Specifically, during the survey, we found that the image of tears - an image that directly expresses the hardships of life as a daughter-in-law - reappears a lot in folk songs as well as in poems. In the folk song " The Song of Being a Daughter-in-law", this image is repeated 25 times , in the poem " The Song of Being a Daughter-in-law" 14 times , in the poem "The Song of Being a Daughter-in-law" 9 times , in the poem "Nhang Do - Cha Tang " 9 times , in the poem " A Thao - Nu Cau " 8 times . The image of tears is also an image that has the value of expressing the character's emotions, we considered researching and surveying it on a separate table so that readers can easily see the rhythm of its continuous appearance. With the survey table of words that directly express the character's emotions, actions, attitudes, and thoughts, the following - the language section depicts many intertwined moods (anxiety when becoming a daughter-in-law, missing a lover, fear of the power of theocracy and tyranny) of the character, which has the value of creating a foundation for the main mood mentioned above. In the folk song The Daughter-in-law's Song , these words appear approximately 62 times , in the narrative poem The Daughter-in-law's Song 30 times , in the narrative poem Nhang Do - Cha Tang about 30 times , and in the narrative poem A Thao - Nu Cau 24 times . All of these images and words that evoke expressive values are concentrated mainly in the space of the hardship of being a daughter-in-law, the space of the husband's house , which is completely consistent with the choice of the work's theme: the hardship of being a daughter-in-law of ancient Mong women.
Thus, in summary, the mood of the lyrical character in the poem The Daughter-in-law's Song was completely inherited by the Mong folk author from both folk songs: The folk song The Daughter-in-law's Song and The Love Song . In which, the folk song The Daughter-in-law's Song plays a leading and decisive role in successfully expressing the painful and extreme mood of the ancient Mong girl in an unjust, cruel, and inhumane patriarchal society. From this very state of mind, the poem The Daughter-in-law's Song has raised a song of desire to fight for the right to live and the right to freedom of people - one of the factors that make up the eternal value of the work.
Summary
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The poems The Daughter-in-law's Song, A Thao - Nu Cau, and Nhang Do - Cha Tang are Mong folk literature works that have long been known to a wide range of readers. Because they originated from Mong folk songs, they have inherited and are similar in many aspects of aesthetic content.
Regarding the theme - the scope of life phenomena mentioned in the poem The Daughter-in-law's Song and the two poems mentioned above have inherited many themes from 5 types of Mong folk songs. Among them, two typical themes stand out: love between men and women in the old regime and the miserable life of a daughter-in-law . These are two themes of broad social significance, covering the entire system of folk songs and poems. The stories about love between men and women and the fate of women in the old regime, the circumstances they had to go through and endure were the result of an unchangeable reality in ancient Mong society. That is the reality of customs, habits and living spaces containing many backward customs such as: the custom of selling marriage, child marriage and the punishment of fines... From these two major themes, the poem "The Song of the Bride" chooses two basic issues to reveal the theme, which are: the condemnation and denunciation of the selling marriage system and the promotion of the right to life, the right to freedom, and the right to pursue happiness of people . These are two themes with profound social content and meaning, expressed truthfully and are important in conveying the ideological value of the work: profound humanistic value and bold realistic value.
In chapter 2, in addition to the topic, theme and ideological values, customs and practices and cultural living space of the mountainous region, the thesis also carefully examines the reception of two more aesthetic contents from folk songs to the poem The Daughter-in-Law's Song. That is the aesthetic content: the concept of fate and the typical psychology of people, the mood of the lyrical character.
Regarding the concept of fate and human psychology, the highlight is that this content has become a concept deeply ingrained in the subconscious and thinking of the ancient Mong community. It is a way to explain the harsh reality that crushes the lives of people with unfortunate fates. From there, it leads to the psychology of resignation, acceptance, and patience of the daughter-in-law.
