If I die solvent—die, that is to say, In full possession of my critical mind, Not having cast, to keep the wolves at bay In this dark wood—till all be flung behind— Wit, courage, honour, pride, oblivion Of the red eyeball and the yellow tooth; Nor sweat nor howl nor break into a run When loping Death’s upon me in hot sooth; ’Twill be that in my honoured hands I bear What’s under no condition to be spilled Till my blood spills and hardens in the air: An earthen grail, a humble vessel filled To its low brim with water from that brink Where Shakespeare, Keats and Chaucer learned to drink.
O mountain Stream! the Shepherd and his Cot Are privileg'd Inmates of deep solitude: Nor would the nicest Anchorite exclude A Field or two of brighter green, or Plot Of tillage-ground, that seemeth like a spot Of stationary sunshine: thou hast view'd These only, Duddon! with their paths renew'd By fits and starts, yet this contents thee not. Thee hath some awful Spirit impell'd to leave, Utterly to desert, the haunts of men, Though simple thy Companions were and few; And through this wilderness a passage cleave Attended but by thy own Voice, save when The Clouds and Fowls of the air thy way pursue.
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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.