People who have gone through more than half of their life of hardship and wind, return with a fresh soul in love: You stroke my hair/ Or stroke the cool autumn clouds?/ Over time, my hair turns gray/ Where is the magical song/ Back then, I pressed my cheek against your chest/ You said I was gentle like a child/ I went on a business trip to the end of the sea/ When I returned, my hair was dyed with autumn clouds” ( Autumn Clouds ). Meanwhile, Nguyen Duy talks about the hesitation and incompleteness of love with polished words: Your long hair lets me see the wind/ Your shirt flutters, revealing your figure/ You are as profound as an ancient citadel/ The old banyan tree has moldy skin and green moss tiles (…) Again and again, I have made a mistake/ To save it all becomes to steal all of love/ And I am an orphan of you forever/ The aimlessness drowns under the evening dew… But it is still love, a way to express longing - an immeasurable quantity, Ho Ve (Hre ethnic group) wrote:
I love you
Like the villian bird loves the forest, I love you.
Like the Ra-tang fish loves water, I miss you.
Maybe you are interested!
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Tay ethnic poetry from 1945 to present - 2 -
Tay ethnic poetry from 1945 to present - 5 -
Two Stages of Development of Tay Ethnic Poetry After 1945 -
Symbolic System in Tay Poetry from 1945 to Present -
Images of Artistic Space in Tay Poetry
Just keep clicking and clicking, like ants are biting your heart.
Like a fire burning in my stomach…
That is the way of thinking, the way of comparing based on specific things based on the correlation between the visible and the invisible of the Hre people in particular and the mountain people in general. Y Phuong's love poems are images of couples in love, imbued with the mountain people in the innocent happiness of their people: Then early in the morning in the forest / Leaves fall / Flowers fall / Fruits fall / Birds and foxes are bewildered / The stream is full of crushed fragrance ...
The Tay ethnic group of poets has many female faces. The love poems of Nong Thi Ngoc Hoa, Hoang Kim Dung, Dinh Thi Mai Lan mostly have one thing in common: the expression of feminine nature, gentleness and purity... This is very different from Vi Thuy Linh. In Vi Thuy Linh's poetry, all levels and nuances of love are always pushed to the highest level. Vi Thuy Linh depicts in her poetry the image of
The image of a woman with many emotions, longing, wanting to turn everything upside down, everything that is in order, but is in conflict with the weaknesses, endless disappointments; the loneliness, disappointment of a woman in love, thirsty for love, one could even say "crazy in love": Don't ask me anything, just look at me/ The woman with many emotions, even her sitting and lying posture has the shape of a question mark , has only one belief - a strong belief: I still believe/ Nothing is more beautiful than a human being/ When love helps them overcome all obstacles... And/ Nothing is more magical than creating a HUMAN/ Life begins from the embryo of a child. Du Thi Hoan (Chinese ethnicity) is different, although longing but always alert with the awareness that absolute integration is impossible: If you and I/ demand each other's perfection/ then our meeting point/ will be more miserable than two marbles .
In the love theme of Tay ethnic poetry, the image of women is always in the central position . Y Phuong, with a very typical way of speaking of the mountain people, praises the beauty of women: When the fire goes out/ It escapes into the air/ When the sun sets/ It escapes into the air/ When the moon sets/ It escapes into your skin... Whether lost, broken or having eternal happiness, women are always the salvation of life, the source of love, of life. That is the exaltation and praise of women: Four o'clock knocking on the door/ I am resurrected/ You warm the fire/ You renew me ( Renew me - Ma Truong Nguyen). Poetry belongs to the lyrical style, so poetry takes its fulcrum from the expression of the poet's inner world before life. The most important thing for the poet is to express the spiritual world, the inner mind, the emotions. It allows nature to be sometimes turned upside down, using the external absurdity (unrealistic, illogical) to express the internal rationality (the truth of the mood): I want to turn off the sun/ So that the color does not fade; or The yellow chrysanthemum blooms into purple chrysanthemums/ You have a husband and return your bib to me/ The yellow chrysanthemum blooms into blue chrysanthemums/ The bib you wear, what bib I want … There are joys, angers, loves, hates, sorrows, happiness… there are joys, sorrows, hopes and disappointments, infatuations and boredoms, but no matter what form, it is very simple and honest. The axis of moving emotions gives those verses a high artistic effect, which is the movement from emotions to thoughts, from direct vibrations to the depth of perception. The passion of emotions combined with the depth of
thoughts have created poems, philosophical verses, with a contemplative color. Mai Lieu's "character" in poetry is like his personality, always seems profound and simple. His poetry is not the kind of poetry to read before parties or gatherings. It is for confiding, whispering, even in love, in the happiest moments, still a gentle and humble voice when praising women: Rivers have many muddy sources / Returning to the sea, they are clear / Life has so much bitterness / Beside you, it becomes sweet ( Untitled V ).
