />
+And flat meads thatch'd with Stover, them to keep.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (62).</td>
+</tr>
+</table>
+
+<p>In this passage, Stover is probably the bent or dried
+Grass still remaining on the land, but it is the common
+word for hay or straw, or for "fodder and provision for all
+sorts of cattle; from <i>Estovers</i>, law term, which is so explained
+in the law dictionaries. Both are derived from
+<i>Estouvier</i> in the old French, defined by Roquefort&mdash;'Convenance,
+n&eacute;cessit&eacute;, provision de tout ce qui est n&eacute;cessaire.'"&mdash;<span class="smcap">Nares.</span>
+The word is of frequent occurrence in the
+writers of the time of Shakespeare. One quotation from
+Tusser will be sufficient&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Keepe dry thy straw&mdash;<br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"If house-roome will serve thee, lay Stover up drie,<br /></span>
+<span class="i0i">And everie sort by it selfe for to lie.<br /></span>
+<span class="i0i">Or stack it for litter if roome be too poore,<br /></span>
+<span class="i0i">And thatch out the residue, noieng thy door."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>November's Husbandry.</i></p>
+
+
+<hr style="width: 65%;" />
+<h2>STRAWBERRY.</h2>
+
+<table class="poetryt" summary="strawberry references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iago.</i></td>
+  <td class="tdleft">Have you not sometimes seen a handkerchief<br />
+Spotted with Strawberries in your wife's hand?<a name="FNanchor_279:1_194" id="FNanchor_279:1_194"></a><a href="#Footnote_279:1_194" class="fnanchor">[279:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act iii, sc. 3 (434).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_280" id="Page_280"></a>[<a href="./images/280.png">280</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Ely.</i></td>
+  <td class="tdleft">The Strawberry grows underneath the Nettle,<br />
+And wholesome berries thrive and ripen best<br />
+Neighbour'd by fruit of baser quality;<br />
+And so the prince obscured his contemplation<br />
+Under the veil of wildness.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act i, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Gloster.</i></td>
+  <td class="tdleft">My Lord of Ely, when I was last in Holborn,<br />
+I saw good Strawberries in your garden there;<br />
+I do beseech you send for some of them.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Ely.</i></td>
+  <td class="tdleft">Marry, and will, my Lord, with all my heart.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">Where is my lord Protector? I have sent<br />
+For these Strawberries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Richard III</i>, act iii, sc. 4 (32).</td>
+</tr>
+</table>
+
+<p>The Bishop of Ely's garden in Holborn must have been
+one of the chief gardens of England in the fourteenth and
+fifteenth centuries, for this is the third time it has been
+brought under our notice. It was celebrated for its Roses
+(<i>see</i> <span class="smcap"><a href="#Roses">Rose</a></span>); it was so celebrated for its Saffron Crocuses
+that part of it acquired the name which it still keeps, Saffron
+Hill; and now we hear of its "good Strawberries;" while
+the remembrance of "the ample garden," and of the handsome
+Lord Chancellor to whom it was given when taken
+from the bishopric, is still kept alive in its name of Hatton
+Garden. How very good our forefathers' Strawberries were,
+we have a strong proof in old Isaak Walton's happy words:
+"Indeed, my good scholar, we may say of angling as Dr.
+Boteler said of Strawberries: 'Doubtless God could have
+made a better berry, but doubtless God never did;' and so,
+if I might be judge, God never did make a more calm, quiet,
+innocent recreation than angling." I doubt whether, with
+our present experience of good Strawberries, we should join
+in this high praise of the Strawberries of Shakespeare's or
+Isaak Walton's day, for their varieties of Strawberry must
+have been very limited in comparison to ours. Their chief
+Strawberry was the Wild Strawberry brought straight from
+the woods, and no doubt much improved in time by cultivation.
+Yet we learn from Spenser and from Tusser that it
+was the custom to grow it just as it came from the woods.</p>
+
+<p>Spenser says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"One day as they all three together went<br /></span>
+<span class="i0i">Into the wood to gather Strawberries."&mdash;<i>F. Q.</i>, vi. 34;<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_281" id="Page_281"></a>[<a href="./images/281.png">281</a>]</span>
+and Tusser&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Wife, into thy garden, and set me a plot<br /></span>
+<span class="i0i">With Strawbery rootes of the best to be got:<br /></span>
+<span class="i0i">Such growing abroade, among Thornes in the wood,<br /></span>
+<span class="i0i">Wel chosen and picked, prove excellent good.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">The Gooseberry, Respis, and Roses al three<br /></span>
+<span class="i0i">With Strawberies under them trimly agree."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>September's Husbandry.</i></p>
+
+<p>And even in the next century, Sir Hugh Plat said&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Strawberries which grow in woods prosper best in gardens."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Garden of Eden</i>, i, 20.<a name="FNanchor_281:1_195" id="FNanchor_281:1_195"></a><a href="#Footnote_281:1_195" class="fnanchor">[281:1]</a></p>
+
+<p>Besides the wild one (<i>Fragaria vesca</i>), they had the Virginian
+(<i>F. Virginiana</i>), a native of North America, and the
+parent of our scarlets; but they do not seem to have had
+the Hautbois (<i>F. elatior</i>), or the Chilian, or the Carolinas,
+from which most of our good varieties have descended.</p>
+
+<p>The Strawberry is among fruits what the Primrose and
+Snowdrop are among flowers, the harbinger of other good
+fruits to follow. It is the earliest of the summer fruits, and
+there is no need to dwell on its delicate, sweet-scented
+freshness, so acceptable to all; but it has also a charm in
+autumn, known, however, but to few, and sometimes said to
+be only discernible by few. Among "the flowers that yield
+sweetest smell in the air," Lord Bacon reckoned Violets,
+and "next to that is the Musk Rose, then the Strawberry
+leaves dying, with a most excellent cordial smell." In Mrs.
+Gaskell's pretty tale, "My Lady Ludlow," the dying Strawberry
+leaves act an important part. "The great hereditary
+faculty on which my lady piqued herself, and with reason,
+for I never met with any other person who possessed it,
+was the power she had of perceiving the delicious odour
+arising from a bed of Strawberry leaves in the late autumn,
+when the leaves were all fading and dying." The old lady
+quotes Lord Bacon, and then says: "'Now the Hanburys
+<span class="pagenum"><a name="Page_282" id="Page_282"></a>[<a href="./images/282.png">282</a>]</span>can always smell the excellent cordial odour, and very
+delicious and refreshing it is. In the time of Queen Elizabeth
+the great old families of England were a distinct race,
+just as a cart-horse is one creature and very useful in its
+place, and Childers or Eclipse is another creature, though
+both are of the same species. So the old families have
+gifts and powers of a different and higher class to what the
+other orders have. My dear, remember that you try and
+smell the scent of dying Strawberry leaves in this next
+autumn, you have some of Ursula Hanbury's blood in you,
+and that gives you a chance.' 'But when October came I
+sniffed, and sniffed, and all to no purpose; and my lady,
+who had watched the little experiment rather anxiously, had
+to give me up as a hybrid'" ("Household Words," vol.
+xviii.). On this I can only say in the words of an old writer,
+"A rare and notable thing, if it be true, for I never proved
+it, and never tried it; therefore, as it proves so, praise it."<a name="FNanchor_282:1_196" id="FNanchor_282:1_196"></a><a href="#Footnote_282:1_196" class="fnanchor">[282:1]</a>
+Spenser also mentions the scent, but not of the leaves or
+fruit, but of the flowers&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Comming to kisse her lyps (such grace I found),<br /></span>
+<span class="i0i">Me seem'd I smelt a garden of sweet flowres<br /></span>
+<span class="i0i">That dainty odours from them threw around:<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Her goodly bosome, lyke a Strawberry bed,<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Such fragrant flowres doe give most odorous smell."<a name="FNanchor_282:2_197" id="FNanchor_282:2_197"></a><a href="#Footnote_282:2_197" class="fnanchor">[282:2]</a><br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Sonnet</i> lxiv.</p>
+
+<p>There is a considerable interest connected with the name
+of the plant, and much popular error. It is supposed to be
+called Strawberry because the berries have straw laid under
+them, or from an old custom of selling the wild ones strung
+on straws.<a name="FNanchor_282:3_198" id="FNanchor_282:3_198"></a><a href="#Footnote_282:3_198" class="fnanchor">[282:3]</a> In Shakespeare's time straw was used for the
+protection of Strawberries, but not in the present fashion&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_283" id="Page_283"></a>[<a href="./images/283.png">283</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"If frost doe continue, take this for a lawe,<br /></span>
+<span class="i0i">The Strawberies look to be covered with strawe.<br /></span>
+<span class="i0i">Laid ouerly trim upon crotchis and bows,<br /></span>
+<span class="i0i">And after uncovered as weather allows."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Tusser</span>, <i>December's Husbandry</i>.</p>
+
+<p>But the name is much more ancient than either of these
+customs. Strawberry in different forms, as Strea-berige,
+Streaberie-wisan, Streaw-berige, Streaw-berian wisan, Streberilef,
+Strabery, Strebere-wise, is its name in the old English
+Vocabularies, while it appears first in its present form in a
+Pictorial Vocabulary of the fifteenth century, "Hoc ffragrum,
+A<sup>ce</sup> a Strawbery." What the word really means is pleasantly
+told by a writer in Seeman's "Journal of Botany," 1869:
+"How well this name indicates the now prevailing practice
+of English gardeners laying straw under the berry in order
+to bring it to perfection, and prevent it from touching the
+earth, which without that precaution it naturally does, and
+to which it owes its German <i>Erdbeere</i>, making us almost
+forget that in this instance 'straw' has nothing to do with
+the practice alluded to, but is an obsolete past-participle of
+'to strew,' in allusion to the habit of the plant." This
+obsolete word is preserved in our English Bibles, "gathering
+where thou hast not strawed," "he strawed it upon the
+water," "straw me with apples;" and in Shakespeare&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">The bottom poison, and the top o'erstrawed<br /></span>
+<span class="i0">With sweets.&mdash;<i>Venus and Adonis.</i><br /></span>
+</div></div>
+
+<p>From another point of view there is almost as great a
+mistake in the second half of the name, for in strict botanical
+language the fruit of the Strawberry is not a berry; it is not
+even "exactly a fruit, but is merely a fleshy receptacle bearing
+fruit, the true fruit being the ripe carpels, which are
+scattered over its surface in the form of minute grains looking
+like seeds, for which they are usually mistaken, the seed
+lying inside of the shell of the carpel." It is exactly the
+contrary to the Raspberry, a fruit not named by Shakespeare,
+though common in his time under the name of Rasps.
+"When you gather the Raspberry you throw away the
+receptacle under the name of core, never suspecting that it
+is the very part you had just before been feasting upon in
+the Strawberry. In the one case, the receptacle robs the
+<span class="pagenum"><a name="Page_284" id="Page_284"></a>[<a href="./images/284.png">284</a>]</span>carpels of all their juice in order to become gorged and
+bloated at their expense; in the other case, the carpels act in
+the same selfish manner upon the receptacles."&mdash;<span class="smcap">Lindley</span>,
+<i>Ladies' Botany</i>.</p>
+
+<p>Shakespeare's mention of the Strawberry and the Nettle
+(No. <a href="#Nettle_2">2</a>) deserves a passing note. It was the common opinion
+in his day that plants were affected by the neighbourhood of
+other plants to such an extent that they imbibed each other's
+virtues and faults. Thus sweet flowers were planted near
+fruit trees, with the idea of improving the flavour of the
+fruit, and evil-smelling trees, like the Elder, were carefully
+cleared away from fruit trees, lest they should be tainted.
+But the Strawberry was supposed to be an exception to the
+rule, and was supposed to thrive in the midst of "evil
+communications" without being corrupted. Preachers and
+emblem-writers naturally seized upon this: "In tilling our
+gardens we cannot but admire the fresh innocence and purity
+of the Strawberry, because although it creeps along the
+ground, and is continually crushed by serpents, lizards, and
+other venomous reptiles, yet it does not imbibe the slightest
+impression of poison, or the smallest malignant quality, a
+true sign that it has no affinity with poison. And so it is
+with human virtues," &amp;c. "In conversation take everything
+peacefully, no matter what is said or done. In this manner
+you may remain innocent amidst the hissing of serpents, and,
+as a little Strawberry, you will not suffer contamination from
+slimy things creeping near you."&mdash;<span class="smcap">St. Francis de Sales.</span></p>
+
+<p>I need only add that the Strawberry need not be confined
+to the kitchen garden, as there are some varieties which
+make very good carpet plants, such as the variegated Strawberry,
+which, however, is very capricious in its variegation;
+the double Strawberry, which bears pretty white button-like
+flowers; and the Fragaria lucida from California, which has
+very bright shining leaves, and was, when first introduced,
+supposed to be useful in crossing with other species; but I
+have not heard that this has been successfully effected.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_279:1_194" id="Footnote_279:1_194"></a><a href="#FNanchor_279:1_194"><span class="label">[279:1]</span></a> "Mrs. Somerville made for me a delicate outline sketch of what
+is called Othello's house in Venice, and a beautifully coloured copy
+of his shield surmounted by the Doge's cap, and bearing three Mulberries
+for device&mdash;proving the truth of the assertion that the <i>Otelli
+del Moro</i> were a noble Venetian folk, who came originally from the
+Morea, whose device was the Mulberry, the growth of that country,
+and showing how curious a jumble Shakespeare has made both of name
+and device in calling him a <i>Moor</i>, and embroidering his arms on his
+handkerchief as <i>Strawberries</i>."&mdash;<span class="smcap">F. Kemble's</span> <i>Records</i>, vol. i. 145.</p></div>
+
+<div class="footnote"><p><a name="Footnote_281:1_195" id="Footnote_281:1_195"></a><a href="#FNanchor_281:1_195"><span class="label">[281:1]</span></a> It seems probable that the Romans only knew of the Wild Strawberry,
+of which both Virgil and Ovid speak&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Qui legitis flores et humi nascentia fraga."&mdash;<i>Ecl.</i>, ii.<br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Contentique cibis nullo cogente creatis<br /></span>
+<span class="i0i">Arbuteos f&oelig;tus montanaque fraga legebant."&mdash;<i>Metam.</i>, i, 105.<br /></span>
+</div></div>
+</div>
+
+<div class="footnote"><p><a name="Footnote_282:1_196" id="Footnote_282:1_196"></a><a href="#FNanchor_282:1_196"><span class="label">[282:1]</span></a> "Qu&aelig; neque confirmare argumentis neque refellere in animo est;
+ex ingenio suo quisque demat vel addat fidem."&mdash;<span class="smcap">Tacitus.</span></p></div>
+
+<div class="footnote"><p><a name="Footnote_282:2_197" id="Footnote_282:2_197"></a><a href="#FNanchor_282:2_197"><span class="label">[282:2]</span></a> The flowers of Fragaria lucida are slightly violet-scented, but I
+know of no Strawberry flower that can be said to "give most odorous
+smell."</p></div>
+
+<div class="footnote"><p><a name="Footnote_282:3_198" id="Footnote_282:3_198"></a><a href="#FNanchor_282:3_198"><span class="label">[282:3]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The wood nymphs oftentimes would busied be,<br /></span>
+<span class="i0i">And pluck for him the blushing Strawberry,<br /></span>
+<span class="i0i">Making from them a bracelet on a bent,<br /></span>
+<span class="i0i">Which for a favour to this swain they sent."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Browne's</span> <i>Brit. Past.</i>, i, 2.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_285" id="Page_285"></a>[<a href="./images/285.png">285</a>]</span></p>
+<h2>SUGAR.</h2>
+
+<table class="poetryt" summary="sugar references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Prince Henry.</i></td>
+  <td class="tdleft">But, sweet Ned&mdash;to sweeten which name of Ned,
+I give thee this pennyworth of Sugar, clapped
+even now into my hand by an under-skinker.
+</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">To drive away the time till Falstaff comes, I
+prithee, do thou stand in some by-room, while I
+question my puny drawer to what end he gave
+me the Sugar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">Nay, but hark you, Francis; for the Sugar thou
+gavest me, 'twas a pennyworth, was't not?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act ii, sc. 4 (23, 31, 64).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Biron.</i></td>
+  <td class="tdleft">White-handed mistress, one sweet word with thee.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Princess.</i></td>
+  <td class="tdleft">Honey, and Milk, and Sugar, there is three.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (230).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Quickly.</i></td>
+  <td class="tdleft">And in such wine and Sugar of the best and the
+fairest, that would have won any woman's heart.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives</i>, act ii, sc. 2 (70).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Bassanio.</i></td>
+  <td class="tdleft"><span class="s16">Here are sever'd lips</span><br />
+Parted with Sugar breath; so sweet a bar<br />
+Should sunder such sweet friends.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act iii, sc. 2 (118).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Touchstone.</i></td>
+  <td class="tdleft">Honesty coupled to beauty is to have honey a sauce
+to Sugar.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iii, sc. 2 (30).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Northumberland.</i></td>
+  <td class="tdleft">Your fair discourse hath been as Sugar,<br />
+Making the hard way sweet and delectable.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act ii, sc. 3 (6).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">Let me see,&mdash;what am I to buy for our sheep-shearing
+feast? Three pound of Sugar, five pound of Currants.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 3 (39).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">You have witchcraft in your lips, Kate: there is
+more eloquence in a Sugar touch of them than in
+the tongues of the French council.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (401).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Queen Margaret.</i></td>
+  <td class="tdleft">Poor painted Queen, vain flourish of my fortune!<br />
+Why strew'st thou Sugar on that bottled spider,<br />
+Whose deadly web ensnareth thee about?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act i, sc. 3 (241).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_286" id="Page_286"></a>[<a href="./images/286.png">286</a>]</span>(10)</td>
+  <td class="tdleftt"><i>Gloucester.</i></td>
+  <td class="tdleft">Your grace attended to their Sugar'd words,<br />
+But look'd not on the poison of their hearts.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act iii, sc. 1 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Polonius.</i></td>
+  <td class="tdleft"><span class="s8">We are oft to blame in this&mdash;</span><br />
+Tis too much proved&mdash;that with devotion's visage<br />
+And pious actions we do Sugar o'er<br />
+The devil himself.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iii, sc. 1 (46).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Brabantio.</i></td>
+  <td class="tdleft">These sentences, to Sugar, or to gall,<br />
+Being strong on both sides, are equivocal.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (216).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft"><span class="s11">And never learn'd</span><br />
+The icy precepts of respect, but follow'd<br />
+The Sugar'd game before thee.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (257).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Pucelle.</i></td>
+  <td class="tdleft">By fair persuasion mix'd with Sugar'd words<br />
+We will entice the Duke of Burgundy.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry VI</i>, act iii, sc. 3 (18).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">Hide not thy poison with such Sugar'd words.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 2 (45).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Prince Henry.</i></td>
+  <td class="tdleft">One poor pennyworth of Sugar-candy, to make
+thee long-winded.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry IV</i>, act iii, sc. 3 (180).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Thy Sugar'd tongue to bitter Wormwood taste.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (893).</td>
+</tr>
+</table>
+
+<p>As a pure vegetable product, though manufactured, Sugar
+cannot be passed over in an account of the plants of Shakespeare;
+but it will not be necessary to say much about it.
+Yet the history of the migrations of the Sugar-plant is sufficiently
+interesting to call for a short notice.</p>
+
+<p>Its original home seems to have been in the East Indies,
+whence it was imported in very early times. It is probably
+the "sweet cane" of the Bible; and among classical writers
+it is named by Strabo, Lucan, Varro, Seneca, Dioscorides, and
+Pliny. The plant is said to have been introduced into Europe
+during the Crusades, and to have been cultivated in the
+Morea, Rhodes, Malta, Sicily, and Spain.<a name="FNanchor_286:1_199" id="FNanchor_286:1_199"></a><a href="#Footnote_286:1_199" class="fnanchor">[286:1]</a> By the Spaniards
+<span class="pagenum"><a name="Page_287" id="Page_287"></a>[<a href="./images/287.png">287</a>]</span>it was taken first to Madeira and the Cape de Verd Islands,
+and, very soon after the discovery of America, to the West
+Indies. There it soon grew rapidly, and increased enormously,
+and became a chief article of commerce, so that
+though we now almost look upon it as entirely a New World
+plant, it is in fact but a stranger there, that has found a
+most congenial home.</p>
+
+<p>In 1468 the price of Sugar was sixpence a pound, equal to
+six shillings of our money,<a name="FNanchor_287:1_200" id="FNanchor_287:1_200"></a><a href="#Footnote_287:1_200" class="fnanchor">[287:1]</a> but in Shakespeare's time it must
+have been very common,<a name="FNanchor_287:2_201" id="FNanchor_287:2_201"></a><a href="#Footnote_287:2_201" class="fnanchor">[287:2]</a> or it could not so largely have
+worked its way into the common English language and proverbial
+expressions; and it must also have been very cheap,
+or it could not so entirely have superseded the use of honey,
+which in earlier times was the only sweetening material.</p>
+
+<p>Shakespeare may have seen the living plant, for it was
+grown as a curiosity in his day, though Gerard could not
+succeed with it: "Myself did plant some shootes thereof in
+my garden, and some in Flanders did the like, but the
+coldness of our clymate made an end of myne, and I think
+the Flemmings will have the like profit of their labour."
+But he bears testimony to the large use of Sugar in his day;
+"of the juice of the reede is made the most pleasant and
+profitable sweet called Sugar, whereof is made infinite confections,
+sirupes, and such like, as also preserving and conserving
+of sundrie fruits, herbes and flowers, as roses, violets, rosemary
+flowers and such like."</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_286:1_199" id="Footnote_286:1_199"></a><a href="#FNanchor_286:1_199"><span class="label">[286:1]</span></a> "It is the juice of certain canes or reedes whiche growe most plentifully
+in the Ilandes of Madera, Sicilia, Cyprus, Rhodus and Candy.
+It is made by art in boyling of the Canes, much like as they make their
+white salt in the Witches in Cheshire."&mdash;<span class="smcap">Coghan</span>, <i>Haven of Health</i>,
+1596, p. 110.</p></div>
+
+<div class="footnote"><p><a name="Footnote_287:1_200" id="Footnote_287:1_200"></a><a href="#FNanchor_287:1_200"><span class="label">[287:1]</span></a> "Babee's Book," xxx.</p></div>
+
+<div class="footnote"><p><a name="Footnote_287:2_201" id="Footnote_287:2_201"></a><a href="#FNanchor_287:2_201"><span class="label">[287:2]</span></a> It is mentioned by Chaucer&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Gyngerbred that was so fyn.<br /></span>
+<span class="i0i">And licorys and eek comyn<br /></span>
+<span class="i0i">With Sugre that is trye."&mdash;<i>Tale of Sir Thopas.</i><br /></span>
+</div></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>SWEET MARJORAM, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Marjoram">Marjoram</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>SYCAMORE.</h2>
+
+
+<table class="poetryt" summary="sycamore references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Desdemona</i> (singing).</td>
+  <td class="tdleftt">The poor soul sat sighing by a Sycamore tree.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act iv, sc. 3 (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_288" id="Page_288"></a>[<a href="./images/288.png">288</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Benvolio.</i></td>
+  <td class="tdleft">Underneath the grove of Sycamore<br />
+That westward rooteth from the city's side,<br />
+So early walking did I see your son.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act i, sc. 1 (130).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Boyet.</i></td>
+  <td class="tdleft">Under the cool shade of a Sycamore
+I thought to close mine eyes some half an hour.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (89).</td>
+</tr>
+</table>
+
+<p>In its botanical relationship, the Sycamore is closely allied
+to the Maple, and was often called the Great Maple, and is
+still so called in Scotland. It is not indigenous in Great
+Britain, but it has long been naturalized among us, and has
+taken so kindly to our soil and climate that it is one of our
+commonest trees. It is one of the best of forest trees for
+resisting wind; it "scorns to be biassed in its mode of growth
+even by the prevailing wind, but shooting its branches with
+equal boldness in every direction, shows no weatherside to
+the storm, and may be broken, but never can be bended."-<i>Old
+Mortality</i>, c. i.</p>
+
+<p>The history of the name is curious. The Sycomore, or
+Zicamine tree of the Bible and of Theophrastus and Dioscorides,
+is the Fig-mulberry, a large handsome tree indigenous
+in Africa and Syria, and largely planted, partly for the sake
+of its fruit, and especially for the delicious shade it gives.
+With this tree the early English writers were not acquainted,
+but they found the name in the Bible, and applied it to any
+shade-giving tree. Thus in &AElig;lfric's Vocabulary in the tenth
+century it is given to the Aspen&mdash;"Sicomorus vel celsa
+&aelig;ps." Chaucer gives the name to some hedge shrub, but
+he probably used it for any thick shrub, without any very
+special distinction&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The hedge also that yedde in compas<br /></span>
+<span class="i0i">And closed in all the greene herbere<br /></span>
+<span class="i0i">With Sicamour was set and Eglateere,<br /></span>
+<span class="i0i">Wrethen in fere so well and cunningly<br /></span>
+<span class="i0i">That every branch and leafe grew by measure<br /></span>
+<span class="i0i">Plaine as a bord, of an height by and by."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Flower and the Leaf.</i></p>
+
+<p>Our Sycamore would be very ill suited to make the sides
+and roof of an arbour, but before the time of Shakespeare it
+seems certain that the name was attached to our present
+tree, and it is so called by Gerard and Parkinson.</p>
+
+<p><span class="pagenum"><a name="Page_289" id="Page_289"></a>[<a href="./images/289.png">289</a>]</span>
+The Sycamore is chiefly planted for its rapid growth rather
+than for its beauty. It becomes a handsome tree when fully
+grown, but as a young tree it is stiff and heavy, and at all
+times it is so infested with honeydew as to make it unfit for
+planting on lawns or near paths. It grows well in the north,
+where other trees will not well flourish, and "we frequently
+meet with the tree apart in the fields, or unawares in remote
+localities amidst the Lammermuirs and the Cheviots, where
+it is the surviving witness of the former existence of a hamlet
+there. Hence to the botanical rambler it has a more melancholy
+character than the Yew. It throws him back on past
+days, when he who planted the tree was the owner of the
+land and of the Hall, and whose name and race are forgotten
+even by tradition.&nbsp;.&nbsp;.&nbsp;. And there is reasonable
+pride in the ancestry when a grove of old gentlemanly Sycamores
+still shadows the Hall."&mdash;<span class="smcap">Johnston.</span> But these old
+Sycamores were not planted only for beauty: they were
+sometimes planted for a very unpleasant use. "They were
+used by the most powerful barons in the West of Scotland
+for hanging their enemies and refractory vassals on, and for
+this reason were called <i>dool</i> or grief trees. Of these there
+are three yet standing, the most memorable being one near
+the fine old castle of Cassilis, one of the seats of the Marquis
+of Ailsa, on the banks of the River Doon. It was used
+by the family of Kennedy, who were the most powerful
+barons of the West of Scotland, for the purpose above mentioned."&mdash;<span class="smcap">Johns.</span></p>
+
+<p>The wood of the Sycamore is useful for turning and a few
+other purposes, but is not very durable. The sap, as in all
+the Maples, is full of sugar, and the pollen is very curious;
+"it appears globular in the microscope, but if it be touched
+with anything moist, the globules burst open with four valves,
+and then they appear in the form of a cross."&mdash;<span class="smcap">Miller.</span></p>
+
+
+<hr style="width: 65%;" />
+<h2>THISTLE (<span style="font-weight: normal; font-size: 70%;"><i>see also</i></span> <span class="smcap"><a href="#Holy_Thistle">Holy Thistle</a></span>).</h2>
+
+<table class="poetryt" summary="thistle references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Burgundy.</i></td>
+  <td class="tdleft"><span class="s15">And nothing teems</span><br />
+But hateful Docks, rough Thistles, Kecksies, Burs.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act v, sc. 2 (51).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_290" id="Page_290"></a>[<a href="./images/290.png">290</a>]</span>(2)</td>
+  <td class="tdleftt"><i>Bottom.</i></td>
+  <td class="tdleft">Mounsieur Cobweb, good mounsieur, get you
+your weapons ready in your hand, and kill me a
+red-hipped humble bee on the top of a Thistle;
+and, good mounsieur, bring me the honey-bag.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (10).</td>
+</tr>
+</table>
+
+<p>Thistle is the old English name for a large family of
+plants occurring chiefly in Europe and Asia, of which we
+have fourteen species in Great Britain, arranged under the
+botanical families of Carlina, Carduus, and Onopordon. It
+is the recognized symbol of untidiness and carelessness,
+being found not so much in barren ground as in good ground
+not properly cared for. So good a proof of a rich soil does
+the Thistle give, that a saying is attributed to a blind man
+who was choosing a piece of land&mdash;"Take me to a Thistle;"
+and Tusser says&mdash;</p>
+
+<div class="blockquot"><p>"Much wetnes, hog-rooting, and land out of hart
+makes Thistles a number foorthwith to upstart.
+If Thistles so growing proove lustie and long,
+It signifieth land to be hartie and strong."</p></div>
+
+<p class="authorpoem"><i>October's Husbandry</i> (13).</p>
+
+<p>If the Thistles were not so common, and if we could get
+rid of the associations they suggest, there are probably few
+of our wild plants that we should more admire: they are
+stately in their foliage and habit, and some of their flowers
+are rich in colour, and the Thistledown, which carries the
+seed far and wide, is very beautiful, and was once considered
+useful as a sign of rain, for "if the down flyeth off
+Coltsfoot, Dandelyon, or Thistles when there is no winde,
+it is a signe of rain."&mdash;<span class="smcap">Coles</span>.</p>
+
+<p>It had still another use in rustic divination&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Upon the various earth's embroidered gown,<br /></span>
+<span class="i0i">There is a weed upon whose head grows down,<br /></span>
+<span class="i0i">Sow Thistle 'tis y'clept, whose downy wreath<br /></span>
+<span class="i0i">If anyone can blow off at a breath<br /></span>
+<span class="i0i">We deem her for a maid."&mdash;<span class="smcap">Browne's</span> <i>Brit. Past.</i>, i, 4.<br /></span>
+</div></div>
+
+<p>But it is owing to these pretty Thistledowns that the plant
+becomes a most undesirable neighbour, for they carry the
+seed everywhere, and wherever it is carried, it soon vegetates,
+and a fine crop of Thistles very quickly follows. In
+<span class="pagenum"><a name="Page_291" id="Page_291"></a>[<a href="./images/291.png">291</a>]</span>this way, if left to themselves, the Thistles will soon monopolize
+a large extent of country, to the extinction of other
+plants, as they have done in parts of the American prairies,
+and as they did in Australia, till a most stringent Act of
+Parliament was passed about twenty years ago, imposing
+heavy penalties upon all who neglected to destroy the
+Thistles on their land. For these reasons we cannot admit
+the Thistle into the garden, at least not our native Thistles;
+but there are some foreigners which may well be admitted.
+There are the handsome yellow Thistles of the South of
+Europe (<i>Scolymus</i>), which besides their beauty have a classical
+interest. "Hesiod elegantly describing the time of
+year, says,</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0"><ins class="greek" title="&ecirc;mos de skolymos t'anthei">&#7968;&#956;&#959;&#962; &#948;&#949; &#963;&#954;&#959;&#955;&#965;&#956;&#959;&#962; &#964;'&#945;&#957;&#952;&#949;&#953;</ins>,<br /></span>
+</div></div>
+
+<p>when the Scolymus flowers, <i>i.e.</i>, in hot weather or summer
+("Op. et dies," 582). This plant crowned with its golden
+flowers is abundant throughout Sicily."&mdash;<span class="smcap">Hogg's</span> <i>Classical
+Plants of Sicily</i>. There is the Fish-bone Thistle (<i>Cham&aelig;peuce
+diacantha</i>) from Syria, a very handsome plant, and,
+like most of the Thistles, a biennial; but if allowed to flower
+and go to seed, it will produce plenty of seedlings for a
+succession of years. And there is a grand scarlet Thistle
+from Mexico, the Erythrolena conspicua ("Sweet," vol. ii.
+p. 134), which must be almost the handsomest of the family,
+and which was grown in England fifty years ago, but has
+been long lost. There are many others that may deserve a
+place as ornamental plants, but they find little favour, for
+"they are only Thistles."</p>
+
+<p>Any notice of the Thistle would be imperfect without
+some mention of the Scotch Thistle. It is the one point in
+the history of the plant that protects it from contempt. We
+dare not despise a plant which is the honoured badge of our
+neighbours and relations, the Scotch; which is ennobled as
+the symbol of the Order of the Thistle, that claims to be the
+most ancient of all our Orders of high honour; and which
+defies you to insult it or despise it by its proud mottoes,
+"Nemo me impune lacessit," "Ce que Dieu garde, est bien
+gard&eacute;." What is the true Scotch Thistle even the Scotch
+antiquarians cannot decide, and in the uncertainty it is
+perhaps safest to say that no Thistle in particular can claim
+<span class="pagenum"><a name="Page_292" id="Page_292"></a>[<a href="./images/292.png">292</a>]</span>the sole honour, but that it extends to every member of the
+family that can be found in Scotland.<a name="FNanchor_292:1_202" id="FNanchor_292:1_202"></a><a href="#Footnote_292:1_202" class="fnanchor">[292:1]</a></p>
+
+<p>Shakespeare has noticed the love of the bee for the
+Thistle, and it seems that it is for other purposes than honey
+gathering that he finds the Thistle useful. For "a beauty
+has the Thistle, when every delicate hair arrests a dew-drop
+on a showery April morning, and when the purple blossom
+of a roadside Thistle turns its face to Heaven and welcomes
+the wild bee, who lies close upon its flowerets on the approach
+of some storm cloud until its shadow be past away.
+For with unerring instinct the bee well knows that the darkness
+is but for a moment, and that the sun will shine out
+again ere long."&mdash;<span class="smcap">Lady Wilkinson.</span></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_292:1_202" id="Footnote_292:1_202"></a><a href="#FNanchor_292:1_202"><span class="label">[292:1]</span></a> See an interesting and fanciful account of the fitness of the Thistle
+as the emblem of Scotland in Ruskin's "Proserpina," pp. 135-139.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>THORNS.</h2>
+
+<table class="poetryt" summary="thorn references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Ariel.</i></td>
+  <td class="tdleft">Tooth'd Briers, sharp Furzes, pricking Goss, and Thorns,<br />
+Which entered their frail skins.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (180).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Quince.</i></td>
+  <td class="tdleft">One must come in with a bush of Thorns and
+a lanthorn, and say he comes in to disfigure,
+or to present, the person of Moonshine.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Puck.</i></td>
+  <td class="tdleft">For Briers and Thorns at their apparel snatch.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iii, sc. 2 (29).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Prologue.</i></td>
+  <td class="tdleft">This man with lanthorn, dog, and bush of Thorn,<br />
+Presenteth Moonshine.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 1 (136).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Moonshine.</i></td>
+  <td class="tdleft">All that I have to say, is to tell you that the
+lanthorn is the moon; I, the man in the
+moon; this Thorn-bush, my Thorn-bush;
+and this dog, my dog.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (261).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Dumain.</i></td>
+  <td class="tdleft">But, alack, my hand is sworn<br />
+Ne'er to pluck thee from thy Thorn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iv, sc. 3 (111).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_293" id="Page_293"></a>[<a href="./images/293.png">293</a>]</span>(7)</td>
+  <td class="tdleftt"><i>Carlisle.</i></td>
+  <td class="tdleft">The woe's to come; the children yet unborn<br />
+Shall feel this day as sharp to them as Thorn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iv, sc. 1 (322).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>King Henry.</i></td>
+  <td class="tdleft"><span class="s11">The care you have of us,</span><br />
+To mow down Thorns that would annoy our foot,<br />
+Is worthy praise.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 1 (66).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Gloucester.</i></td>
+  <td class="tdleft">And I&mdash;like one lost in a Thorny wood,<br />
+That rends the Thorns and is rent with the Thorns,<br />
+Seeking a way, and straying from the way.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3rd Henry VI</i>, act iii, sc. 2 (174).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>K. Edward.</i></td>
+  <td class="tdleft">Brave followers, yonder stands the Thorny wood.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 4 (67).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>K. Edward.</i></td>
+  <td class="tdleft">What! can so young a Thorn begin to prick.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 4 (13).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Romeo.</i></td>
+  <td class="tdleft">Is love a tender thing? It is too rough,<br />
+Too rude, too boisterous, and it pricks like Thorn.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act i, sc. 4 (25).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Boult.</i></td>
+  <td class="tdleft">A Thornier piece of ground.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act iv, sc. 6 (153).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Leontes.</i></td>
+  <td class="tdleft"><span class="s8">Which being spotted</span><br />
+Is goads, Thorns, Nettles, tails of wasps.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act i, sc. 2 (328).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Florizel.</i></td>
+  <td class="tdleft">But O, the Thorns we stand upon!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 4 (596).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">Do not, as some ungracious pastors do,<br />
+Shew me the steep and Thorny path to Heaven.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act i, sc. 3 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td class="tdleftt"><i>Ghost.</i></td>
+  <td class="tdleft"><span class="s13">Leave her to Heaven,</span><br />
+And to those Thorns that in her bosom lodge,<br />
+To prick and sting her.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act i, sc. 5 (86).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td class="tdleftt"><i>Bastard.</i></td>
+  <td class="tdleft">I am amazed, methinks, and lose my way<br />
+Among the Thorns and dangers of this world.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act iv, sc. 3 (40).</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="3"><i>See also</i> <span class="smcap">Rose</span>, Nos. <a href="#Rose_7">7</a>, <a href="#Rose_18">18</a>, <a href="#Rose_22">22</a>, <a href="#Rose_30">30</a>, the scene in the Temple
+gardens; and <span class="smcap">Brier</span>, No. <a href="#Brier_11">11</a>.</td>
+</tr>
+</table>
+
+<p>Thorns and Thistles are the typical emblems of desolation
+and trouble, and so Shakespeare uses them; and had he
+spoken of Thorns in this sense only, I should have been
+<span class="pagenum"><a name="Page_294" id="Page_294"></a>[<a href="./images/294.png">294</a>]</span>doubtful as to admitting them among his other plants, but
+as in some of the passages they stand for the Hawthorn tree
+and the Rose bush, I could not pass them by altogether.
+They might need no further comment beyond referring for
+further information about them to <a href="#Hawthorn">Hawthorn</a>, <a href="#Brier">Briar</a>, <a href="#Roses">Rose</a>,
+and <a href="#Bramble">Bramble</a>; but in speaking of the Bramble I mentioned
+the curious legend which tells why the Bramble employs
+itself in collecting wool from every stray sheep, and there is
+another very curious instance in Blount's "Antient Tenures"
+of a connection between Thorns and wool. The original
+document is given in Latin, and is dated 39th Henry III.
+It may be thus translated: "Peter de Baldwyn holds in
+Combes, in the county of Surrey, by the service to go a wool
+gathering for our Lady the Queen among the White Thorns,
+and if he refuses to gather it he shall pay into the Treasury
+of our Lord the King xxs. per annum." I should almost
+suspect a false reading, as the editor is inclined to do, but
+that many other services, equally curious and improbable,
+may easily be found.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THYME.</h2>
+
+<table class="poetryt" summary="thyme references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Oberon.</i></td>
+  <td class="tdleft">I know a bank where the wild Thyme blows.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (249).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">We will plant Nettles or sow Lettuce, set Hyssop and weed up Thyme.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act i, sc. 3 (324). (<i>See</i> <span class="smcap"><a href="#Hyssop">Hyssop</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">And sweet Time true.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, Introd. song.</td>
+</tr>
+</table>
+
+<p>It is one of the most curious of the curiosities of English
+plant names that the Wild Thyme&mdash;a plant so common and
+so widely distributed, and that makes itself so easily known
+by its fine aromatic, pungent scent, that it is almost impossible
+to pass it by without notice&mdash;has yet no English
+name, and seems never to have had one. Thyme is the
+Anglicised form of the Greek and Latin <i>Thymum</i>, which
+name it probably got from its use for incense in sacrifices,
+while its other name of <i>serpyllum</i> pointed out its creeping
+habit. I do not know when the word Thyme was first
+<span class="pagenum"><a name="Page_295" id="Page_295"></a>[<a href="./images/295.png">295</a>]</span>introduced into the English language, for it is another
+curious point connected with the name, that <i>thymum</i> does
+not occur in the old English vocabularies. We have in
+&AElig;lfric's "Vocabulary," "Pollegia, hyl-wyrt," which may
+perhaps be the Thyme, though it is generally supposed to be
+the Pennyroyal; we have in a Vocabulary of thirteenth
+century, "Epitime, epithimum, fordboh," which also may be
+the Wild Thyme; we have in a Vocabulary of the fifteenth
+century, "Hoc sirpillum, A<sup>ce</sup> petergrys;" and in a Pictorial
+Vocabulary of the same date, "Hoc cirpillum, A<sup>ce</sup> a pellek"
+(which word is probably a misprint, for in the "Promptorium
+Parvulorum," c. 1440, it is "Peletyr, herbe, <i>serpillum
+piretrum</i>"), both of which are almost certainly the Wild
+Thyme; while in an Anglo-Saxon Vocabulary of the tenth or
+eleventh century we have "serpulum, crop-leac," <i>i.e.</i>, the
+Onion, which must certainly be a mistake of the compiler.
+So that not even in its Latin form does the name occur,
+except in the "Promptorium Parvulorum," where it is
+"Tyme, herbe, <i>Tima</i>, <i>Timum</i>&mdash;Tyme, floure, <i>Timus</i>;" and
+in the "Catholicon Anglicum," when it is "Tyme; <i>timum
+epitimum; flos ejus est</i>." It is thus a puzzle how it can have
+got naturalized among us, for in Shakespeare's time it was
+completely naturalized.</p>
+
+<p>I have already quoted Lord Bacon's account of it under
+<span class="smcap"><a href="#Burnet">Burnet</a></span>, but I must quote it again here: "Those flowers
+which perfume the air most delightfully, not passed by as
+the rest, but being trodden upon and crushed, are three&mdash;that
+is Burnet, Wild Thyme, and Water mints; therefore
+you are to set whole alleys of them, to have the pleasure
+when you walk or tread;" and again in his pleasant description
+of the heath or wild garden, which he would have in
+every "prince-like garden," and "framed as much as may
+be to a natural wildness," he says, "I like also little heaps,
+in the nature of mole-hills (such as are in wild heaths) to be
+set some with Wild Thyme, some with Pinks, some with
+Germander." Yet the name may have been used sometimes
+as a general name for any wild, strong-scented plant. It
+can only be in this sense that Milton used it&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Thee, shepherd! thee the woods and desert caves,<br /></span>
+<span class="i0i">With Wild Thyme and the gadding Vine o'ergrown,<br /></span>
+<span class="i0i">And all their echoes mourn."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Lycidas.</i></p>
+
+<p><span class="pagenum"><a name="Page_296" id="Page_296"></a>[<a href="./images/296.png">296</a>]</span>
+for certainly a desert cave is almost the last place in which
+we should look for the true Wild Thyme.</p>
+
+<p>It is as a bee-plant especially that the Thyme has always
+been celebrated. Spenser speaks of it as "the bees alluring
+Tyme," and Ovid says of it, speaking of Chloris or Flora&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Mella meum munus; volucres ego mella daturos<br /></span>
+<span class="i0i">Ad violam et cytisos, et Thyma cana voco."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Fasti</i>, v.</p>
+
+<p>so that the Thyme became proverbial as the symbol of
+sweetness. It was the highest compliment that the shepherd
+could pay to his mistress&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Nerine Galatea, Thymo mihi dulcior Hybl&aelig;."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Virgil</span>, <i>Ecl.</i> vii.</p>
+
+<p>And it was because of its wild Thyme that Mount Hymettus
+became so celebrated for its honey&mdash;"Mella Thymi redolentia
+flore" (Ovid). "Thyme, for the time it lasteth,
+yeeldeth most and best honni, and therefore in old time was
+accounted chief (Thymus aptissimus ad mellificum&mdash;Pastus
+gratissimus apibus Thymum est&mdash;Plinii, 'His. Nat.')</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'Dum thymo pascentur apes, dum rore cicad&aelig;.'<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Virgil</span>, <i>Georg.</i></p>
+
+<p>Hymettus in Greece and Hybla in Sicily were so famous for
+Bees and Honni, because there grew such store of Tyme;
+propter hoc Siculum mel fert palmam, quod ibi Thymum
+bonum et frequens est."&mdash;<span class="smcap">Varro</span>, <i>The Feminine Monarchie</i>,
+1634.</p>
+
+<p>The Wild Thyme can scarcely be considered a garden
+plant, except in its variegated and golden varieties, which
+are very handsome, but if it should ever come naturally in
+the turf, it should be welcomed and cherished for its sweet
+scent. The garden Thyme (<i>T. vulgaris</i>) must of course be
+in every herb garden; and there are a few species which
+make good plants for the rockwork, such as T. lanceolatus
+from Greece, a very low-growing shrub, with narrow, pointed
+leaves; T. carnosus, which makes a pretty little shrub, and
+others; while the Corsican Thyme (<i>Mentha Requieni</i>) is
+perhaps the lowest and closest-growing of all herbs, making
+a dark-green covering to the soil, and having a very strong
+scent, though more resembling Peppermint than Thyme.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_297" id="Page_297"></a>[<a href="./images/297.png">297</a>]</span></p>
+<h2>TOADSTOOLS, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Mushroom">Mushrooms</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>TURNIPS.</h2>
+
+<table class="poetryt" summary="turnip reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Anne.</i></td>
+  <td class="tdleft">Alas! I had rather be set quick i' the earth<br />
+And boul'd to death with Turnips.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act iii, sc. 4 (89).</td>
+</tr>
+</table>
+
+<p>The Turnips of Shakespeare's time were like ours, and
+probably as good, though their cultivation seems to have
+been chiefly confined to gardens. It is not very certain
+whether the cultivated Turnip is the wild Turnip improved
+in England by cultivation, or whether we are indebted for it
+to the Romans, and that the wild one is only the degenerate
+form of the cultivated plant; for though the wild Turnip is
+admitted into the English flora, yet its right to the admission
+is very doubtful. But if we did not get the vegetable from
+the Romans we got its name. The old name for it was <i>n&oelig;p</i>,
+<i>nep</i>, or <i>neps</i>, which was only the English form of the Latin
+<i>napus</i>, while Turnip is the corruption of <i>terr&aelig; napus</i>, but
+when the first syllable was added I do not know. There is
+a curious perversion in the name, for our Turnip is botanically
+Brassica rapa, while the Rape is Brassica napus, so that
+the English and Latin have changed places, the Napus
+becoming a Rape and the Rapa a Nep.</p>
+
+<p>The present large field cultivation of Turnips is of comparatively
+a modern date, though the field Turnip and
+garden Turnip are only varieties of the same species, while
+there are also many varieties both of the field and garden
+Turnip. "One field proclaims the Scotch variety, while
+the bluer cast tells its hardy Swedish origin; the tankard
+proclaims a deep soil, and the lover of boiled mutton,
+rejoicing, sees the yellower tint of the Dutch or Stone
+Turnip, which he desires to meet with again in the market."&mdash;<span class="smcap">Phillips.</span></p>
+
+<p>It is not very easy to speak of the moral qualities of
+Turnips, or to make them the symbols of much virtue, yet
+Gwillim did so: "He beareth sable, a Turnip proper, a
+<span class="pagenum"><a name="Page_298" id="Page_298"></a>[<a href="./images/298.png">298</a>]</span>chief or gutte de Larmes. This is a wholesome root, and
+yieldeth great relief to the poor, and prospereth best in a
+hot sandy ground, and may signifie a person of good disposition,
+whose vertuous demeanour flourisheth most prosperously,
+even in that soil, where the searching heat of envy
+most aboundeth. This differeth much in nature from that
+whereof it is said, 'And that there should not be among
+you any root that bringeth forth gall and wormwood.'"&mdash;<span class="smcap">Gwillim's</span>
+<i>Heraldry</i>, sec. iii. c. 11.</p>
+
+
+<hr style="width: 65%;" />
+<h2>VETCHES.</h2>
+
+<table class="poetryt" summary="vetch reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Ceres, most bounteous lady, thy rich leas,<br />
+Of Wheat, Rye, Barley, Vetches, Oats, and Pease.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (60).</td>
+</tr>
+</table>
+
+<p>The cultivated Vetch (<i>Vicia sativa</i>) is probably not a
+British plant, and it is not very certain to what country it
+rightly belongs; but it was very probably introduced into
+England by the Romans as an excellent and easily-grown
+fodder-plant. There are several Vetches that are true British
+plants, and they are among the most beautiful ornaments of
+our lanes and hedges. Two especially deserve to take a place
+in the garden for their beauty; but they require watching, or
+they will scramble into parts where their presence is not
+desirable; these are V. cracca and V. sylvatica. V. cracca has
+a very bright pure blue flower, and may be allowed to scramble
+over low bushes; V. sylvatica is a tall climber, and may be
+seen in copses and high hedges climbing to the tops of the
+Hazels and other tall bushes. It is one of the most graceful
+of our British plants, and perhaps quite the most graceful of
+our climbers; it bears an abundance of flowers, which are
+pure white streaked and spotted with pale blue; it is not a
+very common plant, but I have often seen it in Gloucestershire
+and Somersetshire, and wherever it is found it is generally
+in abundance.</p>
+
+<p>The other name for the Vetch is Tares, which is, no doubt,
+an old English word that has never been satisfactorily
+explained. The word has an interest from its biblical
+<span class="pagenum"><a name="Page_299" id="Page_299"></a>[<a href="./images/299.png">299</a>]</span>associations, though modern scholars decide that the Zizania
+is wrongly translated Tares, and that it is rather a bastard
+Wheat or Darnel.</p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Vines" id="Vines"></a>VINES.</h2>
+
+<table class="poetryt" summary="vine references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Titania.</i></td>
+  <td class="tdleft">Feed him with Apricocks and Dewberries,<br />
+With purple Grapes, green Figs, and Mulberries.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iii, sc. 1 (169).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Menenius.</i></td>
+  <td class="tdleft">The tartness of his face sours ripe Grapes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Coriolanus</i>, act v, sc. 4 (18).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Song.</i></td>
+  <td class="tdleft">Come, thou monarch of the Vine,<br />
+Plumpy Bacchus, with pink eyne!<br />
+In thy fats our cares be drown'd,<br />
+With thy Grapes our hairs be crown'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act ii, sc. 7 (120).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Cleopatra.</i></td>
+  <td class="tdleft"><span class="s16">Now no more</span><br />
+The juice of Egypt's Grape shall moist this lip.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 2 (284).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">Dry up thy Marrows, Vines, and plough-torn leas.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Timon of Athens</i>, act iv, sc. 3 (193).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Timon.</i></td>
+  <td class="tdleft">Go, suck the subtle blood o' the Grape,<br />
+Till the high fever seethe your blood to froth.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (432).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Touchstone.</i></td>
+  <td class="tdleft">The heathen philosopher, when he had a desire
+to eat a Grape, would open his lips when he
+put it into his mouth; meaning thereby that
+Grapes were made to eat and lips to open.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act v, sc. 1 (36).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">Blessed Fig's end! the wine she drinks is made of Grapes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act ii, sc 1 (250).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Lafeu.</i></td>
+  <td class="tdleft">O, will you eat no Grapes, my royal fox?<br />
+Yes, but you will my noble Grapes, an if<br />
+My royal fox could reach them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act ii, sc. 1 (73).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Lafeu.</i></td>
+  <td class="tdleft">There's one Grape yet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 1 (105).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Pompey.</i></td>
+  <td class="tdleft">'Twas in "The Bunch of Grapes," where, indeed,
+you have a delight to sit.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act ii, sc. 1 (133).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_300" id="Page_300"></a>[<a href="./images/300.png">300</a>]</span>(12)</td>
+  <td class="tdleftt"><i>Constable.</i></td>
+  <td class="tdleft"><span class="s16">Let us quit all</span><br />
+And give our Vineyards to a barbarous people.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 5 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Burgundy.</i></td>
+  <td class="tdleft">Her Vine, the merry cheerer of the heart,<br />
+Unpruned, dies.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">Our Vineyards, fallows, meads, and hedges,<br />
+Defective in their natures, grow to wildness.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 2 (41, 54).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Mortimer.</i></td>
+  <td class="tdleft">And pithless arms, like to a wither'd Vine<br />
+That droops his sapless branches to the ground.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>1st Henry VI</i>, act ii, sc. 5 (11).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td class="tdleftt"><i>Cranmer.</i></td>
+  <td class="tdleft">In her days every man shall eat in safety,<br />
+Under his own Vine, what he plants; and sing<br />
+The merry songs of peace to all his neighbours.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act v, sc. 5 (34).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td class="tdleftt"><i>Cranmer.</i></td>
+  <td class="tdleft">Peace, plenty, love, truth, terror,<br />
+That were the servants to this chosen infant,<br />
+Shall then be his, and like a Vine grow to him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (48).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td class="tdleftt"><i>Lear.</i></td>
+  <td class="tdleft"><span class="s19">Now, our joy,</span><br />
+Although the last, not least; to whose young love<br />
+The Vines of France and milk of Burgundy<br />
+Strive to be interess'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act i, sc. 1 (84).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td class="tdleftt"><i>Arviragus.</i></td>
+  <td class="tdleft">And let the stinking Elder, grief, untwine<br />
+His perishing root with the increasing Vine!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (59).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(19)</td>
+  <td class="tdleftt"><i>Adriana.</i></td>
+  <td class="tdleft">Thou art an Elm, my husband, I a Vine,<br />
+Whose weakness married to thy stronger state<br />
+Makes me with thy strength to communicate.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Comedy of Errors</i>, act ii, sc. 2 (176).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(20)</td>
+  <td class="tdleftt"><i>Gonzalo.</i></td>
+  <td class="tdleft">Bound of land, tilth, Vineyard, none.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act ii, sc. 1 (152).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Vine_21" id="Vine_21"></a>21)</td>
+  <td class="tdleftt"><i>Iris.</i></td>
+  <td class="tdleft">Thy pole-clipt Vineyard.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (68).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(22)</td>
+  <td class="tdleftt"><i>Ceres.</i></td>
+  <td class="tdleft">Vines with clustering bunches growing,<br />
+Plants with goodly burthen bowing.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (112).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(23)</td>
+  <td class="tdleftt"><i>Richmond.</i></td>
+  <td class="tdleft"><span class="s13">The usurping boar,</span><br />
+That spoil'd your summer fields and fruitful Vines.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act v, sc. 2 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_301" id="Page_301"></a>[<a href="./images/301.png">301</a>]</span>(24)</td>
+  <td class="tdleftt"><i>Isabella.</i></td>
+  <td class="tdleft">He hath a garden circummured with brick,<br />
+Whose western side is with a Vineyard back'd;<br />
+And to that Vineyard is a planched gate,<br />
+That makes his opening with this bigger key:<br />
+This other doth command a little door,<br />
+Which from the Vineyard to the garden leads.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iv, sc. 1 (28).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(25)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">The Vine shall grow, but we shall never see it.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act ii, sc. 2 (47).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(26)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Even as poor birds, deceived with painted Grapes,<br />
+Do forfeit by the eye and pine the maw.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (601).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(27)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">For one sweet Grape, who will the Vine destroy?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (215).</td>
+</tr>
+</table>
+
+<p>Besides these different references to the Grape Vine, some
+of its various products are mentioned, as Raisins, wine, aquavit&aelig;
+or brandy, claret (the "thin potations" forsworn by
+Falstaff), sherris-sack or sherry, and malmsey. But none of
+these passages gives us much insight into the culture of the
+Vine in England, the whole history of which is curious and
+interesting.</p>
+
+<p>The Vine is not even a native of Europe, but of the East,
+whence it was very early introduced into Europe; so early,
+indeed, that it has recently been found "fossil in a tufaceous
+deposit in the South of France."&mdash;<span class="smcap">Darwin.</span> It was no doubt
+brought into England by the Romans. Tacitus, describing
+England in the first century after Christ, says expressly that
+the Vine did not, and, as he evidently thought, could not
+grow there. "Solum, pr&aelig;ter oleam vitemque et c&aelig;tera
+calidioribus terris oriri sueta, patiens frugum, f&aelig;cundum."
