Poem fractal
0.070 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.
by Yone Noguchi
0.0112 − 1.1089i
Drawing the boundary…
−0.0064 − 1.1766i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Yone Noguchi
Bits of song—what else?
I, a rider of the stream,
Lone between the clouds.
Full of faults, you say.
What beauty in repentance!
Tears, songs—thus life flows.
But the march to life—
Break song to sing the new song!
Clouds leap, flowers bloom.
Song of sea in rain,
Voice of the sky, earth and men!
List, song of my heart.
Once in a golden hour
I cast to earth a seed.
Up there came a flower,
The people said, a weed.
To and fro they went
Thro' my garden-bower,
And muttering discontent
Cursed me and my flower.
Then it grew so tall
It wore a crown of light,
But thieves from o'er the wall
Stole the seed by night.
Sow'd it far and wide
By every town and tower,
Till all the people cried
'Splendid is the flower.'
Read my little fable:
He that runs may read.
Most can raise the flowers now,
For all have got the seed.
And some are pretty enough,
And some are poor indeed;
And now again the people
Call it but a weed.
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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