Poem fractal
0.067 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.
−0.7489 − 0.3881i
Drawing the boundary…
−0.6867 − 0.4139i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
When cats run home and light is come,
And dew is cold upon the ground,
And the far-off stream is dumb,
And the whirring sail goes round,
And the whirring sail goes round;
Alone and warming his five wits,
The white owl in the belfry sits.
When merry milkmaids click the latch,
And rarely smells the new-mown hay,
And the cock hath sung beneath the thatch
Twice or thrice his roundelay,
Twice or thrice his roundelay;
Alone and warming his five wits,
The white owl in the belfry sits.
Listen to the water-mill;
Through the livelong day,
How the clicking of its wheel
Wears the hours away!
Languidly the autumn wind,
Stirs the forest leaves,
From the field the reapers sing,
Binding up their sheaves;
And a proverb haunts my mind
As a spell is cast—
“The mill cannot grind
With the water that is past.”
Autumn winds revive no more
Leaves that once are shed,
And the sickle cannot reap
Corn once gatherèd;
Flows the ruffled streamlet on,
Tranquil, deep, and still;
Never gliding back again
To the water-mill;
Truly speaks the proverb old
With a meaning vast—
“The mill cannot grind
With the water that is past.”
Take the lesson to thyself,
True and loving heart;
Golden youth is fleeting by,
Summer hours depart;
Learn to make the most of life,
Lose no happy day;
Time will never bring thee back
Chances swept away!
Leave no tender word unsaid,
Love while love shall last —
“The mill cannot grind
With the water that is past.”
Work while yet the daylight shines,
Man of strength and will!
Never does the streamlet glide
Useless by the mill;
Wait not till to-morrow’s sun
Beams upon thy way,
All that thou canst call thine own
Lies in thy “To-day;”
Power, intellect and health
May not always last—
“The mill cannot grind
With the water that is past.”
Oh, the wasted hours of life
That have drifted by!
Oh, the good that might have been—
Lost, without a sigh!
Love that we might once have saved
By a single word,
Thoughts conceived, but never penned,
Perishing unheard;—
Take the proverb to thine heart,
Take, and hold it fast—
“The mill cannot grind
With the water that is past.”
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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