+Yet Bede, writing in the eighth century, describes England
+as "opima frugibus atque arboribus insula, et alendis apta
+pecoribus et jumentis Vineas etiam quibusdam in locis
+germinans."<a name="FNanchor_301:1_203" id="FNanchor_301:1_203"></a><a href="#Footnote_301:1_203" class="fnanchor">[301:1]</a></p>
+
+<p>From that time till the time of Shakespeare there is
+abundant proof not only of the growth of the Vine as we
+now grow it in gardens, but in large Vineyards. In Anglo-Saxon
+times "a Vineyard" is not unfrequently mentioned
+in various documents. "Edgar gives the Vineyard situated
+<span class="pagenum"><a name="Page_302" id="Page_302"></a>[<a href="./images/302.png">302</a>]</span>at Wecet, with the Vine-dressers."&mdash;<span class="smcap">Turner's</span> <i>Anglo-Saxons</i>.
+"'Domesday Book' contained thirty-eight entries of valuable
+Vineyards; one in Essex consisted of six acres, and yielded
+twenty hogsheads of wine in a good year. There was another
+of the same extent at Ware."&mdash;<span class="smcap">H. Evershed</span>, in <i>Gardener's
+Chronicle</i>. So in the Norman times, "Giraldus Cambrensis,
+speaking of the Castle of Manorbeer (his birthplace), near
+Pembroke, said that it had under its walls, besides a fishpond,
+a beautiful garden, enclosed on one side by a Vineyard
+and on the other by a wood, remarkable for the projection
+of its rocks and the height of its Hazel trees. In the twelfth
+century Vineyards were not uncommon in England."&mdash;<span class="smcap">Wright.</span>
+Neckam, writing in that century, refers to the
+usefulness of the Vine when trained against the wall-front:
+"Pampinus latitudine su&acirc; excipit &aelig;ris insultus, cum res ita
+desiderat, et fenestra clementiam caloris solaris admittat."&mdash;<span class="smcap">Hudson
+Turner.</span></p>
+
+<p>In the time of Shakespeare I suppose that most of the
+Vines in England were grown in Vineyards of more or less
+extent, trained to poles. These formed the "pole-clipt
+Vineyards" of No. <a href="#Vine_21">21</a>, and are thus described by Gerard:
+"The Vine is held up with poles and frames of wood, and
+by that means it spreadeth all about and climbeth aloft; it
+joyneth itselfe unto trees, or whatsoever standeth next unto
+it"&mdash;in other words, the Vine was then chiefly grown as a
+standard in the open ground.</p>
+
+<p>There are numberless notices in the records and chronicles
+of extensive vineyards in England, which it is needless to
+quote; but it is worth noticing that the memory of these
+Vineyards remains not only in the chronicles and in the
+treatises which teach of Vine-culture, but also in the names
+of streets, &amp;c., which are occasionally met with. There is
+"Vineyard Holm," in the Hampshire Downs, and many
+other places in Hampshire; the "Vineyard Hills," at
+Godalming; the "Vines," at Rochester and Sevenoaks;
+the "Vineyards," at Bath and Ludlow; the "Vine Fields,"
+near the Abbey at Bury St. Edmunds;<a name="FNanchor_302:1_204" id="FNanchor_302:1_204"></a><a href="#Footnote_302:1_204" class="fnanchor">[302:1]</a> the "Vineyard
+<span class="pagenum"><a name="Page_303" id="Page_303"></a>[<a href="./images/303.png">303</a>]</span>Walk" in Clerkenwell; and "near Basingstoke the 'Vine'
+or 'Vine House,' in a richly wooded spot, where, as is
+said, the Romans grew the first Vine in Britain, the memory
+of which now only survives in the Vine Hounds;"<a name="FNanchor_303:1_205" id="FNanchor_303:1_205"></a><a href="#Footnote_303:1_205" class="fnanchor">[303:1]</a> and
+probably a closer search among the names of fields in other
+parts would bring to light many similar instances.<a name="FNanchor_303:2_206" id="FNanchor_303:2_206"></a><a href="#Footnote_303:2_206" class="fnanchor">[303:2]</a></p>
+
+<p>Among the English Vineyards those of Gloucestershire
+stood pre-eminent. William of Malmesbury, writing of
+Gloucestershire in the twelfth century, says: "This county
+is planted thicker with Vineyards than any other in England,
+more plentiful in crops, and more pleasant in flavour. For
+the wines do not offend the mouth with sharpness, since they
+do not yield to the French in sweetness" ("De Gestis Pontif.,"
+book iv.) Of these Vineyards the tradition still remains in
+the county. The Cotswold Hills are in many places curiously
+marked with a succession of steps or narrow terraces, called
+"litchets" or "lynches;" these are traditionally the sites of
+the old Vineyards, but the tradition cannot be fully depended
+on, and the formation of the terraces has been variously
+accounted for. By some they are supposed to be natural
+formations, but wherever I have seen them they appear to
+me too regular and artificial; nor, as far as I am aware,
+does the oolite, on which formation these terraces mostly
+occur, take the form of a succession of narrow terraces. It
+seems certain that the ground was artificially formed into
+these terraces with very little labour, and that they were
+utilized for some special cultivation, and as likely for Vines
+as for any other.<a name="FNanchor_303:3_207" id="FNanchor_303:3_207"></a><a href="#Footnote_303:3_207" class="fnanchor">[303:3]</a> It is also certain that as the Gloucestershire
+Vineyards were among the most ancient and the best
+in England, so they held their ground till within a very
+recent period. I cannot find the exact date, but some time
+during the last century there is "satisfactory testimony of
+the full success of a plantation in Cromhall Park, from
+which ten hogsheads of wine were made in the year. The
+Vine plantation was discontinued or destroyed in consequence
+of a dispute with the Rector on a claim of the tythes."&mdash;<span class="smcap">Rudge's</span>
+<span class="pagenum"><a name="Page_304" id="Page_304"></a>[<a href="./images/304.png">304</a>]</span><i>History of Gloucestershire</i>. This, however, is not
+quite the latest notice I have met with, for Phillips, writing
+in 1820, says: "There are several flourishing Vineyards at
+this time in Somersetshire; the late Sir William Basset, in
+that county, annually made some hogsheads of wine, which
+was palatable and well-bodied. The idea that we cannot
+make good wine from our own Grapes is erroneous; I have
+tasted it quite equal to the Grave wines, and in some instances,
+when kept for eight or ten years, it has been drunk
+as hock by the nicest judges."&mdash;<i>Pomarium Britannicum.</i>
+It would have been more satisfactory if Mr. Phillips had told
+us the exact locality of any of these "flourishing Vineyards,"
+for I can nowhere else find any account of them, except that
+in a map of five miles round Bath in 1801 a Vineyard is
+marked at Claverton, formerly in the possession of the
+Bassets, and the Vines are distinctly shown.<a name="FNanchor_304:1_208" id="FNanchor_304:1_208"></a><a href="#Footnote_304:1_208" class="fnanchor">[304:1]</a> At present the
+experiment is again being tried by the Marquis of Bute, at
+Castle Coch, near Cardiff, to establish a Vineyard, not to
+produce fruit for the market, but to produce wine; and as
+both soil and climate seem very suitable, there can be little
+doubt that wine will be produced of a very fair character.
+Whether it will be a commercial success is more doubtful,
+but probably that is not of much consequence.</p>
+
+<p>I have dwelt at some length on the subject of the English
+Vineyards, because the cultivation of the Vine in Vineyards,
+like the cultivation of the Saffron, is a curious instance of an
+industry foreign to the soil introduced, and apparently for
+many years successful,<a name="FNanchor_304:2_209" id="FNanchor_304:2_209"></a><a href="#Footnote_304:2_209" class="fnanchor">[304:2]</a> and then entirely, or almost, given
+up. The reasons for the cessation of the English Vineyards
+are not far to seek. Some have attributed it to a change in
+the seasons, and have supposed that our summers were
+formerly hotter than they are now, bringing as a proof the
+Vineyards and English-made wine of other days. This was
+Parkinson's idea. "Our yeares in these times do not fall
+<span class="pagenum"><a name="Page_305" id="Page_305"></a>[<a href="./images/305.png">305</a>]</span>out to be so kindly and hot to ripen the Grape to make any
+good wine as formerly they have done." But this is a mere
+assertion, and I believe it not to be true. I have little doubt
+that quite as good wine could now be made in England as
+ever was made, and wine is still made every year in many
+old-fashioned farmhouses. But foreign wines can now be
+produced much better and much cheaper, and that has
+caused the cessation of the English Vineyards. It is true
+that French and Spanish wines were introduced into England
+very early, but it must have been in limited quantities,
+and at a high price. When the quantities increased and the
+price was lowered, it was well to give up the cultivation of
+the Vine for some more certain crop better suited to the
+soil and the climate, for it must always have been a capricious
+and uncertain crop. Hakluyt was one who was very anxious
+that England should supply herself with all the necessaries
+of life without dependence on foreign countries, yet, writing
+in Shakespeare's time, he says: "It is sayd that since we
+traded to Zante, that the plant that beareth the Coren is also
+broughte into this realme from thence, and although it bring
+not fruit to perfection, yet it may serve for pleasure, and for
+some use, like as our Vines doe which we cannot well spare,
+although the climat so colde will not permit us to have good
+wines of them" ("Voiages, &amp;c.," vol. ii. p. 166). Parkinson
+says to the same effect: "Many have adventured to make
+Vineyards in England, not only in these later days but in
+ancient times, as may well witness the sundry places in this
+land, entituled by the name of Vineyards, and I have read
+that many monasteries in this kingdom having Vineyards had
+as much wine made therefrom as sufficed their convents
+year by year, but long since they have been destroyed, and
+the knowledge how to order a Vineyard is also utterly
+perished with them. For although divers both nobles and
+gentlemen have in these later times endeavoured to plant
+and make Vineyards, and to that purpose have caused
+Frenchmen, being skilfull in keeping and dressing Vines, to
+be brought over to perform it, yet either their skill faileth
+them or their Vines were not good, or (the most likely) the
+soil was not fitting, for they could never make any wine that
+was worth the drinking, being so small and heartlesse, that
+they soon gave over their practise."</p>
+
+<p><span class="pagenum"><a name="Page_306" id="Page_306"></a>[<a href="./images/306.png">306</a>]</span>
+There is no need to say anything of the modern culture
+of the Vine, or its many excellent varieties. Even in
+Virgil's time the varieties cultivated were so many that he
+said&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Sed neque quam mult&aelig; species, nec nomina qu&aelig; sint<br /></span>
+<span class="i0i">Est numerus; neque enim numero comprendere refert;<br /></span>
+<span class="i0i">Quem qui scire velit, Lybici velit &aelig;quoris idem<br /></span>
+<span class="i0i">Discere quam mult&aelig; Zephyro turbentur aren&aelig;;<br /></span>
+<span class="i0i">Aut ubi navigiis violentior incidit Eurus<br /></span>
+<span class="i0i">Nosse quot Ionii veniant ad littora fluctus."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Georgica</i>, ii, 103.</p>
+
+<p>And now the number must far exceed those of Virgil's
+time. "The cultivated varieties are extremely numerous;
+Count Odart says that he will not deny that there may
+exist throughout the world 700 or 800, perhaps even 1,000
+varieties; but not a third of these have any value."&mdash;<span class="smcap">Darwin.</span>
+These are the Grapes that are grown in our hothouses;
+some also of a fine quality are produced in favourable years
+out-of-doors. There are also a few which are grown as
+ornamental shrubs. The Parsley-leaved Vine (<i>Vitis laciniosa</i>)
+is one that has been grown in England, certainly since the
+time of Shakespeare, for its pretty foliage, its fruit being
+small and few; but it makes a pretty covering to a wall or
+trellis. The small Variegated Vine (<i>Vitis</i> or <i>Cissus heterophyllus
+variegatus</i>) is another very pretty Vine, forming a
+small bush that may be either trained to a wall or grown as
+a low rockwork bush; it bears a few Grapes of no value,
+and is perfectly hardy. Besides these there are several
+North American species, which have handsome foliage, and
+are very hardy, of which the Vitis riparia or Vigne des
+Battures is a desirable tree, as "the flowers have an exquisitely
+fine smell, somewhat resembling that of Mignonnette."&mdash;<span class="smcap">Don.</span>
+I mention this particularly, because in all
+the old authors great stress is laid on the sweetness of the
+Vine in all its parts, a point of excellence in it which is now
+generally overlooked. Lord Bacon reckons "Vine flowers"
+among the "things of beauty in season" in May and June,
+and reckons among the most sweet-scented flowers, next to
+Musk Roses and Strawberry leaves dying, "the flower of
+the Vines; it is a little dust, like the dust of a bent, which
+<span class="pagenum"><a name="Page_307" id="Page_307"></a>[<a href="./images/307.png">307</a>]</span>grows among the duster in the first coming forth." And
+Chaucer says: "Scorners faren like the foul toode, that
+may noughte endure the soote smel of the Vine roote when
+it flourisheth."&mdash;<i>The Persones Tale.</i></p>
+
+<p>Nor must we dismiss the Vine without a few words respecting
+its sacred associations, for it is very much owing to
+these associations that it has been so endeared to our forefathers
+and ourselves. Having its native home in the East,
+it enters largely into the history and imagery of the Bible.
+There is no plant so often mentioned in the Bible, and
+always with honour, till the honour culminates in the great
+similitude, in which our Lord chose the Vine as the one
+only plant to which He condescended to compare Himself&mdash;"I
+am the true Vine!" No wonder that a plant so honoured
+should ever have been the symbol of joy and plenty, of
+national peace and domestic happiness.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_301:1_203" id="Footnote_301:1_203"></a><a href="#FNanchor_301:1_203"><span class="label">[301:1]</span></a> According to Vopiscus, England is indebted to the Emperor Probus
+(<span class="smcap">a.d.</span> 276-282) for the Vine: "Gallis omnibus et Britannis et Hispanis
+hinc permisit ut vites haberent, et Vinum conficerent."</p></div>
+
+<div class="footnote"><p><a name="Footnote_302:1_204" id="Footnote_302:1_204"></a><a href="#FNanchor_302:1_204"><span class="label">[302:1]</span></a> At Stonehouse "there are two arpens of Vineyard."&mdash;<i>Domesday
+Book</i>, quoted by Rudder. Also "the Vineyard" was the residence of
+the Abbots of Gloucester. It was at St. Mary de Lode near Gloucester,
+and "the Vineyard and Park were given to the Bishopric of Gloucester
+at its foundation and again confirmed 6th Edward VI."&mdash;<span class="smcap">Rudder.</span></p></div>
+
+<div class="footnote"><p><a name="Footnote_303:1_205" id="Footnote_303:1_205"></a><a href="#FNanchor_303:1_205"><span class="label">[303:1]</span></a> "Edinburgh Review," April, 1860.</p></div>
+
+<div class="footnote"><p><a name="Footnote_303:2_206" id="Footnote_303:2_206"></a><a href="#FNanchor_303:2_206"><span class="label">[303:2]</span></a> See Preface to "Palladius on Husbandrie," p. viii. (Early English
+Text Society), for a further account of old English Vineyards.</p></div>
+
+<div class="footnote"><p><a name="Footnote_303:3_207" id="Footnote_303:3_207"></a><a href="#FNanchor_303:3_207"><span class="label">[303:3]</span></a> For a very interesting account of the formation of lynches, and their
+connection with the ancient communal cultivation of the soil see
+Seebohm's "English Village Community," p. 5.</p></div>
+
+<div class="footnote"><p><a name="Footnote_304:1_208" id="Footnote_304:1_208"></a><a href="#FNanchor_304:1_208"><span class="label">[304:1]</span></a> On this Vineyard Mr. Skrine, the present owner of Claverton, has
+kindly informed me that it was sold in 1701 by Mr. Richard Holder
+for &pound;21,367, of which &pound;28 was for "four hogsheads of wine of the
+Vineyards of Claverton."</p></div>
+
+<div class="footnote"><p><a name="Footnote_304:2_209" id="Footnote_304:2_209"></a><a href="#FNanchor_304:2_209"><span class="label">[304:2]</span></a> Andrew Boorde was evidently a lover of good wine, and his account
+is: "This I do say that all the kingdoms of the world have not so many
+sundry kindes of wine as we in England, and yet <i>there is nothing to
+make of</i>."&mdash;<i>Breviary of Health</i>, 1598.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>VIOLETS.</h2>
+
+<table class="poetryt" summary="violet references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Queen.</i></td>
+  <td class="tdleft">The Violets, Cowslips, and the Primroses,<br />
+Bear to my closet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act i, sc. 5 (83).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Angelo.</i></td>
+  <td class="tdleft"><span class="s21">It is I,</span><br />
+That, lying by the Violet in the sun,<br />
+Do as the carrion does, not as the flower,<br />
+Corrupt with virtuous season.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act ii, sc. 2 (165).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Oberon.</i></td>
+  <td class="tdleft">Where Oxlips and the nodding Violet grows.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (250).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Salisbury.</i></td>
+  <td class="tdleft">To gild refined gold, to paint the Lily,<br />
+To throw a perfume on the Violet,<br />
+To smooth the ice, or add another hue<br />
+Unto the rainbow, or with taper-light<br />
+To seek the beauteous eye of Heaven to garnish,<br />
+Is wasteful and ridiculous excess.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King John</i>, act iv, sc. 2 (11).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">I think the king is but a man, as I am; the<br />
+Violet smells to him as it doth to me.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iv, sc. 1 (105).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_308" id="Page_308"></a>[<a href="./images/308.png">308</a>]</span>(6)</td>
+  <td class="tdleftt"><i>Laertes.</i></td>
+  <td class="tdleft">A Violet in the youth of primy nature,<br />
+Forward, not permanent; sweet, not lasting.<br />
+The perfume and suppliance of a minute;<br />
+No more.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act i, sc. 3 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Ophelia.</i></td>
+  <td class="tdleft">I would give you some Violets, but they withered
+all when my father died.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 5 (184).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Violet_8" id="Violet_8"></a>8)</td>
+  <td class="tdleftt"><i>Laertes.</i></td>
+  <td class="tdleft"><span class="s11">Lay her i' the earth,</span><br />
+And from her fair and unpolluted flesh<br />
+May Violets spring!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 1 (261).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Belarius.</i></td>
+  <td class="tdleft"><span class="s12">They are as gentle</span><br />
+As zephyrs blowing below the Violet,<br />
+Not wagging his sweet head.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act iv, sc. 2 (171).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Duke.</i></td>
+  <td class="tdleft">That strain again! It had a dying fall:<br />
+O, it came o'er my ear like the sweet sound,<br />
+That breathes upon a bank of Violets,<br />
+Stealing and giving odour!</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act i, sc. 1 (4).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Song of Spring.</i></td>
+  <td class="tdleftt">When Daisies pied, and Violets blue, &amp;c.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (904). (<i>See</i> <span class="smcap"><a href="#Cuckoo">Cuckoo-buds</a></span>.)</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s15">Violets dim,</span><br />
+But sweeter than the lids of Juno's eyes<br />
+Or Cytherea's breath.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (120).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Duchess.</i></td>
+  <td class="tdleft">Welcome, my son; Who are the Violets now,<br />
+That strew the green lap of the new-come spring?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act v, sc. 2 (46).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Violet_14" id="Violet_14"></a>14)</td>
+  <td class="tdleftt"><i>Marina.</i></td>
+  <td class="tdleft"><span class="s13">The yellows, blues,</span><br />
+The purple Violets and Marigolds,<br />
+Shall as a carpet hang upon thy grave<br />
+While summer-days do last.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act iv, sc. 1 (16).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">These blue-veined Violets whereon we lean<br />
+Never can blab, nor know not what we mean.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (125).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(16)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Who when he lived, his breath and beauty set<br />
+Gloss on the Rose, smell to the Violet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (936).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">When I behold the Violet past prime,<br />
+And sable curls all silver'd o'er with white,</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2"><span class="pagenum"><a name="Page_309" id="Page_309"></a>[<a href="./images/309.png">309</a>]</span>&nbsp;</td>
+  <td class="tdleft">Then of thy beauty do I question make,<br />
+That thou among the wastes of time must go,<br />
+Since sweets and beauties do themselves forsake<br />
+And die as fast as they see others grow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> xii.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">The forward Violet thus did I chide:<br />
+"Sweet thief, whence didst thou steal thy sweet that smells,<br />
+If not from my love's breath? The purple pride<br />
+Which on thy soft cheek for complexion dwells<br />
+In my love's veins thou hast too grossly died."</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xcix.</td>
+</tr>
+</table>
+
+<p>There are about a hundred different species of Violets, of
+which there are five species in England, and a few sub-species.
+One of these is the Viola tricolor, from which is
+descended the Pansy, or Love-in-Idleness (<i>see</i> <span class="smcap"><a href="#Pansies">Pansy</a></span>). But
+in all the passages in which Shakespeare names the Violet,
+he alludes to the purple sweet-scented Violet, of which he
+was evidently very fond, and which is said to be very
+abundant in the neighbourhood of Stratford-on-Avon.
+For all the eighteen passages tell of some point of beauty
+or sweetness that attracted him. And so it is with all the
+poets from Chaucer downwards&mdash;the Violet is noticed by
+all, and by all with affectation. I need only mention
+two of the greatest. Milton gave the Violet a chief place
+in the beauties of the "Blissful Bower" of our first parents
+in Paradise&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">"Each beauteous flower,<br /></span>
+<span class="i0">Iris all hues, Roses, and Jessamin<br /></span>
+<span class="i0">Rear'd high their flourish't heads between, and wrought<br /></span>
+<span class="i0">Mosaic; underfoot the Violet,<br /></span>
+<span class="i0">Crocus and Hyacinth with rich inlay<br /></span>
+<span class="i0">Broidered the ground, more coloured than with stone<br /></span>
+<span class="i0">Of costliest emblem;"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Paradise Lost</i>, book iv.</p>
+
+<p>and Sir Walter Scott crowns it as the queen of wild flowers&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Violet in her greenwood bower,<br /></span>
+<span class="i1i">Where Birchen boughs with Hazels mingle,<br /></span>
+<span class="i0i">May boast itself the fairest flower<br /></span>
+<span class="i1i">In glen, in copse, or forest dingle."<br /></span>
+</div></div>
+
+<p>Yet favourite though it ever has been, it has no English
+name. Violet is the diminutive form of the Latin Viola,
+<span class="pagenum"><a name="Page_310" id="Page_310"></a>[<a href="./images/310.png">310</a>]</span>which again is the Latin form of the Greek <ins class="greek" title="ion">&#7988;&#959;&#957;</ins>. In the old
+Vocabularies Viola frequently occurs, and with the following
+various translations:&mdash;"Ban-wyrt," <i>i.e.</i>, Bone-wort (eleventh
+century Vocabulary); "Cl&oelig;fre," <i>i.e.</i>, Clover (eleventh
+century Vocabulary); "Viol&eacute;, Appel-leaf" (thirteenth
+century Vocabulary);<a name="FNanchor_310:1_210" id="FNanchor_310:1_210"></a><a href="#Footnote_310:1_210" class="fnanchor">[310:1]</a> "Wyolet" (fourteenth century
+Vocabulary); "Vyolytte" (fifteenth century Nominale);
+"Violetta, A<sup>ce</sup>, a Violet" (fifteenth century Pictorial
+Vocabulary); and "Viola Cleafre, Ban-vyrt" (Durham
+Glossary). It is also mentioned in the Anglo-Saxon translation
+of the Herbarium of Apuleius in the tenth century
+as "the Herb Viola purpurea; (1) for new wounds and eke
+for old; (2) for hardness of the maw" (Cockayne's translation).
+In this last example it is most probable that our
+sweet-scented Violet is the plant meant, but in some of the
+other cases it is quite certain that some other plant is
+meant, and perhaps in all. For Violet was a name given
+very loosely to many plants, so that Laurembergius says:
+"Vox Viol&aelig; distinctissimis floribus communis est. Videntur
+mihi antiqui suaveolentes quosque flores generatim Violas
+appellasse, cujuscunque etiam forent generis quasi vi oleant."&mdash;<i>Apparat.
+Plant.</i>, 1632. This confusion seems to have
+arisen in a very simple way. Theophrastus described the
+Leucojum, which was either the Snowdrop or the spring
+Snowflake, as the earliest-flowering plant; Pliny literally
+translated Leucojum into Alba Viola. All the earlier writers
+on natural history were in the habit of taking Pliny for
+their guide, and so they translated his Viola by any early-flowering
+plant that most took their fancy. Even as late as
+1693, Samuel Gilbert, in "The Florists' Vade Mecum,"
+under the head of Violets, only describes "the lesser early
+bulbous Violet, a common flower yet not to be wasted,
+because when none other appears that does, though in the
+snow, whence called Snowflower or Snowdrop;" and I
+think that even later instances may be found.</p>
+
+<p>When I say that there is no genuine English name for the
+Violet, I ought, perhaps, to mention that one name has been
+attributed to it, but I do not think that it is more than a
+clever guess. "The commentators on Shakespeare have
+<span class="pagenum"><a name="Page_311" id="Page_311"></a>[<a href="./images/311.png">311</a>]</span>been much puzzled by the epithet 'happy lowlie down,'
+applied to the man of humble station in "Henry IV.," and
+have proposed to read 'lowly clown,' or to divide the phrase
+into 'low lie down,' but the following lines from Browne
+clearly prove 'lowly down' to be the correct term, for he
+uses it in precisely the same sense&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">'The humble Violet that lowly down<br /></span>
+<span class="i0i">Salutes the gay nymphs as they trimly pass.'<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Poet's Pleasaunce.</i>"</p>
+
+<p>This may prove that Browne called the Violet a Lowly-down,
+but it certainly does not prove that name to have
+been a common name for the Violet. It was, however,
+the character of lowliness combined with sweetness that
+gave the charm to the Violet in the eyes of the emblem
+writers: it was for them the readiest symbol of the meekness
+of humility. "Humilitas dat gratiam" is the motto that
+Camerarius places over a clump of Violets. "A true widow
+is, in the church, as a little March Violet shedding around
+an exquisite perfume by the fragrance of her devotion, and
+always hidden under the ample leaves of her lowliness, and
+by her subdued colouring showing the spirit of her mortification,
+she seeks untrodden and solitary places," &amp;c.&mdash;<span class="smcap">St.
+Francis de Sales.</span> And the poets could nowhere find a
+fitter similitude for a modest maiden than</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A Violet by a mossy stone<br /></span>
+<span class="i0i">Half hidden from the eye."<br /></span>
+</div></div>
+
+<p>Violets, like Primroses, must always have had their joyful
+associations as coming to tell that the winter is passing away
+and brighter days are near, for they are among</p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">"The first to rise<br /></span>
+<span class="i0">And smile beneath spring's wakening skies,<br /></span>
+<span class="i3h">The courier of a band<br /></span>
+<span class="i0">Of coming flowers."<br /></span>
+</div></div>
+
+<p>Yet it is curious to note how, like Primroses, they have
+been ever associated with death, especially with the death of
+the young. I suppose these ideas must have arisen from a
+sort of pity for flowers that were only allowed to see the
+opening year, and were cut off before the full beauty of
+<span class="pagenum"><a name="Page_312" id="Page_312"></a>[<a href="./images/312.png">312</a>]</span>summer had come. This was prettily expressed by H.
+Vaughan, the Silurist:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4h">"So violets, so doth the primrose fall<br /></span>
+<span class="i0">At once the spring's pride and its funeral,<br /></span>
+<span class="i0">Such early sweets get off in their still prime,<br /></span>
+<span class="i0">And stay not here to wear the foil of time;<br /></span>
+<span class="i0">While coarser flowers, which none would miss, if past,<br /></span>
+<span class="i0">To scorching summers and cold winters last."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Daphnis</i>, 1678.</p>
+
+<p>It was from this association that they were looked on as apt
+emblems of those who enjoyed the bright springtide of life
+and no more. This feeling was constantly expressed, and
+from very ancient times. We find it in some pretty lines
+by Prudentius&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Nos tecta fovebimus ossa<br /></span>
+<span class="i0i">Violis et fronde frequente,<br /></span>
+<span class="i0i">Titulumque et frigida saxa<br /></span>
+<span class="i0i">Liquido spargemus odore."<br /></span>
+</div></div>
+
+<p>Shakespeare expresses the same feeling in the collection of
+"purple Violets and Marigolds" which Marina carries to
+hang "as a carpet on the grave" (No. <a href="#Violet_14">14</a>), and again in
+Laertes' wish that Violets may spring from the grave of
+Ophelia (No. <a href="#Violet_8">8</a>), on which Steevens very aptly quotes from
+Persius Satires&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i4">"e tumulo fortunataque favill&acirc;.<br /></span>
+<span class="i0">Nascentur Viol&aelig;."<br /></span>
+</div></div>
+
+<p>In the same spirit Milton, gathering for the grave of Lycidas&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Every flower that sad embroidery wears,"<br /></span>
+</div></div>
+
+<p>gathers among others "the glowing Violet;" and the same
+thought is repeated by many other writers.</p>
+
+<p>There is a remarkable botanical curiosity in the structure
+of the Violet which is worth notice: it produces flowers both
+in spring and autumn, but the flowers are very different. In
+spring they are fully formed and sweet-scented, but they are
+mostly barren and produce no seed, while in autumn they are
+<span class="pagenum"><a name="Page_313" id="Page_313"></a>[<a href="./images/313.png">313</a>]</span>very small, they have no petals and, I believe, no scent, but
+they produce abundance of seed.<a name="FNanchor_313:1_211" id="FNanchor_313:1_211"></a><a href="#Footnote_313:1_211" class="fnanchor">[313:1]</a></p>
+
+<p>I need say nothing to recommend the Violet in all its
+varieties as a garden plant. As a useful medicinal plant it
+was formerly in high repute&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Vyolet an erbe cowth<br /></span>
+<span class="i0i">Is knowyn in ilke manys mowthe,<br /></span>
+<span class="i0i">As bokys seyn in here language,<br /></span>
+<span class="i0i">It is good to don in potage,<br /></span>
+<span class="i0i">In playstrys to wondrys it is comfortyf,<br /></span>
+<span class="i0i">W<sup>h</sup> oyer erbys sanatyf:"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Stockholm MS.</i></p>
+
+<p>and it still holds a place in the Pharmacop&oelig;ia, while the
+chemist finds the pretty flowers one of the most delicate tests
+for detecting the presence of acids and alkalies; but as to
+the many other virtues of the Violet I cannot do better than
+quote Gerard's pleasant and quaint words: "The Blacke
+or Purple Violets, or March Violets of the garden, have a
+great prerogative above others, not only because the minde
+conceiveth a certain pleasure and recreation by smelling and
+handling of those most odoriferous flowres, but also for that
+very many by these Violets receive ornament and comely
+grace; for there be made of them garlands for the head,
+nosegaies, and poesies, which are delightfull to looke on and
+pleasant to smell to, speaking nothing of their appropriate
+vertues; yea, gardens themselves receive by these the greatest
+ornament of all chiefest beautie and most gallant grace, and
+the recreation of the minde which is taken thereby cannot
+but be very good and honest; for they admonish and stir
+up a man to that which is comely and honest, for flowres
+through their beautie, variety of colour, and exquisite forme,
+do bring to a liberall and greatte many minde the remembrance
+of honestie, comelinesse, and all kindes of vertues.
+For it would be an unseemely and filthie thing (as a certain
+wise man saith) for him that doth looke upon and handle
+faire and beautifull things, and who frequenteth and is conversant
+in faire and beautifull places, to have his minde not
+faire but filthie and deformed." With these brave words of
+<span class="pagenum"><a name="Page_314" id="Page_314"></a>[<a href="./images/314.png">314</a>]</span>the old gardener I might well close my account of this
+favourite flower, but I must add George Herbert's lines
+penned in the same spirit&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Farewell, dear flowers, sweetly your time ye spent,<br /></span>
+<span class="i0i">Fit, while ye lived, for smell or ornament,<br /></span>
+<span class="i3h">And after death for cures;<br /></span>
+<span class="i0i">I follow straight without complaint or grief,<br /></span>
+<span class="i0i">Since if my scent be good, I care not if<br /></span>
+<span class="i3h">It be as short as yours."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Poems on Life.</i></p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_310:1_210" id="Footnote_310:1_210"></a><a href="#FNanchor_310:1_210"><span class="label">[310:1]</span></a> Appel-leaf is given as the English name for Viola in two other MS.
+Glossaries quoted by Cockayne, vol. iii. p. 312.</p></div>
+
+<div class="footnote"><p><a name="Footnote_313:1_211" id="Footnote_313:1_211"></a><a href="#FNanchor_313:1_211"><span class="label">[313:1]</span></a> This peculiarity is not confined to the Violet. It is found in some
+species of Oxalis, Impatiens, Campanula, Eranthemum, Amphicarpea,
+Leeisia, &amp;c. Such plants are technically called Cleistogamous, and are
+all self-fertilizing.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>WALNUT.</h2>
+
+<table class="poetryt" summary="walnut references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Petruchio.</i></td>
+  <td class="tdleft">Why, 'tis a cockle or a Walnut-shell,<br />
+A knack, a toy, a trick, a baby's cap.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Taming of the Shrew</i>, act iv, sc. 3 (66).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Ford.</i></td>
+  <td class="tdleft">Let them say of me, "As jealous as Ford that
+searched a hollow Walnut for his wife's leman."</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act iv, sc. 2 (170).</td>
+</tr>
+</table>
+
+<p>The Walnut is a native of Persia and China, and its foreign
+origin is told in all its names. The Greeks called it Persicon,
+<i>i.e.</i>, the Persian tree, and Basilikon, <i>i.e.</i>, the Royal tree; the
+Latins gave it a still higher rank, naming it Juglans, <i>i.e.</i>,
+Jove's Nut. "H&aelig;c glans, optima et maxima, ab Jove et
+glande juglans appellata est."&mdash;<span class="smcap">Varro.</span> The English names
+tell the same story. It was first simply called Nut, as the
+Nut <i>par excellence</i>. "<i>Juglantis vel nux</i>, knutu."&mdash;<span class="smcap">&AElig;lfric's</span>
+<i>Vocabulary</i>. But in the fourteenth century it had obtained
+the name of "Ban-nut," from its hardness. So it is named
+in a metrical Vocabulary of the fourteenth century&mdash;</p>
+
+<div class="centered">
+<table summary="walnut once called ban-nut" cellpadding="4" cellspacing="4" border="0">
+<tr>
+  <td class="tdcenter">Pomus<br />
+    Appul-tre</td>
+  <td class="tdcenter">Pirus<br />
+    Peere-tre</td>
+  <td class="tdcenter">Corulus nux<br />
+    Hasyl Note</td>
+  <td class="tdcenter">Avelanaque<br />
+    Bannenote-tre</td>
+  <td class="tdcenter">Ficus<br />
+    Fygge;</td>
+</tr>
+</table>
+</div>
+
+<p>and this name it still holds in the West of England. But at
+the same time it had also acquired the name of Walnut.
+"<i>Hec avelana</i>, A<sup>ce</sup> Walnot-tree" (Vocabulary fourteenth
+century). "<i>Hec avelana</i>, a Walnutte and the Nutte"
+(Nominate fifteenth century). This name is commonly
+supposed to have reference to the hard shell, but it only
+<span class="pagenum"><a name="Page_315" id="Page_315"></a>[<a href="./images/315.png">315</a>]</span>means that the nut is of foreign origin. "Wal" is another
+form of Walshe or Welch, and so Lyte says that the tree is
+called "in English the Walnut and Walshe Nut tree." "The
+word Welsh (<i>wilisc</i>, <i>woelisc</i>) meant simply a foreigner, one
+who was not of Teutonic race, and was (by the Saxons)
+applied especially to nations using the Latin language. In
+the Middle Ages the French language, and in fact all those
+derived from Latin, and called on that account <i>lingu&aelig;
+Roman&aelig;</i>, were called in German <i>Welsch</i>. France was called
+by the medi&aelig;val German writers <i>daz Welsche lant</i>, and when
+they wished to express 'in the whole world,' they said, <i>in
+allen Welschen und in Tiutschen richen</i>, 'in all Welsh and
+Teutonic kingdoms.' In modern German the name <i>W&auml;lsch</i> is
+used more especially for Italian."&mdash;<span class="smcap">Wright's</span> <i>Celt, Roman,
+and Saxon</i>.<a name="FNanchor_315:1_212" id="FNanchor_315:1_212"></a><a href="#Footnote_315:1_212" class="fnanchor">[315:1]</a> This will at once explain that Walnut simply
+means the foreign or non-English Nut.</p>
+
+<p>It must have been a well-established and common tree in
+Shakespeare's time, for all the writers of his day speak of it
+as a high and large tree, and I should think it very likely
+that Walnut trees were even more extensively planted in his
+day than in our own. There are many noble specimens to be
+seen in different parts of England, especially in the chalk
+districts, for "it delights," says Evelyn, "in a dry, sound,
+rich land, especially if it incline to a feeding chalk or marl;
+and where it may be protected from the cold (though it
+affects cold rather than extreme heat), as in great pits,
+valleys, and highway sides; also in stony ground, if loamy,
+and on hills, especially chalky; likewise in cornfields." The
+grand specimens that may be seen in the sheltered villages
+lying under the chalk downs of Wiltshire and Berkshire bear
+witness to the truth of Evelyn's remarks. But the finest
+English specimens can bear no comparison with the size of
+the Walnut trees in warmer countries, and especially where
+they are indigenous. There they "sometimes attain prodigious
+size and great age. An Italian architect mentions
+having seen at St. Nicholas, in Lorraine, a single plank of
+the wood of the Walnut, 25ft. wide, upon which the Emperor
+Frederick III. had given a sumptuous banquet. In the
+Baidar Valley, near Balaclava, in the Crimea, stands a
+Walnut tree at least 1000 years old. It yields annually from
+<span class="pagenum"><a name="Page_316" id="Page_316"></a>[<a href="./images/316.png">316</a>]</span>80,000 to 100,000 Nuts, and belongs to five Tartar families,
+who share its produce equally."&mdash;<i>Gardener's Chronicle.</i></p>
+
+<p>The economic uses of the Walnut are now chiefly confined
+to the timber, which is highly prized both for furniture and
+gun-stocks, and to the production of oil, which is not much
+used in Europe, but is highly valued in the East. "It dries
+much more slowly than any other distilled oil, and hence its
+great value, as it allows the artist as much time as he requires
+in order to blend his colours and finish his work. In conjunction
+with amber varnish it forms a vehicle which leaves
+nothing to be desired, and which doubtless was the vehicle of
+Van Eyck, and in many instances of the Venetian masters,
+and of Correggio."&mdash;<i>Arts of the Middle Ages</i>, preface. In
+medi&aelig;val times a high medicinal value was attached to the
+fruit, for the celebrated antidote against poison which was so
+firmly believed in, and which was attributed to Mithridates,
+King of Pontus, was chiefly composed of Walnuts. "Two
+Nuttes (he is speaking of Walnuts) and two Figges, and
+twenty Rewe leaves, stamped together with a little salt, and
+eaten fasting, doth defende a man from poison and pestilence
+that day."&mdash;<span class="smcap">Bullein</span>, <i>Governmente of Health</i>, 1558.</p>
+
+<p>The Walnut holds an honoured place in heraldry. Two
+large Walnut trees overshadow the tomb of the poet Waller
+in Beaconsfield churchyard, and "these are connected with
+a curious piece of family history. The tree was chosen as
+the Waller crest after Agincourt, where the head of the
+family took the Duke of Orleans prisoner, and took afterwards
+as his crest the arms of Orleans hanging by a label in
+a Walnut tree with this motto for the device: <i>H&aelig;c fructus
+virtutis.</i>"&mdash;<i>Gardener's Chronicle</i>, Aug., 1878.</p>
+
+<p>Walnuts are still very popular, but not as poison antidotes;
+their popularity now rests on their use as pickles,
+their excellence as autumn and winter dessert fruits, and
+with pseudo-gipsies for the rich olive hue that the juice will
+give to the skin. These uses, together with the beauty in
+the landscape that is given by an old Walnut tree, will
+always secure for it a place among English trees; yet there
+can be little doubt that the Walnut is a bad neighbour to
+other crops, and for that reason its numbers in England have
+been much diminished. Phillips said there was a decided
+antipathy between Apples and Walnuts, and spoke of the
+Apple tree as&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_317" id="Page_317"></a>[<a href="./images/317.png">317</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Uneasy, seated by funereal Yew<br /></span>
+<span class="i0i">Or Walnut (whose malignant touch impairs<br /></span>
+<span class="i0i">All generous fruits), or near the bitter dews<br /></span>
+<span class="i0i">Of Cherries."<br /></span>
+</div></div>
+
+<p>And in this he was probably right, though the mischief
+caused to the Apple tree more probably arises from the
+dense shade thrown by the Walnut tree than by any malarious
+exhalation emitted from it.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_315:1_212" id="Footnote_315:1_212"></a><a href="#FNanchor_315:1_212"><span class="label">[315:1]</span></a> See Earle's "Philology of the English Tongue," p. 23.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>WARDEN, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Pear">Pears</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2>WHEAT.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Iris.</i></td>
+  <td class="tdleft">Ceres, most bounteous lady, thy rich leas<br />
+Of Wheat, Rye, Barley, Vetches, Oats, and Pease.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Tempest</i>, act iv, sc. 1 (60).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Helena.</i></td>
+  <td class="tdleft">More tuneable than lark to shepherd's ear,<br />
+When Wheat is green, when Hawthorn-buds appear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act i, sc. 1 (184).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Bassanio.</i></td>
+  <td class="tdleft">His reasons are as two grains of Wheat hid in
+two bushels of chaff; you shall seek all day
+ere you find them, and when you have them,
+they are not worth the search.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act i, sc. 1 (114).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Hamlet.</i></td>
+  <td class="tdleft">As peace should still her Wheaten garland wear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act v, sc. 2 (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Pompey.</i></td>
+  <td class="tdleft">To send measures of Wheat to Rome.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Antony and Cleopatra</i>, act ii, sc. 6 (36).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Edgar.</i></td>
+  <td class="tdleft">This is the foul fiend Flibbertigibbet.&nbsp;.&nbsp;.&nbsp;. He
+mildews the white Wheat, and hurts the poor
+creatures of earth.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>King Lear</i>, act iii, sc. 4 (120).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Pandarus.</i></td>
+  <td class="tdleft">He that will have a cake out of the Wheat,
+must needs tarry the grinding.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Troilus and Cressida</i>, act i, sc. 1 (15).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_318" id="Page_318"></a>[<a href="./images/318.png">318</a>]</span>(8)</td>
+  <td class="tdleftt"><i>Davy.</i></td>
+  <td class="tdleft">And again, sir, shall we sow the headland with Wheat?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Shallow.</i></td>
+  <td class="tdleft">With red Wheat, Davy.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act v, sc. 1 (15).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Theseus.</i></td>
+  <td class="tdleft">Your Wheaten wreathe<br />
+Was then nor threashed nor blasted.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act i, sc. 1 (68).</td>
+</tr>
+</table>
+
+<p>I might perhaps content myself with marking these passages
+only, and dismiss Shakespeare's Wheat without further
+comment, for the Wheat of his day was identical with our
+own; but there are a few points in connection with English
+Wheat which may be interesting. Wheat is not an English
+plant, nor is it a European plant; its original home is in
+Northern Asia, whence it has spread into all civilized countries.<a name="FNanchor_318:1_213" id="FNanchor_318:1_213"></a><a href="#Footnote_318:1_213" class="fnanchor">[318:1]</a>
+For the cultivation of Wheat is one of the first
+signs of civilized life; it marks the end of nomadic life, and
+implies more or less a settled habitation. When it reached
+England, and to what country we are indebted for it, we do
+not know; but we know that while we are indebted to the
+Romans for so many of our useful trees, and fruits, and
+vegetables, we are not indebted to them for the introduction
+of Wheat. This we might be almost sure of from the very
+name, which has no connection with the Latin names, <i>triticum</i>
+or <i>frumentum</i>, but is a pure old English word, signifying
+originally <i>white</i>, and so distinguishing it as the white grain
+in opposition to the darker grains of Oats and Rye. But
+besides the etymological evidence, we have good historical
+evidence that C&aelig;sar found Wheat growing in England when
+he first landed on the shores of Kent. He daily victualled
+his camp with British Wheat ("frumentum ex agris quotidie
+in castra conferebat"); and it was while his soldiers were
+reaping the Wheat in the Kentish fields that they were surrounded
+and successfully attacked by the British. He tells
+us, however, that the cultivation of Wheat was chiefly confined
+to Kent, and was not much known inland: "interiores plerique
+frumenta non serunt, sed lacte et carne vivunt."&mdash;<i>De
+Bello Gallico</i>, v, 14. Roman Wheat has frequently been
+<span class="pagenum"><a name="Page_319" id="Page_319"></a>[<a href="./images/319.png">319</a>]</span>found in graves, and strange stories have been told of the
+plants that have been raised from these old seeds; but
+a more scientific inquiry has proved that there have been
+mistakes or deceits, more or less intentional, for "Wheat is
+said to keep for seven years at the longest. The statements
+as to mummy Wheat are wholly devoid of authenticity, as are
+those of the Raspberry seeds taken from a Roman tomb."&mdash;<span class="smcap">Hooker</span>,
+"Botany" in <i>Science Primers</i>. The oft-repeated
+stories about the vitality of mummy Wheat were effectually
+disposed of when it was discovered that much of the so-called
+Wheat was South American Maize.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_318:1_213" id="Footnote_318:1_213"></a><a href="#FNanchor_318:1_213"><span class="label">[318:1]</span></a> Yet Homer considered it to be indigenous in Sicily&mdash;Odyss: ix,
+109&mdash;and Cicero, perhaps on the authority of Homer, says the same:
+"Insula Cereris .&nbsp;.&nbsp;. ubi primum fruges invent&aelig; esse dicuntur."&mdash;<i>In
+Verrem</i>, v, 38.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Willow" id="Willow"></a>WILLOW.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Willow_1" id="Willow_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Viola.</i></td>
+  <td class="tdleft">Make me a Willow cabin at your gate.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act i, sc. 5 (287).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Willow_2" id="Willow_2"></a>2)</td>
+  <td class="tdleftt"><i>Benedick.</i></td>
+  <td class="tdleft">Come, will you go with me?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Claudio.</i></td>
+  <td class="tdleft">Whither?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Benedick.</i></td>
+  <td class="tdleft">Even to the next Willow, about your own business.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act ii, sc. 1 (192).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Benedick.</i></td>
+  <td class="tdleft">I offered him my company to a Willow tree, either
+to make him a garland, as being forsaken, or
+to bind him up a rod, as being worthy to be whipped.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (223).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Nathaniel.</i></td>
+  <td class="tdleft">These thoughts to me were Oaks, to thee like
+Osiers bow'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iv, sc. 2 (112).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Willow_4" id="Willow_4"></a>4)</td>
+  <td class="tdleftt"><i>Lorenzo.</i></td>
+  <td class="tdleft"><span class="s14">In such a night</span><br />
+Stood Dido, with a Willow in her hand,<br />
+Upon the wild sea-banks.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merchant of Venice</i>, act v, sc. 1 (9).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Willow_5" id="Willow_5"></a>5)</td>
+  <td class="tdleftt"><i>Bona.</i></td>
+  <td class="tdleft">Tell him, in hope he'll prove a widower shortly,<br />
+I'll wear the Willow garland for his sake.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>3d Henry VI</i>, act iii, sc. 3 (227).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Post.</i></td>
+  <td class="tdleft">[The same words repeated.]</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 1 (99).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Willow_6" id="Willow_6"></a>6)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">There is a Willow grows aslant a brook,<br />
+That shows his hoar leaves in the glassy stream.<br />
+There on the pendent boughs her coronet weeds<br />
+Clambering to hang, an envious sliver broke.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 7 (167).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_320" id="Page_320"></a>[<a href="./images/320.png">320</a>]</span>(<a name="Willow_7" id="Willow_7"></a>7)</td>
+  <td class="tdleftt"><i>Desdemona</i> (singing)&mdash;</td>
+  <td class="tdleft">The poor soul sat sighing by a Sycamore tree.<br />
+<span class="s9">Sing all a green Willow;</span><br />
+Her hand on her bosom, her head on her knee,<br />
+<span class="s9">Sing Willow, Willow, Willow.</span><br />
+The fresh streams ran by her, and murmur'd her moans;<br />
+<span class="s9">Sing Willow, Willow, Willow.</span><br />
+Her salt tears fell from her and soften'd the stones,<br />
+<span class="s9">Sing Willow, Willow, Willow.</span><br />
+Sing all a green Willow must be my garland.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act iv, sc. 3 (41).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Willow_8" id="Willow_8"></a>8)</td>
+  <td class="tdleftt"><i>Emilia.</i></td>
+  <td class="tdleft"><span class="s16">I will play the swan,</span><br />
+And die in music. [<i>Singing</i>] Willow, Willow, Willow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act v, sc. 2 (247).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Willow_9" id="Willow_9"></a>9)</td>
+  <td class="tdleftt"><i>Wooer.</i></td>
+  <td class="tdleft"><span class="s6">Then she sang</span><br />
+Nothing but Willow, Willow, Willow.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Noble Kinsmen</i>, act iv, sc. 1 (100).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Friar.</i></td>
+  <td class="tdleft">I must up-fill this Willow cage of ours<br />
+With baleful Weeds and precious juiced Flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 3 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Celia.</i></td>
+  <td class="tdleft">West of this place, down in the neighbour bottom;<br />
+The rank of Osiers by the murmuring stream<br />
+Left on your right hand, brings you to the place.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As You Like It</i>, act iv, sc. 3 (79).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">When Cytherea all in love forlorn<br />
+A longing tarriance for Adonis made<br />
+Under an Osier growing by a brook.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Passionate Pilgrim</i> vi.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Though to myself forsworn, to thee I'll constant prove;
+Those thoughts, to me like Oaks, to thee like Osiers bow'd.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> v.</td>
+</tr>
+</table>
+
+<p class="center"><i>See also</i> <span class="smcap">Palm Tree</span>, No. <a href="#Palm_1">1</a>, p. <a href="#Page_192">192</a>.</p>
+
+<p>Willow is an old English word, but the more common and
+perhaps the older name for the Willow is Withy, a name
+which is still in constant use, but more generally applied
+to the twigs when cut for basket-making than to the living
+tree. "Withe" is found in the oldest vocabularies, but we
+do not find "Willow" till we come to the vocabularies of
+the fifteenth century, when it occurs as "H&aelig;c Salex, A<sup>e</sup>
+Wyllo-tre;" "H&aelig;c Salix-icis, a Welogh;" "Salix, Welig."
+<span class="pagenum"><a name="Page_321" id="Page_321"></a>[<a href="./images/321.png">321</a>]</span>Both the names probably referred to the pliability of the
+tree, and there was another name for it, the Sallow, which
+was either a corruption of the Latin Salix, or was derived
+from a common root. It was also called Osier.</p>
+
+<p>The Willow is a native of Britain. It belongs to a large
+family (<i>Salix</i>), numbering 160 species, of which we have
+seventeen distinct species in Great Britain, besides many
+sub-species and varieties. So common a plant, with the
+peculiar pliability of the shoots that distinguishes all the
+family, was sure to be made much use of. Its more
+common uses were for basket-making, for coracles, and
+huts, or "Willow-cabins" (No. <a href="#Willow_1">1</a>), but it had other uses in
+the elegancies and even in the romance of life. The flowers
+of the early Willow (<i>S. caprea</i>) did duty for and were called
+Palms on Palm Sunday (<i>see</i> <span class="smcap"><a href="#Palm">Palm</a></span>), and not only the flowers
+but the branches also seem to have been used in decoration,
+a use which is now extinct. "The Willow is called <i>Salix</i>,
+and hath his name <i>&agrave; saliendo</i>, for that it quicklie groweth
+up, and soon becommeth a tree. Heerewith do they in
+some countries trim up their parlours and dining roomes in
+sommer, and sticke fresh greene leaves thereof about their
+beds for coolness."&mdash;<span class="smcap">Newton's</span> <i>Herball for the Bible</i>.<a name="FNanchor_321:1_214" id="FNanchor_321:1_214"></a><a href="#Footnote_321:1_214" class="fnanchor">[321:1]</a></p>
+
+<p>But if we only look at the poetry of the time of Shakespeare,
+and much of the poetry before and after him, we
+should almost conclude that the sole use of the Willow was
+to weave garlands for jilted lovers, male and female. It
+was probably with reference to this that Shakespeare represented
+poor mad Ophelia hanging her flowers on the
+"Willow tree aslant the brook" (No. <a href="#Willow_6">6</a>), and it is more
+pointedly referred to in Nos. <a href="#Willow_2">2</a>, <a href="#Willow_4">4</a>, <a href="#Willow_5">5</a>, <a href="#Willow_7">7</a>, <a href="#Willow_8">8</a>, and <a href="#Willow_9">9</a>. The
+feeling was expressed in a melancholy ditty, which must
+have been very popular in the sixteenth century, of which
+Desdemona says a few of the first verses (No. <a href="#Willow_7">7</a>), and which
+concludes thus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Come all you forsaken and sit down by me,<br /></span>
+<span class="i0i">He that plaineth of his false love, mine's falser than she;<br /></span>
+<span class="i0i">The Willow wreath weare I, since my love did fleet,<br /></span>
+<span class="i0i">A garland for lovers forsaken most meet."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_322" id="Page_322"></a>[<a href="./images/322.png">322</a>]</span>
+The ballad is entitled "The Complaint of a Lover Forsaken
+of His Love&mdash;To a Pleasant New Tune," and is
+printed in the "Roxburghe Ballads." This curious connection
+of the Willow with forsaken or disappointed lovers
+stood its ground for a long time. Spenser spoke of the
+"Willow worne of forlorne paramoures." Drayton says
+that&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"In love the sad forsaken wight<br /></span>
+<span class="i0i">The Willow garland weareth"&mdash;<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Muse's Elysium.</i></p>
+
+<p>and though we have long given up the custom of wearing
+garlands of any sort, yet many of us can recollect one of
+the most popular street songs, that was heard everywhere,
+and at last passed into a proverb, and which began&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"All round my hat I vears a green Willow<br /></span>
+<span class="i0i">In token," &amp;c.<br /></span>
+</div></div>
+
+<p>It has been suggested by many that this melancholy
+association with the Willow arose from its Biblical associations;
+and this may be so, though all the references to the
+Willow that occur in the Bible are, with one notable
+exception, connected with joyfulness and fertility. The one
+exception is the plaintive wail in the 137th Psalm&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"By the streams of Babel, there we sat down,<br /></span>
+<span class="i0i">And we wept when we remembered Zion.<br /></span>
+<span class="i0i">On the Willows among the rivers we hung our harps."<br /></span>
+</div></div>
+
+<p>And this one record has been sufficient to alter the emblematic
+character of the Willow&mdash;"this one incident has
+made the Willow an emblem of the deepest of sorrows,
+namely, sorrow for sin found out, and visited with its due
+punishment. From that time the Willow appears never
+again to have been associated with feelings of gladness.
