The Spider
A spider sewed at night
Without a light
Upon an arc of white—
If ruff it was of dame
Or shroud of gnome,
Himself himself inform—
Of immortality
His strategy
Was physiognomy—
Poem fractal
0.037 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.
−0.3649 − 1.0532i
Drawing the boundary…
−0.3372 − 1.0775i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
A spider sewed at night
Without a light
Upon an arc of white—
If ruff it was of dame
Or shroud of gnome,
Himself himself inform—
Of immortality
His strategy
Was physiognomy—
Now is the time for mirth;
Nor cheek or tongue be dumb;
For with th' flowery earth
The golden pomp is come.
The golden pomp is come;
For now each tree does wear,
Made of her pap and gum,
Rich beads of amber here.
Now reigns the Rose, and now
Th' Arabian dew besmears
My uncontrolled brow,
And my retorted hairs.
Homer, this health to thee!
In sack of such a kind,
That it would make thee see,
Though thou wert ne'er so blind
Next, Virgil I'll call forth,
To pledge this second health
In wine, whose each cup's worth
An Indian commonwealth.
A goblet next I'll drink
To Ovid; and suppose
Made he the pledge, he'd think
The world had all one nose.
Then this immensive cup
Of aromatic wine,
Catullus! I quaff up
To that terse muse of thine.
Wild I am now with heat:
O Bacchus! cool thy rays;
Or frantic I shall eat
Thy Thyrse, and bite the Bays!
Round, round, the roof does run;
And being ravish'd thus,
Come, I will drink a tun
To my Propertius.
Now, to Tibullus next,
This flood I drink to thee;
—But stay, I see a text,
That this presents to me.
Behold! Tibullus lies
Here burnt, whose small return
Of ashes scarce suffice
To fill a little urn.
Trust to good verses then;
They only will aspire,
When pyramids, as men,
Are lost i' th' funeral fire.
And when all bodies meet
In Lethe to be drown'd;
Then only numbers sweet
With endless life are crown'd.
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.
Install V2Melody
Add a home-screen icon for quicker listening in a simple app window.