The big joke has lost the sweet lullaby of the genre. The reality in poetry has also changed. The lục bát genre, which used to express the pure and beautiful world of the human soul, now, thanks to the ability to transform of a “six-eight footed player”, has the opportunity to “discover itself”, opening up another reality, paradoxical, tragicomic with a strong contemporary color.
Thus, it can be seen that contemporary poetry has contributed a lot to the innovation of Luc Bat poetry in many aspects such as tone, rhythm, language, emotion, opening up many possibilities to express the spiritual world of modern people which is complex, sophisticated and full of paradoxes. And we cannot deny the role of some veteran poets in this field such as Nguyen Duy, Bui Giang, Dong Duc Bon... poets with their talent have proven to readers that Luc Bat is not only a popular literary genre, but also a noble literary genre of the Vietnamese people.
3.3.2.3. Short poems and very short poems
According to researchers, short poems are poems that only have from 1.2 to 15, 20 lines. Author Le Luu Oanh surveyed that in the collection of Vietnamese poetry 1945-1985, there were 5% short poems, Vietnamese poetry 1930-1945 had 15% short poems, while in the collection of Traces of Days by Hoang Tran Cuong, this rate was 76%, Rebirth Day (Nguyen Luong Ngoc) was 100%, House after the storm (Hong Ngat) was 67%, And I wait (Duong Ky Anh) was 50%, Forgotten years (Giang Van): 100%, small path (Du Thi Hoan): 95%.
Maybe you are interested!
-
Inspiration of worldly and personal life in Vietnamese poetry 1975-2000 - 1 -
The Image of Vietnamese Farmers in Worldly Inspiration - Personal Life. -
The right to inviolability of private life in Vietnamese law - 2 -
Improving the quality of personal customer care services at Daiichi Life Insurance Vietnam - Hue General Agency Office 1 - 1 -
General Assessment of Vietnam's Current Legal Framework on the Inviolability of Private Life
The tendency to return to the private and small makes poetry return to its modest form. Brevity is one of the signs of returning to the true quality of lyricism. The epic self exists in the length of history, in the revolutionary space with inspirations about the fatherland and the nation. The long poem is a natural thing to encompass an epic universe.
vast. The worldly self, especially the private self, is only revealed in a moment, an instant of life, suitable for a small, compact form.
Short poems can be written in many poetic forms, such as six-eight verse, quatrain, five-word verse, free verse: Time, no title (Van Cao), Sad market ( Dong Duc Bon ), Going to the pagoda (Du Thi Hoan ), Six-eight at the end of the afternoon, On Giang Vo street (Bui Kim Anh), Before Khai Dinh mausoleum (Duong Ky Anh), Nursery rhymes for adults (Nguyen Trong Tao)... The characteristics of short poems are that their content is often highly philosophical, has the ability to compress emotions, many unexpected elements, quickly comes to conclusions, many metaphors, concise, fast rhythm, selective words.
In particular, the appearance of very short poems, only 1 or 2 lines, shows the high conciseness and brevity as an advantage of the lyrical genre: I stand on the side of tears (Duong Tuong), I would rather drink a drop at noon - Than drink the whole rain at the end of the day (Nguyen Dinh Anh). Nguyen Duy is a very talented poet who writes two-line poems: I buttoned your shirt - my hands trembled as I wrapped up a patch of grass (Wrapping), Hesitantly calling out to a ghost - It turned out that I met my shadow on the wall (Meeting a ghost), To to return the wine to the bottle - Sad fate, a few bubbles (Pouring back). Very short poems show the artist's sophistication in the process of capturing life. A detail, a fleeting moment can make the poet think of life's problems. In particular, in very short poems, poets often use contrast, opposition, and paradox to let the images, words, and details reveal their own meanings. For example, in Nguyen Dinh Anh's poem : Sometimes I miss an appointment by an hour - Next time I want to meet, I have to wait a hundred years , the author used the contrast in the time element of one hour - a hundred years to express the incompleteness of human life, of love as well as the paradoxes of modern human fate: " Sadness and joy are few, bitterness is many ".
3.3.2.4. Prose poetry.
Prose poetry is “A basic form of poetry written in prose”. “Prose poetry differs from free verse in that it does not divide into lines, does not use the form of poetic lines (also called verses) as rhythmic units, and does not have rhymes” (22- pp. 272, 273).
