Poem fractal
0.024 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.
0.0222 − 0.7409i
Drawing the boundary…
0.0458 − 0.7413i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The monotone of the rain is beautiful,
And the sudden rise and slow relapse
Of the long multitudinous rain
The sun on the hills is beautiful,
Or a captured sunset sea-flung,
Bannered with fire and gold
A face I know is beautiful—
With fire and gold of sky and sea,
And the peace of long warm rain
The nymph must lose her female friend,
If more admired than she—
But where will fierce contention end,
If flowers can disagree.
Within the garden's peaceful scene
Appear'd two lovely foes,
Aspiring to the rank of queen,
The Lily and the Rose.
The Rose soon redden'd into rage,
And, swelling with disdain,
Appeal'd to many a poet's page
To prove her right to reign.
The Lily's height bespoke command,
A fair imperial flower;
She seem'd designed for Flora's hand,
The sceptre of her power.
This civil bick'ring and debate
The goddess chanced to hear,
And flew to save, ere yet too late,
The pride of the parterre.
Yours is, she said, the nobler hue,
And yours the statelier mien;
And, till a third surpasses you,
Let each be deemed a queen.
Thus, soothed and reconciled, each seeks
The fairest British fair:
The seat of empire is her cheeks,
They reign united there.
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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