The word "floral" has been employed in literature with a versatility that spans the literal depiction of botanical subjects to intricate metaphorical adornments of societal and cultural landscapes. In scientific discourse, Darwin employs it with technical precision in describing the inner workings of a flower’s structure [1], while etiquette manuals like those by Emily Post use "floral" to comment on decorative taste and propriety in public settings [2, 3, 4]. In myth and ritual, as seen in Frazer’s description of Kupalo wearing a floral crown [5], the term evokes a sense of tradition and symbolic beauty. Meanwhile, in fictional portrayals—most notably in Sinclair Lewis’s recurring references to "Floral Heights"—"floral" becomes a marker of refined aesthetics and social stratification, simultaneously critiquing and celebrating an upper-crust lifestyle [6, 7, 8, 9, 10]. This diverse usage underscores how "floral" enriches language by bridging the tangible charm of nature with layered cultural meaning.