O fly not, Pleasure, pleasant-hearted Pleasure; Fold me thy wings, I prithee, yet and stay: For my heart no measure Knows, nor other treasure To buy a garland for my love to-day.
And thou, too, Sorrow, tender-hearted Sorrow, Thou gray-eyed mourner, fly not yet away: For I fain would borrow Thy sad weeds to-morrow, To make a mourning for love's yesterday.
The voice of Pity, Time's divine dear Pity, Moved me to tears: I dared not say them nay, But passed forth from the city, Making thus my ditty Of fair love lost for ever and a day.
You make the sunshine of my heart And its tempestuous shower; Sometimes the thought of you is like A lilac bush in flower, Yea, honey-sweet as hives in May. And then the pang of it will strike My bosom with a fiery smart, As though love's deeply planted dart Drained all its life away.
My thoughts hum round you, Dear, like bees About a bank of thyme, Or round the yellow blossoms of The heavy-scented lime. Ah, sweeter you than honeydew, Yet dark the ways of love, For it has robbed my soul of peace, And marred my life and turned heart's-ease Into funereal rue.
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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.