Query—A Musician speaks
How can one sky hold night and day,
Sun and snow?
How can one heart hold love and passion.
Friend and foe?
How can one rose hold flower and thorn,
Bloom and death?
How can music hold these and more?—
Is it God's breath?
Poem fractal
0.017 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.
−0.3180 − 0.7762i
Drawing the boundary…
−0.3101 − 0.7918i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
How can one sky hold night and day,
Sun and snow?
How can one heart hold love and passion.
Friend and foe?
How can one rose hold flower and thorn,
Bloom and death?
How can music hold these and more?—
Is it God's breath?
Southward with fleet of ice
Sailed the corsair Death;
Wild and fast blew the blast,
And the east-wind was his breath.
His lordly ships of ice
Glisten in the sun;
On each side, like pennons wide,
Flashing crystal streamlets run.
His sails of white sea-mist
Dripped with silver rain;
But where he passed there were cast
Leaden shadows o'er the main.
Eastward from Campobello
Sir Humphrey Gilbert sailed;
Three days or more seaward he bore,
Then, alas! the land-wind failed.
Alas! the land-wind failed,
And ice-cold grew the night;
And nevermore, on sea or shore,
Should Sir Humphrey see the light.
He sat upon the deck,
The Book was in his hand;
"Do not fear! Heaven is as near,"
He said, "by water as by land!"
In the first watch of the night,
Without a signal's sound,
Out of the sea, mysteriously,
The fleet of Death rose all around.
The moon and the evening star
Were hanging in the shrouds;
Every mast, as it passed,
Seemed to rake the passing clouds.
They grappled with their prize,
At midnight black and cold!
As of a rock was the shock;
Heavily the ground-swell rolled.
Southward through day and dark,
They drift in close embrace,
With mist and rain, to the Spanish Main;
Yet there seems no change of place.
Southward, forever southward,
They drift through dark and day;
And like a dream, in the Gulf-Stream
Sinking, vanish all away.
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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