escape … In this “ existing world ”, under the perspective of Buddhist thought, she sees “ humans – in essence – are just pitiful creatures ” and “ human life is just a fleeting existence ” but she refuses the path to liberate humans from those sufferings because she always promotes love (Love is stronger than theocracy, nullifying impositions), aspirations, and even human desires. She believes that: humans make everything/ humans are pain . She sees human life as a torment in a chaotic, tired, and haunted world: people are not innocent, do not have many dreams, and gradually lose their romance/ the color of dollars dyes the whole sky ( The Existing World - Linh collection), a world where " paradoxes still hang on people wearing masks ", where life is " a series of perverse mistakes "... But in that same world, she praises the birth of children, considering them " suns in embryo in hope ".
In the self that deeply explores the human spiritual unconscious, in the poems of young poets, there appear many motifs about death (in Vi Thuy Linh's poems 19 times; Van Cam Hai's poems 7 poems; Phan Huyen Thu's poems 4 poems). In particular, this symbol leaves many painful impressions in Hai's poems. It is the loneliness of the self full of loss: I am a poet lover who dies without knowing when ( Image ); It is the casualties that are not easy to fill: the mournful prayer from silent lips/ that strangled my sister/ while she repented/ life was born on death ( Death and You ); It is also a strong personal belief: I am also the land of the land/ when death returns to be reborn ( Legendary Land ); It is the " corpses " in Farewell to the Sun and sometimes even the " dead season "... This symbol reflects the author's confused and painful world and is also an affirmation of the poet's desire for liberation from the pressure of modern society. Also the liberation of the self, we encounter the image of dreams . The image of dreams appears 43 times in Vi Thuy Linh's poetry and appears 17 times/ 8 poems (of both poetry collections) in Phan Huyen Thu's poetry: And the dream of the tongue / begins to open the vowel ( The dream of the tongue ); The warrior of the Gecko clicks his tongue and drinks the night / dreams a dream as thin as a mosquito's wing... ( Following the summer ); Breaking up with yesterday / The bedside is filled with new dreams ( Rain ). From the " dream images " in the poetry of young poets, a " poetic structure according to the order of dreams " has been created, leading readers to wander through many fantasies, decoding the spiritual source with many interesting things.
The appearance of religious and mythological elements in today's poetry shows that many writers are interested in questioning metaphysical topics. We can see these images
In Van Cam Hai's poetry: the sad Sphanh, the pain buzzing in drops of blood, filling the cemetery, the broken statue of Christ, the Goddess of Liberty shackled with laurel, the mute Christ, the hammer that shattered the sun... Religious and legendary elements on the one hand act as artistic materials that help the poet build evocative images and symbols with a mystical color. On the other hand, they are also a means to help the poet turn personal experiences into universal experiences.
The appearance of images and metaphorical symbols strongly reflects the poet's creative personality, the ways to renew familiar poetic materials. We agree with the thoughts of poet Hoang Vu Thuat: " Modern, innovative, and creative poetry must definitely send to readers artistic flowers, not deadly fruits " [95]. The images and symbols in the poems of young authors, although somewhat " strange " and bold, have more or less touched the psychology of the audience, making their egos vibrate in the hearts of readers.
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3.3. Tone: create and delete tone
Tone is the way to form the artistic form of a work, mainly expressing the author's style. Tone is an aesthetic category of a literary work, playing a big role in creating an individual's identity. A talented writer or poet always creates his own tone. Changes in tone show the change in the quality of poetry in the current period, conversely, social changes also create changes in tone. Words, manner of speaking, and attitude will determine the tone of each person. Tone also shows the attitude, thoughts, feelings, and aesthetic tastes of each author; allowing us to recognize the unique features of each author.
