What says the wind to the waving trees? What says the wave to the river? What means the sigh in the passing breeze? Why do the rushes quiver? Have you not heard the fainting cry Of the flowers that said, "Good-bye, good-bye"?
List how the gray dove moans and grieves Under the woodland cover; List to the drift of the falling leaves, List to the wail of the lover. Have you not caught the message heard Already by wave and breeze and bird?
Come, come away to the river's bank, Come in the early morning; Come when the grass with dew is dank, There you will find the warning— A hint in the kiss of the quickening air Of the secret that birds and breezes bear.
Does it matter?—losing your legs?... For people will always be kind, And you need not show that you mind When the others come in after football To gobble their muffins and eggs.
Does it matter?—losing your sight?... There's such splendid work for the blind; And people will always be kind, As you sit on the terrace remembering And turning your face to the light.
Do they matter?—those dreams from the pit?... You can drink and forget and be glad, And people won't say that you're mad; For they'll know that you've fought for your country, And no one will worry a bit.
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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.