My Intuitive Self on Modern Social Issues

negative (84.7%) but mainly the state of sadness, loneliness with manifestations such as " crying ", " tears ", " suffering ", " fear ", " anxiety ", " sorrow "... Unlike revolutionary poetry, " joy" and jubilation are not mentioned much (15.3%). Even when " laughing " and " joy " are mentioned, they are also in the state of "not laughing", "forced laughing"... From here we can affirm that the lyrical ego in the post-renovation period has had a big turning point compared to the previous literary period, the ego is no longer extroverted with the far-reaching poetic sound but returns to explore and perceive the deep inner world of the lyrical subject himself. The state of sadness and loneliness is the manifestation of the depth of the artist's spiritual life; exploiting emotions and moods from one's own private life is the common inspiration of contemporary poetry. In particular, with the creative mindset of women and the need to assert themselves, three young female poets Vi Thuy Linh, Ly Hoang Ly and Bui Sim Sim do not hesitate to expose all of their private lives with a range of emotions, the main of which is still sadness and loneliness.

Loneliness is a state when a person feels lost, lonely, and alone. If in poetry before the renovation, poet Che Lan Vien volunteered: " To erase loneliness, we integrate with people ", then in contemporary poetry, the image of the lyrical self with its haunting loneliness appears a lot, especially in female poetry. In Vi Thuy Linh's poetry, the number of times the words indicating the state of "loneliness", "alone" and their synonyms appear is quite dense. The loneliness of the lyrical self in Vi Thuy Linh's poetry is first of all the loneliness of a girl in love: "The diary was suddenly written, without translation/ Alone everywhere, a lonely testimony/ Struggling to let the pain take over" ( Untranslated July ). The loneliness of a girl is when she misses her lover, longs to be loved but still holds herself alone with the desire for love: " The arms touching me... tremble/ Not your hands! I sobbed alone/ All the hidden sorrows crawled out/ The air was cold and musty/ Why didn't you take me out of loneliness, out of the endless days of longing/ Why didn't you dry my tears with your lips" ( Talking to You );

“The burning road calls me/ I am alone with the purple sky” ( Alone in April ); “Em Au Co is alone” ( Signal ); “Alone with the virgin moment/ Thousands of fading suns/ Listening to the afternoon heart fluttering/ The immense sadness” ( Love exchange )… The lyrical self is still lonely, lost in the heart of modern life with immense thoughts and contemplations: “I live each moment to the fullest/ I bloom deeply into the darkness there, lonely, radiant” ( Alone )… Sharing the same mood with Vi Thuy Linh, Ly Hoang Ly also talks a lot about “loneliness”, “alone”… in her poems: “ Alone with me/ Lonely/ Entering the ruined house/ Long absent of people/ …/ Alone with me/ Turns out to be two people/ The ruined house/ Filled with laughter/ You will not leave me/ Lonely” ( Illusion), “lonely” is a state of loneliness, it is even more profound, more profound than the feeling of “alone”. It seems that Ly Hoang Ly contemplates and feels more and more deeply her own loneliness: “Drifting into the night/ I sing a silent song alone/ The night falls into my heart – wide open and aching” ( Maybe) . And in the midst of his busy, urgent life, Ly Hoang Ly’s personal world is frighteningly silent: “ Afternoon/ Silently walking on the crowded street/ Silently walking on the noisy street/ Silently the wheels spin ” ( Afternoon silently ), people living in modern society are like a cycle of endlessly repeating habits. Ly Hoang Ly uses the motif "Afternoon/ Silently..." at the beginning of the six stanzas in the poem " Afternoon silently " to depict people in the life of modern society, each person is an isolated and separate individual or the individual ego is isolating itself from society, so that in the midst of the hustle and bustle of life, the lyrical character is still lost and lonely : "Afternoon/ Silently, not talking, walking on the crowded street/ Silently, not talking, walking on the noisy street/ Silently, the wheel spins" ( Afternoon silently ) . The loneliness of Ly Hoang Ly's ego is always self-isolation: "Curling up like a coiled spider/ Emotions also coiled/ Don't touch me/ Don't touch me" ( Con coiling spider ) the woman shrinks into her own world, separating herself from the noise of everyday life . And with the mindset of a woman, Ly Hoang Ly also writes about the loneliness of a girl in love, being by the side of

