Poem fractal
0.019 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.
−0.4831 − 0.6067i
Drawing the boundary…
−0.4777 − 0.6249i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The yellow moon across the clouds
That shiver in the sky;
White, hurrying travellers, the clouds,
And, white and aching cold on high,
Stars in the sky.
Whiter, along the frozen earth,
The miracle of snow;
Close covered as for sleep, the earth
Lies, mutely slumbering below
Its shroud of snow.
Sleepless I wander in the night,
And, wandering, watch for day;
Earth sleeps, yet, high in heaven, the night
Awakens, faint and far away,
A phantom day.
O well for him that loves the sun
That sees the heaven-race ridden or run,
The splashing seas of sunset won,
And shouts for victory.
God made the sun to crown his head,
And when death's dart at last is sped,
At least it will not find him dead,
And pass the carrion by.
O ill for him that loves the sun;
Shall the sun stoop for anyone?
Shall the sun weep for hearts undone
Or heavy souls that pray?
Not less for us and everyone
Was that white web of splendour spun;
O well for him who loves the sun
Although the sun should slay.
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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