I stood where Love in brimming armfuls bore Slight wanton flowers and foolish toys of fruit: And round him ladies thronged in warm pursuit, Fingered and lipped and proffered the strange store. And from one hand the petal and the core Savored of sleep; and cluster and curled shoot Seemed from another hand like shame's salute, — Gifts that I felt my cheek was blushing for.
At last Love bade my Lady give the same: And as I looked, the dew was light thereon; And as I took them, at her touch they shone With inmost heaven-hue of the heart of flame. And then Love said: "Lo! when the hand is hers, Follies of love are love's true ministers."
There is a courage, a majestic thing That springs forth from the brow of pain, full-grown, Minerva-like, and dares all dangers known, And all the threatening future yet may bring; Crowned with the helmet of great suffering; Serene with that grand strength by martyrs shown, When at the stake they die and make no moan, And even as the flames leap up are heard to sing:
A courage so sublime and unafraid, It wears its sorrows like a coat of mail; And Fate, the archer, passes by dismayed, Knowing his best barbed arrows needs must fail To pierce a soul so armored and arrayed That Death himself might look on it and quail.
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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.