A general way of looking at and evaluating young poetry today is the diversity of tones. That diversity comes from the expanded topics. Poetry today has no forbidden areas, everything can be a topic of literature. On the other hand, the change in the position and mindset of the author: awareness of the issue of personal voice (each individual is a perspective, a view of life and world affairs, different experiences and emotions; awareness of innovation in different forms of expression has created a polyphonic world in today's poetry. If the poetic voice before the innovation was a high voice, a singing voice (heroic, praising, trusting, calling, encouraging....). It is associated with epic tendencies and romantic inspiration as a necessity. Poetry today has a low voice instead of a high voice, a speaking voice instead of a singing voice. And its nuances are also diverse, the most prominent are the voices: doubt, bitterness; questioning, critical voice; voice
contemplation, philosophy; satirical, mocking tone. The diversity of tones has contributed to expressing the vibrant atmosphere of today's literary world as well as forming many writers with unique styles. Studying the lyrical ego of contemporary young poetry (through 3 authors Vi Thuy Linh, Phan Huyen Thu and Van Cam Hai), we have noticed some special characteristics of the characteristic tone expressing the ego of the authors. Here we would like to specifically mention two characteristics: creating and deleting the voice of the poets.
3.3.1. Voice Creation
*Vi Thuy Linh
Reading Vi Thuy Linh, readers can see the main note throughout her works is a passionate, intense, passionate, very feminine and also very youthful voice. Vi Thuy Linh has revealed in her poetry her poetic soul - a passionate soul, longing to live and love with all her heart. Linh has breathed a passionate, intense voice into her love poems. As Nguyen Huy Thiep said, " the traces of love in Vi Thuy Linh's poetry are dense "; or as Pham Xuan Nguyen assessed, through Linh's poetry, she boldly expressed " The desire for virgin femininity is always contained and boiling within herself ". Linh herself once shared, " I want to transform the world with the eyes of love ". With that passionate, idealistic dream, the poet constantly raises in her poetry the tone of burning love, love to the point of madness, missing him unbearably (in Nguoi weaver of ramie, Bai ca thong menh ), passionate, passionate, and absolute love. Linh has elevated that love into a sacred religion, and the lover is a powerful being to be worshiped and admired. Realizing that love is not only filled with joy, happiness, dreams but also with countless tears, loneliness, and unfulfilled hopes... that girl still vows to be a cross of love for the rest of her life. Even when she knows she has been betrayed, that her love is unrequited and that the person she loves is just a mortal, Vi Thuy Linh still raises her voice passionately and full of nobility and altruism: Even when you make me sad and startled/ I still turn to you with my complete love ( The Weaver of Hemp ). Not only that, the unique feature is also a step forward in Linh's poetic voice compared to the previous poet, mainly in the prominent features; She does not hesitate to write about physical love, directly flowing with burning desires: Naked in the blanket/ Longing for a husband/... Crazy missing a kiss ( Portrait )... That is the voice of a modern girl fiercely affirming the right to love and be free with unfettered love: If we love each other, we will go through the night to return/ If we miss each other,
If you are thirsty for each other, roll up the waterfall source/ Roll up the fire of love and burn... ( Calling the source ); If we were together forever/ I blinked and poured a sky of light/ The desires became the green grass of life/ When our gazes were gone, we turned into stone in each other ( Tu tinh ). Besides the intense, passionate tone of love, reading Linh's poetry, readers also encounter an intense, passionate, and warm tone in the poems expressing the desire to be a mother. Nguyen Huy Thiep was " extremely surprised by the dense emotions of maternal love ", those emotions blossomed from a twenty-year-old girl who had never been married. Xuan Quynh wrote about children and family in her experiences, and for Linh, the poems about children were all children in the future. The desire to be a mother had been burning inside her since she was 20 years old: My child! My child!/Where are you flying? Where are you flying!? ( Embryonic Suns )... The fierce, " rebellious " girl in love becomes gentle when writing about maternal love. Vi Thuy Linh sees more clearly the role of the lover - the husband; the future mother affirms her eternal protection for her child, at the same time indirectly calling on society to let children live in peace and happiness: Dear Xu, I don't want to pull the curtain so that you know the naked part of life's stage ( Thank you, my child ). Intensely passionate about love; passionate in maternal love, Linh's tone is also fierce and decisive when talking about living and writing, she affirms her fierce personality Determined to do what she wants ( I ); a fierce tone thrown straight at the negative aspects of society: I hate injustice and falsehood ( Salty verses ). And restless in the burning dream of innocence, " if all mankind loved art and poetry would be good, there would be no more evil "... Indeed, reading Linh's poetry, one always feels a persistent, persistent heat radiating from a passionate soul.