+Even among heathen nations, for what reason we know
+not, it was a tree of evil omen, and was employed to make
+the torches carried at funerals. Our own poets made the
+Willow the symbol of despairing woe."&mdash;<span class="smcap">Johns.</span> This is the
+more remarkable because the tree referred to in the Psalms,
+the Weeping Willow (<i>Salix Babylonica</i>), which by its habit
+of growth is to us so suggestive of crushing sorrow, was
+quite unknown in Europe till a very recent period. "It
+<span class="pagenum"><a name="Page_323" id="Page_323"></a>[<a href="./images/323.png">323</a>]</span>grows abundantly on the banks of the Euphrates, and other
+parts of Asia, as in Palestine, and also in North Africa;"
+but it is said to have been introduced into England during
+the last century, and then in a curious way. "Many years
+ago, the well-known poet, Alexander Pope, who resided at
+Twickenham, received a basket of Figs as a present from
+Turkey. The basket was made of the supple branches of
+the Weeping Willow, the very same species under which
+the captive Jews sat when they wept by the waters of Babylon.
+The poet valued highly the small and tender twigs
+associated with so much that was interesting, and he untwisted
+the basket, and planted one of the branches in the
+ground. It had some tiny buds upon it, and he hoped he
+might be able to rear it, as none of this species of Willow
+was known in England. Happily the Willow is very quick
+to take root and grow. The little branch soon became a
+tree, and drooped gracefully over the river, in the same
+manner that its race had done over the waters of Babylon.
+From that one branch all the Weeping Willows in England
+are descended."&mdash;<span class="smcap">Kirby's</span> <i>Trees</i>.<a name="FNanchor_323:1_215" id="FNanchor_323:1_215"></a><a href="#Footnote_323:1_215" class="fnanchor">[323:1]</a></p>
+
+<p>There is probably no tree that contributes so largely to
+the conveniences of English life as the Willow. Putting aside
+its uses in the manufacture of gunpowder and cricket bats,
+we may safely say that the most scantily-furnished house can
+boast of some article of Willow manufacture in the shape of
+baskets. British basket-making is, as far as we know, the
+oldest national manufacture; it is the manufacture in connection
+with which we have the earliest record of the value
+placed on British work. British baskets were exported to
+Rome, and it would almost seem as if baskets were unknown
+in Rome until they were introduced from Britain, for with
+the article of import came the name also, and the British
+"basket" became the Latin "bascauda." We have curious
+evidence of the high value attached to these baskets. Juvenal
+describes Catullus in fear of shipwreck throwing overboard
+his most precious treasures: "precipitare volens etiam pulcherrima,"
+and among these "pulcherrima" he mentions
+"bascaudas." Martial bears a still higher testimony to the
+<span class="pagenum"><a name="Page_324" id="Page_324"></a>[<a href="./images/324.png">324</a>]</span>value set on "British baskets," reckoning them among the
+many rich gifts distributed at the Saturnalia&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Barbara de pictis veni bascauda Britannis<br /></span>
+<span class="i0i">Sed me jam vult dicere Roma suam."&mdash;Book xiv, 99.<br /></span>
+</div></div>
+
+<p>Many of the Willows make handsome shrubs for the
+garden, for besides those that grow into large trees, there
+are many that are low shrubs, and some so low as to be
+fairly called carpet plants. Salix Regin&aelig; is one of the most
+silvery shrubs we have, with very narrow leaves; S. lanata
+is almost as silvery, but with larger and woolly leaves, and
+makes a very pretty object when grown on rockwork near
+water; S. rosmarinifolia is another desirable shrub; and
+among the lower-growing species, the following will grow
+well on rockwork, and completely clothe the surface: S.
+alpina, S. Grahami, S. retusa, S. serpyllifolia, and S. reticulata.
+They are all easily cultivated and are quite hardy.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_321:1_214" id="Footnote_321:1_214"></a><a href="#FNanchor_321:1_214"><span class="label">[321:1]</span></a> In the sixteenth and seventeenth centuries the Willow does not
+appear to have had any value for its medical uses. In the present day
+salicine and salicylic acid are produced from the bark, and have a high
+reputation as antiseptics and in rheumatic cases.</p></div>
+
+<div class="footnote"><p><a name="Footnote_323:1_215" id="Footnote_323:1_215"></a><a href="#FNanchor_323:1_215"><span class="label">[323:1]</span></a> This is the traditional history of the introduction of the Weeping
+Willow into England, but it is very doubtful.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>WOODBINE, <span style="font-weight: normal; font-size: 70%;"><i>see</i></span> <span class="smcap"><a href="#Honeysuckle">Honeysuckle</a></span>.</h2>
+
+
+<hr style="width: 65%;" />
+<h2><a name="Wormwood" id="Wormwood"></a>WORMWOOD.</h2>
+
+<table class="poetryt" summary="wormwood references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Rosaline.</i></td>
+  <td class="tdleft">To weed this Wormwood from your fruitful brain.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act v, sc. 2 (857).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Nurse.</i></td>
+  <td class="tdleft">For I had then laid Wormwood to my dug.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">When it did taste the Wormwood on the nipple<br />
+Of my dug, and felt it bitter, pretty fool.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act i, sc. 3 (26).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Hamlet</i> (aside).</td>
+  <td class="tdleftt">Wormwood, Wormwood.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iii, sc. 2 (191).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Thy secret pleasure turns to open shame,<br />
+Thy private feasting to a public fast,<br />
+Thy smoothing titles to a ragged name,<br />
+Thy sugar'd tongue to bitter Wormwood taste.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (890).</td>
+</tr>
+</table>
+
+<p class="center"><i>See also</i> <span class="smcap"><a href="#Dians_Bud">Dian's Bud</a></span>.</p>
+
+<p><span class="pagenum"><a name="Page_325" id="Page_325"></a>[<a href="./images/325.png">325</a>]</span>
+Wormwood is the product of many species of Artemisia,
+a family consisting of 180 species, of which we have four in
+England. The whole family is remarkable for the extreme
+bitterness of all parts of the plant, so that "as bitter as
+Wormwood" is one of the oldest proverbs. The plant was
+named Artemisia from Artemis, the Greek name of Diana,
+and for this reason: "Verily of these three Worts which
+we named Artemisia, it is said that Diana should find them,
+and delivered their powers and leechdom to Chiron the
+Centaur, who first from these Worts set forth a leechdom,
+and he named these Worts from the name of Diana, Artemis,
+that is, Artemisias."&mdash;<i>Herbarium Apul&aelig;i</i>, Cockayne's
+translation. The Wormwood was of very high reputation
+in medicine, and is thus recommended in the Stockholm
+MS.:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Lif man or woman, more or lesse<br /></span>
+<span class="i0i">In his head have gret sicknesse<br /></span>
+<span class="i0i">Or gruiance or any werking<br /></span>
+<span class="i0i">Awoyne he take wt. owte lettyng<br /></span>
+<span class="i0i">It is called Sowthernwode also<br /></span>
+<span class="i0i">And hony eteys et spurge stamp yer to<br /></span>
+<span class="i0i">And late hy yis drunk, fastined drinky<br /></span>
+<span class="i0i">And his hed werk away schall synkyn."<a name="FNanchor_325:1_216" id="FNanchor_325:1_216"></a><a href="#Footnote_325:1_216" class="fnanchor">[325:1]</a><br /></span>
+</div></div>
+
+<p>But even in Shakespeare's time this high character had
+somewhat abated, though it was still used for all medicines
+in which a strong bitter was recommended. But its chief
+use seems to have been as a protection against insects of all
+kinds, who might very reasonably be supposed to avoid such
+a bitter food. This is Tusser's advice about the plant&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"While Wormwood hath seed get a handful or twaine<br /></span>
+<span class="i0i">To save against March, to make flea to refraine:<br /></span>
+<span class="i0i">Where chamber is sweeped and Wormwood is strowne,<br /></span>
+<span class="i0i">No flea, for his life, dare abide to be knowne.<br /></span>
+<span class="pagenum"><a name="Page_326" id="Page_326"></a>[<a href="./images/326.png">326</a>]</span>
+<span class="i0i">What saver is better (if physick be true),<br /></span>
+<span class="i0i">For places infected than Wormwood and Rue?<br /></span>
+<span class="i0i">It is as a comfort for hart and the braine,<br /></span>
+<span class="i0i">And therefore to have it, it is not in vaine."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>July's Husbandry.</i></p>
+
+<p>This quality was the origin of the names of Mugwort<a name="FNanchor_326:1_217" id="FNanchor_326:1_217"></a><a href="#Footnote_326:1_217" class="fnanchor">[326:1]</a> and
+Wormwood. Its other name (in the Stockholm MS. referred
+to), Avoyne or Averoyne is a corruption of the specific name
+of one of the species, A. Abrotanum. Southernwood is the
+southern Wormwood, <i>i.e.</i>, the foreign, as distinguished from
+the native plant. The modern name for the same species
+is Boy's Love, or Old Man. The last name may have come
+from its hoary leaves, though different explanations are given:
+the other name is given to it, according to Dr. Prior, "from
+an ointment made with its ashes being used by young men
+to promote the growth of a beard." There is good authority
+for this derivation, but I think the name may have been
+given for other reasons. "Boy's Love" is one of the most
+favourite cottage-garden plants, and it enters largely into the
+rustic language of flowers. No posy presented by a young
+man to his lass is complete without Boy's Love; and it is an
+emblem of fidelity, at least it was so once. It is, in fact, a
+Forget-me-Not, from its strong abiding smell; so St. Francis
+de Sales applied it: "To love in the midst of sweets, little
+children could do that; but to love in the bitterness of
+Wormwood is a sure sign of our affectionate fidelity." Not
+that the Wormwood was ever named Forget-me-Not, for
+that name was given to the Ground Pine (<i>Ajuga cham&aelig;pitys</i>)
+on account of its unpleasant and long-enduring smell, until
+it was transferred to the Myosotis (which then lost its old
+name of Mouse-ear), and the pretty legend was manufactured
+to account for the name.</p>
+
+<p>In England Wormwood has almost fallen into complete
+disuse; but in France it is largely used in the shape of
+Absinthe. As a garden plant, Tarragon, which is a species
+<span class="pagenum"><a name="Page_327" id="Page_327"></a>[<a href="./images/327.png">327</a>]</span>of Wormwood, will claim a place in every herb garden, and
+there are a few, such as A. sericea, A. cana, and A. alpina,
+which make pretty shrubs for the rockwork.</p>
+
+<hr style="width: 90%;" /><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_325:1_216" id="Footnote_325:1_216"></a><a href="#FNanchor_325:1_216"><span class="label">[325:1]</span></a> Wormwood had a still higher reputation among the ancients, as the
+following extract shows:</p>
+
+<p class="center"><ins class="greek" title="Artemisia monokl&ocirc;nos">&#7944;&#961;&#964;&#949;&#956;&#953;&#963;&#8055;&#945; &#956;&#959;&#957;&#8057;&#954;&#955;&#969;&#957;&#959;&#962;</ins>.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0"><ins class="greek" title="Auei gar kopon audros hodoiporou, hos k'eni chersin">&#913;&#8016;&#949;&#953; &#947;&#8048;&#961; &#954;&#8057;&#960;&#959;&#957; &#7936;&#965;&#948;&#961;&#8056;&#962; &#8001;&#948;&#959;&#953;&#960;&#8057;&#961;&#959;&#965;, &#8005;&#962; &#954;&#8125; &#8051;&#957;&#953; &#967;&#8051;&#961;&#963;&#953;&#957;</ins><br /></span>
+<span class="i0"><ins class="greek" title="t&ecirc;n monokl&ocirc;non ech&ecirc;; peri d' au posin herpeta panta">&#964;&#951;&#957; &#956;&#959;&#957;&#8057;&#954;&#955;&#969;&#957;&#959;&#957; &#7956;&#967;&#951;&middot; &#960;&#949;&#961;&#8054; &#948;&#8127; &#7936;&#965; &#960;&#959;&#963;&#8054;&#957; &#7957;&#961;&#960;&#949;&#964;&#945; &#960;&#8049;&#957;&#964;&#945;</ins><br /></span>
+<span class="i0"><ins class="greek" title="pheugei, h&ecirc;n tis ech&ecirc; en hod&ocirc;, kai phasmata deina">&#966;&#949;&#8059;&#947;&#949;&#953;, &#7972;&#957; &#964;&#953;&#962; &#7956;&#967;&#951; &#7952;&#957; &#8001;&#948;&#8182;, &#954;&#8048;&#953; &#966;&#8049;&#963;&#956;&#945;&#964;&#945; &#948;&#949;&#953;&#957;&#8049;</ins>.<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Anonymi Carmen de Herbis, in "Poet&aelig; Bucolici."</i></p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_326:1_217" id="Footnote_326:1_217"></a><a href="#FNanchor_326:1_217"><span class="label">[326:1]</span></a> In connection with Mugwort there is a most curious account of the
+formation of a plant name given in a note in the "Promptorium Parvulorum,"
+s.v. Mugworte: "Mugwort, al on as seyn some, Modirwort;
+lewed folk that in manye wordes conne no rygt sownyge, but ofte shortyn
+wordys, and changyn lettrys and silablys, they coruptyn the <i>o</i> in to <i>a</i>
+and <i>d</i> in to <i>g</i>, and syncopyn <i>i</i> smytyn a-wey <i>i</i> and <i>r</i> and seyn mugwort."&mdash;<i>Arundel
+MS.</i>, 42, f. 35 v.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>YEW.</h2>
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(<a name="Yew_1" id="Yew_1"></a>1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Song.</i></td>
+  <td class="tdleft">My shroud of white, stuck all with Yew,<br />
+Oh! prepare it.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act ii, sc. 4 (56).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>3rd Witch.</i></td>
+  <td class="tdleft">Gall of goat, and slips of Yew
+Sliver'd in the moon's eclipse.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Macbeth</i>, act iv, sc. 1 (27).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Yew_3" id="Yew_3"></a>3)</td>
+  <td class="tdleftt"><i>Scroop.</i></td>
+  <td class="tdleft">Thy very beadsmen learn to bend their bows<br />
+Of double-fatal Yew against thy state.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 2 (116).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Tamora.</i></td>
+  <td class="tdleft">But straight they told me they would bind me here<br />
+Unto the body of a dismal Yew.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act ii, sc. 3 (106).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Yew_5" id="Yew_5"></a>5)</td>
+  <td class="tdleftt"><i>Paris.</i></td>
+  <td class="tdleft">Under yond Yew-trees lay thee all along,<br />
+Holding thine ear close to the hollow ground;<br />
+So shall no foot upon the churchyard tread<br />
+(Being loose, unfirm, with digging up of graves)<br />
+But thou shalt hear it.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act v, sc. 3 (3).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(<a name="Yew_6" id="Yew_6"></a>6)</td>
+  <td class="tdleftt"><i>Balthasar.</i></td>
+  <td class="tdleft">As I did sleep under this Yew tree here,<a name="FNanchor_327:1_218" id="FNanchor_327:1_218"></a><a href="#Footnote_327:1_218" class="fnanchor">[327:1]</a><br />
+I dreamt my master and another fought,<br />
+And that my master slew him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (137).</td>
+</tr>
+</table>
+
+<p class="center"><i>See also</i> <span class="smcap"><a href="#Hebenon">Hebenon</a></span>, p. <a href="#Page_118">118</a>.</p>
+
+<p>The Yew, though undoubtedly an indigenous British
+plant, has not a British name. The name is derived from
+the Latin <i>Iva</i>, and "under this name we find the <i>Yew</i> so
+inextricably mixed up with the <i>Ivy</i> that, as dissimilar as are
+the two trees, there can be no doubt that these names are
+in their origin identical." So says Dr. Prior, and he proceeds
+to give a long and very interesting account of the
+origin of the name. The connection of Yew with <i>iva</i> and
+<span class="pagenum"><a name="Page_328" id="Page_328"></a>[<a href="./images/328.png">328</a>]</span><i>Ivy</i> is still shown in the French <i>if</i>, the German <i>eibe</i>, and
+the Portuguese <i>iva</i>. <i>Yew</i> seems to be quite a modern
+form; in the old vocabularies the word is variously spelt
+iw, ewe,<a name="FNanchor_328:1_219" id="FNanchor_328:1_219"></a><a href="#Footnote_328:1_219" class="fnanchor">[328:1]</a> eugh-tre,<a name="FNanchor_328:2_220" id="FNanchor_328:2_220"></a><a href="#Footnote_328:2_220" class="fnanchor">[328:2]</a> haw-tre, new-tre, ew, uhe, and iw.</p>
+
+<p>The connection of the Yew with churchyards and funerals
+is noticed by Shakespeare in Nos. <a href="#Yew_1">1</a>, <a href="#Yew_5">5</a>, and <a href="#Yew_6">6</a>, and its celebrated
+connection with English bow-making in No. <a href="#Yew_3">3</a>, where
+"double-fatal" may probably refer to its noxious qualities
+when living and its use for deadly weapons afterwards.
+These noxious qualities, joined to its dismal colour, and to
+its constant use in churchyards, caused it to enter into the
+supposed charms and incantations of the quacks of the
+Middle Ages. Yet Gerard entirely denies its noxious qualities:
+"They say that the fruit thereof being eaten is not
+onely dangerous and deadly unto man, but if birds do eat
+thereof it causeth them to cast their feathers and many
+times to die&mdash;all which I dare boldly affirme is altogether
+untrue; for when I was yong and went to schoole, divers of
+my schoolfellowes, and likewise my selfe, did eat our fils of
+the berries of this tree, and have not only slept under the
+shadow thereof, but among the branches also, without any
+hurt at all, and that not at one time but many times."
+Browne says the same in his "Vulgar Errors:" "That
+Yew and the berries thereof are harmlesse, we know"
+(book ii. c. 7). There is no doubt that the Yew berries are
+almost if not quite harmless,<a name="FNanchor_328:3_221" id="FNanchor_328:3_221"></a><a href="#Footnote_328:3_221" class="fnanchor">[328:3]</a> and I find them forming an
+element in an Anglo-Saxon recipe, which may be worth
+quoting as an example of the medicines to which our forefathers
+submitted. It is given in a Leech Book of the tenth
+century or earlier, and is thus translated by Cockayne:
+"If a man is in the water elf disease, then are the nails
+of his hand livid, and the eyes tearful, and he will look
+downwards. Give him this for a leechdom: Everthroat,
+cassuck, the netherward part of fane, a yew berry, lupin,
+helenium, a head of marsh mallow, fen, mint, dill, lily,
+<span class="pagenum"><a name="Page_329" id="Page_329"></a>[<a href="./images/329.png">329</a>]</span>attorlothe, pulegium, marrubium, dock, elder, fel terr&aelig;,
+wormwood, strawberry leaves, consolida; pour them over
+with ale, add holy water, sing this charm over them thrice
+[here follow some long charms which I need not extract];
+these charms a man may sing over a wound" ("Leech
+Book," iii. 63).</p>
+
+<p>I need say little of the uses of the Yew wood in furniture,
+nor of the many grand specimens of the tree which are scattered
+throughout the churchyards of England, except to
+say that "the origin of planting Yew trees in churchyards
+is still a subject of considerable perplexity. As the Yew
+was of such great importance in war and field sports
+before the use of gunpowder was known, perhaps the
+parsons of parishes were required to see that the churchyard
+was capable of supplying bows to the males of each
+parish of proper age; but in this case we should scarcely
+have been left without some evidence on the matter.
+Others again state that the trees in question were intended
+solely to furnish branches for use on Palm Sunday"<a name="FNanchor_329:1_222" id="FNanchor_329:1_222"></a><a href="#Footnote_329:1_222" class="fnanchor">[329:1]</a>
+(<i>see</i> <span class="smcap"><a href="#Palm">Palm</a></span>, p. <a href="#Page_195">195</a>), "while many suppose that the Yew
+was naturally selected for planting around churches on
+account of its emblematic character, as expressive of the
+solemnity of death, while, from its perennial verdure and
+long duration, it might be regarded as a pattern of immortality."&mdash;<i>Penny
+Magazine</i>, 1843.</p>
+
+<p>A good list of the largest and oldest Yews in England
+will be found in Loudon's "Arboretum."</p>
+
+<hr class="hrtb" />
+
+<p>The "dismal Yew" concludes the list of Shakespeare's
+plants and the first part of my proposed subject; and while
+I hope that those readers who may have gone with me
+so far have met with some things to interest them, I hope
+also they will agree with me that gardening and the love of
+flowers is not altogether the modern accomplishment that
+many of our gardeners now fancy it to be. Here are two
+<span class="pagenum"><a name="Page_330" id="Page_330"></a>[<a href="./images/330.png">330</a>]</span>hundred names of plants in one writer, and that writer not
+at all writing on horticulture, but only mentioning plants
+and flowers in the most incidental manner as they happened
+naturally to fall in his way. I should doubt if there
+is any similar instance in any modern English writer, and
+feel very sure that there is no such instance in any modern
+English dramatist. It shows how familiar gardens and
+flowers were to Shakespeare, and that he must have had
+frequent opportunities for observing his favourites (for most
+surely he was fond of flowers), not only in their wild and
+native homes, but in the gardens of farmhouses and parsonages,
+country houses, and noblemen's stately pleasaunces.
+The quotations that I have been able to make from the
+early writers in the ninth and tenth centuries, down to
+gossiping old Gerard, the learned Lord Chancellor Bacon,
+and that excellent old gardiner Parkinson, all show the
+same thing, that the love of flowers is no new thing in
+England, still less a foreign fashion, but that it is innate in
+us, a real instinct, that showed itself as strongly in our
+forefathers as in ourselves; and when we find that such
+men as Shakespeare and Lord Bacon (to mention no
+others) were almost proud to show their knowledge of
+plants and love of flowers, we can say that such love and
+knowledge is thoroughly manly and English.</p>
+
+<p>In the inquiry into Shakespeare's plants I have entered
+somewhat largely into the etymological history of the names.
+I have been tempted into this by the personal interest I feel
+in the history of plant names, and I hope it may not have
+been uninteresting to my readers; but I do not think this
+part of the subject could have been passed by, for I agree
+with Johnston: "That there is more interest and as much
+utility in settling the nomenclature of our pastoral bards as
+that of all herbalists and dry-as-dust botanists" ("Botany
+of the Eastern Border"). I have also at times entered into
+the botany and physiology of the plants; this may have
+seemed needless to some, but I have thought that such
+notices were often necessary to the right understanding of
+the plants named, and again I shelter myself under the
+authority of a favourite old author: "Consider (gentle
+readers) what shiftes he shall be put unto, and how rawe he
+must needs be in explanation of metaphors, resemblances,
+<span class="pagenum"><a name="Page_331" id="Page_331"></a>[<a href="./images/331.png">331</a>]</span>and comparisons, that is ignorant of the nature of herbs and
+plants from whence their similitudes be taken, for the
+inlightening and garnishing of sentences."&mdash;<span class="smcap">Newton's</span>
+<i>Herball for the Bible</i>.</p>
+
+<p>I have said that my subject naturally divides itself into
+two parts, first, The Plants and Flowers named by Shakespeare;
+second, His Knowledge of Gardens and Gardening.
+The first part is now concluded, and I go to the
+second part, which will be very much shorter, and which
+may be entitled "The Garden-craft of Shakespeare."</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_327:1_218" id="Footnote_327:1_218"></a><a href="#FNanchor_327:1_218"><span class="label">[327:1]</span></a> The reading of the folio is "young tree," for "Yew tree."</p></div>
+
+<div class="footnote"><p><a name="Footnote_328:1_219" id="Footnote_328:1_219"></a><a href="#FNanchor_328:1_219"><span class="label">[328:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"An Eu tre (Ewetre); taxus, taximus."&mdash;<i>Catholicon Anglicum.</i><br /></span>
+</div></div>
+</div>
+
+<div class="footnote"><p><a name="Footnote_328:2_220" id="Footnote_328:2_220"></a><a href="#FNanchor_328:2_220"><span class="label">[328:2]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The eugh obedient to the bender's will."&mdash;<span class="smcap">Spenser</span>, <i>F. Q.</i>, i. 9.<br /></span>
+</div></div>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"So far as eughen bow a shaft may send."&mdash;<i>F. Q.</i>, ii. 11-19.<br /></span>
+</div></div>
+</div>
+
+<div class="footnote"><p><a name="Footnote_328:3_221" id="Footnote_328:3_221"></a><a href="#FNanchor_328:3_221"><span class="label">[328:3]</span></a> There are, however, well-recorded instances of death from Yew
+berries. The poisonous quality, such as it is, resides in the hard seed,
+and not in the red mucilaginous skin, which is the part eaten by
+children. (<i>See</i> <span class="smcap"><a href="#Hebenon">Hebenon</a></span>.)</p></div>
+
+<div class="footnote"><p><a name="Footnote_329:1_222" id="Footnote_329:1_222"></a><a href="#FNanchor_329:1_222"><span class="label">[329:1]</span></a> "For eucheson we have non Olyfe that bereth grene leves we takon
+in stede of hit Hew and Palmes wyth, and beroth abowte in procession
+and so this day we callyn palme sonnenday."&mdash;<i>Sermon for "Dominica
+in ramis palmarum," Cotton MSS.</i></p></div>
+
+<div class="img">
+<img src="./images/plantloreillop331.png" alt="wall sconce with leaves and flowers" title="decoration" width="50%" />
+</div>
+
+<p><span class="pagenum"><a name="Page_332" id="Page_332"></a>[<a href="./images/332.png">332</a>]</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_333" id="Page_333"></a>[<a href="./images/333.png">333</a>]</span></p>
+<h2>PART II.</h2>
+
+<h2><i>THE GARDEN-CRAFT OF SHAKESPEARE.</i></h2>
+
+
+<hr style="width: 65%;" />
+<div class="poem"><div class="stanza">
+<span class="i0">"The flowers are sweet, the colours fresh and trim."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Venus and Adonis.</i></p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i8">"Retired Leisure<br /></span>
+<span class="i0">That in trim Gardens takes his pleasure."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Milton</span>, <i>Il Penseroso</i>.</p>
+
+<p><span class="pagenum"><a name="Page_334" id="Page_334"></a>[<a href="./images/334.png">334</a>]</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_335" id="Page_335"></a>[<a href="./images/335.png">335</a>]</span></p>
+<div class="img">
+<img src="./images/plantloreillop335.png" alt="leaves and flowers scrollwork" title="decoration" width="70%" />
+</div>
+
+
+<h2>GARDEN-CRAFT.</h2>
+
+<p><span class="dropcapa"><span class="dropcap">A</span></span>NY account of the "Plant-lore of
+Shakespeare" would be very incomplete
+if it did not include his "Garden-craft."
+There are a great many
+passages scattered throughout his
+works, some of them among the
+most beautiful that he ever wrote,
+in which no particular tree, herb, or
+flower is mentioned by name, but
+which show his intimate knowledge
+of plants and gardening, and his great affection for them. It
+is from these passages, even more than from the passages I
+have already quoted, in which particular flowers are named,
+that we learn how thoroughly his early country life had
+influenced and marked his character, and how his whole
+spirit was most naturally coloured by it. Numberless allusions
+to flowers and their culture prove that his boyhood
+and early manhood were spent in the country, and that as
+he passed through the parks, fields, and lanes of his native
+county, or spent pleasant days in the gardens and orchards
+of the manor-houses and farm-houses of the neighbourhood,
+his eyes and ears were open to all the sights and sounds of
+a healthy country life, and he was, perhaps unconsciously,
+laying up in his memory a goodly store of pleasant pictures
+and homely country talk, to be introduced in his own wonderful
+way in tragedies and comedies, which, while often
+professedly treating of very different times and countries,
+<span class="pagenum"><a name="Page_336" id="Page_336"></a>[<a href="./images/336.png">336</a>]</span>have really given us some of the most faithful pictures of
+the country life of the Englishman of Queen Elizabeth's
+time, drawn with all the freshness and simplicity that can
+only come from a real love of the subject.</p>
+
+<p>"Flowers I noted," is his own account of himself (Sonnet
+xcix.), and with what love he noted them, and with what
+carefulness and faithfulness he wrote of them, is shown in
+every play he published, and almost in every act and every
+scene. And what I said of his notices of particular flowers
+is still more true of his general descriptions&mdash;that they are
+never laboured, or introduced as for a purpose, but that
+each passage is the simple utterance of his ingrained love
+of the country, the natural outcome of a keen, observant
+eye, joined to a great power of faithful description, and an
+unlimited command of the fittest language. It is this
+vividness and freshness that gives such a reality to all
+Shakespeare's notices of country life, and which make
+them such pleasant reading to all lovers of plants and
+gardening.</p>
+
+<p>These notices of the "Garden-craft of Shakespeare" I
+now proceed to quote; but my quotations in this part will
+be made on a different plan to that which I adopted in the
+account of his "Plant-lore." I shall not here think it necessary
+to quote all the passages in which he mentions different
+objects of country life, but I shall content myself with such
+passages as throw light on his knowledge of horticulture,
+and which to some extent illustrate the horticulture of his
+day, and these passages I must arrange under a few general
+heads. In this way the second part of my subject will be
+very much shorter than my first, but I have good reasons
+for hoping that those who have been interested in the long
+account of the "Plant-lore of Shakespeare" will be equally
+interested in the shorter account of his "Garden-craft,"
+and will acknowledge that the one would be incomplete
+without the other. I commence with those passages which
+treat generally of&mdash;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_337" id="Page_337"></a>[<a href="./images/337.png">337</a>]</span></p>
+<h2>I.&mdash;FLOWERS, BLOSSOMS, AND BUDS.</h2>
+
+<table class="poetryt" summary="flowers, blossoms, buds references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Quickly.</i></td>
+  <td class="tdleft">Fairies use flowers for their charactery.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Merry Wives of Windsor</i>, act v, sc. 5 (77).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Oberon.</i></td>
+  <td class="tdleft">She his hairy temples then had rounded<br />
+With coronet of fresh and fragrant flowers;<br />
+And that same dew, which sometime in the buds<br />
+Was wont to swell like round and orient pearls,<br />
+Stood now within the pretty flowerets' eyes,<br />
+Like tears that did their own disgrace bewail.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act iv, sc. 1 (56).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>Gaunt.</i></td>
+  <td class="tdleft">Suppose the singing birds musicians,<br />
+The grass whereon thou tread'st the presence strew'd,<br />
+The flowers fair ladies.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act i, sc. 3 (288).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Katharine.</i></td>
+  <td class="tdleft"><span class="s8">When I am dead, good wench,</span><br />
+Let me be used with honour; strew me over<br />
+With maiden flowers, that all the world may know<br />
+I was a chaste wife to my grave.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act iv, sc. 2 (167).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Ophelia</i> (sings).</td>
+  <td class="tdleftt">White his shroud as the mountain snow<br />
+Larded with sweet flowers,<br />
+Which bewept to the grave did go<br />
+With true-love showers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act iv, sc. 5 (35).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">Whiles yet the dew's on ground, gather those flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act i, sc. 5 (1).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Song.</i></td>
+  <td class="tdleft">Hark! hark! the lark at Heaven's gate sings,<br />
+<span class="s2">And Ph&oelig;bus 'gins to rise,</span><br />
+His steeds to water at those springs<br />
+<span class="s2">On chaliced flowers that lies.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act ii, sc. 3 (21).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Arviragus.</i></td>
+  <td class="tdleft"><span class="s10">With fairest flowers,</span><br />
+While summer lasts and I live here, Fidele,<br />
+I'll sweeten thy sad grave.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i>, act iv, sc. 2 (218).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Belarius.</i></td>
+  <td class="tdleft">Here's a few flowers; but 'bout midnight, more;<br />
+The herbs that have on them cold dew o' the night<br />
+Are strewings fitt'st for graves. Upon their faces.<br />
+You were as flowers, now withered; even so<br />
+These herblets shall, which we upon you strew.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> (283).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_338" id="Page_338"></a>[<a href="./images/338.png">338</a>]</span>(10)</td>
+  <td class="tdleftt"><i>Juliet.</i></td>
+  <td class="tdleft">This bud of love, by summer's ripening breath,<br />
+May prove a beauteous flower when next we meet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 2 (121).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(11)</td>
+  <td class="tdleftt"><i>Titania.</i></td>
+  <td class="tdleft">An odorous chaplet of sweet summer-buds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Midsummer Night's Dream</i>, act ii, sc. 1 (110).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td class="tdleftt"><i>Friar Laurence.</i></td>
+  <td class="tdleftt">I must up-fill this osier cage of ours<br />
+With baleful weeds, and precious-juiced flowers.<br />
+The earth that's Nature's mother is her tomb;<br />
+What is her burying grave that is her womb,<br />
+And from her womb children of divers kind<br />
+We sucking on her natural bosom find,<br />
+Many for many virtues excellent,<br />
+None but for some and yet all different.<br />
+O, mickle is the powerful grace that lies<br />
+In herbs, plants, stones, and their true qualities:<br />
+For nought so vile that on the earth doth live<br />
+But to the earth some special good doth give,<br />
+Nor aught so good but strain'd from that fair use<br />
+Revolts from true birth, stumbling on abuse:<br />
+Virtue itself turns vice, being misapplied;<br />
+And vice sometimes by action dignified.<br />
+Within the infant rind of this small flower<br />
+Poison hath residence and medicine power:<br />
+For this, being smelt, with that part cheers each part;<br />
+Being tasted, slays all senses with the heart.<br />
+Two such opposed kings encamp them still<br />
+In man as well as herbs, grace and rude will;<br />
+And where the worser is predominant,<br />
+Full soon the canker death eats up that plant.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 3 (7).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(13)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">Though other things grow fair against the sun,<br />
+Yet fruits that blossom first will first be ripe.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Othello</i>, act ii, sc. 3 (382).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(14)</td>
+  <td class="tdleftt"><i>Dumain.</i></td>
+  <td class="tdleft">Love, whose month is ever May,<br />
+Spied a blossom, passing fair<br />
+Playing in the wanton air;<br />
+Through the velvet leaves the wind,<br />
+All unseen, can passage find.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act iv, sc. 3 (102).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(15)</td>
+  <td>&nbsp;</td>
+  <td class="tdleft">Fair flowers that are not gathered in their prime<br />
+Rot and consume themselves in little time.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (131).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_339" id="Page_339"></a>[<a href="./images/339.png">339</a>]</span>(16)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">The flowers are sweet, the colours fresh and trim,<br />
+But true-sweet beauty lived and died with him.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Venus and Adonis</i> (1079).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(17)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Rough winds do shake the darling buds of May.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> xviii.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(18)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">With April's first-born flowers, and all things rare,<br />
+That Heaven's air in this huge rondure hems.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xxi.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(19)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">The summer's flower is to the summer sweet,<br />
+Though to itself it only live and die;<br />
+But if that flower with base infection meet,<br />
+The basest weed outbraves his dignity:<br />
+<span class="s2">For sweetest things turn sourest by their deeds;</span><br />
+<span class="s2">Lilies that fester smell far worse than weeds.</span></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xciv.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(20)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Yet nor the lays of birds nor the sweet smell<br />
+Of different flowers in odour and in hue<br />
+Could make me any summer's story tell,<br />
+Or from their proud lap pluck them where they grew.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Ibid.</i> xcviii.</td>
+</tr>
+</table>
+
+<p>"Of all the vain assumptions of these coxcombical times,
+that which arrogates the pre-eminence in the true science of
+gardening is the vainest. True, our conservatories are full
+of the choicest plants from every clime: we ripen the Grape
+and the Pine-apple with an art unknown before, and even
+the Mango, the Mangosteen, and the Guava are made to
+yield their matured fruits; but the real beauty and poetry
+of a garden are lost in our efforts after rarity, and strangeness,
+and variety." So, nearly forty years ago, wrote the
+author of "The Poetry of Gardening," a pleasant, though
+somewhat fantastic essay, first published in the "Carthusian,"
+and afterwards re-published in Murray's "Reading for the
+Rail," in company with an excellent article from the "Quarterly"
+by the same author under the title of "The Flower
+Garden;" and I quote it because this "vain assumption"
+is probably stronger and more widespread now than when that
+article was written. We often hear and read accounts of
+modern gardening in which it is coolly assumed, and almost
+taken for granted, that the science of horticulture, and
+almost the love of flowers, is a product of the nineteenth
+century. But the love of flowers is no new taste in Englishmen,
+<span class="pagenum"><a name="Page_340" id="Page_340"></a>[<a href="./images/340.png">340</a>]</span>and the science of horticulture is in no way a modern
+science. We have made large progress in botanical science
+during the present century, and our easy communications
+with the whole habitable globe have brought to us thousands
+of new and beautiful plants in endless varieties; and we
+have many helps in gardening that were quite unknown to
+our forefathers. Yet there were brave old gardeners in our
+forefathers' times, and a very little acquaintance with the
+literature of the sixteenth century will show that in Shakespeare's
+time there was a most healthy and manly love of
+flowers for their own sake, and great industry and much
+practical skill in gardening. We might, indeed, go much
+further back than the fifteenth century, and still find the
+same love and the same skill. We have long lists of plants
+grown in times before the Conquest, with treatises on gardening,
+in which there is much that is absurd, but which
+show a practical experience in the art, and which show also
+that the gardens of those days were by no means ill-furnished
+either with fruit or flowers. Coming a little later, Chaucer
+takes every opportunity to speak with a most loving affection
+for flowers, both wild and cultivated, and for well-kept gardens;
+and Spenser's poems show a familiar acquaintance with
+them, and a warm admiration for them. Then in Shakespeare's
+time we have full records of the gardens and gardening
+which must have often met his eye; and we find that
+they were not confined to a few fine places here and there,
+but that good gardens were the necessary adjunct to every
+country house, and that they were cultivated with a zeal and
+a skill that would be a credit to any gardener of our own
+day. In Harrison's description of "England in Shakespeare's
+Youth," recently published by the new Shakespeare Society,
+we find that Harrison himself, though only a poor country
+parson, "took pains with his garden, in which, though its
+area covered but 300ft. of ground, there was 'a simple' for
+each foot of ground, no one of them being common or
+usually to be had." About the same time Gerard's Catalogues
+show that he grew in his London garden more than
+a thousand species of hardy plants; and Lord Bacon's
+famous "Essay on Gardens" not only shows what a grand
+idea of gardening he had himself, but also that this idea
+was not Utopian, but one that sprang from personal
+<span class="pagenum"><a name="Page_341" id="Page_341"></a>[<a href="./images/341.png">341</a>]</span>acquaintance with stately gardens, and from an innate love of
+gardens and flowers. Almost at the same time, but a little
+later, we come to the celebrated "John Parkinson, Apothecary
+of London, the King's Herbarist," whose "Paradisus
+Terrestris," first published in 1629, is indeed "a choise
+garden of all sorts of rarest flowers." His collection of
+plants would even now be considered an excellent collection,
+if it could be brought together, while his descriptions and
+cultural advice show him to have been a thorough practical
+gardener, who spoke of plants and gardens from the experience
+of long-continued hard work amongst them. And
+contemporary with him was Milton, whose numerous descriptions
+of flowers are nearly all of cultivated plants, as he
+must have often seen them in English gardens.</p>
+
+<p>And so we are brought to the conclusion that in the passages
+quoted above in which Shakespeare speaks so lovingly
+and tenderly of his favourite flowers, these expressions are
+not to be put down to the fancy of the poet, but that he was
+faithfully describing what he daily saw or might have seen,
+and what no doubt he watched with that carefulness and
+exactness which could only exist in conjunction with a real
+affection for the objects on which he gazed, "the fresh and
+fragrant flowers," "the pretty flow'rets," "the sweet flowers,"
+"the beauteous flowers," "the sweet summer buds," "the
+blossoms passing fair," "the darling buds of May."</p>
+
+
+<hr style="width: 65%;" />
+<h2>II.&mdash;GARDENS.</h2>
+
+<table class="poetryt" summary="garden references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>King</i> (reads).</td>
+  <td class="tdleft">It standeth north-north-east and by east from
+the west corner of thy curious-knotted Garden.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Loves Labour's Lost</i>, act i, sc. 1 (248).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Isabella.</i></td>
+  <td class="tdleft">He hath a Garden circummured with brick,<br />
+Whose western side is with a Vineyard back'd;<br />
+And to that Vineyard is a planched gate<br />
+That makes his opening with this bigger key:<br />
+The other doth command a little door<br />
+Which from the Vineyard to the garden leads.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Measure for Measure</i>, act iv, sc. 1 (28).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_342" id="Page_342"></a>[<a href="./images/342.png">342</a>]</span>(3)</td>
+  <td class="tdleftt"><i>Antonio.</i></td>
+  <td class="tdleft">The Prince and Count Claudio, walking in a
+thick-pleached alley in my orchard, were
+thus much overheard by a man of mine.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Much Ado About Nothing</i>, act i, sc. 2 (9).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Iago.</i></td>
+  <td class="tdleft">Our bodies are our Gardens, &amp;c.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3">(<i>See</i> <span class="smcap"><a href="#Hyssop">Hyssop</a></span>.) <i>Othello</i>, act i, sc. 3 (323).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>1st Servant.</i></td>
+  <td class="tdleft">Why should we, in the compass of a pale,<br />
+Keep law and form and due proportion,<br />
+Showing as in a model our firm estate,<br />
+When our sea-walled Garden, the whole land,<br />
+Is full of weeds, her fairest flowers choked up,<br />
+Her fruit-trees all unpruned, her hedges ruin'd,<br />
+Her knots disorder'd and her wholesome herbs<br />
+Swarming with caterpillars?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 4 (40).</td>
+</tr>
+</table>
+
+<p>The flower-gardens of Shakespeare's time were very different
+to the flower-gardens of our day; but we have so
+many good descriptions of them in books and pictures that
+we have no difficulty in realizing them both in their general
+form and arrangement. I am now speaking only of the
+flower-gardens; the kitchen-gardens and orchards were very
+much like our own, except in the one important difference,
+that they had necessarily much less glass than our modern
+gardens can command. In the flower-garden the grand
+leading principle was uniformity and formality carried out
+into very minute details. "The garden is best to be square,"
+was Lord Bacon's rule; "the form that men like in general
+is a square, though roundness be <i>forma perfectissima</i>," was
+Lawson's rule; and this form was chosen because the garden
+was considered to be a purtenance and continuation of the
+house, designed so as strictly to harmonize with the architecture
+of the building. And Parkinson's advice was to the
+same effect: "The orbicular or round form is held in its
+own proper existence to be the most absolute form, containing
+within it all other forms whatsoever; but few, I think,
+will chuse such a proportion to be joyned to their habitation.
+The triangular or three-square form is such a form
+also as is seldom chosen by any that may make another
+choise. The four-square form is the most usually accepted
+with all, and doth best agree with any man's dwelling."</p>
+
+<p><span class="pagenum"><a name="Page_343" id="Page_343"></a>[<a href="./images/343.png">343</a>]</span>
+This was the shape of the ideal garden&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And whan I had a while goon,<br /></span>
+<span class="i0i">I saugh a gardyn right anoon,<br /></span>
+<span class="i0i">Full long and broad; and every delle<br /></span>
+<span class="i0i">Enclosed was, and walled welle<br /></span>
+<span class="i0i">With high walles embatailled.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">I felle fast in a waymenting<br /></span>
+<span class="i0i">By which art, or by what engyne<br /></span>
+<span class="i0i">I might come into that gardyne;<br /></span>
+<span class="i0i">But way I couthe fynd noon<br /></span>
+<span class="i0i">Into that gardyne for to goon.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">Tho' gan I go a fulle grete pas,<br /></span>
+<span class="i0i">Environyng evene in compas,<br /></span>
+<span class="i0i">The closing of the square walle,<br /></span>
+<span class="i0i">Tyl that I fonde a wiket smalle<br /></span>
+<span class="i0i">So shett that I ne'er myght in gon,<br /></span>
+<span class="i0i">And other entre was ther noon."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Romaunt of the Rose.</i></p>
+
+<p>This square enclosure was bounded either by a high wall&mdash;"circummured
+with brick," "with high walles embatailled,"&mdash;or
+with a thick high hedge&mdash;"encompassed on
+all the four sides with a stately arched hedge." These
+hedges were made chiefly of Holly or Hornbeam, and we
+can judge of their size by Evelyn's description of his "impregnable
+hedge of about 400ft. in length, 9ft. high, and
+5ft. in diameter." Many of these hedges still remain in our
+old gardens. Within this enclosure the garden was accurately
+laid out in formal shapes,<a name="FNanchor_343:1_223" id="FNanchor_343:1_223"></a><a href="#Footnote_343:1_223" class="fnanchor">[343:1]</a> with paths either quite
+straight or in some strictly mathematical figures&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_344" id="Page_344"></a>[<a href="./images/344.png">344</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0i">"And all without were walkes and alleyes dight<br /></span>
+<span class="i0i">With divers trees enrang'd in even rankes;<br /></span>
+<span class="i0i">And here and there were pleasant arbors pight,<br /></span>
+<span class="i0i">And shadie seats, and sundry flowring bankes,<br /></span>
+<span class="i0i">To sit and rest the walkers' wearie shankes."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, iv, x, 25.<br /></p>
+
+<p>The main walks were not, as with us, bounded with the
+turf, but they were bounded with trees, which were wrought
+into hedges, more or less open at the sides, and arched over
+at the top. These formed the "close alleys," "coven
+alleys," or "thick-pleached alleys," of which we read in
+Shakespeare and others writers of that time. Many kinds
+of trees and shrubs were used for this purpose; "every one
+taketh what liketh him best, as either Privit alone, or Sweet
+Bryer and White Thorn interlaced together, and Roses
+of one, two, or more sorts placed here and there amongst
+them. Some also take Lavender, Rosemary, Sage, Southernwood,
+Lavender Cotton, or some such other thing. Some
+again plant Cornel trees, and plash them or keep them low
+to form them into a hedge; and some again take a low
+prickly shrub that abideth always green, called in Latin
+Pyracantha" (Parkinson). It was on these hedges and
+their adjuncts that the chief labour of the garden was spent.
+They were cut and tortured into every imaginable shape,
+for nothing came amiss to the fancy of the topiarist. When
+this topiary art first came into fashion in England I do
+not know, but it was probably more or less the fashion in
+all gardens of any pretence from very early times, and it
+reached its highest point in the sixteenth century, and held
+its ground as the perfection of gardening till it was driven
+out of the field in the last century by the "picturesque
+style," though many specimens still remain in England, as
+at Levens<a name="FNanchor_344:1_224" id="FNanchor_344:1_224"></a><a href="#Footnote_344:1_224" class="fnanchor">[344:1]</a> and Hardwicke on a large scale, and in the
+gardens of many ancient English mansions and old farmhouses
+on a smaller scale. It was doomed as soon as landscape
+gardeners aimed at the natural, for even when it was
+still at its height Addison described it thus: "Our British
+gardeners, instead of humouring Nature, love to deviate from
+<span class="pagenum"><a name="Page_345" id="Page_345"></a>[<a href="./images/345.png">345</a>]</span>it as much as possible. Our trees rise in cones, globes, and
+pyramids; we see the mark of the scissors upon every plant
+and bush."</p>
+
+<p>But this is a digression: I must return to the Elizabethan
+garden, which I have hitherto only described as a great
+square, surrounded by wide, covered, shady walks, and with
+other similar walks dividing the central square into four or
+more compartments. But all this was introductory to the
+great feature of the Elizabethan garden, the formation of
+the "curious-knotted garden." Each of the large compartments
+was divided into a complication of "knots," by which
+was meant beds arranged in quaint patterns, formed by rule
+and compass with mathematical precision, and so numerous
+that it was a necessary part of the system that the whole
+square should be fully occupied by them. Lawn there was
+none; the whole area was nothing but the beds and the
+paths that divided them. There was Grass in other parts
+of the pleasure grounds, and apparently well kept, for Lord
+Bacon has given his opinion that "nothing is more pleasant
+to the eye than green Grass kept finely shorn," but it was
+apparently to be found only in the orchard, the bowling-green,
+or the "wilderness;" in the flower-garden proper it
+had no place. The "knots" were generally raised above
+the surface of the paths, the earth being kept in its place
+by borders of lead, or tiles, or wood, or even bones; but
+sometimes the beds and paths were on the same level, and
+then there were the same edgings that we now use, as
+Thrift, Box, Ivy, flints, &amp;c. The paths were made of gravel,
+sand, spar, &amp;c., and sometimes with coloured earths: but
+against this Lord Bacon made a vigorous protest: "As to
+the making of knots or figures with divers coloured earths,
+that they may lie under the windows of the house on that
+side on which the garden stands they be but toys; you may
+see as good sights many times in tarts."</p>
+
+<p>The old gardening books are full of designs for these
+knots; indeed, no gardening book of the date seems to
+have been considered complete if it did not give the "latest
+designs," and they seem to have much tried the wit and
+ingenuity of the gardeners, as they must have also sorely tried
+their patience to keep them in order; and I doubt not that
+the efficiency of an Elizabethan gardener was as much
+<span class="pagenum"><a name="Page_346" id="Page_346"></a>[<a href="./images/346.png">346</a>]</span>tested by his skill and experience in "knot-work," as the
+efficiency of a modern gardener is tested by his skill in
+"bedding-out," which is the lineal descendant of "knot-work."
+In one most essential point, however, the two systems
+very much differed. In "bedding-out" the whole force of
+the system is spent in producing masses of colours, the individual
+flowers being of no importance, except so far as
+each flower contributes its little share of colour to the general
+mass; and it is for this reason that so many of us dislike
+the system, not only because of its monotony, but more
+especially because it has a tendency "to teach us to think
+too little about the plants individually, and to look at them
+chiefly as an assemblage of beautiful colours. It is difficult
+in those blooming masses to separate one from another; all
+produce so much the same sort of impression. The consequence
+is people see the flowers on the beds without caring
+to know anything about them or even to ask their names.
+It was different in the older gardens, because there was just
+variety there; the plants strongly contrasted with each other,
+and we were ever passing from the beautiful to the curious.
+Now we get little of quaintness or mystery, or of the strange
+delicious thought of being lost or embosomed in a tall rich
+wood of flowers. All is clear, definite, and classical, the work
+of a too narrow and exclusive taste."&mdash;<span class="smcap">Forbes Watson.</span>
+The old "knot-work" was not open to this censure, though
+no doubt it led the way which ended in "bedding-out."
