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.
by James Joyce
0.5222 − 0.3040i
Drawing the boundary…
by A. A. Milne
0.4945 − 0.3015i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by James Joyce
Winds of May, that dance on the sea,
Dancing a ring-around in glee
From furrow to furrow, while overhead
The foam flies up to be garlanded,
In silvery arches spanning the air,
Saw you my true love anywhere?
Welladay! Welladay!
For the winds of May!
Love is unhappy when love is away!
by A. A. Milne
Where am I going? I don't quite know.
Down to the stream where the king-cups grow—
Up on the hill where the pine trees blow—
Anywhere, anywhere. I don't know.
Where am I going? The clouds sail by,
Little ones, baby ones, over the sky.
Where am I going? The shadows pass,
Little ones, baby ones, over the grass.
If you were a cloud, and sailed up there,
You'd sail on water as blue as air,
And you'd see me here in the fields and say:
"Doesn't the sky look green to-day?"
Where am I going? The high rooks call:
"It's awful fun to be born at all."
Where am I going? The ring-doves coo:
"We do have beautiful things to do."
If you were a bird, and lived on high,
You'd lean on the wind when the wind came by,
You'd say to the wind when it took you away:
"That's where I wanted to go to-day!"
Where am I going? I don't quite know.
What does it matter where people go?
Down to the wood where the blue-bells grow—
Anywhere, anywhere. I don't know.
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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