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/lit/ - Literature

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15264172 No.15264172 [Reply] [Original]

>> No.15264192


The choice is clear here

>> No.15264283

There’s much to wonder about and the chew on in Stefany’s. It’s tragic and surreal. Nael’s is very brief and triumphal, so it feels better.

>> No.15264399

The first one unironically has some power to it. The second one is just shit.

>> No.15264425

Stefany's poem has real depth. Nael is a hack.

>> No.15264484
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The Tiger is the first poem I want to memorize so I can recite it to others.

>> No.15264485

why do you use the original butterfly's title? I mean, it's not like you can really convince anyone intelligent because of your tripcode, and it seems like you are eloquent, well read, and opinionated enough to make a name for yourself, yet you choose someone else's, why?

>> No.15264612

>mom, do you see me
>Yes, but I don't want to
This is nonsense.
>ok, I blow on the leaf

>> No.15264750

>mom, do you see me
>Yes, but I don't want to
>ok, I blow on the leaf
>and it hits me back
>I wonder why?
>oh well, kids can’t know everything
l-l-lewed loli stephany!

>> No.15264768

You have to consider that Stefany is a year older.

>> No.15264939

Both at the same time.

>I look at it
>The tiger
>He destroyed his cage
>mom, do you see me?
>yes, but I don’t want to.
>OK, I blow on the tiger
>The tiger is out

>> No.15264997

I would argue that the huge difference in depth, figurative language communicating tone, and themes more dwarfs the gap in cognitive ability caused by a one year difference in development. I'm not saying it's not a factor, I'm just saying that it doesn't account of the vast majority of factors causing the disparity.

>> No.15265087
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It is my name. Only I would ever care to use it.
It’s just for /lit/ posting.

>Reading in pornography
Oh come on.

A daring synthesis

>> No.15265100

>the tasteful allegory between the relationship between mother and daughter and a leaf that is blown and hits one back.
>the double entredre in stanza 4
>the conclusion of relinquishment and tragic acceptance of reality ultimately bringing freedom.

This is better than anything I've ever read by Rupi Kaur.
Not to knock the Tiger, it is a work of unfettered genius, but I like the eastern wisdom style of Stefany better.

>> No.15265150

damn, both of these are unironically good. hard to choose

>> No.15265464

Sound it out first, anon. One syllable at a time, you've got this.

>> No.15265494

they’ both great

>> No.15265575

I'm fairly confident Nael was just imagining a cool scenario about a tiger escaping a cage, probably inspired by his favorite cartoon character.

>> No.15265643


>> No.15265679

Nael is obviously heavily influenced by Nietzsche

>> No.15265684

Make a poll. Plebs side with Nael, patricians with Stefany

>> No.15265781

Some serious mono no aware in Stefany's poem.

>> No.15265814

When reciting The Tiger out loud, where should the emphasis lie?
HE destroyed his cage?
He DESTROYED his cage?
He destroyed HIS cage?
Each implies a slightly different meaning.

>> No.15265861

>John Green, author of the best-selling young adult novel, “The Fault In Our Stars,” attempted to dissect Nael’s poem on a recent podcast. Two fans even reached out to Clark for permission to tattoo the words onto their bodies.
That's your crowd, Naelfags.

>> No.15265890


>> No.15265917

Any articles or books on why children with half an adult brain can write unironically good poetry?

>> No.15265928
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>> No.15265941

>comparing a genius like nael to a literal female

>> No.15265946

1. Poetry is made by the muses, not by humans
2. Poetry requires imagination moreso than logical thought

>> No.15266037
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Both summarize the struggle of realizing their place in the turbulent society that the modern young adult has to endure in these times, but it's only Nael that makes any meaningful commentary whatsoever. He not only recognizes that revolution is the great moment of liberation, but welcomes it. Galke merely acknowledges the reality of his personal hell and offers nothing but submission and question with zero further insight or retrospection. His description of this state of mind is acceptable, but if we're comparing the two it just lacks the provocativeness and resolution put forth by Nael. Galke isn't creating art, he's pussy-footing his existence.

