Poem fractal
0.024 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 Hart Crane
−0.0004 − 0.8052i
Drawing the boundary…
0.0096 − 0.8266i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Hart Crane
It sheds a shy solemnity,
This lamp in our poor room.
O grey and gold amenity,—
Silence and gentle gloom!
Wide from the world, a stolen hour
We claim, and none may know
How love blooms like a tardy flower
Here in the day's after-glow.
And even should the world break in
With jealous threat and guile,
The world, at last, must bow and win
Our pity and a smile.
Why should I let the toad work
Squat on my life?
Can't I use my wit as a pitchfork
And drive the brute off?
Six days of the week it soils
With its sickening poison —
Just for paying a few bills!
That's out of proportion.
Lots of folk live on their wits;
Lecturers, lispers,
Losels, loblolly-men, louts —
They don't end as paupers,
Lots of folk live up lanes
With fires in a bucket,
Eat windfalls and tinned sardines —
They seem to like it
Their nippers have got bare feet,
Their unspeakable wives
Are skinny as whippets — and yet
No one actually starves.
Ah, were I courageous enough
To shout Stuff your pension!
But I know, all too well, that's the stuff
That dreams are made on
For something sufficiently toad-like
Squats in me, too,
Its hunkers are heavy as hard luck,
And cold as snow,
And will never allow me to blarney
My way to getting
The fame and the girl and the money
All at one sitting.
I don't say, one bodies the other
One's spiritual truth;
But I do say it's hard to lose either,
When you have both.
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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