He saw the hula flower in her hair Drop to her bosom where it rose and fell. Forgotten was her lover; her slow stare Felt for his eyes; her warm body's smell— The yellow stamen perfume on her breath, The poison-heavy sleepiness of death Made all her figure's slender golden grace Swing like a censer in an altared place.
Swinging she danced the hula and the moon Hung on a mountain honeying the night. Her dress of flowers whirled about her—strewn Along the grass the fire-petals died. Then like a bat against that disc of light Leaped up her lover and the lonely wide Hollow and shadow echoed as he cried.
In my Autumn garden I was fain To mourn among my scattered roses; Alas for that last rosebud which uncloses To Autumn's languid sun and rain When all the world is on the wane! Which has not felt the sweet constraint of June, Nor heard the nightingale in tune.
Broad-faced asters by my garden walk, You are but coarse compared with roses: More choice, more dear that rosebud which uncloses Faint-scented, pinched, upon its stalk, That least and last which cold winds balk; A rose it is though least and last of all, A rose to me though at the fall.
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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.