Poem fractal
0.011 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.
−0.2067 − 0.9677i
Drawing the boundary…
−0.2015 − 0.9772i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Never seek to tell thy love,
Love that never told can be;
For the gentle wind doth move
Silently, invisibly.
I told my love, I told my love,
I told her all my heart,
Trembling, cold, in ghastly fears.
Ah! she did depart!
Soon after she was gone from me,
A traveller came by,
Silently, invisibly:
He took her with a sigh.
Every valley drinks,
Every dell and hollow:
Where the kind rain sinks and sinks,
Green of Spring will follow.
Yet a lapse of weeks
Buds will burst their edges,
Strip their wool-coats, glue-coats, streaks,
In the woods and hedges;
Weave a bower of love
For birds to meet each other,
Weave a canopy above
Nest and egg and mother.
But for fattening rain
We should have no flowers,
Never a bud or leaf again
But for soaking showers;
Never a mated bird
In the rocking tree-tops,
Never indeed a flock or herd
To graze upon the lea-crops.
Lambs so woolly white,
Sheep the sun-bright leas on,
They could have no grass to bite
But for rain in season.
We should find no moss
In the shadiest places,
Find no waving meadow-grass
Pied with broad-eyed daisies;
But miles of barren sand,
With never a son or daughter,
Not a lily on the land,
Or lily on the water.
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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