Warriors and chiefs! should the shaft or the sword Pierce me in leading the host of the Lord, Heed not the corse, though a king's, in your path: Bury your steel in the bosoms of Gath!
Thou who art bearing my buckler and bow, Should the soldiers of Saul look away from the foe, Stretch me that moment in blood at thy feet! Mine be the doom which they dared not to meet.
Farewell to others, but never we part, Heir to my royalty, son of my heart! Bright is the diadem, boundless the sway, Or kingly the death, which awaits us to-day!
The cushie doos are cooin' in the birk, The pee-weets are cryin' on the lea, The starlings in the belfry o' the kirk Are layin' plans as merry as can be. The mavis in the plantin' has a mate, The blackbird is busy wi' his nest, Then why until the summer should we wait When spring could see us happy as the rest?
There's leaves upon the bourtree on the haugh, The blossom is drappin' fae the gean, There's buds upon the rantree an' the saugh, The ferns about the Lady's Well are green. A' day the herd is liltin' on the hill, The o'ercome o' ilka sang's the same: "There are ower mony maidens at the Mill, It's time the ane I trysted wi' cam' hame!"
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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.