CLOSE

8 Lovely Facts About The Secret Garden

When an orphan named Mary is left to explore a gothic mansion, she discovers a mysterious walled garden that has been locked for over a decade. With the help of a robin and a good-natured Yorkshire boy, she uncovers why the garden has been locked away, and how to bring it—and herself—back to life. Here’s more on Frances Hodgson Burnett’s classic children’s book The Secret Garden.

1. THE SETTING WAS INSPIRED BY A REAL GARDEN.

In 1898, Burnett rented Great Maytham Hall in Kent, a Downton Abbey-style manor with a walled kitchen garden. When Burnett moved in, the ivy on the walls was so overgrown that she couldn’t find the door to the garden. Finally, like Mary in The Secret Garden, a robin sitting on a nearby branch showed her where it was. After that, Burnett threw herself into fixing up the neglected grounds, planting flower gardens, putting in rose bushes, and improving the views. She wrote In Connection with the DeWilloughby Claim in the gazebo. Henry James was a neighbor. 

Then, in 1908, the hall was sold and Burnett moved back to America. While there, her beloved English garden came back to her. Both it, and the robin, inspired The Secret Garden.

2. THE ORIGINAL TITLE WAS MISTRESS MARY.

Mary’s name comes from the English nursery rhyme: 

Mary, Mary, quite contrary,
How does your garden grow?
With silver bells, and cockle shells,
And pretty maids all in a row.

At the beginning of the book, Mary is an unlikable character, described as ugly, spoiled, and rude. The other children chant this nursery rhyme at her and call her “Mistress Mary Quite Contrary.” Burnett used Mistress Mary as a working title for the book but eventually settled on The Secret Garden instead.

3. THE SECRET GARDEN IS INFLUENCED BY CHRISTIAN SCIENCE.

Getty Images

Burnett admired Mary Baker Eddy's Christian Science teachings, which include the rejection of medicine in favor of prayer and positive thinking. These beliefs make their way into The Secret Garden through the character Colin, a sickly boy locked away in the mansion. It's even been proposed that the novel can be read "as a feminist, Christian Science revision of ... rest cure," which was a popular treatment involving "bed rest, social isolation, and force-feeding." The doctors in the book do Colin more harm than good with this method, and it’s Mary’s influence, as well as the influence of nature and good thoughts, that make Colin walk again. "When new beautiful thoughts began to push out the old hideous ones, life began to come back to him, his blood ran healthily through his veins and strength poured into him like a flood," the book reads. Colin also says he wants to study “The Magic” when he’s older, which is commonly believed to stand for Christian Science theology

4. COLIN MAY HAVE BEEN BASED ON BURNETT'S DEAD SON.

In 1890, Burnett’s 16-year-old son, Lionel, died from tuberculosis, which devastated his mother. Some biographers think Burnett based the young Colin on Lionel. The ending, where Colin walks again in front of his father, is thought to be Burnett imagining her son restored to health. However, others disagree with this interpretation. "Colin has nothing at all in common with the real Lionel, or with the idealized dead son," the novelist A.S. Byatt once wrote. "The writer is tougher than the woman.” 

5. THE SECRET GARDEN WAS ORIGINALLY PUBLISHED FOR ADULTS.

Getty Images

In 1910, The Secret Garden appeared in serial format in The American Magazine, a publication aimed at adults. It was possibly the first children’s story to appear in an adult magazine before coming out as a book, which may have caused confusion about whether or not it was intended for kids. The book was published the following year in both England and America. (As a side note, Charles Robinson’s illustrations in the original British edition depict Mary with dark hair.)

6. IT WAS ONE OF BURNETT'S LEAST POPULAR BOOKS.

Perhaps because of the odd way the book was published, The Secret Garden was overlooked in Burnett’s lifetime. While it sold well and received good reviews, it didn’t compare in popularity to other works such as Little Lord Fauntleroy or The Little Princess. In fact, when Burnett died in 1924, The Secret Garden wasn’t even mentioned in her obituaries. It wasn’t until the 1940s, and the rise of scholarship around children’s literature, that people started calling The Secret Garden a classic.

