Category Archives: Bees

The Sick Rose: A Botanical Exploration

Fitzwilliam Museum, Cambridge

There’s something sinister about the tangled, prickly stems framing William Blake’s illustration for his song, The Sick Rose.  The large, crimson flowered rose is no longer upright; it has collapsed, its beautiful head now lying on the ground, alerting us that all is not well in the garden.

At the top of the image, where we might expect a healthy rose to appear, is the arched, segmented body of a caterpillar.  Its shape seems to mimic the pattern of the prickly rose stem just behind it; perhaps a natural camouflage device offering some protection from predatory birds, or a gardener seeking to remove it before more damage is done.

Sometimes called the ‘worm i’ the bud’, a moth larvae was once well known for attacking rose buds and hollowing them out from the inside, spoiling the flowers.  The florist, Thomas Hogg, writing in 1822 observes that rose buds, ‘are very often destroyed in the spring by a small dark red grub, which feeds upon them, folds itself up in the leaves, and then changes into a moth chrysalis;’.  John Fraser, who managed a plant nursery in Lea Bridge Road, East London in the mid-19th century, refers to a caterpillar which attacks the rose shoots as soon as they begins to grow and suggests picking the pests off by hand.

It’s unclear exactly when this troublesome caterpillar disappeared from the English garden, and unlikely that it was mourned by gardeners – but its loss is an indicator of the gradual decline in biodiversity.  It would also explain why we no longer know much about this moth, which is not mentioned in today’s gardening literature.

Used as a metaphor for sexual violence in The Sick Rose, the relationship between the rose and the caterpillar is echoed in popular songs from the late eighteenth century.  Published by Joseph Ritson, A Select Collection of English Songs (1783) contains songs where women are symbolised by the rose, and where the interaction between a rose and an insect is sexualised.

In one of these songs, adapted from a Spanish madrigal by Mr Garrick, a bee is attracted away from a damask rose by the sweetness of a young woman named Louisa, and leaves his sting in her lip.  This verse from another song, by Sir William Yonge explores a similar theme:

‘With wanton flight the curious bee
From flow’r to flow’r still wanders free;
And where each blossom blows,
Extracts the juice of all he meets,
But, for his quintessence of sweets

He ravishes the rose.’

By replacing the bee with a caterpillar, in The Sick Rose, a creature people were far less well disposed towards, the attack on the rose seems more shocking.  Instead of flying by day, like the bee, the moth flies unseen by night, suggesting danger. As the tiny eggs laid on the rose bud hatch, they will eventually cause its destruction.

Joseph Ritson (1752 – 1803) was a significant figure in the life of William Blake.  A publisher who employed Blake as a commercial artist, Ritson produced compilations of English and Scottish songs, poetry, literature, fairy tales and nursery rhymes; all subjects that interested and inspired Blake.

A Select Collection of English Songs appeared in three volumes; the first is a compilation of love songs, the second a collection of drinking songs and other miscellaneous songs and ballads, while the third contains musical notation for the songs.  Blake provided several engravings for this book, taken from a series of paintings by James Stodhart.

In the light of Blake’s involvement with Ritson’s song collection, it seems evident that Blake has drawn inspiration from the songs it contains.  Throughout his Songs of Innocence and Experience, Blake uses the conventional forms of these popular lyrics, but adjusts the content, reflecting his own unconventional viewpoint.

A Select Collection of English Songs Vol 1
Engraving by William Blake after Stothard

A Select Collection of English Songs Vol 1
Engraving by William Blake after Stothard

A Select Collection of English Songs Vol 1
Disdain returned

A Select Collection of English Songs Vol 2
(engraving – Heath)

Blake’s image of The Sick Rose is highly stylised, and not really possible to identify as a particular species or variety, but we know that at the end of the 18th century, the range of roses grown in England was a fraction of those available today.  In Roses, or, A monograph of the genus Rosa (1805), the author Henry Charles Andrews estimates ‘within a hundred’ varieties were cultivated.   In his book, sixty are illustrated, observed in his friends’ gardens as well as at leading nurseries in Chelsea, and at Loddiges in Hackney.   I’ve included some of the roses from Andrews’ monograph that have thorny stems and red flowers, including the moss rose, which was hugely popular in Georgian gardens.

Moss Rose from Roses, or, A Monograph of the Genus Rosa

Province Rose

Double Sweet Brier or Eglantine Rose

Rosa Gallica, officinal or French Red Rose

Rosa ferox
Fierce or Hedge-hog Rose

It’s now more than two centuries since William Blake published his Songs of Innocence and Experience, and over time, some of the cultural connections they contain, that would have been clear to his contemporaries, have become eroded.  All the texts discussed here, which shed light on these connections, enrich our understanding of Blake’s songs in some way, supplying context and illuminating their meaning.  Thanks as ever to libraries and archives that continue to digitise their collections and make them available.

