Poem fractal
0.031 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 Amy Lowell
0.3234 + 0.0294i
Drawing the boundary…
0.3379 + 0.0571i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Amy Lowell
When I go away from you
The world beats dead
Like a slackened drum.
I call out for you against the jutted stars
And shout into the ridges of the wind.
Streets coming fast,
One after the other,
Wedge you away from me,
And the lamps of the city prick my eyes
So that I can no longer see your face.
Why should I leave you,
To wound myself upon the sharp edges of the night?
I into life so full of love was sent
That all the shadows which fall on the way
Of every human being could not stay,
But fled before the light my spirit lent.
I saw the world through gold and crimson dyes:
Men sighed and said, "Those rosy hues will fade
As you pass on into the glare and shade!"
Still beautiful the way seems to mine eyes.
They said, "You are too jubilant and glad;
The world is full of sorrow and of wrong.
Full soon your lips shall breathe forth sighs — not song."
The day wears on, and yet I am not sad.
They said, "You love too largely, and you must,
Through wound on wound, grow bitter to your kind."
They were false prophets; day by day I find
More cause for love, and less cause for distrust.
They said, "Too free you give your soul's rare wine;
The world will quaff, but it will not repay."
Yet in the emptied flagons, day by day,
True hearts pour back a nectar as divine.
Thy heritage! Is it not love's estate?
Look to it, then, and keep its soil well tilled.
I hold that my best wishes are fulfilled
Because I love so much, and cannot hate.
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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