Not my proudest work but happy early birthday @amechuqueen vwv !! 🎉🎈
Sorry I won't be able to say it on the actual day fam :'0
Take care of yourself and best of wishes boo!

seen from United Kingdom
seen from Netherlands

seen from United States

seen from Türkiye

seen from United States

seen from United States
seen from United States
seen from Canada
seen from Türkiye

seen from United States

seen from United States
seen from South Africa

seen from Türkiye
seen from Peru
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Colombia
Not my proudest work but happy early birthday @amechuqueen vwv !! 🎉🎈
Sorry I won't be able to say it on the actual day fam :'0
Take care of yourself and best of wishes boo!
Just recall how the “Prefaces” author and Zheng Xuan take advantage of the absence of personal pronouns to change the gender of poetic speakers—a lovesick young man in “Ospreys” to Hou Fei, and a young woman passionately in love in “I Beg of You, Zhong Zi” to Duke Zhuang. Without exploiting the ambiguities arising from the omission of pronouns, the “Prefaces” author and Zheng Xuan could not possibly have allegorized the two poems in the ways they did. If the “Prefaces” author and Zheng Xuan were to use a language like English, in which no sentences make sense without a stated subject or an unambiguously implied one (such as the implied “you” in an imperative sentence like “Open the window”), would they be able to change the genders of poetic speakers at will to facilitate their allegorizing endeavors?
Thinking abt China’s poetry to India(she/he queen) and the fluidity and flexibility of the gendered subject in Chinese poetry…