As we come marching, marching, in the beauty of the day, A million darkened kitchens, a thousand mill-lofts gray Are touched with all the radiance that a sudden sun discloses, For the people hear us singing, "Bread and Roses, Bread and Roses."
As we come marching, marching, we battle, too, for men— For they are women's children and we mother them again. Our days shall not be sweated from birth until life closes— Hearts starve as well as bodies: Give us Bread, but give us Roses.
As we come marching, marching, unnumbered women dead Go crying through our singing their ancient song of Bread; Small art and love and beauty their trudging spirits knew— Yes, it is Bread we fight for—but we fight for Roses, too.
As we come marching, marching, we bring the Greater Days— The rising of the women means the rising of the race. No more the drudge and idler—ten that toil where one reposes— But a sharing of life's glories: Bread and Roses, Bread and Roses.
Once it smiled a silent dell Where the people did not dwell; They had gone unto the wars, Trusting to the mild-eyed stars, Nightly, from their azure towers, To keep watch above the flowers, In the midst of which all day The red sun-light lazily lay, Now each visitor shall confess The sad valley's restlessness. Nothing there is motionless— Nothing save the airs that brood Over the magic solitude. Ah, by no wind are stirred those trees That palpitate like the chill seas Around the misty Hebrides! Ah, by no wind those clouds are driven That rustle through the unquiet Heaven Unceasingly, from morn till even, Over the violets there that lie In myriad types of the human eye— Over the lilies that wave And weep above a nameless grave! They wave:—from out their fragrant tops Eternal dews come down in drops. They weep:—from off their delicate stems Perennial tears descend in gems.
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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.