Poem fractal
0.015 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.
0.1043 − 0.8508i
Drawing the boundary…
0.0907 − 0.8567i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Before you thought of spring,
Except as a surmise,
You see, God bless his suddenness,
A fellow in the skies
Of independent hues,
A little weather-worn,
Inspiriting habiliments
Of indigo and brown.
With specimens of song,
As if for you to choose,
Discretion in the interval,
With gay delays he goes
To some superior tree
Without a single leaf,
And shouts for joy to nobody
But his seraphic self!
I went upon a journey
To countries far away,
From province unto province,
To pass my holiday.
And when I came to Serbia,
In a quiet little town
At an inn with a flower-filled garden
With a soldier I sat down.
Now he lies dead at Belgrade.
You heard the cannon roar!
It boomed from Rome to Stockholm,
It pealed to the far west shore.
And when I came to Russia,
A man with flowing hair
Called me his friend and showed me
A flowing river there.
Now he lies dead at Lemberg,
Beside another stream,
In his dark eyes extinguished
The friendship of his dream.
And then I crossed two countries
Whose names on my lips are sealed….
Not yet had they flung their challenge
Nor led upon the field
Sons who lie dead at Liège,
Dead by the Russian lance,
Dead in southern mountains,
Dead through the farms of France.
I stopped in the land of Louvain,
So tranquil, happy, then.
I lived with a good old woman,
With her sons and her grandchildren.
Now they lie dead at Louvain,
Those simple kindly folk.
Some heard, some fled. It must be
Some slept, for they never woke.
I came to France. I was thirsty.
I sat me down to dine.
The host and his young wife served me
With bread and fruit and wine.
Now he lies dead at Cambrai—
He was sent among the first.
In dreams she sees him dying
Of wounds, of heat, of thirst.
At last I passed to Dover
And saw upon the shore
A tall young English captain
And soldiers, many more.
Now they lie dead at Dixmude,
The brave, the strong, the young!
I turn unto my homeland,
All my journey sung!
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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