I love the world and all therein: The panting, darkened souls who seek A brighter light, a sweeter hope, From those who drink the bubbling wine And eat the flesh of tender fowl; I love the pampered son of wealth, And pour on him my pity's oil, This world our God hath made for all,— The East, the West, the black, the white, The rich, the poor, the wise, the dumb,— And even beasts may share the fruit; No prison wall, but sunlight's glow, No rods of steel, but arms of love, For all that creep and walk and strive And wear upon their countenance Creation's mark, the kiss of God.
Pure stream, in whose transparent wave My youthful limbs I wont to lave; No torrents stain thy limpid source, No rocks impede thy dimpling course Devolving from thy parent lake A charming maze thy waters make By bowers of birch and groves of pine And edges flower'd with eglantine. Still on thy banks so gaily green May numerous herds and flocks be seen, And lasses chanting o'er the pail, And shepherds piping in the dale, And ancient faith that knows no guile, And industry embrown'd with toil, And hearts resolved and hands prepared The blessings they enjoy to guard.
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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.