When I set out for Lyonnesse, A hundred miles away, The rime was on the spray, And starlight lit my lonesomeness When I set out for Lyonnesse A hundred miles away.
What would bechance at Lyonnesse While I should sojourn there No prophet durst declare, Nor did the wisest wizard guess What would bechance at Lyonnesse While I should sojourn there.
When I came back from Lyonnesse With magic in my eyes, All marked with mute surmise My radiance rare and fathomless, When I came back from Lyonnesse With magic in my eyes!
"A cup for hope!" she said, In springtime ere the bloom was old: The crimson wine was poor and cold By her mouth's richer red.
"A cup for love!" how low, How soft the words; and all the while Her blush was rippling with a smile Like summer after snow.
"A cup for memory!" Cold cup that one must drain alone: While autumn winds are up and moan Across the barren sea.
Hope, memory, love: Hope for fair morn, and love for day, And memory for the evening gray And solitary dove.
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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.