Poem fractal
0.027 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 Caedmon
0.0763 − 0.4036i
Drawing the boundary…
0.0585 − 0.4236i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Caedmon
Nu sculon herigean heofonrices Weard,
Meotodes meahte ond his modgeþanc,
weorc Wuldorfæder, swa he wundra gehwæs,
ece Dryhten, or onstealde.
He ærest sceop eorðan bearnum
heofon to hrofe, halig Scyppend;
ða middangeard moncynnes Weard,
ece Dryhten, æfter teode
firum foldan, Frea ælmihtig.
And did you see in yonder vale,
A corpse entomb'd, when night began.
Then you shall hear a mournful tale
It was the corpse of beauteous Anne,
Poor injur'd mourner beauteous Anne.
Ah once that lovely maid to see,
Each village Swain delighted ran,
And once she look'd so full of glee,
We always call'd her smiling Anne,
Sweet playful beauty smiling Anne.
Yet tho' we told her men betray'd
False Henry could her heart trepan,
And soon we saw her beauty fade
And ceas'd to call her smiling Anne!
O! how she sorrow'd wretched Anne.
But when we heard her whole sad tale,
To shun her e'en her friends began,
Then desp'rate made she sought yon vale,
And in that stream plung'd frantic Anne!
There lay self-murder'd, hapless Anne.
Yet still when Evening's gentle breath,
The willow o'er her grave shall fan,
We'll seek the spot, lament her death,
And breathe a pray'r, for guilty Anne!
O! Heav'n forgive thee, guilty Anne!
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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