I ask of thee, love, nothing but relief
I ask of thee, love, nothing but relief.
Thou canst not bring the old days back again;
For I was happy then,
Not knowing heavenly joy, not knowing grief.
Poem fractal
0.027 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.
0.0230 − 0.1643i
Drawing the boundary…
0.0254 − 0.1375i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
I ask of thee, love, nothing but relief.
Thou canst not bring the old days back again;
For I was happy then,
Not knowing heavenly joy, not knowing grief.
In darkness the loud sea makes moan;
And earth is shaken, and all evils creep
About her ways.
Oh, now to know you sleep!
Out of the whirling blinding moil, alone,
Out of the slow grim fight,
One thought to wing—to you, asleep,
In some cool room that's open to the night,
Lying half-forward, breathing quietly,
One white hand on the white
Unrumpled sheet, and the ever-moving hair
Quiet and still at length!…
Your magic and your beauty and your strength,
Like hills at noon or sunlight on a tree,
Sleeping prevail in earth and air.
In the sweet gloom above the brown and white
Night benedictions hover; and the winds of night
Move gently round the room, and watch you there,
And through the dreadful hours
The trees and waters and the hills have kept
The sacred vigil while you slept,
And lay a way of dew and flowers
Where your feet, your morning feet, shall tread.
And still the darkness ebbs about your bed.
Quiet, and strange, and loving-kind, you sleep.
And holy joy about the earth is shed;
And holiness upon the deep.
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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