+The beginning of the system crept in very shortly after
+Shakespeare's time. Parkinson spoke of an arrangement of
+spring flowers which, when "all planted in some proportion
+as near one unto another as is fit for them will give such a
+grace to the garden that the place will seem like a piece of
+tapestry of many glorious colours, to encrease every one's
+delight." And again&mdash;"The Tulipas may be so matched,
+one colour answering and setting off another, that the place
+where they stand may resemble a piece of curious needlework
+or piece of painting." But these plants were all
+perennial, and remained where they were once planted, and
+with this one exception named by Parkinson, the planting
+of knot-work was as different as possible from the modern
+planting of carpet-beds. The beds were planted inside their
+thick margins with a great variety of plants, and apparently
+<span class="pagenum"><a name="Page_347" id="Page_347"></a>[<a href="./images/347.png">347</a>]</span>set as thick as possible, like Harrison's garden quoted above,
+with its 300 separate plants in as many square feet. These
+were nearly all hardy perennials,<a name="FNanchor_347:1_225" id="FNanchor_347:1_225"></a><a href="#Footnote_347:1_225" class="fnanchor">[347:1]</a> with the addition of a
+few hardy annuals, and the great object seems to have been
+to have had something of interest or beauty in these gardens
+at all times of the year. The principle of the old gardeners
+was that "Nature abhors a vacuum," and, as far as their
+gardens went, they did their best to prevent a vacuum occurring
+at any time. In this way I think they surpassed us in
+their practical gardening, for, even if they did not always
+succeed, it was surely something for them to aim (in Lord
+Bacon's happy words), "to have <i>ver perpetuum</i> as the place
+affords."</p>
+
+<p>Where the space would allow of it, the garden was further
+decorated with statues, fountains, "fair mounts," labyrinths,
+mazes,<a name="FNanchor_347:2_226" id="FNanchor_347:2_226"></a><a href="#Footnote_347:2_226" class="fnanchor">[347:2]</a> arbours and alcoves, rocks, "great Turkey jars," and
+"in some corner (or more) a true Dial or Clock, and some
+Antick works" (Lawson). These things were fitting ornaments
+in such formal gardens, but the best judges saw that
+they were not necessaries, and that the garden was complete
+without them. "They be pretty things to look on, but nothing
+for health or sweetness." "Such things are for state and
+magnificence, but nothing to the true pleasure of a garden."</p>
+
+<p>Such was the Elizabethan garden in its general outlines;
+the sort of garden which Shakespeare must have often seen
+both in Warwickshire and in London. According to our
+present ideas such a garden would be far too formal and
+artificial, and we may consider that the present fashion of
+our gardens is more according to Milton's idea of Eden, in
+which there grew&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Flowers worthy of Paradise, which not nice art<br /></span>
+<span class="i0i">In beds and curious knots, but Nature boon<br /></span>
+<span class="i0i">Poured forth profuse on hill and dale and plaine."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Paradise Lost</i>, book iv.</p>
+
+<p><span class="pagenum"><a name="Page_348" id="Page_348"></a>[<a href="./images/348.png">348</a>]</span>
+None of us probably would now wish to exchange the
+straight walks and level terraces of the sixteenth century for
+our winding walks and undulating lawns, in the laying out
+of which the motto has been "ars est celare artem"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"That which all faire workes doth most aggrace,<br /></span>
+<span class="i0i">The art, which all that wrought, appeareth in no place."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>F. Q.</i>, ii, xii, 58.</p>
+
+<p>Yet it is pleasant to look back upon these old gardens, and
+to see how they were cherished and beloved by some of the
+greatest and noblest of Englishmen. Spenser has left on
+record his judgment on the gardens of his day&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0i">"To the gay gardens his unstaid desire<br /></span>
+<span class="i0i">Him wholly carried, to refresh his sprights;<br /></span>
+<span class="i0i">There lavish Nature, in her best attire,<br /></span>
+<span class="i0i">Poures forth sweete odors and alluring sights:<br /></span>
+<span class="i0i">And Arte, with her contending, doth aspire<br /></span>
+<span class="i0i">To excell the naturall with made delights;<br /></span>
+<span class="i0i">And all, that faire or pleasant may be found,<br /></span>
+<span class="i0i">In riotous excesse doth there abound.<br /></span>
+</div><div class="stanza">
+<span class="i2">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br /></span>
+</div><div class="stanza">
+<span class="i0i">There he arriving around about doth flie,<br /></span>
+<span class="i0i">From bed to bed, from one to other border;<br /></span>
+<span class="i0i">And takes survey, with curious busie eye,<br /></span>
+<span class="i0i">Of every flowre and herbe there set in order."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Muiopotmos.</i></p>
+
+<p>Clearly in Spenser's eyes the formalities of an Elizabethan
+garden (for we must suppose he had such in his thoughts)
+did not exclude nature or beauty.</p>
+
+<p>It was also with such formal gardens in his mind and before
+his eyes that Lord Bacon wrote his "Essay on Gardens,"
+and commenced it with the well-known sentence (for I must
+quote him once again for the last time), "God Almighty
+first planted a garden, and indeed it is the purest of all
+human pleasures; it is the greatest refreshment to the spirits
+of man, without which buildings and palaces are but gross
+handiworks; and a man shall ever see, that when ages grow
+to civility and elegance, men come to build stately sooner
+than to garden finely, as if gardening were the greater perfection."
+And, indeed, in spite of their stiffness and unnaturalness,
+there must have been a great charm in those
+gardens, and though it would be antiquarian affectation to
+<span class="pagenum"><a name="Page_349" id="Page_349"></a>[<a href="./images/349.png">349</a>]</span>attempt or wish to restore them, yet there must have been a
+stateliness about them which our gardens have not, and they
+must have had many points of real comfort which it seems a
+pity to have lost. Those long shady "covert alleys," with
+their "thick-pleached" sides and roof, must have been very
+pleasant places to walk in, giving shelter in winter, and in
+summer deep shade, with the pleasant smell of Sweet Brier
+and Roses. They must have been the very places for a
+thoughtful student, who desired quiet and retirement for his
+thoughts&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And adde to these retired leisure<br /></span>
+<span class="i0i">That in trim gardens takes his pleasure"&mdash;<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Il Penseroso.</i></p>
+
+<p>and they must have been also "pretty retiring places for
+conference" for friends in council. The whole fashion of
+the Elizabethan garden has passed away, and will probably
+never be revived; but before we condemn it as a ridiculous
+fashion, unworthy of the science of gardening, we may remember
+that it held its ground in England for nearly two
+hundred years, and that during that time the gardens of
+England and the flowers they bore won not the cold admiration,
+but the warm affection of the greatest names in English
+history, the affection of such a queen as Elizabeth,<a name="FNanchor_349:1_227" id="FNanchor_349:1_227"></a><a href="#Footnote_349:1_227" class="fnanchor">[349:1]</a> of such
+a grave and wise philosopher as Bacon, of such a grand hero
+as Raleigh, of such poets as Spenser and Shakespeare.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_343:1_223" id="Footnote_343:1_223"></a><a href="#FNanchor_343:1_223"><span class="label">[343:1]</span></a> These beds (as we should now call them) were called "tables" or
+"plots"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Mark out the tables, ichon by hem selve<br /></span>
+<span class="i0i">Sixe foote in brede, and xii in length is beste<br /></span>
+<span class="i0i">To clense and make on evey side honest."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Palladius on Husbandrie</i>, i. 116.</p>
+
+<p>"Note this generally that all plots are square."&mdash;<span class="smcap">Lawson's</span> <i>New
+Orchard</i>, p. 60.</p></div>
+
+<div class="footnote"><p><a name="Footnote_344:1_224" id="Footnote_344:1_224"></a><a href="#FNanchor_344:1_224"><span class="label">[344:1]</span></a> For an account of Levens, with a plate of the Topiarian garden,
+see "Arch&aelig;ological Journal," vol. xxvi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_347:1_225" id="Footnote_347:1_225"></a><a href="#FNanchor_347:1_225"><span class="label">[347:1]</span></a> Including shrubs&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i9h">"'Tis another's lot<br /></span>
+<span class="i0">To light upon some gard'ner's curious knot,<br /></span>
+<span class="i0">Where she upon her breast (love's sweet repose),<br /></span>
+<span class="i0">Doth bring the Queen of flowers, the English Rose."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">Browne's</span> <i>Brit. Past.</i>, i, 2.</p>
+</div>
+
+<div class="footnote"><p><a name="Footnote_347:2_226" id="Footnote_347:2_226"></a><a href="#FNanchor_347:2_226"><span class="label">[347:2]</span></a> For a good account of mazes and labyrinths see "Arch&aelig;ological
+Journal," xiv. 216.</p></div>
+
+<div class="footnote"><p><a name="Footnote_349:1_227" id="Footnote_349:1_227"></a><a href="#FNanchor_349:1_227"><span class="label">[349:1]</span></a> Queen Elizabeth's love of gardening and her botanical knowledge
+were celebrated in a Latin poem by an Italian who visited England in
+1586, and wrote a long poem under the name of "Melissus."&mdash;See
+<i>Arch&aelig;ologia</i>, vol. vii. 120.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>III.&mdash;GARDENERS.</h2>
+
+<table class="poetryt" summary="gardener references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Queen.</i></td>
+  <td class="tdleft">But stay, here come the gardeners;<br />
+Let's step into the shadow of these trees.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">Thou, old Adam's likeness, set to dress this garden,<br />
+How dares thy harsh rude tongue sound this unpleasing news?<br />
+What Eve, what serpent, hath suggested thee<br />
+To make a second fall of cursed man?<br />
+<span class="pagenum"><a name="Page_350" id="Page_350"></a>[<a href="./images/350.png">350</a>]</span>
+Why dost thou say King Richard is deposed?<br />
+Darest thou, thou little better thing than earth,<br />
+Divine his downfal?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 4 (24, 72).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Clown.</i></td>
+  <td class="tdleft">Come, my spade. There is no ancient gentlemen
+but gardeners, ditchers, and grave-makers; they
+hold up Adam's profession.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act v, sc. 1 (34).</td>
+</tr>
+</table>
+
+<p>Very little is recorded of the gardeners of the sixteenth
+century, by which we can judge either of their skill or their
+social position. Gerard frequently mentions the names of
+different persons from whom he obtained plants, but without
+telling us whether they were professional or amateur
+gardeners or nurserymen; and Hakluyt has recorded the
+name of Master Wolfe as gardener to Henry VIII. Certainly
+Richard II.'s Queen did not speak with much respect to her
+gardener, reproving him for his "harsh rude tongue," and
+addressing him as a "little better thing than earth"&mdash;but
+her angry grief may account for that. Parkinson also has
+not much to say in favour of the gardeners of his day, but
+considers it his duty to warn his readers against them:
+"Our English gardeners are all, or the most of them, utterly
+ignorant in the ordering of their outlandish (<i>i.e.</i>, exotic)
+flowers as not being trained to know them.&nbsp;.&nbsp;.&nbsp;. And I do
+wish all gentlemen and gentlewomen, whom it may concern
+for their own good, to be as careful whom they trust with
+the planting and replanting of their fine flowers, as they
+would be with so many jewels, for the roots of many of
+them being small and of great value may soon be conveyed
+away, and a clean tale fair told, that such a root is rotten or
+perished in the ground if none be seen where it should be,
+or else that the flower hath changed his colour when it hath
+been taken away, or a counterfeit one hath been put in the
+place thereof; and thus many have been deceived of their
+daintiest flowers, without remedy or true knowledge of the
+defect." And again, "idle and ignorant gardeners who get
+names by stealth as they do many other things." This is
+not a pleasant picture either of the skill or honesty of the
+sixteenth-century gardeners, but there must have been skilled
+gardeners to keep those curious-knotted gardens in order, so
+as to have a "<i>ver perpetuum</i> all the year." And there must
+<span class="pagenum"><a name="Page_351" id="Page_351"></a>[<a href="./images/351.png">351</a>]</span>have been men also who had a love for their craft; and if
+some stole the rare plants committed to their charge, we
+must hope that there were some honest men amongst them,
+and that they were not all like old Andrew Fairservice, in
+"Rob Roy," who wished to find a place where he "wad hear
+pure doctrine, and hae a free cow's grass, and a cot and a
+yard, and mair than ten punds of annual fee," but added
+also, "and where there's nae leddy about the town to count
+the Apples."</p>
+
+
+<hr style="width: 65%;" />
+<h2>IV.&mdash;GARDENING OPERATIONS.</h2>
+
+
+<h3>A. <span class="smcap"><a name="Pruning" id="Pruning"></a>Pruning, etc.</span></h3>
+
+<table class="poetryt" summary="pruning references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Orlando.</i></td>
+  <td class="tdleft">But, poor old man, thou prunest a rotten tree,<br />
+That cannot so much as a blossom yield<br />
+In lieu of all thy pains and industry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>As you Like It</i>, act ii, sc. 3 (63).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Gardener.</i></td>
+  <td class="tdleft">Go, bind thou up yon dangling Apricocks,<br />
+Which, like unruly children, make their sire<br />
+Stoop with oppression of their prodigal weight:<br />
+Give some supportance to the bending twigs.<br />
+Go thou, and like an executioner,<br />
+Cut off the heads of too-fast growing sprays,<br />
+That look too lofty in our commonwealth:<br />
+All must be even in our government.<br />
+You thus employ'd, I would go root away<br />
+The noisome weeds, which without profit suck<br />
+The soil's fertility from wholesome flowers.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft">*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleft"><span class="s11">O, what pity is it,</span><br />
+That he had not so trimm'd and dress'd his land<br />
+As we this garden! We at time of year<br />
+Do wound the bark, the skin of our fruit-trees,<br />
+Lest, being over-proud in sap and blood,<br />
+With too much riches it confound itself:<br />
+Had he done so to great and growing men,<br />
+They might have lived to bear and he to taste<br />
+Their fruits of duty; superfluous branches<br />
+We lop away, that bearing boughs may live:<br />
+Had he done so, himself had borne the crown<br />
+Which waste of idle hours hath quite thrown down.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iii, sc. 4 (29).</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_352" id="Page_352"></a>[<a href="./images/352.png">352</a>]</span>
+This most interesting passage would almost tempt us to
+say that Shakespeare was a gardener by profession; certainly
+no other passages that have been brought to prove his real
+profession are more minute than this. It proves him to have
+had practical experience in the work, and I think we may
+safely say that he was no mere 'prentice hand in the use of
+the pruning knife.</p>
+
+<p>The art of pruning in his day was probably exactly like
+our own, as far as regarded fruit trees and ordinary garden
+work, but in one important particular the pruner's art of that
+day was a for more laborious art than it is now. The topiary
+art must have been the triumph of pruning, and when
+gardens were full of castles, monsters, beasts, birds, fishes,
+and men, all cut out of Box and Yew, and kept so exact that
+they boasted of being the "living representations" and
+"counterfeit presentments" of these various objects, the hands
+and head of the pruner could seldom have been idle; the
+pruning knife and scissors must have been in constant
+demand from the first day of the year to the last. The
+pruner of that day was, in fact, a sculptor, who carved his
+images out of Box and Yew instead of marble, so that in an
+amusing article in the "Guardian" for 1713 (No. 173), said
+to have been written by Pope, is a list of such sculptured
+objects for sale, and we are told that the "eminent town
+gardener had arrived to such perfection that he cuts family
+pieces of men, women, and children. Any ladies that please
+may have their own effigies in Myrtle, or their husbands in
+Hornbeam. He is a Puritan wag, and never fails when he
+shows his garden to repeat that passage in the Psalms, 'Thy
+wife shall be as the fruitful Vine, and thy children as Olive
+branches about thy table.'"</p>
+
+
+<h3>B. <span class="smcap">Manuring, etc.</span></h3>
+
+<table class="poetryt" summary="manure reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Constable.</i></td>
+  <td class="tdleft">And you shall find his vanities forespent<br />
+Were but the outside of the Roman Brutus,<br />
+Covering discretion with a coat of folly;<br />
+As gardeners do with ordure hide those roots<br />
+That shall first spring and be most delicate.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act ii, sc. 4 (36).</td>
+</tr>
+</table>
+
+<p>The only point that needs notice under this head is that
+<span class="pagenum"><a name="Page_353" id="Page_353"></a>[<a href="./images/353.png">353</a>]</span>the word "manure" in Shakespeare's time was not limited to
+its present modern meaning. In his day "manured land"
+generally meant cultured land in opposition to wild and
+barren land.<a name="FNanchor_353:1_228" id="FNanchor_353:1_228"></a><a href="#Footnote_353:1_228" class="fnanchor">[353:1]</a> So Falstaff uses the word&mdash;</p>
+
+<div class="blockquot">
+<p>Hereof comes it that Prince Harry is valiant; for the cold blood
+he did naturally inherit of his father, he hath, like lean,
+sterile and bare land, manured, husbanded, and tilled with
+excellent endeavour of drinking good and good store of
+fertile sherris, that he is become very hot and valiant.</p>
+</div>
+
+<p class="authorpoem"><i>2nd Henry IV</i>, act iv, sc. 3 (126).</p>
+
+<p>And in the same way Iago says&mdash;</p>
+
+<div class="blockquot">
+<p>Either to have it (a garden) sterile with idleness or manured
+with industry.</p>
+</div>
+
+<p class="authorpoem"><i>Othello</i>, act i, sc. 3 (296).</p>
+
+<p>Milton and many other writers used the word in this its
+original sense; and Johnson explains it "to cultivate by
+manual labour," according to its literal derivation. In one
+passage Shakespeare uses the word somewhat in the modern
+sense&mdash;</p>
+
+<table class="poetryt" summary="manure reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Carlisle.</i></td>
+  <td class="tdleft">The blood of English shall manure the ground.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard II</i>, act iv, sc. 1 (137).</td>
+</tr>
+</table>
+
+<p>But generally he and the writers of that and the next century
+expressed the operation more simply and plainly, as
+"covering with ordure," or as in the English Bible, "I shall
+dig about it and dung it."</p>
+
+
+<h3><span class="smcap">C. Grafting.</span></h3>
+
+<table class="poetryt" summary="grafting references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Buckingham.</i></td>
+  <td class="tdleft">Her royal stock graft with ignoble plants.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act iii, sc. 7 (127).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Dauphin.</i></td>
+  <td class="tdleft">O Dieu vivant! shall a few sprays of us,<br />
+The emptying of our fathers' luxury,<br />
+Our scions, put in wild and savage stock,<br />
+Spirt up so suddenly into the clouds,<br />
+And overlook their grafters?</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry V</i>, act iii, sc. 5 (5).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_354" id="Page_354"></a>[<a href="./images/354.png">354</a>]</span>(3)</td>
+  <td class="tdleftt"><i>King.</i></td>
+  <td class="tdleft"><span class="s14">His plausive words</span><br />
+He scatter'd not in ears, but grafted them,<br />
+To grow there and to bear.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>All's Well that Ends Well</i>, act i, sc. 2 (53).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Perdita.</i></td>
+  <td class="tdleft">The fairest flowers o' the season<br />
+Are our Carnations and streak'd Gillyvors,<br />
+Which some call nature's bastards: of that kind<br />
+Our rustic garden's barren; I care not<br />
+To get slips of them.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Polixenes.</i></td>
+  <td class="tdleft"><span class="s16">Wherefore, gentle maiden,</span><br />
+Do you neglect them?</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s17">For I have heard it said</span><br />
+There is an art which in their piedness shares<br />
+With great creating Nature.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Polixenes.</i></td>
+  <td class="tdleft"><span class="s21">Say there be;</span><br />
+Yet Nature is made better by no mean,<br />
+But Nature makes that mean: so, over that art<br />
+Which you say adds to Nature, is an art<br />
+That Nature makes. You see, sweet maid, we marry<br />
+A gentle scion to the wildest stock,<br />
+And make conceive a bark of baser kind<br />
+By bud of nobler race: this is an art<br />
+Which does mend nature, change it rather, but<br />
+The art itself is nature.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Perdita.</i></td>
+  <td class="tdleft"><span class="s17">So it is.</span><br /></td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Polixenes.</i></td>
+  <td class="tdleft">Then make your garden rich in Gillyvors,<br />
+And do not call them bastards.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Perdita.</i> </td>
+  <td class="tdleft"><span class="s24">I'll not put</span><br />
+The dibble in the earth to set one slip of them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Winter's Tale</i>, act iv, sc. 4 (81).</td>
+</tr>
+</table>
+
+<p>The various ways of propagating plants by grafts, cuttings,
+slips, and artificial impregnation (all mentioned in
+the above passages), as used in Shakespeare's day, seem to
+have been exactly like those of our own time, and so they
+need no further comment.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_353:1_228" id="Footnote_353:1_228"></a><a href="#FNanchor_353:1_228"><span class="label">[353:1]</span></a> The Act 31 Eliz. c. 7, enacts that "noe person shall within this
+Realme of England make buylde or erect any Buyldinge or Howsinge .&nbsp;.&nbsp;.&nbsp;. as
+a Cottage for habitation .&nbsp;.&nbsp;.&nbsp;. unlesse the same person do
+assigne and laye to the same Cottage or Buyldinge fower acres of Grounde
+at the least .&nbsp;.&nbsp;. to be contynuallie occupied and manured therewith."
+Gerard's Chapter on Vines is headed, "Of the manured Vine."</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>V.&mdash;GARDEN ENEMIES.</h2>
+
+
+<h3><span class="smcap">A. Weeds.</span></h3>
+
+<table class="poetryt" summary="weed references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>Hamlet.</i></td>
+  <td class="tdleft">How weary, stale, flat, and unprofitable<br />
+Seem to me all the uses of this world!<br />
+<span class="pagenum"><a name="Page_355" id="Page_355"></a>[<a href="./images/355.png">355</a>]</span>
+Fye on it, ah fye! 'tis an unweeded garden<br />
+That grows to seed; things rank and gross in nature<br />
+Possess it merely.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Hamlet</i>, act i, sc. 2 (133).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Titus.</i></td>
+  <td class="tdleft"><span class="s9">Such withered herbs as these</span><br />
+Are meet for plucking up.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act iii, sc. 1 (178).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(3)</td>
+  <td class="tdleftt"><i>York.</i></td>
+  <td class="tdleft">Grandam, one night, as we did sit at supper,<br />
+My Uncle Rivers talk'd how I did grow<br />
+More than my brother. "Ay," quoth my Uncle Glo'ster,<br />
+"Small herbs have grace, great weeds do grow apace;"<br />
+And since, methinks, I would not grow so fast,<br />
+Because sweet flowers are slow and weeds make haste.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Richard III</i>, act ii, sc. 4 (10).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Queen.</i></td>
+  <td class="tdleft">Now 'tis the spring, and weeds are shallow-rooted;<br />
+Suffer them now, and they'll o'ergrow the garden,<br />
+And choke the herbs for want of husbandry.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 1 (31).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Unruly blasts wait on the tender spring,
+Unwholesome weeds take root with precious flowers.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (869).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>K. Henry.</i></td>
+  <td class="tdleft">Most subject is the fattest soil to weeds.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act iv, sc. 4 (54).</td>
+</tr>
+</table>
+
+<p>The weeds of Shakespeare need no remark; they were
+the same as ours; and, in spite of our improved cultivation,
+our fields and gardens are probably as full of weeds as they
+were three centuries ago.</p>
+
+
+<h3><span class="smcap">B. Blights, Frosts, etc.</span></h3>
+
+<table class="poetryt" summary="blight, frost references" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td class="tdrt" style="width: 5%;">(1)</td>
+  <td class="tdleftt" style="width: 15%;"><i>York.</i></td>
+  <td class="tdleft">Thus are my blossoms blasted in the bud,<br />
+And caterpillars eat my leaves away.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry VI</i>, act iii, sc. 1 (89).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(2)</td>
+  <td class="tdleftt"><i>Montague.</i></td>
+  <td class="tdleft">But he, his own affection's counsellor,<br />
+Is to himself&mdash;I will not say, how true&mdash;<br />
+But to himself so sweet and close,<br />
+So far from sounding and discovery,<br />
+As is the bud bit with an envious worm,<br />
+Ere he can spread his sweet leaves to the air,<br />
+Or dedicate his beauty to the sun.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act i, sc. 1 (153).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_356" id="Page_356"></a>[<a href="./images/356.png">356</a>]</span>(3)</td>
+  <td class="tdleftt"><i>Imogene.</i></td>
+  <td class="tdleft"><span class="s13">Comes in my father,</span><br />
+And like the tyrannous breathing of the north<br />
+Shakes all our buds from growing.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Cymbeline</i>, act i, sc. 3 (35).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(4)</td>
+  <td class="tdleftt"><i>Bardolph.</i></td>
+  <td class="tdleft"><span class="s16">A cause on foot</span><br />
+Lives so in hope as in an early spring<br />
+We see the appearing buds&mdash;which to prove fruit,<br />
+Hope gives not so much warrant as despair<br />
+That frost will bite them.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>2nd Henry IV</i>, act i, sc. 3 (37).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(5)</td>
+  <td class="tdleftt"><i>Violet.</i></td>
+  <td class="tdleft"><span class="s11">She never told her love,</span><br />
+But let concealment, like a worm i' the bud,<br />
+Feed on her damask cheek.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Twelfth Night</i>, act ii, sc. 4 (113).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(6)</td>
+  <td class="tdleftt"><i>Proteus.</i></td>
+  <td class="tdleft">Yet writers say, as in the sweetest bud<br />
+The eating canker dwells, so eating love<br />
+Inhabits in the finest wits of all.</td>
+</tr>
+<tr>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><i>Valentine.</i></td>
+  <td class="tdleft">And writers say as the most forward bud<br />
+Is eaten by the canker ere it blow,<br />
+Even so by love the young and tender wit<br />
+Is turn'd to folly, blasting in the bud,<br />
+Losing his verdure even in the prime<br />
+And all the fair effects of future hopes.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Two Gentlemen of Verona</i>, act i, sc. 1 (42).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(7)</td>
+  <td class="tdleftt"><i>Capulet.</i></td>
+  <td class="tdleft">Death lies on her like an untimely frost
+Upon the sweetest flower of the field.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act iv, sc. 5 (28).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(8)</td>
+  <td class="tdleftt"><i>Lysimachus.</i></td>
+  <td class="tdleft"><span class="s15">O sir, a courtesy</span><br />
+Which if we should deny, the most just gods<br />
+For every graff would send a caterpillar,<br />
+And so afflict our province.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Pericles</i>, act v, sc. 1 (58).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(9)</td>
+  <td class="tdleftt"><i>Wolsey.</i></td>
+  <td class="tdleft">This is the state of man: to-day he puts forth<br />
+The tender leaves of hopes, to-morrow blossoms,<br />
+And bears his blushing honours thick upon him:<br />
+The third day comes a frost, a killing frost,<br />
+And, when he thinks, good easy man, full surely<br />
+His greatness is a-ripening, nips his root,<br />
+And then he falls, as I do.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Henry VIII</i>, act iii, sc. 2 (352).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(10)</td>
+  <td class="tdleftt"><i>Saturninus.</i></td>
+  <td class="tdleft">These tidings nip me, and I hang the head<br />
+As Flowers with frost, or Grass beat down with storms.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Titus Andronicus</i>, act iv, sc. 4 (70).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt"><span class="pagenum"><a name="Page_357" id="Page_357"></a>[<a href="./images/357.png">357</a>]</span>(11)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">No man inveigh against the withered flower,<br />
+But chide rough winter that the flower hath kill'd;<br />
+Not that devour'd, but that which doth devour,<br />
+Is worthy blame.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Lucrece</i> (1254).</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdrt">(12)</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt"><span class="s6">For never-resting time leads summer on</span><br />
+<span class="s6">To hideous winter, and confounds him there;</span><br />
+<span class="s6">Sap check'd with frost and lusty leaves quite gone,</span><br />
+<span class="s6">Beauty o'ersnow'd, and bareness everywhere;</span><br />
+<span class="s6">Then, were not summer's distillation left,</span><br />
+<span class="s6">A liquid prisoner pent in walls of glass,</span><br />
+<span class="s6">Beauty's effect with beauty were bereft,</span><br />
+<span class="s6">Nor it, nor no remembrance what it was;</span><br />
+But flowers distill'd, though they with winter meet,<br />
+Leese but their show; their substance still lives sweet.<a name="FNanchor_357:1_229" id="FNanchor_357:1_229"></a><a href="#Footnote_357:1_229" class="fnanchor">[357:1]</a></td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Sonnet</i> v.</td>
+</tr>
+</table>
+
+<p>With this beautiful description of the winter-life of hardy
+perennial plants, I may well close the "Plant-lore and
+Garden-craft of Shakespeare." The subject has stretched
+to a much greater extent than I at all anticipated when I
+commenced it, but this only shows how large and interesting
+a task I undertook, for I can truly say that my difficulty
+has been in the necessity for condensing my matter,
+which I soon found might be made to cover a much larger
+space than I have given to it; for my object was in no case
+to give an exhaustive account of the flowers, but only to
+give such an account of each plant as might illustrate its
+special use by Shakespeare.</p>
+
+<p>Having often quoted my favourite authority in gardening
+matters, old "John Parkinson, Apothecary, of London," I
+will again make use of him to help me to say my last words:
+"Herein I have spent my time, pains, and charge, which, if
+well accepted, I shall think well employed. And thus I
+have finished this work, and have furnished it with whatsoever
+could bring delight to those that take pleasure in those
+things, which how well or ill done I must abide every one's
+censure; the judicious and courteous I only respect; and
+so Farewell."</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_357:1_229" id="Footnote_357:1_229"></a><a href="#FNanchor_357:1_229"><span class="label">[357:1]</span></a></p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">"Flowers depart<br /></span>
+<span class="i0">To see their mother-root, when they have blown;<br /></span>
+<span class="i4">Where they together,<br /></span>
+<span class="i4">All the hard weather<br /></span>
+<span class="i0">Dead to the world, keep house unknown."<br /></span>
+</div></div>
+
+<p class="authorpoem"><span class="smcap">G. Herbert</span>, <i>The Flower</i>.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_358" id="Page_358"></a>[<a href="./images/358.png">358</a>]</span></p>
+
+
+<hr style="width: 65%;" /><p>
+<span class="pagenum"><a name="Page_359" id="Page_359"></a>[<a href="./images/359.png">359</a>]</span></p>
+<h2>APPENDIX I.</h2>
+
+<h3><i>THE DAISY:</i></h3>
+
+<h4><i>ITS HISTORY, POETRY, AND BOTANY.</i></h4>
+
+
+<p class="smallgap">&nbsp;</p>
+<p class="center">There's a Daisy.&mdash;<i>Ophelia.</i></p>
+
+
+<p class="sectctr">Daisies smel-lesse, yet most quaint.<br/>
+
+<span style="padding-left: 25em;"><i>Two Noble Kinsmen</i>, Introd. song.</span></p>
+
+
+<div class="blockquot">
+<p class="section"><span class="pagenum"><a name="Page_360" id="Page_360"></a>[<a href="./images/360.png">360</a>]</span>
+The following Paper on the Daisy was written for the Bath
+Natural History and Antiquarian Field Club, and read at
+their meeting, January 14th, 1874. It was then published
+in "The Garden," and a few copies were reprinted for private
+circulation. I now publish it as an Appendix to the "Plant-lore
+of Shakespeare," with very few alterations from its
+original form, preferring thus to reprint it <i>in extenso</i> than to
+make an abstract of it for the illustration of Shakespeare's
+Daisies.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_361" id="Page_361"></a>[<a href="./images/361.png">361</a>]</span></p>
+
+<div class="img">
+<img src="images/illop1.png" alt="double A with birds and flowers" title="decoration" width="80%" />
+</div>
+
+
+<h2>THE DAISY.</h2>
+
+
+<p><span class="dropcapi"><span class="dropcap">I</span></span> ALMOST feel that I ought to apologize
+to the Field Club for asking
+them to listen to a paper on so
+small a subject as the Daisy. But,
+indeed, I have selected that subject
+because I think it is one especially
+suited to a Naturalists' Field Club.
+The members of such a club, as I
+think, should take notice of everything.
+Nothing should be beneath
+their notice. It should be their province to note a multitude
+of little facts unnoticed by others; they should be
+"minute philosophers," and they might almost take as their
+motto the wise words which Milton put into the mouth of
+Adam, after he had been instructed to "be lowlie wise"
+(especially in the study of the endless wonders of sea, and
+earth, and sky that surrounded him)&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i10">"To know<br /></span>
+<span class="i0">That which before us lies in daily life,<br /></span>
+<span class="i0">Is the prime wisdom."&mdash;<i>Paradise Lost</i>, viii. (192).<br /></span>
+</div></div>
+
+<p>I do not apologize for the lowness and humbleness of my
+subject, but, with "no delay of preface" (Milton), I take
+you at once to it. In speaking of the Daisy, I mean to
+confine myself to the Daisy, commonly so-called, merely reminding
+you that there are also the Great or Ox-eye, or
+Moon Daisy (<i>Chrysanthemum leucanthemum</i>), the Michaelmas
+Daisy (<i>Aster</i>), and the Blue Daisy of the South of
+<span class="pagenum"><a name="Page_362" id="Page_362"></a>[<a href="./images/362.png">362</a>]</span>Europe (<i>Globularia</i>). The name has been also given to a
+few other plants, but none of them are true Daisies.</p>
+
+<p>I begin with its name. Of this there can be little doubt;
+it is the "Day's-eye," the bright little eye that only opens
+by day, and goes to sleep at night. This, whether the true
+derivation or not, is no modern fancy. It is, at least, as old
+as Chaucer, and probably much older. Here are Chaucer's
+well-known words&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i1">"Men by reason well it calle may<br /></span>
+<span class="i0">The Da&iuml;sie, or else the Eye of Day,<br /></span>
+<span class="i0">The Empresse and the flowre of flowres all."<br /></span>
+</div></div>
+
+<p>And Ben Jonson boldly spoke of them as "bright Daye's-eyes."</p>
+
+<p>There is, however, another derivation. Dr. Prior says:
+"Skinner derives it from dais or canopy, and Gavin Douglas
+seems to have understood it in the sense of a small canopy
+in the line:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Daisie did unbraid her crounall small.<br /></span>
+</div></div>
+
+<p>"Had we not the A.-S. d&aelig;ges-eage, we could hardly refuse
+to admit that this last is a far more obvious and probable
+explanation of the word than the pretty poetical thought
+conveyed in Day's-eye." This was Dr. Prior's opinion in
+his first edition of his valuable "Popular Names of British
+Plants;" but it is withdrawn in his second edition, and he
+now is content with the Day's-eye derivation. Dr. Prior has
+kindly informed me that he rejected it because he can find
+no old authority for Skinner's derivation, and because it is
+doubtful whether the Daisy in Gavin Douglas's line does
+not mean a Marigold, and not what we call a Daisy. The
+derivation, however, seemed worth a passing notice. Its
+other English names are Dog Daisy, to distinguish it from
+the large Ox-eyed Daisy; Banwort, "because it helpeth
+bones<a name="FNanchor_362:1_230" id="FNanchor_362:1_230"></a><a href="#Footnote_362:1_230" class="fnanchor">[362:1]</a> to knit agayne" (Turner); Bruisewort, for the same
+reason; Herb Margaret, from its French name; and in the
+<span class="pagenum"><a name="Page_363" id="Page_363"></a>[<a href="./images/363.png">363</a>]</span>North, Bairnwort, from its associations with childhood. As
+to its other names, the plant seems to have been unknown
+to the Greeks, and has no Greek name, but is fortunate in
+having as pretty a name in Latin as it has in English. Its
+modern botanical name is Bellis, and it has had the name
+from the time of Pliny. Bellis must certainly come from
+<i>bellus</i> (pretty), and so it is at once stamped as the pretty
+one even by botanists&mdash;though another derivation has been
+given to the name, of which I will speak soon. The French
+call it Marguerite, no doubt for its pearly look, or Pasquerette,
+to mark it as the spring flower; the German name
+for it is very different, and not easy to explain&mdash;G&auml;nseblume,
+<i>i.e.</i>, Goose-flower; the Danish name is Tusinfryd (thousand
+joys); and the Welsh, Sensigl (trembling star).</p>
+
+<p>As Pliny is the first that mentions the plant, his account
+is worth quoting. "As touching a Daisy," he says (I quote
+from Holland's translation, 1601), "a yellow cup it hath
+also, and the same is crowned, as it were, with a garland,
+consisting of five and fifty little leaves, set round about it in
+manner of fine pales. These be flowers of the meadow, and
+most of such are of no use at all, no marvile, therefore, if
+they be namelesse; howbeit, some give them one tearme
+and some another" (book xxi. cap. 8). And again, "There
+is a hearbe growing commonly in medows, called the Daisie,
+with a white floure, and partly inclining to red, which, if it
+is joined with Mugwort in an ointment, is thought to make
+the medicine farre more effectual for the King's evil" (book
+xxvi. cap. 5).</p>
+
+<p>We have no less than three legends of the origin of the
+flower. In one legend, not older, I believe, than the fourteenth
+century (the legend is given at full length by Chaucer
+in his "Legende of Goode Women"), Alcestis was turned
+into a Daisy. Another legend records that "this plant is
+called Bellis, because it owes its origin to Belides, a granddaughter
+to Danaus, and one of the nymphs called Dryads,
+that presided over the meadows and pastures in ancient
+times. Belides is said to have encouraged the suit of Ephigeus,
+but whilst dancing on the grass with this rural deity
+she attracted the admiration of Vertumnus, who, just as he
+was about to seize her in his embrace, saw her transformed
+into the humble plant that now bears her name." This
+<span class="pagenum"><a name="Page_364" id="Page_364"></a>[<a href="./images/364.png">364</a>]</span>legend I have only seen in Phillips's "Flora Historica." I
+need scarcely tell you that neither Belides or Ephigeus are
+classical names&mdash;they are medi&aelig;val inventions. The next
+legend is a Celtic one; I find it recorded both by Lady
+Wilkinson and Mrs. Lankester. I should like to know its
+origin; but with that grand contempt for giving authorities
+which lady-authors too often show, neither of these ladies
+tells us whence she got the legend. The legend says that
+"the virgins of Morven, to soothe the grief of Malvina, who
+had lost her infant son, sang to her, 'We have seen, O!
+Malvina, we have seen the infant you regret, reclining on
+a light mist; it approached us, and shed on our fields a
+harvest of new flowers. Look, O! Malvina. Among these
+flowers we distinguish one with a golden disk surrounded
+by silver leaves; a sweet tinge of crimson adorns its delicate
+rays; waved by a gentle wind, we might call it a little infant
+playing in a green meadow; and the flower of thy bosom
+has given a new flower to the hills of Cromla.'" Since that
+day the daughters of Morven have consecrated the Daisy
+to infancy. "It is," said they, "the flower of innocence, the
+flower of the newborn." Besides these legends, the Daisy
+is also connected with the legendary history of St. Margaret.
+The legend is given by Chaucer, but I will tell it to you in
+the words of a more modern poet&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"There is a double flouret, white and rede,<br /></span>
+<span class="i0i">That our lasses call Herb Margaret<br /></span>
+<span class="i0i">In honour of Cortona's penitent;<br /></span>
+<span class="i0i">Whose contrite soul with red remorse was rent.<br /></span>
+<span class="i0i">While on her penitence kind Heaven did throwe<br /></span>
+<span class="i0i">The white of puritie surpassing snowe;<br /></span>
+<span class="i0i">So white and rede in this faire floure entwine,<br /></span>
+<span class="i0i">Which maids are wont to scatter on her shrine."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Catholic Florist</i>, Feb. 22, St. Margaret's Day.</p>
+
+<p>Yet, in spite of the general association of Daisies with
+St. Margaret, Mrs. Jameson says that she has seen one, and
+only one, picture of St. Margaret with Daisies.</p>
+
+<p>The poetry or poetical history of the Daisy is very curious.
+It begins with Chaucer, whose love of the flower might
+almost be called an idolatry. But, as it begins with Chaucer,
+so, for a time, it almost ends with him. Spenser, Shakespeare,
+and Milton scarcely mention it. It holds almost
+<span class="pagenum"><a name="Page_365" id="Page_365"></a>[<a href="./images/365.png">365</a>]</span>no place in the poetry of the seventeenth and eighteenth
+centuries; but, at the close of the eighteenth century, it has
+the good luck to be uprooted by Burns's plough, and he at
+once sings its dirge and its beauties; and then the flower at
+once becomes a celebrity. Wordsworth sings of it in many
+a beautiful verse; and I think it is scarcely too much to say
+that since his time not an English poet has failed to pay his
+homage to the humble beauty of the Daisy. I do not
+purpose to take you through all these poets&mdash;time and
+knowledge would fail me to introduce you to them all. I
+shall but select some of those which I consider best worth
+selection. I begin, of course, with Chaucer, and even with
+him I must content myself with a selection&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Of all the floures in the mede,<br /></span>
+<span class="i0i">Then love I most those floures white and redde;<br /></span>
+<span class="i0i">Such that men callen Daisies in our town.<br /></span>
+<span class="i0i">To them I have so great affection,<br /></span>
+<span class="i0i">As I said erst when comen is the Maye,<br /></span>
+<span class="i0i">That in my bedde there dawneth me no daie,<br /></span>
+<span class="i0i">That I n'am up and walking in the mede<br /></span>
+<span class="i0i">To see this floure against the sunn&eacute; sprede.<br /></span>
+<span class="i0i">When it upriseth early by the morrow,<br /></span>
+<span class="i0i">That blessed sight softeneth all my sorrow.<br /></span>
+<span class="i0i">So glad am I, when that I have presence<br /></span>
+<span class="i0i">Of it, to done it all reverence&mdash;<br /></span>
+<span class="i0i">As she that is of all floures the floure,<br /></span>
+<span class="i0i">Fulfilled of all virtue and honoure;<br /></span>
+<span class="i0i">And ever ylike fair and fresh of hue,<br /></span>
+<span class="i0i">And ever I love it, and ever ylike new,<br /></span>
+<span class="i0i">And ever shall, till that mine heart die,<br /></span>
+<span class="i0i">All swear I not, of this I will not lye.<br /></span>
+<span class="i0i">There loved no wight hotter in his life,<br /></span>
+<span class="i0i">And when that it is eve, I run blithe,<br /></span>
+<span class="i0i">As soon as ever the sun gaineth west,<br /></span>
+<span class="i0i">To see this floure, how it will go to rest.<br /></span>
+<span class="i0i">For fear of night, so hateth she darkness,<br /></span>
+<span class="i0i">Her cheer is plainly spread in the brightness<br /></span>
+<span class="i0i">Of the sunne, for there it will unclose;<br /></span>
+<span class="i0i">Alas, that I ne had English rhyme or prose<br /></span>
+<span class="i0i">Suffisaunt this floure to praise aright."<br /></span>
+</div></div>
+
+<p>I could give you several other quotations from Chaucer,
+but I will content myself with this, for I think unbounded
+admiration of a flower can scarcely go further than the lines
+I have read to you.</p>
+
+<p><span class="pagenum"><a name="Page_366" id="Page_366"></a>[<a href="./images/366.png">366</a>]</span>
+In an early poem published by Ritson is the following&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Lenten ys come with love to toune<br /></span>
+<span class="i0i">With blosmen ant with briddes roune<br /></span>
+<span class="i2i">That al thys blisse bryngeth;<br /></span>
+<span class="i0i">Dayeseyes in this dales,<br /></span>
+<span class="i0i">Notes suete of nyghtegales<br /></span>
+<span class="i2i">Vch foul song singeth."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Ancient Songs and Ballads</i>, vol. i, p. 63.</p>
+
+<p>Stephen Hawes, who lived in the time of Henry VII.,
+wrote a poem called the "Temple of Glass." In that
+temple he tells us&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i3">"I saw depycted upon a wall,<br /></span>
+<span class="i0">From est to west, fol many a fayre image<br /></span>
+<span class="i0">Of sundry lovers.&nbsp;.&nbsp;.&nbsp;.&nbsp;."<br /></span>
+</div></div>
+
+<p>And among these lovers&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And Alder next was the freshe quene,<br /></span>
+<span class="i0i">I mean Alceste, the noble true wife,<br /></span>
+<span class="i0i">And for Admete howe she lost her life,<br /></span>
+<span class="i0i">And for her trouthe, if I shall not lye,<br /></span>
+<span class="i0i">How she was turned into a Daysye."<br /></span>
+</div></div>
+
+<p>We next come to Spenser. In the "Muiopotmos," he
+gives a list of flowers that the butterfly frequents, with most
+descriptive epithets to each flower most happily chosen.
+Among the flowers are&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Roses raigning in the pride of May,<br /></span>
+<span class="i0i">Sharp Isope good for greene woundes' remedies,<br /></span>
+<span class="i0i">Faire Marigoldes, and bees-alluring Thyme,<br /></span>
+<span class="i0i">Sweet Marjoram, and Daysies decking prime."<br /></span>
+</div></div>
+
+<p>By "decking prime" he means they are the ornament of
+the morning.<a name="FNanchor_366:1_231" id="FNanchor_366:1_231"></a><a href="#Footnote_366:1_231" class="fnanchor">[366:1]</a> Again he introduces the Daisy in a stanza
+of much beauty, that commences the June Eclogue of the
+"Shepherd's Calendar."</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Lo! Colin, here the place whose pleasaunt syte<br /></span>
+<span class="i0i">From other shades hath weand my wandring minde.<br /></span>
+<span class="i0i">Tell me, what wants me here to work delyte?<br /></span>
+<span class="i0i">The simple ayre, the gentle warbling winde,<br /></span>
+<span class="pagenum"><a name="Page_367" id="Page_367"></a>[<a href="./images/367.png">367</a>]</span>
+<span class="i0i">So calm, so cool, as no where else I finde;<br /></span>
+<span class="i0i">The Grassie ground, with daintie Daysies dight;<br /></span>
+<span class="i0i">The Bramble bush, where byrdes of every kinde<br /></span>
+<span class="i0i">To the waters' fall their tunes attemper right."<br /></span>
+</div></div>
+
+<p>From Spenser we come to Shakespeare, and when we
+remember the vast acquaintance with flowers of every kind
+that he shows, and especially when we remember how often
+he almost seems to go out of his way to tell of the simple
+wild flowers of England, it is surprising that the Daisy is
+almost passed over entirely by him. Here are the passages
+in which he names the flowers. First, in the poem of the
+"Rape of Lucrece," he has a very pretty picture of Lucrece
+as she lay asleep&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Without the bed her other faire hand was<br /></span>
+<span class="i0i">On the green coverlet, whose perfect white<br /></span>
+<span class="i0i">Showed like an April Daisy on the Grass."<br /></span>
+</div></div>
+
+<p>In "Love's Labour's Lost" is the song of Spring, beginning&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"When Daisies pied, and Violets blue;<br /></span>
+<span class="i1i">And Lady-smocks all silver-white,<br /></span>
+<span class="i0i">And Cuckoo-buds of yellow hue<br /></span>
+<span class="i1i">Do paint the meadows with delight."<br /></span>
+</div></div>
+
+<p>In "Hamlet" Daisies are twice mentioned in connection
+with Ophelia in her madness. "There's a Daisy!" she said,
+as she distributed her flowers; but she made no comment
+on the Daisy as she did on her other flowers. And, in the
+description of her death, the Queen tells us that&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"There with fantastick garlands did she come<br /></span>
+<span class="i0i">Of Crow-flowers, Nettles, Daisies, and Long Purples."<br /></span>
+</div></div>
+
+<p>And in "Cymbeline" the General Lucius gives directions
+for the burial of Cloten&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i10">"Let us<br /></span>
+<span class="i0">Find out the prettiest Daisied plot we can,<br /></span>
+<span class="i0">And make him with our pikes and partisans<br /></span>
+<span class="i0">A grave."<br /></span>
+</div></div>
+
+<p>And in the introductory song to the "Two Noble Kinsmen,"
+which is claimed by some as Shakespeare's, we find
+among the other flowers of spring&mdash;</p>
+
+<p><span class="pagenum"><a name="Page_368" id="Page_368"></a>[<a href="./images/368.png">368</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Daisies smel-lesse, yet most quaint."<br /></span>
+</div></div>
+
+<p>These are the only places in which the Daisy is mentioned
+in Shakespeare's plays, and it is a little startling to
+find that of these six one is in a song for clowns, and two
+others are connected with the poor mad princess. I hope
+that you will not use Shakespeare's authority against me,
+that to talk of Daisies is only fit for clowns and madmen.</p>
+
+<p>Contemporary with Shakespeare was Cutwode, who in the
+"Caltha Poetarum," published in 1599, thus describes the
+Daisy&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"On her attends the Daisie dearly dight<br /></span>
+<span class="i1i">that pretty Primula of Lady Ver<br /></span>
+<span class="i0i">As handmaid to her Mistresse day and night<br /></span>
+<span class="i1i">so doth she watch, so waiteth she on her,<br /></span>
+<span class="i0i">With double diligence, and dares not stir,<br /></span>
+<span class="i0i">A fairer flower perfumes not forth in May<br /></span>
+<span class="i0i">Then is this Daisie or this Primula.<br /></span>
+</div><div class="stanza">
+<span class="i0i">About her neck she wears a rich wrought ruffe,<br /></span>
+<span class="i1i">with double sets most brave and broad bespread,<br /></span>
+<span class="i0i">Resembling lovely Lawn or Cambrick stuffe<br /></span>
+<span class="i1i">pind up and prickt upon her yealow head,<br /></span>
+<span class="i0i">Wearing her haire on both sides of her shead;<br /></span>
+<span class="i0i">And with her countenance she hath acast<br /></span>
+<span class="i0i">Wagging the w&#257;ton with each wynd and blast."<br /></span>
+</div></div>
+
+<p class="authorpoem">Stanza 21, 22.</p>
+
+<p>Drayton, in the "Polyolbion," 15th Song, represents the
+Naiads engaged in twining garlands for the marriage of Tame
+and Isis, and considering that he&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Should not be dressed with flowers to garden that belong<br /></span>
+<span class="i0i">(His bride that better fitteth), but only such as spring<br /></span>
+<span class="i0i">From the replenisht meads and fruitful pasture neere,"<br /></span>
+</div></div>
+
+<p>they collect among other wild flowers&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Daysie over all those sundry sweets so thick<br /></span>
+<span class="i0i">As nature doth herself, to imitate her right;<br /></span>
+<span class="i0i">Who seems in that her pearle so greatly to delight<br /></span>
+<span class="i0i">That every plaine therewith she powdereth to beholde."<br /></span>
+</div></div>
+
+<p>And to the same effect, in his "Description of Elysium"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"There Daisies damask every place,<br /></span>
+<span class="i1i">Nor once their beauties lose,<br /></span>
+<span class="i0i">That when proud Ph&oelig;bus turns his face,<br /></span>
+<span class="i1i">Themselves they scorn to close."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_369" id="Page_369"></a>[<a href="./images/369.png">369</a>]</span>
+Browne, contemporary with Shakespeare, has these pretty
+lines on the Daisy&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The Daisy scattered on each mead and down,<br /></span>
+<span class="i0i">A golden tuft within a silver crown;<br /></span>
+<span class="i0i">(Fair fall that dainty flower! and may there be<br /></span>
+<span class="i0i">No shepherd graced that doth not honour thee!)."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Brit. Past.</i>, ii. 3.</p>
+
+<p>And the following must be about the same date&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The pretty Daisy which doth show<br /></span>
+<span class="i0i">Her love to Ph&oelig;bus, bred her woe;<br /></span>
+<span class="i2i">(Who joys to see his cheareful face,<br /></span>
+<span class="i2i">And mournes when he is not in place)&mdash;<br /></span>
+<span class="i0i">'Alacke! alacke! alacke!' quoth she,<br /></span>
+<span class="i0i">'There's none that ever loves like me.'"<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>The Deceased Maiden's Lover</i>&mdash;Roxburghe Ballads, i, 341.</p>
+
+<p>I am not surprised to find that Milton barely mentions
+the Daisy. His knowledge of plants was very small compared
+to Shakespeare's, and seems to have been, for the
+most part, derived from books. His descriptions of plants
+all savour more of study than the open air. I only know of
+two places in which he mentions the Daisy. In the "l'Allegro"
+he speaks of "Meadows trim with Daisies pied,"
+and in another place he speaks of "Daisies trim." But I am
+surprised to find the Daisy overlooked by two such poets as
+Robert Herrick and George Herbert. Herrick sang of
+flowers most sweetly, few if any English poets have sung of
+them more sweetly, but he has little to say of the Daisy. He
+has one poem, indeed, addressed specially to a Daisy, but
+he simply uses the little flower, and not very successfully, as
+a peg on which to hang the praises of his mistress. He uses
+it more happily in describing the pleasures of a country life&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Come live with me and thou shalt see<br /></span>
+<span class="i0i">The pleasures I'll prepare for thee,<br /></span>
+<span class="i0i">What sweets the country can afford,<br /></span>
+<span class="i0i">Shall bless thy bed and bless thy board.<br /></span>
+<span class="i5">.&nbsp;.&nbsp;. Thou shalt eat<br /></span>
+<span class="i0i">The paste of Filberts for thy bread,<br /></span>
+<span class="i0i">With cream of Cowslips buttered;<br /></span>
+<span class="i0i">Thy feasting tables shall be hills,<br /></span>
+<span class="i0i">With Daisies spread and Daffodils."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_370" id="Page_370"></a>[<a href="./images/370.png">370</a>]</span>
+And again&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Young men and maids meet,<br /></span>
+<span class="i0i">To exercise their dancing feet,<br /></span>
+<span class="i0i">Tripping the comely country round,<br /></span>
+<span class="i0i">With Daffodils and Daisies crowned."<br /></span>
+</div></div>
+
+<p>George Herbert had a deep love for flowers, and a still
+deeper love for finding good Christian lessons in the commonest
+things about him. He delights in being able to say&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Yet can I mark how herbs below<br /></span>
+<span class="i1i">Grow green and gay;"<br /></span>
+</div></div>
+
+<p>but I believe he never mentions the Daisy.</p>
+
+<p>Of the poets of the seventeenth century I need only make
+one short quotation from Dryden&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"And then the band of flutes began to play,<br /></span>
+<span class="i0i">To which a lady sang a tirelay:<br /></span>
+<span class="i0i">And still at every close she would repeat<br /></span>
+<span class="i0i">The burden of the song&mdash;'The Daisy is so sweet,<br /></span>
+<span class="i0i">The Daisy is so sweet'&mdash;when she began<br /></span>
+<span class="i0i">The troops of knights and dames continued on<br /></span>
+<span class="i0i">The consort; and the voice so charmed my ear<br /></span>
+<span class="i0i">And soothed my soul that it was heaven to hear."<br /></span>
+</div></div>
+
+<p>I need not dwell on the other poets of the seventeenth
+century. In most of them a casual allusion to the Daisy
+may be found, but little more. Nor need I dwell at all on
+the poets of the eighteenth century. In the so-called
+Augustan age of poetry, the Daisy could not hope to attract
+any attention. It was the correct thing if they had to speak
+of the country to speak of the "Daisied" or "Daisy-spangled"
+meads, but they could not condescend to any
+nearer approach to the little flower. If they had they would
+have found that they had chosen their epithet very badly.
+I never yet saw a "Daisy-spangled" meadow.<a name="FNanchor_370:1_232" id="FNanchor_370:1_232"></a><a href="#Footnote_370:1_232" class="fnanchor">[370:1]</a> The flowers
+may be there, but the long Grasses effectually hide them.
