No white nor red was ever seen
So am'rous as this lovely green.
Fond Lovers, cruel as their Flame,
Cut in these Trees their Mistress name.
Little, Alas, they know, or heed,
How far these Beauties Hers exceed!
Fair Trees! where s'eer you barkes I wound,
No Name shall but your own be found.
Exert from 'The Garden' by Marvell (1621 - 1678)
Fond Lovers, cruel as their Flame,
Cut in these Trees their Mistress name.
Little, Alas, they know, or heed,
How far these Beauties Hers exceed!
Fair Trees! where s'eer you barkes I wound,
No Name shall but your own be found.
Exert from 'The Garden' by Marvell (1621 - 1678)
Where as I understand and concur with Marvells sentiments on the beauty of trees and, in part, his views on graffiti, I do have a fascination with the latter. Beech is favoured by the graffitist for her smooth grey regular skin, a surface made for carving; next is the Holly with its similarly smooth surface and rarely any other. Often found at favoured picnic spots or other accessible locations, graffiti is frequently found on trees that are well off the beaten track, deep in the forest, at the most isolated places. The nature of this graffiti is not restricted to signs of love, although they are of course plentiful, and even covers the base, such as the crudely cut 'Fuck u'; the age range too is broad, dating from the late 1800's onwards. They set my mind thinking, what's their story? Take the photo above, why, who, would take the time and effort to go out into the forest to write that message? Who is the message meant for? What does it meant, other than the obvious?
Not as destructive but no less profound was 'Fuck Off Albion' written in 4-foot high letters on the wall separating what was left of the airfield in Christchurch from the new estate. What tortured soul had risked prosecution to make their feelings about 'Albion' known? Was it West Bromwich Albion that had caused such deep offence, or was it our sceptred isle as a whole they were venting their fury at?
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