Green
The dawn was apple-green,
The sky was green wine held up in the sun,
The moon was a golden petal between.
She opened her eyes, and green
They shone, clear like flowers undone
For the first time, now for the first time seen.
Poem fractal
0.035 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.
−0.1523 − 0.3664i
Drawing the boundary…
−0.1277 − 0.3906i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
The dawn was apple-green,
The sky was green wine held up in the sun,
The moon was a golden petal between.
She opened her eyes, and green
They shone, clear like flowers undone
For the first time, now for the first time seen.
'Twas on the shores that round our coast
From Deal to Ramsgate span,
That I found alone on a piece of stone
An elderly naval man.
His hair was weedy, his beard was long,
And weedy and long was he,
And I heard this wight on the shore recite,
In a singular minor key:
"Oh, I am a cook and a captain bold,
And the mate of the Nancy brig,
And a bo'sun tight, and a midshipmite,
And the crew of the captain's gig."
And he shook his fists and he tore his hair,
Till I really felt afraid,
For I couldn't help thinking the man had been drinking,
And so I simply said:
"Oh, elderly man, it's little I know
Of the duties of men of the sea,
But I'll eat my hand if I understand
How you can possible be
"At once a cook, and a captain bold,
And the mate of the Nancy brig,
And a bo'sun tight, and a midshipmite,
And the crew of the captain's gig."
Then he gave a hitch to his trousers, which
Is a trick all seamen larn,
And having got rid of a thumping quid,
He spun this painful yarn:
"'Twas in the good ship Nancy Bell
That we sailed to the Indian sea,
And there on a reef we come to grief,
Which has often occurred to me.
"And pretty nigh all o' the crew was drowned
(There was seventy-seven o' soul),
And only ten of the Nancy's men
Said 'Here' to the muster-roll.
"There was me and the cook and the captain bold,
And the mate of the Nancy brig,
And the bo'sun tight, and a midshipmite,
And the crew of the captain's gig."
"For a month we'd neither wittles nor drink,
Till a-hungry we did feel,
So we drawed a lot, and accordin' shot
The captain for our meal.
"The next lot fell to the Nancy's mate,
And a delicate dish he made;
Then our appetite with the midshipmite
We seven survivors stayed.
"And then we murdered the bo'sun tight,
And he much resembled pig;
Then we wittled free, did the cook and me,
On the crew of the captain's gig.
"Then only the cook and me was left,
And the delicate question, 'Which
Of us two goes to the kettle?' arose
And we argued it out as sich.
"For I loved that cook as a brother, I did,
And the cook he worshipped me;
But we'd both be blowed if we'd either be stowed
In the other chap's hold, you see.
"'I'll be eat if you dines off me,' says Tom,
'Yes, that,' says I, 'you'll be,'—
'I'm boiled if I die, my friend,' quoth I,
And 'Exactly so,' quoth he.
"Says he, 'Dear James, to murder me
Were a foolish thing to do,
For don't you see that you can't cook me,
While I can—and will—cook you!'
"So he boils the water, and takes the salt
And the pepper in portions true
(Which he never forgot), and some chopped shalot,
And some sage and parsley too.
"'Come here,' says he, with a proper pride,
Which his smiling features tell,
''Twill soothing be if I let you see,
How extremely nice you'll smell.'
"And he stirred it round and round and round,
And he sniffed at the foaming froth;
When I ups with his heels, and smothers his squeals
In the scum of the boiling broth.
"And I eat that cook in a week or less,
And—as I eating be
The last of his chops, why, I almost drops,
For a wessel in sight I see!
"And I never grin, and I never smile,
And I never larf nor play,
But I sit and croak, and a single joke
I have—which is to say:
"Oh, I am a cook and a captain bold,
And the mate of the Nancy brig,
And a bo'sun tight, and a midshipmite,
And the crew of the captain's gig!"
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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