They sleep well here, These fisher-folk who passed their anxious days In fierce Atlantic ways; And found not there, Beneath the long curled wave, So quiet a grave.
And they sleep well These peasant-folk, who told their lives away, From day to market-day, As one should tell, With patient industry, Some sad old rosary.
And now night falls, Me, tempest-tost, and driven from pillar to post, A poor worn ghost, This quiet pasture calls; And dear dead people with pale hands Beckon me to their lands.
Quhill as with vhyt and nimble hand, My maistres gathring flours doth stand, Amidst the florisht meid; Of lilies vhyt, and violets, A garland properly sho plets, To set vpon hir heid.
O Sun! that shynis so bright above, If euer thou the fyre of love Hes felt, as poets fayne— If it be sik—as sik it semes, Of courtessie withdrau thy bemes, Leist thou hir colour stayne.
She, if thou not hir beutie burne, Sall quyt thee with a better turne, To close hir cristall ees— A brightnes far surmounting thyne, Leist thou, thairby ashamd, suld tyne Thy credit in the skyis.
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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.