Poem fractal
0.090 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.
0.6484 − 0.7773i
Drawing the boundary…
0.6685 − 0.6899i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
O to part now, and, parting now,
Never to meet again;
To have done for ever, I and thou,
With joy, and so with pain.
It is too hard, too hard to meet
As friends, and love no more;
Those other meetings were too sweet
That went before.
And I would have, now love is over,
An end to all, an end:
I cannot, having been your lover,
Stoop to become your friend!
Fair pledges of a fruitful tree,
Why do ye fall so fast?
Your date is not so past,
But you may stay yet here a-while,
To blush and gently smile;
And go at last.
What, were ye born to be
An hour or half's delight;
And so to bid good-night?
'Twas pity Nature brought ye forth,
Merely to show your worth,
And lose you quite.
But you are lovely leaves, where we
May read how soon things have
Their end, though ne'er so brave:
And after they have shown their pride,
Like you, a-while;—they glide
Into the grave.
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.
Install V2Melody
Add a home-screen icon for quicker listening in a simple app window.