To-day I want the sky, The tops of the high hills, Above the last man's house, His hedges, and his cows, Where, if I will, I look Down even on sheep and rook, And of all things that move See buzzards only above:— Past all trees, past furze And thorn, where nought deters The desire of the eye For sky, nothing but sky. I sicken of the woods And all the multitudes Of hedge-trees. They are no more Than weeds upon this floor Of the river of air Leagues deep, leagues wide, where I am like a fish that lives In weeds and mud and gives What's above him no thought. I might be a tench for aught That I can do to-day Down on the wealden clay. Even the tench has days When he floats up and plays Among the lily leaves And sees the sky, or grieves Not if he nothing sees: While I, I know that trees Under that lofty sky Are weeds, fields mud, and I Would arise and go far To where the lilies are.
''Ow can it rain,' the old man said, 'with things the way they are? You've got to learn off ant and bee, and jackass and galah; And no man never saw it rain, for fifty years at least, Not when the blessed parakeets are flyin' to the east!'
The weeks went by, the squatter wrote to tell his bank the news. 'It's still as dry as dust,' he said, 'I'm feeding all the ewes; The overdraft would sink a ship, but make your mind at rest, It's all right now, the parakeets are flyin' to the west.'
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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.