Poem fractal
0.076 apart. A smaller distance means the lines are built more alike.
This number is read from the build of the lines. The bright edge is that number, carried outward until the pattern repeats.
by John Bartlet
0.3809 − 0.5068i
Drawing the boundary…
by Robert Burns
0.3690 − 0.5820i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by John Bartlet
Whither runeth my sweethart
Stay and take me with thee,
Merily Ile play my part,
Stay and thou shalt see me,
O have I ketcht thee, hay ding a ding a ding
This ketching is a prety thing.
Tarrie are you gone againe
What no longer liking,
I wil ketch thee once a-gaine,
Stay while I am rising,
Do you tarry then prety little one I thought
I shold please thee ere we did part.
by Robert Burns
Ye banks and braes o' bonnie Doon,
How can ye bloom sae fresh and fair?
How can ye chant, ye little birds,
And I sae weary, fu' o' care?
Thou'lt break my heart, thou warbling bird,
That wantons through the flowering thorn;
Thou minds me o' departed joys,
Departed—never to return.
Thou'lt break my heart, thou bonnie bird,
That sings beside thy mate;
For sae I sat, and sae I sang,
And wistna o' my fate.
Aft hae I roved by bonnie Doon,
To see the rose and woodbine twine;
And ilka bird sang o' its luve,
And, fondly, sae did I o' mine.
Wi' lightsome heart I pou'd a rose,
Fu' sweet upon its thorny tree;
And my fause luver stole my rose,
But ah! he left the thorn wi' me.
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.
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.
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.
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