Organization of Poetry Form, Tone, Language in Nguyen Duy's Poetry

During the days away from the Fatherland, visiting beautiful Russia, the image of the country always revived in the author's subconscious. In a faraway place, the son of Vietnam still looked longingly towards his motherland and " No matter where he is, the Fatherland is still in his heart/ the border is closed from love to longing ". In the space of that distant Russia, geographically separated but Nguyen Duy still turned towards Vietnam, the poet had an objective, thorough view of the country's appearance in the renovation period with many worries and complexities. He understood the reality of the country when hunger and poverty were always present. Today's country still has not overcome the scene of healthy people without jobs, still having to work for foreigners, earning a living. The verses express thoughts and worries about the hardships and difficulties of life, full of moods like a change in artistic perception: " The tolerant country/ Why are so many citizens leaving the country/ So many separations, smiling broadly/ Ignoring the wild grass and fields of widows/ Crowding to work abroad/ The Pacific Ocean is floating on the boat of destiny/ Closing eyes, setting foot without a return date " ( Looking from afar... Fatherland ). From that reality, Nguyen Duy often wished to live the life of others, to enjoy happiness like in a fairyland: " I used to wish to try living someone else's life/ what fairy life " ( Missing Home ), but only in those moments of trying to transform, Nguyen Duy deeply realized the familiar space of his country: " I remember I still have big debts/ on the bare, barren hills/ on the cracked, silvery rice fields/ on the water that has run out of shrimp and fish/ on the clouds that have not yet had time to turn into rain " ( Missing Home ). Nguyen Duy affirmed: " Cannot live another person's life/ I miss myself/ the dust of my homeland " ( Missing Home ) .

After journeys far from home, through strange lands, Nguyen Duy had memorable experiences, deep, multi-dimensional feelings about the reality of life. The poem Kim Moc Thuy Hoa Tho has a more philosophical feeling and a wider scope of social reflection. These are thoughts about time, space and the destiny of each individual in this life: " The earth is getting hotter/ the ozone layer has some problems/ the coconut skull has a problem of stagnation/ knowledge stuffed into knowledge keeps popping out/ eyes have big problems, ears have a problem of buzzing/ insecurity has a problem of sleep.../ The crisis of shortage

gods/ crisis of excess monsters…/ basically replace the world's troubles/ the ozone layer problem ”. Nguyen Duy spoke specifically and frankly about the turmoil and change of the country: “ Like selling each part of the forest, sea, mountain and river/ each piece of real estate, each piece of land, each piece of land/ in the market era, everything is possible/ this country can buy the whole of that country…” ( Kim Moc Thuy Hoa Tho ).

The space-time style of the world in peacetime is most clearly revealed by the poet through a number of typical poems such as: Awakening the potential, Looking from afar... The Fatherland, Metal Wood Water Fire Earth . If Awakening the potential and Metal Wood Water Fire Earth take a close-up view from within the country, then Looking from afar... The Fatherland , the poet's point of view has gone beyond the national border, towards the space of many strange lands, where the poet has feelings, comparisons, and reflections with the reality of his country. Those are the author's concerns and thoughts before the instability and stagnation of the country, at the same time, the desire for change, replacement, unbinding, and opening up so that the people can save themselves. Nguyen Duy has expressed the aspirations and will of the people and now looking back, it still retains its topicality. The country and the people have made new developments, but somewhere in life, there are still hidden things that the poet reflects.

Summary

Studying the lyrical self in Nguyen Duy's poetry, we examine two aspects: the everyday self and the intellectual self. The everyday self is always concerned about its roots, where it contains many memories of family and village. The intellectual self is filled with thoughts and contemplations about the state of human life, the present and the future of the country. In Nguyen Duy's poetry, readers also notice that, at times, the lyrical self escapes the instability and hustle and bustle of life to have romantic, affectionate, and passionate moments with the aftertaste of love. That self always longs and hopes to live, to love, to make the deep notes of love vibrate. The lyrical self always emphasizes the word love, love, takes love as the root, from here it determines the way of looking at, feeling and expressing about the world. Nguyen Duy is known as the "people's poet", living close to the people, writing about the people, understanding and experiencing with the people through the ups and downs of history. Therefore, the image of the people is vividly recreated in the relationship with the people and the Fatherland.

The people are the "common people", the fate of people, the dust of life. Besides, in Nguyen Duy's poetry, the image of the soldier appears with an indomitable spirit, bravely facing difficulties and hardships but also very simple and ordinary. And an indispensable part of the poet's life is the image of loved ones in the homeland, the "whistle coming back" in the poet's mind. Nguyen Duy's poetry exists in many different types of space and time. That is the space - time of the homeland, the space - time of the battlefield and the space - time of world affairs in peacetime. That space - time always contains the author's feelings, worries, and thoughts about people and life. The contemplations and meditations bring Nguyen Duy back to the past in the most intimate and simple memories of the beloved countryside. In a general view, those three types of artistic space-time represent the movement of space-time that poet Nguyen Duy named: "Village road" - "Water road" - "Long road" - "Home road". Anywhere, at any time, the artist Nguyen Duy as an ordinary person and an intellectual appears with the people, with living beings, with life. That has established the noble posture of the artist.

