This time always goes hand in hand with metaphysical space. It basically has the characteristics of real time, associated with earthly space. Heavenly and negative time are unified in time with earthly time. The distinctive feature of this group of times is that they are abstract and do not really exist in this world.
The meaning of super-time can only be obtained when it exists alongside super-space, which has created a new concept of artistic thought. Folk authors have gone beyond the inherent logic of humans to create a completely different world that no one has ever set foot in.
The works within the scope of the study do not have much difference in time between the mortal world and the fairy world, but there is still a Tay poetic work outside the scope of this thesis that has a fundamental difference. That is the poetic work Tu Thu - Van Thay. In this work, a day in the fairy world can be counted as a year on earth. When the Queen Mother reported to the Jade Emperor about Tu Thu voluntarily escaping to the mortal world for four to five days, according to Bao Cong's report to the Jade Emperor, the young woman had appeared on earth since the previous year. The time after she was forced to return to heaven (fairyland) is also calculated in the same way. She had only been back for about forty or fifty days, but Van Thay was already seventy years old.
She has not been back to the fairyland for long. Just about forty or fifty days. Van That in the mortal world is the age of a crane. Seventy springs of age is already old.
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Che Lan Vien's political poetry from the perspective of artistic thinking - 1 -
Tay ethnic poetry from 1945 to present - 2 -
Nguyen Trong Tao's poetry from the perspective of artistic thinking - 18 -
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Symbolic System in Tay Poetry from 1945 to Present
In the underworld and the sky, time is eternal, an unreal time, it is completely opposite to earthly time. In addition, artistic time also expresses a concept of the human world and also expresses the artistic intention of the folk author about time. "That difference is consistent with
The Tay people's concept of the fairyland. In the fairyland, the Jade Emperor and other supernatural beings hold supreme power and can "adjust" everything, including time. Moreover, the period of time in the fairyland also represents the people's dream of an eternal world, where mortals, with their limited life span and the sufferings of human life, can place their sacred trust in the saviors" [9: 110 - 111].
Summary
Through the classification and characteristics of artistic time and space, we have partly seen the unique creativity in Tay narrative poetry. It not only inherits and absorbs, but also transforms to bring itself a new nuance in terms of genre poetics, especially in artistic space and time. The preliminary analysis has shown the distinct characteristics of each group of artistic space and time. The sense of time and space is always associated with the concept of people and life. Space and time are both elements that make up the artistic world of Tay narrative poetry. We consider these as the initial foundations to be able to approach more deeply the means and ways of expressing artistic space and time in the following chapters.
Chapter 2
EXPRESSION OF ARTISTIC SPACE IN TAY POETRY
2.1. Images of artistic space in Tay poems
2.1.1. Living space
Living space is always close to human life. Humans exist in living space. We see that these spatial images are very rich and diverse. Spatial images in life that enter into works can all become artistic spaces. That depends largely on the ancient people's sense of the world when looking at the issue of artistic space.
There are many images of living space in the Tay poem, but the most notable is the space of the "house". Specifically here, when talking about the house of the Tay ethnic group, it is often a stilt house because it is suitable for the natural conditions of the Tay people. That is the image of the stilt house of Nhan Lang and the stilt house of Thach Sung. Nhan Lang was originally a poor orphan, begging for food every day to take care of his old mother. He was a filial son to his mother, loved his mother very much, and was a person with a golden heart who always helped everyone around him. Because of poverty, his house had nothing? Here, Nhan Lang's house is not clearly stated in terms of height, width, or narrowness, but is only mentioned very generally with the words "house, or from the stilt house, cac".
“Looking at the stilt house, mother felt even sadder: The day the king lowered the price of Quyen Vuong, our family, is unknown in the four directions.
Where to go to pick her up?
[1:66].
The wedding day of Princess Quyen Vuong is approaching, and his mother is very worried because she does not know how to have a big house to welcome her daughter-in-law, the king's daughter. The living space in the house also partly creates a space in which the character's mood is revealed.
If we compare it with Thach Sung's house, we see a clear contrast:
“The family of Thach Sung was very rich, with countless servants and cattle.
Set up enough flower beds and windows. I will measure each space at home.
Build a golden house to welcome her. Why do you think of building a stilt house, mother?
[1:66].
Saying this is to see that Thach Sung's house is very rich, in his house there is no lack of anything in the world, there are people living there, countless buffaloes and cows, flower beds... Those details show a part of Thach Sung's living space (very rich, large). Not only that, Thach Sung's house is also described in both height and width:
“Nhan Lang went into the basement of the house of the Mandarin and placed a measuring rope hanging from the east, west, south, north, and across. Thach Sung lived on the golden bed in the cool house. He saw the Mandarin hanging ropes on the ground. The Mandarin placed a measuring rope in the wide room below.”
[1:66]
Poor Nhan Lang also wished to build a house like old Thach Sung, so he went into the forest to get vines to measure Thach Sung's house.
The contrasting spaces between the houses of Thach Sung and Nhan Lang partly show the author's intention: to speak up to protect orphans, the poor, the unfortunate, and to strongly condemn the rich who look down on others and disparage the poor. The reflection of each space of each family shows that the Tay feudal society had a deep class division, creating a clear gap between rich and poor in society.
