Green is the prime color of the world, and that from which its loveliness arises.

The line elevates green—associated with vegetation, renewal, and the living earth—as nature’s fundamental hue and the wellspring of worldly beauty. Read literally, it is an aesthetic claim: landscapes charm us because life expresses itself most visibly in green. Symbolically, it can suggest that loveliness is rooted in vitality and growth rather than in artifice or ornament. In a Baroque literary context, such a statement also resonates with the period’s fascination with sensory richness and with moralized nature imagery, where color becomes a shorthand for metaphysical ideas (life, hope, flourishing).