Poem fractal
0.019 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.
−0.5890 − 0.3663i
Drawing the boundary…
−0.5903 − 0.3851i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Tho’ I get home how late — how late —
So I get home – ’twill compensate —
Better will be the Ecstasy
That they have done expecting me —
When Night — descending — dumb — and dark —
They hear my unexpected knock —
Transporting must the moment be —
Brewed from decades of Agony!
To think just how the fire will burn —
Just how long-cheated eyes will turn —
To wonder what myself will say,
And what itself, will say to me —
Beguiles the Centuries of way!
Thou little bird, thou dweller by the sea,
Why takest thou its melancholy voice,
And with that boding cry
Why o'er the waves dost fly?
O, rather, bird, with me
Through the fair land rejoice!
Thy flitting form comes ghostly dim and pale,
As driven by a beating storm at sea;
Thy cry is weak and scared,
As if thy mates had shared
The doom of us. Thy wail,—
What doth it bring to me?
Thou call'st along the sand, and haunt'st the surge
Restless and sad; as if, in strange accord
With the motion and the roar
Of waves that drive to shore,
One spirit did ye urge—
The Mystery—the Word.
Of thousands, thou, both sepulcher and pall,
Old Ocean! A requiem o'er the dead,
From out thy gloomy cells,
A tale of mourning tells,—
Tells of man's woe and fall,
His sinless glory fled.
Then turn thee, little bird, and take thy flight
Where the complaining sea shall sadness bring
Thy spirit nevermore.
Come, quit with me the shore,
For gladness and the light,
Where birds of summer sing.
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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