Poem fractal
0.023 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
−0.1748 − 0.0167i
Drawing the boundary…
−0.1530 − 0.0099i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by J.M. Synge
Beside a chapel I'd a room looked down,
Where all the women from the farms and town,
On Holy-days and Sundays used to pass
To marriages, and christenings, and to Mass.
Then I sat lonely watching score and score,
Till I turned jealous of the Lord next door. . .
Now by this window, where there's none can see,
The Lord God's jealous of yourself and me.
Much have I spoken of the faded leaf;
Long have I listened to the wailing wind,
And watched it ploughing through the heavy clouds,
For autumn charms my melancholy mind.
When autumn comes, the poets sing a dirge:
The year must perish; all the flowers are dead;
The sheaves are gathered; and the mottled quail
Runs in the stubble, but the lark has fled!
Still, autumn ushers in the Christmas cheer,
The holly-berries and the ivy-tree:
They weave a chaplet for the Old Year's bier
These waiting mourners do not sing for me!
I find sweet peace in depths of autumn woods,
Where grow the ragged ferns and roughened moss;
The naked, silent trees have taught me this, —
The loss of beauty is not always loss!
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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