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The Poet's Daffodil: Narcissus

Since the narcissi have obtained scientific attention many fine varieties have been introduced or recovered from oblivion, to the great advantage of our gardens. Amongst the varieties of Narcissus poeticus will be found considerable diversity of character, both in the size and disposition of the white perianth segments, and in the colours of the corona or annulus which lights up the centre of the flower. The largest and noblest is called Grandiflorus. This is pure white with crimson annulus. Ornatus has large flowers with rosy annulus. In Tripodalis we have a suggestion of the tripod, the six segments dividing into two sets of three each, and one set reflecting considerably from the plane of the annulus. Poetarum has a crimson crown; Stellaris has separated segments like the rays of a star, and Verbanensis is a little mite about the size of a sixpence, but with all the characters of N. poeticus fully displayed. The double variety called N. poeticus flore pleno, also known by the later name of Gardenoeoides (because it resembles a gardenia), is beyond question one of the finest hardy plants in cultivation. It is waxy-white, with delicate stains of yellow, and may be likened to a rose, but in respect of resemblances comes nearest to the gardenia, both in its looks and its delicious fragrance. To grow this well, a warm position should be chosen on a rich, deep border, for if exposed to cold winds or in a poor soil it will come to no good at all.

Some remarkable hybrids of this narciss are in cultivation, bearing the collective designation of Narcissus Burbidgei, in honour of Mr. F. W. Burbidge, author of a valuable treatise on "The Narcissus." These hybrids have larger crowns than the true species, and some of them are highly coloured, ranging from scarlet to pure yellow, the perianth segments being white as in the species.

As we cannot often reach the beginnings of things we must take the legends as they come to us, with their surroundings of poetical fancy. But when we note the close family likeness of a group of myths, as here the story of Narcissus, and elsewhere the story of Adonis, and again that of Iris, the thought is forced upon us that some simple key may be found to explain them all. However, in these pages it will not be expected of us to enter fully into such matters. But we will, in a casual way, make an observation to illustrate the apothegm "history repeats itself." Linnaeus named the plant known as Andromeda, because he found it blooming in the midst of a watery waste, like Andromeda, the daughter of Cassiope, chained to the rock and assailed by sea-monsters, but sure of deliverance when Perseus (the spring) should come. In this there is fancy enough, but no myth. The flower commemorates the lady who competed with the nymphs for the prize of beauty, and it needs only one touch to transfer it from the region of fact, as regards the work of Linnaeus. Let us then accomplish the transference. Linnaeus did not name the flower, for its name is coeval with its existence. Andromeda was not saved by Perseus; she perished in her chains, and the flower sprang from her grave. Reverse the process, and the classic names of plants become commemorative, and all the mythical features are annihilated.