Dying Speech of an Old Philosopher
I strove with none, for none was worth my strife:
Nature I loved, and, next to Nature, Art:
I warm’d both hands before the fire of Life;
It sinks; and I am ready to depart.
Poem fractal
0.015 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.
0.3040 − 0.0203i
Drawing the boundary…
0.3105 − 0.0338i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I strove with none, for none was worth my strife:
Nature I loved, and, next to Nature, Art:
I warm’d both hands before the fire of Life;
It sinks; and I am ready to depart.
Mother, in some sad evening long ago,
From your young breast my groping lips were taken,
Their hunger stilled, so soon again to waken,
But nevermore that holy food to know.
Ah! nevermore! for all the child might crave!
Ah! nevermore! through years unkind and dreary!
Often of other fare my lips are weary,
Unwearied once of what your bosom gave.
(Poor wordless mouth that could not speak your name!
At what unhappy revels has it eaten
The viands that no memory can sweeten,—
The banquet found eternally the same!)
Then fell a shadow first on you and me,
And tendrils broke that held us two how dearly!
Once infinitely yours, then hourly, yearly,
Less yours, as less the worthy yours to be.
(O mouth that yet should kiss the mouth of Sin!
Were lies so sweet, now bitter to remember?
Slow sinks the flame unfaithful to an ember;
New beauty fades and passion's wine is thin.)
How poor an end of that solicitude
And all the love I had not from another!
Peace to your dear, forgiving heart, O Mother,
Who gave the dear and unremembered food!
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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