Broceliande! in the perilous beauty of silence and menacing shade, Thou art set on the shores of the sea down the haze of horizons untravelled, unscanned. Untroubled, untouched with the woes of this world are the moon-marshalled hosts that invade Broceliande.
Only at dusk, when lavender clouds in the orient twilight disband, Vanishing where all the blue afternoon they have drifted in solemn parade, Sometimes a whisper comes down on the wind from the valleys of Fairyland—
Sometimes an echo most mournful and faint like the horn of a huntsman strayed, Faint and forlorn, half drowned in the murmur of foliage fitfully fanned, Breathes in a burden of nameless regret till I startle, disturbed and affrayed: Broceliande— Broceliande— Broceliande. . . .
They told me I had three months to live, So I crept to Bernadotte, And sat by the mill for hours and hours Where the gathered waters, deeply moving, Seemed not to move: O world, that's you! You are but a widened place in the river Where Life looks down and we rejoice for her Mirrored in us, and so we dream And turn away, but when again We look for the face, behold the lowlands And blasted cotton-wood trees where we empty Into the larger stream! But here by the mill the castled clouds Mocked themselves in the dizzy water. And over its agate floor at night The flame of the moon ran under my eyes Amid a forest stillness broken By a flute in a hut on the hill. At last when I came to lie in bed Weak and in pain, with the dreams about me, The soul of the river had entered my soul, And the gathered power of my soul was moving So swiftly it seemed to be at rest Under cities of cloud and under Spheres of silver and changing worlds— Until I saw a flash of trumpets Above the battlements over Time!
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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.