Poem fractal
0.029 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.
Sweet as the tender fragrance that survives,
When martyred flowers breathe out their little lives,
Sweet as a song that once consoled our pain,
But never will be sung to us again,
Is thy remembrance. Now the hour of rest
Hath come to thee. Sleep, darling; it is best.
O, human Destiny! thou art a mystery,
Which tasks the o'erwearied intellect in vain;
O, World! thou art a cabalistic history,
Whose lessons madden and destroy the brain.
O, Life! whose page, a necromantic scroll,
Is charactered with sentences of terror,
Which, like the shapes on a magician's mirror,
At once bewilder and appal the soul,
We blindly roam thy Labyrinth of Error,
And clasp a phantom when we gain thy goal.
Yet roll, thou troubled Flood of Time! Still bear
Thy base wrecks to the whirlgulf of the Past,
But Man and Heaven will bless thee if thou hast
Spared for their final sphere the Noble and the Fair.
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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