Poem fractal
0.026 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.
−0.4248 − 0.6154i
Drawing the boundary…
by A.E.Housman
−0.4015 − 0.6034i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
O there is this, unhappy heart,
That makes thee like the solemn wood
Where many pass: How seldom art
Thou understood.
Yet cometh one who seems to feel
What heart and forest feel in tune,
Who loves with heart and wood to kneel
And there commune.
The heart will give him of its sigh,
The wood will clasp him with its hands;
For, see! A stranger draweth nigh
Who understands.
by A.E.Housman
The winds out of the west land blow,
My friends have breathed them there;
Warm with the blood of lads I know
Comes east the sighing air.
It fanned their temples, filled their lungs,
Scattered their forelocks free;
My friends made words of it with tongues
That talk no more to me.
Their voices, dying as they fly,
Thick on the wind are sown;
The names of men blow soundless by,
My fellows' and my own.
Oh lads, at home I heard you plain,
But here your speech is still,
And down the sighing wind in vain
You hollo from the hill.
The wind and I, we both were there,
But neither long abode;
Now through the friendless world we fare
And sigh upon the road.
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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