Poem fractal
0.020 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.
−0.3732 − 0.0916i
Drawing the boundary…
−0.3926 − 0.0887i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Along the dark and silent night,
With my lantern and my light
And the tinkling of my bell,
Thus I walk, and this I tell:
—Death and dreadfulness call on
To the general session;
To whose dismal bar, we there
All accounts must come to clear:
Scores of sins we've made here many;
Wiped out few, God knows, if any.
Rise, ye debtors, then, and fall
To make payment, while I call:
Ponder this, when I am gone:
—By the clock 'tis almost One.
Sons of Old England, from the sod,
Uplift the noble brow!
Gold apes a mightier power than God,
And wealth is worshipt now!
In all these toil-ennobled lands
Ye have no heritage:
They snatch the fruit of youthful hands,
The staff from weary age.
O tell them in their Palaces,
These Lords of Land and Money!
They shall not kill the poor like bees,
To rob them of Life's honey.
Thro' long dark years of blood and tears,
We've toil'd like branded slaves,
Till Wrong's red hand hath made a land
Of paupers, prisons, graves!
But our long-sufferance endeth now,
Within the souls of men
The fruitful buds of promise blow,
And Freedom lives again!
O tell them in their Palaces,
These Lords of Land and Money!
They shall not kill the poor like bees,
To rob them of Life's honey.
Too long have Labor's nobles knelt
Before exalted "Rank;"
Within our souls the iron is felt—
We hear our fetters clank!
A glorious voice goes throbbing forth
From millions stirring now,
Who yet before these Gods of earth
Shall stand with unblencht brow.
O tell them in their Palaces,
These Lords of Land and Money!
They shall not kill the poor like bees,
To rob them of Life's honey.
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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