The Lost Dahlia — Context and Discussion

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Mitford, Mary Russell, 1787-1855 Project Gutenberg 2007 Not confirmed
Short stories; England -- Social life and customs -- 19th century -- Fiction; Country life -- England -- Fiction; Pastoral fiction Readers of public-domain and historical texts
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Words 7,067
Reading time 31 min
Text sections 1

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Mary Russell Mitford's narrator comically catalogs a lifetime of small losses, then recounts a fruitless search for a lost dahlia named Phoebus, weaving local history and pastoral observation into a single, digressive drive.
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Phoebus was not too glorious a name for that dahlia. The Golden-haired Apollo might be proud of such an emblem. It was worthy of the god of day; a very Phoenix of floral beauty.

Every dahlia fancier who came into our garden or who had an opportunity of seeing a bloom elsewhere; and, sooth to say, we were rather ostentatious in our display; John put it into stands, and jars, and baskets, and dishes; Dick stuck it into Dash's collar, his own button-hole, and Pearl's bridle; my father presented it to such lady visiters as he delighted to honour; and I, who have the habit of dangling a flower, generally a sweet one, caught myself more than once rejecting the spicy clove and the starry jessamine, the blossomed myrtle and the tuberose, my old fragrant favourites, for this scentless (but triumphant) beauty; everybody who beheld the Phoebus begged for a plant or a cutting; and we, generous in our ostentation, willing to redeem the vice by the virtue, promised as many plants and cuttings as we could reasonably imagine the root might be made to produce*--perhaps rather more; and half the dahlia growers round rejoiced over the glories of the gorgeous flower, and speculated, as the wont is now, upon seedling after seedling to the twentieth generation.

* It is wonderful how many plants may, by dint of forcing, and cutting and forcing again, be extracted from one root. But the experiment is not always safe. Nature sometimes avenges herself for the encroachments of art, by weakening the progeny. The Napoleon Dahlia, for instance, the finest of last year's seedlings, being over-propagated, this season has hardly produced one perfect bloom, even in the hands of the most skilful cultivators.

Alas for the vanity of human expectations! February came, the twenty-second of February, the very St. Valentine of dahlias, when the roots which have been buried in the ground during the winter are disinterred, and placed in a hotbed to put forth their first shoots previous to the grand operations of potting and dividing them. Of course the first object of search in the choicest corner of the nicely labelled hoard, was the Phoebus: but no Phoebus was forthcoming; root and label had vanished bodily! There was, to be sure, a dahlia without a label, which we would gladly have transformed into the missing treasure; but as we speedily discovered a label without a dahlia, it was but too obvious that they belonged to each other. Until last year we might have had plenty of the consolation which results from such divorces of the name from the thing; for our labels, sometimes written upon parchment, sometimes upon leather, sometimes upon wood, as each material happened to be recommended by gardening authorities, and fastened on with packthread, or whip-cord, or silk twist, had generally parted company from the roots, and frequently become utterly illegible, producing a state of confusion which most undoubtedly we never expected to regret: but this year we had followed the one perfect system of labels of unglazed china, highly varnished after writing on them, and fastened on by wire; and it had answered so completely, that one, and one only, had broken from its moorings. No hope could be gathered from that quarter. The Phoebus was gone. So much was clear; and our loss being fully ascertained, we all began, as the custom is, to divert our grief and exercise our ingenuity by different guesses as to the fate of the vanished treasure.

My father, although certain that he had written the label, and wired the root, had his misgivings about the place in which it had been deposited, and half suspected that it had slipt in amongst a basket which we had sent as a present to Ireland; I myself, judging from a similar accident which had once happened to a choice hyacinth bulb, partly thought that one or other of us might have put it for care and safety in some such very snug corner, that it would be six months or more before it turned up; John, impressed with a high notion of the money-value of the property and estimating it something as a keeper of the regalia might estimate the most precious of the crown jewels, boldly affirmed that it was stolen; and Dick, who had just had a démêlé with the cook, upon the score of her refusal to dress a beef-steak for a sick greyhound, asserted, between jest and earnest, that that hard-hearted official had either ignorantly or maliciously boiled the root for a Jerusalem artichoke, and that we, who stood lamenting over our regretted Phoebus, had actually eaten it, dished up with white sauce. John turned pale at the thought. The beautiful story of the Falcon, in Boccaccio, which the young knight killed to regale his mistress, or the still more tragical history of Couci, who minced his rival's heart, and served it up to his wife, could not have affected him more deeply. We grieved over our lost dahlia, as if it had been a thing of life.

