Poem fractal
0.004 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.
Let a joy keep you
Reach out your hands
And take it when it runs by,
As the Apache dancer
Clutches his woman
I have seen them
Live long and laugh loud,
Sent on singing, singing,
Smashed to the heart
Under the ribs
With a terrible love
Joy always,
Joy everywhere—
Let joy kill you!
Keep away from the little deaths.
From the past and unavailing
Out of cloudland we are steering:
After groping, after fearing,
Into starlight we come trailing,
And we find the stars are true.
Still, O comrade, what of you?
You are gone, but we are sailing,
And the old ways are all new.
For the Lost and Unreturning
We have drifted, we have waited;
Uncommanded and unrated,
We have tossed and wandered, yearning
For a charm that comes no more
From the old lights by the shore:
We have shamed ourselves in learning
What you knew so long before.
For the Breed of the Far-going
Who are strangers, and all brothers,
May forget no more than others
Who looked seaward with eyes flowing.
But are brothers to bewail
One who fought so foul a gale?
You have won beyond our knowing,
You are gone, but yet we sail.
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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