Poem fractal
0.010 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.
−0.4717 − 0.5300i
Drawing the boundary…
−0.4804 − 0.5260i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The sky of brightest gray seems dark
To one whose sky was ever white.
To one who never knew a spark,
Thro' all his life, of love or light,
The grayest cloud seems over-bright.
The robin sounds a beggar's note
Where one the nightingale has heard,
But he for whom no silver throat
Its liquid music ever stirred,
Deems robin still the sweetest bird.
A bell tolls on in my heart
As though in my ears a knell
Had ceased for awhile to swell,
But the sense of it would not part
From the spirit that bears its part
In the chime of the soundless bell.
Ah dear dead singer of sorrow,
The burden is now not thine
That grief bade sound for a sign
Through the songs of the night whose morrow
Has risen, and I may not borrow
A beam from its radiant shrine.
The burden has dropped from thee
That grief on thy life bound fast;
The winter is over and past
Whose end thou wast fain to see.
Shall sorrow not comfort me
That is thine no longer—at last?
Good day, good night, and good morrow,
Men living and mourning say.
For thee we could only pray
That night of the day might borrow
Such comfort as dreams lend sorrow:
Death gives thee at last good day.
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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