Richness in Language Colors

deaf and dumb , the car horn blared like a fire truck but still limped across the street carrying a basket" [14,62]), is the rude voice in the End of Year Meeting ( "Doing politics but being stupid as a dog , with a set of teeth above and a set of clothes below , what dry shit is there to force people to do?"

" Dismount and ask for peace" [16,15); "Obviously too trivial, already acted out and still

If you act badly, you'll stink like shit . I'm the one who gets paid to clap and I still have to hit him.

" Luckily they ended the show early" [16,37]….

Along with the widely used colloquial language, swear words and profanity are tolerated quite comfortably in prose.

- “At that time I wanted to shoot the motherfucker to death ” [19.33],

- “Fuck it. The wild species is very resilient” [19.45],

- “ Damn you , my son is still old enough to be your brother” [19.64].

- “ Damn , that Asian neck, African cheeks, Turkish teeth, Arab gait” [19,70].

- “Damn it! Touched the electricity, it was off. Touched the faucet, not a drop of water. Searched the rice bin, the rice was empty. Reached for the wallet, the wallet was empty, Four zeros! [18,19]

- “Fuck. An engineer like him is only fit to be a shit collector… F.ck , that bastard!” [18,27]

- “I told you to shut up,the pig ” [12.90]…

The everyday, casual language in the hustle and bustle of life, the sharp angles with people - diverse personalities, in specific circumstances has lost its inherent vulgarity, bringing the character closer to life.

In post-war prose, when the individual is emphasized, language also shows personality very clearly. Personalized language is a characteristic that vividly shows the character's portrait. Figurative speech, using idioms and proverbs is a fairly common characteristic in the language of the character Ly ( The season of fallen leaves in the garden ). Ly stands out in the work with sharp, rich language... Ly's figurative speech, using many idioms, partly shows her concept and thoughts. In the debate with her brother-in-law, when Luan said "Hungry and full with a concubine and a husband, is better than sharing the peak of wealth alone", Ly immediately retorted: "A day leaning on the side of a dragon boat, is better than the main wife lying in a fishing boat" [19,45]. Is it because of that concept that Ly, who was teetering on the brink of falling, is more likely to go to the bad side? “My wife is as beautiful as a shrimp cooked in soy sauce, cooked and cooked again, it becomes bloated...” [19,70], “How miserable, thinking of others makes me think of myself, willingly feeling bitter and lonely.” [19,253], “How miserable is our fate as women! The vast surface of the water and the duckweed, how can we avoid the morning and evening ups and downs...” [19,258] are sexual sensitivities.

lovable in this rather complex character. Among the explanations and analysis of the characters, the way of speaking of the character Ly is an interesting and effective way of narration.

Among the long series of words in End of Year Meeting, the sharp, crude, rude and stubborn language of Mrs. Hoang stands out - a character who resolutely refuses the new situation, "although the idea of ​​the past is gradually becoming more and more fragmented and blurred in her heart, the attitude of not acknowledging still haunts, struggles and refuses to let her go, like a deadly disease that clings to destroy, drains to the very end a body that still longs to live to eat well and dress well" [126,332]. The personalized language has created a complex Quy, a woman who is too greedy to find a saint in the person she loves and wants to be a saint herself in love ( The Woman on the Express Train ); a shrewish, cruel but also tragic Chau ( Times Far Away ), a rough, rugged but forgiving, tolerant and understanding fishwife ( The Boat Out at Sea )... The characters' language is vivid, thorny, and rich in personality... creating the realism of everyday life in post-war prose, bringing prose closer to life.

In prose in recent decades, when the information technology era exploded, the language of life strongly penetrated literature. New words, internet language, sexual language... appeared densely in prose.

The transition from epic language to everyday language has shortened the distance between literature and life, expressing life more truthfully and vividly. However, not all experiments are successful. Exploiting negative phenomena, sometimes using dirty language , swearing... makes readers dizzy because of its vulgarity and chaos. "The appropriate use of this language segment with little intrinsic aesthetic value can, to a certain extent, still enhance the narrative effect. However, there are cases where this language segment is used densely, beyond the psychological threshold" [44,52].

Philosophical language class

Literary works are “a place to deposit and affirm the writer’s views on life and aesthetic ideals” [124,244]. Writing about current affairs and private life, reflecting people and multi-dimensional, multi-faceted life, writers borrow images and means

conveys his views on the past and present. This creates a philosophical language for the work.

Along with the philosophical tendency, with the dialogic, polyphonic nature in prose... the post-war prose language gradually increased its philosophical and general character. The philosophical color is expressed in the polysemous, general, abstract, multi-layered language, in the contemplative, philosophical dialogues and monologues of the characters, in the writer's thoughtful lyrical digressions...

Polysemous language, many implications are shown in the way of naming works, especially Nguyen Minh Chau's stories ( The woman on the express train, The hometown wharf, The boat far away, The painting... ), Vu Tu Nam's stories ( Living with two-way time ), Ma Van Khang's novels ( Summer rain ), Nguyen Khai's ( People's time )...

The symbolic nature of language also lies in the images in the work. Taking time as a point of reference for the concept of life and the way of life, Time of the People continues to exploit from a philosophical perspective the issues of the relationship between personal destiny and the impact of history. “Each person has only one life, a limited period of time, so how to “spend” it? How to extend it? The eternal question of how to live is to know how to live - is answered positively and thoroughly under the pen of Nguyen Khai” [126,344]. The image of the garden with rows of green trees, with fresh, pure air, with a faint fragrance is a symbol of the cultural beauty and tradition of Mr. Bang's family ( The season of falling leaves in the garden ). The garden has its own vitality, rhythm and is closely linked to human emotions. When it is a “gentle face” that dispels “the fatigue and troubles of daily life” [19,96], making people’s souls cool and calm, when it is a confidant who knows how to “vibrate with the melodious melody of the classic Late Night Garden, be moved by the love story and the warmth of Hoai’s gentle, caressing hands” [19,166], when it is “tinted with sadness because of the loss that has happened, becoming even more sorrowful because of the fear of the next losses that may come” [19,288]… The garden is the place that holds the most beautiful memories, the

The most lasting cultural feature of the family and also the familiar place that holds back lost members like Ly.

