Essence Study Professional Course at Terra Flora

Nevada City,

Purpose of the Plant Study: Your practice as a flower essence therapist requires not only an affinity for the human soul, but also recognition and respect for as healers. While it is not necessary that you develop an extensive knowledge of all plants in detail, the FES Certification Program does require that you observe and research at least one plant, with full heartfelt attention. By deepening your appreciation and knowledge of one plant, the connection with the entire plant realm and your general abilities as a plant healer are made stronger. The plant study is an optional post-seminar activity, but completion is a requirement for the FES Case Certification Program. During the class, you will be given a basic overview regarding observation of plants. You may choose a plant which grows in the wild or one in a garden. You may choose a plant you find here during the class, or one in your home environment. Choose a plant growing in a natural habitat or garden, not a potted plant, nor a plant in a nursery or greenhouse. We give you time to complete this assignment so that you can make the time to observe the plant carefully, and describe both its objective qualities and your inspirational response to it. The expectation is that one is working in physical time and space with an actual plant, with actual observation and experience. Direct observation is the most important part of the plant study. Psychic channeling and on-line quotations are of much lesser value in this assignment. Your plant study may be returned for further work if it is “top heavy” in psychic channeling or copied on-line references.

Please begin with direct observation of a real plant that you encounter in Nature. Using the questions as a systematic guide, gather “raw” data, or field notes, rough sketches, photo studies and so forth. Bring this material together and then do the formal work of completing the plant study. This will also involve additional research into the botanical, mythological, historical or medicinal properties of the plant. Guidelines for using Internet information: We would like to emphasize that this is a plant observation exercise. While we all benefit from the myriad of images and data available online, this easy accessibility can also pose a temptation to bypass the actual observation process. As noted in the instructions, please start with a direct experience of the plant you are studying, and use reference materials, in print or online, only later to supplement your own observations and insights. Order of Steps for the Plant Study: Please note that the study is divided into three distinct parts: objective perception, imaginative perception and literature review. It is important that you do the steps in that basic order, although you can always return to an earlier part if you have additional insight. When writing up your study, please follow the numbered steps so that each part of the exercise is clearly delineated. The plant study is due by the time you complete the FES Certification Program, and is one of the requirements to receive the FES Certification. The study must be submitted electronically, on disk, via email or a file transfer system. It may be submitted before sending the other certification materials, or along with those materials. For an overview of the FES Certification program, please see www.flowersociety.org/certification-requirements-overview.html. We also enjoy receiving plant studies even if you do not intend to complete the rest of the Certification Program.

I should be content to look at a mountain for what it is and not as a comment on my life. David Ignatow Part One: The Objective Perception Exercise

Direct perception of the plant forms the foundation for the entire plant study, so be sure to start with actual observation of the plant. The object of the exercise is to develop your ability to accurately perceive in Nature by a close study of one plant. This is simply a matter of recording just what you see as exactly as possible, without preconceptions. (In Zen, this is called “beginner’s mind.”) You may use sketching, written description, or both, as you feel comfortable. It is not important whether you have great artistic or literary talent. What is important is that you have initiated a process of inner development, through disciplining your perceptual faculties, in so far as you are able to do so.

1. Before you begin any work at all, simply sit quietly with the plant. Center your breath and your being, and try to establish a resonance between yourself and the plant. What do you see? Look carefully and note such characteristics as: size of the plant; colors; size and shape of (rounded, indented, feathery, etc); arrangement of branches on stem, of leaves on branches; flower shape and orientation (which way it faces); plant geometry (numbers of flower parts, spiraling of branches, number of leaflets in a compound , etc.); size and shape of fruit or . 2. Consider how the various parts of the plant relate to each other and to the whole plant. Does the shape of the leaves change from the base of the plant to the flower tops? Can you see common forms and patterns in the metamorphosis from root to stem and leaf to flower to fruit and seed? If there are plants in different stages of growth, look for differences and similarities. 3. In what environment does the plant grow? Is it sunny, shady, wet, dry, rocky? What other plants and minerals are nearby? What insects, if any, seem related to the plant? 4. Consider the four elements (earth, water, air, fire). Which seem predominant, which lacking? Describe specific aspects of the plant which indicate this. 5. Consider how the plant may grow through the four seasons – what are its characteristics during the cycle of the year? How does the plant change throughout the day? 6. Provide a sketch of the plant, looking carefully for detail. You may want to do separate sketches of portions of the plant: the leaf, the flower, and so forth. 7. Be open to other sensory experiences of the plant. What do you smell, touch, taste, feel, and so on. To Look at Any Thing

