I Know the Wire-Puller Intimately
by Mina Loy
I know the Wire-Puller intimately
And if it were not for the people
On whom you keep one eye
You could look straight at me
And Time would be set back
Poem fractal
0.097 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 Mina Loy
0.7405 − 0.7711i
Drawing the boundary…
0.8359 − 0.7874i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Mina Loy
I know the Wire-Puller intimately
And if it were not for the people
On whom you keep one eye
You could look straight at me
And Time would be set back
Intermissa, Venus, diu
rursus bella moves? parce precor, precor.
non sum qualis eram bonae
sub regno Cinarae.
Desine, dulcium
mater saeva Cupidinum,
circa lustra decem flectere mollibus
iam durum imperiis: abi,
quo blandae iuvenum te revocant preces.
Tempestivius in domum
Pauli purpureis ales oloribus
comissabere Maximi,
si torrere iecur quaeris idoneum.
Namque et nobilis et decens
et pro sollicitis non tacitus reis
et centum puer artium
late signa feret militiae tuae.
Et quandoque potentior
largi muneribus riserit aemuli,
Albanos prope te lacus
ponet marmoream sub trabe citrea.
Illic plurima naribus
duces tura, lyraeque et Berecyntiae
delectabere tibiae
mixtis carminibus non sine fistula;
illic bis pueri die
numen cum teneris virginibus tuum
laudantes pede candido
in morem Salium ter quatient humum.
Me nec femina nec puer
iam nec spes animi credula mutui
nec certare iuvat mero
nec vincire novis tempora floribus.
Sed cur heu, Ligurine, cur
manat rara meas lacrima per genas?
cur facunda parum decoro
inter verba cadit lingua silentio?
Nocturnis ego somniis
iam captum teneo, iam volucrem sequor
te per gramina Martii
campi, te per aquas, dure, volubilis.
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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