Poem fractal
0.022 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.
Each poem scrolls on its own, so the two texts stay beside each other.
How fondly look'd I on the place,
Assign'd to rites of spousal love,
How saintly seem'd that board of grace,
With Jesus blessing bread above!
'Twas bosom'd in a kindlier air,
Than th' outer realms of care and dole;
A sacred spirit brooded there,
Whose spell-like silence lull'd the soul!
For tho' full oft the accents dear,
Here utter'd, had been falsely fond,
Still they were breath'd and plighted here,
And broken in a place beyond!
Sleep that like the couched dove
Broods o'er the weary eye,
Dreams that with soft heavings move
The heart of memory,
Labor's guerdon, golden rest,
Wrap thee in its downy vest, —
Fall like comfort on thy brain
And sing the hush song to thy pain!
Far from thee be startling fears,
And dreams the guilty dream;
No banshee scare thy drowsy ears
With her ill-omen'd scream;
But tones of fairy minstrelsy
Float like the ghosts of sound o'er thee,
Soft as the chapel's distant bell,
And lull thee to a sweet farewell.
Ye for whom the ashy hearth
The fearful housewife clears,
Ye whose tiny sounds of mirth
The nighted carman hears,
Ye whose pygmy hammers make
The wonderers of the cottage wake,
Noiseless be your airy flight,
Silent as the still moonlight.
Silent go, and harmless come,
Fairies of the stream:
Ye, who love the winter gloom
Or the gay moonbeam,
Hither bring your drowsy store
Gather'd from the bright lusmore;
Shake o'er temples, soft and deep,
The comfort of the poor man, sleep.
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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