The Statue
When we are dead, some Hunting-boy will pass
And find a stone half-hidden in tall grass
And grey with age: but having seen that stone
(Which was your image), ride more slowly on.
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.
−0.2274 − 0.0311i
Drawing the boundary…
−0.2234 − 0.0164i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
When we are dead, some Hunting-boy will pass
And find a stone half-hidden in tall grass
And grey with age: but having seen that stone
(Which was your image), ride more slowly on.
There was a morrice on the moonlight plain,
And music echoed in the woody glade,
For fay-like forms, as of Titania's train,
Upon a summer eve, beneath the shade
Of Netley's ivied ruins, to the sound
Of sprightly minstrelsy did beat the ground:—
Come, take hands! and lightly move,
While our boat, in yonder cove,
Rests upon the darkening sea;
Come, take hands, and follow me!
Netley! thy dim and desolated fane
Hath heard, perhaps, the spirits of the night
Shrieking, at times, amid the wind and rain;
Or haply, when the full-orbed moon shone bright,
Thy glimmering aisles have echoed to the song
Of fairy Mab, who led her shadowy masque along.
Now, as to the sprightly sound
Of moonlight minstrelsy we beat the ground;
From the pale nooks, in accent clear,
Now, methinks, her voice I hear,
Sounding o'er the darksome sea;
Come, take hands, and follow me!
Here, beneath the solemn wood,
When faintly-blue is all the sky,
And the moon is still on high,
To the murmurs of the flood,
To the glimpses of the night,
We perform our airy rite; —
Care and pain to us unknown,
To the darkening seas are flown.
Hear no more life's fretful noise,
Heed not here pale Envy's sting,
Far from life's distempered joys;
To the waters murmuring,
To the shadows of the sky,
To the moon that rides on high,
To the glimpses of the night,
We perform our airy rite,
While care and pain, to us unknown,
To the darkening seas are flown.
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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