There was a graven image of Desire Painted with red blood on a ground of gold Passing between the young men and the old, And by him Pain, whose body shone like fire, And Pleasure with gaunt hands that grasped their hire. Of his left wrist, with fingers clenched and cold, The insatiable Satiety kept hold, Walking with feet unshod that pashed the mire. The senses and the sorrows and the sins, And the strange loves that suck the breasts of Hate Till lips and teeth bite in their sharp indenture, Followed like beasts with flap of wings and fins. Death stood aloof behind a gaping grate, Upon whose lock was written Peradventure.
I griev'd for Buonaparte, with a vain And an unthinking grief! the vital blood Of that Man's mind what can it be? What food Fed his first hopes? What knowledge could He gain? 'Tis not in battles that from youth we train The Governor who must be wise and good, And temper with the sternness of the brain Thoughts motherly, and meek as womanhood. Wisdom doth live with children round her knees: Books, leisure, perfect freedom, and the talk Man holds with week-day man in the hourly walk Of the mind's business: these are the degrees By which true Sway doth mount; this is the stalk True Power doth grow on; and her rights are these.
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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.