Poem fractal
0.019 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.
0.3328 − 0.8152i
Drawing the boundary…
0.3201 − 0.8015i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Come, let us now resolve at last
To live and love in quiet;
We'll tie the knot so very fast
That Time shall ne'er untie it.
The truest joys they seldom prove
Who free from quarrels live:
'Tis the most tender part of love
Each other to forgive.
When least I seem'd concern'd, I took
No pleasure nor no rest;
And when I feign'd an angry look,
Alas! I loved you best.
Own but the same to me—you'll find
How blest will be our fate.
O to be happy—to be kind—
Sure never is too late!
And what are you that, wanting you,
I should be kept awake
As many nights as there are days
With weeping for your sake?
And what are you that, missing you,
As many days as crawl
I should be listening to the wind
And looking at the wall?
I know a man that’s a braver man
And twenty men as kind,
And what are you, that you should be
The one man in my mind?
Yet women’s ways are witless ways,
As any sage will tell,—
And what am I, that I should love
So wisely and so well?
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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