The cross, the thorns, the cruel nails again! Thus opens God's diviner flower of Day To thee, Flower-giver: was no better way Found out, whereby thou early should'st obtain, What others seek through life-long years in vain, Peace and a large, sweet charity, than this Which that stern angel points thee to, whose kiss Of consecration on thy brow is PAIN. I weep consenting—knowing well that so God tempers to a more than mortal fineness O Friend, so high in sorrow—be not mindless I keep for thee a heart-warm rest below; With hopes and human yearnings, wilt thou know? It shall not mar thy strength or thy divineness.
Mysterious Night! when our first parent knew Thee from report divine, and heard thy name, Did he not tremble for this lovely frame, This glorious canopy of light and blue? Yet 'neath a curtain of translucent dew, Bathed in the rays of the great setting flame, Hesperus with the host of heaven came, And lo! Creation widened in man's view. Who could have thought such darkness lay concealed Within thy beams, O Sun! or who could find, Whilst fly and leaf and insect stood revealed, That to such countless orbs thou mad'st us blind! Why do we then shun death with anxious strife? If Light can thus deceive, wherefore not Life?
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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.