Poem fractal
0.037 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.
0.1532 − 0.0983i
Drawing the boundary…
by Claude McKay
0.1871 − 0.1123i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
If I went past you down this hill
And you had never seen my face before,
Would all your being feel the sudden thrill
You said it felt, once more?
If I went past you through this shaw,
Would be all a-quiver at the brush
Of my trailed garments; would the sudden hush
You said the black-birds' voices had in awe
Of my first coming, fall upon the place
Once more, if you had never seen my face
Nor ever heard my passing by before,
And nought had passed of all that was of yore?
by Claude McKay
Your lips are like a southern lily red,
Wet with soft rain-kisses of the night,
In which the brown bee buries deep its head,
When still the dawn's a silver sea of light.
Your lips betray the secret of your soul,
The dark delicious essence that is you,
A mystery of life, the flaming goal
I seek through mazy pathways strange and new.
Your lips are the red symbol of a dream.
What visions of warm lilies they impart,
That line the green bank of a fair blue stream,
With butterflies and bees close to each heart!
Brown bees that murmur sounds of music rare,
That softly fall upon the languorous breeze,
Wafting them gently on the quiet air
Among untended avenues of trees.
O were I hovering, a bee, to probe
Deep down within your scented heart, fair flower,
Enfolded by your soft vermilion robe,
Amorous of sweets, for but one perfect hour!
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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