Poem fractal
0.043 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.
−0.0165 − 0.9747i
Drawing the boundary…
−0.0599 − 0.9748i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Death, I say, my heart is bowed
Unto thine,—O mother!
This red gown will make a shroud
Good as any other!
(I, that would not wait to wear
My own bridal things,
In a dress dark as my hair
Made my answerings.
I, to-night, that till he came
Could not, could not wait,
In a gown as bright as flame
Held for them the gate.)
Death, I say, my heart is bowed
Unto thine,—O mother!
This red gown will make a shroud
Good as any other!
The last night that she lived,
It was a common night,
Except the dying; this to us
Made nature different.
We noticed smallest things, —
Things overlooked before,
By this great light upon our minds
Italicized, as 't were.
That others could exist
While she must finish quite,
A jealousy for her arose
So nearly infinite.
We waited while she passed;
It was a narrow time,
Too jostled were our souls to speak,
At length the notice came.
She mentioned, and forgot;
Then lightly as a reed
Bent to the water, shivered scarce,
Consented, and was dead.
And we, we placed the hair,
And drew the head erect;
And then an awful leisure was,
Our faith to regulate.
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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