Poem fractal
0.032 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.
0.3019 − 0.0365i
Drawing the boundary…
0.2868 − 0.0648i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Like thee I once have stemm'd the sea of life,
Like thee have languish'd after empty joys,
Like thee have labour'd in the stormy strife,
Been grieved for trifles, and amused with toys.
Forget my frailties; thou art also frail:
Forgive my lapses; for thyself may'st fall:
Nor read unmoved my artless tender tale—
I was a friend, O man, to thee, to all.
Reject me not if I should say to you
I do forget the sounding of your voice,
I do forget your eyes that searching through
The mists perceive our marriage, and rejoice.
Yet, when the apple-blossom opens wide
Under the pallid moonlight’s fingering,
I see your blanched face at my breast, and hide
My eyes from diligent work, malingering.
Ah, then, upon my bedroom I do draw
The blind to hide the garden, where the moon
Enjoys the open blossoms as they straw
Their beauty for his taking, boon for boon.
And I do lift my aching arms to you,
And I do lift my anguished, avid breast,
And I do weep for very pain of you,
And fling myself at the doors of sleep, for rest.
And I do toss through the troubled night for you,
Dreaming your yielded mouth is given to mine,
Feeling your strong breast carry me on into
The peace where sleep is stronger even than wine.
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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