SKU: 39581577162
dracaena trifasciata species

dracaena trifasciata species Laurentii

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Description

dracaena trifasciata species LaurentiiDracaena (Sansevieria) trifasciata 'Laurentii' Dracaena trifasciata 'Laurentii' is the familiar yellow edged snake plant, with tall sword shaped leaves rising in firm fans from the base. Each leaf has a deep green centre marked with softer grey green horizontal banding, framed by clear yellow margins that make the leaf shape stand out even from a distance. The result is strong, recognisable and clear in a pot. This cultivar brings height in a slim

Dracaena (Sansevieria) trifasciata 'Laurentii'

Dracaena trifasciata 'Laurentii' is the familiar yellow-edged snake plant, with tall sword-shaped leaves rising in firm fans from the base. Each leaf has a deep green centre marked with softer grey-green horizontal banding, framed by clear yellow margins that make the leaf shape stand out even from a distance. The result is strong, recognisable and clear in a pot.

This cultivar brings height in a slim space. It grows from a rhizome, so new leaves appear as basal shoots beside the older fans. Over time, a young plant becomes a fuller clump as fresh leaves push up from the base and add more layers to the yellow-edged outline.

Classic yellow margins on tall sword leaves

  • Leaf shape: Tall, sword-like blades create a strong vertical line.
  • Colour contrast: Yellow margins frame the banded green centre of each leaf.
  • Growth base: The rhizome sends up new leaves beside older fans, gradually thickening the clump.
  • Indoor placement: It gives height while taking up limited floor or shelf space.
  • Longevity: Mature leaves stay firm for a long time when the root zone is kept warm, airy and dry between waterings.

Rhizome storage and dry intervals

Dracaena trifasciata is a rhizomatous species from seasonally dry tropical parts of Africa. 'Laurentii' stores water in thick leaves and depends on oxygen around the rhizome after watering. The plant handles dry intervals well because the leaves and underground structure are built for moisture storage.

'Laurentii' keeps the strong leaf form of the species and adds bright marginal colouring. The yellow edges are part of the cultivar’s visual identity, while the grey-green striping across the blade gives the centre more depth. Mature leaves can become tall and rigid, so the pot should be stable enough to balance the top growth.

Growth is usually slow indoors, especially in winter or away from bright windows. New shoots may appear narrow at first before expanding into stronger leaves. A slightly snug pot keeps the rhizome stable and lets the substrate dry at a predictable pace.

Care for tall yellow-edged leaves

  • Light: In bright indirect light, new leaves stay sturdier and the contrast remains clearer. In lower light, the plant grows more slowly and the pot needs longer drying time.
  • Watering: Wait until the potting mix has dried deeply, then water evenly and let the pot drain fully. The next watering should come after the lower mix has dried again.
  • Substrate: Use a free-draining mix with pumice, lava rock, coarse sand or fine bark. Mineral structure keeps air around the rhizome.
  • Pot choice: A pot with drainage holes and enough weight for tall leaves keeps the plant steady.
  • Temperature: Keep it in normal indoor warmth, ideally around 18–27 °C. Warm conditions help the root zone recover after watering.
  • Humidity: Average household humidity is sufficient.
  • Feeding: Use a diluted balanced or cactus fertiliser during active growth. Light feeding matches the plant’s slow rhizome growth.
  • Repotting: Repot when new shoots crowd the pot, the container starts to distort or the substrate has broken down. A modest size increase is enough.
  • Propagation: Division preserves the yellow-edged pattern. Leaf cuttings can root and may produce green plants.

Yellow-edge stress signs

  • Soft leaf bases: Inspect the substrate depth, cover pot and rhizome area. Softness near the soil line usually means the lower plant stayed damp for too long.
  • Wrinkled leaves: Check the root system before adding more water. Dryness and damaged roots can both produce a wrinkled leaf surface.
  • Brown margins: Review irregular watering, mineral buildup, old knocks and cold air exposure. Remove only the dry edge if trimming is needed.
  • Leaning leaves: Rotate the pot and check whether new shoots are pressing older leaves sideways. Mature plants may need a heavier pot for a steady base.
  • Paused growth: Growth often slows in winter. Check light and warmth first, then adjust feeding during active growth if needed.

