Thule
This is no new battle —
immense though it be.
This is the battle of always —
common to men as in things.
And that land,
that beautiful place,
receding, receding so far away;
that is no new land —
dream though it be.
That is the land of never.
Poem fractal
0.020 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.
This is no new battle —
immense though it be.
This is the battle of always —
common to men as in things.
And that land,
that beautiful place,
receding, receding so far away;
that is no new land —
dream though it be.
That is the land of never.
There's no use in weeping,
Though we are condemned to part:
There's such a thing as keeping
A remembrance in one's heart:
There's such a thing as dwelling
On the thought ourselves have nursed,
And with scorn and courage telling
The world to do its worst.
We'll not let its follies grieve us,
We'll just take them as they come;
And then every day will leave us
A merry laugh for home.
When we've left each friend and brother,
When we're parted wide and far,
We will think of one another,
As even better than we are.
Every glorious sight above us,
Every pleasant sight beneath,
We'll connect with those that love us,
Whom we truly love till death!
In the evening, when we're sitting
By the fire, perchance alone,
Then shall heart with warm heart meeting,
Give responsive tone for tone.
We can burst the bonds which chain us,
Which cold human hands have wrought,
And where none shall dare restrain us
We can meet again, in thought.
So there's no use in weeping,
Bear a cheerful spirit still;
Never doubt that Fate is keeping
Future good for present ill!
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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