Firewood
First was a fire of myrtle,
Just for my Love and me;
The storm at the door might hurtle,
But safe within sat we.
Now cypress boughs are burning
Upon my hearth, and all
Whose hearts are sore with yearning
May share my forest-hall.
Poem fractal
0.015 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.
First was a fire of myrtle,
Just for my Love and me;
The storm at the door might hurtle,
But safe within sat we.
Now cypress boughs are burning
Upon my hearth, and all
Whose hearts are sore with yearning
May share my forest-hall.
May! queen of blossoms,
And fulfilling flowers,
With what pretty music
Shall we charm the hours?
Wilt thou have pipe and reed,
Blown in the open mead?
Or to the lute give heed
In the green bowers?
Thou hast no need of us,
Or pipe or wire;
Thou hast the golden bee
Ripen'd with fire;
And many thousand more
Songsters, that thee adore,
Filling earth's grassy floor
With new desire.
Thou hast thy mighty herds,
Tame and free-livers;
Doubt not, thy music too
In the deep rivers;
And the whole plumy flight
Warbling the day and night—
Up at the gates of light,
See, the lark quivers!
When with the jacinth
Coy fountains are tressed;
And for the mournful bird
Green woods are dressed,
That did for Tereus pine;
Then shall our songs be thine,
To whom our hearts incline:
MAY, be thou blessed!
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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