Wood violet has a characteristic flower of a much typified place in medieval literature space, the locus amoenus, enclosure of pleasure where wilderness, deeply intervened by man, became a 'pleasant place' as it could be the cloister of a convent. Thus, in the literature, when you wanted to evoke a place of pleasure, this be identified in their descriptions by the presence of violet, an extraordinarily fixed poetic device which runs almost unchanged until the sixteenth century.
The Andalusian literature also includes violet as part of the characteristic flora of the 'pleasure gardens', so it is very likely that, in this particular aspect, the locus amoenus in Christian literature influenced Muslim writers. Violet was actually one of the favorite flowers of the governor or hayib of Córdoba al-Mansur, known to Christians by Almanzor (938-1002), to the point of calling one of his daughters Banafsay, violet. His son al-Muzaffar continued his father's hobby commissioning to compose poems about the various flowers from his garden. About the violet, his court poet Said al-Baghdadi wrote: the color of its corolla looks / to the robe of dawn / and a round dressing / in the cheek of the beautiful houris.
The color of the violet was unreadable for poets, and to justify it, the authors used a ninth-century alchemical example: sulfur burning in the crucible for the red and blue tint, similar to its petals.