Poem Analysis - The Quality Of Sprawl

Les Murray's "The Quality Of Sprawl" is an exuberant, almost rambling exploration of a uniquely Australian, and perhaps universal, concept: sprawl. It's a poem that defies easy definition, instead relying on a series of seemingly disparate examples to paint a picture of this elusive quality. The tone is generally celebratory and humorous, with a touch of the sardonic, as the poem playfully contrasts sprawl with its antitheses: rigidity, ostentation, and conformity. There are no major mood shifts, but rather a consistent energy and an undercurrent of rebellious appreciation.

Australian Identity and the Rejection of Conformity

One of the central themes of the poem is the exploration of Australian identity, particularly as it relates to a rejection of traditional, often European, notions of class, style, and propriety. The very first example, the man who "cut down his Rolls-Royce into a farm utility truck," immediately establishes this theme. This act represents a defacing of status. It is a rejection of the values associated with wealth and luxury in favor of practicality and a rugged individualism. The poem uses this image to establish "sprawl" as the embodiment of this anti-establishment, "do-it-yourself" attitude, one that celebrates ingenuity and resourcefulness over adherence to social norms.

Sprawl as Creative Transgression

Another prominent theme is sprawl as a form of creative transgression. This is most evident in the examples drawn from art and literature. The "fifteenth to twenty-first lines in a sonnet" suggest that sprawl occurs when the poem breaks free from its constraints. Similarly, Turner's "Burning of the Houses of Parliament" is presented as a "doubling bannered triumph of sprawl," implying a bold and audacious act of artistic expression. The references to Beatrice Miles's Shakespeare readings and council-house wall murals further reinforce this theme, highlighting how sprawl can manifest as an unexpected burst of creativity in unexpected places, often defying expectations and conventions.

The Ethical Dimensions of Sprawl

The poem also touches upon the ethical dimensions of sprawl, contrasting it with both frivolous excess and brutal authoritarianism. The line "It is never lighting cigars with ten dollar notes: that's idiot ostentation and murder of starving people" clearly defines sprawl as antithetical to wasteful displays of wealth. Similarly, the rejection of Simon de Montfort's brutal command, "Kill them all! God will know His own," positions sprawl as inherently humane and non-violent, even when "intransigent." This ethical underpinning suggests that sprawl is not simply about rebellion or eccentricity, but also about a fundamental respect for human dignity and a rejection of unnecessary cruelty.

Recurring Symbols: The Body and Everyday Objects

Throughout the poem, certain symbols and images recur, contributing to a deeper understanding of sprawl. The body itself, particularly the "lengthen[ed] legs" and the image of John Christopher Frederick Murray asleep in "spurs and oilskins," represents the physicality and groundedness of sprawl. It is an embodiment of practicality and a connection to the land. Ordinary objects, such as the farm utility truck, the chain saw, and the council-house wall, are transformed into symbols of resistance and creative expression. They are re-purposed, defaced, or adorned, becoming vehicles for the assertion of individuality and the rejection of societal constraints.

Conclusion: An Enduring Australian Ideal

"The Quality Of Sprawl" ultimately presents a multifaceted and compelling vision of a uniquely Australian ideal. It is not simply a celebration of eccentricity or nonconformity, but a deeper exploration of values such as resourcefulness, resilience, creativity, and a fundamental respect for human dignity. By contrasting sprawl with its antitheses, Murray reveals its ethical and aesthetic significance, positioning it as a vital force for challenging oppressive structures and fostering a more humane and imaginative world. The poem's lasting power lies in its ability to capture the spirit of a nation striving to define itself on its own terms, embracing its own distinct identity and values, even if that means sleeping in someone else's best bed in spurs and oilskins.