The Arch
The days of our life are a bridge
Between night and night:
And we look not on eternity
But upon its light
Broken into beauty, by the day
And the life of men,
As the day is broken on the world's edge
By the falling rain.
Poem fractal
0.020 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.
0.1542 − 0.5574i
Drawing the boundary…
0.1561 − 0.5372i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The days of our life are a bridge
Between night and night:
And we look not on eternity
But upon its light
Broken into beauty, by the day
And the life of men,
As the day is broken on the world's edge
By the falling rain.
Oh, not more subtly silence strays
Amongst the winds, between the voices,
Mingling alike with pensive lays,
And with the music that rejoices,
Than thou art present in my days.
My silence, life returns to thee
In all the pauses of her breath.
Hush back to rest the melody
That out of thee awakeneth;
And thou, wake ever, wake for me!
Thou art like silence all unvexed,
Though wild words part my soul from thee.
Thou art like silence unperplexed,
A secret and a mystery
Between one footfall and the next.
Most dear pause in a mellow lay!
Thou art inwoven with every air.
With thee the wildest tempests play,
And snatches of thee everywhere
Make little heavens throughout a day.
Darkness and solitude shine, for me.
For life's fair outward part are rife
The silver noises; let them be.
It is the very soul of life
Listens for thee, listens for thee.
O pause between the sobs of cares;
O thought within all thought that is;
Trance between laughters unawares:
Thou are the shape of melodies,
And thou the ecstasy of prayers!
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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