Written by
Les Murray |
Sprawl is the quality
of the man who cut down his Rolls-Royce
into a farm utility truck, and sprawl
is what the company lacked when it made repeated efforts
to buy the vehicle back and repair its image.
Sprawl is doing your farm work by aeroplane, roughly,
or driving a hitchhiker that extra hundred miles home.
It is the rococo of being your own still centre.
It is never lighting cigars with ten dollar notes:
that's idiot ostentation and murder of starving people.
Nor can it be bought with the ash of million dollar deeds.
Sprawl lengthens the legs; it trains greyhounds on liver and beer.
Sprawl almost never says, Why not?, with palms comically raised
nor can it be dressed for, not even in running shoes worn
with mink and a nose ring.
That is Society.
That's Style.
Sprawl is more like the thirteenth banana in a dozen
or anyway the fourteenth.
Sprawl is Hank Stamper in Never Give an Inch
bisecting an obstructive official's desk with a chain saw.
Not harming the official.
Sprawl is never brutal,
though it's often intransigent.
Sprawl is never Simon de Montfort
at a town-storming: Kill them all! God will know His own.
Knowing the man's name this was said to might be sprawl.
Sprawl occurs in art.
The fifteenth to twenty-first
lines in a sonnet, for example.
And in certain paintings.
I have sprawl enough to have forgotten which paintings.
Turner's glorious Burning of the Houses of Parliament
comes to mind, a doubling bannered triumph of sprawl -
except he didn't fire them.
Sprawl gets up the noses of many kinds of people
(every kind that comes in kinds) whose futures don't include it.
Some decry it as criminal presumption, silken-robed Pope Alexander
dividing the new world between Spain and Portugal.
If he smiled in petto afterwards, perhaps the thing did have sprawl.
Sprawl is really classless, though.
It is John Christopher Frederick Murray
asleep in his neighbours' best bed in spurs and oilskins,
but not having thrown up:
sprawl is never Calum, who, in the loud hallway of our house
reinvented the Festoon.
Rather
it's Beatrice Miles going twelve hundred ditto in a taxi,
No Lewd Advances, no Hitting Animals, no Speeding,
on the proceeds of her two-bob-a-sonnet Shakespeare readings.
An image of my country.
And would thatit were more so.
No, sprawl is full gloss murals on a council-house wall.
Sprawl leans on things.
It is loose-limbed in its mind.
Reprimanded and dismissed,
it listens with a grin and one boot up on the rail
of possibility.
It may have to leave the Earth.
Being roughly Christian, it scratches the other cheek
And thinks it unlikely.
Though people have been shot for sprawl.
|
Written by
Francesco Petrarch |
CANZONE III.
Standomi un giorno solo alla finestra.
UNDER VARIOUS ALLEGORIES HE PAINTS THE VIRTUE, BEAUTY, AND UNTIMELY DEATH OF LAURA.
While at my window late I stood alone,
So new and many things there cross'd my sight,
To view them I had almost weary grown.
A dappled hind appear'd upon the right,
In aspect gentle, yet of stately stride,
By two swift greyhounds chased, a black and white,
Who tore in the poor side
Of that fair creature wounds so deep and wide,
That soon they forced her where ravine and rock
The onward passage block:
Then triumph'd Death her matchless beauties o'er,
And left me lonely there her sad fate to deplore.
Upon the summer wave a gay ship danced,
Her cordage was of silk, of gold her sails,
Her sides with ivory and ebon glanced,
The sea was tranquil, favouring were the gales,
And heaven as when no cloud its azure veils.
A rich and goodly merchandise is hers;
But soon the tempest wakes,
And wind and wave to such mad fury stirs,
That, driven on the rocks, in twain she breaks;
My heart with pity aches,
That a short hour should whelm, a small space hide,
Riches for which the world no equal had beside.
[Pg 278]In a fair grove a bright young laurel made
—Surely to Paradise the plant belongs!—
Of sacred boughs a pleasant summer shade,
From whose green depths there issued so sweet songs
Of various birds, and many a rare delight
Of eye and ear, what marvel from the world
They stole my senses quite!
While still I gazed, the heavens grew black around,
The fatal lightning flash'd, and sudden hurl'd,
Uprooted to the ground,
That blessed birth.
Alas! for it laid low,
And its dear shade whose like we ne'er again shall know.
A crystal fountain in that very grove
Gush'd from a rock, whose waters fresh and clear
Shed coolness round and softly murmur'd love;
Never that leafy screen and mossy seat
Drew browsing flock or whistling rustic near
But nymphs and muses danced to music sweet.
There as I sat and drank
With infinite delight their carols gay,
And mark'd their sport, the earth before me sank
And bore with it away
The fountain and the scene, to my great grief,
Who now in memory find a sole and scant relief.
A lovely and rare bird within the wood,
Whose crest with gold, whose wings with purple gleam'd,
Alone, but proudly soaring, next I view'd,
Of heavenly and immortal birth which seem'd,
Flitting now here, now there, until it stood
Where buried fount and broken laurel lay,
And sadly seeing there
The fallen trunk, the boughs all stripp'd and bare,
The channel dried—for all things to decay
So tend—it turn'd away
As if in angry scorn, and instant fled,
While through me for her loss new love and pity spread.
At length along the flowery sward I saw
So sweet and fair a lady pensive move
That her mere thought inspires a tender awe;
Meek in herself, but haughty against Love,
[Pg 279]Flow'd from her waist a robe so fair and fine
Seem'd gold and snow together there to join:
But, ah! each charm above
Was veil'd from sight in an unfriendly cloud:
Stung by a lurking snake, as flowers that pine
Her head she gently bow'd,
And joyful pass'd on high, perchance secure:
Alas! that in the world grief only should endure.
My song! in each sad change,
These visions, as they rise, sweet, solemn, strange,
But show how deeply in thy master's breast
The fond desire abides to die and be at rest.
Macgregor.
|