Poem fractal
0.036 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.
0.1866 + 0.2732i
Drawing the boundary…
0.1971 + 0.2392i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Fade, Flow'rs! fade, Nature will have it so;
'Tis but what we must in our autumn do!
And as your leaves lie quiet on the ground,
The loss alone by those that lov'd them found;
So in the grave shall we as quiet lie,
Miss'd by some few that lov'd our company;
But some so like to thorns and nettles live,
That none for them can, when they perish, grieve.
What cometh here from west to east awending?
And who are these, the marchers stern and slow?
We bear the message that the rich are sending
Aback to those who bade them wake and know.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
We ask them for a life of toilsome earning,
They bade us bide their leisure for our bread;
We crave to speak to tell our woeful learning:
We come back speechless, bearing back our dead.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
They will not learn; they have no ears to hearken.
They turn their faces from the eyes of fate;
Their gay-lit halls shut out the skies that darken.
But, lo! this dead man knocking at the gate.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
Here lies the sign that we shall break our prison;
Amidst the storm he won a prisoner's rest;
But in the cloudy dawn the sun arisen
Brings us our day of work to win the best.
Not one, not one, nor thousands must they slay,
But one and all if they would dusk the day.
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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