To Laurels
A funeral stone
Or verse, I covet none;
But only crave
Of you that I may have
A sacred laurel springing from my grave:
Which being seen
Blest with perpetual green,
May grow to be
Not so much call'd a tree,
As the eternal monument of me.
Poem fractal
0.030 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.
0.2000 − 0.5584i
Drawing the boundary…
by Dylan Thomas
0.2078 − 0.5297i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
A funeral stone
Or verse, I covet none;
But only crave
Of you that I may have
A sacred laurel springing from my grave:
Which being seen
Blest with perpetual green,
May grow to be
Not so much call'd a tree,
As the eternal monument of me.
by Dylan Thomas
Your pain shall be a music in your string
And fill the mouths of heaven with your tongue
Your pain shall be
O my unborn
A vein of mine
Made fast by me.
Your string shall stretch a gully twixt the thumbs
Whose flaming blood shall rub it at the rims
Your pain shall be
O my unsown
A ragged vein
Twixt you and me.
Your pain shall be a meaning in your lips
As milk shall be a music in the paps
Your pain shall be
O my unknown
A stream of mine
Not milked by me.
Your pain shall not unmilk you of the food
That drops to make a music in your blood
Your pain shall be
O my undone
Flesh blood and bone
Surrounding me.
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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