Poem fractal
0.005 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.
by John Milton
−0.4938 + 0.2744i
Drawing the boundary…
−0.4945 + 0.2693i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by John Milton
Now the bright morning-star, day's harbinger,
Comes dancing from the east, and leads with her
The flowery May, who from her green lap throws
The yellow cowslip, and the pale primrose.
Hail, bounteous May, that dost inspire
Mirth, and youth, and warm desire;
Woods and groves are of thy dressing,
Hill and dale doth boast thy blessing.
Thus we salute thee with our early song,
And welcome thee, and wish thee long.
What poets sang in Atlantis? Who can tell
The epics of Atlantis or their names?
The sea hath its own murmurs, and sounds not
The secrets of its silences beneath,
And knows not any cadences enfolded
When the last bubbles of Atlantis broke
Among the quieting of its heaving floor.
O, years and tides and leagues and all their billows
Can alter not man's knowledge of men's hearts —
While trees and rocks and clouds include our being
We know the epics of Atlantis still:
A hero gave himself to lesser men,
Who first misunderstood and murdered him,
And then misunderstood and worshipped him;
A woman was lovely and men fought for her,
Towns burnt for her, and men put men in bondage,
But she put lengthier bondage on them all;
A wanderer toiled among all the isles
That fleck this turning star of shifting sea,
Or lonely purgatories of the mind,
In longing for his home or his lost love.
Poetry is founded on the hearts of men:
Though in Nirvana or the Heavenly courts
The principle of beauty shall persist,
Its body of poetry, as the body of man,
Is but a terrene form, a terrene use,
That swifter being will not loiter with;
And, when mankind is dead and the world cold,
Poetry's immortality will pass.
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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