Poem fractal
0.021 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.
0.2052 − 0.7100i
Drawing the boundary…
by Mina Loy
0.2130 − 0.7296i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
What care I, so they stand the same,—
Things of the heavenly mind,—
How long the power to give them name
Tarries yet behind?
Thus far to-day your favors reach,
O fair, appeasing presences!
Ye taught my lips a single speech,
And a thousand silences.
Space grants beyond his fated road
No inch to the god of day;
And copious language still bestowed
One word, no more, to say.
by Mina Loy
Madonnas are everlastingly mothers in ecstacy.
Their alcove arms
retire the Felicity of their conception
from eld and the disorderliness
of peril,
reproving harm.
Madonnas are æon-moments of motherhood
—a moment is Time surrounded by itself—
in perpetuation of the beatitude,
their attitude
of smiling havens,
of sacred shelves.
Omitted omen of Calvary!
Uncarved Crucifixion!
Madonnas are islands in memory
for earthly mothers, who having begotten,
in early security, heroes of the skies,
on forsaken knees
crave for a moment it be forgotten
that skies once ovational
with celestial oboes
for the Heavenly Celebrities
are skies in clamour
of deathly celerities,
the horror
of diving obituaries
under flowers of fire.
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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