Further reading:

Songs of Innocence published 1789 and together with Song of Experience 1794
The British Library’s commentary here

Joseph Ritson on Wikipedia here

A Select Collection of English Songs Vol 1 here

Another interesting book about English Songs by John Aikin and Mrs Barbauld:
Essays on Song Writing: with a collection of such English songs as are most eminent for poetical merit (1772) here

Roses, or, A Monograph of the Genus Rosa here

Children and Gardens

Shepherd and his flock pass by a cottage garden from Little Mary; or, the Picture-book by Sabina Cecil 1823 (printed and sold by John Marshall, 140 Fleet Street, London (NB. Text on frontispiece actually notes date of publication as 1800.)

Gardens belonging to the general public are rarely as well documented as the grander gardens of the wealthy.  So it was a happy surprise to find how frequently gardens of middle class (and some working people) are described and pictured in a sample of children’s literature from the early 19th century.

While the gardens mentioned in these stories might not always represent actual places, the images and descriptions provide vivid glimpses of how gardens looked and were used by their owners and visitors.  We also sense some tension in the relationship between children and gardens.  Although gardens are viewed as positive places for children to play and learn about plants, they are also places of potential danger.  A genre of books teaching moral conduct show the pitfalls that await reckless children out of doors, such falling out of trees, drowning in open water or being attacked by bees.

The books I’ve consulted, many written by women, are from the Internet Archive’s Children’s Library, made available by various US universities (see links at the end of this post).

Little Mary; or, the Picture-book by Sabina Cecil (1823) is a picture book designed for young children, using hand coloured illustrations and bold text suitable for children learning to read.  A series of household objects and plants are discussed, including a crocus and a moss rose.  The characteristic mossy growths on the sepals of the moss rose are clearly visible in the illustration of this fashionable plant.  Mary’s visit to Tatton Park where she sees deer for the first time is also recorded.

From Little Mary; or, the Picture-book by Sabina Cecil 1823

From Little Mary; or, the Picture-book by Sabina Cecil 1823

From Little Mary; or, the Picture-book by Sabina Cecil 1823

From Little Mary; or, the Picture-book by Sabina Cecil 1823

From Little Mary; or, the Picture-book by Sabina Cecil 1823

The Little Visitors: in words chiefly composed of one and two syllables by Maria Hack (1815) is designed to encourage older children to read and to inform them about the world.  This atmospheric narrative takes the form of a visit by Ellen and Rachel to their aunt.  Almost the first thing they do when they arrive is to tour the garden, with their aunt as their knowledgeable guide.

Their aunt went first, and opened the glass door in the hall, and then led them down the stone steps into the garden, which they saw was a very handsome one.  There were four large beds of flowers in the front, and fine tall trees and shrubs at the further end.  The children were much pleased with the rose trees, on which were great numbers of flowers, some full blown, and some only in bud.

Their aunt left them, and went into the house to fetch a knife.  She soon came back, and began to cut the stalks of some of the flowers.  She gave each of the little girls one full blown rose, and two nice buds; three fine pinks, a large tulip, a pretty bunch of sweet peas, and a white lily, and then she cut two handsome pieces of sweet-brier, to place at the back of each nosegay.

Later on they take a shady route through the garden, rest on a seat ‘made of branches of knotted wood, painted of a green colour’ and visit a shell grotto;

On turning a winding corner of the path, they saw a little door before them, with ivy growing round it.  The inside of this place was very small, and made of knotted branches of trees.  .. All at once they came to a very handsome light grotto, with spars and shells on the walls, and the windows were made of glass of many colours.

On another visit to a friend of their aunt the girls are delighted to see goldfish for the first time.  (Goldfish are so familiar to us now, it is easy to forget that two hundred years ago they were more unusual).  The illustration below shows the two girls at the edge of the goldfish pond, with the two women observing them at a distance.

This garden was a very large one, and they went some way before they came to where the fishes were kept: at last they walked through a narrow path, with high rows of laurel on both sides, which led to an open spot which had rock all around it, with ivy and moss growing over it and mountain flowers blooming on its sides.  The tops of the trees rose above the rock, and cast a pleasant shade over the scene beneath.  On one side was a fountain, that cooled the air as it foamed into the basin below, and ran into the little fish-pond, which was at some distance, where Ellen and Rachel bent their steps.  There were a great number of fish.  They threw in crumbs of bread, which the little creatures soon eat up.

From The Little Visitors: in words chiefly composed of one and two syllables Maria Hack (1815)  Ellen and Rachel arriving at their aunt’s house.

