Poem fractal
0.014 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.
The cricket sang,
And set the sun,
And workmen finished, one by one,
Their seam the day upon.
The low grass loaded with the dew,
The twilight stood as strangers do
With hat in hand, polite and new,
To stay as if, or go.
A vastness, as a neighbor, came, —
A wisdom without face or name,
A peace, as hemispheres at home, —
And so the night became.
The sea called—
you faced the estuary,
you were drowned as the tide passed.—
I am glad of this—
at least you have escaped.
The heavy sea-mist stifles me.
I choke with each breath—
a curious peril, this—
the gods have invented
curious torture for us.
One of us, pierced in the flank,
dragged himself across the marsh,
he tore at the bay-roots,
lost hold on the crumbling bank—
Another crawled—too late—
for shelter under the cliffs.
I am glad the tide swept you out,
O beloved,
you of all this ghastly host
alone untouched,
your white flesh covered with salt
as with myrrh and burnt iris.
We were hemmed in this place,
so few of us, so few of us to fight
their sure lances,
the straight thrust-effortless
with slight life of muscle and shoulder.
So straight—only we were left,
the four of us—somehow shut off.
And the marsh dragged one back,
and another perished under the cliff,
and the tide swept you out.
Your feet cut steel on the paths,
I followed for the strength
of life and grasp.
I have seen beautiful feet
but never beauty welded with strength.
I marvelled at your height.
You stood almost level
with the lance-bearers
and so slight.
And I wondered as you clasped
your shoulder-strap
at the strength of your wrist
and the turn of your young fingers,
and the lift of your shorn locks,
and the bronze
of your sun-burnt neck.
All of this,
and the curious knee-cap,
fitted above the wrought greaves,
and the sharp muscles of your back
which the tunic could not cover—
the outline
no garment could deface.
I wonder if you knew how I watched,
how I crowded before the spearsmen—
but the gods wanted you,
the gods wanted you back.
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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