Poem fractal
0.041 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.
There came a wind like a bugle;
It quivered through the grass,
And a green chill upon the heat
So ominous did pass
We barred the windows and the doors
As from an emerald ghost;
The doom's electric moccason
That very instant passed.
On a strange mob of panting trees,
And fences fled away,
And rivers where the houses ran
The living looked that day.
The bell within the steeple wild
The flying tidings whirled.
How much can come
And much can go,
And yet abide the world!
There's a soldier that's been doing of his share
In the fighting up and down and round about.
He's continually marching here and there
And he's fighting, morning in and morning out.
The Boer, you see, he generally runs;
But sometimes when he hides behind a rock,
And we can't make no impression with the guns,
Oh, then you'll hear the order, 'Send for Jock!'
Yes, it's Jock — Scotch Jock.
He's the fellow that can give or take a knock.
For he's hairy and he's hard,
And his feet are by the yard,
And his face is like the face what's on a clock.
But when the bullets fly you will mostly hear the cry —
'Send for Jock!'
The Cavalry have gun and sword and lance,
Before they choose their weapon, why, they're dead.
The Mounted Fut are hampered in advance
By holding of their helmets on their head.
And when the Boer has dug himself a trench
And placed his Maxim gun behind a rock,
These mounted heroes — pets of Johnny French —
They have to sit and wait and send for Jock!
Yes, the Jocks — Scotch Jocks,
With their music that'd terrify an ox!
When the bullets kick the sand
You can hear the sharp command —
'Forty-Second! At the double! Charge the rocks!'
And the charge is like a flood
When they've warmed the Highland blood
Of the Jocks!
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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