Poem fractal
0.064 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.
−0.6283 − 0.8697i
Drawing the boundary…
−0.6173 − 0.8063i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I think the hemlock likes to stand
Upon a marge of snow;
It suits his own austerity,
And satisfies an awe
That men must slake in wilderness,
Or in the desert cloy, —
An instinct for the hoar, the bald,
Lapland's necessity.
The hemlock's nature thrives on cold;
The gnash of northern winds
Is sweetest nutriment to him,
His best Norwegian wines.
To satin races he is nought;
But children on the Don
Beneath his tabernacles play,
And Dnieper wrestlers run.
Where sunless rivers weep
Their waves into the deep,
She sleeps a charmèd sleep:
Awake her not.
Led by a single star,
She came from very far
To seek where shadows are
Her pleasant lot.
She left the rosy morn,
She left the fields of corn,
For twilight cold and lorn
And water springs.
Through sleep, as through a veil,
She sees the sky look pale,
And hears the nightingale
That sadly sings.
Rest, rest, a perfect rest
Shed over brow and breast;
Her face is toward the west,
The purple land.
She cannot see the grain
Ripening on hill and plain;
She cannot feel the rain
Upon her hand.
Rest, rest, forevermore
Upon a mossy shore;
Rest, rest at the heart's core
Till time shall cease:
Sleep that no pain shall wake,
Night that no morn shall break,
Till joy shall overtake
Her perfect peace.
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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