Grieving, however, would not repair our loss; and we determined, as the only chance of becoming again possessed of this beautiful flower, to visit, as soon as the dahlia season began, all the celebrated collections in the neighbourhood, especially all those from which there was any chance of our having procured the root which had so mysteriously vanished.

Early in September, I set forth on my voyage of discovery--my voyages, I ought to say; for every day I and my pony-phaeton made our way to whatever garden within our reach bore a sufficiently high character to be suspected of harbouring the good Dahlia Phoebus.

Monday we called at Lady A.'s; Tuesday at General B's; Wednesday at Sir John C's; Thursday at Mrs. D's; Friday at Lord E's; and Saturday at Mr. F.'s. We might as well have staid at home; not a Phoebus had they, or anything like one.

We then visited the nurseries, from Brown's, at Slough, a princely establishment, worthy of its regal neighbourhood, to the pretty rural gardens at South Warnborough, not forgetting our own most intelligent and obliging nurseryman, Mr. Sutton of Reading--(Belford Regis, I mean)--whose collection of flowers of all sorts is amongst the most choice and select that I have ever known. Hundreds of magnificent blossoms did we see in our progress, but not the blossom we wanted.

There was no lack, heaven knows, of dahlias of the desired colour. Besides a score of "Orange Perfections," bearing the names of their respective growers, we were introduced to four Princes of Orange, three Kings of Holland, two Williams the Third, and one Lord Roden.*

* The nomenclature of dahlias is a curious sign of the times. It rivals in oddity that of the Racing Calendar. Next to the peerage, Shakspeare and Homer seem to be the chief sources whence they have derived their appellations. Thus we have Hectors and Dioedes of all colours, a very black Othello, and a very fair Desdemona. One beautiful blossom, which seems like a white ground thickly rouged with carmine, is called "the Honourable Mrs. Harris;" and it is droll to observe how punctiliously the working gardeners retain the dignified prefix in speaking of the flower. I heard the other day of a _serious_ dahlia grower who had called his seedlings after his favourite preachers, so that we shall have the Reverend Edward So-and-so, and the Reverend John Such-an-one, fraternising with the profane Ariels and Imogenes, the Giaours and Me-doras of the old catalogue. So much the better. Floriculture is amongst the most innocent and humanising of all pleasures, and everything which tends to diffuse such pursuits amongst those who have too few amusements, is a point gained for happiness and for virtue.

We were even shown a bloom called the Phoebus, about as like to our Phoebus "as I to Hercules." But the true Phoebus, "the real Simon Pure," was as far to seek as ever.

Learnedly did I descant with the learned in dahlias over the merits of my lost beauty. "It was a cupped flower, Mr. Sutton," quoth I, to my agreeable and sympathising listener; (gardeners _are_ a most cultivated and gentlemanly race;) "a cupped dahlia, of the genuine metropolitan shape; large as the Criterion, regular as the Springfield Rival, perfect as Dodd's Mary, with a long bloom stalk like those good old flowers, the Countess of Liverpool and the Widnall's Perfection. And such a free blower, and so true! I am quite sure that there is not so good a dahlia this year. I prefer it to 'Corinne,' over and over." And Mr. Sutton assented and condoled, and I was as near to being comforted as anybody could be, who had lost such a flower as the Phoebus.

After so many vain researches, most persons would have abandoned the pursuit in despair. But despair is not in my nature. I have a comfortable share of the quality which the possessor is wont to call perseverance--whilst the uncivil world is apt to designate it by the name of obstinacy--and do not easily give in. Then the chase, however fruitless, led, like other chases, into beautiful scenery, and formed an excuse for my visiting or revisiting many of the prettiest places in the county.

