Top 10 best essays analyzing Huy Can’s work “Trang Giang”

Huy Can is one of the typical poets of the New Poetry movement with a “virtual poetic soul”. Huy Can’s poems always leave a deep impression in the hearts of readers because of the wild, vast natural scenes and always imbued with a sadness. The poem “Trang Giang” printed in the book “Sacred Fire” is one of the typical compositions for Huy Can’s poetic soul.

“Trang Giang” leaves a deep impression on the reader’s heart right from the title and the poem’s title. The title of the poem is a Sino-Vietnamese word with ancient nuances, meaning long river. But especially in that, the author does not use “chang Giang” but uses “trang Giang” with two rhymes “ang” – two open rhymes, with consecutive reverberation and long-range, that evokes in the reader’s perception of a river that is both long and wide.

In addition, the title verse of the work “Bringing the sky wide, remembering the long river” also briefly and fully summarizes the love and scene in the poem which is a picture of nature with wide sky and long river. and the feeling that covers the whole poem is nostalgia, sadness and sadness that seem to spread into every scene.

From the title and the title verse of the poem, the first stanza opens up a vast river and river space. The opening verse of the first stanza opens up an image of a vast river. The waves rippled with a sad message. It seems that the long “trang Giang” river now seems to stretch out more with each wave of “messages” that keep on patting the shore non-stop, non-stop.

Those waves seem to stretch to infinity, highlighting the vast and vast space of the river. And then, on that vast river background, the image of the boat appeared very small, just like that “down the parallel roof”. The contrast between the vast river space and the image of a small boat evokes loneliness and loneliness in us. In particular, the first stanza also leaves a deep impression on the reader’s mind by the last two lines of the stanza.

The boat back home is sad again

Firewood dry branches located a few lines

From ancient times until now, boat and water are two images that always go together, yet here it seems that boat and water have a sad separation waiting. Perhaps that’s why that scene makes the heart “sad in a hundred ways”. In particular, in the midst of that immense river scene, the image of “a few lines of firewood and a dry branch lost in a few lines” evokes in the reader’s mind an inconsolable obsession with the human realm, lost, helpless, unaware that it will drift back home. where by hundreds of infinite lines.

Thus, in the first stanza, if the river is considered an endless stream of life, then the image of a boat and dry branches of firewood is a symbol of a small and indeterminate human life. At the same time, the stanza also evokes the author’s unrelenting sadness.

If in the opening stanza of the poem, the author paints a vast river space, in the second stanza, the author opens up the space of a small dune. The two opening lines of the second stanza paint a desolate and lonely space.

The small, melodious wind is sloppy,

Where is the sound of the village far away from the afternoon market?

With the use of the art of inversions and the particularly evocative slang word “leisure”, “delight”, the author has painted a picture where the small dunes are sparse, deserted, cold, and evoke a sadness. immense. In addition, the desolate, quiet space of the space seems to be further highlighted through the poem “where the village’s voice is far away from the afternoon market”. It can be said that this is a verse with many interpretations, “where” is nowhere, is to deny the sound of the afternoon market or somewhere, to evoke the faint sound of the market.

But perhaps no matter how understood, the verse still evokes in the reader’s heart sadness, desolation, decay, lack of human life. If the first two verses of the second stanza evoke a small empty space, it seems that in verses three and four, that space seems to be expanded on all four sides, making the already deserted scene even more. more lonely and quiet.

The sun is down, the sky is so deep

Song Long, wide sky, lonely station

In two verses, the author uses “toweringly deep” instead of “toweringly” because the word “deep” not only describes the scene but also describes the love, it not only evokes a vast, deep space but It also evokes the sadness and loneliness of the human heart before the vastness and desolateness of the landscape.

Thus, in the first two stanzas of the poem, the poet’s sadness seems to cover every scene, in a vast and immense space. And then, in the third stanza of the poem, the author returned to the river space with a vast, lonely scene, without human life.

Where do you drift, row after row?

Immense without a ferry across

Not asking for any intimacy

Quietly the green shore meets the yellow beach

The image of “where the line drifts away” once again evokes in the reader the image of a human life, a floating human realm, not knowing where to go or where to go. In addition, the stanza with the repeated use of negative art emphasizes the loneliness and lack of life of the scene. Normally, we often see that boats and bridges are means and images showing the exchange and connection between people and people, between this land and other lands, but here “nothing is ever done”. ferry ride”, “without a bridge”.

It seems that there is nothing here that connects the two shores together, it lacks traces of life, of human silhouettes and above all, human love, harmony and intimacy between people and people. together. Maybe that’s why the two banks of the river can go on and on and on, but never meet, only left here the green banks, the golden beaches one after another – a beautiful picture but quiet and peaceful. so sad.

If in the above three stanzas, the author paints a picture of a vast, desolate nature with sadness and loneliness, in the last stanza, the author has added a new color to that natural painting. Behind it is the author’s burning, burning nostalgia for his homeland.

