Narrative Voice Short Story Suong Nguyet Minh

clear language. It is a common language, simple, easy to understand, with a bit of mischievous irony. This is the dialogue in Walking on the Field between Cu Ban's mother and son and the old man in the village when the year ends and Tet comes, Cu Ban's family has to sell all the rice to contribute to the construction of the ancestor's tomb:

“The four daughters greeted first, then Ban's wife greeted later.

Where are the ducks now? They're strutting around the whole street.

- I don't dare hide anything from you, my family goes to sell rice.

Maybe you are interested!

- Why are you selling rice at the end of the year and the beginning of Tet? What will you eat?

- To be honest, my family is short of money to build our ancestor's tomb. All four daughters said in unison:

- My family sells rice to contribute money to build my ancestor's tomb.

The old man in the family laughed heartily, stroking his silver beard like a reed, and praised:

- Really? That's what a good daughter-in-law and good son-in-law should be! But they say your family is stingy and mean.

- Grandpa, my family has four daughters thanks to the blessings of our ancestors. So my family should eat less and wear less so that our ancestors' graves can be bigger and more beautiful than those of other families. I will be happy."

The language of dialogue in Suong Nguyet Minh's literature also affects the character's psychology, the character directly expresses his attitude through the dialogue. The dialogue between Sao and her mother-in-law in Thirteen Wharfs expresses the surprise mixed with the pain and sadness of the mother and daughter:

“Since the day you and your husband came back from visiting friends, what are you going to do?

- No matter.

- Oh my, it's not like I told Lang to leave you and get a new wife. I thought about it carefully and you love yourself, love Lang, and love your husband's family, then you...

- So you left Lang?

- Suddenly my mother-in-law knelt down in front of her daughter-in-law:

- I beg you, my child. I beg you, my child! You think that being able to do this means that our whole family is grateful to you. But you don't fully understand what I mean. You also need a child that you gave birth to. Our family can't force you to be a servant in the house for the rest of your life. It's too bad.

- Okay, mom, don't say anymore! I will do as my husband and mom say..."

The dialogue language in the short story Suong Nguyet Minh has truly reached maturity thanks to the organization and multifunctionality of the language involved in the dialogue. Therefore, the dialogue language has a special position in portraying personality, revealing the theme, and ideas of the work... But more importantly, the dialogue language in the short story Suong Nguyet Minh is an element with a special position in forming the character's psychological process. Or in other words, the dialogue language is like a solid foundation for the internal monologue to fully exert its effect.

4.1.3. Internal monologue language

Not only is Suong Nguyet Minh talented in constructing dialogue language, she is also skillful in expressing the character's inner thoughts through monologues. So what is monologue? "Monologue is the character's words, direct words, words that can be spoken to oneself or others but it is independent of the responses" {13;14}. The character can dialogue with himself (inner monologue) or monologue with others in his mind. Inner monologue is "A way to reveal secret thoughts because in human thoughts there is more freedom than in speech" [20;31]. Using monologue to

Deeply exploring the inner world of a character is a fairly common practice in literature. It can be said that internal monologue is not a new artistic technique. Originating from drama, monologue has naturally entered novels and developed into internal monologue to describe the psychology and personality of the character. With the advantage of expressing directly and accurately, thoughts and

human thoughts, internal monologue often appears when the character experiences conflict and deadlock.

At a higher level, writers have cleverly pushed the internal monologue into the narrative. Therefore, there is a blurring between the character's monologue and the narrative tone. This combination makes the narrative more attractive, the character's tone and personality are expressed more naturally than in classical narrative forms with the dominance of the narrator, the narrator's language has the function of distinguishing it from the character's language. However, in modern narrative, this distinction is not always clear, especially when there are many voices, many consciousnesses interspersed with narrative voices that appear to belong to the author but the content belongs to the character. Western researchers have recognized this mixture in their literature. According to psychologist Motuliola, interior monologue includes “The unspoken speech of the character. Semi-direct speech, where the author speaks in his own name but captures the words and intonation of the character, is interior monologue – in which the character's voice seems to be divided into two arguing voices, and a series of tight inferences, with ambiguous, chaotic meanings”. Thus, interior monologue includes semi-direct speech, sentences in which one cannot distinguish whether they are the author's words or the character's words.