Two of the most remarkable spots in the neighbourhood are, as it happens, famous for their collections of dahlias--Strathfield-saye, the seat of the Duke of Wellington, and the ruins of Reading Abbey.

Nothing can well be prettier than the drive to Strathfield-saye, passing, as we do, through a great part of Heckfield Heath,* a tract of wild woodland, a forest, or rather a chase, full of fine sylvan beauty--thickets of fern and holly, and hawthorn and birch, surmounted by oaks and beeches, and interspersed with lawny glades and deep pools, letting light into the picture. Nothing can be prettier than the approach to the duke's lodge. And the entrance to the demesne, through a deep dell dark with magnificent firs, from which we emerge into a finely wooded park of the richest verdure, is also striking and impressive. But the distinctive feature of the place (for the mansion, merely a comfortable and convenient nobleman's house, hardly responds to the fame of its owner) is the grand avenue of noble elms, three quarters of a mile long, which leads to the front door.

* It may be interesting to the lovers of literature to hear that my accomplished friend Mrs. Trollope was "raised," as her friends the Americans would say, upon this spot. Her father, the Rev. William Milton, himself a very clever man, and an able mechanician and engineer, held the living of Heckfield for many years.

It is difficult to imagine anything which more completely realises the poetical fancy, that the pillars and arches of a Gothic cathedral were borrowed from the interlacing of the branches of trees planted at stated intervals, than this avenue, in which Nature has so completely succeeded in outrivalling her handmaiden Art, that not a single trunk, hardly even a bough or a twig, appears to mar the grand regularity of the design as a piece of perspective. No cathedral aisle was ever more perfect; and the effect, under every variety of aspect, the magical light and shadow of the cold white moonshine, the cool green light of a cloudy day, and the glancing sunbeams which pierce through the leafy umbrage in the bright summer noon, are such as no words can convey. Separately considered, each tree (and the north of Hampshire is celebrated for the size and shape of its elms) is a model of stately growth, and they are now just at perfection, probably about a hundred and thirty years old. There is scarcely perhaps in the kingdom such another avenue.

On one side of this noble approach is the garden, where, under the care of the skilful and excellent gardener, Mr. Cooper, so many magnificent dahlias are raised, but where, alas! the Phoebus was not; and between that and the mansion is the sunny, shady paddock, with its rich pasture and its roomy stable, where, for so many years, Copenhagen, the charger who carried the Duke at Waterloo, formed so great an object of attraction to the visiters of Strathfield-saye.* Then came the house itself and then I returned home. Well! this was one beautiful and fruitless drive. The ruins of Reading Abbey formed another as fruitless, and still more beautiful.

* Copenhagen--(I had the honour of naming one of Mr. Cooper's dahlias after him--a sort of _bay_ dahlia, if I may be permitted the expression)--Copenhagen was a most interesting horse. He died last year at the age of twenty- seven. He was therefore in his prime on the day of Waterloo, when the duke (then and still a man of iron) rode him for seventeen hours and a half, without dismounting. When his Grace got off, he patted him, and the horse kicked, to the great delight of his brave rider, as it proved that he was not beaten by that tremendous day's work. After his return, this paddock was assigned to him, in which he passed the rest of his life in the most perfect comfort that can be imagined; fed twice a-day, (latterly upon oats broken for him,) with a comfortable stable to retire to, and a rich pasture in which to range. The late amiable duchess used regularly to feed him with bread, and this kindness had given him the habit, (especially after her death,) of approaching every lady with the most confiding familiarity. He had been a fine animal, of middle size and a chestnut colour, but latterly he exhibited an interesting specimen of natural decay, in a state as nearly that of nature as can well be found in a civilised country. He had lost an eye from age, and had become lean and feeble, and, in the manner in which he approached even a casual visiter, there was something of the demand of sympathy, the appeal to human kindness, which one has so often observed from a very old dog towards his master. Poor Copenhagen, who, when alive, furnished so many reliques from his mane and tail to enthusiastic young ladies, who had his hair set in brooches and rings, was, after being interred with military honours, dug up by some miscreant, (never, I believe, discovered,) and one of his hoofs cut off, it is to be presumed, for a memorial, although one that would hardly go in the compass of a ring. A very fine portrait of Copenhagen has been executed by my young friend Edmund Havell, a youth of seventeen, whose genius as an animal painter, will certainly place him second only to Landseer.

