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[Southern Literary Messenger, June, 1836.]
THIS is a very pretty and very convenient volume, on a subject which, since the world began, has never failed to excite curiosity and sympathy in all who have a proper sense of the beautiful. It contains 240 pages, and 24 finely colored engravings, which give a vivid idea of the original plants. These engravings are the Meadow Anemone — the Harebell — the Christmas Rose — the Dahlia — the Evening Primrose — the Fox-Glove — the Heliotrope — the Purple Iris — the Jasmine — the King[[-]]Cup — the Lavender — the Mezereon — the Narcissus — the Orchis — the Clove Pink — the Quince — the Provence Rose — the Solomon's Seal — the Tobacco — the Bear Berry — the Violet Pansy — the Wall-Flower — the Yellow Water-Flag, and the Zedoary. The bulk of the volume is occupied with poetical illustrations exceedingly well selected. We do not believe there is a single poem in the book which may not be considered above mediocrity — many are exquisite. The Botanical description of the variety parts of a Flower, is well conceived — brief, properly arranged, and sufficiently comprehensive. The Dial of Flowers, will be especially admired by all our fair readers. The following extract from page 227, will give an idea of the nature of this Dial [[Dial]] — the manner of composing which, is embraced entire, in the form of a Table, on page 229.
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[[quotation]]
These properties of flowers, and the opening and shutting of many at particular times of day, led to the idea of planting them in such a manner as to indicate the succession of the hours, and to make them supply the place of a watch or clock. Those who are disposed to try the experiment, may easily compose such a dial by consulting the following Table, comprehending the hours between three in the morning and eight in the evening. It is, of course, impossible to insure the accurate going of such a dial, because the temperature, the dryness, and the dampness of the air have a considerable influence on the opening and shutting of flowers.
We copy from the Floria and Thalia the following anonymous lines.
Alas! on thy forsaken stem
My heart shall long recline,
And mourn the transitory gem,
And make the story mine!
So on my joyless winter hour
Has oped some fair and fragrant flower,
With smile as soft as thine.
Like thee the vision came and went,
Like thee it bloomed and fell;
In momentary pity sent, [page 44:]
Of fairy climes to tell:
So frail its form, so short its stay,
That nought the lingering heart could say,
But hail, and fare thee well!
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Notes:
The book, Flora and Thalia, was originally printed in London, for Henry Washbourne in 1835. Carey, Lea and Blanchard republished the work in America in 1836. The title page attributes the work only to “A Lady,” and the preface is signed only with the location “King's Road, Chelsea.” The book is dedicated to the Dutchess of Kent and the Princess Victoria, as were many artistic endeavors of this period. The illustrations are signed only as by “M. Spratt,” who is not otherwise known. A possible suggestion for the identity of the “Lady” is the short quotation at the beginning of the book, with the signature of Louisa Anne Twamley (later Louisa Anne Meredith). It is the second part of a sonnet called “Flowers,” included in her first volume of poems, also published in 1835 (London: Charles Tilt), and with engravings done by the author. Her book of poems was reviewed in the Gentleman's Magazine (London) in May 1835, commenting favorably on the engravings but encouraging more study before the young authoress published more poems. (In general, reviews of the work tended to soften criticism based on the youth and gender of the author.) The earliest mention of her book of poems appears to be March 1835. Flora and Thalia also seems to be first mentioned in advertisements about March 1835. The prominient reference in the book to such an obscure poet would appear to be a subtle acknowledgement of authorship, or in this case, compiler. The book has also been attributed to Maria Rundell, although on uncertain authority, and probably in error (Rundell having died in 1828).
The anonymous poem quoted at the end is “The Winter Rose.” It was first published in the Scots Magazine for April 1821 (vol. 87, no. 4, p. 359), in a brief article called “Female Poetry,” without identifying the author, but stating that the two poems quoted are from an unpublished collection written by a woman. The poem was reprinted from that source in various magazines, also anonymously. In 1845, the lines were printed in a collection of poems by Charlotte Elizabeth (The Convent Bell and other Poems, New York: John S. Taylor and Co., 1845). This penname was used by Charlotte Elizabeth Tonna (1790–1846).
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[S:1 - JAH09, 1902] - Edgar Allan Poe Society of Baltimore - Editions - The Complete Works of Edgar Allan Poe (J. A. Harrison) (Review of Flora and Thalia)