WEBVTT - Did Victorians Really Have a Language of Flowers?

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<v Speaker 1>Welcome to brainstud a production of iHeartRadio, Hey Brainstuff Laura

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<v Speaker 1>vogelbam here. Floriography, the association of flowers with special virtues

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<v Speaker 1>and sentiments has been a practice from antiquity to the

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<v Speaker 1>present day. Ancient Chinese flower calendars established the tradition of

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<v Speaker 1>associating seasonal flowers with meanings, beginning in the seventh century BCE,

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<v Speaker 1>a making January's winter flower the plum blossom, a symbol

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<v Speaker 1>of beauty and longevity. By the seventeen hundreds, the concept

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<v Speaker 1>of salaam, the Turkish language of flowers and objects, found

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<v Speaker 1>its way to Europe, further establishing the idea of associating

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<v Speaker 1>flowers with meanings. The eighteenth century religious visionary and Madman

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<v Speaker 1>poet Christopher Smart wrote, for there is a language of flowers,

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<v Speaker 1>for there is a sound reasoning upon all flowers, For

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<v Speaker 1>elegant phrases are nothing but flowers. Smart's use of the

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<v Speaker 1>terminology language of flowers is likely the earliest literary record

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<v Speaker 1>of the informal phrase. By the early eighteen hundreds, the

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<v Speaker 1>language of flowers was commonly recognized in Europe, and many

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<v Speaker 1>devotees of the tradition had begun hand copying lists of

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<v Speaker 1>flowers and their symbolic meanings. Are you a friend on

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<v Speaker 1>the outs who wants to skip the drama of a

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<v Speaker 1>face to face then place a lemon verbina plant on

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<v Speaker 1>your bestie's front stoop for forgiveness. Or maybe you're a

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<v Speaker 1>vocabulary challenged suitor who feels some kind of way present.

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<v Speaker 1>You're someone special with the heliotrope bouquet for infatuation. Practically

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<v Speaker 1>any emotion or black thereof, from apathy represented by Candy

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<v Speaker 1>tuft to zeal represented by elderflower can be conveyed with

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<v Speaker 1>a just right arrangement for the article. This episode is

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<v Speaker 1>based on How Stuff Work. Spoke with Susan Loy, an

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<v Speaker 1>American artist and calligrapher, whose award winning book Flowers the

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<v Speaker 1>Angels Alphabet is a standard reference for floral dictionaries and

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<v Speaker 1>the Victorian language of flowers. She said the idea of

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<v Speaker 1>a symbolic language of flowers made its way to Victorian

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<v Speaker 1>Europe and North America through a cross cultural migration of

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<v Speaker 1>ideas and lore from China, Japan, Turkey, Greece, and Rome.

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<v Speaker 1>The Victorian language of flowers is primarily a literary tradition

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<v Speaker 1>that grew out of the genre of sentimental or gift

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<v Speaker 1>flower books, which had its roots in the literary almanac,

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<v Speaker 1>an annual publication, often a New Year's gift book that

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<v Speaker 1>included a calendar. Literary almanacs were particularly popular around Europe

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<v Speaker 1>and the United States from the eighteen twenties through the

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<v Speaker 1>eighteen sixties. The language of flowers books that grew out

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<v Speaker 1>of the tradition were sort of dictionaries of flowers, including

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<v Speaker 1>associated meanings or sentiments, illustrations of the flowers, botanical information

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<v Speaker 1>and lore, poetry about the flowers or those associated sentiments,

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<v Speaker 1>and perhaps a floral calendar. Some even included a fortune

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<v Speaker 1>telling game called a floral oracle. Modernly, lots of juicy

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<v Speaker 1>stuff has been written about the repressive strictures of a

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<v Speaker 1>stilted era that led daring lovers and blossoming romantic hopefuls

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<v Speaker 1>to employ the Victorian language of flowers as a secret,

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<v Speaker 1>encoded form of communication. Lore has it that a single

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<v Speaker 1>flower or cryptic bouquet could express hidden desires, forbidden longings

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<v Speaker 1>and erotic imaginings. One dare not speak out loud. During

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<v Speaker 1>a time when etiquette loomed large over the tufted velvet

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<v Speaker 1>love seat and decorums sucked all the oxygen out of

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<v Speaker 1>the parlor. What claustrophobic Victorian couple wouldn't opt for a

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<v Speaker 1>midday meander through the garden of flower dictionaries in hand.

