Poem fractal
0.060 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.
−0.4686 − 1.3776i
Drawing the boundary…
−0.4899 − 1.4335i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The white cock’s tail
Tosses in the wind.
The turkey-cock’s tail
Glitters in the sun.
Water in the fields.
The wind pours down.
The feathers flare
And bluster in the wind.
Remus, blow your horn!
I’m ploughing on Sunday,
Ploughing North America.
Blow your horn!
Tum-ti-tum,
Ti-tum-tum-tum!
The turkey-cock’s tail
Spreads to the sun.
The white cock’s tail
Streams to the moon.
Water in the fields.
The wind pours down.
What land of silence,
Where pale stars shine
On apple-blossom
And dew-drenched vine,
Is yours and mine?
The silent valley
That we will find,
Where all the voices
Of humankind
Are left behind.
There all forgetting,
Forgotten quite,
We will repose us,
With our delight
Hid out of sight.
The world forsaken,
And out of mind
Honour and labour,
We shall not find
The stars unkind.
And men shall travail,
And laugh and weep;
But we have vistas
Of gods asleep,
With dreams as deep.
A land of Silence,
Where pale stars shine
On apple-blossoms
And dew-drenched vine,
Be yours and mine!
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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