Obsessions of a Florist - where it all began

Over the years, I have also harboured a slight obsession with period drama and in this blog, I thought it might be interesting to indulge both passions with a look at how flowers are used in these dramas, the role they play and how they portray the customs and traditions of society at the time. In this issue, I’ll focus on some of my favourite Jane Austen adaptations and the next will look at the Bridgerton series in which flowers were so significant in the set design as to almost become a character in the show. Whether or not anyone else finds these ramblings interesting, remains to be seen but I’m committed now and will refer you to my social media coach #DeniseInspired for any complaints! #DeniseMadeMeDoIt!

My love of period drama can probably be traced back to the BBC TV series production of Pride and Prejudice, released in 1995. Yes people, 1995, almost 30 years ago. Having watched the series too many times to remember, it remains steadfast as one of my favourites. On one occasion, the DVD box set kept me and my poor Mother sane as she looked after me following a torn cruciate ligament episode. A self-inflicted injury on the slopes of St. Anton, it was my second only time skiing. It turned out also to be my last, having not had the courage to tempt fate again. Incidentally, I can recommend the emergency services there. I can’t say much about the skiing or apres-ski but there I would refer you to my friend Eleanor, an experienced woman in these matters and my partner in crime on said ski slope. If there is anyone I would recommend during a skiing crisis or any type of crisis for that matter, it’s this woman. Thanks, Eleanor, for escorting me home via crutches, wheelchairs, trains, planes and automobiles. 

From Firth to MacFadyen

I must admit that the 2005 film of Pride and Prejudice did not sit well initially. With the iconic BBC production being a hard act to follow (Colin Firth in his heyday among other attractions!) it took some time and a number of viewings for me to warm to it, but I did in the end. It has a very different mood and atmosphere from the series and again, uses the stunning stately homes and estates to great effect. Matthew McFadyen as Mr. Darcy does a great job in a role that had been thoroughly inhabited by Colin Firth for fans of the series. His recent extremely entertaining performance in Succession seems so utterly removed from the aloof English gentleman he once portrayed. Keira Knightley does a good job as Elizabeth, although I would still refer to Jennifer Ehle as the quintessential Eliza Bennet. I did not realise until doing some background research for this blog that she is actually an American actress born in North Carolina to an English mother and American father. Even more impressive given her performance as the perfect English young lady.

Aside from the leads, there are some excellent supporting performances for our enjoyment including the wonderful Brenda Blethyn as Mrs. Bennet and her ineffable nerves with Donald Sutherland as her long-suffering husband. Judi Dench takes on the role of the condescending Lady Catherine de Bourgh and captures her arrogance and indignant outrage to perfection uttering the infamous line, “Do you know who I am?” 😊 

The Misses Dashwood

Onwards then to one of my all-time favourites, Sense and Sensibility which was also, shockingly, released as far back as 1995. This, I find hard to believe but it truly has stood the test of time. Directed by Ang Lee and written by and starring Emma Thompson, this one never gets old for me. The sets, the countryside, the gentle romance and the relationship between the Miss Dashwood’s combined with a script full of dry humour and wit make this a thoroughly enjoyable experience.  Alan Rickman and Hugh Grant shine doing what they do best with Hugh Laurie in a lesser but most enjoyable role as the sardonic husband to the hysterics of Imelda Staunton. Emma Thompson is wonderful as Elinor Dashwood, the restrained elder sister to Kate Winslet’s impassioned Marianne, who is also excellent in one of her earliest film roles.

So, what about the flowers I hear you say? 

Flowers have long held a special place in literature, often serving as symbols to convey emotions, themes, and character traits. In the film adaptations, flowers are skilfully employed to enhance the narrative and deepen the viewer's understanding of the characters and their relationships. 

In both Sense and Sensibility (1995) and Pride and Prejudice (2005), it is the landscape and estates of the great houses, that initially take precedence over the use of flowers. During this Georgian period, flowers became an important feature of interior decoration, and the art of flower arranging was an accomplishment to be aspired to by the young ladies of the time! In these films, while they are present as flower arrangements around the houses and on the dining tables, flowers are very much in the background in contrast to the floral excesses of the Bridgerton series. Where they are used in these films is very much to symbolize important themes and enrich our understanding of the main characters.

In Pride and Prejudice, the film begins with an enchanting shot of Elizabeth Bennet walking through a field of wildflowers. This picturesque scene highlights Elizabeth's free-spirited nature, her love for the outdoors, and her independent personality. The wildflowers symbolize her untamed spirit and give an insight into the unconventional path she will take in the courting rituals.

In Sense and Sensibility, flowers are used to great effect in contrasting the characters of sisters Elinor and Marianne Dashwood. When Marianne has injured her ankle, her suitors call on her, bringing flowers. Colonel Brandon, the very honourable and refined wealthy gentleman besotted with Marianne brings a beautiful posy of flowers, but which is later dismissed by Marianne as being from the “hothouse”. At the time, hothouse flowers out of season would only have been afforded by the very wealthy. Unfortunately for Brandon, the passionate and impulsive Marianne has had her head turned by the dashing but dubious young rake, Captain Willoughby who rescues her after her fall. He presents a pretty bunch of wildflowers “obtained from an obliging field” which, of course are Marianne’s favourite and when he begins quoting romantic poetry, she is lost! Marianne’s vibrant and emotional nature is perfectly represented by the choice of wildflowers, and she is often depicted surrounded by wildflowers and nature throughout the film. In contrast, Elinor, the more practical and emotionally restrained sister is often associated with the serene and noble lily. 

Flowers were an important part of courtship during this period with specific meanings ascribed to flowers and colours such that a suitor could convey emotions and messages to a lady with the selection of flowers and colours included in the bouquet. This was called floriography, the language of flowers, and was very popular during this period, not surprising given the formality and restricted nature of communication and courtship at the time. Red signified love and passion while pink might be used at the beginning of a relationship and yellow for jealousy or a relationship in decline. 

Of course, flowers also feature in the final scene of the wedding procession in Sense and Sensibility. The flowers of the bride’s bouquet represent the style of the period where locally sourced, seasonal flowers, often combined with herbs would be tied into a simple bouquet with ribbon. Local flowers would have included roses, peonies, sweet peas, scabious, lilies, and delphinium.

So, gentle reader, what have we learned?  It’s clear that nature and flowers are used to great effect as symbolic elements in these films.  They serve to enhance the storytelling and deepen our understanding of the characters and their emotions in the context of the customs and traditions of society during the late Georgian period.  If you have made it this far, I thank you for reading! If you enjoyed my ramblings, look out for the next issue coming soon.