I have taken scales from off The cheeks of the moon. I have made fins from bluejays' wings, I have made eyes from damsons in the shadow. I have taken flushes from the peachlips in the sun. From all these I have made a fish of heaven for you, Set it swimming on a young October sky. I sit on the bank of the stream and watch The grasses in amazement As they turn to ashy gold. Are the fishes from the rainbow Still beautiful to you, For whom they are made, For whom I have set them, Swimming?
I will make you brooches and toys for your delight Of bird-song at morning and star-shine at night. I will make a palace fit for you and me Of green days in forests and blue days at sea.
I will make my kitchen, and you shall keep your room, Where white flows the river and bright blows the broom, And you shall wash your linen and keep your body white In rainfall at morning and dewfall at night.
And this shall be for music when no one else is near, The fine song for singing, the rare song to hear! That only I remember, that only you admire, Of the broad road that stretches and the roadside fire.
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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.