Queen of fragrance, lovely Rose, The beauties of thy leaves disclose! —But thou, fair Nymph, thyself survey In this sweet offspring of a day. That miracle of face must fail, Thy charms are sweet, but charms are frail: Swift as the short-lived flower they fly, At morn they bloom, at evening die: Though Sickness yet a while forbears, Yet Time destroys what Sickness spares: Now Helen lives alone in fame, And Cleopatra's but a name: Time must indent that heavenly brow, And thou must be what they are now.
And is indeed truth beauty?—at the cost Of all else that we cared for, can this be?— To see the coarse triumphant, and to see Honour and pity ridiculed, and tossed Upon a poked-at fire; all courage lost Save what is whelped and fattened by decree To move among the unsuspecting free And trap the thoughtful, with their thoughts engrossed?
Drag yet that stream for Beauty, if you will; And find her, if you can; finding her drowned Will not dismay your ethics,—you will still To one and all insist she has been found . . . And haggard men will smile your praise, until, Some day, they stumble on her burial-mound.
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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.