Poem fractal
0.087 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.
−0.8204 − 0.5848i
Drawing the boundary…
by Thomas Hardy
−0.9025 − 0.5566i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Watch the dewdrops in the morning,
Shake their little diamond heads,
Sparkling, flashing, ever moving,
From their silent little beds.
See the grass! Each blade is brightened,
Roots are strengthened by their stay;
Like the dewdrops, let us scatter
Gems of love along the way.
by Thomas Hardy
December 1899
She sits in the tawny vapour
That the Thames-side lanes have uprolled,
Behind whose webby fold-on-fold
Like a waning taper
The street-lamp glimmers cold.
A messenger's knock cracks smartly,
Flashed news in her hand
Of meaning it dazes to understand
Though shaped so shortly:
He—he has fallen—in the far South Land…
'Tis the morrow; the fog hangs thicker,
The postman nears and goes:
A letter is brought whose lines disclose
By the firelight flicker
His hand, whom the worm now knows:
Fresh—firm—penned in highest feather—
Page-full of his hoped return,
And of home-planned jaunts of brake and burn
In the summer weather,
And of new love that they would learn.
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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