Chapter 5. Papaver Rhoeas

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_ CHAPTER V. PAPAVER RHOEAS

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BRANTWOOD, _July 11th, 1875_.

1. Chancing to take up yesterday a favourite old book, Mavor's British Tourists, (London, 1798,) I found in its fourth volume a delightful diary of a journey made in 1782 through various parts of England, by Charles P. Moritz of Berlin.

And in the fourteenth page of this diary I find the following passage, pleasantly complimentary to England:--

"The slices of bread and butter which they give you with your tea are as thin as poppy leaves. But there is another kind of bread and butter usually eaten with tea, which is toasted by the fire, and is incomparably good. This is called 'toast.'"

I wonder how many people, nowadays, whose bread and butter was cut too thin for them, would think of comparing the slices to poppy leaves? But this was in the old days of travelling, when people did not whirl themselves past corn-fields, that they might have more time to walk on paving-stones; and understood that {87} poppies did not mingle their scarlet among the gold, without some purpose of the poppy-Maker that they should be looked at.

Nevertheless, with respect to the good and polite German's poetically-contemplated, and finely aesthetic, tea, may it not be asked whether poppy leaves themselves, like the bread and butter, are not, if we may venture an opinion--_too_ thin,--im-_properly_ thin? In the last chapter, my reader was, I hope, a little anxious to know what I meant by saying that modern philosophers did not know the meaning of the word 'proper,' and may wish to know what I mean by it myself. And this I think it needful to explain before going farther.

2. In our English prayer-book translation, the first verse of the ninety-third Psalm runs thus: "The Lord is King; and hath put on glorious apparel." And although, in the future republican world, there are to be no lords, no kings, and no glorious apparel, it will be found convenient, for botanical purposes, to remember what such things once were; for when I said of the poppy, in last chapter, that it was "robed in the purple of the Caesars," the words gave, to any one who had a clear idea of a Caesar, and of his dress, a better, and even _stricter_, account of the flower than if I had only said, with Mr. Sowerby, "petals bright scarlet;" which might just as well have been said of a pimpernel, or scarlet geranium;--but of neither of these latter should I have said "robed in purple of Caesars." What I meant was, first, that the poppy leaf {88} looks dyed through and through, like glass, or Tyrian tissue; and not merely painted: secondly, that the splendour of it is proud,--almost insolently so. Augustus, in his glory, might have been clothed like one of these; and Saul; but not David, nor Solomon; still less the teacher of Solomon, when He puts on 'glorious apparel.'

3. Let us look, however, at the two translations of the same verse.

In the vulgate it is "Dominus regnavit; decorem indutus est;" He has put on 'becomingness,'--decent apparel, rather than glorious.

In the Septuagint it is [Greek: euprepeia]--_well_-becomingness; an expression which, if the reader considers, must imply certainly the existence of an opposite idea of possible '_ill_-becomingness,'--of an apparel which should, in just as accurate a sense, belong appropriately to the creature invested with it, and yet not be glorious, but inglorious, and not well-becoming, but ill-becoming. The mandrill's blue nose, for instance, already referred to,--can we rightly speak of this as '[Greek: euprepeia]'? Or the stings, and minute, colourless blossoming of the nettle? May we call these a glorious apparel, as we may the glowing of an alpine rose?

You will find on reflection, and find more convincingly the more accurately you reflect, that there is an absolute sense attached to such words as 'decent,' 'honourable,' 'glorious,' or '[Greek: kalos],' contrary to another absolute sense in the words 'indecent,' 'shameful,' 'vile,' or '[Greek: aischros].' {89}

And that there is every degree of these absolute qualities visible in living creatures; and that the divinity of the Mind of man is in its essential discernment of what is [Greek: kalon] from what is [Greek: aischron], and in his preference of the kind of creatures which are decent, to those which are indecent; and of the kinds of thoughts, in himself, which are noble, to those which are vile.

