Poem fractal
0.039 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.
−0.4900 + 0.3328i
Drawing the boundary…
−0.5063 + 0.2972i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Only the chemist can tell, and not always the chemist,
What will result from compounding
Fluids or solids.
And who can tell
How men and women will interact
On each other, or what children will result?
There were Benjamin Pantier and his wife,
Good in themselves, but evil toward each other:
He oxygen, she hydrogen,
Their son, a devastating fire.
I Trainor, the druggist, a mixer of chemicals,
Killed while making an experiment,
Lived unwedded.
A thousand miles from land are we,
Tossing about on the roaring sea;
From billow to bounding billow cast,
Like fleecy snow on the stormy blast:
The sails are scatter’d abroad, like weeds,
The strong masts shake like quivering reeds,
The mighty cables, and iron chains,
The hull, which all earthly strength disdains,
They strain and they crack, and hearts like stone
Their natural hard, proud strength disown.
Up and down! Up and down!
From the base of the wave to the billow’s crown,
And midst the flashing and feathery foam
The Stormy Petrel finds a home,—
A home, if such a place may be,
For her who lives on the wide, wide sea,
On the craggy ice, in the frozen air,
And only seeketh her rocky lair
To warm her young, and to teach them spring
At once o’er the waves on their stormy wing.
O’er the Deep! O’er the Deep!
Where the whale, and the shark, and the sword-fish sleep,
Outflying the blast and the driving rain,
The Petrel telleth her tale—in vain;
For the mariner curseth the warning bird
Who bringeth him news of the storms unheard!
Ah! thus does the prophet, of good or ill,
Meet hate from the creatures he serveth still:
Yet he ne’er falters:—So, Petrel! spring
Once more o’er the waves on thy stormy wing!
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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