"Oh, Araba-ji, urge on your steeds That hang their heads and crawl! I am not a Turk to thus brook delay, But a Christian traveller on his way To look at the old town-wall!"
"Effendi, where you are seated now, —Proud as you well may be,— Last night were the corpses piled by the score, And 'twas I who drove them down to the shore To be weighted and cast in the sea;
"And so fast was I bidden to drive the dead Whilst plying to and fro From Prison to Point, 'neath the waning moon, That to-day, perforce, in the eye of noon, I must drive the living slow!"
If I am poor, It is that I am proud; If God has made me naked and a boor, He did not think it fit his work to shroud.
The poor man comes direct from heaven to earth, As stars drop down the sky, and tropic beams; The rich receives in our gross air his birth, As from low suns are slanted golden gleams.
Yon sun is naked, bare of satellite, Unless our earth and moon that office hold; Though his perpetual day feareth no night, And his perennial summer dreads no cold.
Mankind may delve, but cannot my wealth spend; If I no partial wealth appropriate, No armèd ships unto the Indies send, None robs me of my Orient estate.
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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.