Poem fractal
0.060 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.
0.3909 + 0.3032i
Drawing the boundary…
0.3532 + 0.3494i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
If "compression is the first grace of style,"
you have it. Contractility is a virtue
as modesty is a virtue.
It is not the acquisition of any one thing
that is able to adorn,
or the incidental quality that occurs
as a concomitant of something well said,
that we value in style,
but the principle that is hid:
in the absence of feet, "a method of conclusions";
"a knowledge of principles,"
in the curious phenomenon of your occipital horn.
The wages of work is cash.
The wages of cash is want more cash.
The wages of want more cash is vicious competition.
The wages of vicious competition is—the world we live in.
The work-cash-want circle is the viciousest circle
that ever turned men into fiends.
Earning a wage is a prison occupation
and a wage-earner is a sort of gaol-bird.
Earning a salary is a prison overseer's job,
a gaoler instead of a gaol-bird.
Living on your income is strolling grandly outside the prison
in terror lest you have to go in. And since the work-prison covers
almost every scrap of the living earth, you stroll up and down
on a narrow beat, about the same as a prisoner taking his exercise.
This is called universal freedom.
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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