Poem fractal
0.008 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 A. A. Milne
−0.1346 + 0.0375i
Drawing the boundary…
−0.1275 + 0.0418i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by A. A. Milne
Down by the corner of the street,
Where the three roads meet,
And the feet
Of the people as they pass go "Tweet-tweet-tweet—"
Who comes tripping round the corner of the street?
One pair of shoes which are Nurse's;
One pair of slippers which are Percy's . . .
Tweet! Tweet! Tweet!
The crow—the crow! the great black crow!
He cares not to meet us wherever we go;
He cares not for man, beast, friend, nor foe,
For nothing will eat him he well doth know.
Know—know! you great black crow!
It's a comfort to feel like a great black crow!
The crow—the crow! the great black crow!
He loves the fat meadow—his taste is low;
He loves the fat worms, and he dines in a row
With fifty fine cousins all black as a sloe.
Sloe—sloe! you great black crow!
But it's jolly to fare like a great black crow!
The crow—the crow! the great black crow!
He never gets drunk on the rain or snow;
He never gets drunk, but he never says no!
If you press him to tipple ever so.
So—so! you great black crow!
It's an honour to soak like a great black crow!
The crow—the crow! the great black crow!
He lives for a hundred year and mo';
He lives till he dies, and he dies as slow
As the morning mists down the hill that go.
Go—go! you great black crow!
But it's fine to live and die like a great black crow!
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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