For centuries, many cultures have used flowers and plants as symbols, tokens of love, for magic and a means of a communication; Chinese, Greek, Roman, Persian and Japanese cultures all used flowers and plants as different symbols long before the Victorian era began. However, the Victorians produced numerous books on floriography, commonly known as the language of flowers; many contained different meanings, sometimes leading to confusion in the message being conveyed.
The Language of Flowers in Europe
The language of flowers appeared in Europe in the 1800's, most likely introduced by Lady Mary Wortley Montagu and Seigneur Aubry de la Mottraye, according to Susan Loy in her book, Flowers, the Angels' Alphabet; French writers who are accredited with using and writing about the language of flowers, and influencing the rest of Europe, include:
- Abcedaire Flore ou Langage de Fleurs – B. Delachenaye (1810)
- Le Langage de Fleurs – Charlotte de Latour (1819).
British and US Writers Who Used the Language of Flowers
French publications of the language of flowers heavily influenced British and US writers and publishers (many of whom were female); these included:
- Floral Emblems – Henry Phillips (1820)
- The Language of Flowers; With Illustrative Poetry – Frederic Shoberl (1834)
- The Language of Flowers – Kate Greenaway (1884)
- The School of Flora – various articles and columns published in numerous publications by Constantine Samuel Rafinesque (1827-1828), a French-American naturalist, who included botanic descriptions in addition to floral meanings
- Flora's Interpreter – edited by Sarah Josepha Hale (1832).
Common Misunderstandings About Victorian Floriography
Flowers represented in Victorian floriography did not have the same meaning to all; many books published contained various meanings of flowers, so it was essential that both parties were using the same floral 'dictionary' to avoid any misunderstandings! The communication between Victorian lovers was not exclusively through flowers but flowers appeared to have a great influence on the Victorians, as did many other traditions.
The Popularity of the Victorian Tussie Mussie
Although there were a large number of flowers used in Victorian floriography, the Victorian tussie mussie was widely seen as the most popular way of communicating feelings to a lover. A well educated Victorian lady not only knew the meaning of the flowers presented in a tussie mussie, but she knew the art of making one too.
Traditional Flower Meanings in Floriography
The number of flowers represented in the Victorian art of floriography is overwhelming but some of the more traditional flowers and their meanings (depending on the source of the language of flowers dictionary) were:
- bluebell – gratitude, humility, constancy
- cornflower – refinement, delicacy
- daffodil – unrequited love, respect, sunshine
- delphinium – fun, big-hearted
- daisy – loyal love, innocence, purity
- forget-me-not – true love
- gardenia – secret love, purity
- geranium – true friend, stupidity
- iris – wisdom, faith, hope
- lavender – devotion, love
- lily-of-the-valley – happiness, sweetness
- oleander – caution
- orchid – love, thoughtfulness, beauty
- peony – happy marriage, shame
- rose (red) – love, beauty
- rose (white) – secrecy, innocence, purity
- rose of Sharon – consumed by love
- snowdrop – hope, consolation
- violet – affection, virtue.
The Practice of Floriography
Floriography was a complex language of love, made popular by the Victorians; many writers have written about it and many lovers practiced it. However, it was essential to be referring to the same text, when interpreting language of flowers meanings to avoid misunderstanding. Flowers and plants continue to be a symbol in many cultures today.
References:
- Floriography – the Language of Flowers BBC web site, accessed 1/19/10
- Language of Flowers Victorian Bazaar web site, accessed 1/19/10
- Flowers, the Angels' Alphabet, Chapter Excerpts: History Susan Loy, web site accessed 1/19/10
VAL101
Sharon Falsetto - Sharon Falsetto is a business owner, certified clinical aromatherapist & professional writer with a life-long interest in plants.
