Life and Thought have gone away Side by side, Leaving door and windows wide Careless tenants they!
All within is dark as night: In the windows is no light; And no murmur at the door, So frequent on its hinge before.
Close the door, the shutters close, Or thro' the windows we shall see The nakedness and vacancy Of the dark deserted house.
Come away: no more of mirth Is here or merry-making sound. The house was builded of the earth, And shall fall again to ground.
Come away: for Life and Thought Here no longer dwell; But in a city glorious— A great and distant city—have bought A mansion incorruptible. Would they could have stayed with us!
All my past life is mine no more; The flying hours are gone, Like transitory dreams given o'er, Whose images are kept in store By memory alone.
The time that is to come is not; How can it then be mine? The present moment's all my lot; And that, as fast as it is got, Phillis, is only thine.
Then talk not of inconstancy, False hearts, and broken vows; If I by miracle can be This live-long minute true to thee, 'Tis all that Heaven allows.
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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.