There was a time when this poor frame was whole And I had youth and never another care, Or none that should have troubled a strong soul. Yet, except sometimes in a frosty air When my heels hammered out a melody From pavements of a city left behind, I never would acknowledge my own glee Because it was less mighty than my mind Had dreamed of. Since I could not boast of strength Great as I wished, weakness was all my boast. I sought yet hated pity till at length I earned it. Oh, too heavy was the cost. But now that there is something I could use My youth and strength for, I deny the age, The care and weakness that I know—refuse To admit I am unworthy of the wage Paid to a man who gives up eyes and breath For what can neither ask nor heed his death.
Please your Grace, from out your store Give an alms to one that's poor, That your mickle may have more. Black I'm grown for want of meat, Give me then an ant to eat, Or the cleft ear of a mouse Over-sour'd in drink of souce; Or, sweet lady, reach to me The abdomen of a bee; Or commend a cricket's hip, Or his huckson, to my scrip; Give for bread, a little bit Of a pease that 'gins to chit, And my full thanks take for it. Flour of fuz-balls, that's too good For a man in needy-hood; But the meal of mill-dust can Well content a craving man; Any orts the elves refuse Well will serve the beggar's use. But if this may seem too much For an alms, then give me such Little bits that nestle there In the pris'ner's pannier. So a blessing light upon You, and mighty Oberon; That your plenty last till when I return your alms again.
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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.