Poem fractal
0.031 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.
0.0272 − 0.2613i
Drawing the boundary…
0.0073 − 0.2372i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Pale sheaves of oats, pocked by untimely rain,
Under October skies,
Teased and forlorn,
Ungathered lie where still the tardy wain
Comes not to seal
The seasons of the corn,
From prime to June, with running barns of grain.
Now time with me is at the middle year,
The register of youth
Is now to sing…
My thoughts are ripe, my moods are in full ear;
That they should fail
Of harvesting,
Uncarried on cold fields, is all my fear.
What says the wind to the waving trees?
What says the wave to the river?
What means the sigh in the passing breeze?
Why do the rushes quiver?
Have you not heard the fainting cry
Of the flowers that said, "Good-bye, good-bye"?
List how the gray dove moans and grieves
Under the woodland cover;
List to the drift of the falling leaves,
List to the wail of the lover.
Have you not caught the message heard
Already by wave and breeze and bird?
Come, come away to the river's bank,
Come in the early morning;
Come when the grass with dew is dank,
There you will find the warning—
A hint in the kiss of the quickening air
Of the secret that birds and breezes bear.
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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