Next to the rose, whose divine right to
monarchy cannot be questioned, the violet is
the poet’s flower. No other is mentioned so
frequently, or with such affection.
It is impossible to say when this familiar
flower first blossomed in literature. The
“Odyssey” would not be complete without it,
nor would the “Eclogues” of the Roman
singer, Virgil. Ovid was fond of horticulture,
and the violet was not forgotten when the
bard was inditing his smooth-flowing hexameters.
Pliny and Cicero, too, were violet-lovers.
In the Bible there is no mention of
the flower; but in Chrysostom’s “First
Homily” occurs perhaps the first appearance
of our little friend in Christian literature.
Chaucer’s affection for “floures” is well
known. Of the many Shakspearean quotations
in this field, probably the most familiar
comprises the exquisite lines:
“Violets dim,
But sweeter than the lids of Juno’s eyes
Or Cytherea’s breath.”
Passing to the more recent literary
period, the individual taste of the poet
becomes noticeable. Strange to relate,
Wordsworth could have cared little for
the shy blossom. Although he does say,
“Long as there are violets
They will have their place in story,”
he leaves it to others to tell the story,—referring
to the violet only three or four times in
all his voluminous writings. His counterpart
in this respect, among American poets, is
Longfellow, in whose musical numbers, singularly
enough, the violet has almost no place
at all. Nor was the flower a favorite with
Tennyson, though each of his rare references
to it is a gem; as this,—
“The meadow your walks have left so sweet
That wherever a March wind sighs,
He sets the jewel-prints of his feet
In violets blue as your eyes.”
American writers have, on the whole,
given the violet a more prominent place than
have their English brethren of the lyre. Bryant’s
pages, for instance, are fragrant with its
perfume, and he has, in special, immortalized
the yellow variety in more than one finely
turned stanza.
If most of the world’s great bards have
been reluctant to give Lady Violet her due,
not so the numerous rank and file of “minor
poets.” The verse of Alice Cary, Lucy Larcom,
Grace Greenwood, Elizabeth Akers,
Adelaide Proctor and dozens of others is a
garden of wild-flowers, with the violet leading
the dance. Some of the prettiest conceits
occur in the writings of authors so obscure
that their names are unfamiliar to most
readers. For instance, one must look far for
a volume of poetry bearing the name of Ethel
M. Kelley; yet these fine lines are attributed
to her:
“In her hair the sunbeams nest,
And in her eyes the violets blow,
While in the summer of her breast
The songbird thoughts flit to and fro.”
The compiler of this book has spent many
pleasant hours in culling his violets from the
immense field of English and American poetry.
Another volume of equal size could readily be
made up from extracts containing references
to the flower, to say nothing of German,
French, Spanish, Italian, and Scandinavian
poetry, which has not been considered in his
quest.
WILLIS BOYD ALLEN
CHAPTER ONE
The silent, soft and humble heart
In the violet’s hidden sweetness breathes.
—JAMES G. PERCIVAL.