graves were placed at a distance from each other. Soon, however, there
burst forth from the tomb of Tristran a branch of ivy, and another from
the grave of Iseult; these shoots gradually growing upwards, until at
last the lovers, represented by the clinging ivy, were again united
beneath the vaulted roof of heaven.[2]

Then, again, the cypress, in floral language, denotes mourning; and, as
an emblem of woe, may be traced to the familiar classical myth of
Cyparissus, who, sorrow-stricken at having skin his favourite stag, was
transformed into a cypress tree. Its ominous and sad character is the
subject of constant allusion, Virgil having introduced it into the
funeral rites of his heroes. Shelley speaks of the unwept youth whom no
mourning maidens decked,

"With weeping flowers, or votive cypress wreath,
The love-couch of his everlasting sleep."

And Byron describes the cypress as,

"Dark tree! still sad when other's grief is fled,
The only constant mourner o'er the dead."

The laurel, used for classic wreaths, has long been regarded
emblematical of renown, and Tasso thus addresses a laurel leaf in the
hair of his mistress:--

"O glad triumphant bough,
That now adornest conquering chiefs, and now
Clippest the bows of over-ruling kings
From victory to victory.