Safety for shared spaces

Keep Dracaena trifasciata 'Laurentii' out of reach of pets and small children who may chew the leaves. Snake plants contain saponins, which can cause nausea, vomiting or diarrhoea in cats and dogs if ingested. The tall, firm leaves also need a secure spot where the pot stays steady.

Botanical name of the classic snake plant

The accepted botanical name for the species is Dracaena trifasciata, while Sansevieria trifasciata remains the older name still widely used in plant shops and care guides. The genus name Dracaena comes from the Greek drakaina, meaning “female dragon”, a name historically linked to red resin in some dragon tree relatives. The species epithet trifasciata means “three-banded” or “marked with three bands”, referring to the banded pattern associated with the species.

Dracaena trifasciata 'Laurentii' has tall green leaves, yellow margins and one of the most recognisable snake plant forms.

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J
Verified Purchase
J
Birmingham, US
★★★★★ 2
No page numbers
Format: Paperback
This book doesn't have ANY page numbers, NONE
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Reviewed in the United States on March 3, 2025
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Divan
Battle Creek, US
★★★★★ 5
This book is a 'Fraud'... perhaps not
Format: Paperback
This is my first Review ever on Amazon and I am doing this for the love of Hafiz. I am originally of Persian origin and a life long lover of Hafiz... Have visited his tomb and the beautiful city of Shiraz. For people who are looking for a perfect translation, let me tell you that this is not it, not even close. To translate Hafiz, is to try and reproduce Shakespeare in another language and have it somehow come out with the same texture for the modern age (perhaps impossible). So reading Hafiz in Farsi requires years and years of cultural, intellectual and spiritual studies. To me he was an enlightened artist that had walked the esoteric Sufi path to full and authentic comprehension/liberation, in the process one can sense his love for existence and connection to the source (his own being). It feels like he had reached a place where like any great artist he had the necessary tools developed physically/mentally/intellectually to be able to translate his mystical experiences fluently and effortlessly into an external art form (in his case lyric poetry and who knows what else). I am explaining my understanding of him/her to make a point here. Mr. Ladinsky has somehow connected to the essence of Hafiz. In order to comprehend Hafiz in another language (and a whole different time/setting), one has to somehow try the impossible and reproduce the texture by trying to remove vague cultural, intellectual and spiritual references with ideas and thoughts that resonate with people today. Ladinsky has tried and somehow succeeded with giving us a glimpse (just a glimpse) of Hafiz and his loving/playful spirit. In my opinion, this book is mainly an intro to Hafiz, but even an intro is enough to open the door for those that like to venture deeper. In Iran Hafiz (or Hafez) and his main and perhaps only book 'Divan' is read like an Oracle (like the I Ching) - with intention and perhaps a lingering question one opens up to a page to receive his guidance. Well this book, carries the same fire if you're able to get past your ideas of right and wrong and just tune into it. For many Iranians (lots of my own friends), this book brings up a lot of challenges and I can understand that because it's so different from the original, but yet if you are able to realize that his poetry was from over 600 years ago, from a time when the culture was so different and language was a lot more evolved, than maybe you can put into context what this book is actually doing. And yes, language was more evolved, just look at the older writings by poets and writers and it should be obvious (that's a whole other subject). Mr. Ladinsky, has tried his best and this seems like the only book so far that allows one to get a glimpse of Hafiz in the english language, but he also does fall short in many aspects obviously (There probably isn't anyone that could perfectly translate Hafiz, even in Iran people argue about the deeper meanings of most of his writings). Hafiz's words are from another dimension and brought to life in Farsi, so to truly feel Hafiz, one has to study Farsi.
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Reviewed in the United States on July 27, 2022
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David Bankston
Carnegie, US
★★★★★ 5
Music of the Spheres
Format: Paperback
