At the height of Poe’s career, a phenomenon dubbed the language of flowers fascinated many people, especially women. The idea that a single flower, or even a bouquet, could convey secret, intimate messages took hold of imaginations. Numerous books on the subject, including beautifully decorated gift books, appeared on the market. Sarah Josepha Hale’s Flora’s Interpreter (1832), Frances Sargent Osgood’s The Poetry of Flowers and Flowers of Poetry (1841), and Caroline Kirkland’s The Poetry of Flowers (1848) are three popular examples. In 1847, Anna Peyre Dinnies joined the trend when she published The Floral Year. She distinguished her book from previous ones by focusing on “those flowers which were most common and familiar to everyone; and adopting from some one of the various Floral Lexicons, the sentiments ascribed to them” (vi, emphasis mine). Her choice to avoid innovation and complication provides readers today with a primer on how those immersed in this sphere interpreted the receipt of a single flower or bouquet. Using Dinnies’s work as a primary reference, this chapter analyzes Poe’s references to flowers in love poems to Frances Sargent Osgood and Sarah Helen Whitman in order to accomplish two goals: (1) to determine how “in touch” Poe’s works are with this cultural sphere and (2) discover additional ways of interpreting these poems—ways in which many of his contemporaries most likely would have read them.