If it should rain—(the sneezy moon Said: Rain)—then I shall hear it soon From shingles into gutters fall . . . And know of what concerns me, all:
The garden will be wet till noon— I may not walk—my temper leans To myths and legends—through the beans Till they are dried—lest I should spread Diseases they have never had.
I hear the rain: it comes down straight. Now I can sleep, I need not wait To close the windows anywhere.
Tomorrow, it may be, I might Do things to set the whole world right. There’s nothing I can do tonight.
Thy fingers make early flowers of all things. thy hair mostly the hours love: a smoothness which sings, saying (though love be a day) do not fear, we will go amaying.
thy whitest feet crisply are straying. Always thy moist eyes are at kisses playing, whose strangeness much says; singing (though love be a day) for which girl art thou flowers bringing?
To be thy lips is a sweet thing and small. Death, Thee i call rich beyond wishing if this thou catch, else missing. (though love be a day and life be nothing, it shall not stop kissing).
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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.