Emotional Attachment To Nature, Life

through the pain when the enemy came to occupy, trample, destroy, and plunder the homeland, causing scenes of mourning and separation:

Jam hot jam hot

Clumsily eating the cake of the grave, the throat is full, the grave is full

Throat gate throat gagging shallow fur. [5, lesson 1033]

(March 3rd, year of the Pig, Dap Hoang's army invaded my village. The gardens were empty and the houses were deserted. The houses were devastated and there was no one there.)

The scene of fields and villages is so desolate and deserted:

The mortar and pestle should be mixed with jam, jam, and other miscellaneous items.

The bullshit is so fast that it makes you wrinkled and lose your mind.

The two sides of the river fought each other to death. [5, lesson 1046]

(On the third day of the third month of the year of the Pig, the Dap Hoang army robbed my village.

The fields are deserted and uncultivated. Grass grows everywhere but no buffaloes are grazed.

The following song expresses the sorrow, nostalgia and ominous premonitions of the day of return in the scene of separation between those who stay and those who go, between father and son, between husband and wife:

Dozens of rows of sedge beds grow close together. The sedge beds are covered with sedge and sedge. The sedge beds are covered with sedge and sedge.

The earth is flat and crumbling. [5, lesson 1034]

(Farewell to the husband I never dared to imagine, A life of good fortune and a life of bad fate.

Husband and wife, sharing the same bed and pillow, now separated for a thousand years.

San Chi's poem also records the infinite pain, the great loss as well as the never-healing wound in the hearts of the living when hearing the news that their loved ones have sacrificed on the battlefield:

Dried jam with sticky rice and other seasonings Dried jam with sticky rice and other seasonings

The group of people are very busy. [5, lesson 1051]

(Someone lost their mother and child. Some one lost their father and child. A three-year-old child bowed his head and cried.

Holding back pain and keeping silent is really heartbreaking.

During the war, the San Chi people, like other ethnic groups living in our country, suffered great losses both materially and spiritually. The realistic picture of a chaotic time was recorded by the people.

in seven-word quatrains and sung to pass on to future generations a part of the nation's history, thereby creating awareness to build a more prosperous country.

Rereading songs written about the chaotic times, we can imagine the general atmosphere during the dark days of the country as well as understand more about the life, thoughts, and sense of national independence of the people of San Chi in the past.

1.3.2.2. Emotional attachment to nature and life

San Chi people love nature and live in harmony with nature. Images of nature - trees, flowers, moon, mountains, rivers, streams, forests ... have been in the minds of San Chi people for a long time and crystallized in songs. Just talking about the harmony between people and flowers mentioned in the songs shows the richness of nature through the lens of the soul and sensitivity to beauty of San Chi people. The flowers mentioned are: lotus, star anise, cinnamon, peony, peach blossom, plum blossom, apricot blossom, lily... Sometimes flowers are just flowers in the real sense, sometimes they are metaphorical images of women. Sometimes flowers and people seem to blend into one, showing the harmonious bond between people and nature.

In the following song, the flower is implied to be the girl:

Book a room so you can't stop

The meeting was awkward and the room was full of trouble. The room was full of trouble. The meeting was full of trouble. The meeting was full of trouble. [5, lesson 813]

(Nice to meet you, nice to meet you Like a bee meets a flower The bee meets a flower and comes back to build a nest

Fragrant day and night in the flower forest).

The San Chi people also have a close relationship or special sympathy with the moon . The moon appears quite often in songs, creating a lyrical and gentle quality for the poetry and a beautiful, magical, shimmering moon space that surrounds people. The moon appears in many forms: sometimes it is a new moon, a crescent moon, sometimes it is an old moon, a half moon; sometimes the moon looks full like a full moon shining everywhere; sometimes the moon is seen peeking out of half the blue sky like a secret rendezvous between a young man and a young woman who are getting to know and falling in love; sometimes the moon is

The moon falls on the mountain top, then it sets down to make way for the black clouds… The moon in the San Chi people’s concept is a part of nature, the universe, but it is also the space where humans exist. Therefore, for the San Chi people, the moon is likened to a beautiful girl, the moon is considered the standard, the measure of human beauty, especially young women. In the following song, the moon and the person become one as if to enhance the beauty of the girl:

Tired of arguing

Ready lips tight lips ready lips tight lips

The lips of the two met and the tongue touched. [5, lesson 244]

(Seeing you fresh, you fresh Lower eyelids are fresh like a crescent moon Upper eyelids closed like the moon Lower eyelids closed like a full moon).

