Oh, talk not to me of a name great in story; The days of our youth are the days of our glory; And the myrtle and ivy of sweet two-and-twenty Are worth all your laurels, though ever so plenty.
What are garlands and crowns to the brow that is wrinkled? 'T is but as a dead-flower with May-dew besprinkled. Then away with all such from the head that is hoary! What care I for the wreaths that can only give glory?
Oh FAME! — if I e'er took delight in thy praises, 'T was less for the sake of thy high-sounding phrases, Than to see the bright eyes of the dear one discover She thought that I was not unworthy to love her.
There chiefly I sought thee, there only I found thee; Her glance was the best of the rays that surround thee; When it sparkled o'er aught that was bright in my story, I knew it was love, and I felt it was glory.
I found a little beetle; so that Beetle was his name,
And I called him Alexander and he answered just the same.
I put him in a match-box, and I kept him all the day...
And Nanny let my beetle out -
Yes, Nanny let my beetle out -
She went and let my beetle out -
And Beetle ran away.
She said she didn't mean it, and I never said she did,
She said she wanted matches and she just took off the lid,
She said that she was sorry, but it's difficult to catch
An excited sort of beetle you've mistaken for a match.
She said that she was sorry, and I really mustn't mind,
As there's lots and lots of beetles which she's certain we could find,
If we looked about the garden for the holes where beetles hid -
And we'd get another match-box and write BEETLE on the lid.
We went to all the places which a beetle might be near,
And we made the sort of noises which a beetle likes to hear,
And I saw a kind of something, and I gave a sort of shout:
"A beetle-house and Alexander Beetle coming out!"
It was Alexander Beetle I'm as certain as can be,
And he had a sort of look as if he thought it must be Me,
And he had a sort of look as if he thought he ought to say:
"I'm very very sorry that I tried to run away."
And Nanny's very sorry too for you-know-what-she-did,
And she's writing ALEXANDER very blackly on the lid,
So Nan and Me are friends, because it's difficult to catch
An excited Alexander you've mistaken for a match.
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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.