>> No.15266456


>> No.15266843


>> No.15266899

It's time you stop pretending guys. No one will give you (you)s for your edgy critical theory mishmash. Nael's poem is paper thin.

>> No.15267083

Nael's poem has unironically made me appreciate and understand poetry as a whole in a way no other poem ever could

>> No.15267283

Maybe it is your name, but someone before you had that exact same name I'm asking why, when you started posting, did you use someone else's name instead of choosing one for yourself? And why now do you continue to use that name instead of selecting your own to avoid confusion? I don't understand what drives you to post under that particular name, and I understand that maybe you've made it yours, but it was once someone else's and I don't get why you now use it instead of creating your own identity. I guess what I'm asking is, what makes taking on another's identity so much more appealing than making your own. And it'd be great if you would actually answer me this time instead of deflecting.

>> No.15267364
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>> No.15267423

Paper thin like the razor sharp edge of a knife.
A purity of purpose honed to the finest possible point.

>> No.15267481
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Only the occasional trolls.
When I first came here I was fleeing /news/ as it was getting to be like the poltards we all know. My name there was “>”. I took this at random from an old Zalgo thread. When I first pasted it down in the name field I didn’t see a butterfly. Font settings on the browser made it look more squared off. No one minded because there were a lot of trips back then.
My identity has always just been me. If I seem any different from before my 2015 exit, it’s just a loss of inhibitions, maturing and facing a whole set of different, less lit oriented people.


>> No.15267821

A lot of people are unwilling to believe you are the original, myself included. You are far more toxic, unable to contribute to topics and instead make them about yourself which you seem to like doing. That coupled with the low effort commie shitposting makes most of us think youre just a bored neet trolling with someone elses name.

>> No.15267843

If you're claiming that you're the original butterfly then that still wouldn't explain why you don't have the some tripcode.

>> No.15269484

Mind blown: It's not Stefany talking to her mom. It's the leaf saying to Stefany "Mom, do you see me?" which she declines, the leaf say "OK" and she blows it away but it flies in her face.

>> No.15270123


>> No.15270178

This made my day.

>> No.15270604

Nael has a fiery, intuitive mind in a state of direct perception. He expresses the overwhelming rush of boundless love he experiences in his perpetual instantaneity.
Stefany's mind is ensnared in the discursive ego-intellect ("do you see me?"). Dazzled by the apparent multiplicity of the form-world represented by the leaves she can only take one at a time, inspecting it ("looking", "do you see" denote her mental, intellective modality of consciousness) in search for the true and real and yet that leaf disappears like a ghost, leaving her forsaken (the "Mom", the divinity, says she doesn't want to see her) in the hell of ajñana. This devitalized consciousness only responds with resignation ("OK", "Oh well") to the stream of unanswered (and unanswerable because empty) questions which is, so to speak, her cage, where each question is itself the rung of a cage as it does not possess its counterpart, or shadow, which is the answer. Truly the hell of the realm of illusions.
Notice also the sequential nature of the poem whereas any line of Nael's poem can be reordered without hurting the message, which I find very interesting.
But I'm only scratching the surface here. I'm sure we could learn a lot from a gematric study of these texts.

>> No.15270750

>mom, do you see me
>Yes, but I don't want to
what did stefany mean by this

>> No.15270792

It means the kid is a poetic genius but her boomer parent thinks it's just annoying

>> No.15270796

Brainlet here. I dont get the 2nd poem by stefany. what is happening?

>> No.15270808
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>he got outsmarted by a seven year old girl

>> No.15270819

Nael was a /lit/ meme long before twitterfags then normalfags discovered it.

>> No.15270860

Her mom hits her, ignores her and tells her she's a kid and shouldn't ask questions

>> No.15270901

The Tiger

>> No.15271324

when I recite it to my flat mates I get louder with each line, so that by the last one I am yelling aggressively

>> No.15271682

Yeah, I miss the original butterfly

>> No.15271776

It’s like missing yourself from five, ten years ago. You and I are different now.