In daily life, the moon has the meaning of a soul mate of the San Chi people. People look at the moon, contemplate the moon, drink wine under the moon to pour out their hearts:

The lips are warm and moist, the lips are smooth and the comb is combed carefully.

The holy man quickly twisted the broom and the ship's broom. [5, lesson 873]

(The crescent moon is shining brightly. Friends are drinking wine on the high platform.

Friends drinking, please don't talk. How many times have you heard the greeting song?

For couples in love, the moon is also considered a third person who appears to guide them to the meeting place of love and proves the vow of loyalty between the two:

The heat is ready to shine on the lips. The heat is sparkling and the screen is tight. Put the bag of corn on the lips of this owner.

The owl is a cowardly and despicable person. [5, lesson 145]

(The crescent moon rises with thousands of favorable conditions. The moon shines on the dragon, rolling up thousands of golden dots. A pair of beautiful ladies sit and express their feelings.

It is also difficult to cross this road.

In general, the San Chi people from ancient times have known how to live in harmony, attached to nature and sensitive to the beauty that nature has bestowed. Through that, we can see the love of life, the soul in harmony with nature and creation in them.

In short, the lyrics in San Chi folk songs have rich and diverse content. From songs expressing love for the homeland to songs expressing love for couples with many emotional levels, all have created a vivid picture of the spiritual world (optimism, love of life, love of people) of San Chi people from the past to the present.

Summary

The San Chi ethnic group appeared and lived in our country about four to five hundred years ago. One of the forms of cultural and artistic activities that have existed in the long-standing community life of this ethnic group is singing Sinh Ca (called in the ethnic language). Sinh Ca songs of the San Chi people have rich and profound content values. The lyrics express: love between couples with many levels of emotions (longing, happiness, waiting when in love; sadness, loneliness, pain when unfinished...); love for the homeland and country (pain when the country is invaded by enemies; pride and praise for the country that is becoming more and more beautiful and innovative...); love for nature... The richness in the content of the lyrics has vividly and deeply reflected the spiritual life of the San Chi people.

Chapter 2

POETRY FORM AND POETRY STRUCTURE IN SAN CHI FOLK SONGS

2.1. POETRY

2.1.1. Overview of the seven-word quatrain poetry form

According to Professor Tran Dinh Su, Tang Dynasty poetry includes three main forms: eight-line poetry (each poem has eight lines), quatrain poetry (each poem has four lines), and regulated poetry (an extended form of Tang Dynasty poetry). Of these, eight-line poetry, especially seven-word eight-line poetry (each poem has eight lines, each line has seven words) is considered the basic form because from there we can deduce all other forms of Tang Dynasty poetry [9, 313]. Thus, it can be said that seven-word quatrain poetry is basically similar to Chinese Tang Dynasty poetry. This is a poetic form created based on strict regulations on the number of words, the number of lines in a line of poetry, on rhyme, rules, and antithesis between lines of poetry. Due to the limitations of the thesis, we only examine a few characteristics of seven-word quatrain poetry expressed in San Chi folk songs. Through examining the form of poetry in San Chi folk songs, we found that there are two cases of use: seven-word quatrain and the variant form of seven-word quatrain.

A San Chi folk song corresponds to a stanza written in the seven-word quatrain form consisting of four lines, each line has seven syllables. For example, the form of the following song:

The cursetiredthe pec runreed hat

diligentstylishknowledge

what 's uptired of running . [ 5, lesson 152]

(You are like a flower brought from a distant village. I haven't seen you for a hundred days. Today I see you with my heart full of longing.

Ten parts miss you, you know).

The above song uses a variety of rhythmic breaks (line 1: 3/2/2; line 2: 2/5; lines 3, 4: 4/3); foot rhymes in lines 2 and 4 ( ay rhymes ), back rhymes in all four lines; the main sounds have a rising tone (23/28 sounds), low pitch (22/28 sounds)... creating a rapid, shrill melody that contributes to expressing the restless, passionate and nostalgic mood of the lyrical character "anh" for "you".

