A ruddy drop of manly blood The surging sea outweighs, The world uncertain comes and goes; The lover rooted stays. I fancied he was fled,— And, after many a year, Glowed unexhausted kindliness, Like daily sunrise there. My careful heart was free again, O friend, my bosom said, Through thee alone the sky is arched, Through thee the rose is red; All things through thee take nobler form, And look beyond the earth, The mill-round of our fate appears A sun-path in thy worth. Me too thy nobleness has taught To master my despair; The fountains of my hidden life Are through thy friendship fair.
I have taken scales from off The cheeks of the moon. I have made fins from bluejays' wings, I have made eyes from damsons in the shadow. I have taken flushes from the peachlips in the sun. From all these I have made a fish of heaven for you, Set it swimming on a young October sky. I sit on the bank of the stream and watch The grasses in amazement As they turn to ashy gold. Are the fishes from the rainbow Still beautiful to you, For whom they are made, For whom I have set them, Swimming?
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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.