We stand with our faces earthward And watch for the shadows to fall, Forgetting that high in the heavens The sunlight is shining for all; Forgetting that pleasure and laughter Are ours to claim as a right; Forgetting that morning comes after The gloom and the shadow of night.
We stand 'midst our broken idols, And weep with a childlike grief, Forgetting that time will bring us The balm of a sure relief; Forgetting that forth from our sorrows Spring many a hopeful ray; Forgetting that golden to-morrows Are born from the tears of to-day.
Still green, along our sunny shore, The flowering myrtle waves, As when its fragrant boughs of yore Were offer'd on the graves— The graves wherein our mighty men Had rest, unviolated then.
Still green it waves! as when the hearth Was sacred through the land; And fearless was the banquet's mirth, And free the minstrel's hand; And guests, with shining myrtle crown'd, Sent the wreath'd lyre and wine-cup round.
Still green! as when on holy ground The tyrant's blood was pour'd: Forget ye not what garlands bound The young deliverer's sword! Though earth may shroud Harmodius now, We still have sword and myrtle bough!
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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.