Plant 1: Water Lily
Water lilies are plants aquatic in nature, which belong to the family Nymphaeaceae and grow majorly in the temperate and tropical climatic regions of the world (Duke 71). Their wide waxy green leaves float on water to tap sunlight for oxygen. The oxygen tapped is then relocated to the rest of the parts via the tubular stem underneath water (Waller 22). Depending on the species, lily flowers normally appear in different colors but only in singles. There are many species of water lilies but the most popular ones are the white lilies and the blue lilies. Lilies usually are not cultivated but grow naturally in waters (Duke 75).
Medicinal Uses of Water Lilies
From the work by Duke (81), water lilies have various traditional and modern uses. In the modern age, water lilies can be used to make various concoctions that can go a long way to be used in tea, martinis, and wine. The tea is normally prepared by boiling the entire flowers in water and is believed to have rich medicinal values. The squeezed juice from the leaves is equally used to flavor food and hence as an additive in its effect (Waller 33).
Traditionally speaking, the leaves of water lilies have been used to stop bleeding and mostly poultice made from the roots can be applied in reducing
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In Egypt, the stalks and flowers were also associated with death, life, birth, and rebirth (Waller 48). In their creation myth, the Egyptians believed that their god who did the creation and banished the darkness came from a primordial water lily. As part of funeral rituals, the blue water lily was used to achieve a trance state. The flowers too are a representation associated with dancing and party rituals, spiritual as well as magical rites like the afterlife. White water lilies were very significant as their flowers were believed to rise and fall with the sun, one of the Egyptian gods (Duke
In the ancient Egyptian culture, the belief was that there was a life force and spirit inside of the body, known as the ‘Ka’. Therefore, mummification was performed as a ritual to preserve the physical features of the body as well as to protect its inner spirit, mainly to ensure that the ‘Ka’ could recognize the body where it may dwell in the eternal life. Thus, the funerary psychology of ancient Egyptians was that death did not bring an end to living, but instead was only an escape from the physical human life and a gateway to immortal being. Due to the fact that a being’s life span was short in ancient times, people’s main hopes rested in their afterlives, where they would be with the gods (Stockstad 121).
Finally, the Nile influenced spiritual beliefs. Egyptians believed that the Nile would provide for them even in the afterlife (Doc D). The Nile was reflected in bottom panel of the tomb painting like the one of paradise called Field of Reeds. If it did not exist, there would be nothing to draw in the paintings – no water, the crops, no people, the boat rides. Egyptians sang hymn of praise and thanks to the Nile (Doc E). The hymn shows that Egyptians worshipped the river and believed it had the power to bring happiness or sorrow. The people knew that there was a strong connection between the river and their
word “art” which may imply something about the materialistic world that she tries to be a part of. Interestingly, and perhaps most symbolic, is the fact that the lily is the “flower of death”, an outcome that her whirlwind, uptight, unrealistic life inevitably led her to.
In Toni Morrison’s novel, The Song of Solomon, flowers are associated with romance and love, and so the way in which the central female characters interact with flora is indicative of the romance in their lives. Flowers, red roses in particular, are a universal symbol for love and fertility. Though Ruth Foster, Lena called Magdalene Dead, and First Corinthians Dead are associated with different types of flowers in distinctive ways, the purpose of the motif stays the same; flowers reveal one’s romantic status and are a precursor for the romance that is to come. Throughout the entire novel, the flowers share in common that they are not real. Some flowers appear printed, others as fake substitutes, and some are imaginary. This is an essential
Flowers can be seen to represent emotions that are felt when opressions on women are seen. Poisonous flowers represent the determination that these women use to find a better life in this society
The main symbolic image that the flowers provide is that of life; in the first chapter of the novel Offred says “…flowers: these are not to be dismissed. I am alive.” Many of the flowers Offred encounters are in or around the house where she lives; it can be suggested that this array of floral life is a substitute for the lack of human life, birth and social interaction. The entire idea of anything growing can be seen as a substitute for a child growing. The Commander’s house contains many pictures; as they are visual images, “flowers are still allowed.” Later, when Serena is “snipping off the seed pods with a pair of shears… aiming, positioning the blades… The fruiting body,” it seems that all life is being eradicated, even that of the flowers.
The Egyptians believed very much in life after death. As Taylor states in Death and the Afterlife in Ancient Egypt, “It is often observed that they appear to have devoted greater efforts and resources to preparing for the afterlife than to creating a convenient environment for living” (Taylor, 2001:12). The Egyptians viewed life on earth as one stage and death as the beginning of another. They believed that, “human existence did not end with death and that survival of the body played a part in the new life” (Taylor, 2001:12). One of the key elements in the Egyptian culture and religion was the preservation of the body. The body was the most important aspect because it was like a portal through which an individual could continue to live after death (Taylor, 2001:46). The Egyptians began building tombs for these bodies to keep them from decaying.
