Poem fractal
0.018 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.
−0.4293 − 0.6813i
Drawing the boundary…
by Hart Crane
−0.4355 − 0.6643i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I will hide my soul and its mighty love
In the bosom of this rose,
And its dispensing breath will take
My love where'er it goes.
And perhaps she'll pluck this very rose,
And quick as blushes start,
Will breathe my hidden secret in
Her unsuspecting heart.
And there I will live in her embrace
And the realm of sweetness there,
Enamored with an ecstasy
Of bliss beyond compare.
by Hart Crane
Whitely, while benzine
Rinsings from the moon
Dissolve all but the windows of the mills
(Inside the sure machinery
Is still
And curdled only where a sill
Sluices its one unyielding smile)
Immaculate venom binds
The fox's teeth, and swart
Thorns freshen on the year's
First blood. From flanks unfended,
Twanged red perfidies of spring
Are trillion on the hill.
And the nights opening
Chant pyramids,—
Anoint with innocence,—recall
To music and retrieve what perjuries
Had galvanized the eyes.
While chime
Beneath and all around
Distilling clemencies,—worms'
Inaudible whistle, tunneling
Not penitence
But song, as these
Perpetual fountains, vines,—
Thy Nazarene and tinder eyes.
(Let sphinxes from the ripe
Borage of death have cleared my tongue
Once and again; vermin and rod
No longer bind. Some sentient cloud
Of tears flocks through the tendoned loam:
Betrayed stones slowly speak.)
Names peeling from Thine eyes
And their undimming lattices of flame,
Spell out in palm and pain
Compulsion of the year, O Nazarene.
Lean long from sable, slender boughs,
Unstanched and luminous. And as the nights
Strike from Thee perfect spheres,
Lift up in lilac-emerald breath the grail
Of earth again—
Thy face
From charred and riven stakes, O
Dionysus, Thy
Unmangled target smile.
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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