To look at any thing, If you would know that thing, You must look at it long:

To look at this green and say, "I have seen spring in these Woods," will not do - you must Be the thing you see:

You must be the dark snakes of Stems and ferny plumes of leaves,

You must enter in To the small silences between The leaves,

You must take your time And touch the very peace They issue from.

~ John Moffitt~ Part Two: The Imaginative Perception Exercise

This part of the plant study involves attunement on a more subtle level. Through imagining and listening, we can begin to see the archetypal qualities of the plant. True imagination is not the same as fantasy; it is the ability to create living images or insights that are true to the phenomena, but not limited by the mundane dimensions of weight, measure and other directly perceived phenomena. In other words, when we have developed a foundation of keen sense perception, our imagination can then lift us into more subtle realms of soul perception, in which the living qualities of a plant or other phenomena are experienced as inward realities. Such imaginative experiences can be expressed in a variety of ways: through written prose and/or poetry, drawing, a song or melody, a dance, or even a “fairy tale” you compose. Your insights should be imaginative and artistic, conveying how you experience the plant and what soul qualities it imparts. It is not necessary to have prior artistic skill. Please express yourself in a manner that is real and sincere for you and that reaches into a deeper level of your being - this is the most important factor.

1. Before you begin any work at all, sit quietly with the plant again. Establish a resonant feeling space between the plant and yourself. In the first exercise, you have looked with your physical eyes at the plant. Now close your eyes and reconstruct the plant through your imagination. First attempt to see it just as it is in the physical world. Then allow your imagination to take another step, and see if there are other aspects of the plant which open up to your inner eye. 2. Give your imagination a chance to relax. Allow yourself the chance to see the plant as if you could see it on a more subtle level. Look inward with your eyes closed. Then look with your physical eyes in a softened gaze around the plant. What do you see? 3. Does the plant have an overall gesture or form? What is it? 4. What colors or subtle energies surround the plant? What do they look or feel like? Are there movements or patterns around the plant? What are these like? If it is possible, try to draw, sketch, or describe these aspects of the plant which you see imaginatively. 5. Now sit still again. Don’t attempt to “see.” This time simply listen. What do you hear? What “words” is the plant speaking? Is there a melody or musical presence around the plant? What does this plant inspire within your heart?

6. What qualities does this plant seem to have? Try to capture these in words, music, in a drawing, or any other artistic medium which appeals to you. Part Three: Literature Review

Your understanding of a plant can be enhanced by reviewing information available in print and online about the history, botany, ecology, lore and medicinal value of the plant. This information is especially useful if you have first encountered the plant through your own direct perception, and then integrate the knowledge coming from other sources with your own experience of the plant.

If you include texts, images, or information from outside sources, in print or online, please reference the source of the material, and indicate where you have direct quotes or have copied material. This allows us to be clear which are your own insights and which are the ideas of others that your are referencing.

