Poem fractal
0.021 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 J.M. Synge
−0.5636 − 0.6650i
Drawing the boundary…
−0.5845 − 0.6606i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by J.M. Synge
Adieu, sweet Angus, Maeve, and Fand,
Ye plumed yet skinny Shee,
That poets played with hand in hand
To learn their ecstasy.
We'll stretch in Red Dan Sally's ditch,
And drink in Tubber fair,
Or poach with Red Dan Philly's bitch
The badger and the hare.
When Adam went from Paradise
He saw the Sword and ran;
The dreadful shape, the new device,
The pointed end of Paradise,
And saw what Peril is and Price,
And knew he was a man.
When Adam went from Paradise,
He turned him back and cried
For a little flower from Paradise;
There came no flower from Paradise;
The woods were dark in Paradise,
And not a bird replied.
For only comfort or contempt,
For jest or great reward,
Over the walls of Paradise,
The flameless gates of Paradise,
The dumb shut doors of Paradise,
God flung the flaming sword.
It burns the hand that holds it
More than the skull it scores;
It doubles like a snake and stings,
Yet he in whose hand it swings
He is the most masterful of things,
A scorner of the stars.
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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