Parkinson does not separate daisies very particularly. "They are usually called in Latin," he tells us, "_Bellides_ and in English Daisies. Some of them _Herba Margarita_ and _Primula veris_, as is likely after the Italian names of Marguerita and _Flor di prima vera gentile_. The French call them _Paquerettes_ and _Marguerites_; and the fruitful sort, or those that have small flowers about the middle one, _Margueritons_. Our English women call them Jack-an-Apes-on-Horseback." The daisy that an Elizabethan poet quaintly describes as a Tudor princess resembles the midsummer daisy rather than the "wee, modest, crimson-tipped flower" of Burns: About her neck she wears a rich wrought ruff With double sets most brave and broad bespread Resembling lovely lawn, or cambric stuff Pinned up and prickt upon her yellow head. Also Browne in his "Pastorals" seems to be thinking of this flower: The Daisy scattered on each mead and down, A golden tuft within a silver crown. VIOLET (_Viola odorata_). The violet was considered "a choice flower of delight" in English gardens. Shakespeare speaks of the violet on many occasions and always with tenderness and deep appreciation of its qualities. Violets are among the flowers that the frightened Proserpine dropped from Pluto's ebon car-- Violets dim And sweeter than the lids of Juno's eyes, Or Cytherea's breath.[38] Thus in Shakespeare's opinion the violet out-sweetened both Juno, majestic queen of heaven, and Venus, goddess of love and beauty. How could he praise the violet more? To throw a perfume on the violet Is wasteful and ridiculous excess. Shakespeare informs us in "King John."[39] With the utmost delicacy of perfection he describes _Titania's_ favorite haunt as a bank where the wild thyme blows, Where oxlips and the nodding violet grows.[40] In truth, the tiny flower seems to nod among its leaves. Shakespeare makes the elegant _Duke_ in "Twelfth Night," who is lounging nonchalantly on his divan, compare the music he hears to the breeze blowing upon a bank of violets[41] (see page 44). [38] "The Winter's Tale"; Act IV, Scene III. [39] Act IV, Scene II. [40] "A Midsummer Night's Dream"; Act II, Scene II. [41] Act I, Scene I. Shelley held the same idea that the delicious perfume of flowers is like the softest melody: The snowdrop and then the violet Arose from the ground with warm rain wet; And there was mixed with fresh color, sent From the turf like the voice and the instrument. And the hyacinth, purple and white and blue, Which flung from its bells a sweet peal anew Of music, so delicate, soft and intense It was felt like an odor within the sense. _Ophelia_ laments that she has no violets to give to the court ladies and lords, for "they withered" when her father died, she tells us. Shakespeare also associates violets with melancholy occasions. _Marina_ enters in "Pericles" with a basket of flowers on her arm, saying:[42]