Whenever I walk in a London street, I'm ever so careful to watch my feet; And I keep in the squares, And the masses of bears, Who wait at the corners all ready to eat The sillies who tread on the lines of the street, Go back to their lairs, And I say to them, "Bears, Just look how I'm walking in all of the squares!"
And the little bears growl to each other, "He's mine, As soon as he's silly and steps on a line." And some of the bigger bears try to pretend That they came round the corner to look for a friend; And they try to pretend that nobody cares Whether you walk on the lines or squares. But only the sillies believe their talk; It's ever so portant how you walk. And it's ever so jolly to call out, "Bears, Just watch me walking in all the squares!"
If we dream that desire of the distance above us Should be fettered by fear of the shadows that seem, If we wake, to be nought, but to hate or to love us If we dream,
Night sinks on the soul, and the stars as they gleam Speak menace or mourning, with tongues to reprove us That we deemed of them better than terror may deem.
But if hope may not lure us, if fear may not move us, Thought lightens the darkness wherein the supreme Pure presence of death shall assure us, and prove us If we dream.
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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.