제국의 유리 정원: 『비밀의 정원』 속 식물의 순응과 후손의 동화
The Empire’s Glass Garden: the Acclimatization of Plants and the Acculturation of Descendants in The Secret Garden
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This article investigates the intersections of the Gothic conventions and the language of floral cultivation in Frances Hodgson Burnett’s 1911 novel The Secret Garden. This novel seeks to relieve anxiety caused by imperial expansion through portraying inward/upward movements of both the juvenile characters and the plants. Mary Lennox who is sent to the English moors after losing her parents in India and her cousin Colin Craven both look similar to the degenerate subjects of the late nineteenth-century Gothic novels. By moving into the walled garden and by cultivating it, the two children acculturate themselves to life in England. At the same time, the garden plays the role of a glasshouse, betraying the Empire’s urge to confine diverse things to an enclosed space. The idea of degeneration, which was popular in England in late nineteenth and early twentieth century, is subverted as Mary and Colin grow ‘up.’ The setting of the novel functions like a kind of flower bed in which the children’s gothicized bodies change into the growing bodies of the so-called normal English children. The enclosed and artificial nature of the spatial setting, however, implies that the story of the acculturation is fundamentally hypothetical.
Abstract
This article investigates the intersections of the Gothic conventions and the language of floral cultivation in Frances Hodgson Burnett’s 1911 novel The Secret Garden. This novel seeks to relieve anxiety caused by imperial expansion through portraying inward/upward movements of both the juvenile characters and the plants. Mary Lennox who is sent to the English moors after losing her parents in India and her cousin Colin Craven both look similar to the degenerate subjects of the late nineteenth-century Gothic novels. By moving into the walled garden and by cultivating it, the two children acculturate themselves to life in England. At the same time, the garden plays the role of a glasshouse, betraying the Empire’s urge to confine diverse things to an enclosed space. The idea of degeneration, which was popular in England in late nineteenth and early twentieth century, is subverted as Mary and Colin grow ‘up.’ The setting of the novel functions like a kind of flower bed in which the children’s gothicized bodies change into the growing bodies of the so-called normal English children. The enclosed and artificial nature of the spatial setting, however, implies that the story of the acculturation is fundamentally hypothetical.
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