4. When therefore I said that Mr. Darwin, and his school,[25] had no conception of the real meaning of the word 'proper,' I meant that they conceived the qualities of things only as their 'properties,' but not as their becomingnesses;' and seeing that dirt is proper to a swine, malice to a monkey, poison to a nettle, and folly to a fool, they called a nettle _but_ a nettle, and the faults of fools but folly; and never saw the difference between ugliness and beauty absolute, decency and indecency absolute, glory or shame absolute, and folly or sense absolute.

[Illustration: FIG. 10.]

Whereas, the perception of beauty, and the power of defining physical character, are based on moral instinct, and on the power of defining animal or human character. Nor is it possible to say that one flower is more highly developed, or one animal of a higher order, than another, without the assumption of a divine law of perfection to which the one more conforms than the other.

5. Thus, for instance. That it should ever have been an open question with me whether a poppy had always {90} two of its petals less than the other two, depended wholly on the hurry and imperfection with which the poppy carries out its plan. It never would have occurred to me to {91} doubt whether an iris had three of its leaves smaller than the other three, because an iris always completes itself to its own ideal. Nevertheless, on examining various poppies, as I have walked, this summer, up and down the hills between Sheffield and Wakefield, I find the subordination of the upper and lower petals entirely necessary and normal; and that the result of it is to give two distinct profiles to the poppy cup, the difference between which, however, we shall see better in the yellow Welsh poppy, at present called Meconopsis Cambrica; but which, in the Oxford schools, will be 'Papaver cruciforme'--'Crosslet Poppy,'--first, because all our botanical names must be in Latin if possible; Greek only allowed when we can do no better; secondly, because meconopsis is barbarous Greek; thirdly, and chiefly, because it is little matter whether this poppy be Welsh or English; but very needful that we should observe, wherever it grows, that the petals are arranged in what used to be, in my young days, called a diamond shape,[26] as at A, Fig. 10, the two narrow inner ones at right angles to, and projecting farther than, the two outside broad ones; and that the two broad ones, when the flower is seen in profile, as at B, show their margins folded back, as indicated by the thicker lines, and have a profile curve, which is only the softening, or melting away into each other, of two straight lines. Indeed, when the flower is younger, and quite strong, both its {92} profiles, A and B, Fig. 11, are nearly straight-sided; and always, be it young or old, one broader than the other, so as to give the flower, seen from above, the shape of a contracted cross, or crosslet.

[Illustration: FIG. 11.]

6. Now I find no notice of this flower in Gerarde; and in Sowerby, out of eighteen lines of closely printed descriptive text, no notice of its crosslet form, while the petals are only stated to be "roundish-concave," terms equally applicable to at least one-half of all flower petals in the {93} world. The leaves are _said_ to be very deeply pinnately partite; but _drawn_--as neither pinnate nor partite!

[Illustration: FIG. 12.]

And this is your modern cheap science, in ten volumes. Now I haven't a quiet moment to spare for drawing this morning; but I merely give the main relations of the petals, A, and blot in the wrinkles of one of the lower ones, B, Fig. 12; and yet in this rude sketch you will feel, I believe, there is something specific which could not belong to any other flower. But all proper description is {94} impossible without careful profiles of each petal laterally and across it. Which I may not find time to draw for any poppy whatever, because they none of them have well-becomingness enough to make it worth my while, being all more or less weedy, and ungracious, and mingled of good and evil. Whereupon rises before me, ghostly and untenable, the general question, 'What is a weed?' and, impatient for answer, the particular question, What is a poppy? I choose, for instance, to call this yellow flower a poppy, instead of a "likeness to poppy," which the botanists meant to call it, in their bad Greek. I choose also to call a poppy, what the botanists have called "glaucous thing," (glaucium). But where and when shall I stop calling things poppies? This is certainly a question to be settled at once, with others appertaining to it.