For me, Like many others who have read Dan Ladinsky's unique versions of Hafiz, I find them an ever fresh fountain. These poems hold the essence of experiential spirituality, the possibility of unlimited creativity, the ocean of love, the sweet agony of longing, and the unbearable joy of ectsasy. It is difficult to remember that these miraculous jewels sprang from a life (Hafiz's)that was not without difficulty. The images here are startling and often hilarious and irreverent. But I think that most important Hafiz expands our ability to imagine and understand God. I grew up as a fundamentalist Christian and it never occurred to me that God could be as tender as this, "When the violin can forgive the past It starts singing. . . . You will become such a drunk laughing nuisance That God will then lean down And start combing you into His hair." Here is Hafiz's breathtaking yet practical image of unconditional love, "Even after all this time The sun never says to the earth "You owe me." Look what happens with a love like that, It lights the whole sky." In GREETING GOD Hafiz exquisitely describes spiritual longing this way, ". . .Tonight there is a jeweled falcon singing In a blessed pain using the tongue of Hafiz." I have given more than a few copies of THE SUBJECT TONIGHT IS LOVE as gifts. Now I'll give the gift of THE GIFT. I am a singer and a songwriter and I hear songs in these poems. Thank you Dan Ladinsky! You are like the "jeweled falcon" singing with "the tongue of Hafiz." Many blessings David Bankston, DMA
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Reviewed in the United States on November 3, 2000
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Jav M
Omaha, US
★★★★★ 5
Quick and valuable read
Format: Paperback
I love this book. It’s not a sit down and read it through (unless you want to!). It’s a sit, turn to a random page, and read. Sit with it for a bit and think. It’s great poetry and always is insightful. I often purchase this as gifts for friends and is great to have on a “coffee table” or lamp stand.
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Reviewed in the United States on August 1, 2024
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anonymous name
Belleville, US
★★★★★ 5
Blessed Ruin: Lessons on the Stages of Love
Format: Paperback
Having already been enchanted by Daniel Ladinsky's previous rendererings of Hafiz in _I Heard God Laughing_ and _The Subject Tonight is Love_, Ladinsky's present effort is worthy of no less acclaim. In fact, his choices this time from the _Divan_(250 poems) bring home with exquisite precision that Hafiz, the Perfect Master is in fact, a Master of Love. The reader gets the clear message in Ladinsky's portrait that Hafiz has intermalized to perfection his teacher's (Mohammad Attar)lessons on the manifold levels of love and its demands: "I saw it was Hafiz who wrote all your notes of sadness, But also etched and gave you Every ecstatic wince of joy your face, body and heart has ever known." (p.38). This is no "New Age" nonsense, which at its worst hails the light and avoids the shadow, Hafiz (though seducing the beginner lover by his promises of sweetness and tenderness, that God could actually "become an infant in your arms"[p,56]) cautions that he "hold's the Lion's Paw whenever I dance."(p.57). Western culture has not received such lessons on divine love since Jesus and Plato, and unfortunately, the fresh images of their teachings on love have all been but lost to humanity, save a small remnant of sketches. Ladinsky's Hafiz both assures and challenges the seeker because any fully-alive being with such capacity for loving as Hafiz dwarfs our puny notions of western romantic love without shaming or condemning it. Only encouraging like a true teacher with compassion would: "You ask for a few words of comfort and guidance. I quickly kneel at your side offering you this whole book . . . Here's a rope, tie it around me, Hafiz will be your companion for life."(p83). Hafiz's language of love utilized the metaphor of his time and culture as Jesus incorporated the images of parable. Ladinsky courageously steps out of line (as surely did Hafiz) and takes the risk to be mundane without being irreverent when describing the labyrinth that is the heart: "There are different wells within your heart. Some fill with each good rain. Others are far too deep for that." (p76) Ladinsky's Hafiz teaches us of a divine being who walks among and talks with and celebrates his creation; yet challenges it to stretch beyond its boundaries of self-interest: " I want both of us to start talking about this great love. As if you , I, and the sun were all married and living in a tiny room, helping each other to cook, do the wash, weave and sew, care for our beautiful animals."(p.180). Ladinsky's fine portrait of this 14th century Perfect Master gives the West the certain bugal cry that God is not dead, but it is we who are dead to God. The success of this book will measure how many of us are indeed alive here, and how many are really interested in the more mature lessons of loving.
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Reviewed in the United States on July 27, 2001

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