Poem fractal
0.022 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.
Each poem scrolls on its own, so the two texts stay beside each other.
Over thy head, in joyful wanderings
Through heaven's wide spaces, free,
Birds fly with music in their wings;
And from the blue, rough sea
The fishes flash and leap;
There is a life of loveliest things
O'er thee, so fast asleep.
In the deep West the heavens grow heavenlier,
Eve after eve; and still
The glorious stars remember to appear;
The roses on the hill
Are fragrant as before:
Only thy face, of all that's dear,
I shall see nevermore!
Do you remember
How night after night swept level and low
Overhead, at home, and had not one star,
Nor one narrow gate for the moon to go
Forth to her field of November.
And you remember,
How towards the north a red blot on the sky
Burns like a blotch of anxiety
Over the forges, and small flames ply
Like ghosts the shadow of the ember.
Those were the days
When it was awful autumn to me,
When only there glowed on the dark of the sky
The red reflection of her agony,
My beloved smelting down in the blaze
Of death—my dearest
Love who had borne, and was now leaving me.
And I at the foot of her cross did suffer
My own gethsemane.
So I came to you,
And twice, after great kisses, I saw
The rim of the moon divinely rise
And strive to detach herself from the raw
Blackened edge of the skies.
Strive to escape;
With her whiteness revealing my sunken world
Tall and loftily shadowed. But the moon
Never magnolia-like unfurled
Her white, her lamp-like shape.
For you told me no,
And bade me not to ask for the dour
Communion, offering—“a better thing.”
So I lay on your breast for an obscure hour
Feeling your fingers go
Like a rhythmic breeze
Over my hair, and tracing my brows,
Till I knew you not from a little wind:
—I wonder now if God allows
Us only one moment his keys.
If only then
You could have unlocked the moon on the night,
And I baptized myself in the light
Of your love; we both have entered then the white
Pure passion, and never again.
I wonder if only
You had taken me then, how different
Life would have been: should I have spent
Myself in waste, and you have bent
Your pride, through being lonely?
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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