The philosophical language layer mainly appears in the dialogue and inner monologue of the characters. In the continuous dialogue layer of End of Year Meeting , the characters discuss, debate, and express their views. Debate about understanding: “People only understand when they have put aside all personal ambitions. "It's easy to be mistaken about selfishness" [16,118], about the power of money: "when you're desperate, it's easy to be reckless, who can predict the terrible actions of a reckless person" [16,141], about self-respect: "hunger is bearable, but humiliation is unbearable" [16,154], about life: "each of us is like the smallest unit of time, a tick - a tick, dreams, aspirations, struggles, successes and failures, joys, sufferings are all wrapped up in the finite moment... With eternity, infinity, and things that pass forever, we are nothing... but we can still be something in the moment we are living, a push, albeit a weak one, into the general flow..." [16,170]. The exchanges and dialogues of the characters reveal their thoughts on life and positive philosophies of life in the characters' perspective.

In the inner monologue, the character often confronts himself, expressing his true thoughts about life and people. Self-questioning questions often appear, expressing the character's consciousness and also providing an opportunity for readers to reflect and choose. "The elders are like layers of dry leaves falling down, returning to the ground. And in turn, their wings are exposed to the sky like layers of old leaves, shielding the sun and dew, preparing for the new shoots. The new shoots are our children, our grandchildren, our great-grandchildren. They go forward in time. The elders go back to the past. And do we stand in the middle, or go in which direction?" [25,181]... That thought is not only Mr. An's ( Living with two-way time ) but is the common mood of many generations, because each person's life is a journey, in that journey, there is the past, present, future, people must determine their position to be able to live responsibly towards themselves and those around them.

In post-war prose, “most authors tend to seek philosophical meaning of life through describing a specific phenomenon of life” [52,181]. In

Nguyen Minh Chau and Le Luu are lyrical digressions: “Oh, this land is no different from a trap set on the edge of life and death. This land has had to be continuously shed blood and sweat to regain, but has the land under the feet of those who have just won the war ever bloomed with flowers?” [2,119-120], “None of us have the right to force our young children to live, to act, to think according to the invisible mold that people call…public opinion! Saying that we love our children, for our children in that way, is not actually caring about the true happiness of our children, but only to preserve and protect the so-called reputation of our family” [24,559]. In Nguyen Khai are philosophies about human life and world affairs: “Today’s sad story, no matter how frustrating, is still happy, because it is the flesh and blood of today, of this hour, it is fresh, it is rosy” [16,94], “Each of us, with our own part of the work, is trying our best to climb high, making those below feel shy and afraid… But climbing high is mandatory, both a responsibility and a personality of those living today” [17,150]. In Ma Van Khang are philosophies about ethics: “Preserve the small things because from the small things added together, culture and moral foundation are formed” [19,55]…

The philosophical language in post-war prose is not a dry, formulaic explanation. This language is used by writers through words rich in symbolism, polysemy, flexibly combining many forms: dialogue, monologue, lyrical digression... revealing philosophical inspiration in a natural, vivid way, expressing the author's point of view and creating spaces for readers to ponder and interpret. However, in some cases, the philosophical language is used without sophistication, revealing the author's point of view, causing the text to sometimes fall into a forced, ideological state.

Besides everyday language and philosophical language, post-war prose also has a layer of language with lyrical and political colors. The interweaving of language layers has given post-war prose a lively and diverse artistic form, capable of conveying rich and complex contents of life.

3.2.3. Polyphonic Chords

After 1975, when the need for personal affirmation and self-awareness was emphasized, the artistic concept of human beings changed, all worldly issues became the subject of discussion in literature, prose became rich and diverse in tone. In the scope of the study, we examine the main manifestations of narrative tone in post-war prose, in a unified and developed correlation from the manifestations of tone that appeared in prose written about the theme of war.

Philosophical tone

Faced with a multifaceted, multidimensional reality, the writer wants to participate in life as a person who thinks deeply about the truth of life. Through his works, the writer wants readers to think with him. Therefore, the writer is also a thinker, a philosopher, and the characters are thoughtful people who love philosophy and are good at arguing. The writer sometimes participates in the work to dialogue and debate with the characters and the readers. The philosophical tone is a prominent feature of prose in this period.

Revolution as a historical necessity has changed life, people. Yesterday and today, past and present are two different lives. Each person must face the choice of how to live for themselves. Post-war prose often seeks answers to that philosophy of life. In a way, The Woman on the Express Train, The Picture, End of Year Meeting, Time of People are all philosophies about how to live.... It can be seen that those philosophical reflections all direct people to a good way of life, in accordance with the upward movement of history, directing people to a complete, authentic way of life like "a rubber tree must be tapped to remove all its latex before dying, people must devote themselves to being able to close their eyes and pass away" ( Time of People ) .

Changing the artistic concept of human beings, prose after 1975 overcame the idealized view of human beings of prose thirty years ago. Human beings were seen with their full nature "inside me there are mixed good and bad people, dragons, phoenixes, snakes, angels and demons" [56,106] , "in every human being there are always elements of two types of instincts: noble and base, in