The language of interest , sometimes called floriography , is a means of cryptological communication through the use or arrangement of interest. Meanings have been associated with flowers for thousands of years, and some forms of floriography have been practiced in traditional cultures throughout Europe, Asia, and the Middle East. Plants and flowers are used as symbols in the Hebrew Bible, especially love and lover in the Song of Songs, as a symbol for the Israelites and for the coming Messiah. In Western culture, William Shakespeare attributes the meaning of symbols to flowers, especially in Hamlet, the Danish Prince .
Interest in floriography soared in Victorian England and in the United States during the 19th century. Flower gifts, plants, and special flower arrangements are used to send messages encoded to recipients, enabling the sender to express unspoken feelings in the Victorian society. Armed with floral dictionaries, Victorians often exchange small "bouquet talk," called nosegays or tussie-mussies, which can be worn or carried as fashion accessories.
Video Language of flowers
Histori
According to Jayne Alcock, Grounds and Gardens Supervisor at The Walled Gardens of Cannington, a renewed Victorian interest in the language of interest found its roots in Ottoman Turkey, in particular the palace in Constantinople and the obsession he held with tulips during the first half of the 18th century. The use of Victorian flowers as a means of secret communications developed along with the growing interest in botany.
The madness of floriography was introduced to Europe by two men: England Mary Wortley Montagu (1689-1762), who brought him to England in 1717, and Aubry de La Mottraye (1674-1743), who introduced him to a Swedish court in 1727. Joseph Hammer-Purgstall's < i> Dictionnaire du language des fleurs (1809) seems to be the first published list to associate flowers with a symbolic definition, while the first floriographic dictionary appeared in 1819 when Louise Cortambert, writing under the pen name 'Madame Charlotte de la Tour' , wrote Le langage des Fleurs .
Floriography was popularized in France around 1810-1850, while in England it was popular during Victorian times (c. 1820-1880), and in the United States around 1830-1850. La Tour book stimulates the publishing industry especially in France, England, and America, but also in Belgium, Germany, and other European countries as well as in South America. Publishers from these countries produced hundreds of floral language editions during the 19th century.
English floral dictionaries include Henry Phillips Floral Emblems published in 1825 and Frederic Shoberl's The Language of Flowers; By Illustrative Poetry, in 1834. Shoberl was the popular editor of the annual "Forget Me Not" from 1822 to 1834. Robert Tyas was the author of the popular British flower, publisher and pastor, who lived from 1811 to 1879; his book, Flower Sentiment; or, Language of Flora, first published in 1836 and printed until the 1840s, billed as an English version of the Charlotte de la Tour book. One of the most familiar of the flower book language is the Routledge edition illustrated by Kate Greenaway, The Language of Flowers. First published in 1884, it continues to be reprinted to this day.
In the United States, the first printed display of the language of interest is in the writings of Constantine Samuel Rafinesque, a French-American naturalist, who writes ongoing features under the title "The School of Flora," from 1827 to 1828, on Saturday Weekly Evening Post and the monthly Coffin; or Flowers of Literature, Wit, and Sentiment. These pieces contain botanical, English, and French names of plants, crop descriptions, descriptions of Latin names, and the meaning of flower symbols. However, the first book on floriography was Elizabeth Wirt Flora and Dorothea Dix The Garland of Flora, both published in 1829 (though Wirt's book was published in an unofficial edition in 1828 ).
