We too, we too, descending once again The hills of our own land, we too have heard Far off—Ah, que ce cor a longue haleine— The horn of Roland in the passages of Spain, The first, the second blast, the failing third, And with the third turned back and climbed once more The steep road southward, and heard faint the sound Of swords, of horses, the disastrous war, And crossed the dark defile at last, and found At Ronçevaux upon the darkening plain The dead against the dead and on the silent ground The silent slain—
Go, then, and join the murmuring city's throng! Me thou dost leave to solitude and tears; To busy phantasies, and boding fears, Lest ill betide thee; but 'twill not be long Ere the hard season shall be past; till then Live happy; sometimes the forsaken shade Remembering, and these trees now left to fade Nor, 'mid the busy scenes and hum of men, Wilt thou my cares forget: in heaviness To me the hours shall roll, weary and slow, Till mournful autumn past, and all the snow Of winter pale, the glad hour I shall bless That shall restore thee from the crowd again, To the green hamlet on the peaceful plain.
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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.