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<v Speaker 1>But here's the thing, Lloy explained, there is very little

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<v Speaker 1>evidence that ordinary people in the Victorian era actually used

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<v Speaker 1>the language of flowers as a means of communication. This

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<v Speaker 1>is a myth that has been propagated by the writers

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<v Speaker 1>and editors of Language of Flowers books. Artists, designers, florists, marketers,

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<v Speaker 1>and writers are more likely to have used and continue

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<v Speaker 1>to use floriography. Many of the Language of Flower books

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<v Speaker 1>in my personal collection state in their introductions that Victorians

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<v Speaker 1>used the language of flowers in their courtship, but neither

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<v Speaker 1>historians nor I have found much evidence that they actually did.

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<v Speaker 1>One exception is the use of language of flowers in nosegays,

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<v Speaker 1>which originated in medieval times. During Victorian era, nosegays were

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<v Speaker 1>called tussy mussies and sometimes included flower symbolism. From the

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<v Speaker 1>language of Flowers, it turns out there wasn't even a

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<v Speaker 1>single cohesive language. Alloy's research suggests that somewhere between four

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<v Speaker 1>hundred and six hundred Language of Flowers books were published

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<v Speaker 1>during the Victorian era. As she said, many of the

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<v Speaker 1>writers and editors copied each other's dictionaries, so there is

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<v Speaker 1>some agreement regarding flower meanings. Individual flower associations, however, are

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<v Speaker 1>not universal, and there is not one lexicon of agreed

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<v Speaker 1>upon meanings even within a single culture. As symbolic flowers

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<v Speaker 1>and their lexicons are often tied to the geography and

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<v Speaker 1>customs of a given region, this really only makes sense.

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<v Speaker 1>Many of the flowers in the lexicon are wild flowers,

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<v Speaker 1>others are garden flowers, some are florist flowers, meaning that

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<v Speaker 1>access to specific blooms is kind of a big deal. However,

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<v Speaker 1>there are lots of common themes like love, beauty, and friendship.

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<v Speaker 1>Often the meanings were expressed in personal statements. For example,

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<v Speaker 1>a sentiment expressed by Virginia Creeper was I cling to

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<v Speaker 1>you both in sunshine and shade, or listed under peach

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<v Speaker 1>your qualities like your charms are unequaled. There were lots

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<v Speaker 1>of nuances. Ivy was said to symbolize friendship or lasting

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<v Speaker 1>friendship because of its clinging habit, while periwinkle indicates early

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<v Speaker 1>and sincere friendship. Snowdrop connotes a friend in need or

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<v Speaker 1>a friendship inadversity, while zynia represents thoughts of absent friends.

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<v Speaker 1>Some of the meanings have negative connotations, and the Victorian

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<v Speaker 1>writers tended to associate these with yellow flowers, such as

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<v Speaker 1>the daughter for meanness or a yellow rose for jealousy.

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<v Speaker 1>Some of the writers included chapters on the special meaning

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<v Speaker 1>assigned to the arrangement of flowers. For example, subtle signals

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<v Speaker 1>might have been sent if a particular flower were worn

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<v Speaker 1>in the hair or in a corsage. Lloyd said, usually

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<v Speaker 1>the original meaning would be reversed if a flower is

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<v Speaker 1>worn upside down. One poet and floriography maven of her day,

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<v Speaker 1>Katherine H. Waterman Esling, wrote in eighteen thirty nine, the

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<v Speaker 1>language of flowers has recently attracted so much attention that

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<v Speaker 1>an acquaintance with it seems to be deemed, if not

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<v Speaker 1>an essential part of a polite education, at least a

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<v Speaker 1>graceful and elegant accomplishment. The long lived language of flowers

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<v Speaker 1>craze was ushered in from eighteenth century Constantinople via Lady

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<v Speaker 1>Mary Wortley Montague in travel letters that she mailed to

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<v Speaker 1>her friends. In Europe. A Montague, a feminist poet who

