Poem fractal
0.033 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 Henry King
0.0067 + 0.1337i
Drawing the boundary…
by Caroline Elizabeth Sheridan
−0.0070 + 0.1639i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Henry King
Were thy heart soft, as Thou art faire,
Thou wert a wonder, past compare.
But frozen Love and feirce Disdaine
By their Extreames thy Graces staine.
Cold coynesse quenches the still fires
Which glowe in Lovers' warme desires;
And scorne, like the quick Light'ning's blaze,
Darts Death against affection's gaze.
O Heavens, what prodigy is this
When Love in Beauty buryed is!
Or that Dead Pitty thus should bee
Tomb'd in a Living Cruelty.
by Caroline Elizabeth Sheridan
Have you never heard, in music’s sound,
Some chords which o’er your heart
First fling a moment’s magic round,
Then silently depart?
But with the echo on the air,
Roused by that simple lay,
It leaves a world of feeling there
We cannot chase away.
Yes, yes, — a sound hath power to bid them come —
Youth’s half-forgotten hopes, childhood’s remembered home.
When sitting in your silent home
You gaze around and weep,
Or call to those who cannot come
Nor wake from dreamless sleep;
Those chords, as oft as you bemoan
"The distant and the dead,"
Bring dimly back the fancied tone
Of some sweet voice that’s fled!
Yes, yes, — a sound hath power to bid them come —
Youth’s half-forgotten hopes, childhood’s remembered home.
And when, amid the festal throng,
You are, or would be gay —
And seek to while, with dance and song,
Your sadder thoughts away;
They strike those chords and smiles depart,
As, rushing o’er your soul,
The untold feelings of the heart
Awake, and spurn control!
Yes, yes, — a sound hath power to bid them come —
Youth’s half-forgotten hopes, childhood’s remembered home.
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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