...Some people say that: Thế Lữ is a person who lives a shy life, which is very suitable for " fairy" poems but very harmful for "mortal" poems, poems that need to bring people moments of passion [28].
Thus, when Thế Lữ "remains attached to the imaginary fairyland" or "talks about fairies", it is also a sign of passion that only romantic poets can have, sincerely and passionately releasing their souls to the beautiful dreamland of that imagination. The world of the fairyland of Bồng Lai was created by Thế Lữ as "a completely new artistic world, where the real world and the fairyland are connected to each other, linked together by love with the poet's own nuances" (Phan Trọng Thưởng) [54]
Coming to the fairyland - on one hand, The Lu created his own artistic world, at the same time the poet also expressed his aesthetic emotions bearing the mark of his own "ego".
First of all, the fairyland in Thế Lữ’s poetry is a fresh, pure and poetic space. There is no mysterious beauty that captivates people’s hearts, no ecstasy towards the bright hope of the fairyland.
"Spring sunshine glides over the fresh green grass
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Formal Coordination Mechanisms
In the forest, a flute plays, one or two needles, The sound is lonely in the heart.
Oh sadness! The vast distance is sad"
In front of the vast, deserted space, we can feel the sound of the heart strings vibrating in the soft, gentle, and pure feeling of a calm, serene soul, as if it has not yet been tainted by the sorrows of the world.
In the collection of poems, Thế Lữ takes readers to a truly pure and innocent fairyland, to a realm of coming and going that is both familiar and dreamy and transcendent. Typical examples include: Wonderful bamboo sound, Celestial flute sound, Narcissus flower,
Transient beauty... The attraction of the fairyland still lingers dreamily and haunts Thế Lữ's soul in many poems in his complete poetry collection such as The Call by the River, Choosing the Sound of the Lute, The Lament of the Fine Arts Lady, The Lute of a Thousand Melodies... .
For Thế Lữ, entering the fairyland is entering a space filled with the fragrant scent of flowers, finding a special source of light, entering a peaceful realm, where the open and closed space blends the two worlds of dreams and reality:
"Wind and clouds chase away the dream
Waking up to see the golden moonlight beside the blanket. In front of the window, the yard is full of shadows.
The black leaves swayed absentmindedly. A gust of wind passed by quickly.
Behind the porch rustles green banana leaves
... The night sky is bright and desolate
"I faintly hear the sound of a kite flute in the moonlight"
(Wake up)
If we seek the reason for Thế Lữ's dream of transcendence - the dream of going to the fairyland, we often receive responses and explanations from his own poems. Because more than once the poet repeats his wish to find the pure place of his soul.
"Angry at life, want to forget all the crazy things, Let my heart follow the mysterious clouds
Clouds take us to the land of wind and moon"
(Innocent rhymes)
There are many people who claim that escaping from the reality of life is a sign of avoiding reality, but in reality there are many ways.
to the life of literature. The Lu's dream of becoming a fairy is also a way to purify life, calm the soul and turn towards the good roots of humanity.
"One petal follows many other petals Around me, a rain of flowers gathers. Following the flower path to the edge, I step up.
Feet lead to a fairyland The tree-lined path gently bends The green foliage shines through
(Flower Rain)
Coming to the fairyland in Thế Lữ's poetry, we encounter the fairyland blending with the real world, the fairyland blending with the real world. It is the harmony of the two worlds of reality and dreams, making the two worlds of fairyland and earthly life no longer have separate boundaries:
"Yesterday I went to pick some poems, In the fairy garden near Lac Ho.
Quiet scene, birds chirp in the flowers, Peach wind caresses willow silk.
(Flash of Beauty)
The fairy world is not strange but close to the life in the human world. Xuan Dieu "captured" the right mood of The Lu when commenting on the above verses "Going to the fairyland" and specifically saying "yesterday" exactly like that is just life; and at the end of the poem ending with "the fairy disappeared" in a fairyland scene is the aesthetics of the artist, the poet (reading The Lu - Xuan Dieu's poetry).
Unlike other poets, when coming to the fairyland, Thế Lữ did not advocate the public - channel - escape from illusion because the fairyland was brought closer to life by the poet, between the fairyland and the real world is often just a fragile border enough to evoke.
In the poem "Hoa Narcissus" , the poet skillfully created an atmosphere of transition between the two worlds. The interaction between the narcissus flowers and the image of the flickering fairies, the real scene in Van Sinh's study room suddenly transformed into a fairy palace for the meeting of the mortal world, then the "bright lights" next to the "clusters of peach blossoms blooming passionately " contributed to awakening the fairy dreamland:
"In the study, under the bright light, the peach blossoms are intoxicated and just blooming.
Like a swan just waking up from a fairy dream, the flower shyly opens her eyes in surprise because she saw Van Sinh sitting there silently.
Hands lifted cheeks staring out the window"
(Daffodil)
It can be seen that in creating an atmosphere that is both virtual and real for the fairyland space, Thế Lữ achieved the poet's subtle sense on one hand, and at the same time, with those same verses, the romantic artist also created a dramatic space with a suggestive enough arrangement of the scene along with both the mindset and posture of his characters.