+And so I come <i>per saltum</i> to the end of the eighteenth
+<span class="pagenum"><a name="Page_371" id="Page_371"></a>[<a href="./images/371.png">371</a>]</span>century, and at once to Burns, who brought the Daisy again
+into notice. He thus regrets the uprooting of the Daisy by
+his plough&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Wee, modest, crimson-tipp&egrave;d flower,<br /></span>
+<span class="i0i">Thou'st met me in an evil hour;<br /></span>
+<span class="i0i">For I must crush amongst the stour<br /></span>
+<span class="i4">Thy slender stem.<br /></span>
+<span class="i0i">To spare thee now is past my power,<br /></span>
+<span class="i4">Thou bonny gem.<br /></span>
+</div><div class="stanza">
+<span class="i0i">Cold blew the bitter, biting north,<br /></span>
+<span class="i0i">Upon thy humble birth,<br /></span>
+<span class="i0i">Yet cheerfully thou venturest forth<br /></span>
+<span class="i4">Amid the storm,<br /></span>
+<span class="i0i">Scarce reared above the Parent-earth<br /></span>
+<span class="i4">Thy tender form.<br /></span>
+</div><div class="stanza">
+<span class="i0i">The flaunting flowers our gardens yield<br /></span>
+<span class="i0i">High sheltering woods and walks must shield;<br /></span>
+<span class="i0i">But thou, between the random bield<br /></span>
+<span class="i4">Of clod or stone,<br /></span>
+<span class="i0i">Adorn'st the rugged stubble field,<br /></span>
+<span class="i4">Unseen, alone.<br /></span>
+</div><div class="stanza">
+<span class="i0i">There, in thy scanty mantle clad,<br /></span>
+<span class="i0i">Thy snowy bosom sunward spread,<br /></span>
+<span class="i0i">Thou lift'st thy unassuming head<br /></span>
+<span class="i4">In humble guise;<br /></span>
+<span class="i0i">But now the share uptears thy bed,<br /></span>
+<span class="i4">And low thou lies!"<br /></span>
+</div></div>
+
+<p>With Burns we may well join Clare, another peasant poet
+from Northamptonshire, whose poems are not so much
+known as they deserve to be. His allusions to wild flowers
+always mark his real observation of them, and his allusions
+to the Daisy are frequent; thus&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Smiling on the sunny plain<br /></span>
+<span class="i1i">The lovely Daisies blow,<br /></span>
+<span class="i0i">Unconscious of the careless feet<br /></span>
+<span class="i1i">That lay their beauties low."<br /></span>
+</div></div>
+
+<p>Again, alluding to his own obscurity&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Green turfs allowed forgotten heap,<br /></span>
+<span class="i1i">Is all that I shall have,<br /></span>
+<span class="i0i">Save that the little Daisies creep<br /></span>
+<span class="i1i">To deck my humble grave."<br /></span>
+</div></div>
+
+<p><span class="pagenum"><a name="Page_372" id="Page_372"></a>[<a href="./images/372.png">372</a>]</span>
+Again, in his description of evening, he does not omit to
+notice the closing of the Daisy at sunset&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Now the blue fog creeps along,<br /></span>
+<span class="i0i">And the birds forget their song;<br /></span>
+<span class="i0i">Flowers now sleep within their hoods,<br /></span>
+<span class="i0i">Daisies button into buds."<br /></span>
+</div></div>
+
+<p>And so we come to Wordsworth, whose love of the Daisy
+almost equalled Chaucer's. His allusions and addresses to
+the Daisy are numerous, but I have only space for a small
+selection. First, are two stanzas from a long poem specially
+to the Daisy&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"When soothed awhile by milder airs,<br /></span>
+<span class="i0i">Thee Winter in the garland wears,<br /></span>
+<span class="i0i">That thinly shades his few gray hairs,<br /></span>
+<span class="i2i">Spring cannot shun thee.<br /></span>
+<span class="i0i">While Summer fields are thine by right,<br /></span>
+<span class="i0i">And Autumn, melancholy wight,<br /></span>
+<span class="i0i">Doth in thy crimson head delight<br /></span>
+<span class="i2i">When rains are on thee.<br /></span>
+</div><div class="stanza">
+<span class="i0i">Child of the year that round dost run<br /></span>
+<span class="i0i">Thy course, bold lover of the sun,<br /></span>
+<span class="i0i">And cheerful when thy day's begun<br /></span>
+<span class="i2i">As morning leveret.<br /></span>
+<span class="i0i">Thy long-lost praise thou shalt regain,<br /></span>
+<span class="i0i">Dear shalt thou be to future men,<br /></span>
+<span class="i0i">As in old time, thou not in vain<br /></span>
+<span class="i2i">Art nature's favourite."<br /></span>
+</div></div>
+
+<p>The other poem from Wordsworth that I shall read to
+you is one that has received the highest praise from all
+readers, and by Ruskin (no mean critic, and certainly not
+always given to praises) is described as "two delicious
+stanzas, followed by one of heavenly imagination."<a name="FNanchor_372:1_233" id="FNanchor_372:1_233"></a><a href="#Footnote_372:1_233" class="fnanchor">[372:1]</a> The
+poem is "An Address to the Daisy"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A nun demure&mdash;of holy port;<br /></span>
+<span class="i0i">A sprightly maiden&mdash;of love's court,<br /></span>
+<span class="i0i">In thy simplicity the sport<br /></span>
+<span class="i2i">Of all temptations.<br /></span>
+<span class="i0i">A queen in crown of rubies drest,<br /></span>
+<span class="i0i">A starveling in a scanty vest,<br /></span>
+<span class="i0i">Are all, as seems to suit thee best,<br /></span>
+<span class="i2i">Thy appellations.<br /></span>
+</div><div class="stanza">
+<span class="pagenum"><a name="Page_373" id="Page_373"></a>[<a href="./images/373.png">373</a>]</span>
+<span class="i0i">I see thee glittering from afar,<br /></span>
+<span class="i0i">And then thou art a pretty star,<br /></span>
+<span class="i0i">Not quite so fair as many are<br /></span>
+<span class="i2i">In heaven above thee.<br /></span>
+<span class="i0i">Yet like a star with glittering crest,<br /></span>
+<span class="i0i">Self-poised in air thou seem'st to rest;<br /></span>
+<span class="i0i">Let peace come never to his rest<br /></span>
+<span class="i2i">Who shall reprove thee.<br /></span>
+</div><div class="stanza">
+<span class="i0i">Sweet flower, for by that name at last,<br /></span>
+<span class="i0i">When all my reveries are past,<br /></span>
+<span class="i0i">I call thee, and to that cleave fast.<br /></span>
+<span class="i2i">Sweet silent creature,<br /></span>
+<span class="i0i">That breath'st with me in sun and air;<br /></span>
+<span class="i0i">Do thou, as thou art wont, repair<br /></span>
+<span class="i0i">My heart with gladness, and a share<br /></span>
+<span class="i2i">Of thy meek nature."<br /></span>
+</div></div>
+
+<p>With these beautiful lines I might well conclude my
+notices of the poetical history of the Daisy, but, to bring
+it down more closely to our own times, I will remind you
+of a poem by Tennyson, entitled "The Daisy." It is a
+pleasant description of a southern tour brought to his
+memory by finding a dried Daisy in a book. He says&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i3">"We took our last adieu,<br /></span>
+<span class="i0">And up the snowy Splugen drew,<br /></span>
+<span class="i0">But ere we reached the highest summit,<br /></span>
+<span class="i0">I plucked a Daisy, I gave it you,<br /></span>
+<span class="i0">It told of England then to me,<br /></span>
+<span class="i0">And now it tells of Italy."<br /></span>
+</div></div>
+
+<p>Thus I have picked several pretty flowers of poetry for
+you from the time of Chaucer to our own. I could have
+made the posy fifty-fold larger, but I could, probably, have
+found no flowers for the posy more beautiful, or more
+curious, than these few.</p>
+
+<p>I now come to the botany of the Daisy. The Daisy
+belongs to the immense family of the Composit&aelig;, a family
+which contains one-tenth of the flowering plants of the
+world, and of which nearly 10,000 species are recorded.
+In England the order is very familiar, as it contains three
+of our commonest kinds, the Daisy, the Dandelion, and the
+Groundsel. It may give some idea of the large range of the
+family when we find that there are some 600 recorded
+<span class="pagenum"><a name="Page_374" id="Page_374"></a>[<a href="./images/374.png">374</a>]</span>species of the Groundsel alone, of which eleven are in
+England. I shall not weary you with a strictly scientific
+description of the Daisy, but I will give you instead
+Rousseau's well-known description. It is fairly accurate,
+though not strictly scientific: "Take," he says, "one of
+those little flowers, which cover all the pastures, and which
+every one knows by the name of Daisy. Look at it well,
+for I am sure you would never have guessed from its
+appearance that this flower, which is so small and delicate,
+is really composed of between two and three hundred other
+flowers, all of them perfect, that is, each of them having its
+corolla, stamens, pistil, and fruit; in a word, as perfect in
+its species as a flower of the Hyacinth or Lily. Every one
+of these leaves, which are white above and red underneath,
+and form a kind of crown round the flower, appearing to
+be nothing more than little petals, are in reality so many
+true flowers; and every one of those tiny yellow things also
+which you see in the centre, and which at first you have
+perhaps taken for nothing but stamens, are real flowers.&nbsp;.&nbsp;.&nbsp;. Pull
+out one of the white leaves of the flower; you
+will think at first that it is flat from one end to the other,
+but look carefully at the end by which it was fastened to
+the flower, and you will see that this end is not flat, but
+round and hollow in the form of a tube, and that a little
+thread ending in two horns issues from the tube. This
+thread is the forked style of the flower, which, as you now
+see, is flat only at top. Next look at the little yellow things
+in the middle of the flower, and which, as I have told you,
+are all so many flowers; if the flower is sufficiently advanced,
+you will see some of them open in the middle and even cut
+into several parts. These are the monopetalous corollas.&nbsp;.&nbsp;.&nbsp;.&nbsp;.
+This is enough to show you by the eye the
+possibility that all these small affairs, both white and
+yellow, may be so many distinct flowers, and this is a
+constant fact" (Quoted in Lindley's "Ladies' Botany,"
+vol. i.)<a name="FNanchor_374:1_234" id="FNanchor_374:1_234"></a><a href="#Footnote_374:1_234" class="fnanchor">[374:1]</a></p>
+
+<p><span class="pagenum"><a name="Page_375" id="Page_375"></a>[<a href="./images/375.png">375</a>]</span>
+But Rousseau does not mention one feature which I wish
+to describe to you, as I know few points in botany more
+beautiful than the arrangement by which the Daisy is fertilized.
+In the centre of each little flower is the style surrounded
+closely by the anthers. The end of the style is
+divided, but, as long as it remains below among the anthers,
+the two lips are closed. The anthers are covered, more or
+less, with pollen; the style has its outside surface bristling
+with stiff hairs. In this condition it would be impossible
+for the pollen to reach the interior (stigmatic) surfaces of
+the divided style, but the style rises, and as it rises it brushes
+off the pollen from the anthers around it. Its lips are closed
+till it has risen well above the whole flower, and left the
+anthers below; then it opens, showing its broad stigmatic
+surface to receive pollen from other flowers, and distribute
+the pollen it has brushed off, not to itself (which it could
+not do), but to other flowers around it. By this provision
+no flower fertilizes itself, and those of you who are acquainted
+with Darwin's writings will know how necessary this provision
+may be in perpetuating flowers. The Daisy not only produces
+double flowers, but also the curious proliferous flower
+called Hen and Chickens, or Childing Daisies, or Jackanapes
+on Horseback. These are botanically very interesting
+flowers, and though I, on another occasion, drew your
+attention to the peculiarity, I cannot pass it over in a paper
+specially devoted to the Daisy. The botanical interest is
+this: It is a well-known fact in botany, that all the parts of
+a plant&mdash;root, stem, flowers and their parts, thorns, fruits,
+and even the seeds, are only different forms of leaves, and
+are all interchangeable, and the Hen and Chickens Daisy is
+a good proof of it. Underneath the flowerhead of the Daisy
+is a green cushion, composed of bracts; in the Hen and
+Chickens Daisy some of these bracts assume the form of
+flowers, and are the chickens. If the plant is neglected, or
+does not like its soil, the chickens again become bracts.</p>
+
+<p>The only other point in the botany of the Daisy that
+occurs to me is its geographical range. The old books are
+not far wrong when they say "it groweth everywhere." It
+does not, however, grow in the Tropics. In Europe it is
+everywhere, from Iceland to the extreme south, though not
+abundant in the south-easterly parts. It is found in North
+<span class="pagenum"><a name="Page_376" id="Page_376"></a>[<a href="./images/376.png">376</a>]</span>America very sparingly, and not at all in the United States.
+It is also by no means fastidious in its choice of position&mdash;by
+the river-side or on the mountain-top it seems equally at
+home, though it somewhat varies according to its situation,
+but its most chosen habitat seems to be a well-kept lawn.
+There it luxuriates, and defies the scythe and the mowing
+machine. It has been asserted that it disappears when the
+ground is fed by sheep, and again appears when the sheep
+are removed, but this requires confirmation. Yet it does
+not lend itself readily to gardening purposes. It is one of
+those&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Flowers, worthy of Paradise, which not nice art<br /></span>
+<span class="i0i">In beds and curious knots, but Nature's boon<br /></span>
+<span class="i0i">Pour'd forth profuse on hill, and dale, and plain,<br /></span>
+<span class="i0i">Both where the morning sun first warmly smote<br /></span>
+<span class="i0i">The open field, and where the unpierc'd shade<br /></span>
+<span class="i0i">Imbrown'd the noontide bowers."<br /></span>
+</div></div>
+
+<p class="authorpoem"><i>Paradise Lost</i>, iv, 240.</p>
+
+<p>Under cultivation it becomes capricious; the sorts degenerate
+and require much care to keep them true. As to its
+time of flowering it is commonly considered a spring and
+summer flower; but I think one of its chief charms is that
+there is scarcely a day in the whole year in which you might
+not find a Daisy in flower.</p>
+
+<p>I have now gone through something of the history, poetry,
+and botany of the Daisy, but there are still some few points
+which I could not well range under either of these three
+heads, yet which must not be passed over. In painting, the
+Daisy was a favourite with the early Italian and Flemish
+painters, its bright star coming in very effectively in their
+foregrounds. Some of you will recollect that it is largely
+used in the foreground of Van Eyck's grand picture of the
+"Adoration of the Lamb," now at St. Bavon's, in Ghent. In
+sculpture it was not so much used, its small size making it
+unfit for that purpose. Yet you will sometimes see it, both
+in the stone and wood carvings of our old churches. In
+heraldry it is not unknown. When Philip the Bold, Duke
+of Burgundy, was about to marry Margaret of Flanders, he
+instituted an order of Daisies; and in Chifflet's Lilium
+Francicum (1658) is a plate of his arms, France and
+Flanders quarterly surrounded by a collar of Daisies. A
+<span class="pagenum"><a name="Page_377" id="Page_377"></a>[<a href="./images/377.png">377</a>]</span>family named Daisy bear three Daisies on their coat of
+arms. In an old picture of Chaucer, a Daisy takes the
+place in the corner usually allotted to the coat of arms in
+medi&aelig;val paintings. It was assumed as an heraldic cognizance
+by St. Louis of France in honour of his wife
+Margaret; by the good Margaret of Valois, Queen of
+Navarre; by Margaret of Anjou, the unfortunate wife of
+our Henry VI.; while our Margaret, Countess of Richmond,
+mother of our Henry VII., and dear to Oxford and
+Cambridge as the foundress of the Margaret Professorships,
+and of Christ College in Cambridge, bore three Daisies on
+a green turf.</p>
+
+<p>To entomologists the Daisy is interesting as an attractive
+flower to insects; for "it is visited by nine hymenoptera,
+thirteen diptera, three coleoptera, and two lepidoptera&mdash;namely,
+the least meadow-brown and the common blue
+butterflies."<a name="FNanchor_377:1_235" id="FNanchor_377:1_235"></a><a href="#Footnote_377:1_235" class="fnanchor">[377:1]</a></p>
+
+<p>In medicine, I am afraid, the Daisy has so lost its virtues
+that it has no place in the modern pharmacop&oelig;ia: but in
+old days it was not so. Coghan says "of Deysies, they are
+used to be given in potions in fractures of the head and
+deep wounds of the breast. And this experience I have of
+them, that the juyce of the leaves and rootes of Deysies
+being put into the nosethrils purgeth the brain; they are
+good to be used in pottage."<a name="FNanchor_377:2_236" id="FNanchor_377:2_236"></a><a href="#Footnote_377:2_236" class="fnanchor">[377:2]</a> Gerard says, "the Daisies do
+mitigate all kinds of paines, especially in the joints, and
+gout proceeding from a hot or dry humoure, if they be
+stamped with new butter, unsalted, and applied upon the
+pained place." Nor was this all. In those days, doctors
+prescribed according to the so-called "doctrines of signatures,"
+<i>i.e.</i>, it was supposed that Nature had shown, by
+special marks, for what special disease each plant was useful;
+and so in the humble growth of the little low-growing
+Daisy the doctors read its uses, and here they are. "It is
+said that the roots thereof being boyled in milk, and given
+to little puppies, will not suffer them to grow great."&mdash;<span class="smcap">Cole's</span>
+<i>Adam in Eden</i>. One more virtue. Miss Pratt says that
+"an author, writing in 1696, tells us that they who wish to
+<span class="pagenum"><a name="Page_378" id="Page_378"></a>[<a href="./images/378.png">378</a>]</span>have pleasant dreams of the loved and absent, should put
+'Dazy roots under their pillow.'"</p>
+
+<p>On the English language, the Daisy has had little influence,
+though some have derived "lackadaisy" and "lackadaisical"
+from the Daisy, but there is, certainly, no connection
+between the words. Daisy, however, was (and, perhaps,
+still is) a provincial adjective in the eastern counties. A
+writer in "Notes and Queries" (2nd Series, ix. 261) says
+that Samuel Parkis, in a letter to George Chalmers, dated
+February 16, 1799, notices the following provincialisms:
+"Daisy: remarkable, extraordinary excellent, as 'She's a
+Daisy lass to work,' <i>i.e.</i>, 'She is a good working girl.' 'I'm a
+Daisy body for pudding,' <i>i.e.</i>, 'I eat a great deal of pudding.'"</p>
+
+<p>And I must not leave the Daisy without noticing one
+special charm, that it is peculiarly the flower of childhood.
+The Daisy is one of the few flowers of which the child may
+pick any quantity without fear of scolding from the surliest
+gardener. It is to the child the herald of spring, when it
+can set its little foot on six at once, and it readily lends itself
+to the delightful manufacture of Daisy chains.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"In the spring and play-time of the year,<br /></span>
+<span class="i0i">.&nbsp;.&nbsp;.&nbsp;. the little ones, a sportive team,<br /></span>
+<span class="i0i">Gather king-cups in the yellow mead,<br /></span>
+<span class="i0i">And prank their hair with Daisies."&mdash;<span class="smcap">Cowper.</span><br /></span>
+</div></div>
+
+<p>It is then the special flower of childhood, but we cannot
+entirely give it up to our children. And I have tried to
+show you that the humble Daisy has been the delight of
+many noble minds, and may be a fit subject of study even
+for those children of a larger growth who form the "Bath
+Field Club."</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_362:1_230" id="Footnote_362:1_230"></a><a href="#FNanchor_362:1_230"><span class="label">[362:1]</span></a> "In the curious Treatise of the Virtues of Herbs, Royal MS. 18,
+a. vi, fol. 72 b, is mentioned: 'Brysewort, or Bonwort, or Daysye,
+<i>consolida minor</i>, good to breke bocches.'"&mdash;<i>Promptorium Parvulorum</i>,
+p. 52, note. See also a good note on the same word in "Babee's
+Book," p. 185.</p></div>
+
+<div class="footnote"><p><a name="Footnote_366:1_231" id="Footnote_366:1_231"></a><a href="#FNanchor_366:1_231"><span class="label">[366:1]</span></a> This is the general interpretation, but "decking prime" may mean
+the ornament of spring.</p></div>
+
+<div class="footnote"><p><a name="Footnote_370:1_232" id="Footnote_370:1_232"></a><a href="#FNanchor_370:1_232"><span class="label">[370:1]</span></a> This statement has been objected to, but I retain it, because in
+speaking of a meadow, I mean what is called a meadow in the south of
+England, a lowland, and often irrigated, pasture. In such a meadow
+Daisies have no place. In the North the word is more loosely used for
+any pasture, but in the South the distinction is so closely drawn that
+hay dealers make a great difference in their prices for "upland" or
+"meadow hay."</p></div>
+
+<div class="footnote"><p><a name="Footnote_372:1_233" id="Footnote_372:1_233"></a><a href="#FNanchor_372:1_233"><span class="label">[372:1]</span></a> "Modern Painters," vol. ii. p. 186.</p></div>
+
+<div class="footnote"><p><a name="Footnote_374:1_234" id="Footnote_374:1_234"></a><a href="#FNanchor_374:1_234"><span class="label">[374:1]</span></a> In the "Cornhill Magazine" for January, 1878, is a pleasant paper
+on "Dissecting a Daisy," treating a little of the Daisy, but still more of
+the pleasures that a Daisy gives to different people, and the different
+reasons for the different sorts of pleasure. See also on the same subject
+the "Cornhill" for June, 1882.</p></div>
+
+<div class="footnote"><p><a name="Footnote_377:1_235" id="Footnote_377:1_235"></a><a href="#FNanchor_377:1_235"><span class="label">[377:1]</span></a> Boulger in "Nature," Aug., 1878. The insects are given in Herman
+Muller's "Befructting der Blumen."</p></div>
+
+<div class="footnote"><p><a name="Footnote_377:2_236" id="Footnote_377:2_236"></a><a href="#FNanchor_377:2_236"><span class="label">[377:2]</span></a> "Haven of Health," 1596, p. 83.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_379" id="Page_379"></a>[<a href="./images/379.png">379</a>]</span></p>
+<h2>APPENDIX II.</h2>
+
+<h3><i>THE SEASONS OF SHAKESPEARE'S PLAYS.</i></h3>
+
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Biron.</i></td>
+  <td class="tdleft">I like of each thing that in season grows.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Love's Labour's Lost</i>, act i, sc. 1.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_380" id="Page_380"></a>[<a href="./images/380.png">380</a>]</span></p>
+
+<div class="blockquot">
+<p>This paper was read to the New Shakespeare Society in
+June, 1880, and to the Bath Literary Club in the following
+November. The subject is so closely connected with the
+"Plant-lore of Shakespeare," that I add it as an Appendix.</p></div>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_381" id="Page_381"></a>[<a href="./images/381.png">381</a>]</span></p>
+
+<div class="img">
+<img src="./images/plantloreillop9.png" alt="leaves and flowers decoration" title="decoration" width="85%" />
+</div>
+
+
+<h2>THE SEASONS</h2>
+
+<h2>OF SHAKESPEARE'S PLAYS.</h2>
+
+<p><span class="dropcapi"><span class="dropcap">I</span></span>N this paper I do not propose to
+make any exhaustive inquiry into
+the seasons of Shakespeare's plays,
+but (at Mr. Furnivall's suggestion)
+I have tried to find out whether in
+any case the season that was in the
+poet's mind can be discovered by
+the flowers or fruits, or whether,
+where the season is otherwise indicated,
+the flowers and fruits are in
+accordance. In other words, my inquiry is simply confined
+to the argument, if any, that may be derived from the
+flowers and fruits, leaving out of the question all other
+indications of the seasons.</p>
+
+<p>The first part of the inquiry is, what plants or flowers are
+mentioned in each play? They are as follows:&mdash;</p>
+
+
+<h3>COMEDIES.</h3>
+
+<p><i>Tempest.</i> Apple, crab, wheat, rye, barley, vetches, oats,
+peas, briar, furze, gorse, thorns, broom, cedar, corn, cowslip,
+nettle, docks, mallow, filbert, heath, ling, grass, nut,
+ivy, lily, piony, lime, mushrooms, oak, acorn, pignuts, pine,
+reed, saffron, sedges, stover, vine.</p>
+
+<p><i>Two Gentlemen of Verona.</i> Lily, roses, sedges.</p>
+
+<p><i>Merry Wives.</i> Pippins, buttons (?), balm, bilberry, cabbage,
+carrot, elder, eringoes, figs, flax, hawthorn, oak, pear,
+plums, prunes, potatoes, pumpion, roses, turnips, walnut.</p>
+
+<p><span class="pagenum"><a name="Page_382" id="Page_382"></a>[<a href="./images/382.png">382</a>]</span>
+<i>Twelfth Night.</i> Apple, box, ebony, flax, nettle, olive,
+squash, peascod, codling, roses, violet, willow, yew.</p>
+
+<p><i>Measure for Measure.</i> Birch, burs, corn, garlick, medlar,
+oak, myrtle, peach, prunes, grapes, vine, violet.</p>
+
+<p><i>Much Ado.</i> Carduus benedictus, honeysuckle, woodbine,
+oak, orange, rose, sedges, willow.</p>
+
+<p><i>Midsummer Night's Dream.</i> Crab, apricots, beans, briar,
+red rose, broom, bur, cherry, corn, cowslip, dewberries,
+oxlip, violet, woodbine, eglantine, elm, ivy, figs, mulberries,
+garlick, onions, grass, hawthorn, nuts, hemp, honeysuckle,
+knot-grass, leek, lily, peas, peas-blossom, oak, acorn, oats,
+orange, love-in-idleness, primrose, musk-rose buds, musk-roses,
+rose, thistle, thorns, thyme, grapes, violet, wheat.</p>
+
+<p><i>Love's Labour's Lost.</i> Apple, pomewater, crab, cedar,
+lemon, cockle, mint, columbine, corn, daisies, lady-smocks,
+cuckoo-buds, ebony, elder, grass, lily, nutmeg, oak, osier, oats,
+peas, plantain, rose, sycamore, thorns, violets, wormwood.</p>
+
+<p><i>Merchant of Venice.</i> Apple, grass, pines, reed, wheat,
+willow.</p>
+
+<p><i>As You Like It.</i> Acorns, hawthorn, brambles, briar,
+bur, chestnut, cork, nuts, holly, medlar, moss, mustard, oak,
+olive, palm, peascod, rose, rush, rye, sugar, grape, osier.</p>
+
+<p><i>All's Well.</i> Briar, date, grass, nut, marjoram, herb of
+grace, onions, pear, pomegranate, roses, rush, saffron, grapes.</p>
+
+<p><i>Taming of Shrew.</i> Apple, crab, chestnut, cypress, hazel,
+oats, onion, love-in-idleness, mustard, parsley, roses, rush,
+sedges, walnut.</p>
+
+<p><i>Winter's Tale.</i> Briars, carnations, gillyflower, cork, oxlips,
+crown imperial, currants, daffodils, dates, saffron, flax,
+lilies, flower-de-luce, garlick, ivy, lavender, mints, savory,
+marjoram, marigold, nettle, oak, warden, squash, pines,
+prunes, primrose, damask-roses, rice, raisins, rosemary, rue,
+thorns, violets.</p>
+
+<p><i>Comedy of Errors.</i> Balsam, ivy, briar, moss, rush, nut,
+cherrystone, elm, vine, grass, saffron.</p>
+
+
+<h3>HISTORIES.</h3>
+
+<p><i>King John.</i> Plum, cherry, fig, lily, rose, violet, rush,
+thorns.</p>
+
+<p><span class="pagenum"><a name="Page_383" id="Page_383"></a>[<a href="./images/383.png">383</a>]</span>
+<i>Richard II.</i> Apricots, balm, bay, corn, grass, nettles,
+pines, rose, rue, thorns, violets, yew.</p>
+
+<p><i>1st Henry IV.</i> Apple-john, pease, beans, blackberries,
+camomile, fernseed, garlick, ginger, moss, nettle, oats,
+prunes, pomegranate, radish, raisins, reeds, rose, rush,
+sedges, speargrass, thorns.</p>
+
+<p><i>2nd Henry IV.</i> Aconite, apple-john, leathercoats, aspen,
+balm, carraways, corn, ebony, elm, fennel, fig, gooseberries,
+hemp, honeysuckle, mandrake, olive, peach, peascod, pippins,
+prunes, radish, rose, rush, wheat.</p>
+
+<p><i>Henry V.</i> Apple, balm, docks, elder, fig, flower-de-luce,
+grass, hemp, leek, nettle, fumitory, kecksies, burs, cowslips,
+burnet, clover, darnel, strawberry, thistles, vine, violet,
+hemlock.</p>
+
+<p><i>1st Henry VI.</i> Briar, white and red rose, corn, flower-de-luce,
+vine.</p>
+
+<p><i>2nd Henry VI.</i> Crab, cedar, corn, cypress, fig, flax,
+flower-de-luce, grass, hemp, laurel, mandrake, pine, plums,
+damsons, primrose, thorns.</p>
+
+<p><i>3d Henry VI.</i> Balm, cedar, corn, hawthorn, oaks,
+olive, laurel, thorns.</p>
+
+<p><i>Richard III.</i> Balm, cedar, roses, strawberry, vines.</p>
+
+<p><i>Henry VIII.</i> Apple, crab, bays, palms, broom, cherry,
+cedar, corn, lily, vine.</p>
+
+
+<h3>TRAGEDIES.</h3>
+
+<p><i>Troilus and Cressida.</i> Almond, balm, blackberry, burs,
+date, nut, laurels, lily, toadstool, nettle, oak, pine, plantain,
+potato, wheat.</p>
+
+<p><i>Timon of Athens.</i> Balm, balsam, oaks, briars, grass,
+medlar, moss, olive, palm, rose, grape.</p>
+
+<p><i>Coriolanus.</i> Crab, ash, briars, cedar, cockle, corn, cypress,
+garlick, mulberry, nettle, oak, orange, palm, rush, grape.</p>
+
+<p><i>Macbeth.</i> Balm, chestnut, corn, hemlock, insane root,
+lily, primrose, rhubarb, senna (cyme), yew.</p>
+
+<p><i>Julius C&aelig;sar.</i> Oak, palm.</p>
+
+<p><i>Antony and Cleopatra.</i> Balm, figs, flag, laurel, mandragora,
+myrtle, olive, onions, pine, reeds, rose, rue, rush,
+grapes, wheat, vine.</p>
+
+<p><i>Cymbeline.</i> Cedar, violet, cowslip, primrose, daisies,
+<span class="pagenum"><a name="Page_384" id="Page_384"></a>[<a href="./images/384.png">384</a>]</span>harebell, eglantine, elder, lily, marybuds, moss, oak, acorn,
+pine, reed, rushes, vine.</p>
+
+<p><i>Titus Andronicus.</i> Aspen, briars, cedar, honeystalks,
+corn, elder, grass, laurel, lily, moss, mistletoe, nettles, yew.</p>
+
+<p><i>Pericles.</i> Rosemary, bay, roses, cherry, corn, violets,
+marigolds, rose, thorns.</p>
+
+<p><i>Romeo and Juliet.</i> Bitter-sweeting, dates, hazel, mandrake,
+medlar, nuts, popering pear, pink, plantain, pomegranate,
+quince, roses, rosemary, rush, sycamore, thorn,
+willow, wormwood, yew.</p>
+
+<p><i>King Lear.</i> Apple, balm, burdock, cork, corn, crab,
+fumiter, hemlock, harlock, nettles, cuckoo-flowers, darnel,
+flax, hawthorn, lily, marjoram, oak, oats, peascod, rosemary,
+vines, wheat, samphire.</p>
+
+<p><i>Hamlet.</i> Fennel, columbine, crow-flower, nettles, daisies,
+long purples or dead-men's-fingers, flax, grass, hebenon,
+nut, palm, pansies, plum-tree, primrose, rose, rosemary, rue,
+herb of grace, thorns, violets, wheat, willow, wormwood.</p>
+
+<p><i>Othello.</i> Locusts, coloquintida, figs, nettles, lettuce,
+hyssop, thyme, poppy, mandragora, oak, rose, rue, rush, strawberries,
+sycamore, grapes, willow.</p>
+
+<p><i>Two Noble Kinsmen.</i> Apricot, bulrush, cedar, plane,
+cherry, corn, currant, daffodils, daisies, flax, lark's heels,
+marigolds, narcissus, nettles, oak, oxlips, plantain, reed,
+primrose, rose, thyme, rush.</p>
+
+<p>This I believe to be a complete list of the flowers of Shakespeare
+arranged according to the plays, and they are mentioned
+in one of three ways&mdash;first, adjectively, as "flaxen was
+his pole," "hawthorn-brake," "barley-broth," "thou honeysuckle
+villain," "onion-eyed," "cowslip-cheeks," but the
+instances of this use by Shakespeare are not many; second,
+proverbially or comparatively, as "tremble like aspen," "we
+grew together like to a double cherry seeming parted," "the
+stinking elder, grief," "thou art an elm, my husband, I a
+vine," "not worth a gooseberry." There are numberless
+instances of this use of the names of flowers, fruits, and
+trees, but neither of these uses give any indication of the
+seasons; and in one or other of these ways they are used
+(and only in these ways) in the following plays:&mdash;<i>Tempest</i>,
+<i>Two Gentlemen of Verona</i>, <i>Measure for Measure</i>, <i>Merchant
+of Venice</i>, <i>As You Like It</i>, <i>Taming of the Shrew</i>, <i>Comedy of
+<span class="pagenum"><a name="Page_385" id="Page_385"></a>[<a href="./images/385.png">385</a>]</span>Errors</i>, <i>Macbeth</i>, <i>King John</i>, <i>1st Henry IV.</i>, <i>2nd Henry
+VI.</i>, <i>3rd Henry VI.</i>, <i>Henry VIII.</i>, <i>Troilus and Cressida</i>,
+<i>Coriolanus</i>, <i>Julius C&aelig;sar</i>, <i>Pericles</i>, <i>Othello</i>. These therefore
+may be dismissed at once. There remain the following
+plays in which indications of the seasons intended
+either in the whole play or in the particular act may be
+traced. In some cases the traces are exceedingly slight
+(almost none at all); in others they are so strongly marked
+that there is little doubt that Shakespeare used them of set
+purpose and carefully:&mdash;<i>Merry Wives</i>, <i>Twelfth Night</i>,
+<i>Much Ado</i>, <i>Midsummer Night's Dream</i>, <i>Love's Labour's Lost</i>,
+<i>As You Like It</i>, <i>All's Well</i>, <i>Winter's Tale</i>, <i>Richard II.</i>,
+<i>1st Henry IV.</i>, <i>Henry V.</i>, <i>2nd Henry VI.</i>, <i>Richard III.</i>,
+<i>Timon of Athens</i>, <i>Antony and Cleopatra</i>, <i>Cymbeline</i>, <i>Titus
+Andronicus</i>, <i>Romeo and Juliet</i>, <i>King Lear</i>, <i>Hamlet</i>, and
+<i>Two Noble Kinsmen</i>.</p>
+
+<p><i>Merry Wives.</i> Herne's oak gives the season intended&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8h">"Herne the hunter,<br /></span>
+<span class="i0">Sometime a keeper here in Windsor forest,<br /></span>
+<span class="i0">Doth <i>all the winter time</i> at still midnight<br /></span>
+<span class="i0">Walk round about an oak with ragged horns."<br /></span>
+</div></div>
+
+<p>If Shakespeare really meant to place the scene in mid-winter,
+there may be a fitness in Mrs. Quickly's looking forward to
+"a posset at night, at the latter end of a sea-coal fire," for it
+was a "raw rheumatick day" (act iii, sc. 1), in Pistol's&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Take heed, ere summer comes, or cuckoo birds do sing,"<br /></span>
+</div></div>
+
+<p>in Ford's "birding" and "hawking," and in the concluding
+words&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i9">"Let us every one go home,<br /></span>
+<span class="i0">And laugh this sport o'er by a country fire" (act v, sc. 5);<br /></span>
+</div></div>
+
+<p>but it is not in accordance with the literature of the day to
+have fairies dancing at midnight in the depth of winter.</p>
+
+<p><i>Twelfth Night.</i> We know that the whole of this play
+occupies but a few days, and is chiefly "matter for a May
+morning." This gives emphasis to Olivia's oath, "By the
+roses of the Spring .&nbsp;.&nbsp;. I love thee so" (act ii, sc. 4).</p>
+
+<p><i>Much Ado.</i> The season must be summer. There is the
+sitting out of doors in the "still evening, hushed on purpose
+to grace harmony;" and it is the time of year for the full
+leafage when Beatrice might</p>
+
+<p><span class="pagenum"><a name="Page_386" id="Page_386"></a>[<a href="./images/386.png">386</a>]</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i3">"Steal into the pleached bower,<br /></span>
+<span class="i0">Where honeysuckles, ripen'd by the sun,<br /></span>
+<span class="i0">Forbid the sun to enter" (act iii, sc. 1).<br /></span>
+</div></div>
+
+<p><i>Midsummer Night's Dream.</i> The name marks the season,
+and there is a profusion of flowers to mark it too. It may
+seem strange to us to have "Apricocks" at the end of June,
+but in speaking of the seasons of Shakespeare and others it
+should be remembered that their days were twelve days later
+than ours of the same names; and if to this is added the
+variation of a fortnight or three weeks, which may occur in
+any season in the ripening of a fruit, "apricocks" might
+well be sometimes gathered on their Midsummer day. But
+I do not think even this elasticity will allow for the ripening
+of mulberries and purple grapes at that time, and scarcely
+of figs. The scene, however, being laid in Athens and in
+fairyland, must not be too minutely criticized in this respect.
+But with the English plants the time is more accurately
+observed. There is the "<i>green</i> corn;" the "dewberries,"
+which in a forward season may be gathered early in July;
+the "lush woodbine" in the fulness of its lushness at that
+time; the pansies, or "love-in-idleness," which (says Gerard)
+"flower not onely in the spring, but for the most part all
+sommer thorowe, even untill autumne;" the "sweet musk-roses
+and the eglantine," also in flower then, though the
+musk-roses, being rather late bloomers, would show more of
+the "musk-rose buds" in which Titania bid the elves "kill
+cankers" than of the full-blown flower; while the thistle
+would be exactly in the state for "Mounsieur Cobweb" to
+"kill a good red-hipped humble bee on the top of it" to
+"bring the honey-bag" to Bottom. Besides these there are
+the flowers on the "bank where the wild thyme blows;
+where oxlips and the nodding violet grows," and I think the
+distinction worth noting between the "<i>blowing</i>" of the wild
+thyme, which would then be at its fullest, and the "<i>growing</i>"
+of the oxlips and the violet, which had passed their
+time of blowing, but the living plants continued "growing."<a name="FNanchor_386:1_237" id="FNanchor_386:1_237"></a><a href="#Footnote_386:1_237" class="fnanchor">[386:1]</a></p>
+
+<p><span class="pagenum"><a name="Page_387" id="Page_387"></a>[<a href="./images/387.png">387</a>]</span>
+<i>Love's Labour's Lost.</i> The general tone of the play points
+to the full summer, the very time when we should expect to
+find Boyet thinking "to close his eyes some half an hour
+under the cool shade of a sycamore" (act v, sc. 2).</p>
+
+<p><i>All's Well that Ends Well.</i> There is a pleasant note of
+the season in&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The time will bring on summer,<br /></span>
+<span class="i0i">When briars will have leaves as well as thorns,<br /></span>
+<span class="i0i">And be as sweet as sharp" (act iv, sc. 4);<br /></span>
+</div></div>
+
+<p>but probably that is only a proverbial expression of hopefulness,
+and cannot be pushed further.</p>
+
+<p><i>Winter's Tale.</i> There seems some little confusion in the
+season of the fourth act&mdash;the feast for the sheep-shearing,
+which is in the very beginning of summer&mdash;yet Perdita dates
+the season as "the year growing ancient"&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Nor yet on summer's death, nor on the birth<br /></span>
+<span class="i0i">Of trembling winter"&mdash;<br /></span>
+</div></div>
+
+<p>and gives Camillo the "flowers of middle summer." The
+flowers named are all summer flowers; carnations or gilliflowers,
+lavender, mints, savory, marjoram, and marigold.</p>
+
+<p><i>Richard II.</i> There are several marked and well-known
+dates in this play, but they are not much marked by the
+flowers. The intended combat was on St. Lambert's day
+(17th Sept.), but there is no allusion to autumn flowers. In
+act iii, sc. 3, which we know must be placed in August,
+there is, besides the mention of the summer dust, King
+Richard's sad strain&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Our sighs, and they (tears) shall lodge the summer corn,"<br /></span>
+</div></div>
+
+<p>and in the same act we have the gardener's orders to trim
+the rank summer growth of the "dangling apricocks," while
+in the last act, which must be some months later, we have
+the Duke of York speaking of "this new spring of time,"
+and the Duchess asking&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i8h">"Who are the violets now<br /></span>
+<span class="i0">That strew the green lap of the new-come spring?"<br /></span>
+</div></div>
+
+<p>and though in both cases the words may be used proverbially,
+<span class="pagenum"><a name="Page_388" id="Page_388"></a>[<a href="./images/388.png">388</a>]</span>yet it seems also probable that they may have been suggested
+by the time of year.</p>
+
+<p><i>2nd Henry IV.</i> There is one flower-note in act ii, sc. 4,
+where the Hostess says to Falstaff, "Fare thee well! I have
+known thee these twenty-five years come peascod time," of
+which it can only be said that it must have been spoken at
+some other time than the summer.</p>
+
+<p><i>Henry V.</i> The exact season of act v, sc. 1, is fixed by
+St. David's day (March 1) and the leek.</p>
+
+<p><i>1st Henry VI.</i> The scene in the Temple gardens
+(act ii, sc. 4), where all turned on the colour of the roses,
+must have been at the season when the roses were in full
+bloom, say June.</p>
+
+<p><i>Richard III.</i> Here too the season of act ii, sc. 4, is fixed
+by the ripe strawberries brought by the Bishop of Ely to
+Richard. The exact date is known to be June 13, 1483.</p>
+
+<p><i>Timon of Athens.</i> An approximate season for act iv,
+sc. 3, might be guessed from the medlar offered by Apemantus
+to Timon. Our medlars are ripe in November.</p>
+
+<p><i>Antony and Cleopatra.</i> The figs and fig-leaves brought
+to Cleopatra give a slight indication of the season of
+act v.<a name="FNanchor_388:1_238" id="FNanchor_388:1_238"></a><a href="#Footnote_388:1_238" class="fnanchor">[388:1]</a></p>
+
+<p><i>Cymbeline.</i> Here there is a more distinct plant-note of
+the season of act i, sc. 3. The queen and her ladies,
+"whiles yet the dew's on ground, gather flowers," which at
+the end of the scene we are told are violets, cowslips, and
+primroses, the flowers of the spring. In the fourth act
+Lucius gives orders to "find out the prettiest daisied plot
+we can," to make a grave for Cloten; but daisies are too
+long in flower to let us attempt to fix a date by them.</p>
+
+<p><i>Hamlet.</i> In this play the season intended is very distinctly
+marked by the flowers. The first act must certainly
+be some time in the winter, though it may be the end of
+winter or early spring&mdash;"The air bites shrewdly, it is very
+cold." Then comes an interval of two months or more,
+<span class="pagenum"><a name="Page_389" id="Page_389"></a>[<a href="./images/389.png">389</a>]</span>and Ophelia's madness must be placed in the early summer,
+<i>i.e.</i>, in the end of May or the beginning of June; no other
+time will all the flowers mentioned fit, but for that time they
+are exact. The violets were "all withered;" but she could
+pick fennel and columbines, daisies and pansies in abundance,
+while the evergreen rosemary and rue ("which we
+may call Herb of Grace on Sundays") would be always
+ready. It was the time of year when trees were in their full
+leafage, and so the "willow growing aslant the brook
+would show its hoar leaves in the glassy stream," while its
+"slivers," would help her in making "fantastic garlands"
+"of crow-flowers, nettles, daisies, and long purples," or
+"dead men's fingers," all of which she would then be able
+to pick in abundance in the meadows, but which in a few
+weeks would be all gone. Perhaps the time of year may
+have suggested to Laertes that pretty but sad address to his
+sister,</p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">"O Rose of May!<br /></span>
+<span class="i0">Dear maid, kind sister, sweet Ophelia!"<br /></span>
+</div></div>
+
+<p><i>Titus Andronicus.</i> There is a plant-note in act ii,
+sc. 2&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"The trees, though summer, yet forlorn and lean,<br /></span>
+<span class="i0i">O'ercome with moss and baleful mistletoe."<br /></span>
+</div></div>
+
+<p><i>Romeo and Juliet.</i> A slight plant-note of the season
+may be detected in the nightly singing of the nightingale in
+the pomegranate tree in the third act.</p>
+
+<p><i>King Lear.</i> The plants named point to one season only,
+the spring. At no other time could the poor mad king
+have gone singing aloud,</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Crowned with rank fumiter and furrow-weeds,<br /></span>
+<span class="i0i">With harlock, hemlocks, nettles, cuckoo-flowers,<br /></span>
+<span class="i0i">And darnel."<br /></span>
+</div></div>
+
+<p>I think this would also be the time for gathering the fresh
+shoots of the samphire; but I do not know this for certain.<a name="FNanchor_389:1_239" id="FNanchor_389:1_239"></a><a href="#Footnote_389:1_239" class="fnanchor">[389:1]</a></p>
+
+<p><span class="pagenum"><a name="Page_390" id="Page_390"></a>[<a href="./images/390.png">390</a>]</span>
+<i>Two Noble Kinsmen.</i> Here the season is distinctly
+stated for us by the poet. The scene is laid in May, and
+the flowers named are all in accordance&mdash;daffodils, daisies,
+marigolds, oxlips, primrose, roses, and thyme.</p>
+
+<p>I cannot claim any great literary results from this inquiry
+into the seasons of Shakespeare as indicated by the flowers
+named; on the contrary, I must confess that the results are
+exceedingly small&mdash;I might almost say, none at all&mdash;still I
+do not regret the time and trouble that the inquiry has
+demanded of me. In every literary inquiry the value of the
+research is not to be measured by the visible results. It is
+something even to find out that there are no results, and so
+save trouble to future inquirers. But in this case the research
+has not been altogether in vain. Every addition,
+however small, to the critical study of our great Poet has its
+value; and to myself, as a student of the Natural History
+of Shakespeare, the inquiry has been a very pleasant one,
+because it has confirmed my previous opinion, that even in
+such common matters as the names of the most familiar
+every-day plants he does not write in a careless hap-hazard
+way, naming just the plant that comes uppermost in his
+thoughts, but that they are all named in the most careful
+and correct manner, exactly fitting into the scenes in which
+they are placed, and so giving to each passage a brightness
+and a reality which would be entirely wanting if the plants
+were set down in the ignorance of guess-work. Shakespeare
+knew the plants well; and though his knowledge is never
+paraded, by its very thoroughness it cannot be hid.</p>
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_386:1_237" id="Footnote_386:1_237"></a><a href="#FNanchor_386:1_237"><span class="label">[386:1]</span></a> If "the rite of May" (act iv, sc. 1) is to be strictly limited to May-Day,
+the title of a "<i>Midsummer</i> Night's Dream" does not apply. The
+difficulty can only be met by supposing the scene to be laid at any night
+in May, even in the last night, which would coincide with our 12th of
+June.</p></div>
+
+<div class="footnote"><p><a name="Footnote_388:1_238" id="Footnote_388:1_238"></a><a href="#FNanchor_388:1_238"><span class="label">[388:1]</span></a> "The Alexandrine figs are of the black kind having a white rift or
+Chanifre, and are surnamed Delicate.&nbsp;.&nbsp;.&nbsp;. Certain figs there be,
+which are both early and also lateward; .&nbsp;.&nbsp;.&nbsp;. they are ripe first in
+harvest, and afterwards in time of vintage; .&nbsp;.&nbsp;.&nbsp;. also some there be
+which beare thrice a year" (Pliny, <i>Nat. Hist.</i> b. xv., c. 18, P.
