Poem fractal
0.011 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
−0.6171 − 0.6058i
Drawing the boundary…
−0.6280 − 0.6087i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Dylan Thomas
I found them lying on the floor,
Male shapes, girl-lipped, but clad like boys
Night after night their hands implore
Emetic Percies for their joys.
They retch into my secret night
With stale and terrifying camp
And offer as the last delight
A crude, unhappy, anal cramp.
Gently they sigh to my behind
Wilde words, all buttered, badly bred,
And when I dream of them I find
Peacockstain’s poems on my bed.
O suns and skies and clouds of June,
And flowers of June together,
Ye cannot rival for one hour
October's bright blue weather,
When loud the bumble-bee makes haste,
Belated, thriftless vagrant,
And Golden-Rod is dying fast,
And lanes with grapes are fragrant;
When Gentians roll their fringes tight
To save them for the morning,
And chestnuts fall from satin burrs
Without a sound of warning;
When on the ground red apples lie
In piles like jewels shining,
And redder still on old stone walls
Are leaves of woodbine twining;
When all the lovely wayside things
Their white-winged seeds are sowing,
And in the fields, still green and fair,
Late aftermaths are growing;
When springs run low, and on the brooks,
In idle golden freighting,
Bright leaves sink noiseless in the hush
Of woods, for winter waiting;
When comrades seek sweet country haunts,
By twos and twos together,
And count like misers hour by hour,
October's bright blue weather.
O suns and skies and flowers of June,
Count all your boasts together,
Love loveth best of all the year
October's bright blue weather.
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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