In Thomas Hood’s “Flowers,” the speaker moves through a garden like a lover at a party, sizing up each blossom as a possible sweetheart. Every flower gets a clever, teasing dismissal—the tulip is too much of a courtly queen, the cowslip a simple country girl, the violet a nun, the lily too saintly, the pea a wanton witch in too great a hurry, and rosemary forever mournful. One by one he finds a flaw, a reason to look elsewhere. Only the rose, with her tender red cheeks, escapes his playful fault-finding. She is dainty, fairest of all, and the one he proudly chooses. The poem’s mood is light and whimsical, full of affectionate humor rather than deep emotion. It feels like a flirtatious game, turning flower lore into a charming little courtship fantasy where the rose naturally wins as the beloved. The speaker’s tone is merry and a touch cheeky, celebrating the rose while gently poking fun at human pickiness.
Flowers — Summary
I will not have the mad Clytie, Whose head is turned by the sun; The tulip is a courtly queen, Whom, therefore, I will shun; The cowslip is a country wench, The violet is a nun; - But I will woo the dainty rose, The queen of everyone.
The pea is but a wanton witch, In too much haste to wed, And clasps her rings on every hand The wolfsbane I should dread; - Nor will I dreary rosemary That always mourns the dead; - But I will woo the dainty rose, With her cheeks of tender red.
The lily is all in white, like a saint, And so is no mate for me - And the daisy's cheek is tipped with blush, She is of such low degree; Jasmine is sweet, and has many loves, And the broom's betrothed to the bee; - But I will plight with the dainty rose, For fairest of all is she.