7. SOME HAVE CRITICIZED THE SECRET GARDEN FOR COLONIALISM AND RACISM.

The Secret Garden is not without controversy. Mary’s parents are British colonizers, living in luxury in India until they’re killed by a cholera epidemic. Mary also expresses racist attitudes to the maid Martha. When Martha says she thought Mary would be black because she was from India, Mary bursts into tears and says, "You thought I was a native! … They are not people—they are servants who must salaam to you." Because of this, The Secret Garden is often listed as an example of racist classic literature. 

8. THE EXPIRED COPYRIGHT HAS LED TO MANY ADAPTATIONS.

The Secret Garden entered the public domain in 1987, which has allowed for many versions and adaptations of the story, including movies, TV, musicals, plays, coloring books, anime, cookbooks, radio shows, and free versions of the novel online. There’s even a YouTube show called "The Misselthwaite Archives," which is a modern retelling of the story. You can watch it here

nextArticle.image_alt|e
iStock
arrow
literature
Vivid Imagery Makes Poetry More Pleasurable, According to Psychologists
iStock
iStock

Contrary to what English teachers led us to believe, most readers don’t judge poetry based on factors like alliteration and rhyme. In fact, a new study published in the journal Psychology of Aesthetics, Creativity, and the Arts suggests that vivid imagery (i.e. sense-evoking description) is what makes a poem compelling, according to Smithsonian.

To determine why some poetic works are aesthetically pleasing while others are less so, researchers from New York University and the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany, had more than 400 online volunteers read and rate 111 haikus and 16 sonnets. Participants answered questions about each one, including how vivid its imagery was, whether it was relaxing or stimulating, how aesthetically pleasing they found it, and whether its content was positive or negative.

Not surprisingly, taste varied among subjects. But researchers did find, overall, that poems containing colorful imagery were typically perceived as more pleasurable. (For example, one favorite work among subjects described flowers as blooming and spreading like fire.) Emotional valence—a poem's emotional impact—also played a smaller role, with readers ranking positive poems as more appealing than negative ones. Poems that received low rankings were typically negative, and lacked vivid imagery.

Researchers think that vivid poems might also be more interesting ones, which could explain their popularity in this particular study. In the future, they hope to use similar methodology to investigate factors that might influence our enjoyment of music, literature, and movies.

[h/t Smithsonian]

nextArticle.image_alt|e
Hulton Archives/Getty Images
arrow
literature
15 Facts About Tennessee Williams's A Streetcar Named Desire
Hulton Archives/Getty Images
Hulton Archives/Getty Images

In a sweltering New Orleans, a wilted Southern belle collides with the dysfunctional marriage of her sweet sister and brutish brother-in-law. This is the plot of Tennessee Williams's classic play, A Streetcar Named Desire, which opened on Broadway on December 3, 1947. But the story of its making and legacy is even wilder than Stanley Kowalski's screaming.

1. WILLIAMS SET THE PLAY IN HIS CHOSEN HOME.

The boy born Thomas Lanier Williams III lived in Columbus, Mississippi, until he was 8 years old. From there, his traveling salesman father bounced the family around Missouri, moving 16 times in just 10 years before abandoning them. As he forged a path of his own, Williams wandered from St. Louis's Washington University to the University of Iowa to the New School in New York City, and even spent some time working on a chicken ranch in Laguna Beach, California. But at 28, he found his “spiritual home” in New Orleans. There he officially changed his given name to the college nickname he'd come to prefer. Inspired by the culture of the French Quarter, he wrote short stories and what would become one of his most popular plays. There he became Tennessee Williams, in more ways than one.

2. A STREETCAR NAMED DESIRE WAS NAMED AFTER A REAL STREETCAR LINE.

Named for its endpoint on Desire Street in the Ninth Ward, the Desire line ran down Canal Street onto Bourbon and beyond. It operated from 1920 to 1948—meaning that shortly after becoming famous on Broadway, it was retired in favor of buses that were quieter and put less stress on the streets and surrounding buildings. Gone but not forgotten, one of the Desire cars was restored in 1967, and was made a tourist attraction. In 2003, the city even proposed resurrecting the streetcars and this famous line's name, but this dream died when federal funding was denied.

