Chapter Heading
For we have thought the longer thoughts
And gone the shorter way.
And we have danced to devils' tunes,
Shivering home to pray;
To serve one master in the night,
Another in the day.
Poem fractal
0.015 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.
−0.1105 − 0.5530i
Drawing the boundary…
−0.0961 − 0.5569i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
For we have thought the longer thoughts
And gone the shorter way.
And we have danced to devils' tunes,
Shivering home to pray;
To serve one master in the night,
Another in the day.
Close his eyes; his work is done!
What to him is friend or foeman,
Rise of moon, or set of sun,
Hand of man, or kiss of woman?
Lay him low, lay him low,
In the clover or the snow!
What cares he? he cannot know:
Lay him low!
As man may, he fought his fight,
Proved his truth by his endeavor;
Let him sleep in solemn night,
Sleep forever and forever.
Lay him low, lay him low,
In the clover or the snow!
What cares he? he cannot know:
Lay him low!
Fold him in his country's stars,
Roll the drum and fire the volley!
What to him are all our wars,
What but death bemocking folly?
Lay him low, lay him low,
In the clover or the snow!
What cares he? he cannot know:
Lay him low!
Leave him to God's watching eye,
Trust him to the hand that made him
Mortal love weeps idly by:
God alone has power to aid him.
Lay him low, lay him low,
In the clover or the snow!
What cares he? he cannot know:
Lay him low!
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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