But he still has flexible changes in the rhythm of poetry. The pause at the 3rd word in line 6 and 3 or 4 in line 8 has become a characteristic sign:
Oh Huong Giang!/the peaceful river My heart/still loves day and night
(Homeland song) A star /does not light up the night
A ripe rice ear/ cannot make a golden season. A person/ is not human.
Live or die, just a dying ember.
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In the song "Huong River Song" , To Huu, with the deletion of the eight-syllable rhythm, we see the endless pain and shame of the prostitute when looking at her fate:
The moon rises,/the moon stands,/the moon wanes. My life is a bamboo boat drifting downstream.
I go /with/ the boat without When to reach the shore leaving the river of lust
Or with the 1-5 beat, the rhythm of the verse seems to speak of the difficulties of the revolution:
Waterfall/how many waterfalls can I pass? Vast is our boat in this world.
In short, both Nguyen Binh and To Huu, besides absorbing tradition, the two poets had their own creativity, to suit the reflected content, creating unique features for each author.
3.2. Language
Language is not only a means but also a tool, a material of literature. Language is the first element that writers use in the process of creating literary works.
Learning is also the first element in the reader's contact with the work. Language has a special place in poetry.
Poetic language is the soaring voice of magical imagination, the voice of the heart in emotion. Poetry can only reach readers through language. Different from prose language, poetic language has a special evocative effect. Poetic language has been realized with the creative style and writing style of each poet. Poetic language can be considered a typical language for literary language, all characteristics from conciseness, condensation, evocativeness, precision, imagery are all concentrated with the highest requirements in poetic language.
Poetic language has constantly changed, inherited and transformed to suit the content and aesthetic tastes of the times, becoming closer to reality, more figurative, and richer .[24,327]
3.2.1. Language in Nguyen Binh's six-eight poetry
Luc bat is inspired by life, so it is simple, rustic, close to everyday speech but has high expressive power. As a person who always respects the origin and sustainable values of life, the author has found in folk poetry a rich vocabulary and he knows how to exploit it, always renewing folk songs with new and interesting words, combinations and rhetoric. Nguyen Binh's talent is clearly shown in the use of language. Coming to Nguyen Binh's poetry is coming to the source of pure, simple language, rich in folk and ethnic colors. We see the shadow of lullabies, folk songs, folk songs, common words of daily life in those simple verses:
Who makes the price expensive?
A few days of frost make the mountain rich
(Waiting for each other)
With the language of rustic life " the wind is expensive for areca", "frost", "riches fall on the mountain " the poem goes beyond the boundary of being a promise for a beautiful new love that has just blossomed and shows the failure of a young love.
Or in the poem "I'm Back in My Old Hometown ", the author used many words typical of the language of working people when describing the countryside scenery with the deep emotions of the souls of simple, honest country people, longing for a peaceful life, in harmony between the scenery and the people:
From now on, I will bathe in the pond again.
Homemade mulberry wine, home-dried tobacco
A peaceful, clear and vibrant space:
The lotus tree is full of sweet fruits, the lotus pond is full of fish, and the lotus pond is full of fish.
The simple, close and familiar countryside scenes through Nguyen Binh's love for the countryside have impacted the hearts of readers. It not only revives its original beauty but is also a way for him to express the new sentiments of contemporary society[36,79]. Notably, in Nguyen Binh's six-eight poetry, the poet used vague pronouns referring to who, who, me ... very delicately, bearing the appearance of ancient folk songs:
Who's soft hat is passing by? Who's purple shirt is there? Who's fresh lips are there?
(A drunken afternoon) Lemon blossoms blooming in the lemon garden
My teacher and I are country people.
(Countryside)
These are very general pronouns, difficult to identify the subject, very easy to apply to anyone. Therefore, it increases the ability to generalize the mood of many people, increases the ability to empathize between people.
Like folk language, Nguyen Binh's six-eight poetry language is rich in images, colors, and rhythms. The poet has chosen for himself a way to express the world of abstract emotions through specific surrounding objects and phenomena, directly affecting the reader's senses, through simple, rustic, and familiar landscapes. There are
The poem contains many bitter feelings about human affairs, but the meaning is also expressed entirely in color:
My lover has red cheeks and pink lips, green hair and blue eyes, but a dark heart.
(Go again)
Nguyen Binh is also admired for his poetic language rich in melody, which is the inner melody of the soul:
That's our fate. This is...this is...that's it.
(Spring wine)
Nguyen Binh also increased the expressive power of language by using rhetorical devices: comparison, personification..., especially metaphor - a rhetorical device that ancient poetry often used. Talking about love between couples, the author mentions: flowers-butterflies, betel-areca, ferry-wharf , mentioning a girl who got married but was not happy, the author calls it a "mistake"...
Language is a formal means of expressing culture. Reading Nguyen Binh's poetry, we can feel his love for his homeland. Influenced by deep love for his homeland, his poetic language represents the language of the Northern Delta:
Morning spreads across half of the tea garden. A thatched house, we go home together...
…Tonight is the real night Who brings the moon to spread over the tea garden
(In the past) Lemon flowers blooming in the lemon garden
My teacher and I are country people.
(Countryside)
Rumor has it the wedding was big.
The groom's family hired nine boats to pick up the bride.
(The Ferryman's Dream)
Nguyen Binh used the typical language of his homeland, even in his writings when he was away from home, which proves that Nam Dinh countryside is always present in the poet's heart. A deep love for his homeland!
