Poem fractal
0.018 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.
0.0821 − 0.0197i
Drawing the boundary…
by John Donne
0.0698 − 0.0335i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I shall hate you
Like a dart of singing steel
Shot through still air
At even-tide.
Or solemnly
As pines are sober
When they stand etched
Against the sky.
Hating you shall be a game
Played with cool hands
And slim fingers.
Your heart will yearn
For the lonely splendor
Of the pine tree;
While rekindled fires
In my eyes
Shall wound you like swift arrows.
Memory will lay its hands
Upon your breast
And you will understand
My hatred.
by John Donne
When I am dead, and doctors know not why,
And my friends’ curiosity
Will have me cut up to survey each part,
When they shall find your picture in my heart,
You think a sudden damp of love
Will through all their senses move,
And work on them as me, and so prefer
Your murder to the name of massacre.
Poor victories! But if you dare be brave,
And pleasure in your conquest have,
First kill the enormous giant, your disdain,
And let the enchantress Honor next be slain.
And like a Goth and Vandal rise,
Deface records and histories
Of your own arts and triumphs over men,
And without such advantage kill me then.
For I could muster up as well as you
My giants, and my witches too,
Which are vast constancy and secretness,
But these I neither look for, nor profess.
Kill me as woman; let me die
As a mere man. Do you but try
Your passive valor, and you shall find then,
In that you have odds enough of any man.
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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