Poem fractal
0.028 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.
−0.5013 + 0.4187i
Drawing the boundary…
−0.5063 + 0.3911i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The fire is out, and spent the warmth thereof
(This is the end of every song man sings!)
The golden wine is drunk, the dregs remain,
Bitter as wormwood and as salt as pain;
And health and hope have gone the way of love
Into the drear oblivion of lost things.
Ghosts go along with us until the end;
This was a mistress, this, perhaps, a friend.
With pale, indifferent eyes, we sit and wait
For the dropt curtain and the closing gate:
This is the end of all the songs man sings.
Let us drink and be merry, dance, joke, and rejoice,
With claret and sherry, theorbo and voice!
The changeable world to our joy is unjust,
All treasure's uncertain,
Then down with your dust!
In frolics dispose your pounds, shillings, and pence,
For we shall be nothing a hundred years hence.
We'll sport and be free with Moll, Betty, and Dolly,
Have oysters and lobsters to cure melancholy:
Fish-dinners will make a lass spring like a flea,
Dame Venus, love's lady,
Was born of the sea;
With her and with Bacchus we'll tickle the sense,
For we shall be past it a hundred years hence.
Your most beautiful bride who with garlands is crown'd
And kills with each glance as she treads on the ground,
Whose lightness and brightness doth shine in such splendour
That none but the stars
Are thought fit to attend her,
Though now she be pleasant and sweet to the sense,
Will be damnable mouldy a hundred years hence.
Then why should we turmoil in cares and in fears,
Turn all our tranquill'ty to sighs and to tears?
Let's eat, drink, and play till the worms do corrupt us,
"Tis certain, Post mortem
Nulla voluptas.
For health, wealth and beauty, wit, learning and sense,
Must all come to nothing a hundred years hence.
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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