Poem fractal
0.074 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.
0.5088 + 0.2328i
Drawing the boundary…
0.5544 + 0.1743i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
O ye tender babes of England,
shake off slothfulness, set wantonness apart.
Apply your wits wholly to learning and virtue,
whereby you may do your duty to God and your King.
Make glad your parents, profit yourselves,
And much advance the commonweal of your country.
You have forgotten me, but I forget not,
How kind you were before another shadow
Fell beside yours in garth and garden-closes,
And on the sweet grass of the water-meadow,
Her shadow close to yours among the roses:
The grace that summer yields her, I regret not —
You have forgotten me, but I forget not.
You have forgotten me, but I remember:
I bide my time, dear heart; I bide my time.
You have no need of me now lilies blow,
And bees are busy in the murmuring lime.
But when the lilies lose themselves in snow,
Love, you will cry on me in mid-December;
You have forgotten me, but I remember.
Forget me now you're glad, but when you're grieving
Turn home to me for comfort; there's no rue
Grown in my garden for my Dear to gather:
Only kind rosemary grows green for you.
And I have honey sucked from highland heather,
And dreams for you of mine own faithful weaving;
Be glad with her to-day! I wait your grieving.
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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