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The person you love but still feel lonely : "The night is ours/ Why do you dare to sleep/ Oh my dear/ I have to stay awake alone/ The nights with the lights on/ The blanket in front of my chest/ Is cold" ( The night is ours )... The loneliness in love is expressed more and more deeply in the image of the girl in Bui Sim Sim's poem: "Knowing that I cannot hold on to time/ I silently watch... hesitantly the yellow leaves fall/ The afternoon sunlight stings and wets people's eyes/ And the night falls... only me and the grass remain" ( Self-feeling ); Still the loneliness in love, the girl longs, waits for the appearance of "you" : "I wait, but don't come!/ Give me forever a moment of restlessness/ Missing, waiting, anxious/ Alone, alone, lonely" ( I wait ). The girl lies to herself, waiting for "you" to come, but is afraid that she will "miss" and "be restless" again, so the conflict in her mood increases even more . Lying to myself, hoping that “you” would not come, but sometimes: “There are times/with so many things…silent/I am alone/where are you going, where!?” ( There are times ); “I return to the silence of the night/No longer crowded and red dust/The street suddenly becomes sad, my shoulder sucks in the wind/Only this afternoon I know – I am alone…” ( An afternoon against the wind); “Does anyone accidentally know/A star in the sky/In the vast silence/Alone, sad, lost…” (Accidental) . Those are the extremely feminine emotions that poet Bui Sim Sim has portrayed in her poetry so truthfully. Sometimes, the lyrical self with a state of loneliness before life: “So unstable, the sea this afternoon is deserted/Alone with my thin mountain shoulder” ( With the sea this afternoon )… Thus, the lyrical self in contemporary young female poetry has begun with honesty, daring to face and expose oneself to loneliness and emptiness. The lonely ego is opposed to the collective self, the poet has no support, is alone, lost, and desolate. This state of mind will become the basis for philosophical reflections in the poetry of young female poets that we will mention in the following part of the research.

In rhythm with the lonely symphony are the deep and resonant sounds of sadness. Sadness in the previous period of New Poetry was mentioned as a main inspiration.

the guide for the inner world of the lyrical self: " A small soul / Carrying eternal sorrow " ( Eche - Huy Can). And until the literary period after the 1986 renovation, sadness returned to its place in poetic creation and in the poet's soul. Examining the poetry collections of the three poets Vi Thuy Linh, Ly Hoang Ly and Bui Sim Sim, we can see that " sadness " along with its sounds such as " suffering ", " sorrow ", " crying " or higher " worry ", " fear " all appear many times (In Vi Thuy Linh's poetry, it appears 421 times; Ly Hoang Ly's poetry appears 134 times and Bui Sim Sim's poetry appears 98 times). All three young female poets do not hesitate to expose themselves to all their inner world, which is not only loneliness and isolation, but women in modern society also contain sadness. However, the expression of the inner world with the depth of the soul of each poet is different, this creates a unique mark, creates a unique personality in each person's poetry. The sadness in Vi Thuy Linh's poetry first comes from thoughts and contemplations about modern life and about people: " The truth is unfaithful - The era is too sad " ( Valentine ); " We are all full of sadness / There are - sadness - faces - people do not recognize " ( Mystery ); " Sadness gnaws at people every day / It consumes us with strength " ( A day not yet in the truth ). Realizing the root of sadness, but sometimes Vi Thuy Linh is helpless before sadness and quietly accepts it: " I cannot explain! / Poetry is eternal sadness" ( Salty verses ); " I quietly weave happiness from sadness " ( The weaver of thorns ). Sometimes, sadness is not enough to express the entire inner world, Vi Thuy Linh mentions pain as a habitual endurance: " Now now/ Vi's jewelry is silence/ Tasting unpredictable pain/ Reducing pain with a remote" ( Love in September ) . As for Ly Hoang Ly, sadness is like a clinger, lurking everywhere in life and can haunt the lyrical ego at any time: " Today sadness hides behind the pure white curtains/ Yesterday it hides under the thin blanket/ Tomorrow it lies on the cold stone floor/ The day after tomorrow it hails a taxi for a ride/ Looking at the illusions of the night streets/ Silently hiding in each grain of sand on the road/ Rolling wheels