1. What is the botanical classification of this plant? How does it compare to other plants you know (especially flower essence plants) that are in the same or family? What insights did you gain from this comparison? 2. What are the herbal and/or medicinal qualities of the plant, if known? How are these properties related to what you observed about the plant? 3. Have you found out anything about the biochemistry of the plant? Can you see anything about the physical composition of the plant that relates to its other qualities? 4. What have you learned (if available) about the history and lore of this plant? Is there a folk wisdom associated with this plant? How do these insights compare to your own observations? 5. How does the information you gathered from your literature review enhance your understanding of the plant and its qualities? What new insights did you gain? 6. Review the essay on the “Twelve Windows of Plant Perception.” Consider how the additional information you have gathered completes your picture of this plant. Note any areas in which you need to do further research. (Not every category is applicable to each plant.) When night was drawing near, I ran down the flowery slopes exhilarated, thanking God for the gift of this great day. The setting sun fired the clouds. All the world seemed newborn. Every thing, even the commonest, was seen in new light and was looked at with new interest as if never seen before. The plant people seemed glad, as if rejoicing with me, the little ones as well as the trees, while every feature of the peak and its traveled boulders seemed to know where I had been and the depth of my joy, as if they could read faces. John Muir, Mountaineer Essays Twelve Windows of Plant Perception

by Patricia Kaminski and Richard Katz

Overview: Flower essence therapy involves the healing of the human soul through the use of potentized substances made from . Flower essences have the unique ability to address mental and emotional levels of imbalance within the soul, and they are generally described and selected according to these more subtle qualities. Although flower essences have trans-physical attributes, we can come to know and appreciate these subtle healing aspects by training our senses and thinking capacities when beholding plants. By consciously extending and refining what we take in with our senses, we can cross the boundary of the physical world of plants and enter into the higher dimensions of plant life. Such research work forms the basis for understanding flower essence qualities and how they work within the human soul. The ability to hone our perception of plants creates a deep receptivity within the soul — an imaginal field of sensitive awareness — for encountering and being healed by the plant essences that we use for ourselves or select for others.

Through our research in the Flower Essence Society, we have identified twelve major windows of perception for viewing plant qualities. Each of these windows yields a different dimension of information about a plant, and yet the wisdom we seek is greater than an aggregate listing of all of these perspectives. We must “re-vision” and “re-view” these various insights as a living whole in order to appreciate the essential meaning of any given plant.

The twelve windows are not mutually exclusive divisions. Rather, these windows operate as a kaleidoscope, each perspective unique, yet with shifting colors and overlapping structures related to, and built from, each other. For any particular plant some of the windows will be more significant; while others will yield comparatively little insight. However, it is only by systematically considering a plant from a full spectrum of perspectives that we can hope to gain true insight into its subtle characteristics. Twelve Windows of Plant Perception

Other Sense Perceptions: Fragrance, Texture, Taste

Color

Chemical Substances & Processes Medicinal & Relationship to the Herbal Uses Other Kingdoms of Nature

Lore, Mythology, Folk Wisdom, Spiritual & Ritual Qualities Form, gesture, signature

Orientation in Space, Relationship to Botanical Plant FamilyGeometric Relationships the Four Elements

Relationship to the Environment

Orientation in Time: Daily & Seasonal Cycles

Copyright Flower Essence Society www.flowersociety.org All rights reserved. Authorization required for reproduction of any part of this work.

2 1. Form and Gesture These qualities of plants become especially perceptible when we attempt to sketch them. If we try to carefully draw each part of the plant, it can be a frustrating and tedious experience. But with mindful attention, a moment dawns when we “see” the essential gesture of a plant — for instance the way the pine tree ascends upward in a conical shape, reflected not only in the tree as a whole but in the way each cluster of needles organizes itself, and in the forming of each pine cone. When we capture the “signature” of a plant, our drawing becomes much more fluid and alive for we have entered into the psychic space of the plant, and we share communion with it.

There are countless forms and gestures that we can recognize in each part of the plant from root to stem and leaf, and in the flower and fruit. We can begin with rudimentary distinctions that will become richer as we attend to our perceptions. Especially valuable to consider are the three essential flower-forms, deemed important by medieval alchemists. These forms epitomize the plant’s bridge-making capacities between sun and earth: the cosmic, the soulful and the earthward. a) Star – These forms radiate outward, with well-defined symmetry and geometry. As a whole they are more “cosmic” in orientation. Generally speaking, star forms in flowers uplift the consciousness, bestowing light, harmony and synthesis. Most star forms speak to the spiritual and mental aspects of the soul life.

