Poem fractal
0.033 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…
−0.3425 − 0.3227i
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.
The morning breaks like a pomegranate
In a shining crack of red,
Ah, when to-morrow the dawn comes late
Whitening across the bed,
It will find me watching at the marriage gate
And waiting while light is shed
On him who is sleeping satiate,
With a sunk, abandoned head.
And when the dawn comes creeping in,
Cautiously I shall raise
Myself to watch the morning win
My first of days,
As it shows him sleeping a sleep he got
Of me, as under my gaze,
He grows distinct, and I see his hot
Face freed of the wavering blaze.
Then I shall know which image of God
My man is made toward,
And I shall know my bitter rod
Or my rich reward.
And I shall know the stamp and worth
Of the coin I’ve accepted as mine,
Shall see an image of heaven or of earth
On his minted metal shine.
Yea and I long to see him sleep
In my power utterly,
I long to know what I have to keep,
I long to see
My love, that spinning coin, laid still
And plain at the side of me,
For me to count—for I know he will
Greatly enrichen me.
And then he will be mine, he will lie
In my power utterly,
Opening his value plain to my eye
He will sleep of me.
He will lie negligent, resign
His all to me, and I
Shall watch the dawn light up for me
This sleeping wealth of mine.
And I shall watch the wan light shine
On his sleep that is filled of me,
On his brow where the wisps of fond hair twine
So truthfully,
On his lips where the light breaths come and go
Naïve and winsomely,
On his limbs that I shall weep to know
Lie under my mastery.
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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