How blind is he who prays that God will send All pain from earth. Pain has its use and place; Its ministry of holiness and grace. The darker tones upon the canvas blend With light and colour; and their shadows lend The painting half its dignity. Efface The sombre background, and you lose all trace Of that perfection which is true art's trend.
Life is an artist seeking to reveal God's majesty and beauty in each soul. If from the palette mortal man could steal The precious pigment, pain, why then the scroll Would glare with colours meaningless and bright, Or show an empty canvas, blurred with light.
Cupid and my Campaspe play'd At cards for kisses—Cupid paid: He stakes his quiver, bow, and arrows, His mother's doves, and team of sparrows; Loses them too; then down he throws The coral of his lips, the rose Growing on's cheek (but none knows how); With these, the crystal of his brow, And then the dimple of his chin: All these did my Campaspe win. At last he set her both his eyes— She won, and Cupid blind did rise. O Love! has she done this for thee? What shall, alas! become of me?
—
—
0:00
0:00
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.