From The Little Visitors: in words chiefly composed of one and two syllables Maria Hack (1815)  Feeding the goldfish

We catch glimpses of a smaller, plainer garden through the window of Mrs Clifford’s house in Little Downy, or, the history of a field-mouse: a moral tale by Catherine Parr Strickland (1822).  This is the saga of a family of mice (an example of a genre of children’s literature using animals as characters).  The garden is separated from the surrounding countryside by a high hedge, which contains beds divided by pathways.  There are a pair of bee hives at the end of the garden and we can see a trained vine on the wall of the house.  Here is the narrator’s description of the garden:

situated .. on a beautiful sloping green bank, under the shade of a fir tree, not many yards from a nice white brick house, the front of which was covered with vines and wall-fruit; there were pots of balsams and geraniums, placed on the beds opposite the windows and glass door. 

From Little Downy, or, the history of a field-mouse: a moral tale by Catherine Parr Strickland (1822)

From Little Downy, or, the history of a field-mouse: a moral tale by Catherine Parr Strickland (1822)

The Accidents of youth: consisting of short histories, caluculated to improve the moral conduct of children, and warn them of the many dangers to which they are exposed (1819)

The potential dangers of playing out of doors (as well as inside) are spelled out in graphic detail in The Accidents of youth: consisting of short histories, calculated to improve the moral conduct of children, and warn them of the many dangers to which they are exposed, published anonymously in 1819.  With its disobedient children, acerbic parents and satirical tone these stories anticipate Hilaire Belloc’s Cautionary Tales for Children, or Roald Dahl’s children’s stories.

In The Climbers, a story about the dangers of climbing trees, little Henry is berated by his father for causing the accident, despite being quite badly injured.  In the chapter entitled The Bees, William thrusts a stick into a hive to get some honey, and is horribly stung.  Here’s a flavour of the prose:

The Accidents of youth: consisting of short histories, calculated to improve the moral conduct of children, and warn them of the many dangers to which they are exposed (1819)

The Accidents of youth: consisting of short histories, calculated to improve the moral conduct of children, and warn them of the many dangers to which they are exposed (1819)

The Accidents of youth: consisting of short histories, calculated to improve the moral conduct of children, and warn them of the many dangers to which they are exposed (1819)

More tales from the Georgian Garden in a future post – in the meantime, here are links to the various texts at the Internet Archive:

Little Mary; or, the Picture-book

The Little Visitors

Little Downy, or, the history of a field-mouse

The Accidents of Youth

 

The ladies’ bee mentor

Have you noticed that employing a bee mentor is all the fashion right now amongst garden commentators like Monty Don and Alys Fowler?  It seems we are continually excited by the idea of keeping bees (especially if we live in urban areas) and each generation produces its new set of bee experts.

Samuel Bagster (1800 – 1835) was a printer and author, with a special interest in bees. His book The Management of Bees, with a description of the Ladies’ Saftey Hive (1834) describes the natural history of bees and discusses the current ideas of managing bees, with details of hive designs.

Bagster explains the disadvantages of the traditional straw hive, still used by cottagers. Although romantic, the thatched roof is impractical, soon rotting and letting in rain and pests; an upturned milk pan is seen as an improvement.  Better still is the bee house, a painted wooden structure a bit like a cupboard with shelves inside to house a number of straw hives. Bagster observes

Amateur holders of bees, who prefer “the way their fathers trod,” have improved on the out-door exposure to wet and insects by putting their hives into a bee-house, which in some gardens, is a very ornamental object. The purse generally regulates the beauty. These houses are built about eighteen inches deep from front to back, four feet wide and six feet high with three shelves; and are capable of containing nine good sized hives, three in a row. The front is a fixture, perforated with nine holes opposite the places where the nine hives stand on the shelves; and before each hole an alighting board.

straw hive with thatched roof

straw hive with improvised milk pan roof

 

 

the cottage bee house

Bagster discusses ‘storifying’ systems, where the hives are placed on top of each other to give colonies more space, Stephen White’s collateral bee boxes and Madame Vicat’s hive where four boxes are screwed together.  Chapters on swarming, fumigation and an evaluation of Thomas Nutt’s ventilating hive follow.

Bagster’s own invention, the ladies’ safety hive, was developed for his wife who was nervous of handling bees.  His wooden bee house, looking something like a doll’s house in cross section, incorporates multiple spaces for the bees, which they can expand into, and so prevent the loss of colonies by swarming.

His instructions for managing the bee house are detailed and particularly important points are written in italics or even capital letters: ‘Remember the instructions to capture all the queens; and one only is to be put into the hive before you put the bees into the centre.  I repeat, ONE ONLY.’  Got that, ladies?

The ladies’ safety hive

The ladies’ safety hive – interior

Bagster supplies detailed instructions for making the ladies’ safety hive, but it could also be bought ready made from a florist in Newgate Street, his company’s office in Bartholomew Close or, from his house in Shepherds Bush.  Bagster would also deliver the hive, complete with bees.

Biodiversity Heritage Library

Samuel Bagster the Younger

Alys Fowler discusses her bee mentor