Another difference in Thế Lữ when facing the two worlds of reality and illusion is that the poet always maintains the state of ecological balance and human mentality, as if feeling and discovering the spiritual purification from the human being himself. Even in the world of depravity, when people are immersed in the seductive and enchanting space of drugs, the image of the fairy and the Peach Blossom scene does not only lead to infatuation and oblivion:
"Golden shimmering palace
Rhythmically transforming the Swans, Flickering near and seemingly far away
Jade sings a thousand silent melodies, Hangzhou quietly falls and sinks
Under the clear lake. On the porch, gazing intently, Two girls lie gracefully sideways.
Two girls stood on both sides burning incense. Smoke rose... smoke rose.
The boat drifted slowly. Where was the paradise?
(Drugs)
Thus, it can be affirmed that the fairyland is the most prominent and favorite emotional realm in Thế Lữ's poetry. If we make a statistical number of words related to the fairyland in Thế Lữ's poetry such as the fairy palace, the moon palace, the moon palace, Bồng lai... or images with the appearance of fairies such as Ngọc nữ, Ngọc Châu, Tiên Nga... We see no less than 40 appearances in Thế Lữ's Some Verses . That number is enough to affirm the fairyland in Thế Lữ's poetry, on the other hand, affirms the soaring, romantic association of the poet's soul when aiming for beauty to blend with the free and serene mental state of the artist's soul. On the other hand, it is also the search for familiar images of nature, of life purified through the poet's own love.
The appearance of fairies in the upper world is also a familiar image in the imagination of poets. However, the interesting thing under the lens of Thế Lữ is that these beauties are hidden in layers like layers of drama. Perhaps the harmony between the two qualities of a poet and a playwright in the role of director helped Thế Lữ know where to bring the fairies at what time and when they would disappear. Fairies appear and disappear in the gentle scenery of the Elysium with the high and low tones of the heavenly flute.
"Follow the bird's flute to the sea
Another stream beside the fairy When it soars to the clouds
When almost perched on the edge of the green trees
Soft as the sound of love
Beautiful as a jade girl bending in the air..."
(Heavenly Flute)
The beautiful anecdote covered in a layer of legendary mist about Tu Thuc meeting and falling in love with a fairy has been explored by talented poets from ancient times to the present in art as a love dream on earth. Yet The Lu was also dreamily moved:
"Because poets live long, me and the fairy will sing forever
Besides, what else is there?
Until the day I have to go back and forth While the hardships still do not stop Leisurely reciting and painting with my wife A sacred love in this life."
(When I was young)
It turns out that the earthly meeting in Thế Lữ's poetry has a unique tone. Because it is a meeting of close friends, a face-to-face conversation between beauty and poetry. The poet does not just focus on flying to the distant and transcendental fairyland, but it is a love affair in the middle of life. Perhaps that is also the artist's wish towards beauty in the "enduring friendship for thousands of lifetimes".
A very new and unique feature in Thế Lữ's poetry is that the poet always creates a space of beauty. On one hand, the poet calls out a magical space with a dreamy atmosphere and a layer of sensuality, on the other hand, it seems to invite the figure of a beautiful woman. The beauty suddenly appears gradually from the fairy lips, the fairy steps or it is the impressive appearance "from the dark frame a beautiful fairy"
"Diễm" - The poet always creates a blurred, light, moving, and suggestive distance rather than a concrete confrontation:
"The bell stops ringing, smoke swirls A scent passes by... a sigh Of a wonderfully clear fairy melody
Se will float - The curtain of pearls changes
From the dark frame, a graceful fairy stepped out, light as dawn. Her black eyes, passionately sparkling,
Like a pair of mysterious jade, profound and mysterious."
(Glass flower)
Reading the above verses, we are like standing before a fairy painting with poetic and graceful lines by the painter and poet Thế Lữ. The whole fairyland, fairy people, fairy scenery are vaguely dreamy, truly haunting.
It can be seen that The Lu's poems about the fairyland are like fresh breezes that dispel the heaviness and gloom of everyday life. Although these poems are in fantasy, they still have a close appearance to everyday life. That is a unique, interesting and very valuable new feature in The Lu's poetry.
2.2.2. Formal innovation (form of expression)
Talking about form means referring to many factors including the system of genres, language, and images. A new style of poetry was born, of course, along with the aesthetic concept of form of expression. Form is the realization of the poet's ideas. Thế Lữ had bold innovations in form of expression to bring New Poetry to complete victory.
2.2.2.1. Innovation in verse structure
Influenced by Western scientific thinking, Thế Lữ boldly innovated in terms of poetic structure to highlight the nature of phenomena.
Studying Thế Lữ's poetry, we see that Thế Lữ created defining verses according to a common formula (noun + is + noun). For example:
- I'm just a love guest.
- I am a wandering pedestrian
(The guitar of many melodies)
- I'm just a dreamer.
(By the river taking guests)
- I am a soldier
(Call from the river)
- The Lu is a strange guy.
(Self-mockery)
- He is a homeless man.
(The wandering man)
In the formula that Thế Lữ proposed, the personal pronoun is only a specific individual, a specific self-referential person. The object has many forms, sometimes it is a dreamer or a lovesick guest, sometimes it is a passerby or a strange guy with no place to stay. This is a new feature that clearly reveals the subject "I" that literature had never had before.
As mentioned above, one of Thế Lữ’s contributions to the New Poetry scene is the method of highlighting logical thinking. Once rationalism is accepted, it is difficult to accept an idea that stops at the last word of a verse. Therefore, Thế Lữ’s verse is not a grammatical sentence but a long poetic section structured according to French grammar, such as: