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Appleyard College, which is “immediately impressive,” grandly decorated and surrounded by a neat, British-style garden, epitomizes aristocratic English society. This symbol is linked to the theme of Civilized Versus Wild Spaces, as the college represents civilization. It also connects with the theme of Female Propriety and Decorum, as Mrs. Appleyard runs her college according to strict rules and iron discipline: Even on the hot summer’s day of the picnic, the girls must be seen to be wearing their gloves through the town.
Appleyard College’s symbolism changes through the course of the novel. Much to Mrs. Appleyard’s dismay, the college becomes the subject of gossip and is increasingly linked to violence and chaos after the Hanging Rock picnic. The college can no longer hold wild spaces at bay, as is illustrated when Irma visits, and the girls descend on her with animalistic ferocity. Finally, Mrs. Appleyard goes to Hanging Rock and throws herself off a rocky precipice; the next year, the school burns down in a bushfire. Through these events, the college, once a symbol of civilization, prestige, and colonialism, is engulfed by the mystery, danger, and chaos of the wilderness.
Lost time is a motif that illustrates the unreality of Hanging Rock. As soon as the picnickers approach the site, Mr. Hussey and Miss McCraw’s watches unaccountably stop working; already, the group is at the mercy of the strange magic of Hanging Rock, a place unaffected by temporal or practical laws, which seems to alter the perceptions of those who are brought into its orbit. As Miranda, Marion, and Irma walk up the hanging rock, pursued by Edith, Miranda warns her friends that they “can’t go much further” (30), but then continues up the slope; the girls are uncharacteristically unaware of or indifferent to the passing of time. After falling into a deep sleep, the girls awake in the twilight and hear “the beating of far-off drums” (31)—later revealed to be Mr. Hussey beating on a billy (kettle) to call them back—but do not react to it or make any movement to leave, in thrall to the rock’s mysterious power.
Similarly, when Mike searches for the girls, he returns to Albert hours later than the agreed-upon time, as he had “had lost all count of time” (75). The next day, Mike continues his search, but it is in an odd, dream-like, timeless state; later, neither Mike nor Irma can remember their time at Hanging Rock. The doctor uses the time to describe Irma’s memory, which will never recover the events of her week on Hanging Rock: “like a clock that stops under a certain set of conditions and refuses ever to go again beyond a particular point” (112). Hanging Rock is a space that exists off the clock face, and what happens there happens in a separate realm from the events of regular life.
Hanging Rock is immediately established as a sinister symbol of mystery and lawlessness; in the contest of Civilized Versus Wild Spaces, it epitomizes wildness, exerting a “powerful presence” that reduces the four exploring girls to an “impregnated silence.” Marion, Miranda, and Irma, and later Miss McCraw, are drawn by unknowable forces toward Hanging Rock, and they abandon all rationality once they arrive there, discarding the societal trappings of well-to-do women and becoming one with the lawless wild.
Mike, too, is drawn to the horror and mystery of Hanging Rock. He is haunted by it in maddening dreams, and he obstinately returns there, compelled by the same force that draws Marion, Miranda, Irma, and Miss McCraw toward it. Falling under the spell of Hanging Rock, Mike pursues Miranda in a phantasmagorical fever dream, but ultimately Irma is recovered, not Miranda.
Hanging Rock’s role as a gothic symbol of sinister mystery and wild freedom is further established when Mrs. Appleyard throws herself from it to die by suicide. Ironically, the only way she can escape from the wild violence that has taken hold of her life is by becoming part of it; her head is violently lanced on an outcrop of rock.
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