The pansy in those days was the small Johnny-Jump-Up, a variety of the violet, according to the old writers, "a little violet of three colors, blue, white and yellow." Milton noted that it was "freaked with jet." Michael Drayton showed its close relationship to the violet in the lines:

Gerard wrote in 1587:

"The stalks are weak and tender, whereupon grow flowers in form and figure like the Violet and for the most part of the same bigness, of three sundry colors, whereof it took the surname Tricolor, that is to say purple, yellow and white, or blue; by reason of the beauty and bravery of which colors they are very pleasing to the eye, for smell they have little, or none at all."

The pansy was beloved of Elizabethans: the great number of popular names it had proves this. In addition to Pansy and Johnny-Jump-Up, it was called Herb Trinity, because of the three distinct petals, which made it a flower of peculiar religious significance. Another name was Three-Faces-under-a-Hood because it had such a coquettish air. Another name was Fancy Flamey, because its amethystine colors are like those seen in the flames of burning wood; and because lovers gave it to one another it had the pet names of Meet-me-at-the-Garden-Gate, Kiss-me-at-the-Garden-Gate, Kiss-me-quick, Kiss-me, Call-me-to-you, Cuddle-me-to you, Kiss-me-ere-I-rise, Pink-of-my-John, Cupid's-flower, Love-in-Idleness, and Heartsease.

There were no "wine dark pansies" in Shakespeare's time to charm the lover of flowers and none of the splendid deep purple velvets and mauves and pale amethysts and burnt orange and lemon and claret and sherry and canary hues that delight us to-day, and which are, to use the quaint old expression, "nourished up in our gardens." The modern beauties began to be developed about 1875, chiefly by the French specialists, and, as a modern writer remarks:

"Such sizes, such combinations, such weirdness of expression in quaint faces painted upon the petals were never known before. The colors now run a marvellous range; pure-white, pure yellow, deepening to orange, and darkening to brown, as well as a bewildering variety of blues and purples and violets. The lowest note is a rich and velvety shade that we speak of as black; but there is no black in flowers.

"The pansy is the flower for all. It is cheap; it is hardy; it is beautiful; and its beauty is of an unusual and personal kind. The bright, cheerful, wistful or roguish faces look up to you with so much apparent intelligence that it is hard to believe it is all a pathetic fallacy and there is nothing there."

Whether the modern pansies should be included in a Shakespeare garden is a question for each owner of a garden to decide; but there should certainly be a goodly number of the little "Johnny-Jump-Ups."

POPPY (Papaver somniferum). Shakespeare introduces the poppy only indirectly when he speaks of the "drowsy syrup" in "Othello." The white poppy is the flower from which the sleeping potion was made. "Of Poppies," says Parkinson, "there are a great many sorts, both wild and tame; but our garden doth entertain none but those of beauty and respect. The general known name to all is Papaver, Poppie. Yet our English gentlewomen in some places call it by name Joan's Silver Pin. It is not unknown, I suppose, to any that Poppies procureth sleep." Other old names for the poppy were Corn Rose and Cheese Bowl.

Scarlet poppies in the wreath of Ceres among the wheat-ears, scarlet poppies mingled with large white-petaled daisies, and Ragged Robins belong to everybody's mental picture of midsummer days.

"We usually think of the Poppy as a coarse flower," says Ruskin, "but it is the most transparent and delicate of all the blossoms of the field. The rest, nearly all of them, depend on the texture of their surface for color. But the Poppy is painted glass; it never glows so brightly as when the sun shines through it. Whenever it is seen against the light, or with the light, always it is a flame and warms in the wind like a blown ruby."

"Gather a green Poppy bud, just when it shows the scarlet line at its side, break it open and unpack the Poppy. The whole flower is there compact in size and color, its stamens full grown, but all packed so closely that the fine silk of the petals is crushed into a million of wrinkles. When the flower opens, it seems a relief from torture; the two imprisoning green leaves are shaken to the ground, the aggrieved corolla smooths itself in the sun and comforts itself as best it can, but remains crushed and hurt to the end of its days."

Delicate and fine as is the above description, the sympathetic tribute to the poppy by Celia Thaxter does not suffer in proximity. She says:

"I know of no flower that has so many charming tricks and manners, none with a method of growth more picturesque and fascinating. The stalks often take a curve, a twist from some current of air, or some impediment, and the fine stems will turn and bend in all sorts of graceful ways, but the bud is always held erect when the time comes for it to blossom. Ruskin quotes Lindley's definition of what constitutes a poppy, which he thinks 'might stand.' This is it: 'A Poppy is a flower which has either four or six petals and two or more treasuries united in one, containing a milky stupefying fluid in its stalks and leaves and always throwing away its calix when it blossoms.'

"I muse over their seed-pods, those supremely graceful urns that are wrought with such matchless elegance of shape and think what strange power they hold within. Sleep is there and Death, his brother, imprisoned in those mystic sealed cups. There is a hint of their mystery in their shape of somber beauty, but never a suggestion in the fluttering blossom: it is the gayest flower that blows. In the more delicate varieties the stalks are so slender, yet so strong, like fine grass stems. When you examine them, you wonder how they hold even the light weight of the flower so firmly and proudly erect; and they are clothed with the finest of fine hairs up and down the stalks and over the green calix.

"It is plain to see, as one gazes over the poppy-beds on some sweet evening at sunset, what buds will bloom in the joy of next morning's first sunbeams, for these will be lifting themselves heavenward, slowly and silently, but surely. To stand by the beds at sunrise and see the flowers awake is a heavenly delight. As the first long, low rays of the sun strike the buds, you know they feel the signal! A light air stirs among them; you lift your eyes, perhaps to look at a rosy cloud, or follow the flight of a carolling bird, and when you look back again, lo! the calix has fallen from the largest bud and lies on the ground, two half-transparent light green shells, leaving the flower-petal wrinked in a thousand folds, just released from their close pressure. A moment more and they are unclosing before your eyes. They flutter out on the gentle breeze like silken banners to the sun."

It would be tempting in a Shakespeare garden to include many kinds of this joyous, yet solemn, flower; and certainly as many were common in Elizabethan gardens it would not be an anachronism to have them. However, if the space be restricted and the garden lover a purist then the white poppy only should be planted.