+Holland's translation, 1601).</p></div>
+
+<div class="footnote"><p><a name="Footnote_389:1_239" id="Footnote_389:1_239"></a><a href="#FNanchor_389:1_239"><span class="label">[389:1]</span></a> The objection to fixing the date of the play in spring is that Cordelia
+bids search to be made for Lear "in every acre of the high-grown
+field." If this can only refer to a field of corn at its full growth, there
+is a confusion of seasons. But if the larger meaning is given to "field,"
+which it bears in "flowers of the field," "beasts of the field," the confusion
+is avoided. The words would then refer to the wild overgrowth
+of an open country.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_391" id="Page_391"></a>[<a href="./images/391.png">391</a>]</span></p>
+<h2>APPENDIX III.</h2>
+
+<h3><i>NAMES OF PLANTS.</i></h3>
+
+
+<table class="poetryt" summary="almond reference" style="width: 80%;" cellpadding="2" cellspacing="1" border="0">
+<tr>
+  <td style="width: 5%;">&nbsp;</td>
+  <td class="tdleftt" style="width: 15%;"><i>Juliet.</i></td>
+  <td class="tdleft">What's in a name? That which we call a Rose<br />
+By any other name would smell as sweet.</td>
+</tr>
+<tr>
+  <td class="tdright" colspan="3"><i>Romeo and Juliet</i>, act ii, sc. 2.</td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="Page_392" id="Page_392"></a>[<a href="./images/392.png">392</a>]</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_393" id="Page_393"></a>[<a href="./images/393.png">393</a>]</span></p>
+<div class="img">
+<img src="./images/plantloreillop393.png" alt="mermainds and dolphins decoration" title="decoration" width="70%" />
+</div>
+
+
+<h2>NAMES OF PLANTS.</h2>
+
+<p><span class="dropcapf"><span class="dropcap">F</span></span>INDING that many are interested in
+the old names of the plants named
+by Shakespeare, I give in this appendix
+the names of the plants,
+showing at one view how they were
+written and explained by different
+writers in the fifteenth and sixteenth
+centuries. The list might have
+been very largely increased, especially
+by giving the forms used at
+an earlier date, but my object is to show the forms of the
+names in which they were (or might have been) familiar to
+Shakespeare. The authors quoted are these:</p>
+
+<table summary="sources of plant names used by Shakespeare" style="margin-left: 10%;" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdleft">1440. "Promptorium Parvulorum."</td>
+</tr>
+<tr>
+  <td class="tdleft">1483. "Catholicon Anglicum."</td>
+</tr>
+<tr>
+  <td class="tdleft">1548. Turner's "Names of Herbes," and "Herbal," 1568.</td>
+</tr>
+<tr>
+  <td class="tdleft">1597. Gerard's "Herbal."</td>
+</tr>
+<tr>
+  <td class="tdleft">1611. Cotgrave's "Dictionarie."<a name="FNanchor_393:1_240" id="FNanchor_393:1_240"></a><a href="#Footnote_393:1_240" class="fnanchor">[393:1]</a></td>
+</tr>
+</table>
+
+
+<h3><span class="smcap">Aconitum.</span></h3>
+
+<p><i>Turner.</i> Aconitum.</p>
+
+<p><i>Gerard.</i> Of Wolfes-banes and Monkeshoods.</p>
+
+<p><i>Cotgrave.</i> Aconit; Aconitum, <i>A most venemous hearbe, of two
+principall kindes</i>; viz., <i>Libbard's-bane, and Wolfe-bane</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_394" id="Page_394"></a>[<a href="./images/394.png">394</a>]</span></p>
+<h3><span class="smcap">Acorn.</span></h3>
+
+<p><i>Promptorium.</i> Accorne, or archarde, frute of the oke; <i>Glans</i>.</p>
+
+<p><i>Catholicon.</i> An Acorne; <i>h&aelig;c glans dis, hec glandicula</i>.</p>
+
+<p><i>Cotgrave.</i> Gland; <i>An Acorne</i>; <i>Mast of Oakes or other trees</i>.</p>
+
+
+<h3><span class="smcap">Almond.</span></h3>
+
+<p><i>Promptorium.</i> Almaund, frute; <i>Amigdalum</i>.</p>
+
+<p><i>Catholicon.</i> An Almond tre; <i>amigdalus</i>.</p>
+
+<p><i>Turner.</i> The Almon tree.</p>
+
+<p><i>Gerard.</i> The Almond tree.</p>
+
+<p><i>Cotgrave.</i> Amygdales; <i>Almonds</i>.</p>
+
+
+<h3><span class="smcap">Aloes.</span></h3>
+
+<p><i>Turner.</i> Aloe.</p>
+
+<p><i>Gerard.</i> Of Herbe Aloe, or Sea Houseleeke.</p>
+
+<p><i>Cotgrave.</i> Alo&euml;s; <i>The hearbe Aloes</i>, <i>Sea Houseleeke</i>, <i>Sea aigreen</i>.</p>
+
+
+<h3><span class="smcap">Apple.</span></h3>
+
+<p><i>Promptorium.</i> Appule, frute; <i>Pomum</i>, <i>malum</i>.</p>
+
+<p><i>Catholicon.</i> An Appylle; <i>pomum</i>, <i>malum</i>, <i>pomulum</i>.</p>
+
+<p><i>Turner.</i> Apple tree.</p>
+
+<p><i>Gerard.</i> The Apple tree.</p>
+
+<p><i>Cotgrave.</i> Pomme; <i>An Apple</i>.</p>
+
+
+<h3><span class="smcap">Apricots.</span></h3>
+
+<p><i>Turner.</i> Abricok.</p>
+
+<p><i>Gerard.</i> The Aprecocke or Abrecocke tree.</p>
+
+<p><i>Cotgrave.</i> Abricot; <i>The Abricot, or Apricocke Plum</i>.</p>
+
+
+<h3><span class="smcap">Ash.</span></h3>
+
+<p><i>Promptorium.</i> Asche tre; <i>Fraxinus</i>.</p>
+
+<p><i>Turner.</i> Ashe tree.</p>
+
+<p><i>Gerard.</i> The Ash tree.</p>
+
+<p><i>Cotgrave.</i> Fraisne; <i>An Ash tree</i>.</p>
+
+
+<h3><span class="smcap">Aspen.</span></h3>
+
+<p><i>Promptorium.</i> Aspe tre; <i>Tremulus</i>.</p>
+
+<p><i>Turner.</i> Asp tree.</p>
+
+<p><i>Gerard.</i> The Aspen tree.</p>
+
+<p><i>Cotgrave.</i> Tremble; <i>An Aspe or Aspen tree</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_395" id="Page_395"></a>[<a href="./images/395.png">395</a>]</span></p>
+<h3><span class="smcap">Balm and Balsam.</span></h3>
+
+<p><i>Promptorium.</i> Bawme, herbe or tre; <i>Balsamus</i>, <i>melissa</i>, <i>melago</i>.</p>
+
+<p><i>Catholicon.</i> Balme; <i>balsamum</i>, <i>colo balsamum</i>, <i>filo balsamum</i>,
+<i>opobalsamum</i>.</p>
+
+<p><i>Turner.</i> Baume.</p>
+
+<p><i>Gerard.</i> Balme or Balsam tree.</p>
+
+<p><i>Cotgrave.</i> Basme; <i>Balme</i>, <i>balsamum, or more properly the
+balsamum tree, from which distils our Balme</i>.</p>
+
+
+<h3><span class="smcap">Barley.</span></h3>
+
+<p><i>Promptorium.</i> Barlycorne; <i>Ordeum</i>, <i>triticum</i>.</p>
+
+<p><i>Catholicon.</i> Barly; <i>Ordeum</i>, <i>ordeolum</i>.</p>
+
+<p><i>Turner.</i> Barley.</p>
+
+<p><i>Gerard.</i> Of Barley.</p>
+
+<p><i>Cotgrave.</i> Orge; <i>Barlie</i>.</p>
+
+
+<h3><span class="smcap">Barnacle.</span></h3>
+
+<p><i>Catholicon.</i> A Barnakylle; avis est.</p>
+
+<p><i>Gerard.</i> Of the Goose tree, Barnacle tree, or the tree bearing
+geese.</p>
+
+<p><i>Cotgrave.</i> Bernaque; <i>The foule called a Barnacle</i>.</p>
+
+
+<h3><span class="smcap">Bay.</span></h3>
+
+<p><i>Promptorium.</i> Bay, frute; <i>Bacca</i>.</p>
+
+<p><i>Catholicon.</i> A Bay; <i>bacca, est fructus lauri et olive</i>.</p>
+
+<p><i>Turner.</i> Bay tree.</p>
+
+<p><i>Gerard.</i> Of the Bay or Laurel tree.</p>
+
+<p><i>Cotgrave.</i> Laurier; <i>A Laurell or Bay tree</i>.</p>
+
+
+<h3><span class="smcap">Beans.</span></h3>
+
+<p><i>Promptorium.</i> Bene corne; <i>Faba</i>.</p>
+
+<p><i>Catholicon.</i> A Bene; <i>faba</i>, <i>fabella</i>.</p>
+
+<p><i>Turner.</i> Beane.</p>
+
+<p><i>Gerard.</i> Beane and his kinds.</p>
+
+<p><i>Cotgrave.</i> Febue; <i>A Beane</i>.</p>
+
+
+<h3><span class="smcap">Bilberry.</span></h3>
+
+<p><i>Catholicon.</i> A Blabery.</p>
+
+<p><i>Cotgrave.</i> Hurelles; <i>Whoortle berries</i>, <i>wyn-berries</i>, <i>Bill-berries</i>,
+<i>Bull-berries</i>.</p>
+
+
+<h3><span class="smcap">Birch.</span></h3>
+
+<p><i>Promptorium.</i> Byrche tre; <i>Lentiscus</i>, <i>cinus</i>.</p>
+
+<p><i>Catholicon.</i> Byrke; <i>Lentiscus</i>.</p>
+
+<p><span class="pagenum"><a name="Page_396" id="Page_396"></a>[<a href="./images/396.png">396</a>]</span>
+<i>Turner.</i> Birch tree; Birke tree.</p>
+
+<p><i>Gerard.</i> Of the Birch tree.</p>
+
+<p><i>Cotgrave.</i> Bouleau; <i>Birche</i>.</p>
+
+
+<h3><span class="smcap">Blackberries.</span></h3>
+
+<p><i>Turner.</i> Blake bery bush.</p>
+
+<p><i>Gerard.</i> Blacke-berry.</p>
+
+<p><i>Cotgrave.</i> Meuron; <i>A blacke, or bramble berrie</i>.</p>
+
+
+<h3><span class="smcap">Box.</span></h3>
+
+<p><i>Promptorium.</i> Box tre; <i>Buxus</i>.</p>
+
+<p><i>Catholicon.</i> A Box tre; <i>buxus buxum</i>.</p>
+
+<p><i>Turner.</i> Box.</p>
+
+<p><i>Gerard.</i> Of the Box tree.</p>
+
+<p><i>Cotgrave.</i> Blanc bois; <i>Box</i>, <i>&amp;c.</i></p>
+
+
+<h3><span class="smcap"><a name="App_III_Bramble" id="App_III_Bramble"></a>Bramble.</span></h3>
+
+<p><i>Promptorium.</i> Brymbyll.</p>
+
+<p><i>Turner.</i> Bramble bushe.</p>
+
+<p><i>Gerard.</i> Of the Bramble or blacke-berry bush.</p>
+
+<p><i>Cotgrave.</i> Ronce; <i>A Bramble or Brier</i>.</p>
+
+
+<h3><span class="smcap">Brier.</span></h3>
+
+<p><i>Promptorium.</i> Brere or Brymmeylle; <i>Tribulus</i>, <i>vepris</i>.</p>
+
+<p><i>Catholicon.</i> A Brere; <i>carduus</i>, <i>tribulus</i>, <i>vepres</i>, <i>veprecula</i>.</p>
+
+<p><i>Turner.</i> Brier tree.</p>
+
+<p><i>Gerard.</i> The Brier or Hep tree.</p>
+
+<p><i>Cotgrave.</i> See <span class="smcap"><a href="#App_III_Bramble">Bramble</a></span>.</p>
+
+
+<h3><span class="smcap">Broom.</span></h3>
+
+<p><i>Promptorium.</i> Brome, brusche; <i>Genesta</i>, <i>mirica</i>.</p>
+
+<p><i>Catholicon.</i> Brune; <i>genesta</i>, <i>merica</i>, <i>tramarica</i>.</p>
+
+<p><i>Turner.</i> Broume.</p>
+
+<p><i>Gerard.</i> Broome.</p>
+
+<p><i>Cotgrave.</i> Genest; <i>Broome</i>.</p>
+
+
+<h3><span class="smcap">Bulrush.</span></h3>
+
+<p><i>Promptorium.</i> Holrysche or Bulrysche; <i>Papirus</i>.</p>
+
+<p><i>Cotgrave.</i> Jonc; <i>A Rush, or Bulrush</i>.</p>
+
+
+<h3><span class="smcap">Burs and Burdock.</span></h3>
+
+<p><i>Catholicon.</i> A Burre; <i>bardona</i>, <i>glis</i>, <i>lappa</i>, <i>paliurus</i>.</p>
+
+<p><i>Turner.</i> Clote Bur.</p>
+
+<p><i>Gerard.</i> Clote Burre, or Burre Docke.</p>
+
+<p><i>Cotgrave.</i> Bardane la grande; <i>The burre-dock</i>, <i>clote</i>, <i>bur</i>, <i>great
+burre</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_397" id="Page_397"></a>[<a href="./images/397.png">397</a>]</span></p>
+<h3><span class="smcap">Burnet.</span></h3>
+
+<p><i>Turner.</i> Burnet.</p>
+
+<p><i>Gerard.</i> Burnet.</p>
+
+<p><i>Cotgrave.</i> Pimpinelle; <i>Burnet</i>.</p>
+
+
+<h3><span class="smcap">Cabbage.</span></h3>
+
+<p><i>Turner.</i> Colewurtes.</p>
+
+<p><i>Gerard.</i> Cabbage or Colewort.</p>
+
+<p><i>Cotgrave.</i> Chou Cabu; <i>Cabbage</i>, <i>White Colewort</i>, <i>headed Colewort</i>,
+<i>leafed Cabbage</i>, <i>round Cabbage Cole</i>.</p>
+
+
+<h3><span class="smcap">Camomile.</span></h3>
+
+<p><i>Promptorium.</i> <i>Camamilla.</i></p>
+
+<p><i>Catholicon.</i> Camomelle; <i>Camomillum</i>.</p>
+
+<p><i>Turner.</i> Camomyle.</p>
+
+<p><i>Gerard.</i> Of Cammomill.</p>
+
+<p><i>Cotgrave.</i> Camomille; <i>The hearbe Camamell or Camomill</i>.</p>
+
+
+<h3><span class="smcap">Carnations.</span></h3>
+
+<p><i>Gerard.</i> Some are called Carnations.</p>
+
+
+<h3><span class="smcap">Carraways.</span></h3>
+
+<p><i>Promptorium.</i> Caraway herbe; <i>Carwy, sic scribitur in campo
+florum</i>.</p>
+
+<p><i>Turner.</i> Caruways.</p>
+
+<p><i>Gerard.</i> Of Caruwaies.</p>
+
+<p><i>Cotgrave.</i> Carvi; <i>Caroways, or Caroway seed</i>.</p>
+
+
+<h3><span class="smcap">Carrot.</span></h3>
+
+<p><i>Turner.</i> Carot.</p>
+
+<p><i>Gerard.</i> Of Carrots.</p>
+
+<p><i>Cotgrave.</i> Carote; <i>The Carrot (root or hearbe)</i>.</p>
+
+
+<h3><span class="smcap">Cedar.</span></h3>
+
+<p><i>Promptorium.</i> Cedyr tree; <i>Cedrus</i>.</p>
+
+<p><i>Catholicon.</i> A Cedir tre; <i>Cedrus</i>, <i>Cedra</i>; <i>Cedrinus</i>.</p>
+
+<p><i>Gerard.</i> Of the Cedar tree.</p>
+
+<p><i>Cotgrave.</i> Cedre; <i>The Cedar tree</i>.</p>
+
+
+<h3><span class="smcap">Cherry.</span></h3>
+
+<p><i>Promptorium.</i> Chery, or Chery frute; <i>Cerasum</i>.</p>
+
+<p><i>Catholicon.</i> A Chery; <i>Cerasum</i>.</p>
+
+<p><i>Gerard.</i> The Cherry tree.</p>
+
+<p><i>Cotgrave.</i> Cerise; <i>A Cherrie</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_398" id="Page_398"></a>[<a href="./images/398.png">398</a>]</span></p>
+<h3><span class="smcap">Chestnuts.</span></h3>
+
+<p><i>Promptorium.</i> Castany, frute or tre; <i>idem</i>, <i>Castanea</i>.</p>
+
+<p><i>Catholicon.</i> A Chestan; <i>balanus</i>, <i>Castanea</i>.</p>
+
+<p><i>Turner.</i> Chesnut tree.</p>
+
+<p><i>Gerard.</i> The Chestnut tree.</p>
+
+<p><i>Cotgrave.</i> Chastaignier; <i>A Chessen, or Chestnut, tree</i>.</p>
+
+
+<h3><span class="smcap">Clover.</span></h3>
+
+<p><i>Turner.</i> Claver.</p>
+
+<p><i>Gerard.</i> Three-leaved grass; Claver.</p>
+
+<p><i>Cotgrave.</i> Treffle; <i>Trefoil</i>, <i>Clover</i>, <i>Three-leaved Grasse</i>.</p>
+
+
+<h3><span class="smcap">Cloves.</span></h3>
+
+<p><i>Promptorium.</i> Clowe, spyce; <i>Gariofolus</i>.</p>
+
+<p><i>Catholicon.</i> A Clowe; <i>garifolus, species est</i>.</p>
+
+<p><i>Gerard.</i> The Clove tree.</p>
+
+<p><i>Cotgrave.</i> Girofle, cloux de Girofle; <i>Cloves</i>.</p>
+
+
+<h3><span class="smcap">Cockle.</span></h3>
+
+<p><i>Promptorium.</i> Cokylle, wede; <i>Nigella</i>, <i>lollium</i>, <i>zizania</i>.</p>
+
+<p><i>Catholicon.</i> Cokylle; <i>qu&aelig;dam aborigo</i>, <i>zazannia</i>.</p>
+
+<p><i>Turner.</i> Cockel.</p>
+
+<p><i>Gerard.</i> Cockle.</p>
+
+
+<h3><span class="smcap">Coloquintida.</span></h3>
+
+<p><i>Turner.</i> Coloquintida.</p>
+
+<p><i>Gerard.</i> The wilde Citrull, or Coloquintida.</p>
+
+<p><i>Cotgrave.</i> Coloquinthe; <i>The wilde and fleme-purging Citrull
+Coloquintida</i>.</p>
+
+
+<h3><span class="smcap">Columbine.</span></h3>
+
+<p><i>Promptorium.</i> Columbyne, herbe; <i>Columbina</i>.</p>
+
+<p><i>Catholicon.</i> Columbyne; <i>Columbina</i>.</p>
+
+<p><i>Gerard.</i> Columbine.</p>
+
+<p><i>Cotgrave.</i> Colombin; <i>The hearbe Colombine</i>.</p>
+
+
+<h3><span class="smcap">Cork.</span></h3>
+
+<p><i>Promptorium.</i> Corkbarke; <i>Cortex</i>.</p>
+
+<p><i>Catholicon.</i> Corke.</p>
+
+<p><i>Gerard.</i> The Corke Oke.</p>
+
+<p><i>Cotgrave.</i> Liege; <i>Corke</i>.</p>
+
+
+<h3><span class="smcap">Corn.</span></h3>
+
+<p><i>Promptorium.</i> Corne; <i>Granum</i>, <i>gramen</i>.</p>
+
+<p><i>Catholicon.</i> Corn; <i>Granum</i>, <i>bladum</i>, <i>annona</i>, <i>seges</i>.</p>
+
+<p><i>Gerard.</i> Corne.</p>
+
+<p><i>Cotgrave.</i> Grain; <i>Graine</i>, <i>Corne</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_399" id="Page_399"></a>[<a href="./images/399.png">399</a>]</span></p>
+<h3><span class="smcap">Cowslip.</span></h3>
+
+<p><i>Promptorium.</i> Cowslope, herbe; <i>Herba petri</i>, <i>herba paralysis</i>,
+<i>ligustra</i>.</p>
+
+<p><i>Catholicon.</i> A Cowslope; <i>ligustrum</i>, <i>vaccinium</i>.</p>
+
+<p><i>Turner.</i> Cowslop, Cowslip.</p>
+
+<p><i>Gerard.</i> Cowslips.</p>
+
+<p><i>Cotgrave.</i> Prime-vere; .&nbsp;.&nbsp;. <i>a Cowslip</i>.</p>
+
+
+<h3><span class="smcap">Crabs.</span></h3>
+
+<p><i>Promptorium.</i> Crabbe, appule or frute; <i>Macianum</i>.</p>
+
+<p><i>Catholicon.</i> A Crab of ye wod; <i>acroma ab acritudine dictum</i>.</p>
+
+<p><i>Gerard.</i> The wilding or Crabtree.</p>
+
+<p><i>Cotgrave.</i> Pommier Sauvage; <i>A Crab Tree</i>.</p>
+
+
+<h3><span class="smcap">Crow-flowers.</span></h3>
+
+<p><i>Promptorium.</i> Crowefote, herbe; <i>amarusca vel amarusca emeroydarum,
+pes corvi</i>.</p>
+
+<p><i>Turner.</i> Crowfote.</p>
+
+<p><i>Gerard.</i> Crowfloures or Wilde Williams.</p>
+
+<p><i>Cotgrave.</i> Hyacinthe; <i>The blew, or purple Jacint, or Hyacinth
+flower; we call it also, Crow-toes</i>.</p>
+
+
+<h3><span class="smcap">Crown Imperial.</span></h3>
+
+<p><i>Gerard.</i> The Crowne Imperiall.</p>
+
+<p><i>Cotgrave.</i> Couronne Imperiale; <i>The Imperial Crowne; (a
+goodlie flower)</i>.</p>
+
+
+<h3><span class="smcap">Cuckoo-flowers.</span></h3>
+
+<p><i>Gerard.</i> Wild Water Cresses or Cuckow-floures.</p>
+
+<p><i>Cotgrave.</i> See <span class="smcap"><a href="#App_III_Lady-smocks">Lady-smocks</a></span>.</p>
+
+
+<h3><span class="smcap">Currants.</span></h3>
+
+<p><i>Catholicon.</i> Rasyns of Coran; <i>uvapassa</i>.</p>
+
+<p><i>Turner.</i> Rasin tree.</p>
+
+<p><i>Gerard.</i> Corans or Currans, or rather Raisins of Corinth.</p>
+
+<p><i>Cotgrave.</i> Raisins de Corinthe; <i>Currans, or small Raisins</i>.</p>
+
+
+<h3><span class="smcap">Cypress.</span></h3>
+
+<p><i>Promptorium.</i> Cypresse, tre; <i>Cipressus</i>.</p>
+
+<p><i>Catholicon.</i> A Cipirtre; <i>cipressus</i>, <i>cipressimus</i>.</p>
+
+<p><i>Turner.</i> Cypresse tree.</p>
+
+<p><i>Gerard.</i> The Cypresse tree.</p>
+
+<p><i>Cotgrave.</i> Cypr&eacute;s; <i>The Cyprus Tree</i>; <i>or Cyprus wood</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_400" id="Page_400"></a>[<a href="./images/400.png">400</a>]</span></p>
+<h3><span class="smcap">Daffodils.</span></h3>
+
+<p><i>Promptorium.</i> Affodylle herbe; <i>Affodillus</i>, <i>albucea</i>.</p>
+
+<p><i>Catholicon.</i> An Affodylle; <i>Affodillus, harba est</i>.</p>
+
+<p><i>Turner.</i> Affodill, Daffadyll.</p>
+
+<p><i>Gerard.</i> Daffodils.</p>
+
+<p><i>Cotgrave.</i> Asphodile; <i>The Daffadill, Affodill, or Asphodell
+Flower</i>.</p>
+
+
+<h3><span class="smcap">Daisies.</span></h3>
+
+<p><i>Promptorium.</i> Daysy, floure; <i>Consolida minor et major dicitur
+Confery</i>.</p>
+
+<p><i>Catholicon.</i> A Daysy; <i>Consolidum</i>.</p>
+
+<p><i>Turner.</i> Dasie.</p>
+
+<p><i>Gerard.</i> Little Daisies.</p>
+
+<p><i>Cotgrave.</i> Marguerite; <i>A Daisie</i>.</p>
+
+
+<h3><span class="smcap">Damsons.</span></h3>
+
+<p><i>Promptorium.</i> Damasyn', frute; <i>Prunum Damascenum</i>, <i>Coquinella</i>.</p>
+
+<p><i>Catholicon.</i> A Damysyn tre; <i>damiscenus, nixa pro arbore and
+fructu, conquinella</i>.</p>
+
+<p><i>Gerard.</i> The Plum or Damson tree.</p>
+
+<p><i>Cotgrave.</i> Prune de Damas; <i>A Damson or Damask Plumme</i>.</p>
+
+
+<h3><span class="smcap">Darnel.</span></h3>
+
+<p><i>Promptorium.</i> Dernel, a wede; <i>Zizania</i>.</p>
+
+<p><i>Catholicon.</i> Darnelle; <i>Zizannia</i>.</p>
+
+<p><i>Turner.</i> Darnel.</p>
+
+<p><i>Gerard.</i> Darnell.</p>
+
+<p><i>Cotgrave.</i> Yvraye; <i>The vicious graine called Ray, or Darnell</i>.</p>
+
+
+<h3><span class="smcap">Dates.</span></h3>
+
+<p><i>Promptorium.</i> Date, frute; <i>Dactilus</i>.</p>
+
+<p><i>Catholicon.</i> A Date; <i>dactulus</i>, <i>dactilicus</i>.</p>
+
+<p><i>Turner.</i> Date tre.</p>
+
+<p><i>Gerard.</i> The Date tree.</p>
+
+<p><i>Cotgrave.</i> Dacte; <i>A Date</i>.</p>
+
+
+<h3><span class="smcap">Docks.</span></h3>
+
+<p><i>Promptorium.</i> Dockeweede; <i>Padella</i>.</p>
+
+<p><i>Catholicon.</i> A Dokan; <i>paradilla</i>, <i>emula</i>, <i>farella</i>.</p>
+
+<p><i>Turner.</i> Docke.</p>
+
+<p><i>Gerard.</i> Docks.</p>
+
+<p><i>Cotgrave.</i> Parelle; <i>The hearbe Dockes</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_401" id="Page_401"></a>[<a href="./images/401.png">401</a>]</span></p>
+<h3><span class="smcap">Dogberry.</span></h3>
+
+<p><i>Turner.</i> Dog tree.</p>
+
+<p><i>Gerard.</i> The female Cornell or Dog-berry tree.</p>
+
+<p><i>Cotgrave.</i> Cornillier femelle; <i>Hounds-tree</i>, <i>Dog-berrie tree</i>,
+<i>Prick-tymber tree</i>; <i>Gaten, or Gater, tree</i>.</p>
+
+
+<h3><span class="smcap">Ebony.</span></h3>
+
+<p><i>Promptorium.</i> Eban' tre; <i>Ebanus</i>.</p>
+
+<p><i>Cotgrave</i>. Ebene; <i>The blacke wood called Heben, or Eboine</i>.</p>
+
+
+<h3><span class="smcap">Eglantine.</span></h3>
+
+<p><i>Turner.</i> Egl&#275;tyne or swete brere.</p>
+
+<p><i>Gerard.</i> The Eglantine or Sweet Brier.</p>
+
+<p><i>Cotgrave.</i> Rose sauvage; <i>The Eglantine or Sweet brier Rose</i>.</p>
+
+
+<h3><span class="smcap">Elder.</span></h3>
+
+<p><i>Promptorium.</i> Eldyr or hyldr or hillerne tre; <i>Sambucus</i>.</p>
+
+<p><i>Catholicon.</i> A Bur tre; <i>Sambucus</i>.</p>
+
+<p><i>Turner.</i> Elder tree.</p>
+
+<p><i>Gerard.</i> The Elder tree.</p>
+
+<p><i>Cotgrave.</i> Sureau; <i>An Elder Tree</i>.</p>
+
+
+<h3><span class="smcap">Elm.</span></h3>
+
+<p><i>Promptorium.</i> Elm, tre; <i>Ulmus</i>.</p>
+
+<p><i>Turner.</i> Elme tree.</p>
+
+<p><i>Gerard.</i> The Elme tree.</p>
+
+<p><i>Cotgrave.</i> Orme; <i>an Elme tree</i>.</p>
+
+
+<h3><span class="smcap">Eringoes.</span></h3>
+
+<p><i>Turner.</i> Sea holly, or Sea Hulver.</p>
+
+<p><i>Gerard.</i> Sea Holly.</p>
+
+<p><i>Cotgrave.</i> Chardon marin; <i>The Sea Thistle</i>, <i>Sea Holly</i>, <i>Eringus</i>.</p>
+
+
+<h3><span class="smcap">Fennel.</span></h3>
+
+<p><i>Promptorium.</i> Fenkylle or fenelle; <i>Feniculum vel feniculus</i>.</p>
+
+<p><i>Catholicon.</i> Fennelle or fenkelle; <i>feniculum</i>, <i>maratrum</i>.</p>
+
+<p><i>Turner.</i> Fenel.</p>
+
+<p><i>Gerard</i>. Fennell.</p>
+
+<p><i>Cotgrave.</i> Fenouil; <i>The hearbe Fennell</i>.</p>
+
+
+<h3><span class="smcap">Fern.</span></h3>
+
+<p><i>Promptorium.</i> Brake, herbe or ferne; <i>Filix</i>.</p>
+
+<p><i>Catholicon.</i> Ferne; <i>polipodium</i>, &amp;c.; <i>ubi</i> brak&#257;n (a Brak&#257;n;
+filix).</p>
+
+<p><span class="pagenum"><a name="Page_402" id="Page_402"></a>[<a href="./images/402.png">402</a>]</span>
+<i>Turner.</i> Ferne or brake.</p>
+
+<p><i>Gerard.</i> Ferne.</p>
+
+<p><i>Cotgrave.</i> Feuchiere; <i>Fearne</i>, <i>brakes</i>.</p>
+
+
+<h3><span class="smcap">Figs.</span></h3>
+
+<p><i>Promptorium.</i> Fygge or fyge tre; <i>Ficus</i>.</p>
+
+<p><i>Catholicon.</i> A dry Fige; <i>ficus</i> -<i>i</i>, <i>ficus</i> -<i>us</i>, <i>ficulus</i>.</p>
+
+<p><i>Turner.</i> Fig tree.</p>
+
+<p><i>Gerard.</i> The Fig tree.</p>
+
+<p><i>Cotgrave.</i> Figue; <i>A Fig</i>.</p>
+
+
+<h3><span class="smcap">Filberts.</span></h3>
+
+<p><i>Promptorium.</i> Fylberde, notte; <i>Fillum</i>.</p>
+
+<p><i>Catholicon.</i> A Filbert; <i>Fillium vel fillum</i>.</p>
+
+<p><i>Gerard.</i> The Fillberd Nutt.</p>
+
+<p><i>Cotgrave.</i> Avelaine; <i>A Filbeard</i>.</p>
+
+
+<h3><span class="smcap">Flags.</span></h3>
+
+<p><i>Gerard.</i> Water Flags.</p>
+
+
+<h3><span class="smcap">Flax.</span></h3>
+
+<p><i>Promptorium.</i> Flax; <i>Linum</i>.</p>
+
+<p><i>Catholicon.</i> Lyne; <i>linum</i>.</p>
+
+<p><i>Turner.</i> Flax.</p>
+
+<p><i>Gerard.</i> Garden Flaxe.</p>
+
+<p><i>Cotgrave.</i> Lin; <i>Line</i>, <i>flax</i>.</p>
+
+
+<h3><span class="smcap">Flower-de-luce.</span></h3>
+
+<p><i>Turner.</i> Flour de luce.</p>
+
+<p><i>Gerard.</i> The Floure de-luce.</p>
+
+<p><i>Cotgrave.</i> Iris; <i>The rainbow</i>; <i>also a Flower de luce</i>.</p>
+
+
+<h3><span class="smcap">Fumiter.</span></h3>
+
+<p><i>Promptorium.</i> Fumeter, herbe; <i>Fumus terr&aelig;</i>.</p>
+
+<p><i>Turner.</i> Fumitarie.</p>
+
+<p><i>Gerard.</i> Fumitorie.</p>
+
+<p><i>Cotgrave.</i> Fume-terre; <i>The hearbe Fumitorie</i>.</p>
+
+
+<h3><span class="smcap"><a name="App_III_Furze" id="App_III_Furze"></a>Furze.</span></h3>
+
+<p><i>Promptorium.</i> Fyrrys, or qwyce tre, or gorstys tre; <i>Ruscus</i>.</p>
+
+<p><i>Gerard.</i> Furze, Gorsse, Whin, or prickley Broome.</p>
+
+<p><i>Cotgrave.</i> Genest espineux; <i>Furres</i>, <i>whinnes</i>, <i>gorse</i>, <i>Thorn broome</i>.</p>
+
+
+<h3><span class="smcap">Garlick.</span></h3>
+
+<p><i>Promptorium.</i> Garlekke; <i>Allium</i>.</p>
+
+<p><i>Catholicon.</i> Garleke; <i>Alleum</i>.</p>
+
+<p><span class="pagenum"><a name="Page_403" id="Page_403"></a>[<a href="./images/403.png">403</a>]</span>
+<i>Turner.</i> Garlike.</p>
+
+<p><i>Gerard.</i> Garlicke.</p>
+
+<p><i>Cotgrave.</i> Ail; <i>Garlicke</i>, <i>poore-man's Treacle</i>.</p>
+
+
+<h3><span class="smcap">Gilliflowers.</span></h3>
+
+<p><i>Promptorium.</i> Gyllofre, herbe; <i>Gariophyllus</i>.</p>
+
+<p><i>Turner.</i> Gelover, Gelefloure.</p>
+
+<p><i>Gerard.</i> Clove Gillofloures.</p>
+
+<p><i>Cotgrave.</i> Girofl&eacute;e; <i>A gilloflower, and most properly, the Clove Gilloflower</i>.</p>
+
+
+<h3><span class="smcap">Ginger.</span></h3>
+
+<p><i>Promptorium.</i> Gyngere; <i>Zinziber</i>.</p>
+
+<p><i>Catholicon.</i> Ginger; <i>zinziber</i>, <i>zinzebrum</i>.</p>
+
+<p><i>Gerard.</i> Ginger.</p>
+
+<p><i>Cotgrave.</i> Gingembre; <i>Ginger</i>.</p>
+
+
+<h3><span class="smcap">Gooseberries.</span></h3>
+
+<p><i>Turner.</i> Goosebery bush.</p>
+
+<p><i>Gerard.</i> Goose-berrie or Fea-berry Bush.</p>
+
+<p><i>Cotgrave.</i> Groselles; <i>Gooseberries</i>.</p>
+
+
+<h3><span class="smcap">Gorse.</span></h3>
+
+<p><i>Promptorium.</i> See <span class="smcap"><a href="#App_III_Furze">Furze</a></span>.</p>
+
+<p><i>Gerard.</i> See <span class="smcap"><a href="#App_III_Furze">Furze</a></span>.</p>
+
+<p><i>Cotgrave.</i> See <span class="smcap"><a href="#App_III_Furze">Furze</a></span>.</p>
+
+
+<h3><span class="smcap">Gourd.</span></h3>
+
+<p><i>Promptorium.</i> Goord; <i>Cucumer</i>, <i>cucurbita</i>, <i>colloquintida</i>.</p>
+
+<p><i>Catholicon.</i> A Gourde; <i>Cucumer vel cucumis</i>.</p>
+
+<p><i>Turner.</i> Gourde.</p>
+
+<p><i>Gerard.</i> Gourds.</p>
+
+<p><i>Cotgrave.</i> Courge; <i>The fruit called a Gourd</i>.</p>
+
+
+<h3><span class="smcap">Grapes.</span></h3>
+
+<p><i>Promptorium.</i> Grape; <i>Uva</i>.</p>
+
+<p><i>Catholicon.</i> A Grape; <i>Apiana</i>, <i>botrus</i>, <i>passus</i>, <i>uva</i>.</p>
+
+<p><i>Turner.</i> Grapes.</p>
+
+<p><i>Gerard.</i> Grapes.</p>
+
+<p><i>Cotgrave.</i> Raisin; <i>A Grape, also a Raisin</i>.</p>
+
+
+<h3><span class="smcap">Grass.</span></h3>
+
+<p><i>Promptorium.</i> Gresse, herbe; <i>Herba</i>, <i>gramen</i>.</p>
+
+<p><i>Catholicon.</i> A Gresse; <i>gramen</i>, <i>herba</i>, <i>herbala</i>.</p>
+
+<p><i>Turner.</i> Grasse.</p>
+
+<p><i>Gerard.</i> Grasse.</p>
+
+<p><i>Cotgrave.</i> Herbe; .&nbsp;.&nbsp;. <i>also Grasse</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_404" id="Page_404"></a>[<a href="./images/404.png">404</a>]</span></p>
+<h3><span class="smcap">Harebell.</span></h3>
+
+<p><i>Gerard.</i> Hare-bells.</p>
+
+
+<h3><span class="smcap">Hawthorn.</span></h3>
+
+<p><i>Promptorium.</i> Hawe thorne; <i>ramnus</i>.</p>
+
+<p><i>Catholicon.</i> An Hawe tre; <i>sinus</i>, <i>rampnus</i>.</p>
+
+<p><i>Turner.</i> Hawthorne tree.</p>
+
+<p><i>Gerard.</i> The White Thorne or Hawthorne tree.</p>
+
+<p><i>Cotgrave.</i> Aubespin; <i>The White-thorne or Hawthorne</i>.</p>
+
+
+<h3><span class="smcap">Hazel.</span></h3>
+
+<p><i>Promptorium.</i> Hesyl tre; <i>Colurus</i>, <i>Colurnus</i>.</p>
+
+<p><i>Catholicon.</i> An Heselle; <i>corulus</i>.</p>
+
+<p><i>Turner.</i> Hasyle tree.</p>
+
+<p><i>Gerard.</i> The Hasell tree.</p>
+
+<p><i>Cotgrave.</i> Noisiller; <i>A Hasel, or small nut tree</i>.</p>
+
+
+<h3><span class="smcap">Heath.</span></h3>
+
+<p><i>Promptorium.</i> Hethe; <i>Bruera</i>, <i>bruare</i>.</p>
+
+<p><i>Turner.</i> Heth.</p>
+
+<p><i>Gerard.</i> Heath, Hather, or Linge.</p>
+
+<p><i>Cotgrave.</i> Bruyere; <i>Heath</i>, <i>ling</i>, <i>hather</i>.</p>
+
+
+<h3><span class="smcap">Hebona.</span></h3>
+
+
+<h3><span class="smcap"><a name="App_III_Hemlock" id="App_III_Hemlock"></a>Hemlock.</span></h3>
+
+<p><i>Promptorium.</i> Humlok, herbe; <i>Sicuta</i>, <i>lingua canis</i>.</p>
+
+<p><i>Catholicon.</i> An Hemlok; <i>cicuta</i>, <i>harba benedicta</i>, <i>intubus</i>.</p>
+
+<p><i>Turner.</i> Hemlocke.</p>
+
+<p><i>Gerard.</i> Homlocks or herb Bennet.</p>
+
+<p><i>Cotgrave.</i> Cigne; <i>Hemlocke</i>, <i>Homlocke</i>, <i>hearbe Bennet</i>, <i>Kex</i>.</p>
+
+
+<h3><span class="smcap">Hemp.</span></h3>
+
+<p><i>Promptorium.</i> Hempe; <i>Canabum</i>.</p>
+
+<p><i>Catholicon.</i> Hempe; <i>Canabus</i>, <i>canabum</i>.</p>
+
+<p><i>Turner.</i> Hemp.</p>
+
+<p><i>Gerard.</i> Hempe.</p>
+
+<p><i>Cotgrave.</i> Chanure; <i>Hempe</i>.</p>
+
+
+<h3><span class="smcap">Holly.</span></h3>
+
+<p><i>Promptorium.</i> Holme or holy; <i>Ulmus</i>, <i>hussus</i>.</p>
+
+<p><i>Catholicon.</i> An Holynge; <i>hussus</i>.</p>
+
+<p><i>Gerard.</i> The Holme, Holly, or Hulver tree.</p>
+
+<p><i>Cotgrave.</i> Houx; <i>The Hollie, Holme, or Hulver tree</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_405" id="Page_405"></a>[<a href="./images/405.png">405</a>]</span></p>
+<h3><span class="smcap">Holy Thistle.</span></h3>
+
+<p><i>Turner.</i> Cardo benedictus.</p>
+
+<p><i>Gerard.</i> The Blessed Thistle.</p>
+
+<p><i>Cotgrave.</i> Chardon benoict; <i>Holy Thistle</i>, <i>blessed Thistle</i>. Carduus
+benedictus.</p>
+
+
+<h3><span class="smcap">Honeysuckle.</span></h3>
+
+<p><i>Promptorium.</i> Hony Socle; <i>Abiago</i>.</p>
+
+<p><i>Turner.</i> Honysuccles.</p>
+
+<p><i>Gerard.</i> Woodbinde or Honisuckles.</p>
+
+<p><i>Cotgrave.</i> Chevre-fueille; <i>The Woodbind or Honie-suckle</i>.</p>
+
+
+<h3><span class="smcap">Hyssop.</span></h3>
+
+<p><i>Promptorium.</i> Isope, herbe; <i>Isopus</i>.</p>
+
+<p><i>Catholicon.</i> Isope; <i>ysopus</i>.</p>
+
+<p><i>Turner.</i> Hysope.</p>
+
+<p><i>Gerard.</i> Hyssope.</p>
+
+<p><i>Cotgrave.</i> Hyssope; <i>Hisop</i>.</p>
+
+
+<h3><span class="smcap">Insane Root.</span></h3>
+
+<p><i>Promptorium.</i> Henbane, herbe; <i>Jusquiamus</i>, <i>simphonica</i>, <i>insana</i>.</p>
+
+<p><i>Gerard.</i> Insana (s.v. <span class="smcap">Henbane</span>).</p>
+
+
+<h3><span class="smcap">Ivy.</span></h3>
+
+<p><i>Promptorium.</i> Ivy; <i>Edera</i>.</p>
+
+<p><i>Catholicon.</i> An Iv&#275;n; <i>edera</i>.</p>
+
+<p><i>Gerard.</i> Ivy.</p>
+
+<p><i>Cotgrave.</i> Lierre; <i>Ivie</i>.</p>
+
+
+<h3><span class="smcap">Kecksies.</span></h3>
+
+<p><i>Promptorium.</i> Kyx, or bunne, or drye weed; <i>Calamus</i>.</p>
+
+<p><i>Gerard.</i> Kexe.</p>
+
+<p><i>Cotgrave.</i> <i>See</i> <span class="smcap"><a href="#App_III_Hemlock">Hemlock</a></span>.</p>
+
+
+<h3><span class="smcap">Knot-grass.</span></h3>
+
+<p><i>Turner.</i> Knot grasse.</p>
+
+<p><i>Gerard.</i> Knot-grasses.</p>
+
+<p><i>Cotgrave.</i> Centidoine; <i>Centinodie</i>, <i>Knotgrassa</i>, <i>Waygrasse</i>, &amp;c.</p>
+
+
+<h3><span class="smcap"><a name="App_III_Lady-smocks" id="App_III_Lady-smocks"></a>Lady-smocks.</span></h3>
+
+<p><i>Gerard.</i> Lady-smockes.</p>
+
+<p><i>Cotgrave.</i> Passerage Sauvage; <i>Cuckoe flowers</i>, <i>Ladies-smockes</i>,
+<i>the lesse Water Cresse</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_406" id="Page_406"></a>[<a href="./images/406.png">406</a>]</span></p>
+<h3><span class="smcap">Lark's Heels.</span></h3>
+
+<p><i>Gerard.</i> Larks heele or Larks claw.</p>
+
+<p><i>Cotgrave.</i> Herbe moniale; <i>Wilde Larkes-heele</i>, <i>purple Monkes-flower</i>.</p>
+
+
+<h3><span class="smcap">Laurel.</span></h3>
+
+<p><i>Promptorium.</i> Lauryol, herbe; <i>Laureola</i>.</p>
+
+<p><i>Catholicon.</i> Larielle; <i>laurus</i>.</p>
+
+<p><i>Turner.</i> Laurel tree.</p>
+
+<p><i>Gerard.</i> The Bay or Laurel tree.</p>
+
+<p><i>Cotgrave.</i> Laureole; <i>Lowrie</i>, <i>Lauriell</i>, <i>Spurge Laurell</i>, <i>little
+Laurell</i>.</p>
+
+
+<h3><span class="smcap">Lavender.</span></h3>
+
+<p><i>Promptorium.</i> Lavendere, herbe; <i>Lavendula</i>.</p>
+
+<p><i>Turner.</i> Lauender.</p>
+
+<p><i>Gerard.</i> Lavander Spike.</p>
+
+<p><i>Cotgrave.</i> Lavande; <i>Lavender</i>, <i>Spike</i>.</p>
+
+
+<h3><span class="smcap">Leek.</span></h3>
+
+<p><i>Promptorium.</i> Leek or garleke; <i>Alleum</i>.</p>
+
+<p><i>Catholicon.</i> A Leke; <i>porrum</i>.</p>
+
+<p><i>Turner.</i> Leke.</p>
+
+<p><i>Gerard.</i> Leekes.</p>
+
+<p><i>Cotgrave.</i> Porreau; <i>A Leeke</i>.</p>
+
+
+<h3><span class="smcap">Lemon.</span></h3>
+
+<p><i>Turner.</i> Limones.</p>
+
+<p><i>Gerard.</i> The Limon tree.</p>
+
+<p><i>Cotgrave.</i> Limon; <i>A Lemmon</i>.</p>
+
+
+<h3><span class="smcap">Lettuce.</span></h3>
+
+<p><i>Promptorium.</i> Letuce, herbe; <i>Lactuca</i>.</p>
+
+<p><i>Catholicon.</i> Letuse; <i>lactuca</i>.</p>
+
+<p><i>Turner.</i> Lettis.</p>
+
+<p><i>Gerard.</i> Lettuce.</p>
+
+<p><i>Cotgrave.</i> Laictu&euml;; <i>Lettuce</i>.</p>
+
+
+<h3><span class="smcap">Lily.</span></h3>
+
+<p><i>Promptorium.</i> Lyly, herbe; <i>Lilium</i>.</p>
+
+<p><i>Catholicon.</i> A Lylly; <i>lilium</i>, <i>librellum</i>.</p>
+
+<p><i>Turner.</i> Lily.</p>
+
+<p><i>Gerard.</i> White Lillies.</p>
+
+<p><i>Cotgrave.</i> Lis; <i>A Lillie</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_407" id="Page_407"></a>[<a href="./images/407.png">407</a>]</span></p>
+<h3><span class="smcap">Lime.</span></h3>
+
+<p><i>Promptorium.</i> Lynde tre; <i>Filia</i>.</p>
+
+<p><i>Catholicon. A</i> Linde tre; <i>tilia</i>.</p>
+
+<p><i>Turner.</i> Linden tre.</p>
+
+<p><i>Gerard.</i> The Line or Linden tree.</p>
+
+<p><i>Cotgrave.</i> Til; <i>The Line, Linden, or Teylet tree</i>.</p>
+
+
+<h3><span class="smcap">Ling.</span></h3>
+
+<p><i>Promptorium.</i> Lynge of the hethe; <i>Bruera vel brueria</i>.</p>
+
+<p><i>Turner.</i> Ling.</p>
+
+<p><i>Gerard.</i> Heath, Hather, or Linge.</p>
+
+<p><i>Cotgrave.</i> Bruyere; <i>Heath</i>, <i>ling</i>, <i>hather</i>.</p>
+
+
+<h3><span class="smcap">Locust.</span></h3>
+
+<p><i>Turner.</i> Carobbeanes.</p>
+
+<p><i>Gerard.</i> The Carob tree or St. John's Bread.</p>
+
+
+<h3><span class="smcap">Long Purples.</span></h3>
+
+<p><i>Turner.</i> Hand Satyrion.</p>
+
+
+<h3><span class="smcap">Love-in-idleness.</span></h3>
+
+<p><i>Gerard.</i> Live in idlenesse.</p>
+
+<p><i>Cotgrave.</i> Herbe clavel&eacute;e; <i>Paunsie.&nbsp;.&nbsp;.&nbsp;. Love or live in
+idleness</i>.</p>
+
+
+<h3><span class="smcap">Mace.</span></h3>
+
+<p><i>Promptorium.</i> Macys, spyce; <i>Macie in plur</i>.</p>
+
+<p><i>Catholicon.</i> Mace; <i>Macia</i>.</p>
+
+<p><i>Gerard.</i> Mace.</p>
+
+<p><i>Cotgrave.</i> Macis; <i>The spice called Mace</i>.</p>
+
+
+<h3><span class="smcap">Mallows.</span></h3>
+
+<p><i>Promptorium.</i> Malwe, herbe, <i>Malva</i>.</p>
+
+<p><i>Catholicon.</i> A Malve; <i>Altea</i>, <i>malva</i>.</p>
+
+<p><i>Turner.</i> Mallowe.</p>
+
+<p><i>Gerard.</i> The wilde Mallowes.</p>
+
+<p><i>Cotgrave.</i> Maulve; <i>The hearbe Mallow</i>.</p>
+
+
+<h3><span class="smcap">Mandrakes.</span></h3>
+
+<p><i>Promptorium.</i> Mandragge, herbe; <i>Mandragora</i>.</p>
+
+<p><i>Turner.</i> Mandrage.</p>
+
+<p><i>Gerard.</i> Mandrake.</p>
+
+<p><i>Cotgrave.</i> Mandragore; <i>Mandrake</i>, <i>Mandrage</i>, <i>Mandragon</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_408" id="Page_408"></a>[<a href="./images/408.png">408</a>]</span></p>
+<h3><span class="smcap">Marigold.</span></h3>
+
+<p><i>Promptorium.</i> Golde, heabe; <i>Solsequium, quia sequitur solem</i>, &amp;c.</p>
+
+<p><i>Catholicon.</i> Marigolde; <i>Solsequium, sponsa solis, herba est</i>.</p>
+
+<p><i>Turner.</i> Marygoulde.</p>
+
+<p><i>Gerard.</i> Marigolds.</p>
+
+<p><i>Cotgrave.</i> Soulsi; <i>the Marigold</i>, <i>Ruds</i>.</p>
+
+
+<h3><span class="smcap">Marjoram.</span></h3>
+
+<p><i>Promptorium.</i> Mager&aelig;m, herbe; <i>Majorona</i>.</p>
+
+<p><i>Catholicon.</i> Marioron; <i>herba Maiorana</i>.</p>
+
+<p><i>Turner.</i> Margerum.</p>
+
+<p><i>Gerard.</i> Marjerome.</p>
+
+<p><i>Cotgrave.</i> Marjolaine; <i>Marierome</i>, <i>sweet Marierome</i>, <i>fine
+Marierome</i>, <i>Marierome gentle</i>.</p>
+
+
+<h3><span class="smcap">Medlar.</span></h3>
+
+<p><i>Turner.</i> Medler tre.</p>
+
+<p><i>Gerard.</i> The Medlar tree.</p>
+
+<p><i>Cotgrave.</i> Neffle; <i>a Medler</i>.</p>
+
+
+<h3><span class="smcap">Mint.</span></h3>
+
+<p><i>Promptorium.</i> Mynte, herbe; <i>Minta</i>.</p>
+
+<p><i>Catholicon.</i> Minte; <i>Menta, herba est</i>.</p>
+
+<p><i>Turner.</i> Mint.</p>
+
+<p><i>Gerard.</i> Mints.</p>
+
+<p><i>Cotgrave.</i> Mente; <i>the hearbe Mint, or Mints</i>.</p>
+
+
+<h3><span class="smcap">Mistletoe.</span></h3>
+
+<p><i>Turner.</i> Misceldin, or Miscelto.</p>
+
+<p><i>Gerard.</i> Misseltoe or Misteltoe.</p>
+
+<p><i>Cotgrave.</i> Guy; <i>Misseltoe, or Misseldine</i>.</p>
+
+
+<h3><span class="smcap">Moss.</span></h3>
+
+<p><i>Promptorium.</i> Mosse, growynge a-mongys stonys; <i>Muscus</i>.</p>
+
+<p><i>Catholicon.</i> Mosse; <i>muscus</i>, <i>ivena</i>.</p>
+
+<p><i>Gerard.</i> Ground Mosse.</p>
+
+<p><i>Cotgrave.</i> Mousse; <i>Mosse</i>.</p>
+
+
+<h3><span class="smcap">Mulberry.</span></h3>
+
+<p><i>Promptorium.</i> Mulbery; <i>Morum</i>.</p>
+
+<p><i>Catholicon.</i> A Mulbery; <i>Morum</i>.</p>
+
+<p><i>Turner.</i> Mulbery tree.</p>
+
+<p><i>Gerard.</i> The Mulberrie tree.</p>
+
+<p><i>Cotgrave.</i> Meure; <i>A Mulberrie</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_409" id="Page_409"></a>[<a href="./images/409.png">409</a>]</span></p>
+<h3><span class="smcap">Mushroom.</span></h3>
+
+<p><i>Promptorium.</i> Muscher&#333;n toodys hatte; <i>Boletus</i>, <i>fungus</i>.</p>
+
+<p><i>Gerard.</i> Mushrumes or Toadstooles.</p>
+
+<p><i>Cotgrave.</i> Champignon; <i>A Mushrum</i>, <i>Toadstoole</i>, <i>Paddock-stoole</i>.</p>
+
+
+<h3><span class="smcap">Mustard.</span></h3>
+
+<p><i>Promptorium.</i> Mustard or Warlok or senvyne, herbe; <i>Sinapis</i>.</p>
+
+<p><i>Catholicon.</i> Musterde; <i>Sinapium</i>.</p>
+
+<p><i>Turner.</i> Mustarde.</p>
+
+<p><i>Gerard.</i> Mustard.</p>
+
+<p><i>Cotgrave.</i> Moustarde; <i>Mustard</i>.</p>
+
+
+<h3><span class="smcap">Myrtle.</span></h3>
+
+<p><i>Turner.</i> Myrtle or Myrt tree.</p>
+
+<p><i>Gerard.</i> The Myrtle tree.</p>
+
+<p><i>Cotgrave.</i> Myrte: <i>The Mirtle tree or Shrub</i>.</p>
+
+
+<h3><span class="smcap">Nettles.</span></h3>
+
+<p><i>Promptorium.</i> Netyl, herbe; <i>Urtica</i>.</p>
+
+<p><i>Catholicon.</i> A Nettylle; <i>Urtica</i>.</p>
+
+<p><i>Turner.</i> Nettle.</p>
+
+<p><i>Gerard.</i> Stinging Nettle.</p>
+
+<p><i>Cotgrave.</i> Ortie; <i>A Nettle, the Common Nettle</i>.</p>
+
+
+<h3><span class="smcap">Nut.</span></h3>
+
+<p><i>Promptorium.</i> Note, frute; <i>Nux</i>.</p>
+
+<p><i>Catholicon.</i> A Nutte; <i>nux</i>, <i>nucula</i>, <i>nucicula</i>.</p>
+
+<p><i>Gerard.</i> Wilde hedge-Nut.</p>
+
+<p><i>Cotgrave.</i> Noisette; <i>A small Nut, or Hasel Nut</i>.</p>
+
+
+<h3><span class="smcap">Nutmeg.</span></h3>
+
+<p><i>Promptorium.</i> Notemygge; <i>Nux muscata</i>.</p>
+
+<p><i>Catholicon.</i> A Nut muge; <i>nux muscata</i>.</p>
+
+<p><i>Gerard.</i> The Nutmeg tree.</p>
+
+<p><i>Cotgrave.</i> Noix Muscade; <i>A Nutmeg</i>.</p>
+
+
+<h3><span class="smcap">Oak.</span></h3>
+
+<p><i>Promptorium.</i> Oke, tee; <i>Quercus</i>, <i>ylex</i>.</p>
+
+<p><i>Catholicon.</i> An Oke; <i>quarcus</i>, &amp;c.; <i>ubi</i> An Ake.</p>
+
+<p><i>Turner.</i> Oke.</p>
+
+<p><i>Gerard.</i> The Oke.</p>
+
+<p><i>Cotgrave.</i> Chesne; <i>An Oake</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_410" id="Page_410"></a>[<a href="./images/410.png">410</a>]</span></p>
+<h3><span class="smcap">Oats.</span></h3>
+
+<p><i>Promptorium.</i> Ote or havur Corne; <i>Avena</i>.</p>
+
+<p><i>Catholicon.</i> Otys; <i>ubi</i> haver (<i>Havyr</i>; <i>avena</i>, <i>avenula</i>).</p>
+
+<p><i>Turner.</i> Otes.</p>
+
+<p><i>Gerard.</i> Otes.</p>
+
+<p><i>Cotgrave.</i> Avoyne; <i>Oats</i>.</p>
+
+
+<h3><span class="smcap">Olive.</span></h3>
+
+<p><i>Promptorium.</i> Olyve, tre; <i>Oliva</i>.</p>
+
+<p><i>Catholicon.</i> An Olyve tre; <i>olea</i>, <i>oleaster</i>, <i>oliva</i>; <i>olivaris</i>.</p>
+
+<p><i>Turner.</i> Olyve tree.</p>
+
+<p><i>Gerard.</i> The Olive tree.</p>
+
+<p><i>Cotgrave.</i> Olivier; <i>An Olive tree</i>.</p>
+
+
+<h3><span class="smcap">Onions.</span></h3>
+
+<p><i>Promptorium.</i> Onyone; <i>Sepe</i>.</p>
+
+<p><i>Catholicon.</i> Ony&#333;n; <i>bilbus</i>, <i>cepa</i>, <i>cepe</i>.</p>
+
+<p><i>Turner.</i> Onyon.</p>
+
+<p><i>Gerard.</i> Onions.</p>
+
+<p><i>Cotgrave.</i> Oignon; <i>An Onyon</i>.</p>
+
+
+<h3><span class="smcap">Orange.</span></h3>
+
+<p><i>Promptorium.</i> Oronge, fruete; <i>Pomum citrinum</i>, <i>citrum</i>.</p>
+
+<p><i>Turner.</i> Orenge tree.</p>
+
+<p><i>Gerard.</i> The Orange tree.</p>
+
+<p><i>Cotgrave.</i> Orange; <i>An Orange</i>.</p>
+
+
+<h3><span class="smcap">Osier.</span></h3>
+
+<p><i>Promptorium.</i> Osyere; <i>Vimen</i>.</p>
+
+<p><i>Turner.</i> Osyer tree.</p>
+
+<p><i>Gerard.</i> The Oziar or Water Willow.</p>
+
+<p><i>Cotgrave.</i> Osier; <i>The Ozier</i>, <i>red Withie</i>, <i>water Willow tree</i>.</p>
+
+
+<h3><span class="smcap">Oxlip.</span></h3>
+
+<p><i>Gerard.</i> Field Oxlips.</p>
+
+<p><i>Cotgrave.</i> Arthetiques; <i>Cowslips or Oxlips</i>.</p>
+
+
+<h3><span class="smcap">Palm.</span></h3>
+
+<p><i>Promptorium.</i> Palme; <i>Palma</i>.</p>
+
+<p><i>Catholicon.</i> A Palme tre; <i>palma</i>, <i>palmula</i>.</p>
+
+<p><i>Gerard.</i> The Date tree.</p>
+
+<p><i>Cotgrave.</i> Palmier; <i>The Palme, or Date tree</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_411" id="Page_411"></a>[<a href="./images/411.png">411</a>]</span></p>
+<h3><span class="smcap">Pansies.</span></h3>
+
+<p><i>Turner.</i> Panses.</p>
+
+<p><i>Gerard.</i> Hearts-ease or Pansies.</p>
+
+<p><i>Cotgrave.</i> Pens&eacute;e; <i>The flower Paunsie</i>.</p>
+
+
+<h3><span class="smcap">Parsley.</span></h3>
+
+<p><i>Promptorium.</i> Persley, herbe; <i>Petrocillum</i>.</p>
+
+<p><i>Catholicon.</i> Parcelle; <i>Petrocillum, herba est</i>.</p>
+
+<p><i>Turner.</i> Persely.</p>
+
+<p><i>Gerard.</i> Parsley.</p>
+
+<p><i>Cotgrave.</i> Persil; <i>Parsely</i>.</p>
+
+
+<h3><span class="smcap">Peach.</span></h3>
+
+<p><i>Promptorium.</i> Peche, or peske, frute: <i>Pesca</i>, <i>pomum Persicum</i>.</p>
+
+<p><i>Turner.</i> Peche tree.</p>
+
+<p><i>Gerard.</i> The Peach tree.</p>
+
+<p><i>Cotgrave.</i> Pesche; <i>A Peach</i>.</p>
+
+
+<h3><span class="smcap">Pear.</span></h3>
+
+<p><i>Promptorium.</i> Pere, tre; <i>Pirus</i>.</p>
+
+<p><i>Catholicon.</i> A Pere tre; <i>Pirus</i>.</p>
+
+<p><i>Turner.</i> Peare tree.</p>
+
+<p><i>Gerard.</i> The Peare tree.</p>
+
+<p><i>Cotgrave.</i> Poire; <i>A Peare</i>.</p>
+
+
+<h3><span class="smcap">Peas.</span></h3>
+
+<p><i>Promptorium.</i> Pese, frute of corne; <i>Pisa</i>.</p>
+
+<p><i>Catholicon.</i> A Peise; <i>Pisa</i>.</p>
+
+<p><i>Turner.</i> A Pease.</p>
+
+<p><i>Gerard.</i> Peason.</p>
+
+<p><i>Cotgrave.</i> Pois; <i>A Peas or Peason</i>.</p>
+
+
+<h3><span class="smcap">Pepper.</span></h3>
+
+<p><i>Promptorium.</i> Pepyr; <i>Piper</i>.</p>
+
+<p><i>Catholicon.</i> Pepyr; <i>Piper</i>.</p>
+
+<p><i>Turner.</i> Indishe Peper.</p>
+
+<p><i>Gerard.</i> The Pepper plant.</p>
+
+<p><i>Cotgrave.</i> Poyvre; <i>Pepper</i>.</p>
+
+
+<h3><span class="smcap">Pignuts.</span></h3>
+
+<p><i>Turner.</i> Ernutte.</p>
+
+<p><i>Gerard.</i> Earth-Nut, Earth Chestnut, or Kippernut.</p>
+
+<p><i>Cotgrave.</i> Faverottes; <i>Earth-nuts</i>, <i>Kipper-nuts</i>, <i>Earth-Chestnuts</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_412" id="Page_412"></a>[<a href="./images/412.png">412</a>]</span></p>
+<h3><span class="smcap">Pine.</span></h3>
+
+<p><i>Promptorium.</i> Pynot, tre; <i>Pinus</i>.</p>
+
+<p><i>Catholicon.</i> A Pyne tree; <i>pinus</i>.</p>
+
+<p><i>Turner.</i> Pyne tre.</p>
+
+<p><i>Gerard.</i> The Pine tree.</p>
+
+<p><i>Cotgrave.</i> Pin; <i>A Pine tree</i>.</p>
+
+
+<h3><span class="smcap">Pinks.</span></h3>
+
+<p><i>Gerard.</i> Pinks or wilde Gillofloures.</p>
+
+<p><i>Cotgrave.</i> Oeillet; <i>A Gilliflower; also, a Pinke</i>.</p>
+
+
+<h3><span class="smcap">Piony.</span></h3>
+
+<p><i>Promptorium.</i> Pyany, herbe; <i>Pionia</i>.</p>
+
+<p><i>Catholicon.</i> A Pyon; <i>pionia, herba est</i>.</p>
+
+<p><i>Turner.</i> Pyony.</p>
+
+<p><i>Gerard.</i> Peionie.</p>
+
+<p><i>Cotgrave.</i> Pion; <i>A certaine great, round, and Bulbus-rooted
+flower, of one whole colour</i>.</p>
+
+
+<h3><span class="smcap">Plane.</span></h3>
+
+<p><i>Promptorium.</i> Plane, tre; <i>Platanus</i>.</p>
+
+<p><i>Catholicon.</i> A Playne tre; <i>platanus</i>.</p>
+
+<p><i>Turner.</i> Playne tree.</p>
+
+<p><i>Gerard.</i> The Plane tree.</p>
+
+<p><i>Cotgrave.</i> Platane; <i>The right Plane tree (a stranger in England)</i>.</p>
+
+
+<h3><span class="smcap">Plantain.</span></h3>
+
+<p><i>Promptorium.</i> Planteyne, or plawnteyn, herbe; <i>Plantago</i>.</p>
+
+<p><i>Turner.</i> Plantaine.</p>
+
+<p><i>Gerard.</i> Land Plantaine.</p>
+
+<p><i>Cotgrave.</i> Plantain; <i>Plantaine</i>, <i>Way-bred</i>.</p>
+
+
+<h3><span class="smcap">Plums.</span></h3>
+
+<p><i>Promptorium.</i> Plowme; <i>Prunum</i>.</p>
+
+<p><i>Catholicon.</i> A Plowmbe; <i>prunum</i>.</p>
+
+<p><i>Turner.</i> Plum tree.</p>
+
+<p><i>Gerard.</i> The Plum tree.</p>
+
+<p><i>Cotgrave.</i> Prune; <i>A Plumme</i>.</p>
+
+
+<h3><span class="smcap">Pomegranate.</span></h3>
+
+<p><i>Promptorium.</i> Pomegarnet, frute; <i>Pomum granatum</i>, <i>vel malum
+granatum</i>.</p>
+
+<p><i>Catholicon.</i> A Pomgarnett; <i>Malogranatum</i>, <i>Malumpunicum</i>.</p>
+
+<p><span class="pagenum"><a name="Page_413" id="Page_413"></a>[<a href="./images/413.png">413</a>]</span>
+<i>Turner.</i> Pomgranat tree.</p>
+
+<p><i>Gerard.</i> The Pomegranat tree.</p>
+
+<p><i>Cotgrave.</i> Grenarde; <i>a Pomegranet</i>.</p>
+
+
+<h3><span class="smcap">Poppy.</span></h3>
+
+<p><i>Promptorium.</i> Popy, weed; <i>Papaver</i>, <i>Codia</i>.</p>
+
+<p><i>Turner.</i> Poppy.</p>
+
+<p><i>Gerard.</i> Poppy.</p>
+
+<p><i>Cotgrave.</i> Pavot; <i>Poppie</i>, <i>Cheesbowls</i>.</p>
+
+
+<h3><span class="smcap">Potato.</span></h3>
+
+<p><i>Gerard.</i> Potatus, or Potato's.</p>
+
+
+<h3><span class="smcap">Primrose.</span></h3>
+
+<p><i>Promptorium.</i> Prymerose; <i>Primula</i>, <i>calendula</i>, <i>liqustrum</i>.</p>
+
+<p><i>Catholicon.</i> A Prymerose; <i>primarosa</i>, <i>primula veris</i>.</p>
+
+<p><i>Turner.</i> Primrose.</p>
+
+<p><i>Gerard.</i> Primrose.</p>
+
+<p><i>Cotgrave.</i> Primevere; <i>The Primrose</i>.</p>
+
+
+<h3><span class="smcap">Pumpion.</span></h3>
+
+<p><i>Gerard.</i> Melons, or Pumpions.</p>
+
+<p><i>Cotgrave.</i> Pompon; <i>A Pompion or Melon</i>.</p>
+
+
+<h3><span class="smcap">Quince.</span></h3>
+
+<p><i>Promptorium.</i> Quence, frute; <i>Coctonum</i>, <i>Scitonum</i>.</p>
+
+<p><i>Turner.</i> Quince tree.</p>
+
+<p><i>Gerard.</i> The Quince tree.</p>
+
+<p><i>Cotgrave.</i> Coignier; <i>A Quince tree</i>.</p>
+
+
+<h3><span class="smcap">Radish.</span></h3>
+
+<p><i>Catholicon.</i> Radcolle; <i>Raphanus, herba est</i>.</p>
+
+<p><i>Turner.</i> Radice or Radishe.</p>
+
+<p><i>Gerard.</i> Radish.</p>
+
+<p><i>Cotgrave.</i> Radis; <i>A Raddish root</i>.</p>
+
+
+<h3><span class="smcap">Raisin.</span></h3>
+
+<p><i>Promptorium.</i> Reysone, or reysynge, frute; <i>Uva passa</i>, <i>carica</i>.</p>
+
+<p><i>Catholicon.</i> A Rasyn; <i>passa</i>, <i>racemus</i>.</p>
+
+<p><i>Turner.</i> Rasin.</p>
+
+<p><i>Gerard.</i> Raisins.</p>
+
+<p><i>Cotgrave.</i> Raisin; <i>A Grape, also a Raisin</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_414" id="Page_414"></a>[<a href="./images/414.png">414</a>]</span></p>
+<h3><span class="smcap">Reeds.</span></h3>
+
+<p><i>Promptorium.</i> Reed, of the fenne; <i>Arundo</i>, <i>canna</i>.</p>
+
+<p><i>Catholicon.</i> A Rede; <i>Arundo</i>, <i>canna</i>, <i>canula</i>.</p>
+
+<p><i>Turner.</i> Reed.</p>
+
+<p><i>Gerard.</i> Reeds.</p>
+
+<p><i>Cotgrave.</i> Roseau; <i>A Reed</i>, <i>a Cane</i>.</p>
