Aspiration
We never know how high we are
Till we are called to rise;
And then, if we are true to plan,
Our statures touch the skies.
The heroism we recite
Would be a daily thing,
Did not ourselves the cubits warp
For fear to be a king.
Poem fractal
0.050 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.
0.1994 − 0.9180i
Drawing the boundary…
by A.E.Housman
0.2361 − 0.9517i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
We never know how high we are
Till we are called to rise;
And then, if we are true to plan,
Our statures touch the skies.
The heroism we recite
Would be a daily thing,
Did not ourselves the cubits warp
For fear to be a king.
by A.E.Housman
Leave your home behind, lad,
And reach your friends your hand,
And go, and luck go with you
While Ludlow tower shall stand.
Oh, come you home of Sunday
When Ludlow streets are still
And Ludlow bells are calling
To farm and lane and mill,
Or come you home of Monday
When Ludlow market hums
And Ludlow chimes are playing
"The conquering hero comes,"
Come you home a hero,
Or come not home at all,
The lads you leave will mind you
Till Ludlow tower shall fall.
And you will list the bugle
That blows in lands of morn,
And make the foes of England
Be sorry you were born.
And you till trump of doomsday
On lands of morn may lie,
And make the hearts of comrades
Be heavy where you die.
Leave your home behind you,
Your friends by field and town
Oh, town and field will mind you
Till Ludlow tower is down.
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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