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English Nature: Planting and Gardening in Jane Austen

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The meaning of the garden is rich and varied. As respite from the world, the locus ameonus is replete with significance, tending to both innocence and pleasure, Eden and Elysium. In this essay I meander through Austen’s works to thread together themes of planting and gardening to piece together her views on beauty and science, consumption and connoisseurship, fashion and trade, taste and greed as they cross and intersect in the fascination and love for the bounties of nature, newly expanded to include thousands of new plants, flowers, trees, and fruit from the colonies. The love of gardens united a growing sector of the English public, giving rise to that particular national obsession, the English Garden, in a period that was otherwise divided in so many ways. The large theme of this paper will be to chart the modern recreation of nature as vraisemblance at the heart of the English landscape gardening movement that can be characterized in Jean Baurdrillard’s terms as simulacrum. Austen is keenly aware and wary of the effort and capital that necessarily accompanied the transformation of land into landscape. The English garden entered the domestic world of the interior, both as the verdure of England and the culture of England, protected from the torrid sun of other places. This is the “Nature” celebrated by Fanny from within the windows looking out onto the garden at Mansfield Park, built on sugar money from West Indian plantations. I discuss the topic of exotic treasures like pineapples that heighten the pleasures of home and the rich and dramatic new ideal of the picturesque flower garden, before returning to the topic of the picturesque natural landscape. The final section is a meditation on the parable of the house built on sand containing Austen’s last earthly thoughts on the topic of engineering Nature in the unfinished Sanditon.

Abstract

The meaning of the garden is rich and varied. As respite from the world, the locus ameonus is replete with significance, tending to both innocence and pleasure, Eden and Elysium. In this essay I meander through Austen’s works to thread together themes of planting and gardening to piece together her views on beauty and science, consumption and connoisseurship, fashion and trade, taste and greed as they cross and intersect in the fascination and love for the bounties of nature, newly expanded to include thousands of new plants, flowers, trees, and fruit from the colonies. The love of gardens united a growing sector of the English public, giving rise to that particular national obsession, the English Garden, in a period that was otherwise divided in so many ways. The large theme of this paper will be to chart the modern recreation of nature as vraisemblance at the heart of the English landscape gardening movement that can be characterized in Jean Baurdrillard’s terms as simulacrum. Austen is keenly aware and wary of the effort and capital that necessarily accompanied the transformation of land into landscape. The English garden entered the domestic world of the interior, both as the verdure of England and the culture of England, protected from the torrid sun of other places. This is the “Nature” celebrated by Fanny from within the windows looking out onto the garden at Mansfield Park, built on sugar money from West Indian plantations. I discuss the topic of exotic treasures like pineapples that heighten the pleasures of home and the rich and dramatic new ideal of the picturesque flower garden, before returning to the topic of the picturesque natural landscape. The final section is a meditation on the parable of the house built on sand containing Austen’s last earthly thoughts on the topic of engineering Nature in the unfinished Sanditon.

참고문헌 (34)

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