Notable types of material found in graves are fine pottery decorated with representational designs in white on red, figurines of men and women, and hard stone mace-heads that are the precursors of important late predynastic objects.
/ The grave's a fine and private place, / But none, I think, do there embrace".
The grave's a fine and private place, But none I think do there embrace.
As the poet Andrew Marvell wrote: "The grave's a fine and private place, But none, I think, do there embrace".
He also wrote: "The grave's a fine and private place,/ But none, I think, do there embrace".
In his day, Marvell was right to observe: The grave's a fine and private place But none I think do there embrace.
His cadence, his grave startlements, his fine sharpness of perception are a transfusing needle through which the flagging blood of his characters flows for our own heart.
Thy beauty shall no more be found; Nor, in thy marble vaults, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust: The grave's a fine and private place, But none, I think, do there embrace.
But where Marvell's apparent repetition of one point in a variety of phrases is a device aimed at steadily accumulating spurious arguments as to why his loved one should yield to him ("the grave's a fine and private place, / but none, I think, do there embrace"), Harrison's look threadbare rather than wittily epigrammatic: "This vision of Yorkshire by the Med / no doubt won't come until I'm dead.
And if you ask me why you should bother to do that, I could tell you that the grave's a fine and private place, but none I think do there embrace.