Whether in the "palmy state" of the faith of Rome, the pillared aisles of the Abbey church might have vied in grandeur with the avenue at Strathfield-saye, I can hardly say; but certainly, as they stand, the venerable arched gateway, the rock-like masses of wall, the crumbling cloisters, and the exquisite finish of the surbases of the columns and other fragments, fresh as if chiselled yesterday, which are re-appearing in the excavations now making, there is an interest which leaves the grandeur of life, palaces and their pageantry, parks and their adornments, all grandeur except the indestructible grandeur of nature, at an immeasurable distance. The place was a history. Centuries passed before us as we thought of the magnificent monastery, the third in size and splendour in England, with its area of thirty acres between the walls--and gazed upon it now!

And yet, even now, how beautiful! Trees of every growth mingling with those grey ruins, creepers wreathing their fantastic garlands around the mouldering arches, gorgeous flowers flourishing in the midst of that decay! I almost forgot my search for the dear Phoebus, as I rambled with my friend Mr. Malone, the gardener, a man who would in any station be remarkable for acuteness and acquirement, amongst the august remains of the venerable abbey, with the history of which he was as conversant as with his own immediate profession. There was no speaking of smaller objects in the presence of the mighty past!

Gradually chilled by so much unsuccess, the ardour of my pursuit began to abate. I began to admit the merits of other dahlias of divers colours, and actually caught myself committing the inconstancy of considering which of the four Princes of Orange I should bespeak for next year. Time, in short, was beginning to play his part as the great comforter of human afflictions, and the poor Phoebus seemed as likely to be forgotten as a last year's bonnet, or a last week's newspaper--when, happening to walk with my father to look at a field of his, a pretty bit of upland pasture about a mile off, I was struck, in one corner where the manure for dressing had been deposited, and a heap of earth and dung still remained, to be spread, I suppose, next spring, with some tall plant surmounted with bright flowers. Could it be?--was it possible?--did my eyes play me false?--No; there it was, upon a dunghill--the object of all my researches and lamentations, the identical Phoebus! the lost dahlia!

The narrator of The Lost Dahlia opens with a mock-serious claim: having suffered many losses makes her one of the most responsible persons in Berkshire. She lists lost gloves, parasols, shawls, and keys with comic precision, even noting that a jewelled pin dropped from her shawl—though the friendship attached to it luckily remained. This self-deprecating voice, grounded in domestic detail, sets the tone for a story that treats a missing flower as a matter of consequence.

The search for the dahlia named Phoebus becomes an excuse for a drive through the Berkshire countryside, where the narrator’s attention shifts from the lost bloom to the landscapes and histories she encounters. The excerpts suggest that the real subject is not the flower but the digressive journey itself.

A Catalogue of Losses

The opening pages establish a distinctive narrative voice through an exhaustive inventory of misplaced items. The narrator traces her losses from childhood—her first pocket-handkerchief at age four—to the present evening, when a new cambric kerchief has vanished. She groups losses by category: gloves, muffs, parasols, reticules; boas, rings, bows, veils, sandals, brooches. The list becomes almost absurd in its completeness, yet the tone remains light, even playful. She notes that two favorite shawls were lost from a phaeton, “fairly blown overboard.” The effect is to create a persona defined by a cheerful acceptance of minor catastrophe. This catalogue serves as a prelude to the central loss of the dahlia, framing it as one more item in a long series, but also hinting that some losses matter more than others.

