Poem fractal
0.005 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.
−0.1573 − 0.1294i
Drawing the boundary…
by Amy Lowell
−0.1578 − 0.1343i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I saw faire Cloris walke alone
Where feather'd rayne came softly downe,
And Jove descended from his tower
To court her in a silver shower;
The wanton snowe flewe to her breast
Like little birds into their nest,
And overcome with whiteness there
For greife it thaw'd into a teare,
Thence falling on her garment's hemme
For greife it freez'd into a gemme.
by Amy Lowell
The neighbour sits in his window and plays the flute.
From my bed I can hear him,
And the round notes flutter and tap about the room,
And hit against each other,
Blurring to unexpected chords.
It is very beautiful,
With the little flute-notes all about me,
In the darkness.
In the daytime,
The neighbour eats bread and onions with one hand
And copies music with the other.
He is fat and has a bald head,
So I do not look at him,
But run quickly past his window.
There is always the sky to look at,
Or the water in the well!
But when night comes and he plays his flute,
I think of him as a young man,
With gold seals hanging from his watch,
And a blue coat with silver buttons.
As I lie in my bed
The flute-notes push against my ears and lips,
And I go to sleep, dreaming.
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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