Who Has Seen the Wind?
Who has seen the wind?
Neither I nor you:
But when the leaves hang trembling,
The wind is passing through.
Who has seen the wind?
Neither you nor I:
But when the trees bow down their heads,
The wind is passing by.
Poem fractal
0.033 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.
−0.2750 − 0.8633i
Drawing the boundary…
−0.2547 − 0.8890i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Who has seen the wind?
Neither I nor you:
But when the leaves hang trembling,
The wind is passing through.
Who has seen the wind?
Neither you nor I:
But when the trees bow down their heads,
The wind is passing by.
Whose are the little beds, I asked
Which in the valleys lie?
Some shook their heads, and others smiled—
And no one made reply.
Perhaps they did not hear, I said,
I will inquire again—
Whose are the beds—the tiny beds
So thick upon the plain?
'Tis Daisy, in the shortest—
A little further on—
Nearest the door—to wake the first—
Little Leontoden.
'Tis Iris, Sir, and Aster—
Anemone, and Bell—
Bartsia, in the blanket red—
And chubby Daffodil.
Meanwhile, at many cradles
Her busy foot she plied —
Humming the quaintest lullaby
That ever rocked a child.
Hush! Epigea wakens!
The Crocus stirs her lids —
Rhodora’s cheek is crimson—
She’s dreaming of the woods!
Then turning from them reverent—
Their bedtime ’tis, she said —
The Bumble bees will wake them
When April woods are red.
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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