There is a place where lute and lyre are broken, Where scrolls are torn and on a wild wind go, Where tablets stand wiped naked for a token, Where laurels wither and the daisies grow.
Lo: I too join the brotherhood of silence, I am Love's Trappist and you ask in vain, For man through Love's gate, even as through Death's gate, Goeth alone and comes not back again.
Yet here I pause, look back across the threshold. Cry to my brethren, though the world be old, Prophets and sages, questioners and doubters, O world, old world, the best hath ne'er been told!
I said to Love, "Lo, one thing troubles me! How shall I show the way in which I love? Is any word or look or kiss enough To show to her my love's extremity? What is there I can say, or do, that she May know the strength and utter depth thereof? For words are weak, such love as mine to prove, Though I should pour them forth unceasingly."
Then fell Love's smile upon me, as he said, "Thou art a child in love, not knowing this, — That could she know thy love by word or kiss, Or gauge it by its show, 't were all but dead; For not by bounds, but shoreless distances, Full knowledge of the sea is compassed."
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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.