Poem fractal
0.066 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.
−0.0169 + 0.9123i
Drawing the boundary…
−0.0666 + 0.8689i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Joys have three stages, Hoping, Having, and Had:
The hands of Hope are empty, and the heart of Having is sad;
For the joy we take, in the taking dies; and the joy we
Had is its ghost.
Now, which is the better—the joy unknown or the joy we have clasped and lost?
I hear in my heart, I hear in its ominous pulses
All day, on the road, the hoofs of invisible horses,
All night, from their stalls, the importunate pawing and neighing.
Let cowards and laggards fall back! but alert to the saddle
Weather-worn and abreast, go men of our galloping legion,
With a stirrup-cup each to the lily of women that loves him.
The trail is through dolour and dread, over crags and morasses;
There are shapes by the way, there are things that appal or entice us:
What odds? We are Knights of the Grail, we are vowed to the riding.
Thought's self is a vanishing wing, and joy is a cobweb,
And friendship a flower in the dust, and glory a sunbeam:
Not here is our prize, nor, alas! after these our pursuing.
A dipping of plumes, a tear, a shake of the bridle,
A passing salute to this world and her pitiful beauty:
We hurry with never a word in the track of our fathers.
(I hear in my heart, I hear in its ominous pulses
All day, on the road, the hoofs of invisible horses,
All night, from their stalls, the importunate pawing and neighing.)
We spur to a land of no name, out-racing the storm-wind;
We leap to the infinite dark like sparks from the anvil.
Thou leadest, O God! All's well with Thy troopers that follow.
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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