Poem fractal
c. 1567 to 12 February 1640 (~73)
“After a great Travel both of Body and of Mind, which (since not voluntary but imposed upon me) was the more painful, by retiring for a Time where I was born being curious, as the most dainty Kind of Pleasure for such as are capable of their Delicacies to recreate myself with the Muses,—I may justly say recreate, since they create new Spirits I conversed with some of the Modern as well as with the Ancients, kindling my Fire at those Fires which do still burn out of the Ashes of ancient Authors.”
Drawing the boundary…
A fractal is a shape that keeps its pattern when you look closer. Coastlines, trees, shells, and weather do this. A poem can be drawn the same way.
The poem’s constant is read from the build of its lines: their length, the size of the stanzas, and the share of vowels. Poems whose constants lie closer together are built more alike. The same poem always draws the same picture. Change the length of a line, the stanza, or the vowel share, and both the number and the picture move.
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.
A smaller distance means the lines are built more alike.
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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