Poem fractal
0.058 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.
−0.6258 + 0.1231i
Drawing the boundary…
−0.6799 + 0.1433i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The little jade Buddha (his favours increase!) —
He's soapy and bland,
And he sits on his stand
And he smiles and he smiles in an infinite peace;
For he's old, and he knows that, whatever befall,
There is nothing that matters, no, nothing at all.
The little jade Buddha (on us be his balm!) —
The Wheel turneth just
As it must, as it must,
So he sits in an ageless, ineffable calm
Where apples and empires may ripen or fall,
But there's nothing that matters, no, nothing at all.
In fifty years, when peace outshines
Remembrance of the battle lines,
Adventurous lads will sigh and cast
Proud looks upon the plundered past.
On summer morn or winter's night,
Their hearts will kindle for the fight,
Reading a snatch of soldier-song,
Savage and jaunty, fierce and strong;
And through the angry marching rhymes
Of blind regret and haggard mirth,
They'll envy us the dazzling times
When sacrifice absolved our earth.
Some ancient man with silver locks
Will lift his weary face to say:
"War was a fiend who stopped our clocks
Although we met him grim and gay."
And then he'll speak of Haig's last drive,
Marvelling that any came alive
Out of the shambles that men built
And smashed, to cleanse the world of guilt.
But the boys, with grin and sidelong glance,
Will think, "Poor grandad's day is done."
And dream of lads who fought in France
and lived in time to share the fun.
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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