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
0.022 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…
−0.2480 − 0.0380i
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.
Whither O whither love shall we go,
For a score of sweet little summers or so'
The sweet little wife of the singer said,
On the day that follow'd the day she was wed,
'Whither O whither love shall we go?'
And the singer shaking his curly head
Turn'd as he sat, and struck the keys
There at his right with a sudden crash,
Singing, 'and shall it be over the seas
With a crew that is neither rude nor rash,
But a bevy of Eroses apple-cheek'd,
In a shallop of crystal ivory-beak'd,
With a satin sail of a ruby glow,
To a sweet little Eden on earth that I know,
A mountain islet pointed and peak'd;
Waves on a diamond shingle dash,
Cataract brooks to the ocean run,
Fairily-delicate palaces shine
Mixt with myrtle and clad with vine,
And overstream'd and silvery-streak'd
With many a rivulet high against the Sun
The facets of the glorious mountain flash
Above the valleys of palm and pine.'
'Thither O thither, love, let us go.'
'No, no, no!
For in all that exquisite isle, my dear,
There is but one bird with a musical throat,
And his compass is but of a single note,
That it makes one weary to hear.'
'Mock me not! mock me not! love, let us go.'
'No, love, no.
For the bud ever breaks into bloom on the tree,
And a storm never wakes on the lonely sea,
And a worm is there in the lonely wood,
That pierces the liver and blackens the blood,
And makes it a sorrow to be.'
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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