The past and present wilt—I have fill'd them, emptied them. And proceed to fill my next fold of the future.
Listener up there! what have you to confide to me? Look in my face while I snuff the sidle of evening, (Talk honestly, no one else hears you, and I stay only a minute longer.)
Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes.)
I concentrate toward them that are nigh, I wait on the door-slab.
Who has done his day's work? who will soonest be through with his supper? Who wishes to walk with me?
Will you speak before I am gone? will you prove already too late?
That's the cuckoo, you say. I cannot hear it. When last I heard it I cannot recall; but I know Too well the year when first I failed to hear it— It was drowned by my man groaning out to his sheep "Ho! Ho!"
Ten times with an angry voice he shouted "Ho! Ho!" but not in anger, for that was his way. He died that Summer, and that is how I remember The cuckoo calling, the children listening, and me saying, "Nay."
And now, as you said, "There it is," I was hearing Not the cuckoo at all, but my man's "Ho! Ho!" instead. And I think that even if I could lose my deafness The cuckoo's note would be drowned by the voice of my dead.
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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.