Sun Song
Sun and softness,
Sun and the beaten hardness of the earth,
Sun and the song of all the sun-stars
Gathered together—
Dark ones of Africa,
I bring you my songs
To sing on the Georgia roads.
Poem fractal
0.024 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.
−0.5723 − 0.5711i
Drawing the boundary…
by J. C. Squire
−0.5483 − 0.5757i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Sun and softness,
Sun and the beaten hardness of the earth,
Sun and the song of all the sun-stars
Gathered together—
Dark ones of Africa,
I bring you my songs
To sing on the Georgia roads.
by J. C. Squire
There were three hills that stood alone
With woods about their feet.
They dreamed quiet when the sun shone
And whispered when the rain beat.
They wore all three their coronals
Till men with houses came
And scored their heads with pits and walls
And thought the hills were tame.
Red and white when day shines bright
They hide the green for miles.
Where are the old hills gone? At night
The moon looks down and smiles.
She sees the captors small and weak,
She knows the prisoners strong,
She hears the patient hills that speak:
"Brothers, it is not long;
"Brothers, we stood when they were not
Ten thousand summers past.
Brothers, when they are clean forgot
We shall outlive the last;
"One shall die and one shall flee
With terror in his train,
And earth shall eat the stones, and we
Shall be alone again."
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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