Chapter 4. ORGANIZATION OF POETRY FORM, TONE, LANGUAGE IN NGUYEN DUY'S POETRY

In a literary work, the artistic form is born together with the content, to express the content. However, this artistic form does not lie in things like breaking sentences, cutting words, or external layout, but it must be a conceptual form, a form of content, a form of creating meaning. Therefore, understanding the artistic form of a literary work is an indispensable condition to correctly understand the content that the writer wants to convey to the reader. In Nguyen Duy's poetry, the form of expression has many unique features from the poetic form to the language and tone. That is what creates the unique identity of Nguyen Duy's poetry. To see that, in this chapter, we focus on understanding how Nguyen Duy's poetry is organized in terms of poetic form, tone, and poetic language.

4.1. Poetry

Throughout his creative life, Nguyen Duy has 16 collections of poetry. In the process of researching the artistic form of Nguyen Duy's poetry, the author of the thesis has examined the poetic forms that the poet used. It can be seen that Luc Bat poetry and free verse are the two most typical and successful poetic forms throughout the author's artistic creative journey. It has created the brand, name as well as the position of Nguyen Duy in modern Vietnamese poetry.

Studying Nguyen Duy's poetry, the author of the thesis conducted a survey and counted the number of works according to each poetry genre, as a basis for drawing scientific conclusions. Below is a specific statistical table (Nguyen Duy's Poetry , Writers Association Publishing House, 2010).

Poetry

Quantity	Ratio (%)	Note
Six-eight	156	55.12
Free	109	38.52
Other poetic forms	18	6.36
Total	283	100

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4.1.1. Six-eight poetry

Luc bat is a traditional poetic form, occupying an important and leading position in the system of poetic forms of the nation. The characteristic of this poetic form is its flexibility and rich rhythm, so it easily conveys deep and smooth emotions. All love, anger, good and evil, tragedy, suffering, happiness... can be conveyed in this seemingly simple but long-lasting and enduring genre. Poet Xuan Dieu once wrote: "On the background of even tones, luc bat verses have a very resonant lyrical sound, sometimes gentle and passionate, sometimes bright and cheerful" [20; p. 292]. However, in modern times, when people's thinking has changed a lot, aesthetic and artistic needs are very diverse and rich, so the luc bat poetic form has also changed to suit the receiving public. Throughout his creative life, Nguyen Duy always tried to renew luc bat poetry. Pham Quoc Ca commented on Nguyen Duy's six-eight poetry: "Reading today's six-eight poems, we see a new beauty in many aspects. The most talented poet in the contemporary six-eight form is Nguyen Duy. He used the six-eight form with admirable variation" [11; p. 153].

Since appearing on the poetry scene, Nguyen Duy has used the six-eight verse form, and immediately had outstanding achievements such as: Sitting sadly remembering my mother in the past, Bamboo Vietnam, Please don't be sad, my dear ... This is not by chance, because in the depths of the poet's subconscious, he has already prepared the six-eight rhythm of folk songs for thousands of years, until it suddenly appears as a natural, unexpected state. Later, Nguyen Duy also experimented with many different verse forms to find for himself something new in language and tone, but after all, Nguyen Duy returned to the six-eight verse form, returning to the very starting point of his life of artistic creation.

It can be seen that among the many poetic forms that Nguyen Duy used, the six-eight form always occupies the leading position and becomes a unique feature of Nguyen Duy's poetic style. The poet once said: "The six-eight poems are the most precious part of me". Nguyen Duy recognized the position, role and value of preserving and promoting national identity, so along with using the material of folk literature, the poet also chose the six-eight form to affirm the identity of Vietnamese culture.

With a special love for this poetic form, the author has cherished and nurtured it, making the six-eight verse his own "personal brand".

Reading Nguyen Duy's six-eight verse, we can feel the rich flavor of folk songs. Pham Thu Yen once commented: "Reading Nguyen Duy's poetry, we seem to encounter a lively, pulsating world of folk songs that serves as a background for the creative sound of the poet's one-stringed zither" [129; p. 76]. The poet borrowed folk lyrical genres to create poetic ideas that are both familiar and new and creative. When put into poetry, folk songs are given a new look, bringing freshness and uniqueness. They contribute to conveying thoughts, messages, and seemingly simple but profound and profound truths: " Looking at the distant motherland / My heart is wet, my mother lies on a rainy night / Sitting sadly, remembering my mother in the past / My mouth chews rice, my tongue deceives me with fish bones " ( Sitting sadly, remembering my mother in the past ) . The two folk songs “mouth chewing rice” and “donkey tongue and fish bone” have entered the poem smoothly, harmoniously, and naturally, creating a gentle, passionate voice that is both close and rustic, yet vague and distant. Readers also notice this combination in many verses:

or:

“Carrying the sleeping child in my arms, I hear something strangely intoxicating in the wind, It seems like the rice plant is blooming.

