The Folk-lore of Plants

by T. F. Thiselton-Dyer

"Once as our Saviour walked with men below,
His path of mercy through a forest lay;
And mark how all the drooping branches show
What homage best a silent tree may pay.

Only the aspen stood erect and free,
Scorning to join the voiceless worship pure,
But see! He cast one look upon the tree,
Struck to the heart she trembles evermore."

The "rose of Jericho" has long been regarded with special reverence, having first blossomed at Christ's birth, closed at His crucifixion, and opened again at the resurrection. At the flight into Egypt it is reported to have sprung up to mark the footsteps of the sacred family, and was consequently designated Mary's rose. The pine protected them from Herod's soldiers, while the juniper opened its branches and offered a welcome shelter, although it afterwards, says an old legend, furnished the wood for the cross.

But some trees were not so thoughtful, for "the brooms and the chick-peas rustled and crackled, and the flax bristled up." According to another old legend we are informed that by the fountain where the Virgin Mary washed the swaddling-clothes of her sacred infant, beautiful bushes sprang up in memory of the event. Among the many further legends connected with the Virgin may be mentioned the following connected with her death:—The story runs that she was extremely anxious to see her Son again, and that whilst weeping, an angel appeared, and said, "Hail, O Mary! I bring thee here a branch of palm, gathered in paradise; command that it be carried before thy bier in the day of thy death, for in three days thy soul shall leave thy body, and thou shalt enter into paradise, where thy Son awaits thy coming." The angel then departed, but the palm-branch shed a light from every leaf, and the apostles, although scattered in different parts of the world, were miraculously caught up and set down at the Virgin's door. The sacred palm-branch she then assigned to the care of St. John, who carried it before her bier at the time of her burial. [13]

The trees and flowers associated with the crucifixion are widely represented, and have given rise to many a pretty legend. Several plants are said to owe their dark-stained blossoms to the blood-drops which trickled from the cross; amongst these being the wood-sorrel, the spotted persicaria, the arum, the purple orchis, which is known in Cheshire as "Gethsemane," and the red anemone, which has been termed the "blood-drops of Christ." A Flemish legend, too, accounts in the same way for the crimson-spotted leaves of the rood-selken. The plant which has gained the unenviable notoriety of supplying the crown of thorns has been variously stated as the boxthorn, the bramble, the buckthorns, [14] and barberry, while Mr. Conway quotes an old tradition, which tells how the drops of blood that fell from the crown of thorns, composed of the rose-briar, fell to the ground and blossomed to roses. [15] Some again maintain that the wild hyssop was employed, and one plant which was specially signalled out in olden times is the auberpine or white-thorn. In Germany holly is Christ-thorn, and according to an Eastern tradition it was the prickly rush, but as Mr. King [16] remarks, "the belief of the East has been tolerably constant to what was possibly the real plant employed, the nabk (Zizyphus spina-Christi), a species of buckthorn." The negroes of the West Indies say that, "a branch of the cashew tree was used, and that in consequence one of the bright golden petals of the flower became black and blood-stained."

Then again, according to a Swedish legend, the dwarf birch tree afforded the rod with which Christ was scourged, which accounts for its stunted appearance; while another legend tells us it was the willow with its drooping branches. Rubens, together with the earlier Italian painters, depict the reed-mace [17] or bulrush (Typha latifolia) as the rod given to Him to carry; a plant still put by Catholics into the hands of statues of Christ. But in Poland, where the plant is difficult to procure, "the flower-stalk of the leek is substituted."

The mournful tree which formed the wood of the cross has always been a disputed question, and given rise to a host of curious legends. According to Sir John Maundeville, it was composed of cedar, cypress, palm, and olive, while some have instituted in the place of the two latter the pine and the box; the notion being that those four woods represented the four quarters of the globe. Foremost amongst the other trees to which this distinction has been assigned, are the aspen, poplar, oak, elder, and mistletoe. Hence is explained the gloomy shivering of the aspen leaf, the trembling of the poplar, and the popular antipathy to utilising elder twigs for fagots. But it is probable that the respect paid to the elder "has its roots in the old heathenism of the north," and to this day, in Denmark, it is said to be protected by "a being called the elder-mother," so that it is not safe to damage it in any way. [18] The mistletoe, which exists now as a mere parasite, was before the crucifixion a fine forest tree; its present condition being a lasting monument of the disgrace it incurred through its ignominious use. [19] A further legend informs us that when the Jews were in search of wood for the cross, every tree, with the exception of the oak, split itself to avoid being desecrated. On this account, Grecian woodcutters avoid the oak, regarding it as an accursed tree.

The bright blue blossoms of the speedwell, which enliven our wayside hedges in spring-time, are said to display in their markings a representation of the kerchief of St Veronica, imprinted with the features of Christ. [20] According to an old tradition, when our Lord was on His way to Calvary, bearing His Cross, He happened to pass by the door of Veronica, who, beholding the drops of agony on His brow, wiped His face with a kerchief or napkin. The sacred features, however, remained impressed upon the linen, and from the fancied resemblance of the blossom of the speedwell to this hallowed relic, the plant was named Veronica.

A plant closely connected by tradition with the crucifixion is the passion-flower. As soon as the early Spanish settlers in South America first glanced on it, they fancied they had discovered not only a marvellous symbol of Christ's passion, but received an assurance of the ultimate triumph of Christianity. Jacomo Bosio, who obtained his knowledge of it from certain Mexican Jesuits, speaks of it as "the flower of the five wounds," and has given a very minute description of it, showing how exactly every part is a picture of the mysteries of the Passion. "It would seem," he adds, "as if the Creator of the world had chosen it to represent the principal emblems of His Son's Passion; so that in due season it might assist, when its marvels should be explained to them, in the condition of the heathen people, in whose country it grew." In Brittany, vervain is popularly termed the "herb of the cross," and when gathered with a certain formula is efficacious in curing wounds. [21]

In legendary lore, much uncertainty exists as to the tree on which Judas hanged himself. According to Sir John Maundeville, there it stood in the vicinity of Mount Sion, "the tree of eldre, that Judas henge himself upon, for despeyr," a legend which has been popularly received. Shakespeare, in his "Love's Labour's Lost," says "Judas was hanged on an elder," and the story is further alluded to in Piers Plowman's vision:—