Calm is all nature as a resting wheel. The Kine are couch'd upon the dewy grass; The Horse alone, seen dimly as I pass, Is up, and cropping yet his later meal: Dark is the ground; a slumber seems to steal O'er vale, and mountain, and the starless sky. Now, in this blank of things, a harmony Home-felt, and home-created seems to heal That grief for which the senses still supply Fresh food; for only then, when memory Is hush'd, am I at rest. My Friends, restrain Those busy cares that would allay my pain: Oh! leave me to myself; nor let me feel The officious touch that makes me droop again.
What thing is this that, built of salt and lime And such dry motes as in the sunbeam show, Has power upon me that do daily climb The dustless air?—for whom those peaks of snow Whereup the lungs of man with borrowed breath Go labouring to a doom I may not feel, Are but a pearled and roseate plain beneath My winged helmet and my wingèd heel. What sweet emotions neither foe nor friend Are these that clog my flight? what thing is this That hastening headlong to a dusty end Dare turn upon me these proud eyes of bliss? Up, up, my feathers!—ere I lay you by To journey barefoot with a mortal joy.
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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.