It is the Harvest Moon! On gilded vanes And roofs of villages, on woodland crests And their aerial neighborhoods of nests Deserted, on the curtained window-panes Of rooms where children sleep, on country lanes And harvest-fields, its mystic splendor rests! Gone are the birds that were our summer guests, With the last sheaves return the laboring wains! All things are symbols: the external shows Of Nature have their image in the mind, As flowers and fruits and falling of the leaves; The song-birds leave us at the summer's close, Only the empty nests are left behind, And pipings of the quail among the sheaves.
Nuns fret not at their Convent's narrow room; And Hermits are contented with their Cells; And Students with their pensive Citadels: Maids at the Wheel, the Weaver at his Loom, Sit blithe and happy; Bees that soar for bloom, High as the highest Peak of Furness Fells, Will murmur by the hour in Foxglove bells: In truth, the prison, unto which we doom Ourselves, no prison is: and hence to me, In sundry moods, 'twas pastime to be bound Within the Sonnet's scanty plot of ground: Pleas'd if some Souls (for such there needs must be) Who have felt the weight of too much liberty, Should find short solace there, as I have found.
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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.