Poem fractal
0.017 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.
−0.4212 − 0.3008i
Drawing the boundary…
−0.4066 − 0.2918i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I went to the Garden of Love,
And saw what I never had seen;
A Chapel was built in the midst,
Where I used to play on the green.
And the gates of this Chapel were shut,
And 'Thou shalt not' writ over the door;
So I turned to the Garden of Love
That so many sweet flowers bore.
And I saw it was filled with graves,
And tombstones where flowers should be;
And priests in black gowns were walking their rounds,
And binding with briars my joys and desires.
What! shall that sudden blade
Leap out no more?
No more thy hand be laid
Upon the sword-hilt, smiting sore?
O for another such
The charger's rein to clutch, —
One equal voice to summon victory,
Sounding thy battle-cry,
Brave darling of the soldiers' choice!
Would there were one more voice!
O gallant charge, too bold!
O fierce, imperious greed
To pierce the clouds that in their darkness hold
Slaughter of man and steed!
Now, stark and cold,
Among thy fallen braves thou liest,
And even with thy blood defiest
The wolfish foe:
But ah, thou liest low,
And all our birthday song is hushed indeed!
Young lion of the plain,
Thou of the tawny mane!
Hotly the soldiers' hearts shall beat,
Their mouths thy death repeat,
Their vengeance seek the trail again
Where thy red doomsmen be;
But on the charge no more shall stream
Thy hair, — no more thy sabre gleam, —
No more ring out thy battle-shout,
Thy cry of victory!
Not when a hero falls
The sound a world appalls:
For while we plant his cross
There is a glory, even in the loss:
But when some craven heart
From honor dares to part,
Then, then, the groan, the blanching cheek,
And men in whispers speak,
Nor kith nor country dare reclaim
From the black depths his name.
Thou, wild young warrior, rest,
By all the prairie winds caressed!
Swift was thy dying pang;
Even as the war-cry rang
Thy deathless spirit mounted high
And sought Columbia's sky:—
There, to the northward far,
Shines a new star,
And from it blazes down
The light of thy renown!
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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