Besides the passionate, intense voice in poems about love, the passionate voice in writings about children, about childhood nostalgia, Vi Thuy Linh also impresses with a troubled, thoughtful, skeptical voice about modern life. That is the view of an intuitive self with the diversity in the deep inner world of the sensitive person Vi Thuy Linh. Linh worries about life: Why does salt water cover three quarters of the earth/ Why do people laugh less than cry ( Opposites ); regrets about Hanoi with a beautiful childhood: If there were no more lake trees, old houses/ Where would Hanoi be, oh Hanoi ( Love of Hanoi - Vili in love); Who - captures - again - age
– poetry – for – me?/... I love old Hanoi/ Only old Hanoi is beautiful ( imagined Hanoi ); worried and regretful about love: were we wrong?/ Sketching without color/... People/ eyes
how are the eyes/ I can't draw/ Is it true/ This pen was bought in winter ( Sketch - Thirst); I'm worried, but the boat of my heart doesn't beat faster/... I'm starting to doubt my strength ( The ramie weaver - Thirst); I'm grown up, but I'm afraid of time every birthday ( Birthday - Pupil); Stop singing nomadic love songs/ Because oh wanderer! The illusion of love never stops walking between words ( Wanderer - Thirst); anxiety about time and age, which leads to the destruction of a woman's beauty: I worry about a day/ My wrinkled hands, the gray hairs that have fallen/ The hairs that can't grow anymore, will never be black again/ The white color trembles ( Quiet ); Why does the night shine the moonlight right where I sit/ Mirror, please don't let me see my true hair color ( White Lizard ); I'm still afraid of my freckled skin/ How can I scrub off those "layers" of moss? ( Moss ).
* Phan Huyen Thu
Like Vi Thuy Linh, Phan Huyen Thu uses a tone that affirms the position of the individual ego, gender equality, feminism, a natural calling, a destiny and a supreme beauty. The ego in Linh's poetry seems to occupy a unique position in a strong declaration: I am confident in my racial bloodline ( Born in 1980 ). Phan Huyen Thu's tone is arrogant and challenging : The licking of the lips is planned / I give it to men / Noble chivalry / I give it to friends / Eliminate love - Abolish jealousy - Reduce hatred / I give it to you " ( I give it to you ). Instead of being taken over by you, " I " give " I " to " you ". From Lying on my side and completing in Empty chest, Thu has expressed the strong, intense tone of a woman who longs for love, is full of vitality, always wriggling, struggling to escape the monotony of life: The kiss fills the chest with compassion; Sleeping deep inside you / The heartbeat is clear / demanding to be untied. Demanding to be tied / Demanding to wake up. Demanding / hesitant / endlessly ( Hesitation ). The strong and determined voice in the poems confiding about the writing profession: Write / write / write, words are no longer words / writing is just like thoughts... ( Write ). Phan Huyen Thu wrote: Self-breaking symmetry / with tilted hat, slanted shoulder pole and sideways eyes / Hue is like a mute fairy / crying silently without speaking / Wanting to whisper and caress very softly / but afraid to touch the sensitive part of the Vietnamese body ( Hue ), writing about Hue in a " symmetry-breaking " way with a strange way of speaking like Phan Huyen Thu is rare, bold and unforgettable.
