Fare thee well, thou lovely one! Lovely still, but dear no more; Once his soul of truth is gone, Love's sweet life is o'er. Thy words, what e'er their flattering spell, Could scarce have thus deceived; But eyes that acted truth so well Were sure to be believed. Then, fare thee well, thou lovely one! Lovely still, but dear no more; Once his soul of truth is gone, Love's sweet life is o'er.
Yet those eyes look constant still, True as stars they keep their light; Still those cheeks their pledge fulfil Of blushing always bright. 'Tis only on thy changeful heart The blame of falsehood lies; Love lives in every other part, But there, alas! he dies. Then, fare thee well, thou lovely one! Lovely still, but dear no more; Once his soul of truth is gone, Love's sweet life is o'er.
Reject me not if I should say to you I do forget the sounding of your voice, I do forget your eyes that searching through The mists perceive our marriage, and rejoice.
Yet, when the apple-blossom opens wide Under the pallid moonlight’s fingering, I see your blanched face at my breast, and hide My eyes from diligent work, malingering.
Ah, then, upon my bedroom I do draw The blind to hide the garden, where the moon Enjoys the open blossoms as they straw Their beauty for his taking, boon for boon.
And I do lift my aching arms to you, And I do lift my anguished, avid breast, And I do weep for very pain of you, And fling myself at the doors of sleep, for rest.
And I do toss through the troubled night for you, Dreaming your yielded mouth is given to mine, Feeling your strong breast carry me on into The peace where sleep is stronger even than wine.
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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.