Poem fractal
0.026 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.
0.0148 + 0.6396i
Drawing the boundary…
by John Gay
−0.0087 + 0.6511i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
They told me, Heraclitus, they told me you were dead,
They brought me bitter news to hear and bitter tears to shed.
I wept as I remember'd how often you and I
Had tired the sun with talking and sent him down the sky.
And now that thou art lying, my dear old Carian guest,
A handful of grey ashes, long, long ago at rest,
Still are thy pleasant voices, thy nightingales, awake;
For Death, he taketh all away, but them he cannot take.
by John Gay
When I some antique Jar behold,
Or white, or blue, or speck'd with gold,
Vessels so pure, and so refin'd
Appear the types of woman-kind:
Are they not valu'd for their beauty,
Too fair, too fine for household duty?
With flowers and gold and azure dy'd,
Of ev'ry house the grace and pride?
How white, how polish'd is their skin,
And valu'd most when only seen!
She who before was highest priz'd
Is for a crack or flaw despis'd;
I grant they're frail, yet they're so rare,
The treasure cannot cost too dear!
But Man is made of coarser stuff,
And serves convenience well enough;
He's a strong earthen vessel made,
For drudging, labour, toil and trade;
And when wives lose their other self,
With ease they bear the loss of Delf.
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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