>> No.15271789

No, it isn't.

In order to emphasize the intended emotions, Kaur has resorted to the extra-poetic insertion of a drawing upon the page, thus inadvertently revealing that her verse is unable to stand on its own, shall we say, "feet".

Meanwhile, Nigel has had the intuition of simply using majuscules in order to achieve the same effect, showing that the verbal has a similar capacity to the visual, just as long as you are able to explore its (the verbal's) contrasts of size, disposition on the page, and so on. Clearly, we see a young poet who's wisely following the tradition of Mallarmé and Brazilian concretists - while at the same time applying their formal discoveries to a mixture of the visual world of William Blake with the philosophical developments of the existentialist tradition.

Yet many will ask me: how is it so? Well, my dear, if you read the poem very closely, you can see that the majuscules not only achieve the aforementioned affect, as they also depict the evolution of phenomenalist discovery, as the tiger suddenly sees the world around him enlarge in the space of a single second, bringing him freedom. Here, it's useful to point out the contrast between the rational - the minuscules - which represent the tiger in the act - the techne even - of breaking up his cage; and the irrational - the majuscules - which represent the tiger in the "realization" (in both the English and the Romance sense of the word) of freedom.

However, freedom from constraint entails an obligation towards action (remember that, thanatos excepted, inaction itself is action). And this is why, at the final line, we come back to the minuscules.

So what does this mean? Why is rationality back in the game? What has happened to the irrational realization of freedom? Pay attention to the words:

"The tiger is out".

Here we see the ambiguity of poetry reaching to one single truth: either the tiger is out in the sense that he is physically free; or else he's out in the sense that he is over, in the sense that he has transformed himself into another individual altogether due to his new state of being. And yet, in both cases (the poem does not let us determine which one is which, and there might be - there probably is - a heavy relationship between one and the other), what do we have left? The indecision of the free.

What will the tiger do now? Well, you see, it is a Buridan-like situation, bringing us to a stop which cannot be transposed by irrationality, but merely stated and lamented by reason. And the genius of the poet is in the fact that this sorry situation is represented graphically (another hommage to Mallarmé and the concretists) by the simple lack of a final point.

Yes, my friends: in life, as in all other enterprises, there is no "where" to the final point! We go on in our dream of reason incessantly, signifying nothing, and it's only when the cages have finally broken that we meet the Eye of God (oh, Mallarmé!): an empty page.

>> No.15271890

lmao 6yo retards could easily pass for post-modern poets. derridanons apocatastatically BTFO

>> No.15272506


>> No.15272515

At the end of the day the real Butterfly was inside us all along

>> No.15273174

>thinking that's the interpretation
The absolute state of you retards

>> No.15273317

not him but i also think the context is that the girl was playing at hiding behind the leaf for the 57th time and her mother (most probably a single-mother unemployed addicted prostitute) got sick of it.

>> No.15273330

>I blow on the leaf and it hits me back
Are you genuinely retarded?
>"b-but she might have used the "it" pronoun for her mom!"
>literally says "Mom, do you see me" before this, meaning that if she was using pronouns at best she would use "she"
Yeah, no.

>> No.15273650

it got hacked a while ago I believe. The guy who stole it was posting a lot of /pol/tier stuff.

>> No.15273684

not that part brainlet (and i never said that the mother hit her). i was reffering to her answer:
> yes but i don't want to.
otherwise this line wouldn't make any sense excpet for cognitively impaired rape victims like you

>> No.15273777

Nael, age 6 should be appointed as poet laureate

>> No.15274084

The audacity of brainlets is astounding. Not only the meaning eludes you and you try to hide behind minutiae, but also attack correct interpretations. Dumbfuck

>> No.15274552

Empty words, my brainlet friend. Empty words.

>> No.15274607

>>the double entredre in stanza 4

>Mom, do you see me?

What double entendre is that?

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