3. STANLEY KOWALSKI WAS INSPIRED BY TWO MEN.

The name "Stanley Kowalski" was borrowed from a factory worker Williams met while living in St. Louis. But the playwright's true muse was Amado ‘Pancho’ Rodriguez y Gonzales, a Mexican boxer who was once Williams's lover, and who argued the character he inspired should be Latino, not Polish.

Ten years his junior, Gonzalez met Williams when the writer traveled to Mexico City in late 1945. Entranced by the macho 24-year-old, Williams invited Gonzalez to move into his New Orleans home. Their relationship lasted only two years. By the time Streetcar Named Desire hit Broadway, Williams had moved on to who would be the love of his life, aspiring writer Frank Merlo.

4. BLANCHE MAY HAVE BEEN A STAND-IN FOR WILLIAMS.

As a gay man, the writer had been mocked all his life, called "sissy" by sneering peers, and “Miss Nancy” by his drunken, abusive father. In some respects, he was like Blanche, a gentle Southern soul, thirsty for love and kindness, yet dangerously fascinated by gruff men. Elia Kazan, who directed both the original Broadway production of Streetcar and its movie adaptation, once said of Williams, "If Tennessee was Blanche, Pancho was Stanley….Wasn’t he [Williams] attracted to the Stanleys of the world? Sailors? Rough trade? Danger itself? Yes, and wilder. The violence in that boy, always on a trigger edge, attracted Williams at the very time it frightened him.”

The closest Williams came to commenting on this comparison was saying of his work, "I draw every character out of my very multiple split personality. My heroines always express the climate of my interior world at the time in which those characters were created.”

5. A STREETCAR NAMED DESIRE WAS WILLIAMS'S SECOND BIG BROADWAY HIT.

In 1945, Williams broke through with his groundbreaking autobiographical drama The Glass Menagerie. Just a year and a half after this acclaimed production closed, A Streetcar Named Desire opened to even greater praise. Reportedly, the standing ovation lasted for 30 minutes after the curtain descended on opening night.

6. THE PLAY WAS DRASTICALLY DIFFERENT FROM ITS BROADWAY CONTEMPORARIES.

In her historical essay on Williams, critic Camille Paglia notes that A Streetcar Named Desire was a total change from The Glass Menagerie. Where the former had a "tightly wound gentility," the latter boasted "boisterous energy and eruptions of violence." But more than that, "Streetcar exploded into the theater world at a time when Broadway was dominated by musical comedies and revivals." She adds, "the shocking frankness with which Streetcar treated sex—as a searingly revolutionary force—was at odds with the dawning domesticity of the postwar era and looked forward instead to the 1960s sexual revolution."

7. IT CEMENTED WILLIAMS'S REPUTATION AS A MAJOR VOICE IN AMERICAN THEATER.

The New York Times critic Brooks Atkinson proclaimed, "Mr. Williams is a genuinely poetic playwright whose knowledge of people is honest and thorough and whose sympathy is profoundly human." A Streetcar Named Desire went on to run for more than 800 performances, and would win the New York Drama Critics' Circle Award for Best Play. Jessica Tandy earned a Tony Award for originating the role of Blanche, and Williams was honored with the Pulitzer Prize for Drama.

8. STANLEY KOWALSKI LAUNCHED MARLON BRANDO.

At 23, Brando was a method actor who was drawing praise in a string of Broadway roles. The year before A Streetcar Named Desire debuted at the Ethel Barrymore Theatre, New York critics had voted him "Broadway's Most Promising Actor" because of his powerful performance in Maxwell Anderson's Truckline Café. His portrayal as Kowalski delivered on that promise, and then some. Playwright Arthur Miller wrote that he seemed "a tiger on the loose, a sexual terrorist … Brando was a brute who bore the truth." And this intensity was captured in the 1951 film adaptation, which earned the actor an Oscar nomination for what was only his second film role.

