Poem fractal
0.021 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 Thomas Hood
−0.4345 − 0.5691i
Drawing the boundary…
−0.4531 − 0.5596i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Thomas Hood
Good morrow to the golden morning,
Good morrow to the world's delight—
I've come to bless thy life's beginning,
Since it makes my own so bright!
I have brought no roses, sweetest,
I could find no flowers, dear,—
It was when all sweets were over
Thou wert born to bless the year.
But I've brought thee jewels, dearest,
In thy bonny locks to shine,—
And if love shows in their glances,
They have learn'd that look of mine!
There is such cry in all these birds,
More than can ever be express’d;
If I should put it into words,
You would agree it were not best
To wake such wonder from its rest.
But since to-night the world is still
And only they and I astir,
We are united, will to will,
By bondage tighter, tenderer
Than any lovers ever were.
And if, of too much labouring.
All that I see around should die
(There is such sleep in each green thing,
Such weariness in all the sky),
We would live on, these birds and I.
Yet how? since everything must pass
At evening with the sinking sun,
And Christ is gone, and Barabbas,
Judas and Jesus, gone, clean gone,
Then how shall I live on?
Yet surely, Judas must have heard
Amidst his torments the long cry
Of some lone Israelitish bird,
And on it, ere he went to die,
Thrown all his spirit’s agony.
And that immortal cry which welled
For Judas, ever afterwards
Passion on passion still has swelled
And sweetened, till to-night these birds
Will take my words, will take my words,
And wrapping them in music meet
Will sing their spirit through the sky,
Strange and unsatisfied and sweet—
That, when stock-dead am I, am I,
O, these will never die!
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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