Regarding the lyrical character's mood, we see that the poem has absorbed this content most fundamentally from the folk song Love Song and the folk song Daughter-in-law's Song. In which, the main mood portrayed is the miserable mood of being a daughter-in-law. The mood is painful, humiliating, resentful, bitter, resentful, desperate and deadlocked . Focusing on portraying this mood contributes to highlighting the value of the poem and meets the choice of two main topics - themes of the poem as mentioned above.
In summary, the reception of aesthetic content from folk songs with the 4 outstanding issues as above, the poem The Song of the Bride has affirmed the success in choosing a new literary genre of the folk author. That choice is suitable for the cultural space and spiritual life as well as the consciousness of literary and artistic perception of the Mong people - a liberal, strong, delicate, sensitive people in the highlands.
CHAPTER 3
THE TRANSFORMATION OF ELEMENTS OF THE POETIC TECHNIQUE OF THE MONG ETHNIC FOLK SONGS IN THE POEM THE SONG OF THE DAUGHTER-IN-LAW
The formation of the poem The Daughter-in-law's Song is actually a process of inheriting and promoting the strengths of earlier literary genres. As presented in Chapters 1 and 2, we can estimate the social context when the poem was conceived, formed and developed. At that time, the primitive communal society had completely disintegrated, replaced by a patriarchal society, maintaining social order with harsh rules and customary laws. Although inheriting and developing from many genres of folk literature such as fairy tales, myths, legends... the genre that Mong poetry inherits the most is folk songs. With its lyrical nature and aesthetic content characteristics, folk songs have brought to the poem a liberal breath, rich in melody in addition to extremely unique ideological values. With such profound influence, in chapter 2, the thesis thoroughly studied the aspect of aesthetic content. In chapter 3, we focused on researching, studying and presenting the transformation of poetic elements from Mong ethnic folk songs in the specific work of the poem " The Song of the Bride" .
3.1. Plot and structure system
The first element that shows the strong transformation of folk poetics in the poem The Daughter-in-Law's Song is the plot system and structure. When mentioning these two elements, the thesis would like to present them in a part of the content because they are two elements that have a relationship of influence and mutual regulation within the framework of forming two narrative and lyrical characteristics, creating the basic characteristics of the poem as "a folk narrative work told in poetry, rich in lyrical characteristics".
3.1.1. Narrative elements create the plot
To create a narrative work, the prerequisite is the plot foundation of the work. When reading the poem The Daughter-in-Law's Song , we all realize that this is a detailed story told by a folk author through the performance of lyrical poetry. Instead of the entire narrative being expressed in prose or verse like a story,
folklore, legends, myths… narrative poetry tends to a more subtle combination. Still maintaining the consistent role of the narrative element but in a unique form of expression. That form meets the performance methods in many different cultural spaces of the nation.
Returning to the narrative element that creates the plot of the poem. For the Mong people, they do not have the concept of narrative, telling or plot, plot, development... but they think that the poem The Daughter-in-Law's Song is essentially different only in its length, which is "longer" than the folk song The Daughter-in-Law's Song . Although this reveals the limitation in the ability to clearly separate the genres of folk literature of the indigenous people, it indirectly affirms that the "length" in length is the enhancement of the plot elements that form a plot, meeting the requirements of telling. The poem no longer stops at short, scattered songs that mainly summarize the mood of the lyrical character, but has many complex developments, many events, many spaces interwoven in the process of revealing the content and theme of the work.
That said, it does not mean that the narrative element was completely formed when the narrative poem was born, and there was no inheritance of the narrative element in Mong folk songs. We can only affirm that the narrative element in the narrative poem developed more completely than in folk songs, and played a more important role in folk songs to create the characteristics of the genre, but the seed of that element completely originated from folk songs and fairy tales. Within the framework of the thesis, we only focus on presenting the influence from folk songs.
