Poem fractal
0.069 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.
0.7273 − 0.5211i
Drawing the boundary…
0.6648 − 0.5506i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
You too are dead,
The coarse and ignorant,
Carping against all that was too high
For your poor spirit to grasp,
Cruel and evil-tongued—
Yet you died without a moan or whimper.
O, not I, not I should dare to judge you!
But rather leave with tears your grave
Where the sweet grass will cover all your faults
And all your courage too.
Brother, hail and farewell!
Methinks, ’tis strange you can’t afford
One pitying look, one parting word;
Humanity claims this as due,
But what’s humanity to you?
Cruel man! I am not blind,
Your infidelity I find;
Your want of love my ruin shows,
My broken heart, your broken vows.
Yet maugre all your rigid hate,
I will be true in spite of fate;
And one preeminence I’ll claim,
To be for ever still the same.
Show me a man that dare be true,
That dares to suffer what I do;
That can for ever sigh unheard,
And ever love without regard:
I then will own your prior claim
To love, to honour, and to fame;
But till that time, my dear, adieu,
I yet superior am to you.
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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