There are Vergil’s lines, for example, in the second eclogue:

The entire passage in English runs:

   “Come hither, O fair boy; for thee lo, the Nymphs bring baskets full of lilies; for thee the white Naiad plucks pale violets and poppy heads, and adds the narcissus and the fragrant anise-flower, and entwining them with casia and other sweet-scented herbs, spangles soft hyacinth posies with yellow marigold. Myself will gather quinces with delicate silvery bloom, and the chestnuts that my Amaryllis loved, and waxen plums withal, this fruit likewise shall have his honour, and you will I pluck, O laurels, and thee, bordering myrtle, since so set you mingle your fragrant sweets”.

Compare the Latin lines with the music of the lines taken from a Tamil pastoral:

Kapilar, who may be ranked as a great Nature poet, has in his poem Kuṛiñcippaaṭṭu woven into thirty-four lines the names of ninety-nine flowers.

   Cankam Tamil has the characteristic of being extremely concise and curt and of delineating magnificent word-pictures with great economy of language. The names of trees and plants and flowers occur frequently in lyric poetry. Their descriptions are brief, often confined to one or two significant descriptive or restrictive qualifiers regarding the kind of leaves a tree bears, whether they are dented or soft or dense; or regarding the flowers, what colour they are, how clustered, whether they are soft and cool, dense-petaled or spare; or regarding the kind of stem a tree has, slender or thick, or black or red or mottled. The poets use the greatest economy