7. In the first place, then, I mean to call every flower either one thing or another, and not an 'aceous' thing, only half something or half another. I mean to call this plant now in my hand, either a poppy or not a poppy; but not poppaceous. And this other, either a thistle or not a thistle; but not thistlaceous. And this other, either a nettle or not a nettle; but not nettlaceous. I know it will be very difficult to carry out this principle when tribes of plants are much extended and varied in type: I shall persist in it, however, as far as possible; and when plants change so much that one cannot with any conscience call them by their family name any more, I shall put them aside somewhere among families of poor relations, not {95} to be minded for the present, until we are well acquainted with the better bred circles; I don't know, for instance, whether I shall call the Burnet 'Grass-rose,' or put it out of court for having no petals; but it certainly shall not be called rosaceous; and my first point will be to make sure of my pupils having a clear idea of the central and unquestionable forms of thistle, grass, or rose, and assigning to them pure Latin, and pretty English, names,--classical, if possible; and at least intelligible and decorous.

8. I return to our present special question, then, What is a poppy? and return also to a book I gave away long ago, and have just begged back again, Dr. Lindley's 'Ladies' Botany.' For without at all looking upon ladies as inferior beings, I dimly hope that what Dr. Lindley considers likely to be intelligible to _them_, may be also clear to their very humble servant.

The poppies, I find, (page 19, vol. i.) differ from crowfeet in being of a stupifying instead of a burning nature, and in generally having two sepals and twice two petals; "but as some poppies have three sepals, and twice three petals, the number of these parts is not sufficiently constant to form an essential mark." Yes, I know that, for I found a superb six-petaled poppy, spotted like a cistus, the other day in a friend's garden. But then, what makes it a poppy still? That it is of a stupifying nature, and itself so stupid that it does not know how many petals it should have, is surely not enough distinction?

9. Returning to Lindley, and working the matter {96} farther out with his help, I think this definition might stand. "A poppy is a flower which has either four or six petals, and two or more treasuries, united into one; containing a milky, stupifying fluid in its stalks and leaves, and always throwing away its calyx when it blossoms."

And indeed, every flower which unites all these characters, we shall, in the Oxford schools, call 'poppy,' and 'Papaver;' but when I get fairly into work, I hope to fix my definitions into more strict terms. For I wish all my pupils to form the habit of asking, of every plant, these following four questions, in order, corresponding to the subject of these opening chapters, namely, "What root has it? what leaf? what flower? and what stem?" And, in this definition of poppies, nothing whatever is said about the root; and not only I don't know myself what a poppy root is like, but in all Sowerby's poppy section, I find no word whatever about that matter.

10. Leaving, however, for the present, the root unthought of, and contenting myself with Dr. Lindley's characteristics, I shall place, at the head of the whole group, our common European wild poppy, Papaver Rhoeas, and, with this, arrange the nine following other flowers thus,--opposite.

I must be content at present with determining the Latin names for the Oxford schools; the English ones I shall give as they chance to occur to me, in Gerarde and the classical poets who wrote before the English revolution. When no satisfactory name is to be found, I must try to invent one; as, for instance, just now, I don't like Gerarde's 'Corn-rose' for Papaver Rhoeas, and must coin another; but this can't be done by thinking; it will come into my head some day, by chance. I might try at it straightforwardly for a week together, and not do it.

{97}

 
NAME IN OXFORD CATALOGUE.  DIOSCORIDES.       In present Botany.
 1. Papaver Rhoeas     [Greek: mekon rhoias]     Papaver Rhoeas
 2. P. Hortense        [Greek: m. kepeute][27]   P. Hortense
 3. P. Elatum          [Greek: m. thulakitis][28]  P. Lamottei
 4. P. Argemone                                  P. Argemone
 5. P. Echinosum                                 P. Hybridum
 6. P. Violaceum                              Roemeria Hybrida
 7. P. Cruciforme                            Meconopsis Cambrica
 8. P. Corniculatum  [Greek: m. keratitis] Glaucium Corniculatum
 9. P. Littorale     [Greek: m. paralios]   Glaucium Luteum
 10. P. Chelidonium                           Chelidonium Majus

{98} The Latin names must be fixed at once, somehow; and therefore I do the best I can, keeping as much respect for the old nomenclature as possible, though this involves the illogical practice of giving the epithet sometimes from the flower, (violaceum, cruciforme), and sometimes from the seed vessel, (elatum, echinosum, corniculatum). Guarding this distinction, however, we may perhaps be content to call the six last of the group, in English, Urchin Poppy, Violet Poppy, Crosslet Poppy, Horned Poppy, Beach Poppy, and Welcome Poppy. I don't think the last flower pretty enough to be connected more directly with the swallow, in its English name.

