I shall foot it Down the roadway in the dusk, Where shapes of hunger wander And the fugitives of pain go by I shall foot it In the silence of the morning, See the night slur into dawn, Hear the slow great winds arise
Where tall trees flank the way And shoulder toward the sky
The broken boulders by the road Shall not commemorate my ruin Regret shall be the gravel under foot I shall watch for Slim birds swift of wing That go where wind and ranks of thunder Drive the wild processionals of rain
The dust of the traveled road Shall touch my hands and face
The man, in life wherever plac'd, Hath happiness in store, Who walks not in the wicked's way, Nor learns their guilty lore!
Nor from the seat of scornful pride Casts forth his eyes abroad, But with humility and awe Still walks before his GOD.
That man shall flourish like the trees Which by the streamlets grow; The fruitful top is spread on high, And firm the root below.
But he whose blossom buds in guilt Shall to the ground be cast, And, like the rootless stubble, tost Before the sweeping blast.
For why? that GOD the good adore Hath giv'n them peace and rest, But hath decreed that wicked men Shall ne'er be truly blest.
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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.