Poem fractal
0.023 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.
The heaven and its glories bright above;
The earth with Nature's beauties here below;
The wondrous light of day and veiling shades
Of night; the glowing sun; the flick'ring moon;
The lofty planets and the tiny stars;
The eagle up amid the cloudy mists;
The little fish down in the whirling deep;
The wisdom's treasures of the very myth
Of Time; the best that ever will—or can
E'er nestle in the very purest soul
Of Thine own imaged man—lo, all is Thine!
Yet are they here?—the same unbroken knot
Of human Beings, in the self-same spot!
Men, Women, Children, yea the frame
Of the whole Spectacle the same!
Only their fire seems bolder, yielding light:
Now deep and red, the colouring of night;
That on their Gipsy-faces falls,
Their bed of straw and blanket-walls.
—Twelve hours, twelve bounteous hours, are gone while I
Have been a Traveller under open sky,
Much witnessing of change and chear,
Yet as I left I find them here!
The weary Sun betook himself to rest.
—Then issued Vesper from the fulgent West,
Outshining like a visible God
The glorious path in which he trod.
And now, ascending, after one dark hour,
And one night's diminution of her power,
Behold the mighty Moon! this way
She looks as if at them—but they
Regard not her:—oh better wrong and strife,
Better vain deeds or evil than such life!
The silent Heavens have goings on;
The stars have tasks—but these have none.
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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