Poem fractal
0.056 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.
−0.6302 + 0.3568i
Drawing the boundary…
by A. A. Milne
−0.5762 + 0.3424i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Our lives, discoloured with our present woes,
May still grow white and shine with happier hours.
So the pure limped stream, when foul with stains
Of rushing torrents and descending rains,
Works itself clear, and as it runs refines,
Till by degrees the floating mirror shines;
Reflects each flower that on the border grows,
And a new heaven in its fair bosom shows.
by A. A. Milne
The charcoal-burner has tales to tell.
He lives in the Forest,
Alone in the Forest;
He sits in the Forest,
Alone in the Forest.
And the sun comes slanting between the trees,
And rabbits come up, and they give him good-morning,
And rabbits come up and say, "Beautiful morning"….
And the moon swings clear of the tall black trees,
And owls fly over and wish him good-night,
Quietly over to wish him good-night….
And he sits and thinks of the things they know,
He and the Forest, alone together —
The springs that come and the summers that go,
Autumn dew on bracken and heather,
The drip of the Forest beneath the snow….
All the things they have seen,
All the things they have heard:
An April sky swept clean and the song of a bird….
Oh, the charcoal-burner has tales to tell!
And he lives in the Forest and knows us 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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