During its peak in America, the language of interest attracted the attention of most popular women writers and editors back then. Sarah Josepha Hale, an old editor of Ladies' Magazine and co-editor of Godey's Lady's Book, edited the Flora Interpreter in 1832; it continued to be printed through the 1860s. Catharine H. Waterman Esling wrote a long poem entitled, "The Language of Flowers" which first appeared in 1839 in its own flower language, Lexicon Flora ; it continued to be printed through the 1860s. Lucy Hooper, an editor, novelist, poet, and playwright, including some poems of interest in Lady's Flower and Poems, was first published in 1841. Frances Sargent Osgood, a poet and friend of Edgar Allan Poe, first published the Poems of Interest and Poetry Interest in 1841, and continued to be printed through the 1860s. Osgood also edited a special gift book, The Floral Offering , in 1847. Sarah Carter Edgarton Mayo, author of several flower books, is associate editor of Monthly Universalis The Ladies' Repository in Boston from 1839 to 1842. His book, The Flower Vase, was first published in 1844. He also edited the Fables of Flora books in 1844 and > The Floral Fortune Teller in 1846. CM Kirtland may be Caroline Matilda Kirkland, editor of Union Magazine of Literature and Art from 1847 to 1851 and the weekly Unitarian Christian Inquirer from 1847 to 1852. First published in 1848, Kirkland's [Poetry of Flowers] continued to be printed at least until 1886. One of the more comprehensive books, 522 pages contains an extensive dictionary and many floral poems.. [3]
Maps Language of flowers
Meaning
The significance given for certain flowers in Western culture varies - almost every flower has many associations, listed in hundreds of floral dictionaries - but the consensus of meaning for general bloom has emerged. Often, the definition comes from the appearance or behavior of the plant itself. For example, mimosa, or sensitive plants, represent purity. This is because the mimosa leaves close at night, or when touched. Similarly, the deep red roses and quills have been used to symbolize both the blood of Christ and the intensity of romantic love, while the rose petals of five roses are considered to depict the five wounds of Christ's crucifixion. The pink rose implies lower affection, white roses show virtue and purity, and the yellow rose means friendship or devotion. Black roses (actually very dark red, purple, or maroon) have a long relationship with death and dark magic.
In the literature
William Shakespeare, Jane Austen, Charlotte and Emily Bronte, and children novelist Frances Hodgson Burnett, among others, used the language of interest in their writings.
Shakespeare uses the word "flower" more than 100 times in his drama and sonnets. At Hamlet , Ophelia mentions and explains the symbolic meaning of pansy, rosemary, fennel, columbine, rue, daisy, and violet. In The Winter's Tale, the princess Perdita hopes that she has violet, daffodil, and roses to make wreaths for her friends. In Midsummer Night's Dream , Oberon speaks to his messenger Puck in the midst of a wildflower scene.
Novel Chuck Palahniuk 1999 Survivor features a discussion on Victorian flower language.
Flowers are also often used as a symbol of femininity. John Steinbeck's short story "The Chrysanthemums" centered around a yellow bud, often associated with optimism and loss of love. When the protagonist, Elisha, finds his favorite chrysanthemum vacillating on the ground, his hobby and femininity have been destroyed; this is enough to be the theme of appreciation and femininity lost in Steinbeck's work.
In 2009, Vanessa Diffenbaugh published the novel The New York Times based on floriography, The Language of Flowers , and its own flower dictionary.
In art
Some Anglican churches in England have paintings, sculptures, or stained glass windows of the lily cross, portraying Christ crucified or holding lilies. One example is the window at The Clopton Chantry Chapel Church in Long Melford, Suffolk, England, England.
The Victorian Pre-Raphaelites, a group of 19th century painters and poets aimed at reviving more pure art in the late Middle Ages, capturing the classical notion of romantic beauty. These artists are known for their idealistic portrayals of women, an emphasis on nature and morality, and the use of literature and mythology. Flowers laden with symbolism stand out in most of their works. John Everett Millais, founder of the Pre-Raphael fraternity, uses oil to create pieces filled with naturalistic elements and rich in floriography. His paintings of Ophelia (1852) describe the drowning starfish of Shakespeare floating among the flowers he described in Act IV, Scene V of Hamlet .
Edwardian artist John Singer Sargent spends a lot of time painting outdoors in the English countryside, often using the symbolism of flowers. Sargent's first major success came in 1887, with Carnation, Lily, Lily, Rose, a large piece painted on a plein air-style website, two young girls lighting lanterns in English gardens.
See also
- Birth Flower
- Hanakotoba - Japanese flower language
- Plant symbolism
- Flower emblem
Notes and references
- History of Flower Language , a chapter quote from the book Flower, The Alphabets of the Angels by Susan Loy, 2001.
19th-century book scanning on flower language:
- Charlotte de La Tour (in French), Le langage des fleurs , 7e ÃÆ'Â © d., Paris: Garnier FrÃÆ'¨res, 1858. In Google's book.
- Kate Greenaway (illustration), Flower Language , n.d. Via Internet Archive.
- Nehemiah Cleaveland, The Flowers Personified , New York: R Martin, 1849. Via Internet Archive
Source of the article : Wikipedia
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