Mai Lieu's poetry always has a mood of waiting, when far from home, it is waiting for the homeland, when in love, it is also a love in distance: The river flows downstream / The grass clings to the shore and waves / You are the distant moon / I am with the cool wind ( Cool Wind ). Love is inherently fragile, it is just like the image of the girl, vaguely vague in Be Thanh Long's poetry:
...In the dream, the oars are in muddy water
dry beach wind reed flowers...
You are not gentle anymore, I wait for you to come back
light
The old white shirt was cold and fragile.
( Void )
Different from the way of speaking of the people of the lowlands, Tay ethnic poetry has very typical comparisons, with Y Phuong in You - the rain shower - the fire , the beauty of a simple and close girl: You are the ink in the nib/You are the rice in the pot/You are the crowing rooster/You are also the chili/Everything I have/All starts from you... Also the love and worship of women, Ma Truong Nguyen's poetry compares:
You are the sun and the moon, I silently compare you to them, Bringing me gentle warmth... You are the day, you are the night.
It's the days and months like the life I experience...
( I am just you and the rain and sunshine )
Duong Thuan thinks of the source of life close around: What are you? / I don't know anymore / What are you? / When I'm happy, I often ask / You are a small source of water / Flowing into my jar... The way Y Phuong and Duong Thuan describe: you are synonymous with what is present, "enveloping", spreading throughout my life; also with the way of thinking of the Tay people, Trieu An writes: "You are like a tornado flying across". Meanwhile, Luu Quang Vu says it differently, it is a strange figurative, more illusory lines with many adjectives: You are numb, you are silently proud / You are lonely like the strange sea / Looking for each other all our lives / Why did we only meet now... or : You are the ray of sunshine that shines on me until the end of my life...
It is obvious that the theme of love is never new, but it still receives undeniable favor from all poets. Tay ethnic poetry from folk songs, phuoi pac, phong slu for centuries has talked about love. Modern poets continue to exploit that endless theme with a new perspective, a new way of thinking. It is also necessary to emphasize that not all poems are good, there are works that are only "average" and even clumsy... but the unique identity of the Tay people expressed in new love poems is something worth noting to distinguish it from other ethnic minority poems and Kinh poetry. Love poems of many Tay authors are unique because of interesting associations, imbued with national character: "Suddenly/ You poured into me/ Rotten wood, dry branches sprout again/ A broken stone grows a nghien tree " (Y Phuong), or " I want to sleep beside you like tree roots in the ground " (Vi Thuy Linh)... these ways of speaking are of the people of the mountains. Only the people of the mountains say: tree roots are short, human roots are long, the sun falls, the moon falls, wine in the mouth - crispy mouth, buffaloes have strong shoulders - horses have strong backs - women have healthy skin and stomachs... Professor Phong Le in his article on the literature of ethnic minorities affirmed that, lacking national identity, that is, there is nothing worth mentioning to distinguish them from poets and writers of other ethnic groups. "Art carries the voice of one ethnic group to another, of the previous generation to the next generation; It overcomes the distances of time and space, brings about multi-dimensional communication, makes people closer and richer day by day” [52, p.181]. Tay ethnic poetry is a vivid and emotional testament to the soul and character of the mountain people, and as Degerx said,
As long as one human soul needs another soul, so long will a work of art be necessary to man.
As we have analyzed above, the Tay ethnic literature process from 1945 to the present has gone through two stages of development with clear changes in inspiration. From focusing on reflecting the patriotism and fighting spirit of the mountain people to having deep differentiation. When the country was at peace, the innovation took place more fiercely and strongly. The Tay ethnic poets had a constant and clearer awareness in affirming the stature and position of their nation in the new era. They wrote about their homeland, villages, about the mountain people (mothers, soldiers), about love between couples, husband and wife feelings... with a deep pride and respect. The Tay ethnic group not only has majestic and poetic nature but also has beautiful customs preserved through many generations, through which we see the deep attachment of people to their homeland, the strong roots of each individual with the community, with the national culture because "culture gives people the ability to reflect on themselves. It is culture that makes us become especially humane, rational, critical and morally committed beings. It is thanks to culture that people express themselves, become self-aware, know themselves as an unfinished project to consider their own achievements, tirelessly search for new meanings and create works that surpass themselves" [84, p.24].
