Phân tích Tràng giang để làm rõ nhận định: Tràng giang đã tiếp nối mạch thi cảm truyền thống với sự cách tân đích thực

ĐH KD & CN Hà Nội 17/02/2023

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Analyzing Trang Giang to clarify its statement: Trang Giang has continued the traditional poetic circuit with true innovation.

Topic: Analyzing Trang Giang to clarify the statement: “Trang Giang has continued the traditional poetic circuit with true innovation”

Analyzing Trang Giang to clarify its statement: Trang Giang has continued the traditional poetic circuit with true innovation.

>> 15 best Trang Giang poem analysis <<

Analyzing Trang Giang to clarify its statement: Trang Giang has continued the traditional poetic circuit with true innovation.

If Xuan Dieu is a poet of time obsession, Huy Can is a poet of space anxiety, a poet of human sorrow. The unique artistic talent of a poetic soul, the “most brainless” in the new poetry movement has successfully created many unique lines of poetry with a harmonious combination of classical and modern beauty. It is said that “Chang Giang has continued the traditional poetic circuit with true innovation”.

The traditional poetic circuit is roughly understood as the inspiration of traditional literature, which is often prone to sadness, containing the moods of poets. These are the sorrows of the human condition, the separation of space and time, and geography expressed through the movement of the landscape, but seen through the lens of confiding as the expression of the great poet. Nguyen Du “Sad people are never happy”. True innovation is understood as innovation in poetry, created from poetic words and ideas with the acceptance of poetic souls with the direction of modern Western literature. Trang Giang is a poem that has both the sadness of traditional poetry and the romance of new poetry with a new perspective and approach under the talented pen of Huy Can.

Trang Giang is a poem inspired by the Red River. It is the mood of a new poetic soul when faced with the vast and lonely nature of the river and river at Chem wharf in a late afternoon. The poem was published in the 1940 volume “Sacred Fire” and is “a poem that reaches the classical level of a new poetic soul”.

The continuation of the traditional poetic circuit of Trang Giang is expressed through the main inspiration that covers the entire poem, which is the sadness and helplessness of a “lonely ego” when alone facing the universe. to feel the immensity, infinity, infinity of heaven and earth and the small loneliness of human life. That is evident from the title of the work. The two words “Trang Giang” not only evoke the image of a river with geographical length and width, but also an ancient river with a depth of history. It is also a vast, vast, endless space. In the verse with the word “I’m sorry for the wide sky, I miss the long river”, the classic and modern qualities are evident in the use of words and artistic tricks. It is a feeling of wistfulness and sadness that spreads into the large, multi-dimensional space “wide sky, long river”. This is also the main emotional circuit of the poem and also clearly shows Huy Can’s artistic style before the revolution. “Mourning” and “remembering” are expressed throughout and spread throughout all four stanzas of Trang Giang through the expression of different nuances of scene and love.

In the first stanza, the poet Huy Can borrowed the images of “waves”, “boats”, “firewood” to express sadness at the immense river scene. The opening line of the work is perceived as a comparative image in which the ripples are compared to the sadness of the human heart, like the familiar way of saying in the folk song “How many waves are ripples in my heart, so much sorrow.” “. The words “message”, “parallel” have highlighted the endless sadness, repeating endlessly and endlessly like the waves of Trang Giang. The poem “The boat returns to the country is sad again” by the author’s use of the art of minor opposition to express the separation between the boat and the water, breaking the double wave, the fragile balance in the verse on “The boat goes down the water. parallel”. Through Huy Can’s gaze, the silhouette of the lonely little boat had completely disappeared, leaving only the immense waves of water. Faced with that natural world, the poet’s infinite sadness seemed to deepen and become more and more profound, becoming “a hundred-way sorrow”, “a dry branch of firewood lost in the middle of the stream”.

If in the first stanza, the author mainly describes the scene of the river surface with emptiness and anxiety, in the second stanza, the author describes loneliness and lost in the lonely, lonely nature, Trang Giang statue continues to open up in a larger and larger stature. The images “dull wind”, “afternoon market” describe the sparse and empty feeling of the natural landscape, reminiscent of the similar images “several uncles”, “markets of a few houses” in the landscape. Poems Through the Passage of Ba Huyen Thanh Quan. The way of posing the question “Where is the village’s voice far from the afternoon market” as emphasizing the desolate, attractive when the only sound of the poem showing signs of human life is just an extremely small trace, fragile, vaguely engulfed in a world where nature reigns.

Nature is perceived at a high and long-range level with an overview of the whole landscape, just like nature in ancient poetry in the intrinsic relationship in terms of meaning in the two lines of poetry above. Through Huy Can’s perception, the river seems to be longer, the sky is wider, and the wharf is more lonely.

In the third stanza, the desolate, lonely, and lost loneliness is described in detail and profoundly in front of the overwhelmingly desolate background. The line of poetry “Where is the row from row to row” in the poet’s vision returned to the scene where the river surfaced. The poem still describes the movement of nature, but it is an indeterminate, directional movement, like the images of a boat going down the roof, “a few lines lost in a dry branch”. A river full of driftwood and driftwood is a wild river. With that river, Huy Can also secretly expressed a sadness and sorrow before a world without any trace of human life.

Where is the row from row to row to row to row to row to row to row to row to row to row to row to row to row to row to next to day to next to row after row to row to row after piece of river to row after row of row after row of water plants.

