We lying by seasand, watching yellow And the grave sea, mock who deride Who follow the red rivers, hollow Alcove of words out of cicada shade, For in this yellow grave of sand and sea A calling for colour calls with the wind That’s grave and gay as grave and sea Sleeping on either hand. The lunar silences, the silent tide Lapping the still canals, the dry tide-master Ribbed between desert and water storm, Should cure our ills of the water With a one-coloured calm ; The heavenly music over the sand Sounds with the grains as they hurry Hiding the golden mountains and mansions Of the grave, gay, seaside land. Bound by a sovereign strip, we lie, Watch yellow, wish for wind to blow away The strata of the shore and drown red rock; But wishes breed not, neither Can we fend off rock arrival, Lie watching yellow until the golden weather Breaks, O my heart’s blood, like a heart and hill.
All the breath and the bloom of the year in the bag of one bee: All the wonder and wealth of the mine in the heart of one gem: In the core of one pearl all the shade and the shine of the sea: Breath and bloom, shade and shine,—wonder, wealth, and—how far above them— Truth, that's brighter than gem, Trust, that's purer than pearl,— Brightest truth, purest trust in the universe,—all were for me In the kiss of one girl.
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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.