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<v Speaker 1>was married to the English ambassador to Turkey, accompanied her

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<v Speaker 1>husband to his post in seventeen seventeen and became captivated

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<v Speaker 1>by the customs there. In a letter to her friends

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<v Speaker 1>back home, she wrote, there is no color, no flower,

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<v Speaker 1>no weed, no fruit, herb, pebble, or feather that has

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<v Speaker 1>not a verse belonging to it. And you may quarrel, reproach,

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<v Speaker 1>or send letters of passion, friendship, or civility, or even

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<v Speaker 1>of news without ever inking your fingers, Allois said. Montague's

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<v Speaker 1>Turkish Embassy letters were published in seventeen sixty three, shortly

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<v Speaker 1>after her death, and made her famous. The letters described

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<v Speaker 1>Turkish life, including the salaam, the Turkish language of flowers

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<v Speaker 1>and objects undemonic system where flowers or objects rhyme used

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<v Speaker 1>as an aid for memorization. Examples don't translate well well

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<v Speaker 1>because of the rhyme, but an example in English might

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<v Speaker 1>be pair, do not despair. Although Salam is an ammonic system,

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<v Speaker 1>it became known in Europe as a system of associating

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<v Speaker 1>flowers with sentiments. Probably the most famous and influential floriography

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<v Speaker 1>book is by the well known writer and illustrator of

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<v Speaker 1>children's books, Kate Greenaway, who lived in England from eighteen

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<v Speaker 1>forty nine to nineteen oh one. Her book The Language

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<v Speaker 1>of Flowers, first published in eighteen eighty four, has been

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<v Speaker 1>translated into many languages and continues to be reprinted to

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<v Speaker 1>this day. Even if Victorian's thought and spoke about floriography

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<v Speaker 1>more than they actually put it into practice, it's interesting

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<v Speaker 1>to think about the movement as a pre digital version

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<v Speaker 1>of emoji culture, Lois said. Many of the contemporary flower

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<v Speaker 1>emoji sentiments could be found in a typical Victorian Language

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<v Speaker 1>of Flowers dictionary. Like the Victorian Language of Flowers, flower

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<v Speaker 1>and plant emoji symbolism often relies on a characteristic of

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<v Speaker 1>the plant for its significance, which is to say that

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<v Speaker 1>just as sending an emoji of a peach, chili, pepper,

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<v Speaker 1>or eggplant doesn't literally mean that you're thinking about produce.

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<v Speaker 1>Victorians were finding ways to express themselves figuratively. In the

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<v Speaker 1>eighteen nineties. The Irish poet and playwright Oscar Wilde famously

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<v Speaker 1>asked his friends and advocates to wear green carnations, which

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<v Speaker 1>he hinted would simultaneously signify homosexuality, while meaning nothing at all.

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<v Speaker 1>When How Stuff Works spoke with Loy back in twenty twenty,

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<v Speaker 1>they asked her to create a hypothetical bouquet that expresses

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<v Speaker 1>the language of flowers for our current times, and I

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<v Speaker 1>think it's still pretty applicable. She said that she would

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<v Speaker 1>include balm for cure, coltsfoot for justice, mint for virtue,

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<v Speaker 1>nistertium for heroism, dogwood for honesty, oak for honor, olive

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<v Speaker 1>for peace, pimpernel for change, pomp and rose for kindness,

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<v Speaker 1>stuf our flower for reciprocity, time for courage, and white

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<v Speaker 1>chrysanthemum for truth. But Lloy said this bouquet represents qualities

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<v Speaker 1>that we need more of in our contemporary world. Today's

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<v Speaker 1>episode is based on the article red Roses Are Yellow,

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<v Speaker 1>Every Flower has a Secret Meaning on how Stuffworks dot Com,

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<v Speaker 1>written by Carrie Tatreu. Brain Stuff is production by Heart

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<v Speaker 1>Radio in partnership with how Stuffworks dot Com and is

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<v Speaker 1>produced by Tyler Klang. For more podcasts my heart Radio,

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<v Speaker 1>visit the iHeartRadio app, Apple Podcasts, or wherever you listen

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<v Speaker 1>to your favorite shows.