Poem fractal
0.047 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.
Each poem scrolls on its own, so the two texts stay beside each other.
Close-mouthed
you sat five thousand years
and never let out a whisper
Processions came by,
marchers,
asking questions
you answered with gray eyes
never blinking,
shut lips never talking
Not one croak of anything
you know
has come
from your cat crouch of ages
I am one of those who know all you know
and I keep my questions:
I know the answers you hold.
Say, crimson Rose and dainty Daffodil,
With Violet blue;
Since you have seen the beauty of my saint,
And eke her view;
Did not her sight (fair sight!) you lonely fill,
With sweet delight
Of goddess' grace and angels' sacred teint
In fine, most bright?
Say, golden Primrose, sanguine Cowslip fair,
With Pink most fine;
Since you beheld the visage of my dear,
And eyes divine;
Did not her globy front, and glistering hair,
With cheeks most sweet,
So gloriously like damask flowers appear,
The gods to greet?
Say, snow-white Lily, speckled Gillyflower,
With Daisy gay;
Since you have viewed the Queen of my desire,
In her array;
Did not her ivory paps, fair Venus' bower,
With heavenly glee,
A Juno's grace, conjure you to require
Her face to see?
Say Rose, say Daffodil, and Violet blue,
With Primrose fair,
Since ye have seen my nymph's sweet dainty face
And gesture rare,
Did not (bright Cowslip, blooming Pink) her view
(White Lily) shine—
(Ah, Gillyflower, ah Daisy!) with a grace
Like stars divine?
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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