Poem fractal
0.078 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.
−0.1795 − 1.1608i
Drawing the boundary…
−0.2048 − 1.2347i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Once, in the dim wood,
Ere dove-winged dawn,
Slender and slim, would
Haunt the faun,
Antic of limb, would
Leap the faun —
Once, in the dim wood,
Ere dove-winged dawn.
Now, ere the cold grey
Moonbeams die,
Only the old grey
Brocks lurch by,
Only the bold grey
Brocks roll by —
Now ere the cold grey
Moonbeams die.
Tis a dull sight
To see the year dying,
When winter winds
Set the yellow wood sighing:
Sighing, O sighing!
When such a time cometh
I do retire
Into an old room
Beside a bright fire:
O, pile a bright fire!
And there I sit
Reading old things,
Of knights and lorn damsels,
While the wind sings—
O, drearily sings!
I never look out
Nor attend to the blast;
For all to be seen
Is the leaves falling fast:
Falling, falling!
But close at the hearth,
Like a cricket, sit I,
Reading of summer
And chivalry—
Gallant chivalry!
Then with an old friend
I talk of our youth—
How ’twas gladsome, but often
Foolish, forsooth:
But gladsome, gladsome!
Or, to get merry,
We sing some old rhyme
That made the wood ring again
In summer time—
Sweet summer time!
Then go we smoking,
Silent and snug:
Naught passes between us,
Save a brown jug—
Sometimes!
And sometimes a tear
Will rise in each eye,
Seeing the two old friends
So merrily—
So merrily!
And ere to bed
Go we, go we,
Down on the ashes
We kneel on the knee,
Praying together!
Thus, then, live I
Till, ’mid all the gloom,
By Heaven! the bold sun
Is with me in the room
Shining, shining!
Then the clouds part,
Swallows soaring between;
The spring is alive,
And the meadows are green!
I jump up like mad,
Break the old pipe in twain,
And away to the meadows,
The meadows again!
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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