Poem fractal
0.033 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.
−0.7420 − 0.3714i
Drawing the boundary…
−0.7522 − 0.4031i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
She had a name among the children;
But no one loved though someone owned
Her, locked her out of doors at bedtime
And had her kittens duly drowned.
In Spring, nevertheless, this cat
Ate blackbirds, thrushes, nightingales,
And birds of bright voice and plume and flight,
As well as scraps from neighbours' pails.
I loathed and hated her for this;
One speckle on a thrush's breast
Was worth a million such; and yet
She lived long, till God gave her rest.
Still green, along our sunny shore,
The flowering myrtle waves,
As when its fragrant boughs of yore
Were offer'd on the graves—
The graves wherein our mighty men
Had rest, unviolated then.
Still green it waves! as when the hearth
Was sacred through the land;
And fearless was the banquet's mirth,
And free the minstrel's hand;
And guests, with shining myrtle crown'd,
Sent the wreath'd lyre and wine-cup round.
Still green! as when on holy ground
The tyrant's blood was pour'd:
Forget ye not what garlands bound
The young deliverer's sword!
Though earth may shroud Harmodius now,
We still have sword and myrtle bough!
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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