First of all, there is the narrative element in the folk song " Tieng hat lam dau" . According to author Phan Nhat, he has thoroughly examined the structural types of the folk song " Tieng hat lam dau" and summarized them into 6 basic types [18, p.65]. These are the types:
- Type 1: The miserable mood of a daughter-in-law
- Type 2: The miserable life of a daughter-in-law
- Type 3: The miserable life of a daughter-in-law → returns to her parents' house; is
chase
- Type 4: The miserable life of a daughter-in-law → returns to her parents' house; gets kicked out → dies
- Type 5: The matchmaker comes to ask for the bride's hand in marriage → the miserable life of the bride
- Type 6: The matchmaker comes to ask for the bride's hand in marriage → the bride's miserable life → Returns to her parents' house, gets kicked out → dies
- Structure of the poem: Beautiful initial love → Forced to marry someone else; engagement, wedding → The miserable life of a daughter-in-law → Returning to parents' house or being kicked out → Escaping or dying to find happiness.
Author Phan Nhat also believes that type 6 is the most complete type of folk song Tieng hat lam dau in terms of plot and narrative elements. We can also easily see that type 6 is almost the structure of a complete Tieng hat lam dau poem . This completely confirms the hypothesis: right from folk songs, narrative elements have been developed and perfected in its own movement.
Based on the structural survey results of author Phan Nhat, we conducted a survey of 12 more folk songs "Tieng hat lam dau" [ 31 ] . The structural results according to author Phan Nhat's comments are as follows: song number 1 belongs to structural type 1, song number 2 belongs to type 4, song number 3 belongs to type 6, song number 4 belongs to type 6, song number 5 belongs to type 6, song number 6
belongs to type 5, song number 7 belongs to type 5, song number 8 belongs to type 5, song number 9 belongs to type 3, song number 10 belongs to type 6, song number 11 belongs to type 4, song number 12 belongs to type 2. Thus, we see that types 3, 4, 5, 6 are the four structural types most chosen by the folk song Tieng hat lam dau to express its ideological value. These four types account for 10/12 folk songs. The types with purely lyrical characteristics such as
Type 1, 2 only has 2/12 songs. Thus, we once again see that, right in the folk song The Daughter-in-law's Song , there is a choice of narrative elements that are more dominant than simply expressing the mood or the miserable life of a daughter-in-law. In particular, 4/12 folk songs choose type 6 , which is a structure similar to a narrative poem. Those are songs number 3, 4, 5, 10. These folk songs have complete details from the time of being forced to marry until choosing a tragic ending for the work. But it cannot be as detailed and specific as in a narrative poem. From the suffering of the girl, to the unjust life in her husband's family, the injustice of society, the narrative poem is transformed into a system of details and events that are detailed to the point of meticulousness, in a specific time and space, not stopping at an indefinite space and time like folk songs. As author Phan Nhat commented, "life has condensed into moods in folk songs, but in narrative poems it blossoms into events, objective and specific details." [18, p.68]. In terms of the complete difference between the structure that creates the narrative element between narrative poems and folk songs, the folk song The Daughter-in-Law's Song is only different from the narrative poem in that it does not have a detail about the beautiful initial love.
So, the question is, is the plot of the beautiful love story originally formed by the internal narrative poem itself to complete the genre? Is it not inherited from folk songs? This is also explained based on the survey of the folk song section of the thesis "Love Songs". Through the survey of 94 folk songs " Love Songs" , we found that there are 13 songs that clearly tell about the beautiful love story of the lyrical character like in the narrative poem " Daughter's Song" , including the details of the oath and engagement when going on a long business trip, which are songs number 6, 27, 35, 46, 48, 53, 57, 60, 61, 78, 83, 85, 91 [16, pp. 119 -245]. There are even many songs that are structured like a normal story about the life of the main character with a name and age, who are specifically named. Like in poems 78, 91, 92, 93, 94 [31]. Poem number 92 has two specific characters, Nong Di and Nang Phan. Nong Di did not have enough money to marry Nang Phan, so she had to close her eyes and watch her lover get married. Because she was so miserable and missed Nang Di, she decided to go to Nang Phan's husband's house to meet him. Nang Phan's mother-in-law was suspicious, so she had to advise her lover to return and marry her younger sister (My, Dua). Or like poem number 93 , Truong Lang and Sung My lived happily together, Sung My wove beautiful shoes for her husband who went to work far away. Truong Lang met the Sa people.