b) Cup – These forms have soft curves and create inner spaces, or chalices within the flower. While their essential gesture is upward, it is as though they St John’s Wort are taking in light, creating a container for soul experience. Cup-like forms in flowers heal the most basic issues of the soul life, and help to expand the potential of the soul to know itself. Calendula They evoke sensitive awareness of the inmost qualities of the soul life, such as heartfelt feelings of love and nurturing.

c ) Bell – These forms are more contracted and point downward to the earth. Many plant essences made from these flowers address soul issues that are more directly related to the bodily organs, or primal emotions that are stored within the cellular structures of the body. Many of the bell-shaped flowers are cathartic, stimulating, or grounding. They help the soul to incorporate the Manzanita physical dimension of life with more conscious awareness.

There are many variations on these three archetypes, as well as numerous other ways to observe form and gesture. This first window is so primary, that many of the additional windows of perception discussed below are fundamentally related to it. Our imaginal work enables us to ultimately perceive the plant’s gestalt or form-pattern, the manner in which etheric formative forces actively create its unique identity. 3 2. Orientation in Space, Geometric Relationships One important aspect of a plant’s formative gesture is its orientation in space. For example, the vertical gesture of the Sunflower or Mullein impart individualizing qualities. Plants that grow on a horizontal axis, such as those that spread lengthwise on the earth or those that grow as vines often contain healing qualities related to the social dimension — how the “I” relates to others, such as Vine or Sweet Pea. Spreading plants that do not grow vertically, but embrace the earth like the Violet or Lady’s Mantle address soul qualities of humility, inclusiveness or the absorption of the individual identity in the larger collective. Sweet Pea Another aspect of spatial relationship is the geometric structure of the plant, in particular the flower. For example, Rose Family flowers are five- Sunflower pointed stars, a signature of incarnation, whereas Lily Family flowers are six-pointed stars, a signature of cosmic harmony.

Rose Family: California Wild Rose Lily Family: Pretty Face 3. Botanical Plant Family Once we have mastered the foundational perceptions belonging to plant forms and orientation in space, the system of botanical classification of plants can serve as a more precise method for the study of plant morphology. The hierarchical arrangement of plants in orders, families, genera and is more than a handy system of nomenclature. Modern botany has taken up genetic analysis as a basis for classification. Yet most plant classification is still derived from the classical method, which has been based, in principle — and mostly in practice — on the form of the plant. In particular, the reproductive parts of the plant — the flower and fruit/seed — have been determinative of a botanical classification, but other considerations such as leaf form, phylotaxis (leaf arrangement on the stem), and growth habit have been considered. While most botanists have lacked a conscious perception of the etheric formative forces, we can gain much from their detailed and accurate observation of plant forms. It then becomes our task to extend the richness of these sense perceptions through imagination, inspiration, and ultimately, intuition.

