Poem fractal
0.025 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.
−0.0899 − 0.8262i
Drawing the boundary…
−0.0806 − 0.8035i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Never can God together put
That slight and sunny hour;
More serious things are in His sweep,
But this beyond His power.
Never the sunbeam quite as then,
Never the way it came!
Never thy head in just the place,
Never thy hand the same!
The sunbeam was not over-bright,
It came a wonted way,
Thy head had no uncommon droop;
Thy words were light and gay.
Yet dreadful is that sunlight now,
Awful that droop of head.
For they are sacred sudden things,
And dear as are the dead.
I met a child upon the moor
A-wading down the heather;
She put her hand into my own,
We crossed the fields together.
I led her to her father's door—
A cottage midst the clover.
I left her—and the world grew poor
To me, a childless rover.
I met a maid upon the moor,
The morrow was her wedding.
Love lit her eyes with lovelier hues
Than the eve-star was shedding.
She looked a sweet good-bye to me,
And o'er the stile went singing.
Down all the lonely night I heard
But bridal bells a-ringing.
I met a mother on the moor,
By a new grave a-praying.
The happy swallows in the blue
Upon the winds were playing.
"Would I were in his grave," I said,
"And he beside her standing!"
There was no heart to break if death
For me had made demanding.
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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