The Summer, the divinest Summer burns, The skies are bright with azure and with gold, The mavis, and the nightingale by turns Amid the woods a soft enchantment hold: The flow'ring woods, with glory and delight, Their tender leaves unto the air have spread, The wanton air amid their alleys bright Doth softly fly, and a light fragrance shed: The Nymphs within the silver fountains play, The Angels on the golden banks recline, Wherein great Flora, in her bright array, Hath sprinkled her ambrosial sweets divine; Or, else I gaze upon that beauteous face, O Amoret! and think these sweets have place.
This beast that rends me in the sight of all, This love, this longing, this oblivious thing, That has me under as the last leaves fall, Will glut, will sicken, will be gone by spring. The wound will heal, the fever will abate, The knotted hurt will slacken in the breast; I shall forget before the flickers mate Your look that is today my east and west. Unscathed, however, from a claw so deep Though I should love again I shall not go: Along my body, waking while I sleep, Sharp to the kiss, cold to the hand as snow, The scar of this encounter like a sword Will lie between me and my troubled lord.
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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.