Poem fractal
0.006 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.
−0.2597 − 0.6070i
Drawing the boundary…
−0.2606 − 0.6009i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The rich man has his motor-car,
His country and his town estate.
He smokes a fifty-cent cigar
And jeers at Fate.
He frivols through the livelong day,
He knows not Poverty her pinch.
His lot seems light, his heart seems gay,
He has a cinch.
Yet though my lamp burns low and dim,
Though I must slave for livelihood—
Think you that I would change with him?
You bet I would!
Charm me asleep, and melt me so
With thy delicious numbers;
That being ravish'd, hence I go
Away in easy slumbers.
Ease my sick head,
And make my bed,
Thou Power that canst sever
From me this ill;—
And quickly still,
Though thou not kill
My fever.
Thou sweetly canst convert the same
From a consuming fire,
Into a gentle-licking flame,
And make it thus expire.
Then make me weep
My pains asleep,
And give me such reposes,
That I, poor I,
May think, thereby,
I live and die
'Mongst roses.
Fall on me like a silent dew,
Or like those maiden showers,
Which, by the peep of day, do strew
A baptism o'er the flowers.
Melt, melt my pains
With thy soft strains;
That having ease me given,
With full delight,
I leave this light,
And take my flight
For Heaven.
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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