There's rosemary, that's for remembrance; pray, love, remember: and there is pansies. There's fennel for you, and columbines: there's rue for you; and here's some for me: we may call it herb-grace o' Sundays: O you must wear your rue with a difference. Ophelia's virginal and vacant white is contrasted with Hamlet's scholar's garb, his 'suits of solemn black.' Her flowers suggest the discordant double images of female sexuality as both innocent blossoming and whorish contamination; she is the 'green girl' of pastoral, the virginal 'Rose of May' and the sexually explicit madwoman who, in giving away her wild flowers and herbs, is symbolically deflowering herself. Reading Ophelia's Madness--"Motherless and completely circumscribed by the men around her, Ophelia has been shaped to conform to external demands, to reflect others' desires.
There's a daisy: I would give you some violets, but they withered all when my father died: they say he made a good end,-- From Act IV, Scene V of William Shakespeare's Hamlet, and printed on the frame of Arthur Hughes' painting Ophelia (1863).
The two reply that they have not been able to find its cause.
They do mention, however, that Hamlet was very enthusiastic about the players’ performance that night, which prompts Claudius to agree to attend the play. Polonius and Claudius then begin their plan to loose Ophelia on Hamlet and mark their encounter, hoping to find the root of his madness.
An entourage consisting of the king and queen, Polonius and Ophelia, and Rosencrantz and Guildenstern enters to begin the Act.