11. I shall be well content if my pupils know these ten poppies rightly; all of them at present wild in our own country, and, I believe, also European in range: the head and type of all being the common wild poppy of our cornfields for which the name 'Papaver Rhoeas,' given it by Dioscorides, Gerarde, and Linnaeus, is entirely authoritative, and we will therefore at once examine the meaning, and reason, of that name.

12. Dioscorides says the name belongs to it "[Greek: dia to tacheos to anthos apoballein]," "because it casts off its bloom {99} quickly," from [Greek: rheo,] (rheo) in the sense of shedding.[29] And this indeed it does,--first calyx, then corolla;--you may translate it 'swiftly ruinous' poppy, but notice, in connection with this idea, how it droops its head _before_ blooming; an action which, I doubt not, mingled in Homer's thought with the image of its depression when filled by rain, in the passage of the Iliad, which, as I have relieved your memory of three unnecessary names of poppy families, you have memory to spare for learning.

"[Greek: mekon d' hos heterose kare balen, het' eni kepoi]
[Greek: karpoi brithomene, notieisi te eiarineisin]
[Greek: hos heteros' emuse kare peleki barunthen.]"

"And as a poppy lets its head fall aside, which in a garden is loaded with its fruit, and with the soft rains of spring, so the youth drooped his head on one side; burdened with the helmet."

And now you shall compare the translations of this passage, with its context, by Chapman and Pope--(or the school of Pope), the one being by a man of pure English temper, and able therefore to understand pure Greek temper; the other infected with all the faults of the falsely classical school of the Renaissance.

First I take Chapman:--

"His shaft smit fair Gorgythion of Priam's princely race
Who in AEpina was brought forth, a famous town in Thrace,
{100}
By Castianeira, that for form was like celestial breed.
And as a crimson poppy-flower, surcharged with his seed,
And vernal humours falling thick, declines his heavy brow,
So, a-oneside, his helmet's weight his fainting head did bow."

Next, Pope:--

"He missed the mark; but pierced Gorgythio's heart,
And drenched in royal blood the thirsty dart:
(Fair Castianeira, nymph of form divine,
This offspring added to King Priam's line).
As full-blown poppies, overcharged with rain,
Decline the head, and drooping kiss the plain,
So sinks the youth: his beauteous head, depressed
Beneath his helmet, drops upon his breast."

13. I give you the two passages in full, trusting that you may so feel the becomingness of the one, and the gracelessness of the other. But note farther, in the Homeric passage, one subtlety which cannot enough be marked even in Chapman's English, that his second word, [Greek: emuse], is employed by him both of the stooping of ears of corn, under wind, and of Troy stooping to its ruin;[30] and otherwise, in good Greek writers, the word is marked as having such specific sense of men's drooping under weight; or towards death, under the burden of fortune which they have no more strength to sustain;[31] compare the passage {101} I quoted from Plato, ('Crown of Wild Olive,' p. 95): "And bore lightly the burden of gold and of possessions." {102} And thus you will begin to understand how the poppy became in the heathen mind the type at once of power, or pride, and of its loss; and therefore, both why Virgil represents the white nymph Nais, "pallentes violas, et summa papavera carpens,"--gathering the pale flags, and the highest poppies,--and the reason for the choice of this rather than any other flower, in the story of Tarquin's message to his son.

14. But you are next to remember the word Rhoeas in another sense. Whether originally intended or afterwards caught at, the resemblance of the word to 'Rhoea,' a pomegranate, mentally connects itself with the resemblance of the poppy head to the pomegranate fruit.