9. A STREETCAR NAMED DESIRE REDEEMED WILLIAMS'S HOLLYWOOD REPUTATION.

Following the success of The Glass Menagerie's Broadway run, Warner Bros. hired Williams to draft an adapted screenplay for a movie version. But seeking a more commercial offering, they hired another writer to tack on a happy ending, behind Williams's back. The result was a critically panned dud that the playwright denounced as a "travesty." Nonetheless, Williams returned to Warner Bros. with A Streetcar Named Desire. This time, however, the director and most of the cast from the Broadway show were kept on for the film, which went on to earn an impressive 12 Academy Award nominations, winning four, including Best Supporting Actress (Kim Hunter) and Best Actress (Vivien Leigh).

10. JESSICA TANDY WAS THE ONLY LEAD OF THE BROADWAY PLAY NOT CAST IN THE MOVIE.

Hollywood didn't care about her Tony or her rave reviews. Warner Bros. needed a big name to assure the film's success. So Tandy was dropped in favor of Leigh, who'd played the role of Blanche in a London production of A Streetcar Named Desire, but more importantly was a household name thanks to her first Oscar-winning role, that of Scarlett O'Hara in 1939's historical epic Gone With The Wind.

11. THE FILM WAS TAMER THAN THE PLAY.

With mounting pressure from a public concerned about the influence movies have on children, Hollywood created The Motion Picture Production Code, a series of guidelines about what was acceptable and not in film. Thus, A Streetcar Named Desire's movie adaptation was forced to tone down some coarser language, and cut some of its most scandalous elements, like Blanche's promiscuity and her late husband being a closeted homosexual. For instance, in the play Blanche demands of her sister, "Where were you? In bed with your pollack!" In the film, she says, "In there with your pollack!"

12. WILLIAMS FOUGHT TO KEEP BLANCHE'S RAPE FROM BEING CUT.

Following their climactic confrontation, the play implies Stanley rapes Blanche. But Warner Bros. felt this was too dark for the movie. Williams and Kazan sparred with the studio over this. The former argued, "[The] rape of Blanche by Stanley is a pivotal, integral truth in the play, without which the play loses its meaning which is the ravishment of the tender, the sensitive, the delicate by the savage and brutal forces of modern society." Like in the play, this grievous crime occurs between scenes, but its implication is clear by the violent events that lead up to a fade to black.

13. ONCE AGAIN, HOLLYWOOD TACKED ON A HAPPY ENDING.

The compromise on including the rape was that Stanley would have to be punished for the act. So just as they did with The Glass Menagerie, Warner Bros. softened the end of William's acclaimed tragedy with a script change. In this case, a line is included, where Stella declares she won't go back to her abusive husband. It's a stark contrast to the play, which concludes with the stage direction "He kneels beside her and his fingers find the opening of her blouse," as Stanley coos to her. Williams would go on to say the adaptation was "only slightly marred by [a] Hollywood ending."

14. THE FILM MADE A STREETCAR NAMED DESIRE ICONIC.

Brando's tour de force performance may not have won him the Oscar, but his brutish performance, tight white t-shirt, and signature "Stella!" cry made the movie one that would not be forgotten. Today, the play is considered a classic, and has been revived on Broadway eight times. In 1999, the movie adaptation was added to the National Film Registry, which aims to preserve "culturally, historically or aesthetically" works of cinema. And in 2005, the American Film Institute included Kowalski's agonized scream of "Stella! Hey, Stella!" among its 100 greatest movie quotes of the last 100 years. It came in at number 45.

15. EVERY SPRING, NEW ORLEANS THROWS A FESTIVAL IN HONOR OF THE PLAY.

Called the Tennessee Williams/New Orleans Literary Festival, the annual five-day event celebrates Williams's world-famous work, showcases emerging writers, and provides educational opportunities for literary students. It also offers tours of the French Quarter locations where Williams walked, conversed and worked, like the Hotel Maison de Ville, the restaurant Galatoire's, which gets a mention in Streetcar; and the apartment where he lived with Pancho, which overlooked the Desire line.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios