Poetry by Trieu Kim Van - 11

When meeting the old countryside and old people again, the poet could not hide his feelings. However, those feelings were still very restrained, not bursting out violently but gently haunting:

Once upon a time, there were no flowers or fruits. Now, looking back, my heart is bewildered.

(Like Co - land of memories)

Even though it is an extremely deep impression, the poet also expressed it in a very gentle, fragile way that is difficult to grasp: " What is wrong with the sun that it suddenly rains / Letting a rainbow hang in the middle of the afternoon / Letting seven colors hang on the rain and sunshine threads / The rain threads are long, the sunshine threads are too fragile " (Rain - sunshine - rainbow)

Sometimes the poet records moments that are vague, vague but impressive and eternal:

Woke up and turned into a flying curtain

(Random)

Studying the problem of adjectives in Trieu Kim Van's poetry, we have more basis when receiving the results of the statistical survey:

Adjective:

Soft properties Cool color gamut

Thus, it can be seen that Trieu Kim Van's poetic language carries a system of adjectives with gentle and profound tones. It is also a true expression of the soul, personality and character of this poet with a strong mountainous character.

3.1

Trieu Kim Van's poetry writing career has gone through a long journey.

with many efforts, attempts, and creative changes. That journey is marked in 10 poetry collections: Mountain Flowers (1989); Season of Amomum (1994); Leaves Looking for Each Other (1999); Children of the Mountain (Bilingual Poetry of Dao-Vietnamese- 2002); Fire of the Orphan (2002); Grass Path (2004); Du Du Source (Bilingual Poetry of Dao-Vietnamese- 2010); Sunflowers (2010); Returning Sky (2010); Gentle Rain Thread (2011). On that journey, the poet has made certain breakthrough changes, not only with traditional poetry, but also with himself. The clearest sign of that change is first of all in the innovation of genre form.

First, about the genre in traditional form:

Inheriting the characteristics of ethnic minority poetry in general and Dao ethnic poetry in particular, the early stages of Trieu Kim Van's creative journey bear a clear traditional mark. One of the manifestations of that tradition is in terms of genre form. In the early stages, Trieu Kim Van's poetry mainly followed traditional genres such as the six-eight verse form, the four-line verse form, the five-word verse form, the seven-word verse form, etc.

Trieu Kim Van's early poetry was quite neat in the classical four-line quatrains:

Only half a year and already missing each other. Grandparents' love is so deep. Tears flow endlessly.

My poetry is also wet on a rainy afternoon

(Four Great Fools)

Sometimes, those are the confidences expressed through five-word poems with familiar complete structures: " Mother just goes like that / The basket weighs on her back / Sister just goes like that / Spring leaves fade by the fields" (Old World)

Even though it is rare, Trieu Kim Van sometimes pours out his heart into simple, smooth, and fluent six-eight verses:

I accidentally fell in love with you

Just a passing glimpse on the street Maybe you don't know me

Sometimes I just smile absentmindedly

(Random)

Although the poems were still mainly in the familiar traditional genre, at this stage, Trieu Kim Van's poetry also began to appear with unconventional, free-form poems. Sometimes there was a change in the number of words: " I light the fire / The fire dances on two meters / The fire flickers / My heart speaks of love " (Harsh)

At times, the poem was given freedom in rhyme and rhythm:

Suddenly the afternoon shadow of two mountains leaned towards each other And in the drizzling rain

Suddenly the red sunset glows

(Red Sunset)

It can be seen that, in the early stages of his writing, Trieu Kim Van still had certain inheritances in traditional genres. This inheritance was only relative, because it had begun to show signs of future innovation.

Second, there is creative innovation in the genre:

Moving on to the next stage of his creative journey, Trieu Kim Van has made very clear efforts to innovate. The first and most obvious sign is the innovation in genre. Trieu Kim Van has become increasingly bold and decisive.

more decisive, overcome habits in operation and choose for themselves new genre forms, such as free verse, three lines, etc.

The poet courageously abandoned the superficial rhythms to find the inner rhythms of emotions. Thanks to that, the author has many new poems and verses. In some cases, the rhythm of the verses is broken up like the rhythm of people's thoughtful steps on the street:

Old town

Moss wall suction cup Ancient but not old

Street

A microcosm

The Jostling Planets

(Old town)

Sometimes, the structure of the poem seems to become disjointed. But it is in this apparent disjointedness that the reader is able to calm down and blend into the aesthetic void of the novel three-line stanzas:

I want to close the door alone, read books and drink alone.

I am I am also a vast realm

(A vast realm)

Sometimes, the rhyme of the poem is as bumpy as a mountain road. Hidden within that bumpiness are the thoughts and experiences of a mountain personality, a mountain soul:

The sower

Hidden behind the mist, the grass is dense.