There are so many things I have forgot, That once were much to me, or that were not, All lost, as is a childless woman's child And its child's children, in the undefiled Abyss of what can never be again. I have forgot, too, names of the mighty men That fought and lost or won in the old wars, Of kings and fiends and gods, and most of the stars. Some things I have forgot that I forget. But lesser things there are, remembered yet, Than all the others. One name that I have not— Though 'tis an empty thingless name—forgot Never can die because Spring after Spring Some thrushes learn to say it as they sing. There is always one at midday saying it clear And tart—the name, only the name I hear. While perhaps I am thinking of the elder scent That is like food, or while I am content With the wild rose scent that is like memory, This name suddenly is cried out to me From somewhere in the bushes by a bird Over and over again, a pure thrush word.
High and smaller goes the moon, she is small and very far from me, Wistful and candid, watching me wistfully, and I see Trembling blue in her pallor a tear that surely I have seen before, A tear which I had hoped that even hell held not again in store.
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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.