Poem fractal

Side by side

Random

0.027 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.

Shoes and Stockings

by A. A. Milne

−0.5950 − 0.0241i

Drawing the boundary…

Margaritæ Sorori

by William Ernest Henley

−0.5977 − 0.0508i

Drawing the boundary…

The poems

Each poem scrolls on its own, so the two texts stay beside each other.

Shoes and Stockings

by A. A. Milne

There's a cavern in the mountain where the old men meet
(Hammer, hammer, hammer . . .
Hammer, hammer, hammer . . .)
They make gold slippers for my lady's feet
(Hammer, hammer, hammer . . .
Hammer, hammer, hammer . . .)
My lady is marrying her own true knight,
White her gown, and her veil is white,
But she must have slippers on her dainty feet.
Hammer, hammer, hammer . . .
Hammer.

There's a cottage by the river where the old wives meet
(Chatter, chatter, chatter . . .
Chatter, chatter, chatter . . .)

They weave gold stockings for my lady's feet
(Chatter, chatter, chatter . . .
Chatter, chatter, chatter . . .)
My lady is going to her own true man,
Youth to youth, since the world began,
But she must have stockings on her dainty feet.
Chatter, chatter, chatter . . .
Chatter.

Margaritæ Sorori

by William Ernest Henley

A late lark twitters from the quiet skies;
And from the west,
Where the sun, his day's work ended,
Lingers as in content,
There falls on the old, grey city
An influence luminous and serene,
A shining peace.

The smoke ascends
In a rosy-and-golden haze. The spires
Shine, and are changed. In the valley
Shadows rise. The lark sings on. The sun,
Closing his benediction,
Sinks, and the darkening air
Thrills with a sense of the triumphing night—
Night with her train of stars
And her great gift of sleep.
So be my passing!
My task accomplished and the long day done,
My wages taken, and in my heart
Some late lark singing,
Let me be gathered to the quiet west,
The sundown splendid and serene,
Death.

—
—
0:00
0:00
Track 1
Skip to main content