Squire nagged and bullied till I went to fight (Under Lord Derby's scheme). I died in hell— (They called it Passchendaele); my wound was slight, And I was hobbling back, and then a shell Burst slick upon the duck-boards; so I fell Into the bottomless mud, and lost the light.
In sermon-time, while Squire is in his pew, He gives my gilded name a thoughtful stare; For though low down upon the list, I'm there: "In proud and glorious memory"—that's my due. Two bleeding years I fought in France for Squire; I suffered anguish that he's never guessed; Once I came home on leave; and then went west. What greater glory could a man desire?
What is our life? A play of passion, Our mirth the music of division; Our mothers' wombs the tiring houses be, Where we are dressed for this short comedy; Heaven the judicious sharp spectator is That sits and marks still who doth act amiss; Our graves that hide us from the searching sun Are like drawn curtains when the play is done. Thus march we playing to our latest rest— Only we die in earnest, that's no jest.
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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.