Let the boy try along this bayonet-blade How cold steel is, and keen with hunger of blood; Blue with all malice, like a madman's flash; And thinly drawn with famishing for flesh.
Lend him to stroke these blind, blunt bullet-heads Which long to muzzle in the hearts of lads. Or give him cartridges of fine zinc teeth, Sharp with the sharpness of grief and death.
For his teeth seem for laughing round an apple. There lurk no claws behind his fingers supple; And God will grow no talons at his heels, Nor antlers through the thickness of his curls.
I am glad daylong for the gift of song, For time and change and sorrow; For the sunset wings and the world-end things Which hang on the edge of tomorrow. I am glad for my heart whose gates apart Are the entrance-place of wonders, Where dreams come in from the rush and din Like sheep from the rains and thunders.
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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.