To make a final conquest of all me, Love did compose so sweet an enemy, In whom both beauties to my death agree, Joining themselves in fatal harmony, That, while she with her eyes my heart does bind, She with her voice might captivate my mind.
I could have fled from one but singly fair; My disentangled soul itself might save, Breaking the curled trammels of her hair; But how should I avoid to be her slave, Whose subtle art invisibly can wreath My fetters of the very air I breathe?
It had been easy fighting in some plain, Where victory might hang in equal choice, But all resistance against her is vain, Who has the advantage both of eyes and voice, And all my forces needs must be undone, She having gained both the wind and sun.
There it was I saw what I shall never forget And never retrieve. Monstrous and beautiful to human eyes, hard to believe, He lay, yet there he lay, Asleep on the moss, his head on his polished cleft small ebony hoves, The child of the doe, the dappled child of the deer.
Surely his mother had never said, "Lie here Till I return," so spotty and plain to see On the green moss lay he. His eyes had opened; he considered me.
I would have given more than I care to say To thrifty ears, might I have had him for my friend One moment only of that forest day:
Might I have had the acceptance, not the love Of those clear eyes; Might I have been for him in the bough above Or the root beneath his forest bed, A part of the forest, seen without surprise.
Was it alarm, or was it the wind of my fear lest he depart That jerked him to his jointy knees, And sent him crashing off, leaping and stumbling On his new legs, between the stems of the white trees?
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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.