Shuttle-Cock and Battle-Door
by Mina Loy
Shuttle-cock and battle-door
A little pink-love
And feathers are strewn
Poem fractal
0.187 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
−0.9545 − 1.2315i
Drawing the boundary…
−0.7818 − 1.1599i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Mina Loy
Shuttle-cock and battle-door
A little pink-love
And feathers are strewn
the glory is fallen out of
the sky the last immortal
leaf
is
dead and the gold
year
a formal spasm
in the
dust
this is the passing of all shining things
therefore we also
blandly
into receptive
earth, O let
us
descend
take
shimmering wind
these fragile splendors from
us crumple them hide
them in thy breath drive
them in nothingness
for we
would sleep
this is the passing of all shining things
no lingering no backward—
wondering be unto
us O
soul, but straight
glad feet fearruining
and glorygirded
faces
lead us
into the
serious
steep
darkness
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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