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
Mary Darby Robinson |
Oft have I seen yon Solitary Man
Pacing the upland meadow.
On his brow
Sits melancholy, mark'd with decent pride,
As it would fly the busy, taunting world,
And feed upon reflection.
Sometimes, near
The foot of an old Tree, he takes his seat
And with the page of legendary lore
Cheats the dull hour, while Evening's sober eye
Looks tearful as it closes.
In the dell
By the swift brook he loiters, sad and mute,
Save when a struggling sigh, half murmur'd, steals
From his wrung bosom.
To the rising moon,
His eye rais'd wistfully, expression fraught,
He pours the cherish'd anguish of his Soul,
Silent yet eloquent: For not a sound
That might alarm the night's lone centinel,
The dull-eyed Owl, escapes his trembling lip,
Unapt in supplication.
He is young,
And yet the stamp of thought so tempers youth,
That all its fires are faded.
What is He?
And why, when morning sails upon the breeze,
Fanning the blue hill's summit, does he stay
Loit'ring and sullen, like a Truant boy,
Beside the woodland glen; or stretch'd along
On the green slope, watch his slow wasting form
Reflected, trembling, on the river's breast?
His garb is coarse and threadbare, and his cheek
Is prematurely faded.
The check'd tear,
Dimming his dark eye's lustre, seems to say,
"This world is now, to me, a barren waste,
"A desart, full of weeds and wounding thorns,
"And I am weary: for my journey here
"Has been, though short, but chearless.
" Is it so?
Poor Traveller! Oh tell me, tell me all--
For I, like thee, am but a Fugitive
An alien from delight, in this dark scene!
And, now I mark thy features, I behold
The cause of thy complaining.
Thou art here
A persecuted Exile ! one, whose soul
Unbow'd by guilt, demands no patronage
From blunted feeling, or the frozen hand
Of gilded Ostentation.
Thou, poor PRIEST!
Art here, a Stranger, from thy kindred torn--
Thy kindred massacred ! thy quiet home,
The rural palace of some village scant,
Shelter'd by vineyards, skirted by fair meads,
And by the music of a shallow rill
Made ever chearful, now thou hast exchang'd
For stranger woods and vallies.
What of that!
Here, or on torrid desarts; o'er the world
Of trackless waves, or on the frozen cliffs
Of black Siberia, thou art not alone!
For there, on each, on all, The DEITY
Is thy companion still! Then, exiled MAN!
Be chearful as the Lark that o'er yon hill
In Nature's language, wild, yet musical,
Hails the Creator ! nor thus, sullenly
Repine, that, through the day, the sunny beam
Of lust'rous fortune gilds the palace roof,
While thy short path, in this wild labyrinth,
Is lost in transient shadow.
Who, that lives,
Hath not his portion of calamity?
Who, that feels, can boast a tranquil bosom?
The fever, throbbing in the Tyrant's veins
In quick, strong language, tells the daring wretch
That He is mortal, like the poorest slave
Who wears his chain, yet healthfully suspires.
The sweetest Rose will wither, while the storm
Passes the mountain thistle.
The bold Bird,
Whose strong eye braves the ever burning Orb,
Falls like the Summer Fly, and has at most,
But his allotted sojourn.
EXILED MAN!
Be chearful ! Thou art not a fugitive!
All are thy kindred--all thy brothers, here--
The hoping--trembling Creatures--of one GOD!
|
Written by
Katherine Philips |
We will not like those men our offerings pay
Who crown the cup, then think they crown the day.
We make no garlands, nor an altar build,
Which help not Joy, but Ostentation yield.
Where mirth is justly grounded these wild toyes
Are but a troublesome, and empty noise.
2.
But these shall be my great Solemnities,
Orinda's wishes for Cassandra's bliss.
May her Content be as unmix'd and pure
As my Affection, and like that endure;
And that strong Happiness may she still find
Not owing to her Fortune, but her Mind.
3.
May her Content and Duty be the same,
And may she know no Grief but in the name.
May his and her Pleasure and Love be so
Involv'd and growing, that we may not know
Who most Affection or most Peace engrost;
Whose Love is strongest, or whose Bliss is most.
4.
May nothing accidental e're appear
But what shall with new bonds their Souls endear;
And may they count the hours as they pass,
By their own Joys, and not by Sun or Glass:
While every day like this may Sacred prove
To Friendship, Gratitude, and Strictest Love.
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