Twilight
Dreamily over the roofs,
The cold spring rain is falling;
Out in the lonely tree
A bird is calling, calling.
Slowly over the earth,
The wings of night are falling;
My heart, like the bird in the tree,
Is calling, calling, calling.
Poem fractal
0.013 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.
−0.4319 − 0.8641i
Drawing the boundary…
−0.4343 − 0.8765i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Dreamily over the roofs,
The cold spring rain is falling;
Out in the lonely tree
A bird is calling, calling.
Slowly over the earth,
The wings of night are falling;
My heart, like the bird in the tree,
Is calling, calling, calling.
To the Heavens above us
O look and behold
The Planets that love us
All harnessed in gold!
What chariots, what horses
Against us shall bide
While the Stars in their courses
Do fight on our side?
All thought, all desires,
That are under the sun,
Are one with their fires,
As we also are one:
All matter, all spirit,
All fashion, all frame,
Receive and inherit
Their strength from the same.
(Oh, man that deniest
All power save thine own,
Their power in the highest
Is mightily shown.
Not less in the lowest
That power is made clear.
Oh, man, if thou knowest,
What treasure is here!)
Earth quakes in her throes
And we wonder for why!
But the blind planet knows
When her ruler is nigh;
And, attuned since Creation
To perfect accord,
She thrills in her station
And yearns to her Lord.
The waters have risen,
The springs are unbound—
The floods break their prison,
And ravin around.
No rampart withstands 'em,
Their fury will last,
Till the Sign that commands 'em
Sinks low or swings past.
Through abysses unproven
And gulfs beyond thought,
Our portion is woven,
Our burden is brought.
Yet They that prepare it,
Whose Nature we share,
Make us who must bear it
Well able to bear.
Though terrors o'ertake us
We'll not be afraid.
No power can unmake us
Save that which has made.
Nor yet beyond reason
Or hope shall we fall—
All things have their season,
And Mercy crowns all!
Then, doubt not, ye fearful—
The Eternal is King—
Up, heart, and be cheerful,
And lustily sing:—
What chariots, what horses
Against us shall bide
While the Stars in their courses
Do fight on our side?
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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