His wet, white face and miserable eyes Brought nurses to him more than groans and sighs: But hoarse and low and rapid rose and fell His troubled voice: he did the business well.
The ward grew dark; but he was still complaining, And calling out for "Dickie." "Curse the Wood! "It's time to go; O Christ, and what's the good?— We'll never take it; and it's always raining."
I wondered where he'd been; then heard him shout, "They snipe like hell! O Dickie, don't go out"... I fell asleep... next morning he was dead; And some Slight Wound lay smiling on his bed.
Read history: thus learn how small a space You may inhabit, nor inhabit long In crowding Cosmos—in that confined place Work boldly; build your flimsy barriers strong; Turn round and round, make warm your nest; among The other hunting beasts, keep heart and face,— Not to betray the doomed and splendid race You are so proud of, to which you belong.
For trouble comes to all of us: the rat Has courage, in adversity, to fight; But what a shining animal is man, Who knows, when pain subsides, that is not that, For worse than that must follow—yet can write Music; can laugh; play tennis; even plan.
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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.