4 In our research through the Flower Essence Society, we have found that knowing the botanical plant family of a plant is an important key to understanding its properties when prepared as a flower essence. In this work, we can make use of all the other windows of plant perception. The botanical “window” gives us an organizing tool for seeing relationships among plants. Plant families are a broad enough group that we can study many different examples within each family, and note both the common themes, and the range of variation. For example, within the Lily Family (Liliaceae) we find plants with watery bulbs, poorly rooted, with simple linear leaves, and star-like flowers with geometries of threes and sixes. These plants evoke the watery womb origins of life, and a cosmic harmony that has only begun to incarnate into life. Yet, there is also much variation within the lilies. The fiercely colored Tiger Lily is orange with dark spots, and has downward-pointing flowers with recurved . It has a much more active and earthy gesture than, for example, the Mariposa Lily, with its creamy-white, bowl-shaped flowers that hover above the earth like the butterfly for which it is named. Besides the familial relationship, we can also examine the more closely related species within a particular genus, especially when a number of these are used as flower essences. For example, Star Tulip, Yellow Star Tulip, Fairy Lantern and Mariposa Lily are all species in the Calochortus genus, and all deal with various aspects of the receptivity of the soul. The range of essences from the Mimulus (Monkeyflower) genus are all variations on the theme of primal life forces and the soul’s struggle with fear or repression of them. 4. Orientation in Time: Daily and Seasonal Cycles Plants are not static beings; they must be observed through cycles of time in order for their individual natures to be revealed. We can ask why it is that the Morning Glory is open in the early morning and closes as the day progresses, whereas the California Poppy is curled shut in the morning, and unfurls its glory as the sun intensifies during the day. Why does the Evening Primrose respond predominantly to the light of the moon, as does the Nicotiana, which sends its fragrance forth at night? Besides the diurnal rhythm, we can also examine the yearly seasonal rhythm. It is in the nature of a Dandelion to burst Morning Glory forth in blossom in the early Spring, whereas the Chrysanthemum holds back until the end of summer or early autumn to reveal its flower. What does this reveal about the soul qualities of each of these plants? Additionally, there is the life cycle of the plant itself. Annuals live only during a portion of the year that is favorable to their growth, and then their life forces disappear into the seed until favorable conditions arise once again. Perennials may rest during part of the year, but their essential structure endures from year to year. Some, like the redwoods and olive trees, may live for California Poppy centuries, which expresses much of their qualities of strength and endurance. We can also consider the evergreen trees, which are less subject to the seasonal rhythms than the deciduous trees. What message does the dark, somber Pine impart with its evergreen mantle and towering form in the winter landscape, in contrast to the Willow that “springs” forth with its catkins and supple limbs at Easter-time?

5 5. Relationship to the Environment The place where a plant chooses to grow reveals much about its qualities. Wild plants will flourish where they find conditions that support and respond to their essential nature. We find the Sagebrush in the barren simplicity of the desert. It is a cleansing, purifying plant. We find the () in the harsh alpine regions above the tree-line. It is the essence for gaining inner strength through adversity. Penstemon When we work with garden plants, it is important to consider where such plants first originated on earth. For example, knowing that the lavender and rosemary in our garden flourish in the hot, dry Mediterranean summers tells us of their affinity for light and warmth.

6. Relationship to the Four Elements Plants live not only in a physical environment, but also in one of elemental and etheric forces. The elements as developed by the Greeks are not the molecular “building blocks” of the modern periodic table. Rather, they are archetypal qualities of substances. Earth is solidity; water is fluidity; air is expansiveness; and fire is transformation.

Frequently two elements are predominant in a plant, Queen Anne’s Lace: flower & root expressing a polarity, while the other two are less apparent. For example, the Queen Anne’s Lace (wild carrot) shows a strong earth gesture in its tap root, and an airy quality in its finely divided leaves and flowers. As a flower essence it works with the integration of the second and sixth chakras, harmonizing sexual and psychic energies.

Aloe Vera, by contrast has a strong relationship to fire, evidenced in its hot, dry environment; and water, as evidenced by the moist gel of its succulent leaves. These leaves are a well-known remedy for soothing burns, and the flower essence is rejuvenating for states of exhaustion and “burn-out” due to excessive choleric drive.

7. Relationship to the Other Kingdoms of Nature The Plant Kingdom coexists with the other three Nature Kingdoms: the Mineral, Animal and Human. The quality of a plant species’ relationship to one or more of these kingdoms is an important expression of its inherent character. For example, the Glassy Hyacinth has a special relationship to the Mineral Kingdom, in that it grows only on the thin soil covering dark, volcanic rock. Its essence has much to do with deep transformation and upheaval in the soul. Glassy Hyacinth 6 Caterpillar and Monarch butterfly on Milkweed

Many plants have a special relationship to the Animal Kingdom through pollination by insects or birds. For example, the Milkweed is pollinated by the Monarch butterfly, with which it has a close symbiotic relationship. The butterfly, through its contact with the alkaloids of the Milkweed sap, becomes toxic to its predators. The Milkweed flower essence helps the soul arise from a state of passivity and dormancy (chrysalis-like) and rise on its own wings. The California Pitcher Plant has a rather unusual relationship to insects – it digests them. This carnivorous plant yields a flower essence that helps our astrality to take hold of the physical world, through digestion and other means.

