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.
−0.1550 + 0.1105i
Drawing the boundary…
by Wilfred Owen
−0.1649 + 0.1305i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
They offer you many things,
I a few
Moonlight on the play of fountains at night
With water sparkling a drowsy monotone.
Bare-shouldered, smiling women and talk
And a cross-play of loves and adulteries
And a fear of death
and a remembering of regrets
All this they offer you
I come with
salt and bread
a terrible job of work
and tireless war,
Come and have now
hunger
danger
and hate
by Wilfred Owen
He dropped,—more sullenly than wearily,
Lay stupid like a cod, heavy like meat,
And none of us could kick him to his feet;
Just blinked at my revolver, blearily;
—Didn't appear to know a war was on,
Or see the blasted trench at which he stared.
"I'll do 'em in," he whined, "If this hand's spared,
I'll murder them, I will."
A low voice said,
"It's Blighty, p'raps, he sees; his pluck's all gone,
Dreaming of all the valiant, that AREN'T dead:
Bold uncles, smiling ministerially;
Maybe his brave young wife, getting her fun
In some new home, improved materially.
It's not these stiffs have crazed him; nor the Hun."
We sent him down at last, out of the way.
Unwounded;—stout lad, too, before that strafe.
Malingering? Stretcher-bearers winked, "Not half!"
Next day I heard the Doc.'s well-whiskied laugh:
"That scum you sent last night soon died. Hooray!"
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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