Poem fractal
0.007 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
−0.4337 − 0.3037i
Drawing the boundary…
−0.4406 − 0.3017i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by A. A. Milne
If I were a bear,
And a big bear too,
I shouldn't much care
If it froze or snew;
I shouldn't much mind
If it snowed or friz—
I'd be all fur-lined
With a coat like his!
For I'd have fur boots and a brown fur wrap,
And brown fur knickers and a big fur cap.
I'd have a fur muffle-ruff to cover my jaws,
And brown fur mittens on my big brown paws.
With a big brown furry-down up to my head,
I'd sleep all the winter in a big fur bed.
Beautiful lily, dwelling by still rivers,
Or solitary mere,
Or where the sluggish meadow-brook delivers
Its waters to the weir!
Thou laughest at the mill, the whir and worry
Of spindle and of loom,
And the great wheel that toils amid the hurry
And rushing of the flame.
Born in the purple, born to joy and pleasance,
Thou dost not toil nor spin,
But makest glad and radiant with thy presence
The meadow and the lin.
The wind blows, and uplifts thy drooping banner,
And round thee throng and run
The rushes, the green yeomen of thy manor,
The outlaws of the sun.
The burnished dragon-fly is thine attendant,
And tilts against the field,
And down the listed sunbeam rides resplendent
With steel-blue mail and shield.
Thou art the Iris, fair among the fairest,
Who, armed with golden rod
And winged with the celestial azure, bearest
The message of some God.
Thou art the Muse, who far from crowded cities
Hauntest the sylvan streams,
Playing on pipes of reed the artless ditties
That come to us as dreams.
O flower-de-luce, bloom on, and let the river
Linger to kiss thy feet!
O flower of song, bloom on, and make forever
The world more fair and sweet.
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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