The poetic quality of prose poetry is created by the structure and thoughts that are rich in provocation, surprise, and profound philosophy and poetry. Prose poetry that appeared after 1975 was an experiment of a number of authors in the process of searching for a renewal and innovation of the era, and in this field they also achieved certain results: The world is existing i - Le Hoai Nguyen, Slipping price - Huynh Kim (award of the literary newspaper 1989-1990), I love you like January - Pham Thi Ngoc Lien (Award of VNQĐ magazine 1989-1990).
Prose poetry not only expresses deep thoughts and philosophy, but also has the ability to express overwhelming, intense emotions that cannot be held back or restrained, ready to let go under the pull of overlapping sounds and images, the ability to associate is highly developed, creating an immense flow in the verse. Philosophical qualities can be found in the prose poetry of Thanh Thao and Do Minh Tuan as a description of today's noisy, complicated life with a bitter and contemplative view. The verses are clear, sober and full of thorns about life: " There is a poet who laments that life is too sober now . I, on the contrary, I like: sober, dry, cool, cool as a flute! Because I know that is only the visible side of passion (Thanh Thao). In Thanh Giong returns , poet Do Minh Tuan, with a prose poetry style full of debate and reasoning, expressed the painful paradoxical issues of life...
Also with the prose poetry genre, author Pham Thi Ngoc Lien returns to the sweet soaring emotions in a passionate harmony with the natural world and love: I will love you like January. The splendid month of the twelve months, the month of birdsong, the month of happiness with a hundred kinds of fruits... January is as long as a river, January is as wide as the sea. January carries passionate words - Saying that I love you, love you . The poetic ideas and images follow each other to create a passionate, rushing flow of emotions that creates a strong vitality in poetry, also a youthful vitality of the times.
CONCLUSION.
Vietnamese poetry since 1975 has made a journey of more than a quarter of a century and is still in a period of flux. It can be said that this is a period when poetry is still very young and full of signs of change in both content and form. There are elements that have been shaped but there are also elements that need more time to be tested. Therefore, an objective and scientific evaluation of the strengths and weaknesses of poetry today is necessary, contributing to the development of a literature imbued with a profound humanistic spirit.
Up to now, in our opinion, the inspiration of private life is a poetic inspiration imbued with the spirit of the times, developed on the democratic spirit and the inspiration of truth of the renovation period. The inspiration of private life has opened up a rich spiritual world of ordinary people that we had forgotten in the past, due to focusing too much on ourselves. The awakening of personal needs, the greater concern for people in
The specificity and individuality of the needs in peacetime are inevitable changes in social consciousness. In other words, the democratic spirit and humanistic inspiration are the outstanding characteristics of literature in the renovation period.
Humans are depicted in their multidimensional diversity, spiritual elements are focused on, social issues are turned back such as the issue of soldiers, happiness, history, war... are characteristics that strongly reflect the spirit of today's era. The social and ethical aspect is more concerned than ever as an urge of artistic responsibility before the degradation of the personal environment in contemporary society and an urgent call for love for humanity. Now is also the time to talk about the ego in its normal, natural and innocent nuances, an ego that is still in the community but is not crowded or dominated to the point of losing its own borders. This shows the distinctiveness and marks the position of contemporary poetry in the history of Vietnamese poetry. It also affirms that the ego in Vietnamese poetry after 1975 is not a repetition of New Poetry 1932-1945 but an ego closely connected to the community, and its awakening is not to separate into a lonely world but first of all to reaffirm the position of the individual's subject in society: the living subject, the creative subject.
Although poetry today has some unsteady and unsystematic steps due to many concepts and poetic trends intertwined, it still reveals the drastic efforts of innovation by many artists who are passionate about their profession. We need to patiently wait and encourage the efforts of innovation for the development of literature.
