Ol' man Simon, planted a diamond. Grew hisself a garden the likes of none. Sprouts all growin' comin' up glowin' Fruit of jewels all shinin' in the sun. Colors of the rainbow. See the sun and the rain grow sapphires and rubies on ivory vines, Grapes of jade, just ripenin' in the shade, just ready for the squeezin' into green jade wine. Pure gold corn there, Blowin' in the warm air. Ol' crow nibblin' on the amnythyst seeds. In between the diamonds, Ol' man Simon crawls about pullin' out platinum weeds. Pink pearl berries, all you can carry, put 'em in a bushel and haul 'em into town. Up in the tree there's opal nuts and gold pears- Hurry quick, grab a stick and shake some down. Take a silver tater, emerald tomater, fresh plump coral melons. Hangin' in reach. Ol' man Simon, diggin' in his diamonds, stops and rests and dreams about one... real... peach.
Anthropocentric as [the gardener] may be, he recognizes that he is dependent for his health and survival on many other forms of life, so he is careful to take their interests into account in whatever he does. He is in fact a wilderness advocate of a certain kind. It is when he respects and nurtures the wilderness of his soil and his plants that his garden seems to flourish most. Wildness, he has found, resides not only out there, but right here: in his soil, in his plants, even in himself...
But wildness is more a quality than a place, and though humans can't manufacture it, they can nourish and husband it...
The gardener cultivates wildness, but he does so carefully and respectfully, in full recognition of its mystery.
A garden path,' write the landscape architects Charles W. Moore, William J. Mitchell, and William Turnbull, 'can become the thread of a plot, connecting moments and incidents into a narrative. The narrative structure might be a simple chain of events with a beginning, middle, and end. It might be embellished with diversions, digressions, and picaresque twists, be accompanied by parallel ways (subplots), or deceptively fork into blind alleys like the althernative scenerios explored in a detective novel.
The Sunlight on the Garden
The sunlight on the garden
Hardens and grows cold,
We cannot cage the minute
Within its nets of gold,
When all is told
We cannot beg for pardon.
Our freedom as free lances
Advances towards its end;
The earth compels, upon it
Sonnets and birds descend;
And soon, my friend,
We shall have no time for dances.
The sky was good for flying
Defying the church bells
And every evil iron
Siren and what it tells:
The earth compels,
We are dying, Egypt, dying
And not expecting pardon,
Hardened in heart anew,
But glad to have sat under
Thunder and rain with you,
And grateful too
For sunlight on the garden.
