Poem fractal
0.014 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.
−0.0053 − 0.6376i
Drawing the boundary…
by Robert Burns
−0.0029 − 0.6516i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The nearest dream recedes—unrealized—
The Heaven we chase
Like the June Bee—before the school-boy,
Invites the race—
Stoops—to an easy clover —
Dips—evades—teazes—deploys—
Then—to the Royal Clouds
Lifts his light pinnace
Heedless of the boy—
Staring—bewildered—at the mocking sky—
Homesick for steadfast Honey—
Ah! the Bee flies not
That brews that rare variety!
by Robert Burns
I.
Nae gentle dames, tho' e'er sae fair,
Shall ever be my muse's care:
Their titles a' are empty show;
Gie me my Highland lassie, O.
Within the glen sae bushy, O,
Aboon the plains sae rushy, O,
I set me down wi' right good-will,
To sing my Highland lassie, O.
II.
Oh, were yon hills and valleys mine,
Yon palace and yon gardens fine,
The world then the love should know
I bear my Highland lassie, O.
III.
But fickle fortune frowns on me,
And I maun cross the raging sea;
But while my crimson currents flow,
I'll love my Highland lassie, O.
IV.
Altho' thro' foreign climes I range,
I know her heart will never change,
For her bosom burns with honour's glow,
My faithful Highland lassie, O.
V.
For her I'll dare the billows' roar,
For her I'll trace a distant shore,
That Indian wealth may lustre throw
Around my Highland lassie, O.
VI.
She has my heart, she has my hand,
By sacred truth and honour's band!
'Till the mortal stroke shall lay me low,
I'm thine, my Highland lassie, O.
Farewell the glen sae bushy, O!
Farewell the plain sae rushy, O!
To other lands I now must go,
To sing my Highland lassie, O.
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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