A Dream
I had a dream of her last night;
It seemed I was in Hell;
A listless river past me went,
Of which old poets tell.
And as I watched the slipping stream,
A tress of woman's hair
Was drifted on the languid wave,
And it was golden fair.
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.
−0.4911 − 0.8400i
Drawing the boundary…
−0.5175 − 0.8446i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I had a dream of her last night;
It seemed I was in Hell;
A listless river past me went,
Of which old poets tell.
And as I watched the slipping stream,
A tress of woman's hair
Was drifted on the languid wave,
And it was golden fair.
Five-and-thirty black slaves,
Half-a-hundred white,
All their duty but to sing
For their Queen's delight,
Now with throats of thunder,
Now with dulcet lips,
While she rules them royally
With her finger-tips!
When she quits her palace,
All the slaves are dumb-
Dumb with dolour till the Queen
Back to Court is come:
Dumb the throats of thunder,
Dumb the dulcet lips,
Lacking all the sovereignty
Of her finger-tips.
Dusky slaves and pallid,
Ebon slaves and white,
When the Queen was on her throne
How you sang to-night!
Ah, the throats of thunder!
Ah, the dulcet lips!
Ah, the gracious tyrannies
Of her finger-tips!
Silent, silent, silent,
All your voices now;
Was it then her life alone
Did your life endow?
Waken, throats of thunder!
Waken, dulcet lips!
Touched to immortality
By her finger-tips.
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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