Lily on liquid roses floating— So floats yon foam o'er pink champagne: Fain would I join such pleasant boating, And prove that ruby main, And float away on wine!
Those seas are dangerous (greybeards swear) Whose sea-beach is the goblet's brim; And true it is they drown Old Care— But what care we for him, So we but float on wine?
And true it is they cross in pain Who sober cross the Stygian ferry: But only make our Styx champagne, And we shall cross right merry, Floating away on wine!
Old Charon's self shall make him mellow, Then gaily row his boat from shore; While we and every jovial fellow, Hear unconcern'd the oar That dips itself in wine!
I should not dare to leave my friend, Because — because if he should die While I was gone, and I — too late — Should reach the heart that wanted me;
If I should disappoint the eyes That hunted, hunted so, to see, And could not bear to shut until They "noticed" me — they noticed me;
If I should stab the patient faith So sure I'd come — so sure I'd come, It listening, listening, went to sleep Telling my tardy name, —
My heart would wish it broke before, Since breaking then, since breaking then, Were useless as next morning's sun, Where midnight frosts had lain!
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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.