"I don't even want to move" ( Lò lô ) . And the girl sees the world through the obsession of sadness: " When people roll a young girl's sadness into a round ball and gnaw at it a little bit every day, will the girl be happy or crazy? I don't know clearly - I only know that the girl won't feel the pain of that sadness but will only feel the pain in each strand of her hair " ( Lò lô ). The sadness is so constant and haunting that the girl no longer feels it but turns to pain and physical torment. The poem in prose form is a detailed and imaginative presentation of the girl's world with all its sadness. Sometimes the lyrical self sees the confusion of all the different states through personal views of the pictures: " Laughing - crying - anger - joy - love - loss - suffering - happiness / Life is wrapped up in four walls " ( Performance photo ). Sadness and suffering are the main sounds in the symphony of Ly Hoang Ly's ego, and sometimes, the ego is very strong: " I overcome sadness by controlling/ Eyes no longer know how to cry/ Not dry/ Not sad/ There is no more room for joy " ( A pair of sparrows ), it seems that sadness has taken away all expressions of emotion, overcoming sadness is just a difficult reluctance. Also dominated by sadness and facing sadness in her inner world, female poet Bui Sim Sim sees life through the eyes of a poet who always carries a faint sadness, in waiting, in nostalgia for the past time. That girl is both gentle with traditional beauty and strong with the seething desires of youth: " The cool breeze is ripe on the street/ I come back to pick up lingering memories/ Something like nostalgia/ Scatteredly falling on the sad street " ( Autumn ). The girl in love boldly speaks up for her unrequited desires and sadness: “ And the vase of flowers seems to be indifferent/ No sharing, no consolation/ Before the flowers that are wilting and drooping/ What sadness makes the petals hurt so much ” ( About the blooming flower and the vase of flowers ). No longer reserved as before, now in poetry, the lyrical self with sadness is expressed directly, sadness sometimes seeps into the external world, sometimes directly reveals the poet’s internal world: “ Dear! Why?

"It's not the sun/ Warming my soul when winter comes/ Oh night! Why is it so sad/ Where can I hide?" ( Monologue ). A woman in love is free to speak up for her desires in love and also free to express her "sad" sadness when "you" are absent. Sadness and loyalty: "Flowers still fall on the way home, I wait/ My love! Don't let the flowers be sad!/ All my life I will be in pain with waiting/ Purple heart missing... purple heart resenting... purple heart..." ( The Way You Come Back ) is a constant state of mind in the soul of a girl in love . Sometimes the poet can only feel it but cannot explain it: "I don't know what color the sadness is anymore" ( Broken pieces... ). Sadness in Bui Sim Sim's poetry has its own mark, gentle but profound, full of femininity.

“ Thus, the themes of loneliness and sadness are real psychological states in the human being. They exist beyond time, and should not be simply conceived as a repetition of New Poetry ” [7, p.87]. The return of the inner self with sadness and loneliness in contemporary poetry is associated with the desire to affirm the unique personal self, affirming the existence as a living individual. Exposing one’s own inner world in poetry, each poet tries to create for himself a brand, a mark that cannot be confused with anyone else. With the three poets Vi Thuy Linh, Ly Hoang Ly and Bui Sim Sim; sadness and loneliness expressed through poetry are the marks of the feminine self with gender characteristics, are unique features in common characteristics, expressing the creative personality and individual face of each person.