In the first-person narrative, the language of internal monologue plays an important role in the way of expression, helping readers discover the hidden flow of the text, contributing to expanding the framework of the short story, delving into the self with flashbacks, confessions, streams of consciousness, helping people reveal streams of consciousness, helping people reveal cognitive people, spiritual people. Using the language of internal monologue is the way the writer expresses his subtle, profound feelings about the pain and unhappiness in love and life. If in the first-person narrative, the narrator is present in the work as a character, then in the third-person narrative, the narrator is absent from the story.

Suong Nguyet Minh has many short stories written according to the flow of mood, so monologue plays an extremely important role. Through that, we can know the dreams and secret happiness of the characters...

In The Holy Night, the character “I” returned to his family on a flight that almost cost him his life. Living in a family where each person pursued their own thoughts and interests. Talking about the dangerous trip he had just gone through, everyone was indifferent and indifferent. The character “I” felt extremely lonely, this loneliness was even more terrifying than imminent death: “As for me, I imagined a stagnant pond right in my house. The plane was delayed, changed flights. The plane stopped flying today, tomorrow, but it never made me anxious or expectant. If there was a little worry, it was only the fear of losing my job. • The wish for a loving look from my wife, a casual gesture or a warm embrace from my children was still far away. Sometimes I was afraid to go home, after a long time I was immersed in coldness and indifference, and gradually got used to living”. Immersed in loneliness, “I” tried to warm up the cold family, but the son, daughter, and wife all liked to live in their own world and did not want to talk to anyone. “I” wanted to cry to break that scary silence: “Why would a man cry? When a man cries, something breaks down. My wife is not guilty. My child is not guilty. I live a decent and kind life at home and on the street. Why can’t husband and wife, father and son, be close to each other? I wanted to cry out to the sky and ask for the truth. I tried to hold back my anger. Is there no place for me in this place?”

These are monologues expressing the mood and thoughts of a sentimental person with a simple wish to have a warm and happy family. But it is scary to live in a wealthy environment, where everyone is together but not warm. My character feels terribly lonely, the pain is so choked up that he cannot express it in words.

By the Tonle Sap River, Kien's longing for his comrades was like a heartfelt call. During his youth, with his immature thoughts, unable to love SaLy, Kien was born jealous of Chuong, and once Kien stalked

Kien reported to his superiors that he had secretly had sex with them. At that time, Kien felt proud as if he had accomplished a feat and would have a chance to win back Sa Ly's love, but when he realized the deep love between Sa Ly and Chuong, and how they were willing to sacrifice for each other (they fought to take responsibility for themselves), Kien felt so small and cowardly. Time passed.

Go, Chuong has transferred to another unit to work and then sacrificed. Kien still has not been able to say sorry to justify his feelings. Now when he meets the girl Sa Von - a model of Sa Ly before, the memories of his comrades and the girl he secretly loved in the past come flooding back. For many nights, Kien cannot sleep, the sadness is so intense, it starts from the memories that suddenly well up, rushing back. It clings, haunts Kien endlessly. Remembering the old sad memories , suddenly in Kien's heart, a whispering, sincere call resounds: "Chuong! Brother Chuong! Maybe now you have been demobilized, changed your career; you have a happy wife and children; Maybe you are still in the army like me. Do you still remember SaLy, little sister Reu and Ren...? Do you still remember or have you forgotten that old story, me - SaLy and you when we were very young".

ë Virgin River, the character "I" always keeps in mind the image of a respectable father that for the past twenty years, mother and daughter have

I searched to the ends of the earth but never met him. When I met my father, I felt disillusioned. The image of my father before my eyes was not like the memories that my mother and I cherished and kept in our hearts. Before my eyes was a thatched hut with three people: “A bald boy playing naked in the dirt, a talkative woman and a drunkard”. If it weren’t for that trip, the image of my father would have always been there.

beautiful in the thoughts of mother and daughter: “I want to forget everything. If only there was no trip. If only I didn't meet that person. If only I didn't

to hear Uncle Thang tell the story. If only... If only thousands of times that didn't happen, I would be so proud and forever carry the image of my respected father even though I have never met him... I will forever bury that meeting.

with that person in my heart and push that person's image out of my life. That person will not have the right to know that besides my mother, there is another daughter living in this world. I will consider myself a child without a father and that person is dead. My mother cannot know this. I will not regret that, because I am doing something that my conscience feels is right. Following the development of the mood until the end of the work, there are still lines of internal monologue of the character mixed with sorrow and sadness. The end of the story, although still sad, suggests in the reader's heart a bright future, which is the family reunion after more than twenty years of separation.

