There is a change—and I am poor; Your love hath been, nor long ago, A fountain at my fond heart's door, Whose only business was to flow; And flow it did; not taking heed Of its own bounty, or my need.
What happy moments did I count! Blest was I then all bliss above! Now, for that consecrated fount Of murmuring, sparkling, living love, What have I? shall I dare to tell? A comfortless and hidden well.
A well of love—it may be deep— I trust it is,—and never dry: What matter? if the waters sleep In silence and obscurity. —Such change, and at the very door Of my fond heart, hath made me poor.
Beyond, beyond the mountain line, The grey-stone and the boulder, Beyond the growth of dark green pine, That crowns its western shoulder, There lies that fairy land of mine, Unseen of a beholder.
Its fruits are all like rubies rare, Its streams are clear as glasses; There golden castles hang in air, And purple grapes in masses, And noble knights and ladies fair Come riding down the passes.
Ah me! they say if I could stand Upon those mountain ledges, I should but see on either hand Plain fields and dusty hedges: And yet I know my fairy land Lies somewhere o'er their hedges.
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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.