For love's sake, kiss me once again; I long, and should not beg in vain, Here's none to spy or see; Why do you doubt or stay? I'll taste as lightly as the bee That doth but touch his flower and flies away.
Once more, and faith I will be gone; Can he that loves ask less than one? Nay, you may err in this And all your bounty wrong; This could be called but half a kiss, What we're but once to do, we should do long.
I will but mend the last, and tell Where, how it should have relished well; Join lip to lip, and try Each suck other's breath. And whilst our tongues perplexed lie, Let who will, think us dead or wish our death.
A little black thing among the snow, Crying! 'weep! weep!' in notes of woe! 'Where are thy father and mother? Say!'— 'They are both gone up to the church to pray.
'Because I was happy upon the heath, And smiled among the winter's snow, They clothed me in the clothes of death, And taught me to sing the notes of woe.
'And because I am happy and dance and sing, They think they have done me no injury, And are gone to praise God and His priest and king, Who made up a heaven of our misery.'
From Songs of Experience
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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.