This is the end of him, here he lies: The dust in his throat, the worm in his eyes, The mould in his mouth, the turf on his breast; This is the end of him, this is best. He will never lie on his couch awake, Wide-eyed, tearless, till dim daybreak. Never again will he smile and smile When his heart is breaking all the while. He will never stretch out his hands in vain Groping and groping—never again. Never ask for bread, get a stone instead, Never pretend that the stone is bread; Nor sway and sway 'twixt the false and true, Weighing and noting the long hours through. Never ache and ache with the choked-up sighs; This is the end of him, here he lies.
She took my strength by minutes, She took my life by hours, She drained me like a fevered moon That saps the spinning world. The days went by like shadows, The minutes wheeled like stars. She took the pity from my heart, And made it into smiles. She was a hunk of sculptor's clay, My secret thoughts were fingers: They flew behind her pensive brow And lined it deep with pain. They set the lips, and sagged the cheeks, And drooped the eyes with sorrow. My soul had entered in the clay, Fighting like seven devils. It was not mine, it was not hers; She held it, but its struggles Modeled a face she hated, And a face I feared to see. I beat the windows, shook the bolts. I hid me in a corner — And then she died and haunted me, And hunted me for life.
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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.