If I should die, how kind you all would grow! In that strange hour I would not have one foe. There are no words too beautiful to say Of one who goes forevermore away Across that ebbing tide which has no flow.
With what new lustre my good deeds would glow! If faults were mine, no one would call them so, Or speak of me in aught but praise that day, If I should die.
Ah, friends! before my listening ear lies low, While I can hear and understand, bestow That gentle treatment and fond love, I pray, The lustre of whose late though radiant way Would gild my grave with mocking light, I know, If I should die.
If I should die to-night And you should come to my cold corpse and say, Weeping and heartsick o'er my lifeless clay— If I should die to-night, And you should come in deepest grief and woe— And say: "Here's that ten dollars that I owe," I might arise in my large white cravat And say, "What's that?"
If I should die to-night And you should come to my cold corpse and kneel, Clasping my bier to show the grief you feel, I say, if I should die to-night And you should come to me, and there and then Just even hint 'bout payin' me that ten, I might arise the while, But I'd drop dead again.
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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.