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.
−0.4733 − 0.6819i
Drawing the boundary…
−0.4851 − 0.6733i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Some, too fragile for winter winds,
The thoughtful grave encloses, —
Tenderly tucking them in from frost
Before their feet are cold.
Never the treasures in her nest
The cautious grave exposes,
Building where schoolboy dare not look
And sportsman is not bold.
This covert have all the children
Early aged, and often cold, —
Sparrows unnoticed by the Father;
Lambs for whom time had not a fold.
It’s all a farce,—these tales they tell
About the breezes sighing,
And moans astir o’er field and dell,
Because the year is dying.
Such principles are most absurd,—
I care not who first taught ’em;
There’s nothing known to beast or bird
To make a solemn autumn.
In solemn times, when grief holds sway
With countenance distressing,
You’ll note the more of black and gray
Will then be used in dressing.
Now purple tints are all around;
The sky is blue and mellow;
And e’en the grasses turn the ground
From modest green to yellow.
The seed burrs all with laughter crack
On featherweed and jimson;
And leaves that should be dressed in black
Are all decked out in crimson.
A butterfly goes winging by;
A singing bird comes after;
And Nature, all from earth to sky,
Is bubbling o’er with laughter.
The ripples wimple on the rills,
Like sparkling little lasses;
The sunlight runs along the hills,
And laughs among the grasses.
The earth is just so full of fun
It really can’t contain it;
And streams of mirth so freely run
The heavens seem to rain it.
Don’t talk to me of solemn days
In autumn’s time of splendor,
Because the sun shows fewer rays,
And these grow slant and slender.
Why, it’s the climax of the year,—
The highest time of living!—
Till naturally its bursting cheer
Just melts into thanksgiving.
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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