2.3. The worldly ego

2.3.1. The intuitive self on modern social issues

The dizzying pace of change in the market economy has disrupted the familiar balance of society. Amidst the rapid changes of the times, many spiritual and material values of human beings are no longer preserved and cherished as before. Poetry has also become more sensitive, more experiential and more thoughtful. The lyrical self in poetry is liberated, freer and also more isolated. It is the loneliness and sadness in

The poet's state of mind, along with the changes of the times, has become the basis and the reason for thinking about modern social issues. Poets, including young female poets, no longer look at life with an idealized view, no longer praise and delight in joy, but they face the naked truths of modern society, they see the changes, reflecting the face of society from many different perspectives. The ego in contemporary young female poetry not only goes into exploring the depth of the inner world of one's own private life but is also the ego that dares to recognize and confront the worldly issues of society and of the times. The lyrical ego in the poetry of Vi Thuy Linh, Ly Hoang Ly and Bui Sim Sim is the same. The three female poets dare to face themselves and also dare to face social issues, mentioning, criticizing and suffering from all the uncertainties and changes of modern society.

The lyrical self in Vi Thuy Linh's poetry is always a sensitive self, troubled by social changes. Linh is sensitive to the chaos and paradoxes in modern society: " I hate injustice and falsehood/ Paradoxes like ghostly spider webs " ( Salty verses ). The self in Linh's poetry is also sensitive to the truths

– false, right – wrong of life: “ The dark areas of the world/ Flowing from the hidden part of gloomy minds/ Are crumbling between true and false blindness” ( Crimson Peony ); then again in pain before the changes of human compassion: “ Forgetting a society with much indifference/ Automated life is the future/ The number of deaf people increases exponentially/ How can we know the sound of buds opening, sprouts stirring, the sound of our fellow human beings lamenting” ( Still Life ). Still the change of the human heart, the ego continues to criticize modern people with fake lifestyles: “ Society separates the pure/ Life is too crowded with actors demanding to be in the foreground/ Life is a net of schemes/ The world warns of increasing levels of madness” ( March Records ). The ego Vi Thuy Linh realizes that the advancement and development of science and technology is directly proportional to the cruelty and degeneration of people in modern society: " Under the sun/ People destroy and harm others/ Modern science mechanizes thinking/ Souls are infected and scarred."

"worn out by the dull, complex pace of industrial life/ We are terrified of greed/ Fearful of evil/ And fed up with the insensitive adulation/ The few-readers, indifferent to books, mocking the profound with pragmatism, darkness, ignorance/ Amidst the chaos of endless competition and bombs" ( White Violin ). Although the war has ended, I feel like I am living in a society with endless wars and struggles; the more I love Hanoi, the more painful and anxious I am when I see Hanoi changing day by day in the urbanization campaign: " Out of the tunnel/ I see the streets getting uglier every day/ Chaos, pollution, chaos, and disarray/ Hanoi lacks substance/ Hanoi is alarmingly lacking in poetry/ Blind encroachment, ruthless snatching, and competition/ Chronically indifferent urbanites" ( Love in September ) . When facing reality, Vi Thuy Linh's ego is always uncertain, sad, worried about the degeneration of the soul and compassion of people, and painful when seeing old values gradually replaced by prosperous urban civilizations; the ego comforts itself by returning to the past and immersing itself in distant imaginations: " I love the old Hanoi/ Only the old days were beautiful" ( Imaginary Hanoi) , these are the consciousnesses from private personal circumstances, Linh was born and raised in Hanoi, seeing Hanoi change every day, Linh cannot help but feel sad and hurt. The beauty of a traditional and enchanting Hanoi now only exists in the "imagination" of the lyrical ego. Returning to face reality, the lyrical ego fiercely exposes: " Evolution makes people more distant/ Even less time to laugh and even less to cry " ( Pushkin's fiery eyes ); and the vast and unpredictable world outside vibrates in the poet's soul with sobs and thoughts: " Millions of people are going crazy with the power of Microsoft software/ Souls are being encoded with the rhythm of programming life/ Day and night, neurons are tensely updating data/ People are not naive, do not have many dreams and gradually lose their romance/ The color of dollars is about to dye the whole sky" ( The Existing World ) . Vi Thuy Linh with her ego always worries, always sobs and thinks about modern social issues, looking at life with the sensitive, sensitive perspective of an intelligent woman who is always deeply concerned with life and people. However, the way she reflects reality

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