Poem fractal
0.083 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 Robert Wever
0.6653 − 0.2958i
Drawing the boundary…
by A. A. Milne
0.7479 − 0.2903i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Robert Wever
In a harbour grene aslepe whereas I lay,
The byrdes sang swete in the middes of the day,
I dreamèd fast of mirth and play:
In youth is pleasure, in youth is pleasure.
Methought I walked still to and fro,
And from her company I could not go—
But when I waked it was not so:
In youth is pleasure, in youth is pleasure.
Therefore my hart is surely pyght
Of her alone to have a sight
Which is my joy and hartes delight:
In youth is pleasure, in youth is pleasure.
by A. A. Milne
I met a man as I went walking;
We got talking,
Man and I.
"Where are you going to, Man?" I said
(I said to the Man as he went by).
"Down to the village, to get some bread.
Will you come with me?" "No, not I."
I met a Horse as I went walking;
We got talking,
Horse and I.
"Where are you going to, Horse, to-day?"
(I said to the Horse as he went by).
"Down to the village to get some hay.
Will you come with me?" "No, not I."
I met a Woman as I went walking;
We got talking,
Woman and I.
"Where are you going to, Woman, so early?"
(I said to the Woman as she went by).
"Down to the village to get some barley.
Will you come with me?" "No, not I."
I met some Rabbits as I went walking;
We got talking,
Rabbits and I.
"Where are you going in your brown fur coats?"
(I said to the Rabbits as they went by).
"Down to the village to get some oats.
Will you come with us?" "No, not I."
I met a Puppy as I went walking;
We got talking,
Puppy and I.
"Where are you going this nice fine day?"
(I said to the Puppy as he went by).
"Up in the hills to roll and play."
"I'll come with you, Puppy," said I.
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.
Install V2Melody
Add a home-screen icon for quicker listening in a simple app window.