I said unto myself, if I were dead, What would befall these children? What would be Their fate, who now are looking up to me For help and furtherance? Their lives, I said, Would be a volume wherein I have read But the first chapters, and no longer see To read the rest of their dear history, So full of beauty and so full of dread. Be comforted; the world is very old, And generations pass, as they have passed, A troop of shadows moving with the sun; Thousands of times has the old tale been told; The world belongs to those who come the last, They will find hope and strength as we have done.
Love in her heart, and song upon her lip— A daughter, friend. and wife— She lived a beauteous life, And love and song shall bless her in her sleep. The flowers whose language she interpreted, The delicate airs, calm eves, and starry skies That touched so sweetly her chaste sympathies, And all the grieving souls she comforted, Will bathe in separate sorrows the dear mound, Where heart and harp lie silent and profound. Oh, Woman! all the songs thou left to us We will preserve for thee, in grateful love; Give thou return of our affection thus, And keep for us the songs thou singst above!
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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.