When stretch'd on one's bed With a fierce-throbbing head, Which precludes alike thought or repose, How little one cares For the grandest affairs That may busy the world as it goes!
How little one feels For the waltzes and reels Of our Dance-loving friends at a Ball! How slight one's concern To conjecture or learn What their flounces or hearts may befall.
How little one minds If a company dines On the best that the Season affords! How short is one's muse O'er the Sauces and Stews, Or the Guests, be they Beggars or Lords.
How little the Bells, Ring they Peels, toll they Knells, Can attract our attention or Ears! The Bride may be married, The Corse may be carried And touch nor our hopes nor our fears.
Our own bodily pains Ev'ry faculty chains; We can feel on no subject besides. Tis in health and in ease We the power must seize For our friends and our souls to provide.
Do not say that life is waning, Or that hope's sweet day is set; While I've thee and love remaining, Life is in the horizon yet.
Do not think those charms are flying, Tho' thy roses fade and fall; Beauty hath a grace undying, Which in thee survives them all.
Not for charms, the newest, brightest, That on other cheeks may shine, Would I change the least, the slightest. That is lingering now o'er thine.
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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.