In Phan Huyen Thu's poetry, we can easily see the image of a girl with the pain of falling, loneliness and sadness in front of modern life. If in Linh's poetry, that girl falls painfully but then knows how to stand up with courage, at any time.
while chasing time, the urgent, hot passion overflowing with each word, in Phan Huyen Thu's poetry is the image of a patient woman with love and acceptance of fate, a woman of " urgent ", " voluntary ", of desires to dedicate and wait, of begging and longing for happiness. All are shown very realistically: My hand cannot reach the year two thousand / Cannot touch the nearest man / Do you know / I still reach out / The next century / Know that there will be a day " ( Begging ). And the loneliness is filled with sadness - sadness to the point of mourning oneself " sadly limping / to eat the death anniversary ", sadness spreads into the soul, making everything become disoriented. And there are moments of disappointment, helplessness: Tired eyes / Hands let go / Knees droop / Head bowed / Tired / joking (Tired ); and as if both ordering and demeaning oneself: I have been pale since the beginning / Cannot teach the heart ( Thinking back ); and deep in the heart of that sentimental woman, a sense of loneliness appeared: I sighed/ the cold winter hollowed out my chest/ sadness far away, love also far away ( Hollow Chest ); the anxiety about emptiness: the empty spaces filled with spaces/ emptiness/ filled with disappointment/ full of my breath / and unintentionally those empty spaces “ disintegrated the whole fable ” ( Empty Chest ).
Compared to contemporary young authors, Phan Huyen Thu has created for herself a very unique tone, which is a satirical tone . This is a tone that contributes to conveying the author's inner and sociable self. An intuitive and strongly critical self with the reality of modern life. Satire (pastiche) is a form of personal social criticism. Phan Huyen Thu has opened up a mental area with love, hate, expectation, loneliness, " temporary disappointment " about life, people, and humanity. The attitude of satirizing the hybrids of society is created by contrasting, paradoxical, and awkward pairs. In the poem I Walk on a Dusty Road, My City , the contrast and absurdity are expressed in many layers, not only in the subject itself but also in the context of the subject, in the direction of the subject's movement: " Girls with curved legs and short skirts / Flashing local accents / girls sipping literature / praising each other trying to sound urban /... my city / everyone lives and knows the results every day. Mocking the whole life is the journey of mankind, People go to the future, but that journey seems to lead people to the abyss: I lie here waiting for mankind to return / to talk about the journey . Sometimes Phan Huyen Thu creates self-irony from the effect of wordplay, word sharpening: "Let's go home - New Year's Eve, I", "Pretend to be drunk - peach wine does not end - fortune poetry - does not double spring" ( Lying in January ). The essays are based on
the exclusion of the meaning of words: Homeland is not mother - Homeland is just fragrance ( Pragmatic Nihilism ). Or between opposite words placed side by side: smart breasts - cannot save stupid long thighs ( Rain ); mocking seniors, sometimes discreet, sometimes provocative: My carp/ swims after your trace in the endless river/ crosses the dragon gate but does not turn into a dragon/ turns into the wrong husband/ turns into the wrong life ( Twenty-third of December ); She re-perceives the ideological values that have been immutable: " Virtue. Always hungry and thirsty/ Desire. Is there a time when I am not helpless", "Embarrassed, I drowned/ The body of virtue floated down the river/ passion/ syllogism ". Sometimes " hesitant ", sometimes daring to " take risks "... For her, passion and virtue are difficult to live together. A virtuous person cannot live passionately, often has to control passion to preserve virtue, then virtue is truly hungry and pitiful. She contradicts the folk song by saying the opposite: " I am a sick horse, not making the whole stable give up grass ", parodying idioms by saying it in reverse, skeptically: My compatriots/compatriots with different dreams/ Have their hearts passed through the sieve and into the tray ( Di Mong ). She parodies Phan Thi Vang Anh's poetry: The hand forgot the pocket/ Fondling the