Like a golden grapefruit swinging on the branch

( Autumn Lullaby )

Who made the river sway ?

to move the cuckoo to the side

( Lychee )

In six-eight poetry, Nguyen Duy uses materials, images and sometimes uses "monolithic" folk songs. That is completely an artistic intention aimed at innovating, creating new styles and meanings for the soul of national poetry. There, Nguyen Duy's six-eight has the power to suggest, making readers think more about life: "Being loved like a folk song / Enough to make the earth exhausted, enough to make the sky miserable / Western and Chinese

it's the same / Just like bitterness, sweetness, suffering / No betel and no areca / How to make each other's lips sweet then do it " ( Being loved like a folk song ) .

Besides, using folk songs in six-eight poetry, the poet often "pushes the meaning to the end, forcing the reader to understand more deeply, pay more attention to the new perspective of the folk song" [129; p. 77]. The materials and images of folk songs when entering Nguyen Duy's poetry are delicately kneaded to become unique and impressive: " Oh! What a beautiful night/ I still beg you, why are you in the middle of the sky/ It's always bright but there's no pair/ It's as beautiful as the moon, also lonely and waning " ( Folk songs echoing back ) .

In comparing and contrasting the six-eight poetry of Nguyen Binh and Nguyen Duy, we see that the six-eight poetry of the two poets is imbued with folk lyricism and the beauty of the soul of the countryside and the nation; however, the nuances of each person are different. With Nguyen Binh, when choosing the structures of folk songs, he kept the shell of that structure, adding new thoughts and feelings. Due to the stability over time, the structure of folk songs has become familiar to the masses. Readers notice many folk song structures in Nguyen Binh's poetry such as: who brought, who sui, who went, you went, you came back, where, when, how much - that much ... Folk song lines such as " When will the loach give birth to the banyan tree "; " Who brings the starling across the river "... were used very skillfully by Nguyen Binh: " When will the ferry meet the wharf?/ The flowers of the boudoir and the butterflies of the wandering world meet each other? ” ( Lovesickness ), or: “ Tonight is the real night/ Who brings the bright moon to spread on the tea garden ” ( Before ) . It is that creativity that creates the sympathy and intimacy of Nguyen Binh’s poetry with the reader. The soul of the countryside and the nation in Nguyen Binh’s poetry also lies mainly here, not just the familiar traditional symbols such as the ferry, the communal house yard…

Meanwhile, for Dong Duc Bon, six-eight poetry is poetry of everyday life reality raised from the bustling city. Dong Duc Bon is not fussy in creating new sentence patterns and word styles, but the poet skillfully arranges and transforms vocabulary to create poems that have the power to convey and move people's hearts. Many times when reading Dong Duc Bon's poetry, we feel like it is "slip of the tongue", "poetry falls naturally": " The grass is crushed, then the grass grows again/ Flowers still bloom with a sweet fragrance/ And I believe that one day soon/ You will leave

"Will you come back to live with me? " ( Will you leave your husband and come back to live with me? ) , or: " I'm now returning to the moon and stars/ Please let the sky shower to welcome me" ( Please let the sky shower to welcome me ). Like Nguyen Duy and Nguyen Binh, Dong Duc Bon, Luc Bat poetry also carries the sound of folk songs. In the familiar way of speaking, folk songs often use continuous, bridging, and vague speech to describe the passionate, bewildered state of mind of a couple in love: " Climbing up the grapefruit tree to pick flowers/ Stepping down to the eggplant garden to pick honeysuckle buds/ Honeysuckle buds blooming green/ I regret that you married me so much ". Coming to Dong Duc Bon, the poet inherited and developed the way of expressing folk songs and folk songs in the vague, bridging, circling, and bridging way of speaking; sometimes bold and reckless... Dong Duc Bon subtly used the variation of everyday language to create uniqueness in the six-eight verse: " The flower petals are as sharp as a knife/ Because of love, I hold them as if they were nothing " ( Hoa dong rieng ); or: " The countryside has a communal house well/ Pretty bamboo stands alone, flirting/ The countryside has a few young men/ In jeans and conical hats pretending to come over to play " ( Nha ruoc ) . In Nguyen Duy, when using folk materials, he often adds meaning to the existing meanings, making the verses highly suggestive, opening up profound areas of meaning: " The storks fly lazily/ Following the Quan ho verses, flying to the battlefield/ Listening to someone singing in the mountains/ The scent of the fields keeps fluttering in the clouds " ( Khuc dan ca ); or: " Oh poetry, I tell you this poetry/ So I can go plant and plow to feed you " ( Bao cap poetry ).

In his life of artistic creation, Nguyen Duy has always boldly experimented to innovate poetic forms. On the one hand, the author uses materials from folk literature, on the other hand, he skillfully uses the six-eight poetic form and constantly innovates this poetic form to create his own brand for his own six-eight. That is the way of breaking lines, breaking rhythms or non-traditional line breaks "allowing the six-eight breath to flow through each point, to create new musical notes". The verses with new rhythm breaks create an extremely new and unique feeling:

“ Victory - the deep thrust battle Returning to the tank roof - the square sky ”

( Square sky )

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