Poem fractal
0.017 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 Leigh Hunt
−0.0868 − 0.1310i
Drawing the boundary…
by Dylan Thomas
−0.1004 − 0.1212i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Leigh Hunt
When the sports of youth I see,
Youth itself returns to me.
Then indeed my old age springs,
To the dance on starting wings.
Stop, Cybele, roses there, —
As befits a dancer's hair:
Grey-beard sloth away be flung;
And I'll join you, young for young,
Afterwards go fetch we wine,
Bounty of a fruit divine;
And I'll show what age can do,
Able still to warble too,
Able still to drink down sadness,
And display a graceful madness.
by Dylan Thomas
The almanac of time hangs in the brain;
The seasons numbered by the inward sun,
The winter years, move in the pit of man;
His graph is measured as the page of pain
Shifts to the redwombed pen.
The calendar of age hangs in the heart,
A lover’s thought tears down the dated sheet,
The inch of time’s protracted to a foot
By youth and age, the mortal state and thought
Ageing both day and night.
The word of time lies on the chaptered bone,
The seed of time is sheltered in the loin:
The grains of life must seethe beneath the sun,
The syllables be said and said again:
Time shall belong to man.
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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