REFERENCES
I. RESEARCH, THEORY, CRITICISM
1. Vu Tuan Anh. Half a century of Vietnamese poetry 45-95 , Social Sciences Publishing House, Hanoi 1998
2. Aristotle. The Art of Poetry , Literature and Arts Publishing House, 1964
3. Arnaudop. Psychology of literary creation , Culture Publishing House, Hanoi, 1978
4. Lai Nguyen An. 150 literary terms , Hanoi National University Publishing House, 1999
5. MB Bakhtin. Theory of poetics of the novel , translated by Pham Vinh Cu, Nguyen Du School of Writing, H. 1992
6. MB Bakhtin. Problems of Dostoevsky's poetics , translated by Tran Dinh Su, Education Publishing House, 1993
7. Roland Barthes . Zero Degree of Writing , Writers Association Publishing House, 1997
8. Pham Quoc Ca. Some characteristics of Vietnamese poetry 1975-2000 , Writers Association Publishing House, 2003
9. Nguyen Phan Canh. Poetic Language , University and Vocational College Publishing House, 1987
10. Mai Ngoc Chu. Vietnamese poetry under the light of linguistics , University and Technical Education Publishing House, 1991
11. Huu Dat. Modern Vietnamese Poetic Language , Education Publishing House, 1996
12. Tran Quang Dao. The narrative ego, a characteristic of young poetry after 1975, TCNCVH No. 5, 2004
13. Phan Cu De. New Poetry Movement , Social Sciences Publishing House, Hanoi. 1982
14. Nguyen Dang Diep. Lyrical Poetry Tone , Literature Publishing House, 2002
15. Nguyen Dang Diep. Echoes from letters, Literature Publishing House 2003
16. Nguyen Dang Diep. Huu Thinh and the process of self-renewal of poetry , TCVH No. 9, 2003
17. Ha Minh Duc. C. Marx-Engghen-V.Lenin and some issues of literary theory , National Political Publishing House, 1995
18. Ha Minh Duc (Editor-in-Chief). Literary Theory , Education Publishing House, 2000
19. Ha Minh Duc . Literature thesis , Social Sciences Publishing House, 2003
20. NA Gulaiep. Literary Theory, University and Vocational College Publishing House, 1982
21. Ho The Ha . Trends in modern Vietnamese poetry in Lam Thi My Da's poetry , TCVH No. 3, 2003
22. Le Ba Han (Editor-in-Chief). Dictionary of literary terms , Hanoi National University Publishing House, 1999
23. Nguyen Van Hanh. Literature and culture, issues and thoughts , Publishing House
24. Tran Manh Hao. Anti-poetry poetry, Literature Publishing House, Hanoi 1995 Social Sciences, 2003
25. Do Duc Hieu. Innovation in reading and commenting on literature , Writers Association Publishing House, 1999
26. Dao Duy Hiep. Poetry, stories and life , Writers Association Publishing House, 2001.
27. Bui Cong Hung . Contribution to the study of the art of poetry, Social Sciences Publishing House, Hanoi, 1983
28. Bui Cong Hung. The process of poetry creation , Social Sciences Publishing House, 1988
29. Hoang Hung. Confessions about poetry, Literature and Arts, Hanoi, No. 43, 1994
30. To Huu, Building a great literature worthy of our people and our era , Literature Publishing House, Hanoi 1970
31. Doan Thi Dang Huong. Literature and Life , Thanh Nien Publishing House, Hanoi, 2000
32. Faculty of Literature and Journalism. Poetry, research, theory and criticism , Ho Chi Minh City National University Publishing House, 2003
33. Khrapchenko. Artistic creation, reality, human , Social Sciences Publishing House, Hanoi, 1982
34. Khrapchenko. The creative personality of writers and the development of literature , translated by Le Son and Nguyen Minh, New Works Publishing House, Hanoi, 1987
35. Nguyen Xuan Kinh. Poetics of folk songs , Social Sciences Publishing House, Hanoi, 1997
36. Ma Giang Lan, Ho The Ha. The Endurance of Poetry , Writers Association Publishing House, 1993
38. Ma Giang Lan . Studying poetry, Culture and Information Publishing House, Hanoi 2000
39. Ma Giang Lan. The progress of modern Vietnamese poetry , Education Publishing House, 2000
40. Ma Giang Lan. Comments on the language of modern Vietnamese poetry , TCVH No. 3, 2003
41. Ma Giang Lan. Genre transformation in 20th century Vietnamese poetry , TCVH No. 9, 2003
42. Phong Le. Modern Vietnamese Literature, History and Theory , Social Sciences Publishing House, 2003
43. Nguyen Van Long. Vietnamese Literature in the New Era , Hanoi National University Publishing House, 2003
44. Phuong Luu (Editor-in-Chief ). Literary Theory (Volume 3), Education Publishing House, 1988
45. Ngo Quan Mien. Transformation of poetic forms in today's poetic evolution , Literature and Arts No. 31, 1994
46. Vuong Tri Nhan. On recent formal explorations in poetry , Literature and Arts No. 32, 1994