For long the cruel wish I knew That your free heart should ache for me While mine should bear no ache for you; For long—the cruel wish!— I knew How men can feel, and craved to view My triumph—fated not to be For long!…The cruel wish I knew That your free heart should ache for me!
At last one pays the penalty— The woman—women always do. My farce, I found, was tragedy At last!— One pays the penalty With interest when one, fancy-free, Learns love, learns shame…. Of sinners two At last one pays the penalty— The woman—women always do!
Ah! what can mean that eager joy Transports my heart when you appear? Ah, Strephon! you my thoughts employ In all that's charming, all that's dear. When you your pleasing story tell, A softness does invade each part, And I with blushes own I feel Something too tender at my heart.
At your approach my blushes rise, And I at once both wish and fear; My wounded soul mounts to my eyes, As it would prattle stories there. Take, take that heart that needs must go But, shepherd, see it kindly used: For who such presents will bestow, If this, alas! should be abused?
—
—
0:00
0:00
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.