Hope is a subtle glutton
Hope is a subtle glutton;
He feeds upon the fair;
And yet, inspected closely,
What abstinence is there!
His is the halcyon table
That never seats but one,
And whatsoever is consumed
The same amounts remain.
Poem fractal
0.054 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.
0.1973 − 1.1866i
Drawing the boundary…
0.1526 − 1.2177i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Hope is a subtle glutton;
He feeds upon the fair;
And yet, inspected closely,
What abstinence is there!
His is the halcyon table
That never seats but one,
And whatsoever is consumed
The same amounts remain.
The ills I sorrow at
Not me alone
Like an arrow,
Pierce to the marrow,
Through the fat
And past the bone.
Your grief and mine
Must intertwine
Like sea and river,
Be fused and mingle,
Diverse yet single,
Forever and forever.
Let no man be so proud
And confident,
To think he is allowed
A little tent
Pitched in a meadow
Of sun and shadow
All his little own.
Joy may be shy, unique,
Friendly to a few,
Sorrow never scorned to speak
To any who
Were false or true.
Your every grief
Like a blade
Shining and unsheathed
Must strike me down.
Of bitter aloes wreathed,
My sorrow must be laid
On your head like a crown.
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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