derived from the ancients and especially from Eastern nations. In pursuing the research, it has been found that time, instead of rendering their sentiments less appropriate, has confirmed their fitness, and continually added new charms to the language. Little study is necessary in the science here taught; nature has been before us. It will suffice that two or three rules be given, which the reader will do well first to learn, and then by reference to the work, which is systematically arranged for the purpose, he will be enabled to converse in the language of flowers. By the first rule, a flower presented inclining to the right, expresses a thought; reversed, it is understood to convey the contrary of that sentiment. For example:-A rosebud, with its thorns and leaves, is understood to say, "I fear, but I hope." The same rosebud reversed, would signify that "You must neither fear nor hope." You may convey your sentiments very well by a single flower. As the second rule, take the rosebud which has already served us for an example, and strip it of its thorns, it tells you that "There is everything to hope." Strip it of its leaves, it will express that "There is everything to fear." The expression of nearly all flowers may be varied by changing their position. Thus, the marigold, for example: placed upon the head, it signifies "distress of mind;" upon the heart, "the pairs of love;" upon the breast, "ennui." It is also necessary to know that the pronoun I is understood by inclining the flower to the right, and the pronoun thou by inclining it to the left. Such are the first principles of this mysterious language. Love and friendship ought to join their discoveries to render it more perfect: these sentiments, the most delightful in nature, are alone able to perfect what they have originated. C OH! thou magic world of flowers, Fairy ministers of grace, Hidden links of some fair sphere, Seek we an emblem of our dreams, Half trembling on the tide: And once beneath the ploughshare wild, Thus should the cheek of beauty glow, With rose of brightest hue, LUCY HOOPER. THE POETRY OF FLOWERS AND FLOWERS OF POETRY ABSENCE. WORMWOOD. WORMWOOD is considered the bitterest of plants. Its scientific name, Absinthium, is derived from the Greek and signifieswithout sweetness. It is therefore very appropriately made the emblem of absence; which according to La Fontaine, is the greatest of evils. He told me he would come again When summer's last wild roses bloom, And when we parted in the glen The young houstonia shed perfume. I thought how many flowers must spring I could not bear that early thing Should not have faded long before. But fast the scented violets grew, And blue rhodora with them stood; And white viburnum of the wood. And now the light, midsummer air Fast fades the long-lived meadow-sweet, But when I with my true love meet, Long-long may autumn roses stay! MILLER. ARTS (THE). ACANTHUS. THE Acanthus is found in hot countries along the shores of great rivers. "Le nil du vert acanthe admire le feuillage." The ancients tastefully adorned their furniture, vases, and most costly attire, with its elegant leaves. And Virgil writes, that the robe of Helen was bordered with a wreath of acanthus in relief. This beautiful model of the arts has become their emblem; and he will be talented indeed, who shall produce anything to excel its richness. If any obstacle resists the growth of the acanthus, it seems to struggle to overcome it and to vegetate with renewed vigour. So genius, when acted upon by resist ance or opposition redoubles its attempts to overthrow every impediment. It is said that the architect Callimach, passing near the tomb of a young maiden who had died a few days before the time appointed for her nuptials, moved by tenderness and pity approached to scatter some flowers upon her tomb. Another tribute to her memory had preceded his. Her nurse had collected the flowers which should have decked her on her wedding day and putting them with the marriage veil in a little basket had placed it near the grave upon a plant of acanthus, and then covered it with a tile. In the succeeding spring the leaves of the acanthus grew round the basket; but being staid in their growth by the projecting tile, they recoiled and surmounted its extremities. Callimach, surprised by this rural decoration, which seemed the work of the Graces in tears, conceived the capital of the Corinthian column; a magnificent ornament still used and admired by the whole civilized world. When from the sacred garden driven, And crossed the wanderer's sunless path, He rends the oak and bids it ride, To guard the shores its beauty graced, |