Then, again, the cypress, in floral language, denotes mourning; and,
as an emblem of woe, may be traced to the familiar classical myth of
Cyparissus, who, sorrow-stricken at having skin his favourite stag, was
transformed into a cypress tree. Its ominous and sad character is the
subject of constant allusion, Virgil having introduced it into the funeral
rites of his heroes. Shelley speaks of the unwept youth whom no
mourning maidens decked,
"With weeping flowers, or votive cypress wreath,
The love-couch of his everlasting sleep."
And Byron describes the cypress as,"Dark tree! still sad when other's grief is fled,
The only constant mourner o'er the dead."
The laurel, used for classic wreaths, has long been regarded
emblematical of renown, and Tasso thus addresses a laurel leaf in the
hair of his mistress:--
"O glad triumphant bough,
That now adornest conquering chiefs, and now
Clippest the bows of over-ruling kings
From victory to victory.
Thus climbing on through all the heights of story,
From worth to worth, and glory unto glory,
To finish all, O gentle and royal tree,
Thou reignest now upon that flourishing head,
At whose triumphant eyes love and our souls are led."
Like the rose, the myrtle is the emblem of love, having been dedicated
by the Greeks and Romans to Venus, in the vicinity of whose temples
myrtle-groves were planted; hence, from time immemorial,
"Sacred to Venus is the myrtle shade."
This will explain its frequent use in bridal ceremonies on the
Continent, and its employment for the wedding wreath of the Jewish
damsel. Herrick, mindful of its associations, thus apostrophises Venus:--
"Goddess, I do love a girl,
Ruby lipp'd and toothed like pearl;
If so be I may but prove
Lucky in this maid I love,
I will promise there shall be