+
+
+<h3><span class="smcap">Rhubarb.</span></h3>
+
+<p><i>Gerard.</i> Rubarb.</p>
+
+<p><i>Cotgrave.</i> Reubarbe; <i>The root called Rewbarb, or Rewbarb of
+the Levant</i>.</p>
+
+
+<h3><span class="smcap">Rice.</span></h3>
+
+<p><i>Promptorium.</i> Ryce, frute; <i>Risia, vel risi</i>.</p>
+
+<p><i>Catholicon.</i> Ryse; <i>risi judeclinabile</i>.</p>
+
+<p><i>Turner.</i> Ryse.</p>
+
+<p><i>Gerard.</i> Rice.</p>
+
+<p><i>Cotgrave.</i> Ris; <i>The graine called Rice</i>.</p>
+
+
+<h3><span class="smcap">Rose.</span></h3>
+
+<p><i>Promptorium.</i> Rose, floure; <i>Rosa</i>.</p>
+
+<p><i>Catholicon.</i> A Rose; <i>rosa-sula</i>, <i>rosella</i>.</p>
+
+<p><i>Turner.</i> Rose.</p>
+
+<p><i>Gerard.</i> Roses.</p>
+
+<p><i>Cotgrave.</i> Rose; <i>A Rose</i>.</p>
+
+
+<h3><span class="smcap">Rosemary.</span></h3>
+
+<p><i>Promptorium.</i> Rose Mary, herbe; <i>Ros marinus</i>, <i>rosa marina</i>.</p>
+
+<p><i>Catholicon.</i> Rosemary; <i>Dendrolibanum, herba est</i>.</p>
+
+<p><i>Turner.</i> Rosemary.</p>
+
+<p><i>Gerard.</i> Rosemary.</p>
+
+<p><i>Cotgrave.</i> Rosmarin; <i>Rosemarie</i>.</p>
+
+
+<h3><span class="smcap">Rue.</span></h3>
+
+<p><i>Promptorium.</i> Ruwe, herbe; <i>Ruta</i>.</p>
+
+<p><i>Catholicon.</i> Rewe; <i>ruta, herba est</i>.</p>
+
+<p><i>Turner.</i> Rue.</p>
+
+<p><i>Gerard.</i> Rue or Herb Grace.</p>
+
+<p><i>Cotgrave.</i> Rue; <i>Rue</i>, <i>Hearbe Grace</i>.</p>
+
+
+<h3><span class="smcap">Rush.</span></h3>
+
+<p><i>Promptorium.</i> Rysche, or rusche; <i>Cirpus</i>, <i>juncus</i>.</p>
+
+<p><i>Catholicon.</i> A Rysche; <i>ubi</i> a Sefe (a Seyfe, <i>juncus</i>, <i>biblus</i>,
+<i>cirpus</i>).</p>
+
+<p><i>Gerard.</i> Rushes.</p>
+
+<p><i>Cotgrave.</i> Jonc; <i>A rush, or bulrush</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_415" id="Page_415"></a>[<a href="./images/415.png">415</a>]</span></p>
+<h3><span class="smcap">Rye.</span></h3>
+
+<p><i>Promptorium.</i> Rye, corn; <i>Siligo</i>.</p>
+
+<p><i>Catholicon.</i> Ry; <i>Sagalum</i>.</p>
+
+<p><i>Turner.</i> Rye.</p>
+
+<p><i>Gerard.</i> Rie.</p>
+
+<p><i>Cotgrave.</i> Seigle; <i>Rye</i>.</p>
+
+
+<h3><span class="smcap">Saffron.</span></h3>
+
+<p><i>Promptorium.</i> Safrun; <i>Crocum</i>.</p>
+
+<p><i>Catholicon.</i> Saferon; <i>Crocus</i>, <i>crocum</i>.</p>
+
+<p><i>Turner.</i> Safforne, Saffron.</p>
+
+<p><i>Gerard.</i> Saffron.</p>
+
+<p><i>Cotgrave.</i> Saffron; <i>Saffron</i>.</p>
+
+
+<h3><span class="smcap">Samphire.</span></h3>
+
+<p><i>Turner.</i> Sampere.</p>
+
+<p><i>Gerard.</i> Sampier.</p>
+
+<p><i>Cotgrave.</i> Creste marine; <i>Sampier</i>, <i>Sea Fennell</i>, <i>Crestmarine</i>.</p>
+
+
+<h3><span class="smcap">Savory.</span></h3>
+
+<p><i>Promptorium.</i> Saverey, herbe; <i>Satureia</i>.</p>
+
+<p><i>Catholicon.</i> Saferay; <i>Satureia, herba est</i>.</p>
+
+<p><i>Turner.</i> Saueray or Sauery.</p>
+
+<p><i>Gerard.</i> Savorie.</p>
+
+
+<h3><span class="smcap">Sedge.</span></h3>
+
+<p><i>Promptorium.</i> Segge, of fenne, or wyld gladon; <i>Acorus</i>.</p>
+
+<p><i>Catholicon.</i> A Segg; <i>Carex</i>.</p>
+
+<p><i>Turner.</i> Sege or Sheregres.</p>
+
+<p><i>Cotgrave.</i> Glayeul bastard; <i>Sedge</i>, <i>wild flags</i>, <i>&amp;c.</i></p>
+
+
+<h3><span class="smcap">Senna.</span></h3>
+
+<p><i>Turner.</i> Sene.</p>
+
+<p><i>Gerard.</i> Sene.</p>
+
+<p><i>Cotgrave.</i> Senn&eacute;; <i>The purging plant Sene</i>.</p>
+
+
+<h3><span class="smcap">Speargrass.</span></h3>
+
+
+<h3><span class="smcap">Stover.</span></h3>
+
+
+<h3><span class="smcap">Strawberry.</span></h3>
+
+<p><i>Promptorium.</i> Strawbery; <i>Fragum</i>.</p>
+
+<p><i>Catholicon.</i> A Strabery; <i>Fragum</i>.</p>
+
+<p><i>Turner.</i> Strawbery.</p>
+
+<p><i>Gerard.</i> Straw-berries.</p>
+
+<p><i>Cotgrave.</i> Fraise; <i>A strawberrie</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_416" id="Page_416"></a>[<a href="./images/416.png">416</a>]</span></p>
+<h3><span class="smcap">Sycamore.</span></h3>
+
+<p><i>Promptorium.</i> Sycomoure, tree; <i>Sicomorus</i>, <i>celsa</i>.</p>
+
+<p><i>Gerard.</i> The Sycomore tree.</p>
+
+<p><i>Cotgrave.</i> Sycomore; <i>The Sycomore</i>.</p>
+
+
+<h3><span class="smcap">Thistles.</span></h3>
+
+<p><i>Promptorium.</i> Thystylle; <i>Cardo</i>, <i>Carduus</i>.</p>
+
+<p><i>Catholicon.</i> A Thystelle; <i>Cardo</i>.</p>
+
+<p><i>Turner.</i> Thistle.</p>
+
+<p><i>Gerard.</i> Thistles.</p>
+
+<p><i>Cotgrave.</i> Chardon; <i>A Thistle</i>.</p>
+
+
+<h3><span class="smcap">Thorn.</span></h3>
+
+<p><i>Promptorium.</i> Thorne; <i>Spina</i>, <i>sentis</i>, <i>sentix</i>.</p>
+
+<p><i>Catholicon.</i> A Thorne; <i>Spina</i>, <i>spinula</i>, <i>sentis</i>.</p>
+
+<p><i>Turner.</i> Whyte Thorne.</p>
+
+<p><i>Gerard.</i> White Thorne.</p>
+
+<p><i>Cotgrave.</i> Espine; <i>A thorne</i>.</p>
+
+
+<h3><span class="smcap">Thyme.</span></h3>
+
+<p><i>Promptorium.</i> Tyme, herbe; <i>Tima</i>, <i>timum</i>.</p>
+
+<p><i>Catholicon.</i> Tyme; <i>timum</i>, <i>epitimum</i>.</p>
+
+<p><i>Turner.</i> Wild Thyme.</p>
+
+<p><i>Gerard.</i> Wilde Time.</p>
+
+<p><i>Cotgrave.</i> Thym; <i>The hearbe Time</i>.</p>
+
+
+<h3><span class="smcap">Toadstools.</span></h3>
+
+<p><i>Catholicon.</i> A Paddockstole; <i>boletus</i>, <i>fungus</i>, <i>tuber</i>, <i>&amp;c.</i></p>
+
+<p><i>Gerard.</i> Toadstooles.</p>
+
+<p><i>Cotgrave.</i> Champignon; <i>A Mushrum</i>, <i>Toadstoole</i>, <i>Paddockstoole</i>.</p>
+
+
+<h3><span class="smcap">Turnips.</span></h3>
+
+<p><i>Turner.</i> Rape or Turnepe.</p>
+
+<p><i>Gerard.</i> Turneps.</p>
+
+<p><i>Cotgrave.</i> Naveau blanc de Jardin; <i>Th' ordinarie Rape, or
+Turneps</i>.</p>
+
+
+<h3><span class="smcap">Vetches.</span></h3>
+
+<p><i>Promptorium.</i> Fetche, corne, or tare; <i>Vicia</i>.</p>
+
+<p><i>Turner.</i> Fyche.</p>
+
+<p><i>Gerard.</i> The Vetch or Fetch.</p>
+
+<p><i>Cotgrave.</i> Vesce; <i>The pulse called Fitch, or Vetch</i>.</p>
+
+
+<p><span class="pagenum"><a name="Page_417" id="Page_417"></a>[<a href="./images/417.png">417</a>]</span></p>
+<h3><span class="smcap">Vines.</span></h3>
+
+<p><i>Promptorium.</i> Vyny or Vyne; <i>Vitis</i>.</p>
+
+<p><i>Catholicon.</i> A Vyne tree; <i>argitis</i>, <i>propago</i>, <i>vitis</i>.</p>
+
+<p><i>Turner.</i> Wild Vine.</p>
+
+<p><i>Gerard.</i> The manured Vine.</p>
+
+<p><i>Cotgrave.</i> Vigne; <i>A Vine</i>, <i>the plant that beareth Grapes</i>.</p>
+
+
+<h3><span class="smcap">Violet.</span></h3>
+
+<p><i>Promptorium.</i> Vyalett, or vyolet, herbe; <i>Viola</i>.</p>
+
+<p><i>Catholicon.</i> A Violett; <i>Viola</i>.</p>
+
+<p><i>Turner.</i> Violet.</p>
+
+<p><i>Gerard.</i> Violets.</p>
+
+<p><i>Cotgrave.</i> Violette; <i>A Violet</i>.</p>
+
+
+<h3><span class="smcap">Walnut.</span></h3>
+
+<p><i>Promptorium.</i> Walnote; <i>Avelana</i>.</p>
+
+<p><i>Catholicon.</i> A Walnotte; <i>Avellanus</i>, <i>Avellanum</i>.</p>
+
+<p><i>Turner.</i> Walnut tree.</p>
+
+<p><i>Gerard.</i> The Wall-nut tree.</p>
+
+<p><i>Cotgrave.</i> Noix; <i>A Wallnut</i>.</p>
+
+
+<h3><span class="smcap">Warden.</span></h3>
+
+<p><i>Promptorium.</i> Wardone, peere; <i>Volemum</i>.</p>
+
+<p><i>Catholicon.</i> A Wardon; <i>Volemum</i>, <i>crustunum</i>.</p>
+
+<p><i>Cotgrave.</i> Poure de garde; <i>A Warden, or Winter Peare</i>.</p>
+
+
+<h3><span class="smcap">Wheat.</span></h3>
+
+<p><i>Promptorium.</i> Whete, Corne; <i>Triticum</i>, <i>frumentum</i>.</p>
+
+<p><i>Catholicon.</i> Whete; <i>Ceres</i>, <i>frumentum</i>, <i>triticum</i>.</p>
+
+<p><i>Turner.</i> Wheate.</p>
+
+<p><i>Gerard.</i> Wheate.</p>
+
+<p><i>Cotgrave.</i> Froment; <i>Wheat</i>.</p>
+
+
+<h3><span class="smcap">Willow.</span></h3>
+
+<p><i>Promptorium.</i> Wylowe, tree; <i>Salix</i>.</p>
+
+<p><i>Catholicon.</i> A Wylght; <i>Salix</i>.</p>
+
+<p><i>Turner.</i> Wylow tree.</p>
+
+<p><i>Gerard.</i> The Willow tree.</p>
+
+<p><i>Cotgrave.</i> Saule; <i>A Sallow, Willow, or Withie tree</i>.</p>
+
+
+<h3><span class="smcap">Woodbine.</span></h3>
+
+<p><i>Promptorium.</i> Woode Bynde; <i>Caprifolium</i>, <i>vicicella</i>.</p>
+
+<p><i>Catholicon.</i> Wodde bynde; <i>terebinthus</i>.</p>
+
+<p><span class="pagenum"><a name="Page_418" id="Page_418"></a>[<a href="./images/418.png">418</a>]</span>
+<i>Turner.</i> Wodbynde.</p>
+
+<p><i>Gerard.</i> Wood-bind or Honeysuckle.</p>
+
+<p><i>Cotgrave.</i> Chevre-fueille; <i>The wood-bind or honie-suckle</i>.</p>
+
+
+<h3><span class="smcap">Wormwood.</span></h3>
+
+<p><i>Promptorium.</i> Wyrmwode, herbe; <i>Absinthum</i>.</p>
+
+<p><i>Catholicon.</i> Wormede; <i>absinthum</i>.</p>
+
+<p><i>Turner.</i> Mugwort, Wormwod.</p>
+
+<p><i>Gerard.</i> Wormewood.</p>
+
+<p><i>Cotgrave.</i> Absynthe; <i>Wormewood</i>.</p>
+
+
+<h3><span class="smcap">Yew.</span></h3>
+
+<p><i>Promptorium.</i> V tree; <i>Taxus</i>.</p>
+
+<p><i>Catholicon.</i> An Eu tre; <i>taxus</i>.</p>
+
+<p><i>Turner.</i> Yewtree.</p>
+
+<p><i>Gerard.</i> The Yew tree.</p>
+
+<p><i>Cotgrave.</i> If; <i>An Yew or Yew tree</i>.</p>
+
+
+<hr style="width: 90%;" />
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_393:1_240" id="Footnote_393:1_240"></a><a href="#FNanchor_393:1_240"><span class="label">[393:1]</span></a> Where any of these five are omitted, that author does not name the
+plant. In many cases the same plant is given under different names;
+but I have not thought it necessary to quote more than one. In the
+quotations from Turner the preference is given to the "Names of
+Herbes," where the plant is mentioned in both works.</p></div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_419" id="Page_419"></a>[<a href="./images/419.png">419</a>]</span></p>
+<h2><i>INDEXES.</i></h2>
+
+<p><span class="pagenum"><a name="Page_420" id="Page_420"></a>[<a href="./images/420.png">420</a>]</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_421" id="Page_421"></a>[<a href="./images/421.png">421</a>]</span></p>
+
+<div class="img">
+<img src="images/illop1.png" alt="double A with birds and flowers" title="decoration" width="80%" />
+</div>
+
+
+<h2>INDEX OF PLAYS,</h2>
+
+<h3><i>SHOWING HOW THE PLANTS ARE DISTRIBUTED</i></h3>
+<h3><i>THROUGH THE DIFFERENT PLAYS</i></h3>
+
+
+<div class="centered">
+<table summary="plants named in each Shakespearean play" cellpadding="2" cellspacing="0" border="0">
+<tr>
+  <td class="tdcenter" colspan="4" style="font-weight: bold; font-size: 100%;">COMEDIES.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Tempest</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Furze, Heath, Ling, Nut.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Acorn, Ivy, Oak, Pine, Reed.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Apple, Corn, Docks, Grass, Wallows, Nettle.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Crab, Filbert, Pignuts.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Barley, Barnacles, Brier, Broom, Furze,
+Gorse, Grass, Lime, Oats, Peas, Piony,
+Rye, Saffron, Sedge, Stover, Thorns,
+Vetches, Wheat.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cedar, Cowslips, Lime, Mushrooms, Oak, Pine, Reed.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Two Gentlemen of Verona</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Ginger.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Lily.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Sedge.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Lily, rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cabbage, Prunes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Pippins.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Figs.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Elder.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Roses.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Hawthorn, Pumpion.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Turnips.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Pepper.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Carrot.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt"><span class="pagenum"><a name="Page_422" id="Page_422"></a>[<a href="./images/422.png">422</a>]</span>sc. 2.</td>
+  <td class="tdleftt">Walnut.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Pear.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Balm, Bilberry, Eringoes, Flax, Oak, Plums, Potatoes.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Twelfth Night</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Violets.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Flax.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Apple, Codling, Olive, Peascod, Squash, Willow.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Ginger.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Roses.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Box, Nettle, Yew.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Roses.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Ebony, Pepper.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Apple.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Measure for Measure</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Birch.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Prunes, Grapes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Myrtle, Oak, Violet.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Ginger.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Garlick.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Burs, Medlar, Peach.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Much Ado About Nothing</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleft" colspan="4">Dramatis Person&aelig;. Dogberry.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Oak, Orange, Sedge, Willow.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Honeysuckle, Woodbine.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Carduus Benedictus, Holy Thistle.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Midsummer Night's Dream</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Grass, Hawthorn, Musk Roses, Primrose, Rose, Wheat.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Orange.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Acorn, Beans, Brier, Corn, Cowslip, Crab,
+Eglantine, Love-in-idleness, Musk Rose,
+Oxlip, Thyme, Violet, Woodbine.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Acorn, Apricot, Brier, Dewberries, Figs,
+Grapes, Hawthorn, Hemp, Knot-grass,
+Lily, Mulberries, Orange, Rose, Thorns.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Acorn, Brier, Burs, Cherry, Thorns.</td>
+</tr>
+<tr>
+  <td class="tdleftt"><span class="pagenum"><a name="Page_423" id="Page_423"></a>[<a href="./images/423.png">423</a>]</span>Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Elm, Honeysuckle, Ivy, Nuts, Oats, Peas,
+Thistle, Woodbine.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Garlick, Onions.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Brier, Broom, Cowslip, Leek, Lily, Thorns.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Love's Labour's Lost</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Corn, Ebony, Rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Plantain.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Crab, Oak, Osier, Pomewater.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Cedar, Cockle, Corn, Rose, Thorns.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Ginger.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Columbine, Cloves, Crabs, Cuckoo-buds,
+Daisies, Grass, Lady-smocks, Lemon,
+Lily, Mint, Nutmeg, Oats, Peas, Rose,
+Sugar, Sycamore, Violets, Wormwood.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Merchant of Venice</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Grass, Wheat.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Apple.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Ginger, Sugar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Reed.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Pine.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Willow.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>As You Like It</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Mustard.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Briers, Burs.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Peascod.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Holly.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Brambles, Cork, Hawthorn, Medlar, Nut, Rose, Rush.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Sugar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Chestnut, Nut.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Rush.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Moss, Oak, Osier.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Grape.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Rye.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>All's Well that Ends Well</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Date, Pear.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Grapes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Rush.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Pomegranate.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Nut.</td>
+</tr>
+<tr>
+  <td class="tdleftt"><span class="pagenum"><a name="Page_424" id="Page_424"></a>[<a href="./images/424.png">424</a>]</span>Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Roses.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Briers.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Grass, Marjoram, Herb of Grace, Saffron.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Onion.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Taming of the Shrew</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="2">Induction.</td>
+  <td>&nbsp;</td>
+  <td class="tdleftt">Onions, Rose, Sedge.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Apple, Love-in-idleness.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Chestnut.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Crab, Cypress, Hazel.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Oats.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Rushes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Apple, Mustard, Walnut.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Parsley.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Winter's Tale</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Flax, Nettles, Squash, Thorns.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Pines.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Cork.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Brier, Carnations, Crown Imperial, Daffodils,
+Flower-de-luce, Garlick, Gillyflowers,
+Lavender, Lilies, Marigold, Marjoram,
+Mint, Oxlips, Primroses, Rosemary, Rue,
+Savory, Thorns, Violets.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Comedy of Errors</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Ivy, Brier, Moss, Elm, Vine, Grass.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Balsamum, Cherry, Rush, Nut.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Saffron.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdcenter" colspan="4" style="font-weight: bold; font-size: 100%;">HISTORIES.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>King John</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cherry, Fig, Plum.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Lily Rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Lily, Violet.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Rush, Thorns.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Richard II.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Sugar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Bay.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Balm, Nettles, Pine, Yew.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Corn, Grass.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Apricots.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Balm, Thorns.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Violets.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><span class="pagenum"><a name="Page_425" id="Page_425"></a>[<a href="./images/425.png">425</a>]</span><i>1st Henry IV.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Reeds, Rose, Sedge, Thorn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Beans, Fern, Ginger, Oats, Peas.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Nettle.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Blackberries, Camomile, Pomegranate,
+Radish, Raisins, Speargrass, Sugar.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Garlick, Ginger, Moss, Rushes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Apple-john, Prunes, Sugar.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>2nd Henry IV.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Gooseberries, Mandrake.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Hemp, Honeysuckle.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Peach.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Apple-john, Aspen, Elm, Fennel, Mustard,
+Peascod, Prunes, Rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Radish.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Aconitum, Olive.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Balm, Ebony.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Wheat.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Sugar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Carraways, Fig, Leathercoats, Pippins.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Rushes.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Henry V.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Grass, Nettle, Strawberry.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">Chorus.</td>
+  <td class="tdleftt">Hemp.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Barley.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Fig, Hemp.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Nutmeg, Ginger.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Balm, Elder, Fig, Leek, Violet.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Grass.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Leek.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Leek.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Burnet, Burs, Clover, Cowslip, Darnel,
+Docks, Flower-de-luce, Fumitory, Hemlock,
+Kecksies, Thistles, Vines.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>1st Henry VI.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Flower-de-luce.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Brier, Red and White Rose.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Vine.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Sugar.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>2nd Henry VI.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Damsons, Plums.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Fig, Pine.</td>
+</tr>
+<tr>
+  <td class="tdleftt"><span class="pagenum"><a name="Page_426" id="Page_426"></a>[<a href="./images/426.png">426</a>]</span>Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Thorns.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Corn, Crab, Cypress, Darnel, Grass, Mandrake,
+Primrose, Sugar.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Grass.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Hemp.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 10.</td>
+  <td class="tdleftt">Grass.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cedar, Flower-de-luce.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Flax.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>3rd Henry VI.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Hawthorn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Balm.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Thorns.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Laurel, Olive.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 8.</td>
+  <td class="tdleftt">Balm.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Cedar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Thorns.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Thorns.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Richard III.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Balm.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Cedar, Sugar.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Sugar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Strawberries.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Vine.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Henry VIII.</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Lily.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Bays, Palms.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cherry, Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Apple, Crab, Broom.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Corn, Lily, Vine.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdcenter" colspan="4" style="font-weight: bold; font-size: 100%;">TRAGEDIES.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Troilus and Cressida</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Balm, Wheat.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Date, Nettle.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Laurel, Oak, Pine.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Nut, Toadstool.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Burs, Lily, Plantain (?).</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Almond, Potato.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Blackberry.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleftt" colspan="4"><span class="pagenum"><a name="Page_427" id="Page_427"></a>[<a href="./images/427.png">427</a>]</span><i>Timon of Athens</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Balsam.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Briers, Grape, Grass, Masts, Medlar, Moss,
+Oak, Rose, Sugar, Vines.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Palm.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Balm, Olive.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Coriolanus</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Corn, Oak, Rush.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 10.</td>
+  <td class="tdleftt">Cypress.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Crabs, Nettle, Oak, Orange.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cockle, Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Mulberry.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Briers.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Ash.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Garlick.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Cedar, Oak, Palm.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Macbeth</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Chestnuts, Insane Root.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Balm.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Primrose.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Corn, Hemlock, Yew.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Lily, Rhubarb, Senna, or Cyme.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Julius C&aelig;sar</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Palm.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Antony and Cleopatra</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Fig, Onion.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Laurel.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Flag.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Mandragora.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Wheat.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Grapes, Reeds, Vine.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Rush.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 12.</td>
+  <td class="tdleftt">Myrtle.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Grace (Rue).</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Olive.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 12.</td>
+  <td class="tdleftt">Pine.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Balm, Figs.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><span class="pagenum"><a name="Page_428" id="Page_428"></a>[<a href="./images/428.png">428</a>]</span><i>Cymbeline</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Cowslip, Primrose, Violet.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cowslip.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Lily, Rushes.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Marybuds.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Acorn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Daisy, Eglantine, Elder, Harebell, Moss,
+Oak, Pine, Primrose, Reed, Vine.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Cedar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Cedar.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Titus Andronicus</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Laurel.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Corn, Elder, Mistletoe, Moss, Nettles, Yew.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Aspen, Briers, Lily.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Cedar, Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Grass, Honeystalks.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Pericles</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Marigold, Rose, Violet.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Bays, Rose, Rosemary, Thorn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">Chorus.</td>
+  <td class="tdleftt">Cherry, Rose.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Romeo and Juliet</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Sycamore.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Plantain.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Wormwood.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Hazel, Rush, Thorn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Medlar, Poperin Pear.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Willow.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Bitter Sweet, Pink, Rosemary.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Nuts, Pepper.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Pomegranate.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Mandrake.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Date, Quince.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Yew.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>King Lear</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Balm, Vine.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Peascod.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Crab.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Lily.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Rosemary.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Oak.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt"><span class="pagenum"><a name="Page_429" id="Page_429"></a>[<a href="./images/429.png">429</a>]</span>sc. 4.</td>
+  <td class="tdleftt">Hawthorn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Cork, Flax.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 4.</td>
+  <td class="tdleftt">Burdock, Corn, Cuckoo-flowers, Darnel,
+Fumiter, Harlocks, Hemlock, Nettles.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Marjoram, Samphire.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Oats.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Hamlet</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Primrose, Thorn, Violet.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Hebenon or Hebona.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Nut, Plum.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Rose, Sugar.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Grass, Rose, Wormwood.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 5.</td>
+  <td class="tdleftt">Columbine, Daisy, Fennel, Flax, Grass,
+Herb of Grace, Rose, Rosemary, Rue, Violet.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 7.</td>
+  <td class="tdleftt">Corn-flower, Daisy, Dead-men's-fingers, Long
+Purples, Nettles, Violet, Willow.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Violet.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Palm, Wheat.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Othello</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Coloquintida, Hyssop, Lettuce, Locusts,
+Nettle, Thyme, Sugar.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Fig, Oak, Grapes.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Mandragora, Oak, Poppy, Strawberries.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Rose.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Sycamore, Willow.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Rush, Willow.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Two Noble Kinsmen</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdlefttn" colspan="3">Introductory Song.</td>
+  <td class="tdleftt">Daisies, Lark's-heels, Marigolds, Oxlips,
+Pinks, Primrose, Rose, Thyme.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">I.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Cherries, Currant, Wheat.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Plantain.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">II.,</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Apricot, Narcissus, Rose, Vine.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Corn.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 6.</td>
+  <td class="tdleftt">Cedar, Plane.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">III.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Hawthorn.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">IV.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Bulrush, Daffodils, Mulberries, Reeds,
+Rushes, Willow.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 2.</td>
+  <td class="tdleftt">Cherry, Damask Rose, Ivy, Oak.</td>
+</tr>
+<tr>
+  <td class="tdleftt">Act</td>
+  <td class="tdrt">V.,</td>
+  <td class="tdleftt">sc. 1.</td>
+  <td class="tdleftt">Nettles, Roses.</td>
+</tr>
+<tr>
+  <td colspan="2">&nbsp;</td>
+  <td class="tdleftt">sc. 3.</td>
+  <td class="tdleftt">Flax.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Venus and Adonis</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Balm, 27.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Brambles, 629.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Cedar, 856.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4"><span class="pagenum"><a name="Page_430" id="Page_430"></a>[<a href="./images/430.png">430</a>]</span>Cherries, 1103.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Ebony, 948.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Lily, 228, 361, 1053.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Mulberries, 1103.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Myrtle, 865.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Plum, 527.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Primrose, 151.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Rose, 3, 10, 574, 584, 935.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Vine, 601.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Violet, 125, 936.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Lucrece</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Balm, 1466.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Cedar, 664.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Corn, 281.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Daisy, 393.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Grape, 215.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Lily, 71, 386, 477.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Marigold, 397.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Oak, 950.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Pine, 1167.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Reed, 1437.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Rose, 71, 257, 386, 477, 492.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Rush, 316.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Sugar, 893.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Vine, 215.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Wormwood, 893.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>Sonnets</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Apple, 93.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Balm, 107.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Lily, 94, 98, 99.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Marigold, 25.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Marjoram, 99.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Olive, 107.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Rose, 1, 35, 54, 67, 95, 98, 99, 109, 116, 130.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Violet, 12, 99.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>A Lover's Complaint</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Aloes, 39.</td>
+</tr>
+<tr><td>&nbsp;</td></tr>
+<tr>
+  <td class="tdleft" colspan="4"><i>The Passionate Pilgrim</i>&mdash;</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Lily, 89.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Myrtle, 143.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Oak, 5.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Osier, 5, 6.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Plum, 135.</td>
+</tr>
+<tr>
+  <td class="tdleftt" colspan="4">Rose, 131.</td>
+</tr>
+</table>
+</div>
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_431" id="Page_431"></a>[<a href="./images/431.png">431</a>]</span></p>
+<h2>GENERAL INDEX.</h2>
+
+<ul class="list">
+<li><span class="smcap">Ac&aelig;na</span>, <a href="#Page_44">44</a>.</li>
+
+<li>Aconitum, <a href="#Page_9">9</a>.</li>
+
+<li>Acorn, <a href="#Page_11">11</a>, <a href="#Page_180">180</a>.</li>
+
+<li>Acorus calamus, <a href="#Page_266">266</a>.</li>
+
+<li>Addison, <a href="#Page_92">92</a>.</li>
+
+<li>&AElig;lfric's "Vocabulary," <a href="#Page_126">126</a>, <a href="#Page_155">155</a>, <a href="#Footnote_158:1_122">158</a>, <a href="#Page_167">167</a>, <a href="#Page_199">199</a>.</li>
+
+<li>Almond, <a href="#Page_11">11</a>.</li>
+
+<li>Aloes, <a href="#Page_13">13</a>.</li>
+
+<li>Anemone, <a href="#Page_14">14</a>.</li>
+
+<li>Apple, <a href="#Page_17">17</a>.</li>
+
+<li>&mdash;&mdash; for fruit generally, <a href="#Page_19">19</a>, <a href="#Page_208">208</a>.</li>
+
+<li>Apple-john, <a href="#Page_22">22</a>.</li>
+
+<li>Apricot, <a href="#Page_23">23</a>.</li>
+
+<li>Aquilegia, <a href="#Page_60">60</a>.</li>
+
+<li>Artichoke, <a href="#Page_88">88</a>.</li>
+
+<li>Arundo donax, <a href="#Page_240">240</a>.</li>
+
+<li>Ash, <a href="#Page_24">24</a>.</li>
+
+<li>Aspen, <a href="#Page_25">25</a>.</li>
+
+<li>Avoyne, <a href="#Page_326">326</a>.</li>
+
+<li>&nbsp;</li>
+
+<li>"<span class="smcap">Babee's Book</span>," <a href="#Page_33">33</a>, <a href="#Page_50">50</a>, <a href="#Page_104">104</a>, <a href="#Page_175">175</a>, <a href="#Page_198">198</a>.</li>
+
+<li>Bachelor's Buttons, <a href="#Page_27">27</a>.</li>
+
+<li>Bacon on Gardens, &amp;c., <a href="#Page_39">39</a>, <a href="#Page_44">44</a>, <a href="#Page_98">98</a>, <a href="#Page_163">163</a>, <a href="#Page_295">295</a>, <a href="#Page_348">348</a>.</li>
+
+<li>Badham's Fungi, <a href="#Page_170">170</a>.</li>
+
+<li>Baker on Narcissus, <a href="#Page_76">76</a>.</li>
+
+<li>&mdash;&mdash; Iris, <a href="#Page_99">99</a>.</li>
+
+<li>Balm, <a href="#Page_28">28</a>.</li>
+
+<li>Balsam, <a href="#Page_28">28</a>.</li>
+
+<li>Bannotte, <a href="#Page_314">314</a>.</li>
+
+<li>Barley, <a href="#Page_30">30</a>.</li>
+
+<li>Barnacles, <a href="#Page_30">30</a>.</li>
+
+<li>Barnes' Glossary, <a href="#Page_79">79</a>.</li>
+
+<li>Baskets, <a href="#Page_323">323</a>.</li>
+
+<li>Bay, <a href="#Page_31">31</a>, <a href="#Page_136">136</a>.</li>
+
+<li>Bean, <a href="#Page_33">33</a>.</li>
+
+<li>Bedding-out, <a href="#Page_346">346</a>.</li>
+
+<li>Bedegar, <a href="#Page_84">84</a>.</li>
+
+<li>Beer, <a href="#Page_30">30</a>, <a href="#Page_36">36</a>.</li>
+
+<li>Beisley's "Shakespeare's Garden," <a href="#Footnote_5:1_11">5</a>, <a href="#Footnote_119:1_97">119</a>.</li>
+
+<li>Bilberry, <a href="#Page_35">35</a>.</li>
+
+<li>Bion, <a href="#Page_14">14</a>.</li>
+
+<li>Birch, <a href="#Page_35">35</a>.</li>
+
+<li>Bird's-eye Primrose, <a href="#Page_232">232</a>.</li>
+
+<li>Bird's-nest (Carrot), <a href="#Page_51">51</a>.</li>
+
+<li>Birdwood, Sir G., <a href="#Page_122">122</a>.</li>
+
+<li>Bitter-sweet, <a href="#Page_21">21</a>.</li>
+
+<li>Blackberry, <a href="#Page_37">37</a>, <a href="#Page_167">167</a>.</li>
+
+<li>Blackthorn, <a href="#Page_218">218</a>.</li>
+
+<li>Blights, <a href="#Page_355">355</a>.</li>
+
+<li>Bluebell, <a href="#Page_109">109</a>.</li>
+
+<li>B&ouml;hmeria, <a href="#Page_178">178</a>.</li>
+
+<li>Boorde, Andrew, <a href="#Page_241">241</a>, <a href="#Footnote_304:2_209">304</a>.</li>
+
+<li>Box, <a href="#Page_38">38</a>.</li>
+
+<li>Boy's Love, <a href="#Page_326">326</a>.</li>
+
+<li>Bramble, <a href="#Page_37">37</a>.</li>
+
+<li>Brasbridge, T., <a href="#Page_125">125</a>.</li>
+
+<li>Bretby Park, <a href="#Page_53">53</a>.</li>
+
+<li>Briers, <a href="#Page_39">39</a>.</li>
+
+<li><span class="pagenum"><a name="Page_432" id="Page_432"></a>[<a href="./images/432.png">432</a>]</span>Britten, J. C, <a href="#Footnote_267:1_184">267</a>.</li>
+
+<li>Bromsgrove, <a href="#Page_42">42</a>.</li>
+
+<li>Broom, <a href="#Page_41">41</a>.</li>
+
+<li>Brown's "Religio Medici," <a href="#Footnote_91:1_82">91</a>.</li>
+
+<li>Browne's "Britannia's Pastorals," <a href="#Footnote_3:1_8">3</a>, <a href="#Page_24">24</a>, <a href="#Page_32">32</a>, <a href="#Page_87">87</a>, <a href="#Footnote_92:1_83">92</a>, <a href="#Page_111">111</a>, <a href="#Page_163">163</a>, <a href="#Page_171">171</a>, <a href="#Page_203">203</a>, <a href="#Page_227">227</a>, <a href="#Footnote_266:1_183">266</a>, <a href="#Page_270">270</a>, <a href="#Footnote_282:3_198">282</a>, <a href="#Page_290">290</a>, <a href="#Footnote_347:1_225">347</a>, <a href="#Page_369">369</a>.</li>
+
+<li>Buckingham Palace, <a href="#Page_168">168</a>.</li>
+
+<li>Bullas, <a href="#Page_218">218</a>.</li>
+
+<li>Bullein, <a href="#Footnote_88:1_79">88</a>, <a href="#Page_103">103</a>, <a href="#Footnote_122:1_100">122</a>, <a href="#Page_127">127</a>, <a href="#Page_143">143</a>, <a href="#Page_161">161</a>, <a href="#Page_316">316</a>.</li>
+
+<li>Bulrush, <a href="#Page_43">43</a>.</li>
+
+<li>Burdock, <a href="#Page_43">43</a>, <a href="#Page_110">110</a>.</li>
+
+<li>Burnet, <a href="#Page_44">44</a>.</li>
+
+<li>Burns, <a href="#Page_371">371</a>.</li>
+
+<li>Burs, <a href="#Page_43">43</a>.</li>
+
+<li>Butter, <a href="#Page_90">90</a>, <a href="#Page_217">217</a>.</li>
+
+<li>Butomus umbellatus, <a href="#Page_266">266</a>.</li>
+
+<li>Buttercups, <a href="#Page_67">67</a>, <a href="#Page_70">70</a>.</li>
+
+<li>Buttons (buds), <a href="#Page_27">27</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Cabbage</span>, <a href="#Page_45">45</a>.</li>
+
+<li>Cabbage Rose, <a href="#Page_250">250</a>.</li>
+
+<li>Calcott, Lady, <a href="#Page_220">220</a>.</li>
+
+<li>Calluna, <a href="#Page_117">117</a>.</li>
+
+<li>Camerarius, <a href="#Page_14">14</a>, <a href="#Page_208">208</a>, <a href="#Page_213">213</a>, <a href="#Page_311">311</a>.</li>
+
+<li>Camomile, <a href="#Page_46">46</a>.</li>
+
+<li>Campbell on Nettles, <a href="#Page_177">177</a>.</li>
+
+<li>Canker, <a href="#Page_250">250</a>.</li>
+
+<li>Carat, <a href="#Page_148">148</a>.</li>
+
+<li>Cardamine pratensis, <a href="#Page_134">134</a>.</li>
+
+<li>Carduus benedictus, <a href="#Page_124">124</a>.</li>
+
+<li>Carex, <a href="#Page_276">276</a>.</li>
+
+<li>Carnations, <a href="#Page_47">47</a>.</li>
+
+<li>Carob, <a href="#Page_147">147</a>.</li>
+
+<li>Carraways, <a href="#Page_22">22</a>, <a href="#Page_49">49</a>.</li>
+
+<li>Carrot, <a href="#Page_50">50</a>.</li>
+
+<li>Cassia, <a href="#Page_277">277</a>.</li>
+
+<li>Castle Coch, <a href="#Page_304">304</a>.</li>
+
+<li>"Catholicon Anglicum," <a href="#Footnote_10:1_12">10</a>, <a href="#Page_393">393 to 418</a>, and quoted throughout.</li>
+
+<li>Cedar, <a href="#Page_51">51</a>.</li>
+
+<li>Chaucer's Flowers, <a href="#Page_3">3</a>, <a href="#Page_13">13</a>, <a href="#Page_21">21</a>, <a href="#Page_37">37</a>, <a href="#Page_42">42</a>, <a href="#Page_60">60</a>, <a href="#Footnote_87:1_78">87</a>, <a href="#Page_98">98</a>, <a href="#Footnote_103:1_89">103</a>, <a href="#Page_108">108</a>, <a href="#Page_127">127</a>, <a href="#Page_131">131</a>, <a href="#Page_136">136</a>, <a href="#Page_139">139</a>, <a href="#Footnote_146:1_114">146</a>, <a href="#Page_160">160</a>, <a href="#Page_161">161</a>, <a href="#Page_179">179</a>, <a href="#Page_196">196</a>, <a href="#Page_204">204</a>, <a href="#Page_215">215</a>, <a href="#Page_223">223</a>, <a href="#Page_229">229</a>, <a href="#Footnote_260:1_180">260</a>, <a href="#Page_288">288</a>, <a href="#Page_365">365</a>.</li>
+
+<li>Cherry, <a href="#Page_53">53</a>.</li>
+
+<li>Chester's "Love's Martyr," <a href="#Footnote_160:1_124">160</a>, <a href="#Page_193">193</a>, <a href="#Footnote_244:1_173">244</a>.</li>
+
+<li>Chestnuts, <a href="#Page_55">55</a>.</li>
+
+<li>Cistus, <a href="#Page_16">16</a>.</li>
+
+<li>Clare, <a href="#Page_149">149</a>, <a href="#Page_371">371</a>.</li>
+
+<li>Cleistogamous plants, <a href="#Footnote_313:1_211">313</a>.</li>
+
+<li>Clove, <a href="#Page_48">48</a>, <a href="#Page_56">56</a>.</li>
+
+<li>Clover, <a href="#Page_56">56</a>.</li>
+
+<li>Clubs (of cards), <a href="#Page_56">56</a>.</li>
+
+<li>Cockayne, "Leechdoms," &amp;c., <a href="#Footnote_10:1_12">10</a>, <a href="#Footnote_32:1_35">32</a>, <a href="#Page_66">66</a>, <a href="#Page_73">73</a>, <a href="#Page_90">90</a>, <a href="#Page_126">126</a>, <a href="#Page_185">185</a>, <a href="#Footnote_202:1_150">202</a>, <a href="#Page_215">215</a>, <a href="#Page_267">267</a>, <a href="#Page_325">325</a>, <a href="#Page_328">328</a>.</li>
+
+<li>Cockle, <a href="#Page_57">57</a>, <a href="#Page_78">78</a>.</li>
+
+<li>Codlings, <a href="#Page_22">22</a>.</li>