In the past, this place was the entrance to the forest , the character Mien always lived in regret for a beautiful love with Sinh. Even though she had a happy family, an ideal husband, Mien still could not forget Sinh's image. Mien always lived in pain and torment. There was a time when Mien asked herself: "If I did not love Sinh, if I did not devote my whole life as a woman to Sinh, would I be at peace living with my husband? The answer is: yes, and the answer is also: no. Married life is very complicated, if there is no disagreement about this, then there is conflict about another. I had a young, sincere first love but not impulsive. I had moments of happiness, no regrets, but later I was sad and tormented". Also with thoughts about love and marriage, the character I in White Night has a very sad monologue: "I do not believe that I am single. Many boys passed by my life but none of them could seduce me. Some were superficial, shallow; "A person who is profound but too meticulous, no one can make my heart flutter. I am still waiting, still looking for someone to love in this vast world". That is the mood, the thought of a girl who left to follow

chasing her aspirations, now returning home to visit, she encountered her mother's worries and concerns about her husband and children. Seeing her mother was old and weak, she felt pain.

pain, choked up can not speak.

By using the language of internal monologue, the writer has portrayed the image of his character in the depth of his soul. Even though the language of internal monologue

Inner dialogue appears in the form of first-person narrative or in semi-direct language, human thoughts and feelings appear very real, profound, multi-faceted, multi-dimensional. That is the most "human" part that we always want to explore and express but never

enough. At the same time, through the monologue, the writer also wants to express attitudes, feelings, sympathy, and share the character's secret thoughts and feelings.

4.2. Narrative tone of the short story Suong Nguyet Minh

The dictionary of literary terms defines: “Tone is the attitude, feelings, ideological and moral stance of the writer towards the phenomenon described in the text, regulating the way of addressing, naming, using words, emotional tone, perception of distance and proximity, intimacy, respect or casualness, praise or satire... The tone of the work is associated with the “naturally gifted” voice of each author but has general artistic content, suitable for the object of expression” [9;134]. According to this definition, tone is close to the concept of artistic style: “Referring to the relatively stable unity of the system of images, of means of artistic expression , expressing a unique perspective in the creation of a writer, in an individual work, in a literary movement or national literature” [8;255]. And because “a literary work is ultimately a statement of the writer about life…his artistic text, on the one hand, reflects objective reality, and on the other hand, reflects himself in it.” “That is to say,

In turn, he also becomes an objective reality” [13;36]. The literary tone is meaningful as an “artistic phenomenon” that is increasingly

is focused on research. In itself, tone is also "a combination of many elements" such as intonation, rhythm, and melody, but it is absolutely not a single addition of those elements, but through artistic words, it shows consistency with the system. "Basically, tone reveals the emotional tones of the speaking subject". "Expresses the stance and attitude of the subject in the work" [13;39]

Because the objects of reflection are different, the narrative tone is also different. And a writer wants to affirm his position in literature.

The musician must create his own unique voice with distinctive characteristics so that when he is mentioned, we immediately remember that unique narrative voice.

According to Nguyen Thai Hoa, tone "is the first feeling and also the last impression, the last taste of the reader of the story", is the exchange of feelings between the narrator and the reader outside the work, is the effect the reader feels when reading or listening to the story" {7;149]. Artistic tone is an aesthetic category of the work that guides the reader's emotions when approaching the work, especially researchers and literary critics all assess that "tone also plays a very important role in creating the writer's style" [14;91]. Each writer with a style creates his own unique tone that is difficult to imitate, such as Nguyen Cong Hoan's stories have an "unchangeable" humorous tone, Nam Cao's stories often have a sorrowful, contemplative tone... The artistic tone in a work is a "super-language" phenomenon, it does not reveal a specific artistic sign, it is evoked through the combination of many factors such as "the way of addressing, naming, using words, emotional tone, the way of perceiving near and far... The tone of a work is influenced by many factors, especially artistic inspiration, that is why in each different historical, social and cultural context in literature, different popular tones also appear. In the period 1930-1945, facing a chaotic reality with many ironies, many cultural values - Europe, old - new inverted, in literature appeared many tones, in which satirical and sorrowful tones stood out. The tone in Vietnamese literature 1945-1975 is similar

In the period of renovation, the choir of literature and art flourished with the appearance of many different literary voices because literature was "unleashed", and writers were free to write in their own voices.

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