Poem fractal
0.101 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.
−0.6470 + 1.0193i
Drawing the boundary…
−0.5579 + 0.9712i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Keep your brooding sorrows for dewy-misty hollows.
Here's blue sky and lark-song; drink the air. The joy that follows
Drafts of wine o' the west wind, o' the north wind, o' the summer breeze,
Never grape's hath equalled from the wine-hills by the summer seas.
Whilst the breezes live, joy shall contrive,
Still to tear asunder, and to scatter near and far
Those nets, small and thin,
That spider-sorrows spin
In the brooding hollows where no breezes are.
Hence that fantastic wantonness of woe,
O Youth to partial Fortune vainly dear!
To plunder’d Want’s half-shelter’d hovel go,
Go, and some hunger-bitten infant hear
Moan haply in a dying mother’s ear:
Or when the cold and dismal fog damps brood
O’er the rank churchyard with sear elm leaves strew’d,
Pace round some widow’s grave, whose dearer part
Was slaughter’d, where o’er his uncoffin’d limbs
The flocking flesh-birds scream’d! Then, while thy heart
Groans, and thine eye a fiercer sorrow dims,
Know (and the truth shall kindle thy young mind)
What Nature makes thee mourn, she bids thee heal!
O abject! if, to sickly dreams resign’d,
All effortless thou leave Life’s commonweal
A prey to Tyrants, Murderers of Mankind.
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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