Poem fractal
0.023 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.
0.2225 − 0.5240i
Drawing the boundary…
0.2124 − 0.5447i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
You ask for summer instead of cold weather,
But that can never be,
The passion that once so bound us together,
Forever is dead in me.
O yes! I loved and sought to discover
To you my heart's distress,
But the love you cheaply gave to another,
Turned mine to bitterness.
It is now too late; and past forever
The time to gather in
The ties of love and bind together,
The life that might have been.
Unruly tenant of my heart,
Full fain would I be quit of thee.
I've played too long a losing part.
Thou bringest me neither gold nor fee.
'Tis time thou shouldst thy holding yield,
Thy will and mine no longer meet.
With cockle hast thou sowed my field,
With squanderings all the public street.
Thy presence doth disturb my pride.
Let me be owner of my own.
I fling thee with thy goods outside
And bar re--entry with a stone.
Begone and hide thee from my face.
I will not see thee chiding there.
Away, to live in my disgrace!
Away, to die in thy despair!
O impotence of human wit!
The law is mine, the fault in thee,
And yet in vain I serve the writ,
In vain I scourge thee with decree.
For lo, in stillness of the night,
O'erturning stone and guard and door,
Thou art come with thy lost tenant--right
And hast possession as before.
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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