The word “Immense” is pushed to the top of the verse by the author to cleverly open up a panoramic view of “Trang Giang”. In that overview, Huy Can seemed to be even more disappointed by the cold and desolate nature of nature. The image of the bridge and the horizontal ferry that appears in the poem is not only the embodiment of traces of human life but also the spans connecting the riverbanks, the boat connecting the two banks of the river. However, the negative way of saying “no bridge, no passing boat” and the image of “green shore next to golden beach” made the natural scenery even more desolate and empty. Huy Can’s poem is reminiscent of sensuality. received about the nature of Truyen Kieu when she was standing on the floor of Ngung Bich:

On all sides, far away, there are golden sand dunes, rose bushes there

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To the last stanza, the loneliness in front of nature, the poet’s gaze is not only on the outside anymore, but also on going deep into the mood, expressing the nostalgia, the unrelenting anxiety of a lost people. water. The poems “clouds, mountains”, “bird wings”, “afternoon shadows” appear very commonly in classical poetry. If the first two verses describe the beautiful scenery of the sky and the layer of white clouds extruding like silver mountains, the last two verses are a picture of the poet’s mood who is sharing a common heart with Ba Huyen. Thanh Quan “nostalgia”, “nostalgia for homeland, country”.

The heart of the country is undulating with the water. No smoke at sunset is also homesick

At this point, the nostalgia for the homeland and the country that has been pent-up since the beginning is now revealed and expressed. If in the first stanza it was “ripple waves” inclined to describe the real scene, now in the last stanza the poetic idea is a personification between the river waves and the rising heart waves. The last verse discreetly describes “the love for the motherland” is heavy. The image of people and homesickness are familiar in ancient poetry. The classical meanings of Huy Can’s poetry are further enhanced by the secret nostalgia reminiscent of a Tang poem:

“The homeland is hidden from the sunset On the river, the smoke and waves are sad for anyone”

(Hoang Crane Lau – Cui Hieu)

In addition to the use of words, images, and artistic tricks that are familiar in classical poetry, the continuation of that traditional source is also expressed by the poet’s skillful use of the apocalyptic form of poetry. how to sow the rhythm 2/2/3, or 4/3, rhyme, poetic structure, borrow scenes to express your mood, etc. And above all, the “romantic ego” in Huy Can’s poetic style also expressed in the marks of “true innovation”. That is the “sadness of a lonely bowl”, a new poem in the time of losing the country, “not yet finding the way out”. Huy Can approached “Trang Giang” according to the traditional space of immense, majestic, wild and scary, but expanded that space in three dimensions, endless to immense (length – width – height) through The images “sunshine”, “heaven”, “river”, “wharf” in the following two verses make the space of Trang Giang open endlessly and infinitely:

The sun is down, the sky is deep, the river is long, the sky is wide and lonely,

The innovation is also reflected in the use of words to describe the scene, express the mood, the use of poetic materials: firewood, river, duckweed, sunshine, boat, sand, bird wings, sunset,… All brought a close and familiar picture of the motherland’s nature. The image of “weed wing” in ancient poetry is a symbol of a drifting and helpless identity, but when it comes to Huy Can, the use of the word “bamboo in rows and rows” has shown a very new poetic self. delicate, sensitive, full of compassion, always vibrating in the same rhythm with nature. The three words “line after row” highlight the scene of the duckweeds passing one after another right in front of the poet’s eyes. Or in the verse “Bird with small wings: shadow of dusk”, after the first four words, Huy Can skillfully Clever use of the sign (:) creates a poetic interpretation of the meaning that the former is the effect and the latter is the cause. In the poet’s own perception, the bird tilts its wings slightly because of the falling shadow. “Afternoon shadow” is inherently invisible and illusory. “Afternoon shadow seems to be empty” (Tran Nhan Tong), through the poet’s perception, suddenly becomes infinite, specifically, there is a figure with a weight weighing on the couple. fragile bird. The mark of innovation is expressed through delicate poetry expressing the fragility and loneliness of the birds of the sky, as well as the tantalizing feeling of helplessness of an innocent being when standing in front of infinity.

Huy Can’s creativity bears the most distinct personal impression, perhaps in the last two verses. The poet borrowed Thoi Hieu’s quartet for the ending sentence of Trang Giang, but in terms of tone, semantics, and the way the content is conveyed, there is a huge difference. If Cui Hieu’s homesickness is evoked by the sunset smoke, Huy Can does not depend on the sunset smoke, but nostalgia comes from the inside, not from the outside. Thus, Huy Can’s nostalgia is a nostalgia that is both new, profound and intense, but also very classic.

With the longing for the warmth of love and affection, passionately attached to the homeland and the country, Huy Can’s poetic soul brought to Trang Giang “a poem reaching the classical level of a new poetic soul. ” (Xuan Dieu) and also the fourth poem “Praise the scenery of the river and prepare the way for the love of the motherland” (Xuan Dieu).

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Trang Giang is a poem that continues the traditional poetic circuit with true innovation. However, the value of Trang Giang is not only affirmed through the bold classical quality but also the harmony and interweaving with modern elements that have created a unique poem. To learn more about the poem, you can read more: Analysis of the lyrical ego in the poem Trang Giang, Analysis of the first stanza of the poem Trang Giang, Commentary on the poem Trang Giang, Analysis of nature images in the poem. Trang Giang poem.

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Category: Education

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