Some are laughing, some are weeping; She is sleeping, only sleeping. Round her rest wild flowers are creeping; There the wind is heaping, heaping Sweetest sweets of Summer's keeping, By the cornfields ripe for reaping.
There are lilies, and there blushes The deep rose, and there the thrushes Sing till latest sunlight flushes In the west; a fresh wind brushes Through the leaves while evening hushes.
There by day the lark is singing And the grass and weeds are springing: There by night the bat is winging; There forever winds are bringing Far-off chimes of church-bells ringing.
Night and morning, noon and even, Their sound fills her dreams with Heaven: The long strife at length is striven: Till her grave-bands shall be riven Such is the good portion given To her soul at rest and shriven.
These little firs to-day are things To clasp into a giant's cap, Or fans to suit his lady's lap. From many winters many springs Shall cherish them in strength and sap, Till they be marked upon the map, A wood for the wind's wanderings.
All seed is in the sower's hands: And what at first was trained to spread Its shelter for some single head, — Yea, even such fellowship of wands, — May hide the sunset, and the shade Of its great multitude be laid Upon the earth and elder sands.
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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.