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.
0.0536 − 0.7947i
Drawing the boundary…
0.0364 − 0.8041i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
To put one brick upon another,
Add a third, and then a fourth,
Leaves no time to wonder whether
What you do has any worth.
But to sit with bricks around you
While the winds of heaven bawl
Weighing what you should or can do
Leaves no doubt of it at all.
I dreaded that first Robin so,
But he is mastered now,
And I'm accustomed to him grown, —
He hurts a little, though.
I thought if I could only live
Till that first shout got by,
Not all pianos in the woods
Had power to mangle me.
I dared not meet the daffodils,
For fear their yellow gown
Would pierce me with a fashion
So foreign to my own.
I wished the grass would hurry,
So when 'twas time to see,
He'd be too tall, the tallest one
Could stretch to look at me.
I could not bear the bees should come,
I wished they'd stay away
In those dim countries where they go:
What word had they for me?
They're here, though; not a creature failed,
No blossom stayed away
In gentle deference to me,
The Queen of Calvary.
Each one salutes me as he goes,
And I my childish plumes
Lift, in bereaved acknowledgment
Of their unthinking drums.
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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