Enslav'd by Passions, swell'd with Pride, In Love with one whom all deride; A Carcass well, yet Mind in Pain, Reduc'd to beg, but beg in vain; To live reserv'd, and free from Blame And yet incur an evil Fame: Let this! this, be the wretched Fate, Of Rosalinda, whom I hate.
I have to live with myself, and so I want to be fit for myself to know; I want to be able as days go by Always to look myself straight in the eye; I don't want to stand with the setting sun And hate myself for the things I've done.
I don't want to keep on a closet shelf A lot of secrets about myself, And fool myself as I come and go Into thinking that nobody else will know The kind of a man I really am; I don't want to dress myself up in sham.
I want to go out with my head erect, I want to deserve all men's respect; But here in the struggle for fame and pelf, I want to be able to like myself. I don't want to think as I come and go That I'm bluster and bluff and empty show.
I never can hide myself from me, I see what others may never see, I know what others may never know, I never can fool myself—and so, Whatever happens, I want to be Self-respecting and conscience free.
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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.