
“Are not all loves secretly the same? A hundred flowers sprung from a single root.”
Source: Delirium's Mistress
Japan, the Beautiful and Myself (1969)
Context: The single flower contains more brightness than a hundred flowers. The great sixteenth-century master of the tea ceremony and flower arranging, Rikyu, taught that it was wrong to use fully opened flowers. Even in the tea ceremony today the general practice is to have in the alcove of the tea room but a single flower, and that a flower in bud. In winter a special flower of winter, let us say a camellia, bearing some such name as White Jewel or Wabisuke, which might be translated literally as "Helpmate in Solitude", is chosen, a camellia remarkable among camellias for its whiteness and the smallness of its blossoms; and but a single bud is set out in the alcove. White is the cleanest of colors, it contains in itself all the other colors. And there must always be dew on the bud. The bud is moistened with a few drops of water.
“Are not all loves secretly the same? A hundred flowers sprung from a single root.”
Source: Delirium's Mistress
Lecture, "Seemliness" (Glasgow, 1902), as cited in: David Brett, C. R. Mackintosh: The Poetics of Workmanship, (2004), p. 56
“May our heart's garden of awakening bloom with hundreds of flowers.”
“A simple maiden in her flower
Is worth a hundred coats-of-arms.”
Stanza 2
Lady Clara Vere de Vere (1832)
Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXII : Grand Master Architect, p. 193
Context: Life is what we make it, and the world is what we make it. The eyes of the cheerful and of the melancholy man are fixed upon the same creation; but very different are the aspects which it bears to them. To the one, it is all beauty and gladness; the waves of ocean roll in light, and the mountains are covered with day. Life, to him, flashes, rejoicing, upon every flower and every tree that trembles in the breeze. There is more to him, everywhere, than the eye sees; a presence of profound joy, on hill and valley, and bright, dancing water. The other idly or mournfully gazes at the same scene, and everything wears a dull, dim, and sickly aspect. The murmuring of the brooks is a discord to him, the great roar of the sea has an angry and threatening emphasis, the solemn music of the pines sings the requiem of his departed happiness, the cheerful light shines garishly upon his eyes and offends him. The great train of the seasons passes before him like a funeral procession; and he sighs, and turns impatiently away. The eye makes that which it looks upon; the ear makes its own melodies and discords: the world without reflects the world within.
In a letter to William Milliken (1930), quoted in Portrait of an Artist: A Biography of Georgia O'Keeffe, Laurie Lisle (1981), p. 128
1930s
“Ah, when she moved, she moved more ways than one:
The shapes a bright container can contain!”
"I Knew a Woman," ll. 1 - 4
Words for the Wind (1958)
Context: I knew a woman, lovely in her bones,
When small birds sighed, she would sigh back at them;
Ah, when she moved, she moved more ways than one:
The shapes a bright container can contain!
“Dead people receive more flowers than the living ones because regret is stronger than gratitude.”