Come to me There is something I have got to tell you and I can't tell Something taking shape Something that has a new name A new dimension A new use A new illusion It is ambient And it is in your eyes Something shiny Something only for you Something that I must not see
It is in my ears Something very resonant Something that you must not hear Something only for me
Let us be very jealous Very suspicious Very conservative Very cruel Or we might make an end of the jostling of aspirations Disorb inviolate egos
Where two or three are welded together They shall become god
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Oh that's right Keep away from me Please give me a push Don't let me understand you Don't realise me Or we might tumble together Depersonalized Identical Into the terrific Nirvana Me you—you— me
Seamen three! What men be ye? Gotham's three wise men we be. Whither in your bowl so free? To rake the moon from out the sea. The bowl goes trim. The moon doth shine. And our ballast is old wine.— And your ballast is old wine.
Who art thou, so fast adrift? I am he they call Old Care. Here on board we will thee lift. No: I may not enter there. Wherefore so? 'Tis Jove's decree, In a bowl Care may not be.— In a bowl Care may not be.
Fear ye not the waves that roll? No: in charmèd bowl we swim. What the charm that floats the bowl? Water may not pass the brim. The bowl goes trim. The moon doth shine. And our ballast is old wine.— And your ballast is old wine.
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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.