Poem fractal
0.026 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.
−0.2012 − 0.5674i
Drawing the boundary…
by Jane Austen
−0.2057 − 0.5933i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Undue Significance a starving man attaches
To Food —
Far off — He sighs — and therefore — Hopeless —
And therefore — Good —
Partaken — it relieves — indeed —
But proves us
That Spices fly
In the Receipt — It was the Distance —
Was Savory —
by Jane Austen
When stretch'd on one's bed
With a fierce-throbbing head,
Which precludes alike thought or repose,
How little one cares
For the grandest affairs
That may busy the world as it goes!
How little one feels
For the waltzes and reels
Of our Dance-loving friends at a Ball!
How slight one's concern
To conjecture or learn
What their flounces or hearts may befall.
How little one minds
If a company dines
On the best that the Season affords!
How short is one's muse
O'er the Sauces and Stews,
Or the Guests, be they Beggars or Lords.
How little the Bells,
Ring they Peels, toll they Knells,
Can attract our attention or Ears!
The Bride may be married,
The Corse may be carried
And touch nor our hopes nor our fears.
Our own bodily pains
Ev'ry faculty chains;
We can feel on no subject besides.
Tis in health and in ease
We the power must seize
For our friends and our souls to provide.
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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