Poem fractal
0.003 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.
by Anne Spencer
−0.4258 − 0.1449i
Drawing the boundary…
−0.4259 − 0.1478i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Anne Spencer
Oh, I who so wanted to own some earth,
Am consumed by the earth instead:
Blood into river
Bone into land
The grave restores what finds its bed.
Oh, I who did drink of Spring's fragrant clay,
Give back its wine for other men:
Breath into air
Heart into grass
My heart bereft — I might rest then.
O the sad day!
When friends shall shake their heads, and say
Of miserable me—
'Hark, how he groans!
Look, how he pants for breath!
See how he struggles with the pangs of death!'
When they shall say of these dear eyes—
'How hollow, O how dim they be!
Mark how his breast doth rise and swell
Against his potent enemy!'
When some old friend shall step to my bedside,
Touch my chill face, and thence shall gently slide.
But—when his next companions say
'How does he do? What hopes?'—shall turn away,
Answering only, with a lift-up hand—
'Who can his fate withstand?'
Then shall a gasp or two do more
Than e'er my rhetoric could before:
Persuade the world to trouble me no more!
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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