Poem fractal
0.027 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.
−0.6146 − 0.4169i
Drawing the boundary…
−0.5873 − 0.4201i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I shall know why — when Time is over —
And I have ceased to wonder why —
Christ will explain each separate anguish
In the fair schoolroom of the sky —
He will tell me what “Peter” promised —
And I — for wonder at his woe —
I shall forget the drop of Anguish
That scalds me now — that scalds me now!
Though dark the night, my brother,
And dreary clouds bedeck the evening sky;
No star appears, and cold the wind doth blow,
The night must pass; and then,
The morning comes apace.
What though 'tis dark, my brother,
Canst thou not look beyond the stygian gloom;
See one faint ray of hope to lighten up
The darkness of the sky?
And still canst see His face?
God is not dead, my brother,
On Him my soul in faith will lean,
In darkest hour, if he but light the way
No fear can chill, for still
His mighty arm can save.
I only fear the wrong, my brother,
With God and right I breathe defiance bold
To every foe: for we can battle down
The hosts of hell and sin,
And triumph o'er the grave.
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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