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.
−0.4609 − 0.5244i
Drawing the boundary…
−0.4431 − 0.5201i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
O come, soft rest of cares! come, Night!
Come, naked Virtue's only tire,
The reapèd harvest of the light
Bound up in sheaves of sacred fire.
Love calls to war:
Sighs his alarms,
Lips his swords are,
The field his arms.
Come, Night, and lay thy velvet hand
On glorious Day's outfacing face;
And all thy crownèd flames command
For torches to our nuptial grace.
Love calls to war:
Sighs his alarms,
Lips his swords are,
The field his arms.
The shadows lay along Broadway,
'Twas near the twilight-tide—
And slowly there a lady fair
Was walking in her pride.
Alone walk'd she; but, viewlessly,
Walk'd spirits at her side.
Peace charm'd the street beneath her feet,
And Honor charm'd the air;
And all astir look'd kind on her,
And call'd her good as fair—
For all God ever gave to her,
She kept with chary care.
She kept with care her beauties rare
From lovers warm and true—
For her heart was cold to all but gold,
And the rich came not to woo—
But honor'd well are charms to sell
If priests the selling do.
Now walking there was one more fair—
A slight girl, lily-pale;
And she had unseen company
To make the spirit quail—
'Twixt Want and Scorn she walk'd forlorn,
And nothing could avail.
No mercy now can clear her brow
For this world's peace to pray;
For, as love's wild prayer dissolved in air,
Her woman's heart gave way!—
But the sin forgiven by Christ in heaven
By man is cursed alway!
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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