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
0.028 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…
0.1408 − 0.5332i
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.
Come, my Lucasia, since we see
That Miracles Men's faith do move,
By wonder and by prodigy
To the dull angry world let’s prove
There’s a Religion in our Love.
For though we were design’d t’ agree,
That Fate no liberty destroyes,
But our Election is as free
As Angels, who with greedy choice
Are yet determin’d to their joyes.
Our hearts are doubled by the loss,
Here Mixture is Addition grown;
We both diffuse, and both ingross:
And we whose minds are so much one,
Never, yet ever are alone.
We court our own Captivity
Than Thrones more great and innocent:
’Twere banishment to be set free,
Since we wear fetters whose intent
Not Bondage is, but Ornament.
Divided joyes are tedious found,
And griefs united easier grow:
We are our selves but by rebound,
And all our Titles shuffled so,
Both Princes, and both Subjects too.
Our Hearts are mutual Victims laid,
While they (such power in Friendship lies)
Are Altars, Priests, and Off’rings made:
And each Heart which thus kindly dies,
Grows deathless by the Sacrifice.
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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