9. I relieve, therefore, our presently inquiring souls from any farther care as to the reason for a violet's spur,—or for the extremely ugly arrangements of its stamens and style, invisible unless by vexatious and vicious peeping. You are to think of a violet only in its green leaves, and purple or golden petals;—you are to know the varieties of form in both, proper to common species; and in what kind of places they all most fondly live, and most deeply glow.
"And the recreation of the minde which is taken heereby cannot be but verie good and honest, for they admonish and stir up a man to that which is comely and honest. For flowers, through their beautie, varietie of colour, and exquisite forme, do bring to a liberall and gentle manly minde the remembrance of honestie, comeliness, and all kinds 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 beautiful things, and who frequenteth and is conversant in faire and beautiful places, to have his mind not faire, but filthie and deformed."
10. Thus Gerarde, in the close of his introductory notice of the violet,—speaking of things, (honesty, comeliness, and the like,) scarcely now recognized as desirable in the realm of England; but having previously observed that violets are useful for the making of garlands for the head, and posies to smell to;—in which last function I observe they are still pleasing to the British public: and I found the children here, only the other day, munching a confection of candied violet leaves. What pleasure the flower can still give us, uncandied, and unbound, but in its own place and life, I will try to trace through some of its constant laws.
11. And first, let us be clear that the native colour of the violet is violet; and that the white and yellow kinds, though pretty in their place and way, are not to be thought of in generally meditating the flower's quality or power. A white violet is to black ones what a black man is to white ones; and the yellow varieties are, I believe, properly pansies, and belong also to wild districts for the most part; but the true violet, which I have just now called 'black,' with Gerarde, "the blacke or purple violet, hath a great prerogative above others," and all the nobler species of the pansy itself are of full purple, inclining, however, in the ordinary wild violet to
blue. In the 'Laws of Fésole,' chap, vii., §§ 20, 21, I have made this dark pansy the representative of purple pure; the viola odorata, of the link between that full purple and blue; and the heath-blossom of the link between that full purple and red. The reader will do well, as much as may be possible to him, to associate his study of botany, as indeed all other studies of visible things, with that of painting: but he must remember that he cannot know what violet colour really is, unless he watch the flower in its early growth. It becomes dim in age, and dark when it is gathered—at least, when it is tied in bunches;—but I am under the impression that the colour actually deadens also,—at all events, no other single flower of the same quiet colour lights up the ground near it as a violet will. The bright hounds-tongue looks merely like a spot of bright paint; but a young violet glows like painted glass.
12. Which, when you have once well noticed, the two lines of Milton and Shakspeare which seem opposed, will both become clear to you. The said lines are dragged from hand to hand along their pages of pilfered quotations by the hack botanists,—who probably never saw them, nor anything else, in Shakspeare or Milton in their lives,—till even in reading them where they rightly come, you can scarcely recover their fresh meaning: but none of the botanists ever think of asking why Perdita calls the violet 'dim,' and Milton 'glowing.'
Perdita, indeed, calls it dim, at that moment, in thinking
of her own love, and the hidden passion of it, unspeakable; nor is Milton without some purpose of using it as an emblem of love, mourning,—but, in both cases, the subdued and quiet hue of the flower as an actual tint of colour, and the strange force and life of it as a part of light, are felt to their uttermost.
And observe, also, that both, of the poets contrast the violet, in its softness, with the intense marking of the pansy. Milton makes the opposition directly—-