Poem fractal
0.022 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 Lord Byron
−0.3565 − 0.7156i
Drawing the boundary…
−0.3345 − 0.7195i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Lord Byron
So we'll go no more a-roving
So late into the night,
Though the heart still be as loving,
And the moon still be as bright.
For the sword outwears its sheath,
And the soul outwears the breast,
And the heart must pause to breathe,
And love itself have rest.
Though the night was made for loving,
And the day returns too soon,
Yet we'll go no more a-roving
By the light of the moon.
Long-expected One and twenty
Ling'ring year, at last is flown,
Pomp and Pleasure, Pride and Plenty
Great Sir John, are all your own.
Loosen'd from the Minor's tether,
Free to mortgage or to sell,
Wild as wind, and light as feather
Bid the slaves of thrift farewel.
Call the Bettys, Kates, and Jennys
Ev'ry name that laughs at Care,
Lavish of your Grandsire's guineas,
Show the Spirit of an heir.
All that prey on vice and folly
Joy to see their quarry fly,
Here the Gamester light and jolly,
There the Lender grave and sly.
Wealth, Sir John, was made to wander,
Let it wander as it will;
See the Jocky, see the Pander,
Bid them come, and take their fill.
When the bonny Blade carouses,
Pockets full, and Spirits high,
What are acres? What are houses?
Only dirt, or wet or dry.
If the Guardian or the Mother
Tell the woes of wilful waste,
Scorn their counsel and their pother,
You can hang or drown at last.
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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