Poem fractal
0.079 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.
0.6076 − 0.0498i
Drawing the boundary…
0.5456 − 0.0004i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Seek not the spirit, if it hide
Inexorable to thy zeal:
Trembler, do not whine and chide:
Art thou not also real?
Stoop not then to poor excuse;
Turn on the accuser roundly; say,
'Here am I, here will I abide
Forever to myself soothfast;
Go thou, sweet Heaven, or at thy pleasure stay!'
Already Heaven with thee its lot has cast,
For only it can absolutely deal.
Whisht! laatle bees, sad tidings I bear,
Bees, bees, murmurin' low;
Cauld i' his grave ligs your maister dear,
Bees, bees, murmurin' low.
Nea mair he'll ride to t' soond o' t' horn,
Nea mair he'll fettle his sickle for t' corn.
Nea mair he'll coom to your skep of a morn,
Bees, bees, murmurin' low.
Muther sits cryin' i' t' ingle nook,
Bees, bees, murmurin' low;
Parson's anent her wi' t' Holy Book,
Bees, bees, murmurin' low.
T' mourners are coom, an' t' arval is spread,
Cakes fresh frae t' yoon, an' fine havver-bread.
But toom' is t' seat at t' table-head,
Bees, bees, murmurin' low.
Look, conny bees, I's winndin' black crape,
Bees, bees, murmurin' low;
Slowly an' sadly your skep I mun drape,
Bees, bees, murmurin' low.
Else you will sicken an' dwine reet away,
Heart-brokken bees, now your maister is clay;
Or, mebbe, you'll leave us wi' t' dawn o' t' day,
Bees, bees, murmurin' low.
Sitha! I bring you your share o' our feast,
Bees, bees, murmurin' low;
Cakes an' yal an' wine you mun taste,
Bees, bees, murmurin' low.
Gie some to t' queen on her gowlden throne,
There's foison to feed both worker an' drone;
Oh! dean't let us fend for oursels alone;
Bees, bees, murmurin' low.
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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