I arise from dreams of thee In the first sweet sleep of night, When the winds are breathing low, And the stars are shining bright: I arise from dreams of thee, And a spirit in my feet Hath led me—who knows how? To thy chamber window, Sweet!
The wandering airs they faint On the dark, the silent stream— The Champak odours fail Like sweet thoughts in a dream; The Nightingale's complaint, It dies upon her heart;— As I must on thine, Oh, belovèd as thou art!
Oh lift me from the grass! I die! I faint! I fail! Let thy love in kisses rain On my lips and eyelids pale. My cheek is cold and white, alas! My heart beats loud and fast;— Oh! press it to thine own again, Where it will break at last.
Do not say that life is waning, Or that hope's sweet day is set; While I've thee and love remaining, Life is in the horizon yet.
Do not think those charms are flying, Tho' thy roses fade and fall; Beauty hath a grace undying, Which in thee survives them all.
Not for charms, the newest, brightest, That on other cheeks may shine, Would I change the least, the slightest. That is lingering now o'er thine.
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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.