Come unto these yellow sands, And then take hands: Curtsied when you have, and kiss'd The wild waves whist, Foot it featly here and there; And, sweet sprites, the burthen bear. Hark, hark! Bow-wow. The watch-dogs bark. Bow-wow. Hark, hark! I hear The strain of strutting chanticleer Cry, Cock-a-diddle-dow.
Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Ding-dong. Hark! now I hear them - Ding-dong, bell.
Oh, the burden, the burden of love ungiven, The weight of laughter unshed, Oh, heavy caresses, unblown tendernesses, Oh, love-words unsung and unsaid.
Oh, the burden, the burden of love unspoken, The cramp of silence close-furled, To lips that would utter, to hands that would scatter Love's seed on the paths of the world.
Oh, the heavy burden of love ungiven: My breast doth this burden bear; Deep in my bosom the unblown blossom— My world-love that withers there.
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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.