Human beings have had an impact on almost all of the Plant Kingdom, and we have developed plants for our needs for much of human history. Certain plants have flourished in a close co- creative relationship with the Human Kingdom, and this history must be considered to understand their properties. For example the corn (maize) plant has developed over several millennia as the sacred plant of the Native American peoples. Its origins in the wild as a diminutive grass-like plant in Mexico are nearly lost in antiquity. The fertile, robust corn plant that we know today radiates a healing quality that lives deep in the Native American culture, the ability of the human soul to feel nourished and connected with the sacred Earth. It is for this reason that we can use the corn flower essence for those modern souls who are often distressed and disoriented by urban and technological life and can no longer feel such soul communion with the Earth.

7 8. Color What is the language of color within the plant? The most obvious display occurs in the blossom when cosmic astral forces briefly penetrate into the plant. Yet many plants display unusual color characteristics such as the Love-Lies-Bleeding with its red color penetrating right into the root, stem and leaf, or the Indian Paintbrush with its flame-red bracts. Subtle color variations work in the bark and stem of the plant, and even the seemingly ubiquitous green mantle of the plant world is diversely expressive, from the soft, silvery greens of the Sagebrush and Mugwort, the subtle gray-green of the Olive, the penumbral greens of the conifers, or the bright emerald-greens of the summertime annuals. Love-Lies-Bleeding The language of color tells us so much about the soul qualities of a plant. For instance why do many of the yellow blooming plants like Scotch Broom, Mustard and St. John’s Wort address a depressive state of consciousness? Can we understand the nature of yellow, its expansive qualities and its ability to break through darkness? On the other hand, can we note the vitalizing and energizing qualities of red and orange flowers like Nasturtium, Zinnia or Indian Paintbrush?

9. Other Sense Perceptions: Fragrance, Texture, Taste All sensory experiences can be important pathways for knowing a plant. Three that are of particular importance are fragrance, texture and taste. What is the soul impression received from lilies with their other- worldly fragrances that are so sweet and at times overwhelming? How does this contrast with the pungent, fiery aromas of the mint family like Lavender or Rosemary? And what about the delicate, ethereal fragrance of the Wild Rose or the Cherry blossom? Can we follow what happens in our souls when we experience these different aromas, how some take us out of ourselves and others bring us more in? Why is that? And what about plants that display no fragrance or very little?

The textures of plants are important. Consider the thistles or many plants in the rose family with thorns that afflict the skin, as opposed to the silky smoothness of the Mariposa Lily that beckons to be touched. The rough hairy texture of the Borage, the rigid stalk of the Yarrow plant, the smooth bark of the Manzanita, the spongy liquid texture of Lavender the Lotus, the oozing sap of the Milkweed, all tell us something about their essential qualities.

As long as it is safe to do so, many plants that can be tasted bring new revelations about their qualities. The spicy taste of the Nasturtium flower surprises us in contrast to its round moist leaves and “cool” appearance; the sweet taste of the delicate pink Manzanita blossoms is unexpected from such a swarthy, dense plant; Calendula blossoms impart a mysterious taste of death and life simultaneously; and Peppermint leaves bestow a sensation of both hot and cold on our tongue. When we live with these sensations in our soul, we can come to new perceptions about the soul qualities inherent in plants.

8 10. Chemical Substances and Processes Contemporary science is skilled at analyzing the chemical composition of substances, including plants. What is usually missed, however, is that these substances are also representative of energetic processes and qualities. (See Rudolf Steiner’s Agriculture Course for a further discussion of chemical substance and process.) For example, silica (SiO2) indicates a process of light and clarity, as in the quartz crystal. We see it in the fine hairs of the Borage plant or in the needles of the Pine and other conifers. A strong silica presence in a plant indicates a special relationship to the light, and plants like Borage and Pine help the soul address certain forms of depression and heaviness.

