The monstrous sapphire lies in her lavish dowry Crowned by Casinos set with Provençal olives and spears to the mistral
The prevalent Fair draws idle tides over volcanic privacies frilled with the rouse and hush of drowsing foam
Jewelled on her Adriatic arm Venice, sarcophagus of sighs and ghostly merchandise, Splinters on the opal angle of the sun and dies to the Angelus an over purpled peach swarmed by the flies of dusk
From the green incline of vengence the Vesuvian vine drips lucently Lacrimae Christi to drift imperceptibly with the lost sob of Shelley
Hewn in the Apuane Carrara stands as marble sentinel beyond the blazing rust of branches roofing amphibian babies
as they rise from the Ligurian gullies Their polished thighs armoured with aqueous ashes of the tinselled sands.
Last of the night's quaint clan He goes his way— A simple gentleman In sober grey: To match lone paths of his In woodlands dim, The moons of centuries Have silvered him.
Deep in the damp, fresh earth He roots and rolls, And builds his winter girth Of sylvan tolls: When seek the husbandmen The furrow brown, He hies him to his den And lays him down.
There may he rest for me, Nor ever stir For clamorous obloquy Of terrier: Last of the night's quaint clan He curls in peace— A friendly gentleman In grey pelisse.
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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.