There is cloud and a splash of blue sky over-head, And the road by the common's the brave road to tread; You miss all your neighbours, And hear the wind play His pipes and his tabors Along the king's way.
From the elms at the corner the rooks tumble out To dance you Sir Roger in clamorous rout; For all honest people There's gold on the whin, And bells in the steeple, And ale at the inn.
The brewer's brown horses, they shine in the sun, And each of the team must weigh nearly a ton. They stamp and they sidle. Their great necks they arch, And snatch at the bridle This morning of March.
For Winter is over, you see the fine sights — The geese on the common, the boys flying kites, The daffydowndillies That stoop on the stem, And my pretty Phyllis Who's gathering them.
Yes, dear departed, cherished days, Could Memory's hand restore Your morning light, your evening rays, From Time's gray urn once more, Then might this restless heart be still, This straining eye might close, And Hope her fainting pinions fold, While the fair phantoms rose.
But, like a child in ocean's arms, We strive against the stream, Each moment farther from the shore Where life's young fountains gleam; Each moment fainter wave the fields, And wider rolls the sea; The mist grows dark,—the sun goes down,— Day breaks,—and where are we?
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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.