Poem fractal
0.020 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.
0.0178 − 0.7284i
Drawing the boundary…
0.0059 − 0.7120i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Sleep, sleep today, tormenting cares
Of earth and folly born!
Ye shall not dim the light that streams
From this celestial morn.
Tomorrow will be time enough
To feel your harsh controul;
Ye shall not violate, this day,
The sabbath of my soul.
Sleep, sleep forever, guilty thoughts!
Let fires of vengeance die;
And, purg’d from sin, may I behold
A God of purity!
Ay, gaze upon her rose-wreathed hair,
And gaze upon her smile;
Seem as you drank the very air
Her breath perfumed the while:
And wake for her the gifted line,
That wild and witching lay,
And swear your heart is as a shrine,
That only owns her sway.
’Tis well: I am revenged at last,—
Mark you that scornful cheek,—
The eye averted as you pass’d,
Spoke more than words could speak.
Ay, now by all the bitter tears
That I have shed for thee,—
The racking doubts, the burning fears,—
Avenged they well may be—
By the nights pass’d in sleepless care,
The days of endless woe;
All that you taught my heart to bear,
All that yourself will know.
I would not wish to see you laid
Within an early tomb;
I should forget how you betray’d,
And only weep your doom:
But this is fitting punishment,
To live and love in vain,—
Oh my wrung heart, be thou content,
And feed upon his pain.
Go thou and watch her lightest sigh,—
Thine own it will not be;
And bask beneath her sunny eye,—
It will not turn on thee.
’Tis well: the rack, the chain, the wheel,
Far better hadst thou proved;
Ev’n I could almost pity feel,
For thou art not beloved.
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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