Poem fractal
0.041 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.
0.0098 − 0.8966i
Drawing the boundary…
0.0437 − 0.8743i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
Strew on her roses, roses,
And never a spray of yew:
In quiet she reposes;
Ah! would that I did too!
Her mirth the world required;
She bathed it in smiles of glee.
But her heart was tired, tired,
And now they let her be.
Her life was turning, turning,
In mazes of heat and sound;
But for peace her soul was yearning,
And now peace laps her round.
Her cabined, ample spirit,
It fluttered and failed for breath;
To-night it doth inherit
The vasty hall of death.
Sweet dreams, form a shade
O'er my lovely infant's head!
Sweet dreams of pleasant streams
By happy, silent, moony beams!
Sweet Sleep, with soft down
Weave thy brows an infant crown!
Sweet Sleep, angel mild,
Hover o'er my happy child!
Sweet smiles, in the night
Hover over my delight!
Sweet smiles, mother's smiles,
All the livelong night beguiles.
Sweet moans, dovelike sighs,
Chase not slumber from thy eyes!
Sweet moans, sweeter smiles,
All the dovelike moans beguiles.
Sleep, sleep, happy child!
All creation slept and smiled.
Sleep, sleep, happy sleep,
While o'er thee thy mother weep.
Sweet babe, in thy face
Holy image I can trace;
Sweet babe, once like thee
Thy Maker lay, and wept for me:
Wept for me, for thee, for all,
When He was an infant small.
Thou His image ever see,
Heavenly face that smiles on thee!
Smiles on thee, on me, on all,
Who became an infant small;
Infant smiles are His own smiles;
Heaven and earth to peace beguiles.
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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