The legume family of plants including Scotch Broom, Sweet Pea and Red Clover, capture the airy component of nitrogen so that it can penetrate and fertilize the earth, giving nourishment to life. We see in this chemical process something akin to the souls’ struggle to direct airy psychic forces into service and practical action. This quality yields insight into how these flower essences are used to develop healthy social relationships, and well-grounded psychic forces.

Alkaloids are another example of the qualitative expression Red Clover of chemical substances. Strong alkaloids indicate a penetration of strong astral, or psychic forces into the plant, which can be toxic for the physical body, but stimulating to the psyche. For example, we see in the Buttercup Family, essences such as Buttercup, Larkspur, Columbine and Monkshood that awaken creative psychic forces within the soul.

Potassium gives strength to the structure of plants, particularly in the stems. We see this quality in such composite flowers as Yarrow and Echinacea. Their structural integrity is a clue to the ability of the flower essences prepared from these plants to bring strength, uprightness and valor to the soul.

11. Medicinal and Herbal Uses Just as the physical constituents of plants are indications of the forces and processes that work through them, so we can also learn from the physical healing properties of plants something of their more subtle effects on the soul. We can say that the soul-healing qualities of the flower essences are like a “higher octave” of the medicinal and herbal healing properties belonging to the plant.

For example, Dill is used as a culinary herb and a treatment for flatulence, a condition that results when we do not assimilate our physical food. The Dill flower essence addresses over-stimulation of our psyche, and the inability to assimilate the sense impressions that should be our soul nourishment.

The bark of Willow is a source of salicylic acid, the natural precursor of aspirin, and a well-known remedy for arthritic pain and rigid joints. The Willow essence of Dr. Bach is for those people whose rigidity of soul is expressed through resentment and bitterness and other hardening tendencies. This essence brings more soul flexibility and the capacity to forgive and release. 9 12. Lore, Mythology, Folk Wisdom, Spiritual and Ritual Qualities In earlier epochs of human history we experienced a more intimate relationship with the natural world, and our relationship with plants was based on an instinctual soul rapport. The remnants of this unconscious plant wisdom survive in the folklore, mythology, ritual and spiritual teachings about plants. As we strive to bring a more conscious understanding of the human-plant relationship, these teachings can bring us much valuable information and inspiration.

For example, the Yarrow plant (Achillea millefolium) was named for the Greek warrior Achilles. It was also known as “Knight’s millefoil” and was carried into battle not only for it’s ability to stop bleeding, but also for spiritual protection. This parallels the use of the Yarrow essence for those who are overly Yarrow sensitive and vulnerable and need psychic protection and soul centering.

The Iris is named for the Greek Goddess of the Rainbow, the bridge between Heaven and Earth, the meeting of Light and Dark. As such, she is the inspirer of the soul realm, and the Iris became the emblem of nobility, the representation of Heaven on Earth. We use the Iris essence to awaken creativity in the soul, and to open us to our Muse, the voice of Heavenly inspiration.

Saint John’s Wort is associated with the Feast of Saint John, celebrated at the time of the summer solstice. Sprigs of the herb were traditionally gathered and placed in a cross above the entrance to the home as spiritual protection. The botanical name Hypericum is from the Greek meaning “over a spirit,” connoting a quality of protection. The saying of St. John, “I must decrease that He may increase,” refers to the soul’s ability to digest outer light and bring it inward into the depths of the soul, just as the light itself decreases after the summer solstice until the Christmas festival of Christ’s birth. Thus the St. John’s Wort flower essence provides protection for those who are unable to encounter and assimilate cosmic light in the right manner, suffering from depression and other forms of Iris psychic imbalance.

©Flower Essence Society All rights reserved.

