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.
0.0912 − 0.7967i
Drawing the boundary…
by Lady Nairne
0.0622 − 0.8128i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Chloe's a Nymph in flowery groves,
A Nereid in the streams;
Saint-like she in the temple moves,
A woman in my dreams.
Love steals artillery from her eyes,
The Graces point her charms;
Orpheus is rivall'd in her voice,
And Venus in her arms.
Never so happily in one
Did heaven and earth combine:
And yet 'tis flesh and blood alone
That makes her so divine.
by Lady Nairne
I'm wearin' awa', John,
Like snaw when it's thaw, John,
I'm wearin' awa'
To the land o' the leal.
There's nae sorrow there, John,
There's neither cauld nor care, John,
The day's aye fair
In the land o' the leal.
Our bonnie bairn's there, John,
She was baith gude and fair, John,
And oh! we grudged her sair
To the land o' the leal.
But sorrow's sel' wears past, John,
And joy is comin' fast, John,
The joy that's aye to last
In the land o' the leal.
Sae dear's that joy was bought, John,
Sae free the battle fought, John,
That sinfu' man e'er brought
To the land o' the leal.
Oh! dry your glist'ning e'e, John,
My soul langs to be free, John,
And angels beckon me
To the land o' the leal.
Noo, haud ye leal and true, John,
Your day it's weel near through, John,
And I'll welcome you
To the land o' the leal.
Noo, fare-ye-weel, my ain John,
This warld's cares are vain, John,
We'll meet, and we'll be fain,
In the land o' the leal.
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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