These definitions of this age old symbol, the rose, evolved over time as cultures came into contact with what has now called the Language of the Flowers. This “language” first appeared in the East and was used as a form of silent communication between illiterate women in harems. During the Victorian era this form of communication began to move towards Western Europe. The first compilation of this language was written in French and then was later translated into English. (Seaton, ).The Victorians used this new method of communication to express love, sorrow and much more through the flowers that they cultivated and bought. This language of flowers or rather the use of flowers to symbolize different messages can certainly influence a story if one has knowledge of this method and chooses to interpret it in this manner.
Since the days of the early Greeks, florigraphy - the language of flowers - has been used to convey "a wide range of human emotions, conditions, events, or ideas" (Seattle n. p.). From the "strength in character" of the gladiolus to the "delicate beauty" of the hibiscus, flowers are symbolic in the message and the image they produce (Tansy n. p.). Tennyson uses florigraphy to symbolize man’s desire to create the perfect Garden of Eden and to expose the contrary emotions the protagonist feels towards Maud. She is "associated with both lily and rose, as both a chaste subject and a sexual object" (Johnson 111). Traditionally, the lily symbolizes "coquetry and purity" and the rose symbolizes passion (Tansy n p.). Maud is the "shrinking reticence" of the lily when the protagonist is content with their relationship and the "aggressive...
Finally, the Nile provided Egypt with a multiplicity of religious beliefs. For example, the rise and fall of the water level led the Egyptians to witness the cycles of birth, death, and re-birth. They believed that the gods controlled the Nile, so this led the river to becoming one of the many things they worshipped. The god of the Nile was known as “Hapi” and the Egyptians thought he provided them with water and fertilization. Furthermore, the belief of an afterlife came from the Nile. They believed that after death they would ride an “underneath” version of the Nile to their afterlife. The river not only impacted people on a physical level, but on a personal level.
A common question many civilizations shared and strived to answer was about death and the afterlife. In Ancient Egypt, the lives of many citizens centered around a prosperous future in death. In fact, Ancient Egyptians believed life continued on in death. For this reason, they yearned to live justly as citizens of Egypt. If not, then the gods would deem them unworthy of entering heaven, or paradise. This was Ancient Egypt, a society seemingly obsessed with the afterlife and enriched with funeral practices. Their worship of pharaohs and gods, detailed inscriptions about mummification, and elaborate tombs influenced their constant strive towards achieving everlasting peace in the afterlife.
The grandeur with which Egyptians regarded their funerary customs does not come without explanation. They delighted in tying the occurrences of the natural world with supernatural dogma, and their burial practices exemplified this deluge of religion. A special deity was even attributed to cemeteries and embalmers: Anubis (Fiero, 46). Due to this deep sense of religion, a fixation with the afterlife developed within their culture. The Egyptian afterlife, however, is not synonymous of heave, but, rather, of The Field of Reeds, a continuation of one’s life in Egypt meant “to secure and perpetuate in the afterlife the ‘good life’ enjoyed on earth” (Mark 1; “Life in Ancient Egypt” 1). The pursuit of this sacred rest-place prompted the arousal of intricate Egyptian funeral rituals.
The lilies allude to the purity of the scene. They are flowers that are connected to virginity and chastity. Emphasizing that Mary and Christ are both miracles. As the idea of a virgin icing birth to the son of God is considered a miracle. By putting the lilies in the earthly plane, a connection is made between the heavens and the earth in a simpler and more elegant way than that of Donatello.
That said the flowers have no human inference, which is the same in the other garden. In the garden of Eden where it is said to be full of beautiful things of all types. He said his garden was full of the most beautiful of things one can imagine. One thing that fits is that there are no bad emotions to be seen. In both gardens, there is no reason for them in a place filled with quality and promise of heart’s desire.
Egyptian Art and Architecture, the buildings, paintings, sculpture, and allied arts of ancient Egypt, from prehistoric times to its conquest by the Romans in 30 bc. Egypt had the longest unified history of any civilization in the ancient Mediterranean, extending with few interruptions from about 3000 bc to the 4th century ad. The nature of the country, fertilized and united by the Nile, and its semi-isolation from outside cultural influences, produced an artistic style that changed little during this long period. Art in all its forms was devoted principally to the service of the pharaoh, who was considered a god on Earth, to the state, and to religion. From early times a belief in a life after death dictated that the dead be buried with material goods to their ensure well-being for eternity. The regular patterns of nature—the annual flooding of the Nile, the cycle of the seasons, and the progress of the Sun that brought day and night—were considered gifts from the gods to the people of Egypt. Egyptian thought, morality, and culture were rooted in a deep respect for order and balance. Change and novelty were not considered important in themselves; thus the style and representational conventions in Egyptian art that were established early in the development of that civilization continued virtually unchanged for more than 3,000 years. To the modern eye the Egyptian artistic idiom may seem stiff and static; its underlying intention, however, was not to create an image of things as they appear in reality, but rather to capture the essence of a person, animal, or object for eternity.