Cherry-lipt Adonis in his snowie shape, Might not compare with his pure ivorie white, On whose faire front a poet’s pen may write, Whose roseate red excels the crimson grape, His love-enticing delicate soft limbs, Are rarely fram’d t’intrap poore gazine eies: His cheeks, the lillie and carnation dies, With lovely tincture which Apollo’s dims. His lips ripe strawberries in nectar wet, His mouth a Hive, his tongue a hony-combe, Where Muses (like bees) make their mansion. His teeth pure pearle in blushing correll set. Oh how can such a body sinne-procuring, Be slow to love, and quicke to hate, enduring?
Now by this moon, before this moon shall wane I shall be dead or I shall be with you! No moral concept can outweigh the pain Past rack and wheel this absence puts me through; Faith, honour, pride, endurance, what the tongues Of tedious men will say, or what the law— For which of these do I fill up my lungs With brine and fire at every breath I draw? Time, and to spare, for patience by and by, Time to be cold and time to sleep alone; Let me no more until the hour I die Defraud my innocent senses of their own. Before this moon shall darken, say of me: She’s in her grave, or where she wants to be.
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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.