+
+<li>Coghan, <a href="#Footnote_4:2_10">4</a>, <a href="#Page_177">177</a>, <a href="#Page_188">188</a>, <a href="#Footnote_286:1_199">286</a>, <a href="#Page_377">377</a>.</li>
+
+<li>Colchicum, <a href="#Page_268">268</a>.</li>
+
+<li>Coles, <a href="#Page_290">290</a>, <a href="#Page_377">377</a>.</li>
+
+<li>Collins, <a href="#Page_42">42</a>.</li>
+
+<li>Collinson, <a href="#Footnote_240:1_169">240</a>.</li>
+
+<li>Coloquintida, <a href="#Page_58">58</a>.</li>
+
+<li>Columbyne, <a href="#Page_59">59</a>.</li>
+
+<li>Columella, <a href="#Page_154">154</a>.</li>
+
+<li>Constable, H., <a href="#Page_74">74</a>.</li>
+
+<li>Cooke, M. C., <a href="#Footnote_154:2_119">154</a>.</li>
+
+<li>Cork, <a href="#Page_61">61</a>.</li>
+
+<li>Corn, <a href="#Page_62">62</a>.</li>
+
+<li>Cornish Heath, <a href="#Page_117">117</a>.</li>
+
+<li>Corydalis, <a href="#Page_100">100</a>.</li>
+
+<li>Cotgrave's Dictionary, <a href="#Page_393">393 to 418</a>.</li>
+
+<li>Cotton, <a href="#Page_153">153</a>.</li>
+
+<li>Cottongrass, <a href="#Page_147">147</a>.</li>
+
+<li>Cowley, <a href="#Page_91">91</a>, <a href="#Page_171">171</a>, <a href="#Footnote_270:1_186">270</a>.</li>
+
+<li>Cowper, <a href="#Footnote_142:1_113">142</a>, <a href="#Page_378">378</a>.</li>
+
+<li>Cowslip, <a href="#Page_64">64</a>.</li>
+
+<li>Crab, <a href="#Page_20">20</a>.</li>
+
+<li>Crabwake, <a href="#Page_20">20</a>.</li>
+
+<li>Crape, <a href="#Footnote_71:1_68">71</a>.</li>
+
+<li>Crocus, <a href="#Page_269">269</a>.</li>
+
+<li>Crossberry, <a href="#Page_105">105</a>.</li>
+
+<li>Crow-flowers, <a href="#Page_67">67</a>.</li>
+
+<li>Crown of Thorns, <a href="#Page_84">84</a>, <a href="#Page_113">113</a>, <a href="#Page_266">266</a>.</li>
+
+<li>Crown Imperial, <a href="#Page_68">68</a>.</li>
+
+<li>Cuckoo-buds, <a href="#Page_70">70</a>.</li>
+
+<li><span class="pagenum"><a name="Page_433" id="Page_433"></a>[<a href="./images/433.png">433</a>]</span>Cucumbers, <a href="#Page_233">233</a>.</li>
+
+<li>Culverkeys, <a href="#Page_134">134</a>.</li>
+
+<li>Currants, <a href="#Page_70">70</a>.</li>
+
+<li>Cutwode's "Caltha," <a href="#Footnote_211:2_156">211</a>, <a href="#Page_368">368</a>.</li>
+
+<li>Cypress, <a href="#Page_71">71</a>.</li>
+
+<li>Cypripedia, <a href="#Page_151">151</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Daffodils</span>, <a href="#Page_73">73</a>.</li>
+
+<li>Daisy, <a href="#Page_77">77</a>, <a href="#Page_361">361</a>.</li>
+
+<li>Damask Rose, <a href="#Page_251">251</a>.</li>
+
+<li>Damson, <a href="#Page_216">216</a>.</li>
+
+<li>Dante, <a href="#Footnote_264:1_182">264</a>.</li>
+
+<li>Darnel, <a href="#Page_78">78</a>.</li>
+
+<li>Darwin, <a href="#Page_150">150</a>, <a href="#Page_231">231</a>, <a href="#Page_236">236</a>, <a href="#Page_301">301</a>.</li>
+
+<li>Dates, <a href="#Page_79">79</a>.</li>
+
+<li>Daubeny, Dr., <a href="#Page_154">154</a>, <a href="#Page_189">189</a>, <a href="#Page_262">262</a>.</li>
+
+<li>Dead Men's Fingers, <a href="#Page_80">80</a>, <a href="#Page_149">149</a>.</li>
+
+<li>Dering, <a href="#Page_49">49</a>.</li>
+
+<li>Deux ans Apple, <a href="#Page_22">22</a>.</li>
+
+<li>Devil's lingels, <a href="#Page_133">133</a>.</li>
+
+<li>Dewberries, <a href="#Page_80">80</a>.</li>
+
+<li>Dian's bud, <a href="#Page_80">80</a>.</li>
+
+<li>Dianthus, <a href="#Page_48">48</a>.</li>
+
+<li>Dielytra, <a href="#Page_100">100</a>.</li>
+
+<li>Dillenius, <a href="#Page_101">101</a>.</li>
+
+<li>Divining rod, <a href="#Page_116">116</a>.</li>
+
+<li>Docks, <a href="#Page_81">81</a>.</li>
+
+<li>Doddington Park, <a href="#Page_117">117</a>.</li>
+
+<li>Dogberry, <a href="#Page_81">81</a>.</li>
+
+<li>Dog-rose, <a href="#Page_14">14</a>.</li>
+
+<li>Douce, <a href="#Page_93">93</a>, <a href="#Page_171">171</a>.</li>
+
+<li>Dove-plant, <a href="#Page_60">60</a>.</li>
+
+<li>Dowden, <a href="#Footnote_2:2_7">2</a>.</li>
+
+<li>Drayton, <a href="#Page_45">45</a>, <a href="#Page_59">59</a>, <a href="#Footnote_65:1_64">65</a>, <a href="#Page_84">84</a>, <a href="#Page_98">98</a>, <a href="#Page_110">110</a>, <a href="#Page_134">134</a>, <a href="#Page_174">174</a>, <a href="#Page_223">223</a>, <a href="#Page_368">368</a>.</li>
+
+<li>Dryden, <a href="#Page_370">370</a>.</li>
+
+<li>Dunbar, <a href="#Page_249">249</a>.</li>
+
+<li>Durham Mustard, <a href="#Page_173">173</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Ebony</span>, <a href="#Page_82">82</a>, <a href="#Page_119">119</a>.</li>
+
+<li>Eglantine, <a href="#Page_82">82</a>, <a href="#Page_254">254</a>.</li>
+
+<li>Elder, <a href="#Page_84">84</a>.</li>
+
+<li>Elm, <a href="#Page_87">87</a>.</li>
+
+<li>Elizabethan Gardens, <a href="#Page_342">342</a>.</li>
+
+<li>Elizabeth, Queen, <a href="#Footnote_349:1_227">349</a>.</li>
+
+<li>Elwes, H. J., <a href="#Page_145">145</a>.</li>
+
+<li>Eringoes, <a href="#Page_88">88</a>.</li>
+
+<li>Etna, Chestnut on, <a href="#Page_55">55</a>.</li>
+
+<li>Evelyn, <a href="#Page_52">52</a>, <a href="#Page_116">116</a>, <a href="#Page_124">124</a>, <a href="#Page_315">315</a>.</li>
+
+<li>Evershed on bay, <a href="#Footnote_33:1_37">33</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Fairy rings</span>, <a href="#Page_170">170</a>.</li>
+
+<li>Falaise, <a href="#Page_48">48</a>.</li>
+
+<li>Farsing Herbs, <a href="#Page_275">275</a>.</li>
+
+<li>Feaberry, <a href="#Page_105">105</a>.</li>
+
+<li>Fennel, <a href="#Page_88">88</a>.</li>
+
+<li>Fern, <a href="#Page_90">90</a>.</li>
+
+<li>Ferule, <a href="#Page_89">89</a>.</li>
+
+<li>Fig, <a href="#Page_93">93</a>.</li>
+
+<li>Fig Mulberry, <a href="#Page_288">288</a>.</li>
+
+<li>Fig Pudding, <a href="#Page_239">239</a>.</li>
+
+<li>Filbert, <a href="#Page_94">94</a>.</li>
+
+<li>Fir, <a href="#Page_207">207</a>.</li>
+
+<li>Flags, <a href="#Page_94">94</a>.</li>
+
+<li>Flax, <a href="#Page_95">95</a>, <a href="#Page_97">97</a>.</li>
+
+<li>Fletcher, <a href="#Footnote_99:1_87">99</a>, <a href="#Page_231">231</a>.</li>
+
+<li>"Flora Domestica," <a href="#Footnote_12:1_14">12</a>, <a href="#Footnote_197:1_147">197</a>, <a href="#Footnote_266:1_183">266</a>.</li>
+
+<li>Flower-de-luce, <a href="#Page_97">97</a>.</li>
+
+<li>Forget-me-not, <a href="#Page_4">4</a>.</li>
+
+<li>Foxglove, <a href="#Page_4">4</a>.</li>
+
+<li>Fremontia Californica, <a href="#Page_153">153</a>.</li>
+
+<li>Frizen Hill, <a href="#Footnote_106:1_90">106</a>.</li>
+
+<li>Fuller, Thos., <a href="#Page_156">156</a>.</li>
+
+<li>Fumitory, <a href="#Page_100">100</a>.</li>
+
+<li>Furze, <a href="#Page_100">100</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Gale</span>, <a href="#Page_174">174</a>.</li>
+
+<li>Gardens, <a href="#Page_340">340</a>, <a href="#Page_342">342</a>.</li>
+
+<li>Gardeners, <a href="#Page_349">349</a>.</li>
+
+<li>Garlande, John de, <a href="#Page_167">167</a>.</li>
+
+<li>Garlick, <a href="#Page_102">102</a>.</li>
+
+<li>Gay, <a href="#Page_162">162</a>.</li>
+
+<li>Gerard, <a href="#Page_5">5</a>, <a href="#Page_393">393 to 418</a>, and quoted throughout.</li>
+
+<li>Gilliflower, <a href="#Page_48">48</a>.</li>
+
+<li>Gilpin, <a href="#Page_91">91</a>.</li>
+
+<li>Ginger, <a href="#Page_103">103</a>.</li>
+
+<li>Gladstone, W. E., <a href="#Footnote_16:1_19">16</a>.</li>
+
+<li>Glossaries, <a href="#Footnote_10:1_12">10</a>, <a href="#Page_393">393</a>.</li>
+
+<li>Goethe, <a href="#Page_195">195</a>.</li>
+
+<li>Goldes, <a href="#Page_157">157</a>.</li>
+
+<li>Golding's Ovid, <a href="#Page_15">15</a>.</li>
+
+<li>Gooseberries, <a href="#Page_105">105</a>.</li>
+
+<li><span class="pagenum"><a name="Page_434" id="Page_434"></a>[<a href="./images/434.png">434</a>]</span>Gorse, <a href="#Page_106">106</a>.</li>
+
+<li>Gourd, <a href="#Page_106">106</a>, <a href="#Page_232">232</a>.</li>
+
+<li>Gower, <a href="#Page_21">21</a>, <a href="#Page_57">57</a>, <a href="#Page_74">74</a>, <a href="#Page_89">89</a>, <a href="#Page_114">114</a>, <a href="#Page_118">118</a>, <a href="#Page_143">143</a>, <a href="#Page_157">157</a>, <a href="#Page_223">223</a>, <a href="#Page_229">229</a>, <a href="#Page_259">259</a>.</li>
+
+<li>Grafting, <a href="#Page_353">353</a>.</li>
+
+<li>Granada, Arms of, <a href="#Page_220">220</a>.</li>
+
+<li>Grapes, <a href="#Page_299">299</a>.</li>
+
+<li>Grass, <a href="#Page_107">107</a>.</li>
+
+<li>Greene, <a href="#Page_128">128</a>.</li>
+
+<li>Grindon, Leo H., <a href="#Footnote_5:1_11">5</a>, <a href="#Footnote_17:1_20">17</a>.</li>
+
+<li>Gundulph, <a href="#Page_49">49</a>.</li>
+
+<li>Gwillim, <a href="#Page_297">297</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Hakluyt</span>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_237">237</a>, <a href="#Page_269">269</a>, <a href="#Page_305">305</a>.</li>
+
+<li>Hanham Hall, <a href="#Page_186">186</a>.</li>
+
+<li>Harebell, <a href="#Page_109">109</a>.</li>
+
+<li>Harlocks, <a href="#Page_110">110</a>, <a href="#Page_121">121</a>.</li>
+
+<li>Harrison, W. A., <a href="#Page_119">119</a>.</li>
+
+<li>Harrison's "England," <a href="#Page_340">340</a>.</li>
+
+<li>Harting, <a href="#Page_30">30</a>.</li>
+
+<li>Haver, <a href="#Page_184">184</a>.</li>
+
+<li>Hawes, <a href="#Page_366">366</a>.</li>
+
+<li>Hawthorn, <a href="#Page_110">110</a>.</li>
+
+<li>Hazel, <a href="#Page_113">113</a>.</li>
+
+<li>Heath, <a href="#Page_116">116</a>.</li>
+
+<li>Hebenon, <a href="#Page_118">118</a>.</li>
+
+<li>Hedges, <a href="#Page_113">113</a>, <a href="#Page_334">334</a>.</li>
+
+<li>Helmet-flower, <a href="#Page_10">10</a>.</li>
+
+<li>Hemans, Mrs., <a href="#Page_26">26</a>, <a href="#Page_66">66</a>.</li>
+
+<li>Hemlock, <a href="#Page_121">121</a>.</li>
+
+<li>Hemp, <a href="#Page_121">121</a>.</li>
+
+<li>Henbane, <a href="#Page_119">119</a>, <a href="#Page_129">129</a>.</li>
+
+<li>Herbert, G., <a href="#Page_68">68</a>, <a href="#Page_190">190</a>, <a href="#Footnote_255:1_178">255</a>, <a href="#Page_314">314</a>, <a href="#Footnote_357:1_229">357</a>, <a href="#Page_370">370</a>.</li>
+
+<li>Herb of Grace, <a href="#Page_122">122</a>, <a href="#Page_259">259</a>.</li>
+
+<li>Herodotus, <a href="#Page_102">102</a>, <a href="#Footnote_250:1_175">250</a>.</li>
+
+<li>Herrick's Flowers, <a href="#Page_74">74</a>, <a href="#Page_83">83</a>, <a href="#Page_250">250</a>, <a href="#Page_258">258</a>, <a href="#Page_369">369</a>.</li>
+
+<li>Herschel, Sir J., <a href="#Page_97">97</a>.</li>
+
+<li>Hibiscus, <a href="#Page_153">153</a>.</li>
+
+<li>Highclere Park, <a href="#Page_53">53</a>.</li>
+
+<li>Holderstock, <a href="#Page_86">86</a>.</li>
+
+<li>Holly, <a href="#Page_122">122</a>, <a href="#Page_130">130</a>.</li>
+
+<li>Hollyhock, <a href="#Page_152">152</a>.</li>
+
+<li>Holy Thistle, <a href="#Page_124">124</a>.</li>
+
+<li>Homer, <a href="#Footnote_76:1_72">76</a>, <a href="#Page_188">188</a>, <a href="#Footnote_318:1_213">318</a>.</li>
+
+<li>Honeystalks, <a href="#Page_56">56</a>.</li>
+
+<li>Honeysuckle, <a href="#Page_125">125</a>.</li>
+
+<li>Hooker, Sir J., <a href="#Page_192">192</a>, <a href="#Page_319">319</a>.</li>
+
+<li>Horace, <a href="#Page_90">90</a>, <a href="#Footnote_94:1_84">94</a>, <a href="#Page_102">102</a>, <a href="#Page_130">130</a>, <a href="#Page_152">152</a>, <a href="#Page_204">204</a>, <a href="#Page_236">236</a>, <a href="#Page_243">243</a>.</li>
+
+<li>Horse Chestnut, <a href="#Page_55">55</a>.</li>
+
+<li>Hyssop, <a href="#Page_128">128</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Insane root</span>, <a href="#Page_129">129</a>.</li>
+
+<li>Ivy, <a href="#Page_129">129</a>, <a href="#Page_327">327</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Jervis</span>, S., Dictionary, <a href="#Page_70">70</a>.</li>
+
+<li>Joan Silverpin, <a href="#Page_222">222</a>.</li>
+
+<li>Johns on Trees, <a href="#Page_289">289</a>.</li>
+
+<li>John's, St., Bread, <a href="#Page_148">148</a>.</li>
+
+<li>Johnston, <a href="#Page_121">121</a>, <a href="#Page_133">133</a>, <a href="#Page_205">205</a>, <a href="#Page_289">289</a>, <a href="#Page_330">330</a>.</li>
+
+<li>Jonquil, <a href="#Page_73">73</a>.</li>
+
+<li>Jonson, Ben, <a href="#Footnote_3:1_8">3</a>, <a href="#Footnote_4:1_9">4</a>, <a href="#Page_11">11</a>, <a href="#Page_15">15</a>, <a href="#Page_21">21</a>, <a href="#Page_66">66</a>, <a href="#Page_77">77</a>, <a href="#Footnote_95:1_85">95</a>, <a href="#Page_98">98</a>, <a href="#Page_121">121</a>, <a href="#Page_152">152</a>.</li>
+
+<li>Josephus, <a href="#Page_154">154</a>.</li>
+
+<li>Judas, <a href="#Page_85">85</a>.</li>
+
+<li>Juvenal, <a href="#Page_13">13</a>, <a href="#Footnote_94:1_84">94</a>, <a href="#Page_138">138</a>, <a href="#Page_204">204</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Keats</span>, <a href="#Page_75">75</a>, <a href="#Footnote_132:1_106">132</a>.</li>
+
+<li>Kecksies, <a href="#Page_132">132</a>.</li>
+
+<li>Kemble, F., <a href="#Footnote_279:1_194">279</a>.</li>
+
+<li>Kew, <a href="#Page_92">92</a>, <a href="#Page_194">194</a>.</li>
+
+<li>Kirby on Trees, <a href="#Page_323">323</a>.</li>
+
+<li>Knot-grass, <a href="#Page_133">133</a>.</li>
+
+<li>Knots, <a href="#Page_345">345</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Lady-smocks</span>, <a href="#Page_134">134</a>.</li>
+
+<li>Lark's heels, <a href="#Page_135">135</a>.</li>
+
+<li>Latimer, <a href="#Page_57">57</a>, <a href="#Page_272">272</a>.</li>
+
+<li>Laurel, <a href="#Page_135">135</a>.</li>
+
+<li>Laurembergius, <a href="#Page_143">143</a>, <a href="#Page_258">258</a>, <a href="#Page_310">310</a>.</li>
+
+<li>Lavaillee, <a href="#Footnote_24:1_29">24</a>, <a href="#Footnote_178:1_137">178</a>.</li>
+
+<li>Lavender, <a href="#Page_137">137</a>.</li>
+
+<li>Lawson, <a href="#Footnote_46:1_50">46</a>, <a href="#Page_105">105</a>, <a href="#Page_140">140</a>, <a href="#Page_178">178</a>, <a href="#Page_342">342</a>, <a href="#Footnote_343:1_223">343</a>, <a href="#Page_347">347</a>.</li>
+
+<li>Leathercoat, <a href="#Page_22">22</a>.</li>
+
+<li>Lebanon, Cedar of, <a href="#Page_52">52</a>.</li>
+
+<li>Leek, <a href="#Page_138">138</a>.</li>
+
+<li>Lee's "Sea Fables," <a href="#Page_30">30</a>.</li>
+
+<li>Lemon, <a href="#Page_140">140</a>.</li>
+
+<li>Lettuce, <a href="#Page_140">140</a>.</li>
+
+<li>Levens Hall, <a href="#Page_237">237</a>, <a href="#Page_344">344</a>.</li>
+
+<li>"Lib&aelig;us Diaconus," <a href="#Page_90">90</a>.</li>
+
+<li><span class="pagenum"><a name="Page_435" id="Page_435"></a>[<a href="./images/435.png">435</a>]</span>
+Lily, <a href="#Page_140">140</a>.</li>
+
+<li>&mdash;&mdash; of the Field, <a href="#Page_145">145</a>.</li>
+
+<li>&mdash;&mdash; of the Valley, <a href="#Page_4">4</a>.</li>
+
+<li>Lily's "Euphues," <a href="#Page_46">46</a>, <a href="#Footnote_128:1_104">128</a>.</li>
+
+<li>Lime, <a href="#Page_146">146</a>.</li>
+
+<li>Lind, <a href="#Page_146">146</a>.</li>
+
+<li>Lindley, Dr., <a href="#Page_53">53</a>, <a href="#Page_79">79</a>, <a href="#Page_109">109</a>, <a href="#Page_152">152</a>, <a href="#Page_204">204</a>, <a href="#Page_284">284</a>.</li>
+
+<li>Ling, <a href="#Page_116">116</a>, <a href="#Page_147">147</a>.</li>
+
+<li>Linn&aelig;us, <a href="#Page_116">116</a>, <a href="#Page_147">147</a>.</li>
+
+<li>Locusts, <a href="#Page_147">147</a>.</li>
+
+<li>Longfellow, <a href="#Page_89">89</a>, <a href="#Page_214">214</a>.</li>
+
+<li>Long Purples, <a href="#Page_148">148</a>.</li>
+
+<li>Loosestrife, <a href="#Page_149">149</a>.</li>
+
+<li>Love-in-idleness, <a href="#Page_309">309</a>.</li>
+
+<li>Lupton, <a href="#Page_237">237</a>.</li>
+
+<li>Lyte, <a href="#Page_23">23</a>, <a href="#Page_47">47</a>, <a href="#Page_79">79</a>, <a href="#Page_91">91</a>, <a href="#Page_129">129</a>, <a href="#Page_136">136</a>, <a href="#Page_148">148</a>, <a href="#Page_159">159</a>, <a href="#Page_167">167</a>, <a href="#Page_190">190</a>, <a href="#Page_241">241</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Mace</span>, <a href="#Page_151">151</a>.</li>
+
+<li>Mallows, <a href="#Page_152">152</a>.</li>
+
+<li>Mandeville, Sir John, <a href="#Page_20">20</a>, <a href="#Page_31">31</a>, <a href="#Page_72">72</a>, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>, <a href="#Page_113">113</a>, <a href="#Page_255">255</a>, <a href="#Page_266">266</a>.</li>
+
+<li>Mandrake, <a href="#Page_153">153</a>, <a href="#Page_226">226</a>.</li>
+
+<li>Manuring, <a href="#Page_352">352</a>.</li>
+
+<li>Maple, <a href="#Page_288">288</a>.</li>
+
+<li>Marathon, <a href="#Page_89">89</a>.</li>
+
+<li>Margaret, St., <a href="#Page_364">364</a>.</li>
+
+<li>Marigold, <a href="#Page_155">155</a>.</li>
+
+<li>Marjoram, <a href="#Page_159">159</a>.</li>
+
+<li>Marlowe, <a href="#Page_118">118</a>.</li>
+
+<li>Marsh, J. F., <a href="#Footnote_27:1_33">27</a>, <a href="#Page_89">89</a>.</li>
+
+<li>Marvel, A., <a href="#Page_190">190</a>.</li>
+
+<li>Marybuds, <a href="#Page_155">155</a>.</li>
+
+<li>Masters, Dr., <a href="#Page_216">216</a>.</li>
+
+<li>Masts, <a href="#Page_159">159</a>.</li>
+
+<li>Maw, G., <a href="#Page_273">273</a>.</li>
+
+<li>Medlar, <a href="#Page_160">160</a>.</li>
+
+<li>Melittis melissophyllum, <a href="#Page_29">29</a>.</li>
+
+<li>Miller, <a href="#Page_34">34</a>, <a href="#Page_191">191</a>.</li>
+
+<li>Milner's "Country Pleasures," <a href="#Page_82">82</a>.</li>
+
+<li>Milton's Flowers, <a href="#Page_65">65</a>, <a href="#Page_74">74</a>, <a href="#Page_83">83</a>, <a href="#Page_87">87</a>, <a href="#Page_109">109</a>, <a href="#Page_126">126</a>, <a href="#Page_133">133</a>, <a href="#Page_174">174</a>, <a href="#Page_197">197</a>, <a href="#Page_224">224</a>, <a href="#Page_230">230</a>, <a href="#Page_241">241</a>, <a href="#Page_261">261</a>, <a href="#Page_295">295</a>, <a href="#Page_347">347</a>, <a href="#Page_309">309</a>, <a href="#Page_369">369</a>.</li>
+
+<li>Mint, <a href="#Page_161">161</a>.</li>
+
+<li>Mistletoe, <a href="#Page_162">162</a>.</li>
+
+<li>Mohammed on Garlick, <a href="#Page_102">102</a>.</li>
+
+<li>Monk's-hood, <a href="#Page_10">10</a>.</li>
+
+<li>Montgomery, A., <a href="#Page_143">143</a>.</li>
+
+<li>More, Sir T., <a href="#Page_257">257</a>.</li>
+
+<li>Morat, <a href="#Page_167">167</a>.</li>
+
+<li>Moss, <a href="#Page_164">164</a>.</li>
+
+<li>Mulberries, <a href="#Page_166">166</a>.</li>
+
+<li>Mushrooms, <a href="#Page_169">169</a>.</li>
+
+<li>Musk Roses, <a href="#Page_252">252</a>.</li>
+
+<li>Mustard, <a href="#Page_172">172</a>.</li>
+
+<li>Myrtle, <a href="#Page_174">174</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Names of Plants</span>, <a href="#Page_393">393</a>.</li>
+
+<li>Narcissus, <a href="#Page_73">73</a>, <a href="#Page_175">175</a>.</li>
+
+<li>Nash, T., <a href="#Page_195">195</a>.</li>
+
+<li>Neckam, A., <a href="#Page_12">12</a>, <a href="#Page_79">79</a>.</li>
+
+<li>Neckweed, <a href="#Footnote_122:1_100">122</a>.</li>
+
+<li>Nettles, <a href="#Page_175">175</a>.</li>
+
+<li>&mdash;&mdash; of India, <a href="#Page_178">178</a>.</li>
+
+<li>Newton, Thos., <a href="#Page_78">78</a>, <a href="#Page_264">264</a>, <a href="#Page_321">321</a>, <a href="#Page_330">330</a>.</li>
+
+<li>Nicholson, Dr., <a href="#Page_119">119</a>.</li>
+
+<li>Nightshades, <a href="#Page_225">225</a>.</li>
+
+<li>Nut, <a href="#Page_114">114</a>.</li>
+
+<li>Nutmeg, <a href="#Page_179">179</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Oak</span>, <a href="#Page_180">180</a>.</li>
+
+<li>Oats, <a href="#Page_183">183</a>.</li>
+
+<li>Oil from Walnuts, <a href="#Page_316">316</a>.</li>
+
+<li>Olive, <a href="#Page_184">184</a>.</li>
+
+<li>Onions, <a href="#Page_187">187</a>.</li>
+
+<li>Opium, <a href="#Page_223">223</a>.</li>
+
+<li>Orange, <a href="#Page_188">188</a>.</li>
+
+<li>Orchids, <a href="#Page_149">149</a>.</li>
+
+<li>Oreodaphne Californica, <a href="#Page_32">32</a>.</li>
+
+<li>Osier, <a href="#Page_192">192</a>, <a href="#Page_320">320</a>.</li>
+
+<li>Ovid, <a href="#Page_15">15</a>.</li>
+
+<li>Oxlip, <a href="#Page_66">66</a>, <a href="#Page_192">192</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Paigle</span>, <a href="#Page_66">66</a>.</li>
+
+<li>Palladius, <a href="#Footnote_73:2_70">73</a>, <a href="#Page_140">140</a>, <a href="#Page_261">261</a>, <a href="#Footnote_303:2_206">303</a>, <a href="#Footnote_343:1_223">343</a>.</li>
+
+<li>Palm, <a href="#Page_79">79</a>, <a href="#Page_192">192</a>, <a href="#Page_321">321</a>, <a href="#Page_329">329</a>.</li>
+
+<li>Pansies, <a href="#Page_196">196</a>, <a href="#Page_309">309</a>.</li>
+
+<li>Parkinson&mdash;quoted throughout.</li>
+
+<li>Parsley, <a href="#Page_197">197</a>.</li>
+
+<li>Parsnip, <a href="#Page_50">50</a>.</li>
+
+<li><span class="pagenum"><a name="Page_436" id="Page_436"></a>[<a href="./images/436.png">436</a>]</span>Pasque flower, <a href="#Page_17">17</a>.</li>
+
+<li>Patience (Docks), <a href="#Page_81">81</a>.</li>
+
+<li>Pawnce, <a href="#Page_196">196</a>.</li>
+
+<li>Peach, <a href="#Page_161">161</a>, <a href="#Page_198">198</a>.</li>
+
+<li>Pear, <a href="#Page_199">199</a>.</li>
+
+<li>Peas, <a href="#Page_201">201</a>.</li>
+
+<li>Pensioners, <a href="#Page_65">65</a>.</li>
+
+<li>Pepper, <a href="#Page_203">203</a>.</li>
+
+<li>Pepys, <a href="#Page_177">177</a>.</li>
+
+<li>Phillips, <a href="#Page_34">34</a>, <a href="#Page_316">316</a>.</li>
+
+<li>Picotee, <a href="#Page_48">48</a>.</li>
+
+<li>Pignuts, <a href="#Page_205">205</a>.</li>
+
+<li>Pine, <a href="#Page_205">205</a>.</li>
+
+<li>Pine Apples, <a href="#Page_208">208</a>.</li>
+
+<li>Pink, <a href="#Page_48">48</a>, <a href="#Page_209">209</a>.</li>
+
+<li>Piony, <a href="#Page_211">211</a>.</li>
+
+<li>Pippins, <a href="#Page_21">21</a>.</li>
+
+<li>Planch&eacute; on fleur-de-lis, <a href="#Page_97">97</a>.</li>
+
+<li>Plane, <a href="#Page_213">213</a>.</li>
+
+<li>Plantagenet, <a href="#Page_41">41</a>.</li>
+
+<li>Plantain, <a href="#Page_214">214</a>.</li>
+
+<li>Platt, Sir H., <a href="#Page_163">163</a>, <a href="#Page_281">281</a>.</li>
+
+<li>Pliny, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_48">48</a>, <a href="#Page_72">72</a>.</li>
+
+<li>Plum, <a href="#Page_216">216</a>.</li>
+
+<li>Plutarch, <a href="#Footnote_12:1_14">12</a>.</li>
+
+<li>Poetry of Gardening, <a href="#Page_339">339</a>.</li>
+
+<li>Poet's Narcissus, <a href="#Page_77">77</a>.</li>
+
+<li>"Poets' Pleasaunce," <a href="#Page_109">109</a>, <a href="#Page_311">311</a>.</li>
+
+<li>Polyanthus, <a href="#Page_66">66</a>.</li>
+
+<li>Pomatum, <a href="#Page_20">20</a>.</li>
+
+<li>Pomegranate, <a href="#Page_219">219</a>.</li>
+
+<li>Pomewater, <a href="#Page_21">21</a>.</li>
+
+<li>Popering Pear, <a href="#Page_201">201</a>.</li>
+
+<li>Poppy, <a href="#Page_222">222</a>.</li>
+
+<li>Potato, <a href="#Page_224">224</a>.</li>
+
+<li>Primrose, <a href="#Page_66">66</a>, <a href="#Page_226">226</a>.</li>
+
+<li>Prior, Dr., <a href="#Page_16">16</a>, <a href="#Page_47">47</a>, <a href="#Page_60">60</a>, <a href="#Page_66">66</a>, <a href="#Page_70">70</a>, <a href="#Page_74">74</a>, <a href="#Page_81">81</a>, <a href="#Page_105">105</a>, <a href="#Page_110">110</a>, <a href="#Page_114">114</a>, <a href="#Page_133">133</a>, <a href="#Footnote_163:1_125">163</a>, <a href="#Page_197">197</a>, <a href="#Page_227">227</a>.</li>
+
+<li>"Promptorium Parvulorum," <a href="#Footnote_10:1_12">10</a>, <a href="#Page_393">393 to 418</a>, and quoted throughout.</li>
+
+<li>Proven&ccedil;al Rose, <a href="#Page_250">250</a>.</li>
+
+<li>Prudentius, <a href="#Page_312">312</a>.</li>
+
+<li>Prunes, <a href="#Page_216">216</a>.</li>
+
+<li>Pruning, <a href="#Page_351">351</a>.</li>
+
+<li>Pumpion, <a href="#Page_232">232</a>.</li>
+
+<li>Purple colour, <a href="#Page_16">16</a>.</li>
+
+<li>Pythagoras, <a href="#Page_154">154</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Quarles</span>, <a href="#Page_264">264</a>.</li>
+
+<li>Quince, <a href="#Page_234">234</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Radish</span>, <a href="#Page_236">236</a>.</li>
+
+<li>Ragged Robin, <a href="#Page_67">67</a>.</li>
+
+<li>Raisins, <a href="#Page_238">238</a>.</li>
+
+<li>Raspberry, <a href="#Page_283">283</a>.</li>
+
+<li>Redout&eacute;'s "Liliac&aelig;," <a href="#Page_99">99</a>.</li>
+
+<li>Reeds, <a href="#Page_239">239</a>.</li>
+
+<li>"Remedie of Love," <a href="#Page_13">13</a>.</li>
+
+<li>Rest-harrow, <a href="#Page_133">133</a>.</li>
+
+<li>Rhubarb, <a href="#Page_241">241</a>.</li>
+
+<li>Rice, <a href="#Page_242">242</a>.</li>
+
+<li>Rochester Castle, <a href="#Page_49">49</a>.</li>
+
+<li>"Romaunt of the Rose," <a href="#Page_12">12</a>, <a href="#Page_27">27</a>, <a href="#Page_139">139</a>, <a href="#Page_179">179</a>, <a href="#Page_221">221</a>, <a href="#Page_238">238</a>, <a href="#Page_343">343</a>.</li>
+
+<li>Rose, <a href="#Page_243">243</a>.</li>
+
+<li>&mdash;&mdash; of Sharon, <a href="#Page_76">76</a>.</li>
+
+<li>Rosebery, Arms, <a href="#Page_232">232</a>.</li>
+
+<li>Rosemary, <a href="#Page_256">256</a>.</li>
+
+<li>Ross, Alex., <a href="#Page_16">16</a>.</li>
+
+<li>Rousseau, <a href="#Page_374">374</a>.</li>
+
+<li>Roxburghe Ballads, <a href="#Page_41">41</a>, <a href="#Page_62">62</a>.</li>
+
+<li>Ruddes, <a href="#Page_156">156</a>.</li>
+
+<li>Rue, <a href="#Page_259">259</a>.</li>
+
+<li>Rush, <a href="#Page_262">262</a>.</li>
+
+<li>Ruskin, <a href="#Footnote_109:1_92">109</a>, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>, <a href="#Page_186">186</a>, <a href="#Page_206">206</a>, <a href="#Footnote_223:1_166">223</a>, <a href="#Footnote_292:1_202">292</a>.</li>
+
+<li>Rye, <a href="#Page_267">267</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Saffron</span>, <a href="#Page_268">268</a>.</li>
+
+<li>Sales, St. Francis de, <a href="#Page_98">98</a>, <a href="#Page_158">158</a>, <a href="#Page_284">284</a>, <a href="#Page_311">311</a>, <a href="#Page_326">326</a>.</li>
+
+<li>Samphire, <a href="#Page_274">274</a>.</li>
+
+<li>Savory, <a href="#Page_275">275</a>.</li>
+
+<li>Saxo Grammaticus, <a href="#Page_119">119</a>.</li>
+
+<li>Schmidt, <a href="#Page_70">70</a>, <a href="#Footnote_210:1_154">210</a>.</li>
+
+<li>"Schola Salern&aelig;," <a href="#Page_261">261</a>.</li>
+
+<li>"Schoole-House of Women," <a href="#Page_26">26</a>.</li>
+
+<li>Scotch Fir, <a href="#Page_207">207</a>.</li>
+
+<li>&mdash;&mdash; Thistle, <a href="#Page_291">291</a>.</li>
+
+<li>Scott, Sir W., <a href="#Page_207">207</a>, <a href="#Page_309">309</a>.</li>
+
+<li>Sea Holly, <a href="#Page_88">88</a>, <a href="#Page_267">267</a>.</li>
+
+<li>Sedge, <a href="#Page_276">276</a>.</li>
+
+<li><span class="pagenum"><a name="Page_437" id="Page_437"></a>[<a href="./images/437.png">437</a>]</span>Senna, <a href="#Page_277">277</a>.</li>
+
+<li>Shakespeare, Books on the flowers of, <a href="#Footnote_5:1_11">5</a>.</li>
+
+<li>&mdash;&mdash; Books on his occupations, <a href="#Page_1">1</a>.</li>
+
+<li>&mdash;&mdash; Seasons of, <a href="#Page_381">381</a>.</li>
+
+<li>Shamrock, <a href="#Page_56">56</a>.</li>
+
+<li>Shelley, <a href="#Page_75">75</a>.</li>
+
+<li>Shenstone, <a href="#Page_259">259</a>.</li>
+
+<li>Sibthorp, "Flora Gr&aelig;ca," <a href="#Page_154">154</a>.</li>
+
+<li>Skelton, <a href="#Page_60">60</a>.</li>
+
+<li>Sleepwort, <a href="#Page_140">140</a>.</li>
+
+<li>Sloes, <a href="#Page_218">218</a>.</li>
+
+<li>Smith, on Ferns, <a href="#Page_92">92</a>.</li>
+
+<li>Snowdrops, <a href="#Page_4">4</a>.</li>
+
+<li>Sops-in-wine, <a href="#Page_48">48</a>.</li>
+
+<li>Speargrass, <a href="#Page_277">277</a>.</li>
+
+<li>Spenser's Flowers, <a href="#Page_3">3</a>, <a href="#Page_12">12</a>, <a href="#Page_15">15</a>, <a href="#Page_32">32</a>, <a href="#Page_38">38</a>, <a href="#Page_47">47</a>, <a href="#Page_58">58</a>, <a href="#Page_60">60</a>, <a href="#Page_81">81</a>, <a href="#Page_83">83</a>, <a href="#Page_86">86</a>, <a href="#Page_87">87</a>, <a href="#Page_98">98</a>, <a href="#Page_106">106</a>, <a href="#Page_112">112</a>, <a href="#Page_118">118</a>, <a href="#Page_128">128</a>, <a href="#Page_131">131</a>, <a href="#Page_136">136</a>, <a href="#Page_140">140</a>, <a href="#Page_143">143</a>, <a href="#Page_157">157</a>, <a href="#Page_167">167</a>, <a href="#Page_197">197</a>, <a href="#Page_223">223</a>, <a href="#Page_228">228</a>, <a href="#Page_230">230</a>, <a href="#Page_264">264</a>, <a href="#Page_270">270</a>, <a href="#Page_280">280</a>, <a href="#Page_282">282</a>, <a href="#Page_348">348</a>, <a href="#Page_366">366</a>.</li>
+
+<li>Spinsters, <a href="#Page_96">96</a>.</li>
+
+<li>Squash, <a href="#Page_202">202</a>.</li>
+
+<li>Stockholm MS., <a href="#Page_100">100</a>, <a href="#Page_261">261</a>, <a href="#Page_325">325</a>.</li>
+
+<li>Stover, <a href="#Page_279">279</a>.</li>
+
+<li>Strawberries, <a href="#Page_279">279</a>.</li>
+
+<li>Sugar, <a href="#Page_284">284</a>.</li>
+
+<li>Sweet Brier, <a href="#Page_83">83</a>, <a href="#Page_254">254</a>.</li>
+
+<li>Sweet Marjoram, <a href="#Page_159">159</a>.</li>
+
+<li>Sycamore, <a href="#Page_287">287</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Tannahill</span>, <a href="#Footnote_67:1_65">67</a>.</li>
+
+<li>"Tatler," <a href="#Page_92">92</a>.</li>
+
+<li>Tares, <a href="#Page_299">299</a>.</li>
+
+<li>Tarragon, <a href="#Page_326">326</a>.</li>
+
+<li>Tennyson, <a href="#Page_149">149</a>, <a href="#Page_191">191</a>, <a href="#Page_194">194</a>, <a href="#Page_207">207</a>, <a href="#Page_373">373</a>.</li>
+
+<li>Thaun's "Bestiary," <a href="#Footnote_154:1_118">154</a>.</li>
+
+<li>Theocritus, <a href="#Page_14">14</a>, <a href="#Page_90">90</a>, <a href="#Footnote_94:1_84">94</a>, <a href="#Footnote_126:2_103">126</a>, <a href="#Footnote_130:1_105">130</a>.</li>
+
+<li>Thistle, <a href="#Page_124">124</a>, <a href="#Page_289">289</a>.</li>
+
+<li>Thorns, <a href="#Page_292">292</a>.</li>
+
+<li>Thyme, <a href="#Page_294">294</a>.</li>
+
+<li>Thynne's "Emblems," <a href="#Footnote_157:2_121">157</a>.</li>
+
+<li>Toadstools, <a href="#Page_170">170</a>.</li>
+
+<li>Tobacco, <a href="#Footnote_4:1_9">4</a>.</li>
+
+<li>Topiary art, <a href="#Page_39">39</a>, <a href="#Page_344">344</a>, <a href="#Page_352">352</a>.</li>
+
+<li>Tortworth Park, <a href="#Page_55">55</a>.</li>
+
+<li>Treacle, <a href="#Page_103">103</a>.</li>
+
+<li>Turner's "Herbal," <a href="#Footnote_4:2_10">4</a>, <a href="#Page_13">13</a>, <a href="#Page_23">23</a>, <a href="#Page_35">35</a>, <a href="#Page_105">105</a>, <a href="#Page_194">194</a>, <a href="#Footnote_195:1_144">195</a>, <a href="#Page_198">198</a>, <a href="#Page_202">202</a>, <a href="#Page_213">213</a>.</li>
+
+<li>Turnips, <a href="#Page_297">297</a>.</li>
+
+<li>Tusser, <a href="#Page_228">228</a>, <a href="#Page_232">232</a>, <a href="#Page_279">279</a>, <a href="#Page_281">281</a>, <a href="#Page_290">290</a>, <a href="#Page_325">325</a>.</li>
+
+<li>Tyndale, <a href="#Page_41">41</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Vaughan</span>, H., <a href="#Page_33">33</a>, <a href="#Page_312">312</a>.</li>
+
+<li>Vegetable Marrow, <a href="#Page_233">233</a>.</li>
+
+<li>Vetches, <a href="#Page_298">298</a>.</li>
+
+<li>Vines, <a href="#Page_87">87</a>, <a href="#Page_299">299</a>.</li>
+
+<li>Vineyards, English, <a href="#Page_301">301</a>.</li>
+
+<li>Violets, <a href="#Page_307">307</a>.</li>
+
+<li>Virgil, <a href="#Page_10">10</a>, <a href="#Page_189">189</a>.</li>
+
+<li>Vocabularies, <a href="#Page_10">10</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Wallace</span>, <a href="#Page_101">101</a>.</li>
+
+<li>Waller, <a href="#Page_225">225</a>.</li>
+
+<li>Walnut, <a href="#Page_314">314</a>.</li>
+
+<li>Walton, Izaak, <a href="#Page_134">134</a>, <a href="#Page_137">137</a>, <a href="#Page_143">143</a>, <a href="#Page_280">280</a>.</li>
+
+<li>Warden Pears, <a href="#Page_200">200</a>.</li>
+
+<li>Warwick Castle, <a href="#Page_53">53</a>.</li>
+
+<li>Waterton, <a href="#Page_37">37</a>.</li>
+
+<li>Watson, Forbes, <a href="#Page_66">66</a>, <a href="#Page_77">77</a>, <a href="#Page_229">229</a>, <a href="#Page_273">273</a>, <a href="#Page_346">346</a>.</li>
+
+<li>Waybred, <a href="#Page_214">214</a>.</li>
+
+<li>Weeds, <a href="#Page_354">354</a>.</li>
+
+<li>Westminster Hall, <a href="#Page_55">55</a>.</li>
+
+<li>Wheat, <a href="#Page_317">317</a>.</li>
+
+<li>White Thorn, <a href="#Page_112">112</a>.</li>
+
+<li>Wickliffe, <a href="#Page_41">41</a>.</li>
+
+<li>Wilkinson, Lady, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_97">97</a>, <a href="#Page_292">292</a>.</li>
+
+<li>Willow, <a href="#Page_319">319</a>.</li>
+
+<li>Wilson, G. F., <a href="#Page_145">145</a>.</li>
+
+<li>Windflower, <a href="#Page_16">16</a>.</li>
+
+<li>Wines, English, <a href="#Page_303">303</a>.</li>
+
+<li>Winter Aconite, <a href="#Page_10">10</a>.</li>
+
+<li>Wistman's Wood, <a href="#Page_183">183</a>.</li>
+
+<li>Withers, G., <a href="#Page_158">158</a>.</li>
+
+<li>Withy, <a href="#Page_320">320</a>.</li>
+
+<li>Wolf's-bane, <a href="#Page_10">10</a>.</li>
+
+<li>Woodbine, <a href="#Page_126">126</a>.</li>
+
+<li><span class="pagenum"><a name="Page_438" id="Page_438"></a>[<a href="./images/438.png">438</a>]</span>
+Woodbury, <a href="#Page_195">195</a>.</li>
+
+<li>Wordsworth, <a href="#Page_75">75</a>, <a href="#Page_206">206</a>, <a href="#Page_372">372</a>.</li>
+
+<li>Wormwood, <a href="#Page_81">81</a>, <a href="#Page_324">324</a>.</li>
+
+<li>Wright's "Vocabularies," <a href="#Footnote_10:1_12">10</a>.</li>
+
+<li>&mdash;&mdash; "Domestic Manners," <a href="#Page_96">96</a>, <a href="#Page_218">218</a>.</li>
+
+<li>Wyatt's Poems, <a href="#Page_3">3</a>.</li>
+
+<li>Wych Elm, <a href="#Page_88">88</a>.</li>
+
+<li>&nbsp;</li>
+
+<li><span class="smcap">Yew</span>, <a href="#Page_119">119</a>, <a href="#Page_327">327</a>.</li>
+
+<li>Yggdrasil, <a href="#Page_24">24</a>.</li>
+
+<li>York and Lancaster Rose, <a href="#Page_253">253</a>.</li>
+</ul>
+
+
+<div class="img">
+<img src="./images/plantloreillop438.png" alt="vase with flowers surrounded by scrollwork" title="decoration" width="50%" />
+</div>
+
+<p class="sectctr">UNWIN BROTHERS, THE GRESHAM PRESS, CHILWORTH AND LONDON.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_439" id="Page_439"></a>[<a href="./images/439.png">439</a>]</span></p>
+<h2>SOLD BY SIMPKIN, MARSHALL &amp; Co.</h2>
+
+<div class="ad">
+<p class="sectctr"><i>Crown 8vo. Price: paper cover, 1s.: cloth, 2s.</i></p>
+
+<p class="hang"><span class="book">ON THE ART OF GARDENING:</span> A Plea for
+English Gardens of the Future, with Practical Hints for Planting
+Them. By Mrs. <span class="smcap">J. Francis Foster</span>.</p>
+
+<p class="center"><b>Press Notices.</b></p>
+
+<p>"In this pleasant and original little book the authoress not only enters a
+vigorous protest against the bedding-out system and the so-called 'natural'
+style of gardening, but gives very good practical advice for gardens of a
+different sort."&mdash;<i>Gardener's Chronicle.</i></p>
+
+<p>"This little book proceeds from a true lover of flowers and will be welcome
+to all who take an interest in their care and culture."&mdash;<i>Civilian.</i></p>
+
+<p>"A pleasant and unpretending little volume."&mdash;<i>Saturday Review.</i></p>
+
+<p>"The charm consists in its author's evident love of her subject. Like a
+true lover she has gone far and wide in her search for old plants and old
+plant lore. We agree with Mrs. Foster that the most perfect herbaceous
+border is one that has an old wall behind it. Blue larkspurs and white
+lilies, roses, phloxes, and evening primroses never look so well as when they
+are seen against a background of wall, mellowed with age and clothed with
+its beautiful garment of wall-growing seedlings.&nbsp;.&nbsp;.&nbsp;. Mrs. Foster's book,
+too, is most useful in its lists of flowers that bloomed in the days of Chaucer
+and Shakespeare. She also devotes one chapter entirely to quotations from
+old poets on gardens and all the delights that spring from them. If it helps
+her readers to know for themselves those authors, who found among the
+flowers of the garden apt similes of all that is truest in human nature, she
+will have added a very substantial addition to the pleasure already enjoyed
+by those who love gardens, but yet are unfamiliar with the pages of the
+poets who knew well how to speak their praises."&mdash;<i>Spectator.</i></p>
+
+<p>"A pleasant book."&mdash;<i>Athen&aelig;um.</i></p>
+
+
+<p class="sectctr"><i>Crown 8vo, cloth. Price 4s. 6d.</i></p>
+
+<p class="hang"><span class="book">IN THE COUNTRY:</span> Essays by the Rev. <span class="smcap">M. G.
+Watkins, M.A.</span></p>
+
+<p class="center"><b>Contents.</b></p>
+
+<p>Devon Lanes and their Associations&mdash;At the Sea Side&mdash;Among the Heather&mdash;Up
+Glenroy&mdash;In Assynt&mdash;Into Ballad Land&mdash;On the Ottery East Hill&mdash;Among
+the Sea Birds&mdash;From the heart of the Wolds&mdash;Sunshine at the
+Land's End&mdash;Birds and Bird Lovers&mdash;Etc.</p>
+
+
+<p class="secth"><i><span class="smcap">Third Edition.</span> Crown 8vo, with Autotype portrait and twelve full-page
+Illustrations engraved by Edmund Evans. Cloth, top edge gilt.
+Price 7s. 6d.</i></p>
+
+<p class="hang"><span class="book">MY LIFE AS AN ANGLER.</span> By <span class="smcap">William Henderson</span>,
+Author of "The Folk-lore of the Northern Counties."</p>
+
+
+<p class="sectctr"><i>Fcap. 4to, hand-made paper, rough edges, Roxburgh binding.
+Price 10s. 6d.</i></p>
+
+<p class="hang"><span class="book">THE CHRONICLE OF "THE COMPLEAT
+ANGLER,"</span> of ISAAK WALTON and CHARLES COTTON:
+being a bibliographical record of its various editions and mutations.
+By <span class="smcap">Thomas Westwood</span> and <span class="smcap">Thomas Satchell</span>.</p>
+
+
+<p class="sectctr"><span class="pagenum"><a name="Page_440" id="Page_440"></a>[<a href="./images/440.png">440</a>]</span>
+<i>Square 16mo, cloth, gilt. Price 3s. 6d.</i></p>
+
+<p class="hang"><span class="book">POEMS.</span> By <span class="smcap">May Probyn</span>.</p>
+
+
+<p class="sectctr"><i>Fcap. 8vo, cloth gilt. Price 6s.</i></p>
+
+<p class="hang"><span class="book">A BALLAD OF THE ROAD AND OTHER
+POEMS.</span> By <span class="smcap">May Probyn</span>.</p>
+
+
+<p class="sectctr"><i>Crown 8vo, cloth, gilt top. Price 4s. 6d.</i></p>
+
+<p class="hang"><span class="book">GODS, SAINTS, AND MEN.</span> By <span class="smcap">Eugene Lee-Hamilton</span>.
+With ten full-page Illustrations designed by Enrico Mazzanti.</p>
+
+<p>"Readers will find him, as before, a Browning without his obscurity."&mdash;<i>Graphic.</i></p>
+
+<p>"Quaint, medi&aelig;val legends and traditions, most of which have a strong
+savour of the supernatural, in strong tuneful artistic verse."&mdash;<i>Scotsman.</i></p>
+
+<p>"The book is very prettily got up; .&nbsp;.&nbsp;.&nbsp;. some of the woodcuts are admirable
+in design and execution."&mdash;<i>London Review.</i></p>
+
+<p>"Worthy of a place in any library whose owner values originality and
+unconventional treatment of out-of-the-way themes."&mdash;<i>Derby Mercury.</i></p>
+
+
+<p class="sectctr"><i>Crown 8vo, cloth. Price 3s. 6d.</i></p>
+
+<p class="hang"><span class="book">THE FLYING DUTCHMAN AND OTHER
+POEMS.</span> By <span class="smcap">E. M. Clerke</span>.</p>
+
+<p>"Her translations from the Italian are exceedingly happy."&mdash;<i>Westminster
+Review.</i></p>
+
+
+<p class="sectctr"><i>12mo, cloth gilt. Price 4s. 6d.</i></p>
+
+<p class="hang"><span class="book">LIFE'S PATHWAY.</span> By <span class="smcap">Thomas Leech</span>, Constable
+in the Metropolitan Police.</p>
+
+<p>"A man of much literary ability and considerable poetical fancy."&mdash;<i>Notes
+and Queries.</i></p>
+
+
+<p class="sectctr"><i>Imp. 16mo, elegant cover. Price 3s.</i></p>
+
+<p class="hang"><span class="book">ROUND A POSADA FIRE.</span> By Mrs. <span class="smcap">S. G. C.
+Middlemore</span>. With 21 Illustrations by Miss E. D. Hale.</p>
+
+
+<p class="sectctr"><i>Imp. 16mo, elegant cover, gilt. Price 3s.</i></p>
+
+<p class="hang"><span class="book">TUSCAN FAIRY TALES.</span> Taken down from the
+Mouths of the People. By <span class="smcap">Vernon Lee</span>.</p>
+
+
+<p class="sectctr"><i>Crown 8vo, cloth. Price 8s.</i></p>
+
+<p class="hang"><span class="book">BELCARO:</span> Essays on &AElig;sthetics. By <span class="smcap">Vernon Lee</span>.</p>
+
+
+<p class="sectctr"><i>Royal 8vo, cloth. Price 14s.</i></p>
+
+<p class="hang"><span class="book">STUDIES OF THE EIGHTEENTH CENTURY
+IN ITALY.</span> By <span class="smcap">Vernon Lee</span>.</p>
+</div>
+
+
+<hr style="width: 65%;" />
+<div class="notebox">
+<h2><a name="TN" id="TN"></a>TRANSCRIBER'S NOTES:</h2>
+
+
+<p>Pages vi, vii, x, xii, 8, 332, 334, 358, 392, and 420 are blank in the
+original.</p>
+
+<p>Ellipses in the text match the original. Ellipses in the poetry
+quotations are represented by a row of asterisks.</p>
+
+On page 432, the index entry "Butter" may have been intended to read
+"Butler".
+
+<p>The following corrections have been made to the text:</p>
+
+<div class="blockquot">
+<p>Page 37: <i>1st Henry</i>[original has <i>Henrv</i>] <i>IV</i>, act ii, sc. 4 (263).</p>
+
+<p>Page 40: <i>Winter's Tale</i>, act[original has extraneous period] iv, sc. 4
+(436).</p>
+
+<p>Page 43: <i>Troilus</i>[original has <i>Triolus</i>] <i>and Cressida</i></p>
+
+<p>Page 60: garter coat of William Grey of Vitten"[quotation mark missing
+in original]</p>
+
+<p>Page 76: "Rose of Sharon"[quotation mark missing in original] was the
+large</p>
+
+<p>Page 86: to whom the Elder tree was considered sacred."[quotation mark
+missing in original]</p>
+
+<p>Page 104: but[original has bnt] probably by the Romans</p>
+
+<p>Page 105: <i>2nd Henry IV</i>, act i,[original has period] sc. 2 (194).</p>
+
+<p>Page 114: <i>Troilus[original has Trolius] and Cressida</i>, act ii, sc. 1
+(109).</p>
+
+<p>Page 163: Rots-curing hyphear, and the Mistletoe."[quotation mark
+missing in original]</p>
+
+<p>Page 199: <span class="smcap">a.d.</span> 1275, 4 Edw: 1&mdash;[original has extraneous quotation
+mark]</p>
+
+<p>Page 205: quite equal to Chestnuts.[period missing in original]</p>
+
+<p>Page 230: but in [original has extraneous word an] another place</p>
+
+<p>Page 244: (22) <i>Theseus.</i>[original has <i>Thesus</i>]</p>
+
+<p>Page 245: <i>All's Well that Ends Well</i>, act i[original has 1], sc. 3
+(135).</p>
+
+<p>Page 266: in connection with Rushes which is[original has it] not easy
+to understand</p>
+
+<p>Page 282: ("Household Words," vol. xviii.).[closing parenthesis and
+period missing in original]</p>
+
+<p>Page 282: as it proves so, praise it.[original has extraneous single
+quote]"</p>
+
+<p>Page 286: (11) <i>Polonius.</i>[original has <i>Polonis</i>]</p>
+
+<p>Page 292: its shadow be past away.[original has hyphen]</p>
+
+<p>Page 292: the bee well knows that the darkness[original has period at
+the end of the line after dark and ness beginning the next line]</p>
+
+<p>Page 294: (3)[number 3 and parentheses missing in original] And sweet
+Time true.</p>
+
+<p>Page 295: "Peletyr, herbe, <i>serpillum piretrum</i>"[quotation mark missing
+in original]</p>
+
+<p>Page 311: into 'low lie down,'[original has double quote]</p>
+
+<p>Page 339: <i>Sonnet</i>[original has <i>Ibid.</i>] xviii.</p>
+
+<p>Page 383: flower-[hyphen missing in original]de-luce</p>
+
+<p>Page 414: (a Seyfe, <i>juncus</i>, <i>biblus</i>, <i>cirpus</i>)[closing parenthesis
+missing in original]</p>
+
+<p>Page 424: Flower-de-luce[original has duce]</p>
+
+<p>Page 431: Aconitum, 9.[original has 10]</p>
+
+<p>Page 431: Bacon on Gardens, &amp;c., 39[original has 38]</p>
+
+<p>Page 431: B&ouml;hmeria[original has Bo&euml;hmeria]</p>
+
+<p>Page 431: Bretby Park, 53[original has 52]</p>
+
+<p>Page 432: Cassia, 277[original has 177]</p>
+
+<p>Page 432: Cedar, 51[original has 50]</p>
+
+<p>Page 432: under "Chaucer's Flowers", 179[original has 171]</p>
+
+<p>Page 432: Cockayne, "Leechdoms," &amp;c., 10[original has 9]--reference to
+page 175 removed</p>
+
+<p>Page 432: Cowley, 91, 171, 272[original has 271].</p>
+
+<p>Page 432: Crow-flowers, 67.[original has 61]</p>
+
+<p>Page 433: Dowden, 3[original has 2]</p>
+
+<p>Page 433: Durham Mustard, 173[original has 175]</p>
+
+<p>Page 433: Ebony, 82[original has 61]</p>
+
+<p>Page 433: Farsing Herbs, 275[original has 216]</p>
+
+<p>Page 433: Fig Mulberry, 288[original has 228]</p>
+
+<p>Page 433: Flower-de-luce, 97[original has 94]</p>
+
+<p>Page 433: Gerard, 5, 393[original has 394] to 418</p>
+
+<p>Page 433: Glossaries, 10, 393[original has 394]</p>
+
+<p>Page 434: Grindon, Leo H., 5[original has 6], 17</p>
+
+<p>Page 434: Hemans, Mrs., 26[original has 24], 66.</p>
+
+<p>Page 434: Hemlock, 121[original has 131]</p>
+
+<p>Page 434: Herbert, G., 68, 190, 255[original has 225], 314, 357, 370.</p>
+
+<p>Page 434: Horace, 90, 94, 102, 130, 152, 204, 236, 243[original has 242].</p>
+
+<p>Page 435: More[original has Moore], Sir T., 257</p>
+
+<p>Page 435: Neckam[original has Neekham], A., 12, 79.</p>
+
+<p>Page 435: Onions, 187[original has 77, 186]</p>
+
+<p>Page 435: Oxlip, 66, 192[original has 191]</p>
+
+<p>Page 436: Planch&eacute;[original has Planche] on fleur-de-lis, 97.</p>
+
+<p>Page 436: Rice, 242[original has 243].</p>
+
+<p>Page 436: "Romaunt of the Rose," 12, 27, 139, 179, 221, 238, 343[original has 243].</p>
+
+<p>Page 436: Rose, 243[original has 242].</p>
+
+<p>Page 436: Rousseau, 374[original has 373].</p>
+
+<p>Page 436: Ruskin, 109, 165[original has 164], 166, 186, 206, 223, 292.</p>
+
+<p>Page 437: Watson, Forbes, 66[original has 65], 77, 229, 273, 346.</p>
+
+<p>Page 437: Wright's "Vocabularies," 10[original has 9].</p>
+
+<p>Footnote [13:1] Numbers xxiv. 6;[original has colon]</p>
+
+<p>Footnote [169:1] the punning motto "[original has single quote]Memento
+Mori."</p></div>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The plant-lore and garden-craft of
+Shakespeare, by Henry Nicholson Ellacombe
+
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+
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author	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:38:23 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:38:23 -0700
commit	9fbf34e07de2814f245b38462106472b09893d7d (patch)
tree	39efed848fc4677ef4342c8362b5a7db0af499ac /28407-h