The Secret Garden
Consider the descriptive language and writing techniques used in the following extract.
"If you please, sir," announced Martha, opening the door, "if you please, sir, here's Dickon an' his creatures."
"DICKON CAME IN SMILING HIS NICEST WIDE SMILE."—Page 251
Dickon came in smiling his nicest wide smile. The new-born lamb was in his arms and the little red fox trotted by his side. Nut sat on his left shoulder and Soot on his right and Shell's head and paws peeped out of his coat pocket.
Colin slowly sat up and stared and stared—as he had stared when he first saw Mary; but this was a stare of wonder and delight. The truth was that in spite of all he had heard he had not in the least understood what this boy would be like [Pg 252]and that his fox and his crow and his squirrels and his lamb were so near to him and his friendliness that they seemed almost to be part of himself. Colin had never talked to a boy in his life and he was so overwhelmed by his own pleasure and curiosity that he did not even think of speaking.
But Dickon did not feel the least shy or awkward. He had not felt embarrassed because the crow had not known his language and had only stared and had not spoken to him the first time they met. Creatures were always like that until they found out about you. He walked over to Colin's sofa and put the new-born lamb quietly on his lap, and immediately the little creature turned to the warm velvet dressing-gown and began to nuzzle and nuzzle into its folds and butt its tight-curled head with soft impatience against his side. Of course no boy could have helped speaking then.
"What is it doing?" cried Colin. "What does it want?"
"It wants its mother," said Dickon, smiling more and more. "I brought it to thee a bit hungry because I knowed tha'd like to see it feed."
He knelt down by the sofa and took a feeding-bottle from his pocket.
"Come on, little 'un," he said, turning the small woolly white head with a gentle brown hand.[Pg 253] "This is what tha's after. Tha'll get more out o' this than tha' will out o' silk velvet coats. There now," and he pushed the rubber tip of the bottle into the nuzzling mouth and the lamb began to suck it with ravenous ecstasy.
Your Task:
Discuss two to three writing techniques Frances Hodgson Burnett uses in this passage to create atmosphere, develop characters, or engage the reader. Explain how each technique achieves its effect.
💡 Writing Tips
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Look beyond just 'description'. Think about:
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- Imagery: Does the author use words that create strong mental pictures?
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- Contrast: Are there comparisons between different characters or situations?
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- Sensory Language: Does the writing appeal to your senses (sight, sound, touch, movement)?
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- Figurative Language: Are there similes, metaphors, or personification?
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- Dialogue: How does the way characters speak reveal their personalities?
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For each technique you identify, explain how it works and what impact it has on the reader or the story.
📝 Sample Answer
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Vivid Imagery and Detail: Burnett uses rich and specific imagery to introduce Dickon and his entourage, creating an almost idyllic, enchanting atmosphere. Phrases like "new-born lamb was in his arms and the little red fox trotted by his side. Nut sat on his left shoulder and Soot on his right and Shell's head and paws peeped out of his coat pocket" do more than just list animals; they paint a complete visual picture of Dickon as a harmonious, almost mythical, figure surrounded by creatures. This technique immediately establishes Dickon's character as one deeply connected to nature and capable of fostering wild friendships, creating a sense of wonder and warmth that contrasts sharply with Colin's previously isolated world.
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Contrast to highlight Transformation: The author employs stark contrast to emphasise Colin's dramatic shift. She notes, "Colin slowly sat up and stared and stared—as he had stared when he first saw Mary; but this was a stare of wonder and delight." The initial comparison to Mary suggests a similar, foundational shock, but the crucial addition "wonder and delight" highlights a profoundly positive, almost miraculous, internal change. This technique makes Colin's emotional journey clear to the reader, allowing us to see not just what he sees, but how it transforms his perception and inner state, reinforcing the powerful impact of Dickon and the animals.
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Sensory and Action-Oriented Language for Emotional Connection: The description of the lamb's interaction with Colin, particularly, "began to nuzzle and nuzzle into its folds and butt its tight-curled head with soft impatience against his side," uses strong sensory verbs and details. The repetition of "nuzzle and nuzzle" creates a tactile sense of the lamb's soft probing, while 'butt' adds a touch of natural, instinctive behaviour. This specific, physical description allows the reader to not only imagine the scene but to feel the lamb's immediate need and gentle presence. This direct engagement with a helpless creature is precisely what breaks through Colin's self-absorption, eliciting his first unselfish questions and forging an emotional connection, which in turn engages the reader on an empathetic level.
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