In the house of Nhan Lang and old Thach Sung, we see a central space - "the bed" - as a very necessary object in every house, an indispensable thing in the life of every family. Here, there is also a contrast between two small spaces, which are familiar resting places for people. The bed in Thach Sung's house is described as a flower bed, a golden bed; while the bed in Nhan Lang's house certainly cannot be as luxurious.
Usually when talking about the space of the house, the door is mentioned quite a lot. To create a cool space for the house, people can open more windows to let light and cool wind in. “The door is also the house. The most important thing in the house is the door. The opening and closing of the door is even more important because it determines the joy and sadness, the warmth and happiness or the cold and lonely, the open sky path or the dead end…” and “The small space through the door will not have anything to separate people from the universe, on the contrary, it will make it connected. Any human emotion can spread into the universe” [14: 80]. That is why the poem has the saying: when coming to the door, people immediately think of home. In the work Nam Kim Thi Dan, there is a sentence:
"- Morning and evening sitting in the door makes me feel more sad
- I tried to come home to visit each other.
- Just came to the door to complain.
- Thi Dan came home crying”…
Living space is also shown in the private life of each family. This space takes place within the scope of each individual's life, very small. The people in that space also contain different moods, which can be sad, happy, nostalgic, angry...
The space of the house appears very close to the daily life of the mountain people, described in quite detail. That is the scene where Nam Kim and Thi Dan meet in Thi Dan's house after a long time of separation and longing:
“If you can't sleep, get up and cook rice. Wrap rice balls for me to go to the market.
At dawn, the window was bright. Thi Dan called Nam Kim to wash his face.
The table is ready, she is waiting to eat together. Honey, let's have a meal together.
Thi Dan invited her classmate to sit down. Only two people invited her to eat and drink. While eating, they swore to each other.
I will not let two souls be apart.
[5:266]
It can be said that this is a good poem in the work that shows the daily life of the mountain people, a most simple life, the most familiar and familiar to people. That creates a very unique beauty of the mountain region. We can easily recognize a living space, with enough colors, sounds, smells... With the image of Thi Dan's house space, all activities take place associated with each character in the work. The level of light is "Tang tong"
“morning” (in the early morning, when people have not yet woken up, the light is not yet clear, just a little dim). If we compare with the above poem, the time when Nam Kim visited Thi Dan, this time could be late winter, early spring, in the early morning there is a lot of frost. So in terms of level, here it cannot be completely bright, but only dawn. To some extent, the space outside is covered by the fog that we often know in mountainous areas.
The only sound in Thi Dan's house at this time was the voices of two people talking to each other. The two of them ate and swore to each other, a very private living space. That living scene was the background for the couple's last meeting and vows before they had to part forever, never to see each other again.
In particular, the folk author used a series of verbs in the above poem such as "wake up, pack, call, invite, sit, wait, wash, eat, swear while eating" to further emphasize each action of the character, it is urgent to be close to each other but the heart is still not at peace. Through that small living space, we can also see the character's mood before having to say goodbye. Here, we see the character's pace of action increase quickly because Thi Dan knows that: tomorrow he has to go to the market, the two of them have to be apart again.
Thi Dan could not sleep so she got up to cook rice and wrap rice balls for him. Then she called Nam Kim to wake up, wash his face, and then prepare food for the two of them to eat together. The meal for the two of them was not a delicacy, but only rice and wine, but full of humanity, containing a deep and intense feeling. It was a pity that they could not overcome the invisible bondage of society. The unjust custom of forced marriage made those who loved each other sincerely and passionately, to the point that "Longing placed in the heart" had to suffer, carrying hatred for the rest of their lives. This is the only passage in the work that most clearly describes the living space, telling about each activity, each detail as in daily family life.
Also characteristic of the living space is the "Market" space. As we know, the market is a meeting place for trading and exchanging, a place where many people gather with all kinds of goods. "Market" in Tay poems not only represents the living space of ethnic minorities but also represents the customary time. The market of ethnic minorities in the mountains usually meets once every 5 days, depending on the region, the market meeting date is different. In most of the poems, we see the market with different names.
In the work “Nam Kim Thi Dan”, “Market” becomes the “meeting place” of love, the only place where two people can meet and date:
"Nam Kim knows how to speak and what to say. His advice to his friends is now difficult to undo.
Ask me where the bamboo forest lingers
How many roads separate us? Thi Dan, you passionately say love, There is only one road to the market.
[5: 268-269]
The living space not only appears in the story “Nam Kim Thi Dan”, but also appears in “Liu Dai Han Xuan”: the unique images of the Nam Nga space (bright red roofed houses, peach blossoms, plum blossoms, willow flowers blooming with thousands of colorful flowers and bustling groups of people going back and forth); markets everywhere at three-way intersections, with meat, fish, cakes and snacks for sale. Through the above images, we can see that the market space has long been meaningful to the lives of the people in the mountains. This is a communal living space in many ethnic groups. The following poem talks about Liu who traveled for a whole month, reaching the city of Nam Nga Ha Bac, the living space here is very bustling, full of colors and sounds:
“A month to South Russia Hebei