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…
by Thomas Moore
−0.4137 − 0.2851i
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.
by Thomas Moore
“They made her a grave, too cold and damp
For a soul so warm and true;
And she’s gone to the Lake of the Dismal Swamp,
Where, all night long, by a fire-fly lamp,
She paddles her white canoe.
“And her fire-fly lamp I soon shall see,
And her paddle I soon shall hear;
Long and loving our life shall be,
And I’ll hide the maid in a cypress tree,
When the footstep of death is near.”
Away to the Dismal Swamp he speeds—
His path was rugged and sore,
Through tangled juniper, beds of reeds,
Through many a fen where the serpent feeds,
And man never trod before.
And when on the earth he sunk to sleep,
If slumber his eyelids knew,
He lay where the deadly vine doth weep
Its venomous tear and nightly steep
The flesh with blistering dew!
And near him the she-wolf stirr’d the brake,
And the copper-snake breath’d in his ear,
Till he starting cried, from his dream awake,
“Oh! when shall I see the dusky Lake,
And the white canoe of my dear?”
He saw the Lake, and a meteor bright
Quick over its surface play’d—
“Welcome,” he said, “my dear one’s light!”
And the dim shore echoed for many a night
The name of the death-cold maid.
Till he hollow’d a boat of the birchen bark,
Which carried him off from shore;
Far, far he follow’d the meteor spark,
The wind was high and the clouds were dark,
And the boat return’d no more.
But oft, from the Indian hunter’s camp,
This lover and maid so true
Are seen at the hour of midnight damp
To cross the Lake by a fire-fly lamp,
And paddle their white canoe!
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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