At the top of the house the apples are laid in rows, And the skylight lets the moonlight in, and those Apples are deep-sea apples of green. There goes A cloud on the moon in the autumn night.
A mouse in the wainscot scratches, and scratches, and then There is no sound at the top of the house of men Or mice; and the cloud is blown, and the moon again Dapples the apples with deep-sea light.
They are lying in rows there, under the gloomy beams; On the sagging floor; they gather the silver streams Out of the moon, those moonlit apples of dreams, And quiet is the steep stair under.
In the corridors under there is nothing but sleep. And stiller than ever on orchard boughs they keep Tryst with the moon, and deep is the silence, deep On moon-washed apples of wonder.
As those we love decay, we die in part, String after string is sever'd from the heart; Till loosen'd life, at last but breathing clay, Without one pang is glad to fall away. Unhappy he who latest feels the blow! Whose eyes have wept o'er every friend laid low, Dragg'd ling'ring on from partial death to death, Till, dying, all he can resign is—breath.
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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.