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.
by Dylan Thomas
0.1136 − 0.1387i
Drawing the boundary…
by John Donne
0.1027 − 0.0929i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Dylan Thomas
The air you breathe encroaches
The throat is mine I know the neck
Wind is my enemy your hair shant stir
Under his strong impulsive kiss
The rainbow’s foot is not more apt
To have the centaur lover
So steal her not O goat-legged wind
But leave but still adore
For if the gods would love
Theyd see with eyes like mine
But should not touch like I
Your sweet inducive thighs
And raven hair.
by John Donne
He is stark mad, who ever says,
That he hath been in love an hour,
Yet not that love so soon decays,
But that it can ten in less space devour;
Who will believe me, if I swear
That I have had the plague a year?
Who would not laugh at me, if I should say,
I saw a flask of powder burn a day?
Ah, what a trifle is a heart,
If once into love's hands it come!
All other griefs allow a part
To other griefs, and ask themselves but some;
They come to us, but us love draws,
He swallows us, and never chaws:
By him, as by chained shot, whole ranks do die,
He is the tyrant pike, our hearts the fry.
If 'twere not so, what did become
Of my heart, when I first saw thee?
I brought a heart into the room,
But from the room, I carried none with me:
If it had gone to thee, I know
Mine would have taught thine heart to show
More pity unto me: but Love, alas,
At one first blow did shiver it as glass.
Yet nothing can to nothing fall,
Nor any place be empty quite,
Therefore I think my breast hath all
Those pieces still, though they be not unite;
And now as broken glasses show
A hundred lesser faces, so
My rags of heart can like, wish, and adore,
But after one such love, can love no more.
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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