Chapter 3
BASIC ARTISTIC ASPECTS OF TAY ETHNIC POETRY FROM 1945 TO PRESENT
A literary work is always a complete entity with the unity of content and form. Each literary work aims to perceive and reflect the relationship between literature and life, between the creative subject and objective reality. All those emotions, comments, and assessments are expressed through a certain form. The form of a literary work is a combination of many elements: language, structure, genre (poetry, prose, drama) and measures (description of inner thoughts, actions, etc.) with the aim of creating a certain form for the content of the work and making the literary work built into a unified whole. The form must meet the first requirement of being consistent with the content, "what content, what form". Moreover, the form needs to maximize the ability to express the content of the work. The form is also relatively independent, its changes cause the content to be affected to a certain extent. Content exists only when expressed through form and form only has meaning when it aims to express content. The form of a literary work both expresses the author's level and concept and reveals the aesthetic tastes of the reader.
Like all things and phenomena, a poetic work also includes two aspects: content and form that are dialectically unified with each other. Belinsky believes that thought and form must be in harmony with each other organically like the soul and the body, if the form is destroyed, it means the destruction of thought and vice versa. Hegel also affirmed that content is nothing else, but the transformation of form into content, and form is nothing else but the transformation of content into form. The content of a poetic work expresses the relationship between man and life, is a unity between objective life reproduced and occupied by the artist and the spiritual world of the creative subject. The form of a poetic work is the way to express that content. Form can be divided into two levels: internal form, external form. External form
The external form is first determined by the specific material of the art form. With poetry, it is language along with the techniques of rhyming, dividing stanzas, phrasing, rhetorical devices, and fixed forms of the genre. This is the material layer of poetic form. Every literary work has an external form - a material form. However, a literary work also includes an internal form, a spiritual form, a form of feeling, of seeing. It is the internal form that expresses the profound insight into the subject's creative positivity, it is the form of the writer's view of the world, of life. Choosing a form also means choosing an attitude towards life, an approach to the reality of life, and also thanks to the internal form, it shows the development and diversity of artistic consciousness and artistic thinking. Choosing a form also means choosing a way of behaving with artistic material, with the existing principles of creating form. Poetic form in particular cannot by itself fully develop its beauty and appeal. Poetic content is also limited if it cannot find a corresponding means of expression.
Poetic form includes verse, verse, words (language), images, tone, rhyme, rhythm and their organizational forms. Poetic form is stable, sustainable and also flexible and dynamic. It is the aesthetic ideal, the new concept of artistic creation, that has dominated the forms of expression in poetry in particular and in literature and art in general. Changing thinking leads to changes in expression. The whole of a work is not a closed thing but "a dynamic whole in development" (Tynianov). A valuable artistic creation is not only the success of content or form but the harmonious combination of both elements and that combination must create new meanings, must be dynamic , not static . Form and content are indispensable companions in artistic creation, understanding innovations in form also plays an important role in affirming the changes in content.
In the poetry of ethnic minority writers, up to now, the theme and content have always been exploited more. Elements related to artistic form have not been given due attention. One point that is easy to see is that most of the works of Kinh authors about ethnic groups still have differences.
very large in the form of expression with works created by ethnic authors themselves. Over the past 50 years, since the August Revolution - 1945, the literature about the mountainous region has attracted more and more authors. But with authors who are ethnic minorities, they participate in that work with a very unique and enthusiastic inspiration, which are pages of poetry, pages of literature about the history of the soul, the history of their ethnic life. The language, structure, images, tone... of many Tay ethnic poetry works in more than half a century of formation and development have gone beyond simple description and narration to sublimate, to evoke, to express and truly bring to readers poems that are not only good and meaningful in terms of theme and content but also beautiful and interesting in the way they are expressed.
3.1. Genre Interweaving
According to Bakhtin, “Each historical period has its own system of genres” and they are “both very ancient and always new”, and at the same time “express an aesthetic attitude towards reality, a way of perceiving, perceiving, and explaining the world and people” [5, p.8]. Literary genres from 1975 to the present have undergone many significant changes and transformations, the most notable of which is poetry. The reason for this change is that poetry in this period is the product of poets of a different type than before.
“The issue of special importance is the relationship between the common characteristics of a literary genre and the individual contributions of each ethnic group to the development of that genre. And it is also a limitation if we do not point out the unique characteristics of each ethnic group that have contributed to the overall development of the genre” [52, p.159]. The genre of Tay ethnic literature has common and unique points compared to the development process of Vietnamese literary genres. Before 1957, poetry was the only genre (the pioneer of the ethnic minority prose genre was Nong Minh Chau with Che Men duoc di hoi - 1958, the first drama was Cho ga crow by Nong Ich Dat - 1957) however, the poetic forms often followed the traditional folk song style, with innovation but little attention was paid. In the early stages, ethnic minority poetry was generally still heavily influenced by folk poetry ( sli of the Nung, luon of the Tay, xuong, rang of the Muong, xap of the Thai, dung of the Dao...). Tay ethnic poetry in the early stages was commonly in the old style, with 7 words, 8 words or 4 lines per poem, following the rhythms.