Poem fractal
0.020 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.
Each poem scrolls on its own, so the two texts stay beside each other.
They brought me rubies from the mine,
And held them to the sun;
I said, they are drops of frozen wine
From Eden's vats that run.
I looked again,—I thought them hearts
Of friends to friends unknown;
Tides that should warm each neighboring life
Are locked in sparkling stone.
But fire to thaw that ruddy snow,
To break enchanted ice,
And give love's scarlet tides to flow,—
When shall that sun arise?
Now is done thy long day’s work;
Fold thy palms across thy breast,
Fold thine arms, turn to thy rest.
Let them rave.
Shadows of the silver birk
Sweep the green that folds thy grave.
Let them rave.
Thee nor carketh care nor slander;
Nothing but the small cold worm
Fretteth thine enshrouded form.
Let them rave.
Light and shadow ever wander
O’er the green that folds thy grave.
Let them rave.
Thou wilt not turn upon thy bed;
Chaunteth not the brooding bee
Sweeter tones than calumny?
Let them rave.
Thou wilt never raise thine head
From the green that folds thy grave.
Let them rave.
Crocodiles wept tears for thee;
The woodbine and eglatere
Drip sweeter dews than traitor’s tear.
Let them rave.
Rain makes music in the tree
O’er the green that folds thy grave.
Let them rave.
Round thee blow, self-pleached deep,
Bramble-roses, faint and pale,
And long purples of the dale.
Let them rave.
These in every shower creep.
Thro’ the green that folds thy grave.
Let them rave.
The gold-eyed kingcups fine;
The frail bluebell peereth over
Rare broidry of the purple clover.
Let them rave.
Kings have no such couch as thine,
As the green that folds thy grave.
Let them rave.
Wild words wander here and there;
God’s great gift of speech abused
Makes thy memory confused:
But let them rave.
The balm-cricket carols clear
In the green that folds thy grave.
Let them rave.
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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