When brambles vex me sore and anguish me, Then I remember those pale martyr feet That trod on burning shares and drank the heat, As it had been God's dew, with ecstasy.
And when some evanescent sunset glow Renews the beauty-sting, I set my pride On that great fellowship of those who know The artist's yearning, yet are self-denied.
Feast me no feasts that for the few are spread, With holy cup of brotherhood ungraced, For though I sicken at my daily bread, Bitter and black, I crave the human taste.
O the sad day! When friends shall shake their heads, and say Of miserable me— 'Hark, how he groans! Look, how he pants for breath! See how he struggles with the pangs of death!' When they shall say of these dear eyes— 'How hollow, O how dim they be! Mark how his breast doth rise and swell Against his potent enemy!' When some old friend shall step to my bedside, Touch my chill face, and thence shall gently slide.
But—when his next companions say 'How does he do? What hopes?'—shall turn away, Answering only, with a lift-up hand— 'Who can his fate withstand?'
Then shall a gasp or two do more Than e'er my rhetoric could before: Persuade the world to trouble me no more!
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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.