With beauty seen as a
unity in multiplicity, Samuel would have
approved its mass production,
warmed to the Germanic
influence of design – a Kantian love
for this aesthetics of simplicity in
the sublime – and the
Englishness of tradition with innovation:
like verse with rhymes
before a run of
mimesis along an assembly line.
A ‘53 phase II could
have a top to put
down, composing in the passing air as if
on a long poet’s stride.
Independence would be in the
suspension of disbelief – because it simply was –
and rack and pinion
steering like a flight of
poetic feathers on the thrust of wings:
STC’s journey to the divine.