When we are old and these rejoicing veins Are frosty channels to a muted stream, And out of all our burning there remains No feeblest spark to fire us, even in dream, This be our solace: that it was not said When we were young and warm and in our prime, Upon our couch we lay as lie the dead, Sleeping away the unreturning time. O sweet, O heavy-lidded, O my love, When morning strikes her spear upon the land, And we must rise and arm us and reprove The insolent daylight with a steady hand, Be not discountenanced if the knowing know We rose from rapture but an hour ago.
Women have loved before as I love now; At least, in lively chronicles of the past— Of Irish waters by a Cornish prow Or Trojan waters by a Spartan mast Much to their cost invaded—here and there, Hunting the amorous line, skimming the rest, I find some woman bearing as I bear Love like a burning city in the breast. I think however that of all alive I only in such utter, ancient way Do suffer love; in me alone survive The unregenerate passions of a day When treacherous queens, with death upon the tread, Heedless and wilful, took their knights to bed.
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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.