Quand au matin ma déesse s'habille, D'un riche or crêpe ombrageant ses talons, Et les filets de ses beaux cheveux blonds En cent façons en onde et entortille:
Je l'accompare à l'écumière fille Qui or' peignant les siens brunement longs, Or' les frisant en mille crêpillons, Passait la mer portée en sa coquille.
De femme humaine encore ne sont pas Son ris, son front, ses gestes ne ses pas, Ne de ses yeux l'une et l'autre étincelle.
Rocs, eaux, ne bois, ne logent point en eux Nymphe qui ait si folâtres cheveux, Ni l'œil si beau, ni la bouche si belle.
Go away, Death! You have come too soon. To sunshine and song I but just awaken, And the dew on my heart is undried and unshaken; Come back at noon.
Go away, Death! What a short reprieve! The mists of the morning have vanished, I roam Through a world bright with wonder, and feel it my home; Come back at eve.
Go away, Death! See, it still is light. Over earth broods a quiet more blissful than glee. And the beauty of sadness lies low on the sea; Come back at night.
Come to me, Death! I no more would stay. The night-owl hath silenced the linnet and lark, And the wailing of wisdom sounds sad in the dark; Take me away.
—
—
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.