Poem fractal
0.025 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.
−0.1136 − 0.9205i
Drawing the boundary…
−0.0890 − 0.9235i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
‘Twas a long Parting — but the time
For Interview — had Come —
Before the Judgment Seat of God —
The last — and second time
These Fleshless Lovers met —
A Heaven in a Gaze —
A Heaven of Heavens — the Privilege
Of one another’s Eyes —
No Lifetime — on Them —
Appareled as the new
Unborn — except They had beheld —
Born infiniter — now —
Was Bridal — e’er like This?
A Paradise — the Host —
And Cherubim — and Seraphim —
The unobtrusive Guest —
So it is, my dear.
All such things touch secret strings
For heavy hearts to hear.
So it is, my dear.
Very like indeed:
Sea and sky, afar, on high,
Sand and strewn seaweed, —
Very like indeed.
But the sea stands spread
As one wall with the flat skies,
Where the lean black craft like flies
Seem well-nigh stagnated,
Soon to drop off dead.
Seemed it so to us
When I was thine and thou wast mine,
And all these things were thus,
But all our world in us?
Could we be so now?
Not if all beneath heaven's pall
Lay dead but I and thou,
Could we be so now!
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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