3.2.2. Language in To Huu's six-eight poetry
“Poetry is the most innocent voice of man before life” and that innocence must be expressed through images, rhythms, and truly “innocent” language. To Huu requires that language must first of all be the language of the masses, the most vivid language of life. In other words, To Huu has brought the language of the working people into poetry, making the poetic language concise, profound but rustic, simple, easy to listen to, easy to understand, soaring but not sublime, elegant but not monotonous, imitative but not clichéd.
Like Nguyen Binh, To Huu's poetic language in general and To Huu's six-eight poetic language in particular belong to the language of folk lyric poetry, imbued with national character.
In particular, he brought the revolutionary voice into poetry, elevated the voice of personal feelings into the voice of political and rhetorical arguments, allowing the poet to express his thoughts, attitudes, and positions decisively. Therefore, poetry of this period focused on the individual ego.
To Huu is the pioneer of modern revolutionary spoken lyric poetry. This is an outstanding achievement of To Huu as well as of modern Vietnamese poetry, and perhaps started from Romantic New Poetry. Spoken lyric poetry is different from classical poetry and recited lyric poetry in that: " Speaking lyric poetry has the form of speech, the lines of poetry have syntactic connections, use empty words, colloquial language [14,550], the reenactments of dialogue, monologue are full of emotional tone. The boy's questions and the mother's answers in the poem My Story are so simple but leave in our hearts unforgettable emotions, so touching:
At night I asked my mother: Where is dad?
Mother said: Grow up quickly, next year father will come back... Begged mother: Mom
I'm gone, what about you? Mom hugged me and laughed:
You kid, is the egg smarter than the duck?
His spoken poetry harmoniously combines folk and classical elements. In Viet Bac, with the way of addressing oneself (you - I - who ...) of folk songs, it conveys new content - revolutionary content. " The poet has transformed the passionate enthusiasm of traditional patriotic poetry into a new, strong, resonant voice." [14,558]. To Huu created revolutionary spoken poetry, carrying the resonant, crisp sound of the masses, bringing political thoughts and voices into poetry. He has widely and skillfully used empty words, arguments, and political slogans in poetry to the point of naturalness. [14,550]
Spoken poetry is the poetry of modern Vietnamese people, modern national poetry... It opens the door to intimate voices, bringing the surging panting of life into poetry. It opens the door to everyday speech, prose of all levels and fields can enter poetry. It opens the door to folk tradition, because folk poetry is fundamentally spoken lyric poetry. It opens the door to new forms of thinking, allowing the use of metaphors, associations full of unexpected paradoxes... and it allows the poet's personality to be revealed more sharply than ever, right in the form of poetry.[14,551]
In short, the uniqueness of To Huu's poetry is the language and tone of speech in the field of emotions and political ideology, combining poetry with traditional poetic forms. The poetic language is diverse and rich. It has the strong, clear, and concise voice of a propagandist, the voice of a young soldier, passionate about revolutionary ideals, the warm, sincere voice of comrades and friends, and the voice of love for relatives. To Huu's six-eight poetic language has contributed to creating a popular character that is not easy, national but modern, expressing the great thoughts of the times, the very new things in the life and people of Vietnam. From the familiar, old way of speaking, but in To Huu's six-eight poetry, there is still a new vitality.
The remarkable thing about the use of language in To Huu's six-eight poetry is that he used the dialects of all three regions: North ( chua/ chua,...), Central ( ni, te, rang, rua,...), South (ghe, canal,...), very successfully and this contributed to creating the poet's own style. To Huu used language associated with traditional cultural characteristics, habits and customs of each region, creating diverse nuances of each locality but also the common cultural features of the Vietnamese people. In which, local words in the Northern region account for a small amount but mainly concentrate on the language of the Southern and Central regions. The author used words such as: bay, coi, chi bay ,... in the following poem:
You consider the West and Japan as your fathers . Why do you harm your country and your people?
Be careful to give up your hooliganism.
Otherwise, you will get hit back !
(Singing on the dike)
The simple and honest way of speaking of the Central and Southern people shows us the feelings and souls of the people here. None of us can forget the figure, work and words of Mother Suot through the talent and love of the poet:
He shoots down planes early in the morning and noon, so I just have to ferry you rain or shine.
Curiously asked mother
Why did he let his mother row?
(Mother Suot)
In the poem " Nuon non ngan dam" , the word "local" is a journey throughout the Southern region. First of all, the Central region, the land of many sorrows, where there is the Ben Hai River - the boundary between the North and the South:
How to prevent decades of school when new tissue is connected in and out
Next is Quang Tri:
Several hamlets in the military base are in tatters . Wire fences and police stations are fluttering.
However, as a Hue native, his poetry still retains the way of speaking of Hue people, taking on many influences of Hue: folk songs, Hue folk songs, the serenity of Hue folk songs...:
I go with the empty boat When will it reach the shore to leave the stream of lust
Oh my god I know when
My body is full of humiliation and torment for five watches
(Song of the Perfume River)
The sadness was overwhelming. The girl cried for her fate, she longed to start her life over again. With the rhyme of the words “ mô-vô-ô ” not only expressed the situation and feelings of the girl but also expressed the feelings of the poet himself. The Hue accent clearly showed the accent of his homeland:
Mom, the gun is so beautiful . I'm going to fight the enemy, don't worry .
Mom laughed: You're just like your father . You don't eat anything, you just keep fighting .
(My story) What is your sadness , Hue?
But the rain poured down in Thua Thien sky.
(Thousand miles of mountains and rivers)
Just two words "chi rua " in Hue dialect also show the Hue character in this natural picture.