Poem fractal
0.032 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.
by Thomas Hardy
−0.3388 − 0.2901i
Drawing the boundary…
by Richard
−0.3070 − 0.2864i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Thomas Hardy
(A Reminiscence: 1893)
She wore a new "terra-cotta" dress,
And we stayed, because of the pelting storm,
Within the hansom's dry recess,
Though the horse had stopped; yea, motionless
We sat on, snug and warm.
Then the downpour ceased, to my sharp sad pain
And the glass that had screened our forms before
Flew up, and out she sprang to her door:
I should have kissed her if the rain
Had lasted a minute more.
by Richard
Waves crash on the shore, a rhythmic beat
Sand between my toes, the earth beneath my feet
The ocean's pulse, it calls to me
A primal song of unity
We're born of the sea, you and I
Our hearts beat in time with the tide
Inhale, exhale, like the ocean's swell
In this moment, all is well
The desert meets the sea, two worlds collide
Ancient rhythms flow, impossible to hide
My breath syncs up with nature's tune
Connecting me to sun and moon
Eternal waves, but fleeting are we
Like drops that rise and fall, returning to the sea
Through cloud and river, we make our way
Back to the ocean, where we'll stay
From the depths we came, to the depths we'll return
One with the water, one with the earth
This endless cycle, it sets us free
We are the ocean, the ocean is me
Waves crash on the shore, a rhythmic beat
The ocean's pulse, it calls to me
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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