The darkness rolls upward. The thick darkness carries with it Rain and a ravel of cloud. The sun comes forth upon earth.
Palely the dawn Leaves me facing timidly Old gardens sunken: And in the gardens is water.
Sombre wreck — autumnal leaves; Shadowy roofs In the blue mist, And a willow-branch that is broken.
Oh, old pagodas of my soul, how you glittered across green trees!
Blue and cool: Blue, tremulously, Blow faint puffs of smoke Across sombre pools. The damp green smell of rotted wood; And a heron that cries from out the water.
The lass I love, oh, red's her cheek, Her eyes are bits o' heaven; The reason isn't hard to seek — Her mother's out of Devon.
The lass I love, her plaits are black, Her tongue is soft and merry — Her grandad got his pedlar's pack Among the hills o' Kerry.
The lass I love has thrift for three, For 'twas her mother's granny That loved a sailor from Dundee, Where all the folk are cannie.
Now naught o' hers I've found to link With land of leek and daffy, And yet she's thieved my heart (I'll think), So there's your touch o' Taffy!
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Track 1
How this picture is made
What a fractal is
A fractal is a shape that keeps its pattern when you look closer. Coastlines, trees, shells, and weather do this. The large form and the small form are the same kind of thing. A poem can be drawn that way. The shape of the whole comes from the shape of the lines.
Primunia is the name for the source of that order: the pattern under the pattern, already there in a tree, a shell, and a verse.
How the boundary is drawn
The number under the picture is the poem constant. It is read from the build of the lines: their length, how uneven they are, the size of the stanzas, the share of vowels, and the way the lines end. A new word moves the number when it changes that build. The same poem always gives the same number.
Drawn on its own, that number sits in a quiet part of the plane, and most poems would look like the same soft disk. So the number is carried outward along its own direction until it meets the edge of the Mandelbrot set, where the shape turns sharp. The picture is the Julia set of that meeting place.
Each point on the canvas is folded again and again by one small rule. Points that stay near the rule form the dark interior. Points that rush away become the coloured bands. The hue comes from the poem constant, and the brightest bands turn toward gold. Change the length of a line, the stanza, or the vowel share, and both the number and the picture move.
What the branching signifies
Branching draws the poem as a tree. Each turn follows a line, and every smaller branch repeats that pattern. A longer line reaches farther. The letters at the start of a line bend the next turn. A higher share of vowels opens the branches wider.
The trunk takes its colour from the poem constant and warms toward gold at the tips. When the poem has more than one stanza, gold forks leave the trunk. Each fork is a stanza beyond the first, up to three. The tree divides where the poem divides. One stanza remains a single trunk.