I saw the human millions as the sand Unruffled on the starlit wilderness. The day was near, and every star grew less In universal dawn. Then woke a band Of wheeling winds, and made a mighty stress Of morning weather; and still wilder went O'er shifting plains, till, in their last excess, A whirlwind whirled across the whirling land. Heaven blackened over it; a voice of woes Foreran it; the great noise of clanging foes Hurtled behind; beneath the earth was rent, And howling Death, like an uncaverned beast, Leaped from his lair. Meanwhile morn oped the East, And thro' the dusty tumult God arose.
Sweet love, sweet thorn, when lightly to my heart I took your thrust, whereby I since am slain, And lie disheveled in the grass apart, A sodden thing bedrenched by tears and rain, While rainy evening drips to misty night, And misty night to cloudy morning clears, And clouds disperse across the gathering light, And birds grow noisy, and the sun appears— Had I bethought me then, sweet love, sweet thorn, How sharp an anguish even at the best— When all’s requited and the future sworn— The happy hour can leave within the breast, I had not so come running at the call Of one who loves me little, if at all.
—
—
0:00
0:00
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.