Life, and Death, and Giants
Life, and Death, and Giants —
Such as These — are still —
Minor — Apparatus — Hopper of the Mill —
Beetle at the Candle —
Or a Fife’s Fame —
Maintain — by Accident that they proclaim —
Poem fractal
0.017 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.
−0.1947 − 0.4533i
Drawing the boundary…
−0.1925 − 0.4700i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Life, and Death, and Giants —
Such as These — are still —
Minor — Apparatus — Hopper of the Mill —
Beetle at the Candle —
Or a Fife’s Fame —
Maintain — by Accident that they proclaim —
A wet sheet and a flowing sea,
A wind that follows fast,
And fills the white and rustling sail,
And bends the gallant mast;
And bends the gallant mast, my boys,
While, like the eagle free,
Away the good ship flies, and leaves
Old England on the lee.
O for a soft and gentle wind!
I heard a fair one cry;
But give to me the snoring breeze,
And white waves heaving high;
And white waves heaving high, my boys,
The good ship tight and free—
The world of waters is our home,
And merry men are we.
There's tempest in yon horned moon,
And lightning in yon cloud;
And hark the music, mariners!
The wind is piping loud;
The wind is piping loud, my boys,
The lightning flashing free—
While the hollow oak our palace is,
Our heritage the sea.
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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