“It's so curious: one can resist tears and 'behave' very well in the hardest hours of grief. But then someone makes you a friendly sign behind a window, or one notices that a flower that was in bud only yesterday has suddenly blossomed, or a letter slips from a drawer... and everything collapses. ”
― Colette
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Perfumes are the feelings of flowers, and as the human heart, imagining itself alone and unwatched, feels most
deeply in the night-time, so seems it as if the flowers, in musing modesty, await the mantling eventide ere they
give themselves up wholly to feeling, and breathe forth their sweetest odours. Flow forth, ye perfumes of my heart, and seek beyond these mountains the dear one of my dreams! ~Heinrich Heine, "The Hartz Journey"
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Being perfect artists and ingenuous poets, the Chinese have piously preserved the love and holy cult of flowers; one of the very rare and most ancient traditions which has survived their decadence. And since flowers had to be distinguished from each other, they have attributed graceful analogies to them, dreamy images, pure and passionate names which perpetuate and harmonize in our minds the sensations of gentle charm and violent intoxication with which they inspire us. So it is that certain peonies, their favorite flower, are saluted by the Chinese, according to their form or color, by these delicious names, each an entire poem and an entire novel: The Young Girl Who Offers Her Breasts, or: The Water That Sleeps Beneath the Moon, or: The Sunlight in the Forest, or: The First Desire of the Reclining Virgin, or: My Gown Is No Longer All White Because in Tearing It the Son of Heaven Left a Little Rosy Stain; or, even better, this one: I Possessed My Lover in the Garden. Octave Mirbeau, Torture Garden, "The Garden,"
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