And if I allow this flower to be the first we take up for careful study in Proserpina, on account of its simplicity of form and splendour of colour, I wish you also to remember, in connection with it, the cause of Proserpine's eternal captivity--her having tasted a pomegranate seed,--the pomegranate being in Greek mythology what the apple is in the Mosaic legend; and, in the whole {103} worship of Demeter, associated with the poppy by a multitude of ideas which are not definitely expressed, but can only be gathered out of Greek art and literature, as we learn their symbolism. The chief character on which these thoughts are founded is the fulness of seed in the poppy and pomegranate, as an image of life: then the forms of both became adopted for beads or bosses in ornamental art; the pomegranate remains more distinctly a Jewish and Christian type, from its use in the border of Aaron's robe, down to the fruit in the hand of Angelico's and Botticelli's Infant Christs; while the poppy is gradually confused by the Byzantine Greeks with grapes; and both of these with palm fruit. The palm, in the shorthand of their art, gradually becomes a symmetrical branched ornament with two pendent bosses; this is again confused with the Greek iris, (Homer's blue iris, and Pindar's water-flag,)--and the Florentines, in adopting Byzantine ornament, read it into their own Fleur-de-lys; but insert two poppyheads on each side of the entire foil, in their finest heraldry.

15. Meantime the definitely intended poppy, in late Christian Greek art of the twelfth century, modifies the form of the Acanthus leaf with its own, until the northern twelfth century workman takes the thistle-head for the poppy, and the thistle-leaf for acanthus. The true poppy-head remains in the south, but gets more and more confused with grapes, till the Renaissance carvers are content with any kind of boss full of seed, but insist on such boss {104} or bursting globe as some essential part of their ornament;--the bean-pod for the same reason (not without Pythagorean notions, and some of republican election) is used by Brunelleschi for main decoration of the lantern of Florence duomo; and, finally, the ornamentation gets so shapeless, that M. Violet-le-Duc, in his 'Dictionary of Ornament,' loses trace of its origin altogether, and fancies the later forms were derived from the spadix of the arum.

16. I have no time to enter into farther details; but through all this vast range of art, note this singular fact, that the wheat-ear, the vine, the fleur-de-lys, the poppy, and the jagged leaf of the acanthus-weed, or thistle, occupy the entire thoughts of the decorative workmen trained in classic schools, to the exclusion of the rose, true lily, and the other flowers of luxury. And that the deeply underlying reason of this is in the relation of weeds to corn, or of the adverse powers of nature to the beneficent ones, expressed for us readers of the Jewish scriptures, centrally in the verse, "thorns also, and thistles, shall it bring forth to thee; and thou shalt eat the herb of the field" ([Greek: chortos], grass or corn), and exquisitely symbolized throughout the fields of Europe by the presence of the purple 'corn-flag,' or gladiolus, and 'corn-rose' (Gerarde's name for Papaver Rhoeas), in the midst of carelessly tended corn; and in the traditions of the art of Europe by the springing of the acanthus round the basket of the canephora, strictly the basket _for bread_, the idea of bread {105} including all sacred things carried at the feasts of Demeter, Bacchus, and the Queen of the Air. And this springing of the thorny weeds round the basket of reed, distinctly taken up by the Byzantine Italians in the basketwork capital of the twelfth century, (which I have already illustrated at length in the 'Stones of Venice,') becomes the germ of all capitals whatsoever, in the great schools of Gothic, to the end of Gothic time, and also of all the capitals of the pure and noble Renaissance architecture of Angelico and Perugino, and all that was learned from them in the north, while the introduction of the rose, as a primal element of decoration, only takes place when the luxury of English decorated Gothic, the result of that licentious spirit in the lords which brought on the Wars of the Roses, indicates the approach of destruction to the feudal, artistic, and moral power of the northern nations.

For which reason, and many others, I must yet delay the following out of our main subject, till I have answered the other question, which brought me to pause in the middle of this chapter, namely, 'What is a weed?' _

Read next: Chapter 6. The Parable Of Joash

Read previous: Chapter 4. The Flower

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