Poem fractal
0.034 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 Bliss Carman
−0.0719 − 1.0139i
Drawing the boundary…
−0.1055 − 1.0116i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Bliss Carman
The starry midnight whispers,
As I muse before the fire
On the ashes of ambition
And the embers of desire,
"Life has no other logic,
And time no other creed,
Than: 'I for joy will follow.
Where thou for love dost lead!'"
I know not how I came,
New on my knightly journey,
To win the fairest dame
That graced my maiden tourney.
Chivalry's lovely prize
With all men's gaze upon her,
Why did she free her eyes
On me, to do me honour?
Ah! ne'er had I my mind
With such high hope delighted,
Had she not first inclined,
And with her eyes invited.
But never doubt I knew,
Having their glance to cheer me,
Until the day joy grew
Too great, too sure, too near me.
When hope a fear became,
And passion, grown too tender,
Now trembled at the shame
Of a despised surrender;
And where my love at first
Saw kindness in her smiling,
I read her pride, and cursed
The arts of her beguiling.
Till winning less than won,
And liker wooed than wooing,
Too late I turned undone
Away from my undoing;
And stood beside the door,
Whereto she followed, making
My hard leave-taking more
Hard by her sweet leave-taking.
Her speech would have betrayed
Her thought, had mine been colder:
Her eyes distress had made
A lesser lover bolder.
But no! Fond heart, distrust,
Cried Wisdom, and consider:
Go free, since go thou must,
And so farewell I bid her.
And brisk upon my way
I smote the stroke to sever,
And should have lost that day
My life's delight for ever;
But when I saw her start
And turn aside and tremble;—
Ah! she was true, her heart
I knew did not dissemble.
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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