'Dry Gardens': Books and Plants in Hans Sloane's

正如Marjorie Swann(古董和文本：早期现代英格兰的收藏文化)所触及的那样，植物为我们提供了收集的一般过程和文学重新评估斯隆收藏所面临的具体问题的缩影。为了保存和呈现，它们必须被干燥，从而进行转化。因此，它们被看到的形式是代表性的，而不是直接的；观察者必须做一些工作来推断回到活的植物。同样，当我们试图弄清楚斯隆的超级收藏时，文学学者也必须向后追溯。此外，这些植物标本以书籍的形式保存(“Horti sicci”)，加强了书籍和物品之间的物理‘中间地带’，Leah Knight(《书籍和植物学》(2009)；《早期现代英格兰的绿色阅读》(2014))在她讨论由‘树叶’组成并用木头装订的早期现代书籍的材料时引用了这一点。在文本层面上，朱丽叶·弗莱明也反复提到印刷的花朵，这是一种跨越文本和对象的装饰。但这种联系也是一种隐喻的联系。早期的现代倾向在描述文献整理时仍然使用植物的语言--特别是作为一组花或诗的词源痕迹--这种语言在整个16世纪通过对普通书籍的实践获得了特别的吸引力，我认为这本书是博物馆藏品的文本原型。事实证明，这种语域如此强大，以至于它已经渗透到了批评性写作中：在《文艺复兴时期的扩展思维》(2015)中，米兰达·安德森写道，平凡提供了一种方式，通过“文本材料的有形木材”来询问人类的位置。综上所述，植物学、写作和收藏被反复地作为一个框架来探索这本书的作用。这就是我接近斯隆图书馆的框架：通过自然生物学的镜头，看看将植物收藏的痕迹映射到藏书上可以揭示什么结果。对于作为收藏家的斯隆来说，将选集作为一种隐喻理论和物理现实来使用，对他如何看待植物的关注将提供一种方式来理解收藏品的不同方面如何相互影响，对我们理解收藏品如何发挥作用具有更广泛的意义

As touched upon by Marjorie Swann (Curiosities and Texts: The Culture of Collecting in Early Modern England) plants provide us with a microcosm of both the general process of collecting and the specific problems facing a literary re-evaluation of Sloane's collection. In order to be preserved and presented, they must be dried and thereby transformed. The form in which they are seen, therefore, is representative rather than direct; the viewer must do some work to extrapolate back to the living plant. In much the same way, Sloane's super-collection must be approached backwards by literary scholars, as we try to work out what might have been. Furthermore, the preservation of these plant specimens in book format (the 'horti sicci'), reinforces the physical 'midway ground' between books and objects that Leah Knight (Of Books and Botany (2009); Reading Green in Early Modern England (2014)) has drawn upon in her discussion of the material early modern book composed of 'leaves' and bound with wood. On a textual level, too, Juliet Fleming has repeatedly come back to the idea of the printed 'flower', a decoration which straddles the roles of text and object.Yet this connection is also a metaphorical one. The early modern tendency to draw upon the language of plants when describing the collation of literature is still evident today - especially the etymological trace of 'anthology' as a collection of flowers, or 'poesies' - a language that gained particular traction throughout the sixteenth century with the practice of the commonplace book, which I suggest acts as a text-prototype of the museum collection. This register has proved so strong that it has pervaded critical writing: in The Renaissance Extended Mind (2015), Miranda Anderson writes that commonplacing provided a way to interrogate the place of the human through 'the tangible timber of textual matter'. Taken together botany, writing, and collecting are repeatedly presented as a framework through which to explore the role of the book.This is the framework through which I approach Sloane's library: through a lens of natural biology, in order to see what results mapping the traces of plant-collection onto book-collection can reveal. Using the idea of anthologising as both a metaphorical theory and physical reality for Sloane as collector, the attention paid to how he thought about plants will provide a way of understanding how different aspects of the collection influenced each other, with wider implications for our understanding of how collection functions as