10 Botanical name changes and synonyms Essence name Current Botanical Name Former Name or Synonym Reason for Change Aloe Vera Aloe vera Aloe barbadensis both names are used Angel’s Trumpet Brugmansia candida Datura candida nomenclature change Blackberry Rubus armeniacus Rubus ursinus change of species used for essence Black Cohosh Actaea racemosa Cimicifuga racemosa nomenclature change Centaury Centaurium erythraea Centaurium umbellatum nomenclature change Chamomile Matricaria recutita Matricaria chamomilla nomenclature change Evening Primrose Oenothera elata Oenothera hookeri nomenclature change Fuchsia Fuchsia magellanica Fuchsia hybrida change of species used for essence Golden Ear Drops chrysantha chrysantha nomenclature change Green Cross Gentian Frasera speciosa Swertia radiata nomenclature change Green Rein Orchid Platanthera sparsiflora Habenaria sparsiflora nomenclature change Hawthorn Crataegus monogyna Crataegus oxyacantha identification correction Hibiscus Hibiscus moscheutos Hibiscus rosa-sinensis change of species used for essence Hyssop Agastache urticifolia Hyssopus officinalis change of species used for essence Indian Pink Silene laciniata ssp. californica Silene californica nomenclature change Larkspur Delphinium variegatum Delphinium nuttalium change of species used for essence Lavender Lavandula angustifolia Lavandula officinalis nomenclature change Oregon Grape Berberis aquifolium Mahonia aquifolium both names are used Poison Oak Toxicodendron diversilobum Rhus diversiloba nomenclature change Pretty Face Triteleia ixioides Brodiaea lutea nomenclature change Rabbitbrush Ericameria nauseosa Chrysothamnus nauseosus nomenclature change Saguaro Carnegiea gigantea Cereus giganteus nomenclature change Shasta Daisy Leucanthemum x superbum Chrysanthemum maximum nomenclature change Sticky Monkeyflower Mimulus aurantiacus Diplacus aurantiacus both names are used

Change in essence name: White Trumpet Lily Easter Lily White Trumpet Lily is a more Lilium longiflorum Lilium longiflorum traditional and descriptive name. Plant Family Reassignments

Liliaceae (Lily) Traditional Family Essence name Botanical Name Current Plant Family Classificaitons Aloe Vera Aloe Vera Aloaceae, Asphodelaceaeor Xanthorrhoeaceae Corn Lily Veratrum californicum or Trilliaceae Desert Lily Hesperocallis undulata Asparagaceae or Hostaceae Garlic Allium sativum Amaryllidaceae Glassy Hyacinth Triteleia lilacina Asparagaceae or Themidaceae (Brodiaea) Joshua Tree Yucca brevifolia Asparagaceae or Agavaceae Pretty Face Triteleia ixioides Asparagaceae or Themidaceae Star of Bethlehem Ornithogallum umbellatum Asparagaceae or Hyacinthaceae Trillium chloropetalum Melanthiaceae or Trilliaceae

Schrophulariaceae (Figwort) Traditional Family Indian Paintbrush Castilleja miniata Orobanchaceae (Broomrape) Pedicularis Pedicularis groenlandica Orobanchaceae Mimulus Mimulus guttatus Phrymaceae (Lopseed) Mountain Pride or Veronicacea Penstemon Penstemon davidsonii Plantaginaceae or Veronicaceae Pink Monkeyflower Mimulus lewisii Phrymaceae Purple Monkeyflower Mimulus kelloggii Phrymaceae Red Penstemon Penstemon rostriflorus Plantaginaceae or Veronicaceae Scarlet Monkeyflower Mimulus cardinalis Phrymaceae Snapdragon Antirrhinum majus Plantaginaceae or Veronicaceae Sticky Monkeyflower Mimulus aurantiacus Phrymaceae (Lopseed)

Hydrophyllaceae (Waterleaf) Traditional family (now considered subfamily of Baby Blue Eyes Nemophila menziesii Boraginaceae (Borage) Fiesta Flower auritum Boraginaceae Yerba Santa Eriodictyon californicum Boraginaceae

Fumariaceae (Fumitory) Traditional family (now considered subfamily Fumarioideae of (Poppy) Bleeding Heart Dicentra formosa Papaveraceae (Poppy) Golden Ear Drops Papaveraceae