The Roman Road runs straight and bare As the pale parting-line in hair Across the heath. And thoughtful men Contrast its days of Now and Then, And delve, and measure, and compare;
Visioning on the vacant air Helmeted legionnaires, who proudly rear The Eagle, as they pace again The Roman Road.
But no tall brass-helmeted legionnaire Haunts it for me. Uprises there A mother's form upon my ken, Guiding my infant steps, as when We walked that ancient thoroughfare, The Roman Road.
The tiger in the tiger-pit Is not more irritable than I. The whipping tail is not more still Than when I smell the enemy Writhing in the essential blood Or dangling from the friendly tree. When I lay bare the tooth of wit The hissing over the archèd tongue Is more affectionate than hate, More bitter than the love of youth, And inaccessible by the young. Reflected from my golden eye The dullard knows that he is mad.
Tell me if I am not glad!
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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.