When by thy scorne, O murdresse, I am dead, And that thou thinkst thee free From all solicitation from mee, Then shall my ghost come to thy bed, And thee, fain'd vestall, in worse armes shall see; Then thy sicke taper will begin to winke, And he, whose thou art then, being tyr'd before, Will, if thou stirre, or pinch to wake him, thinke Thou call'st for more, And in false sleepe will from thee shrinke, And then poore Aspen wretch, neglected thou Bath'd in a cold quicksilver sweat wilt lye A veryer ghost then I; What I will say, I will not tell thee now, Lest that preserve thee; and since my love is spent, I'had rather thou shouldst painfully repent, Then by my threatnings rest still innocent.
There was a graven image of Desire Painted with red blood on a ground of gold Passing between the young men and the old, And by him Pain, whose body shone like fire, And Pleasure with gaunt hands that grasped their hire. Of his left wrist, with fingers clenched and cold, The insatiable Satiety kept hold, Walking with feet unshod that pashed the mire. The senses and the sorrows and the sins, And the strange loves that suck the breasts of Hate Till lips and teeth bite in their sharp indenture, Followed like beasts with flap of wings and fins. Death stood aloof behind a gaping grate, Upon whose lock was written Peradventure.
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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.