Grief fills the room up of my absent child, Lies in his bed, walks up and down with me, Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form; Then, have I reason to be fond of grief? Fare you well: had you such a loss as I, I could give better comfort than you do. I will not keep this form upon my head, When there is such disorder in my wit. O Lord! my boy, my Arthur, my fair son! My life, my joy, my food, my all the world! My widow-comfort, and my sorrows’ cure!
There sat a Toad upon a lawn Lost in a dream of fancy; His right foot in a Rose was set, His left upon a Violet, His paunch upon a Pansy. Some merry Elfins passing by At sight of him were sore affrighted, And would have fled; until he said, "My little dears, if you knew why I look to heaven thus and sigh, I think that you would be delighted. The Stars rise up and fall, the Stars Do shine in pools and stilly places, The Lilies blink on sandy bars, The Midges move in flickering mazes; But I profoundly pore upon, And reason, think, and cogitate, And marvel, muse, and meditate, Why had the ancient Mastodon So few sad hairs upon his pate?"
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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.