The Nurse believed the sick man slept
The Nurse believed the sick man slept
For motionless he lay
She rose & from the bed-side crept
With cautious step away
Poem fractal
0.016 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.
−0.2200 − 0.7332i
Drawing the boundary…
−0.2049 − 0.7391i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The Nurse believed the sick man slept
For motionless he lay
She rose & from the bed-side crept
With cautious step away
Hard seeds of hate I planted
That should by now be grown,—
Rough stalks, and from thick stamens
A poisonous pollen blown,
And odours rank, unbreathable,
From dark corollas thrown!
At dawn from my damp garden
I shook the chilly dew;
The thin boughs locked behind me
That sprang to let me through;
The blossoms slept,—I sought a place
Where nothing lovely grew.
And there, when day was breaking,
I knelt and looked around:
The light was near, the silence
Was palpitant with sound;
I drew my hate from out my breast
And thrust it in the ground.
Oh, ye so fiercely tended,
Ye little seeds of hate!
I bent above your growing
Early and noon and late,
Yet are ye drooped and pitiful,—
I cannot rear ye straight!
The sun seeks out my garden,
No nook is left in shade,
No mist nor mould nor mildew
Endures on any blade,
Sweet rain slants under every bough:
Ye falter, and ye fade.
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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