I dreamed one man stood against a thousand, One man damned as a wrongheaded fool One year and another he walked the streets, And a thousand shrugs and hoots Met him in the shoulders and mouths he passed.
He died alone And only the undertaker came to his funeral.
Flowers grow over his grave anod in the wind, And over the graves of the thousand, too, The flowers grow anod in the wind.
Flowers and the wind, Flowers anod over the graves of the dead, Petals of red, leaves of yellow, streaks of white, Masses of purple sagging... I love you and your great way of forgetting.
Flowers preach to us if we will hear:— The rose saith in the dewy morn, I am most fair; Yet all my loveliness is born Upon a thorn. The poppy saith amid the corn: Let but my scarlet head appear And I am held in scorn; Yet juice of subtle virtue lies Within my cup of curious dyes. The lilies say: Behold how we Preach without words of purity. The violets whisper from the shade Which their own leaves have made: Men scent our fragrance on the air, Yet take no heed Of humble lessons we would read.
But not alone the fairest flowers: The merest grass Along the roadside where we pass, Lichen and moss and sturdy weed, Tell of His love who sends the dew, The rain and sunshine too, To nourish one small seed.
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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.