The full form of a typical seven-word quatrain poem will have four lines, each line having seven words. But for songs that are considered variants, the number of words in the poem is shortened to only 26 words, or even less. Through the survey, we found that the variant form of seven-word poems in San Chi folk songs accounts for 18.1% (191/1058 songs). The variation is mainly expressed in the first line consisting of only five words such as:

Lang can block bouncy

The heavy boat is full of rocks The heavy boat is full of rocks

The first sentence has six syllables like:

The crabs are very lively.

The hair is soft and smooth, the wrinkled hair is smooth and soft. The wrinkled hair is soft and smooth, the wrinkled hair is soft and smooth. [5, lesson 976]

(Please go home, my dear.

Please go home, the road is long Please go home, the road is long Can't sing with me forever)

(On the first day of the first lunar month of the new year, six friends brought their names to the front of the house. Let them enter the house and the six successful names will be

The name is filial piety to parents.

With variant songs, when singing, the singer must use a smooth, sliding sound like "ư..ơ..a..ây.." in the opening sentence to create a melodious melody, the singer finds it easier to sing and the listener also finds it more pleasing to the ear. Variant songs show that, when composing folk songs, the San Chi people have been influenced by the direct performance style. Songs do not necessarily have to follow a rigid formula but are renewed to make communication through lyrics as convenient as possible. One of the ways that the San Chi people often do is to incorporate elements of everyday speech into folk songs to create a certain expressive nuance for the lyrics. The element of everyday speech is most clearly shown through the opening sentences of five syllables. These are usually calls (with the sound "oi" ), messages ( many tong phan nguon lay - I'm the same version, brother ), questions ( ho dep hoa nguon lay? - which branches and leaves are paired?) , or announcements ( cay tay tay ung).

(The rooster is crowing loudly) ... like the common language of communication in daily life.

Thus, in terms of language, it can be seen that the lyrics in San Chi folk songs are concise and concise, following the strict rules of the poetic form; simple, close, familiar like the conversations and responses of people in daily life. However, in a comprehensive way, whether written in the main form or a variation of seven-word poetry, the lyrics still contain and fully convey the emotional messages of the composer or singer. Perhaps that is the greatest purpose of San Chi people when composing folk songs - not fully aware that they are creating art but only aiming to borrow artistic means to express and convey their emotions and moods. Therefore, even in songs written in the seven-word poetic form, breaking and creating in terms of language or artistic form is completely understandable. This will be presented specifically in the following section.

Normally, the poetic form will directly influence the elements such as rhyme, tone, rhythm, structure, etc. of the poem. Therefore, when considering each of the above elements in San Chi folk songs, we see the following characteristics:

2.1.2. Poetry

Rhyme generally plays an important role in creating musicality and rhythm for poetic compositions or folk songs. According to Professor Tran Dinh Su, “Rhyme is a means of organizing poetic texts based on incomplete repetition of syllables at certain positions of the poetic lines to create harmony and connection between poetic lines and between poetic lines” [9, 423]. The rhyme element not only brings aesthetic content value that the writer wants to convey but also helps listeners to remember and accept more easily. With the folk song genre, when the compositions are mainly transmitted orally, the

Rhyme should be respected for the convenience of the masses in memorizing. Through a survey of more than 1,000 San Chi folk songs, we found that almost all of the songs have rhyme (either middle rhyme or foot rhyme).

Rhyme

Foot rhyme, also known as “foot rhyme” , is a rhyme placed at the end of a line of poetry that serves to mark the end of the line of poetry and create a connection between lines of poetry… foot rhymes are very diverse: sometimes consecutive, sometimes spaced, sometimes embracing each other, sometimes a mixture of the above types…” [9, 424].

The way of rhyming in San Chi songs is also quite diverse, basically there are continuous rhymes and separate rhymes.

Through a survey of 1058 San Chi folk songs, we have concluded as follows:

Rhyme form

Number of posts	Ratio %
Rhyme	AAAA form	1
	AAA-Type	8
	Form –AAA	11
	Form A-AA	3
	AA-A form	66
	Form AA--	95
	Form -AA-	28
	Form --AA	29
	Total	241	22.8 %
Rhyme	ABAB form	12
	Sow the first and last sentences	54
	Sow the first and third lines	55
	Sow the second and fourth lines.	168
	Total	289	27.3%
Total		530	50.1%

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