Stature
by Helen Hoyt
I must stand on tiptoe to reach your lips,
I must stand on tiptoe in my soul to reach you,
To reach the height of my own love.
It is what I want—to have you tall.
Poem fractal
0.097 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 Helen Hoyt
0.7654 − 0.1682i
Drawing the boundary…
0.8067 − 0.2565i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Helen Hoyt
I must stand on tiptoe to reach your lips,
I must stand on tiptoe in my soul to reach you,
To reach the height of my own love.
It is what I want—to have you tall.
I am dead and in my grave.
Let me alone.
The seeping of rains down through me,
And the reaching of roots down after me,
And the skimming of leaves above me, are enough.
Let me alone.
You have had your will of me,
So wherefore, now,
Should your questions creep here to me,
And the roots of your doubt reach at me,
And your thoughts restively skim and shudder above me?
Let me alone.
Would you rifle the grave too?
Go away.
I have nothing left for your taking.
My hair is not gold, but dust now.
My eyes are not stars, but stillness.
My flesh is not beauty aflame, but very cool.
Let me alone.
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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