Poem fractal
0.028 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.
−0.2303 − 0.0818i
Drawing the boundary…
by T. E. Brown
−0.2577 − 0.0859i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
He preached upon “Breadth” till it argued him narrow —
The Broad are too broad to define
And of “Truth” until it proclaimed him a Liar —
The Truth never flaunted a Sign —
Simplicity fled from his counterfeit presence
As Gold the Pyrites would shun —
What confusion would cover the innocent Jesus
To meet so enabled a Man!
by T. E. Brown
O life of man, if life 'tis meet to call
This rolling with a rolling ball
Some seventy periods round the sun—
O life, that only art to have begun
A life, then straight art not a life at all.
O rigid curve mechanical,
If thou wert only absolute,
If all our energies were summed in thee,
If one great pathos thrilled the iron ring,
If, points upon the circle, fixed and mute
We felt the dominant spring
And strain of power, then were it blest to be!—
Not death would all be death, if, truly free,
We had the motion of the sphere,
If no quick atom jarred
Oblique, and crossed the act divine,
And vexed the loyal round with idiot cheer
Of self, and scrabbled all the line
With zigzags of the will, and kindly oneness marred.
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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