Love, how ignobly hast thou met thy doom! Ill-seasoned scaffolding by which, full-fraught With passionate youth and mighty hopes, we clomb To our heart’s heaven, fearing, doubting, naught! Oh love, thou wert too frail for such mad sport, Too rotten at thy core, designed too high: And we who trusted thee our death have bought, And bleeding on the ground must surely die. —I will not see her. What she now may be I care not. For the dream within my brain Is fairer, nobler, and more kind than she; And with that vision I can mock at pain. God! Was there ever woman half so sweet, Or death so bitter, or at such dear feet?
There is a silence where hath been no sound, There is a silence where no sound may be, In the cold grave—under the deep deep sea, Or in wide desert where no life is found, Which hath been mute, and still must sleep profound; No voice is hush'd—no life treads silently, But clouds and cloudy shadows wander free. That never spoke, over the idle ground: But in green ruins, in the desolate walls Of antique palaces, where Man hath been, Though the dun fox, or wild hyaena, calls, And owls, that flit continually between, Shriek to the echo, and the low winds moan,— There the true Silence is, self-conscious and alone.
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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.