On a Birthday
by J.M. Synge
Friend of Ronsard, Nashe, and Beaumont,
Lark of Ulster, Meath, and Thomond,
Heard from Smyrna and Sahara
To the surf of Connemara,
Lark of April, June, and May,
Sing loudly this my Lady-day.
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
−0.2882 − 0.5551i
Drawing the boundary…
by W. H. Davies
−0.2969 − 0.5365i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by J.M. Synge
Friend of Ronsard, Nashe, and Beaumont,
Lark of Ulster, Meath, and Thomond,
Heard from Smyrna and Sahara
To the surf of Connemara,
Lark of April, June, and May,
Sing loudly this my Lady-day.
by W. H. Davies
I sit beneath your leaves, old oak,
You mighty one of all the trees;
Within whose hollow trunk a man
Could stable his big horse with ease.
I see your knuckles hard and strong,
But have no fear they'll come to blows;
Your life is long, and mine is short,
But which has known the greater woes?
Thou has not seen starved women here,
Or man gone mad because ill-fed—
Who stares at stones in city streets,
Mistaking them for hunks of bread.
Thou hast not felt the shivering backs
Of homeless children lying down
And sleeping in the cold, night air—
Like doors and walls in London town.
Knowing thou hast not known such shame,
And only storms have come thy way,
Methinks I could in comfort spend
My summer with thee, day by day.
To lie by day in thy green shade,
And in thy hollow rest at night;
And through the open doorway see
The stars turn over leaves of light.
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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