Poem fractal
0.024 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.
−0.1351 − 0.6358i
Drawing the boundary…
−0.1156 − 0.6213i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
"Return," we dare not as we fain
Would cry from hearts that yearn:
Love dares not bid our dead again
Return.
O hearts that strain and burn
As fires fast fettered burn and strain!
Bow down, lie still, and learn.
The heart that healed all hearts of pain
No funeral rites inurn:
Its echoes, while the stars remain,
Return.
'Nought loves another as itself,
Nor venerates another so,
Nor is it possible to thought
A greater than itself to know.
'And, father, how can I love you
Or any of my brothers more?
I love you like the little bird
That picks up crumbs around the door.'
The Priest sat by and heard the child;
In trembling zeal he seized his hair,
He led him by his little coat,
And all admired his priestly care.
And standing on the altar high,
'Lo, what a fiend is here!' said he:
'One who sets reason up for judge
Of our most holy mystery.'
The weeping child could not be heard,
The weeping parents wept in vain:
They stripped him to his little shirt,
And bound him in an iron chain,
And burned him in a holy place
Where many had been burned before;
The weeping parents wept in vain.
Are such things done on Albion's shore?
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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