Poem fractal
0.040 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.
−0.3245 + 0.4212i
Drawing the boundary…
−0.3608 + 0.4035i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
To Portsmouth! To Portsmouth! It is a gallant town:
And there we will have a quart of wine with a nutmeg brown,
Diddle down!
The gallant ship, the Mermaid, the Lion, hanging stout,
Did make us to spend there our sixteen pence all out.
Diddle down!
They tell me new methods now govern the Muses,
The modes of expression have changed with the times;
That low is the rank of the poet who uses
The old-fashioned verse with intentional rhymes.
And quite out of date, too, is rhythmical metre;
The critics declare it an insult to art.
But oh! the sweet swing of it, oh! the clear ring of it,
Oh the great pulse of it, right from the heart,
Art or no art.
I sat by the side of that old poet, Ocean,
And counted the billows that broke on the rocks;
The tide lilted in with a rhythmical motion;
The sea-gulls dipped downward in time-keeping flocks.
I watched while a giant wave gathered its forces,
And then on the gray granite precipice burst;
And I knew as I counted, while other waves mounted,
I knew the tenth billow would rhyme with the first.
Below in the village a church bell was chiming,
And back in the woodland a little bird sang;
And, doubt it who will, yet those two sounds were rhyming,
As out o'er the hill-tops they echoed and rang.
The Wind and the Trees fell to talking together;
And nothing they said was didactic or terse;
But everything spoken was told in unbroken
And beautiful rhyming and rhythmical verse.
So rhythm I hail it, though critics assail it,
And hold melting rhymes as an insult to art,
For oh! the sweet swing of it, oh! the dear ring of it,
Oh! the strong pulse of it, right from the heart,
Art or no art.
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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