The Drive to Strathfield-saye

The narrator’s search for the lost dahlia takes her to Strathfield-saye, the estate of the Duke of Wellington. Here the narrative shifts from personal mishap to local history. She describes the paddock where Copenhagen, the Duke’s Waterloo charger, spent his final years. The horse, she notes, was fed by the late duchess and approached visitors with “confiding familiarity.” After his death, his body was dug up by a miscreant and a hoof cut off. This anecdote, complete with a footnote naming a dahlia after Copenhagen, exemplifies the story’s digressive method: the search for a flower leads to a horse’s biography, then to a portrait by a young artist named Edmund Havell. The narrator’s eye for detail—the horse’s lost eye, his lean and feeble old age—mirrors her own catalogue of losses, but now applied to a creature of historical note.

The Ruins of Reading Abbey

The second fruitless drive brings the narrator to Reading Abbey, where the search for Phoebus is again postponed. She describes the ruins with a mix of historical reflection and aesthetic appreciation: “the place was a history.” The passage contrasts the grandeur of the former monastery—the third largest in England—with its present state of decay, yet finds beauty in the mingling of trees, creepers, and flowers with the grey stone. The narrator’s companion, Mr. Malone the gardener, is mentioned as a man who would excel in any station, but the focus remains on the scene itself. The dahlia is almost forgotten as the narrator rambles among the ruins. This section reinforces the pattern: the nominal quest recedes as the landscape and its associations take precedence, inviting the reader to enjoy the detour rather than the destination.

The Art of Digression

The excerpts reveal a narrative structure built on deliberate digression. The lost dahlia, named Phoebus, is the stated object of the search, but the narrator repeatedly allows her attention to wander. She describes the drive to Strathfield-saye as “beautiful and fruitless,” and the visit to Reading Abbey as “still more beautiful.” The word “fruitless” is telling: the search yields no flower, but it yields description, anecdote, and reflection. The narrator’s voice, with its self-mocking humor and fondness for historical detail, becomes the unifying element. Readers should expect a story less concerned with resolution than with the pleasures of the journey itself. The dahlia may never be found, but the Berkshire countryside, the ghost of Copenhagen, and the ruins of the abbey are offered in its place.

The excerpts from The Lost Dahlia suggest a story that rewards attention to its detours. The narrator’s comic self-portrait as a perpetual loser of small objects prepares the reader for a quest that is less about recovery than about observation. The historical asides—Copenhagen’s old age, the abbey’s decay—are not distractions but the real content. A first reading might best be guided by a willingness to follow the narrator’s wandering eye, trusting that the lost flower is an excuse, not a plot.

I keep thinking about that narrator who searched so hopefully for her missing dahlia, and how her gentle comedy made loss feel almost like a kind of companionship. It reminded me of another quiet ache, the way fear can take root in a town’s imagination, found in The Witch of Salem; or, Credulity Run Mad — Reading Companion. Both left me sitting with their lingering shadows.

Dylan Nelson
3 weeks ago

Carter Gonzalez
1 month ago

Noah Baker
2 weeks ago

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    Jennifer Morris - 1 month ago
    The Lost Dahlia is a forgettable mystery that fails to deliver on its intriguing title. The plot is convoluted yet predictable, and the characters are bland and uninteresting. The writing is overwrought, with too much unnecessary description that slows down the story. The ending is anticlimactic and leaves many questions unanswered. I struggled to finish it and won't be picking up anything else by this author.

  • ...
    Tanya Patrick - 2 weeks ago
    "The Lost Dahlia" is a beautifully crafted mystery that kept me guessing until the very last page. The author has a talent for creating a rich, atmospheric setting and complex characters with secrets to unveil. The plot is ingeniously woven, with red herrings that are both fair and surprising. The resolution is satisfying and leaves you pondering the nature of loss and redemption. Highly recommended for fans of literary thrillers.

  • ...
    Justin Johnson - 1 week ago
    The Lost Dahlia is an engaging read with a compelling premise: a missing flower and a trail of secrets. The author's prose is descriptive and creates a lovely sense of place. However, the pacing at times is quite slow, and the identity of the culprit may be guessed by savvy readers. But if you enjoy a leisurely, contemplative mystery, this book will not disappoint.


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