pencil . Many times she stands far away from herself, outside herself to see herself more clearly, to dialogue with herself, to mock herself ( Romantic break, Polite, Dream ...). Furthermore, Phan Huyen Thu's poetry has something very bold, openly saying things that previous generations either did not dare to or only did secretly. The woman in Phan Huyen Thu's poetry is full of femininity, a slightly wild femininity, both commanding and condescending, hiding from the sweetest to the strongest poison. It feels like she is a Thi Mau of the poetry stage and it is surprising that she is also a person who loves cheo, especially ancient cheo. Imitating the sound of the bird " catch the girl and tie the pole ": catch the girl and tie the pole / ... catch each other / tie each other / lonely / ... catch yourself / catch each other ... (Pragmatic Nihilism) . The attitude of mocking traditional values is clearly shown by breaking the existing strong structure in idioms and folk songs: My compatriots / compatriots with different dreams / falling through the sieve, their hearts falling into the tray... Same bed ( Di mong ), My carp / swims following your trace in the endless river / crosses the sky but does not turn into a dragon / turns into the wrong husband / turns into the wrong life ( Twenty-third of December ). Or from breaking the existing logic of society: green is red / purple is yellow / short skirt means the legs must be bent ( Thi Mau 97 ),It is a grotesque, perhaps also a destruction of the aesthetic system with many prejudices. The mockery, self-mockery does not refuse to expose, erase oneself, it is a sharp declaration wanting to choose to " obituary " one's life in emptiness, and dream a " dream ", "I dreamed of a funeral, the dead person was me" ( Dream ). Empty
The chest is not only a symbol of the apathy and loss of contemporary people, it is also a mockery of that state in the author himself.
Phan Huyen Thu is a rare and profound satirical voice of contemporary Vietnamese female poetry. We can also mention the humorous satire in the poetry of Le Thi Tham Van, Nguyen Thi Hoai Bac... In prose, satire is strongly expressed in Pham Thi Hoai, Le Thi Hue, gently expressed in Y Ban, and harshly and crudely expressed in Do Hoang Dieu... Satire is a manifestation of skepticism. It shows the approach and viewpoint of evaluating life's problems from many different perspectives. Not hesitating to openly express social satire, reaction to the old, the untimely, the unreasonable, Phan Huyen Thu has proven her mettle, an ego rich in intuition with modern society.
* Van Cam Hai
Van Cam Hai's poetry is not easy to read and his poetic tone is also difficult to perceive compared to other young poets. His poetry has metaphors that are too far-fetched, making it difficult for readers to find clues to what he wants to say, broken rhythms, broken structures, broken space and time, elements of fantasy, randomness intertwined with main ideas. Reality is fragmented, scattered on the paper. However, if we read carefully, we can still see the very unique tone of Hai's poetry. First of all, it is the narrative voice - the narrative voice about life, about people and the worldly issues that Hai is interested in. These are poems such as: Sister's life, The person who herds the sea waves, You ... The work Sister's life by Van Cam Hai: sister's life / like a museum / with many male masks / now / there is a day of peace / sister's age comes through her long, smooth legs ... The poem is short, full of facts, like a novel about human life, full of emotions but also full of contemplation. Poetry in the past often leaned towards emotions with slices of feelings, few poems carried the weight of such a long story. Next, Hai created a very unique tone, which is the hidden, sorrowful tone of a confused soul, suffering much pain and brokenness before modern life, an exiled self always achingly turning towards the Fatherland. A sorrowful tone carrying a heavy Vietnamese sensibility in his inner world and literature. We can easily see Hai's very strange way of combining words: he often combines nouns + verbs (expressing brokenness, loss). I am forever standing in dispute between the two banks of the abyss / life's footsteps have foolishly passed by ( Image ); he still pampers you empty-handed ( Empty Hands ); I regret that I came decades late ( Sister's Life ); I became the flesh of