Layers of high clouds extruding silver mountains

Little winged bird: dusk shadow

The heart of the country moves with the water

No smoke at sunset also homesick

The first two lines of the last stanza paint a picture of nature in the afternoon with majestic and poetic beauty. The image of white clouds layer after layer after layer “extrudes” in the afternoon sunlight like creating silver-plated mountains. It seems that with only one verse, the author has created a beautiful picture.

And then, on that majestic natural background, the image of a bird’s wings appeared as a warm ray of light for the scene, but it still did not alleviate the sadness in the depths of the poet’s soul. It seems that the contrast between the smallness of the evening bird’s wings with the vastness and majesty of the “high layer of clouds” makes the space seem wider and the poet’s sadness and loneliness also increase.

And then, in front of that space, the poet’s heart shows a burning, burning nostalgia for his homeland. The image of “swimming with water” not only depicts the waves spreading far, but moreover, it also evokes the poet’s feeling of endless nostalgia – the sadness of expatriates who are missing their homeland dearly. In particular, the classic verse that closes the poem honestly and clearly expresses the poet’s nostalgia for his homeland and that mood is also a common mood in the petty bourgeois class. at the time.

In summary, Huy Can’s “Trang Giang” with the combination of classic and modern colors and unique poetic images evoked in us the sadness and loneliness of an ego in front of the scenery. immense, vast nature and especially that is the earnest heart for the homeland, for the country. Reading the poem helps us to understand why Xuan Dieu once assessed that “Trang Giang is a poem that sings the country and the river, thus clearing the way for the love of the country and the country”.

The title of the poem “Thinking of the wide sky, remembering the long river”, is the main inspiration of Huy Can in the poem “Trang Giang” which has been carved into time and people’s souls for more than half a century. “Trang Giang” is a wonderful poem printed in the book “Sacred Fire” published in 1940.

According to the author, on an autumn afternoon in 1939, when he was still a student at the University of Agriculture, Huy Can stood on the south bank of Chem wharf, watching the immense Red River, his heart filled with emotion, and wrote this poem. . Those are the feelings about the river and a manic sadness rising up at sunset when the poet stands in front of the scene “Long river, wide sky, lonely wharf”.

The first stanza talks about “ripple waves”, the boat and dry branches floating on the river:

“The waves rippled with sadness and sadness,

The boat goes down the parallel roof”.

Trang Giang – long and large rivers, such as Hoang Ha, Truong Giang,… here is the dear Red River, the “red heavy alluvial” river. Ripples and ripples, the layer of “sad message”, like patting, penetrates deeply into people’s hearts. The small boat, drifting downstream, let go of the “parallel water” oars.

The pair of compound words: “message” and “parallel” suggest a poignant, distant and ambiguous sadness. The image of dry firewood branches is both realistic and symbolic. The small, insignificant “wooden of a dry branch” from the forest has been brought into the poem, creating a “new taste” of the new poem. It also symbolizes a fleeting, small human life floating on an indefinite life stream. So sad, know where to go?

“The boat returned to the country to be sad again;

Firewood dry branches located a few lines”.

The opposites are used creatively, only opposites and opposites, but the poem is still harmoniously proportioned. The boat and the dry wood are floating together on the river. Huy Can talked a lot about “thousands of ancient sorrows”, “sad in the autumn”, here he wrote “melancholy and reclining”. Both the yang realm and the negative realm? “Hundreds of sorrow” seems to spread and cover the painful lives of people. The number of words in the three verses of the poem “sorrow of a hundred ways”, “a few lines of firewood”, “lost a few lines” have made it clear that the obsession with human life is small and finite, suffering and grief are big. big, limitless.

That infinite sadness is described through a vast space. The small contrasts with the vast, infinite. The island is small, sparse, sad: “Low poetry is small and lonely wind”. The back rhyme: “small – wind”, combined with the syllables: “poetic” and “delightful”, the verse resonates with people’s hearts about a lonely, lonely sadness. The art of using the word talent, evoking ancient colors, leads the reader’s soul back to ancient poetry: “Non Ky turns to the moon hanging – Ben Phi wind blows a few mounds” (Chinh phu dipping), ” Willow silk poetry let go of the curtain…” (Kieu’s Tale).

Afternoon market is inherently sad, when visiting the afternoon market, the sadness of being away is multiplied many times. But now the sound of “afternoon market” from a far away village is no longer there. The word “where” expresses the poet’s bewilderment with a lonely sadness contained in his heart: “Where is the village’s voice far from the afternoon market”.

The sky and the riverbed are two-dimensional space. The sky is deep and deep in the riverbed. People often say: “towering”, “deeply deep”, but Huy Can wrote: “toweringly deep” to highlight two subparagraphs: “sunshine” and “heaven rise”, the vastness. , the vastness and awe of the river, the sky and the distant wharf:

“The sun is down and the sky is deep;

Song Long, wide sky, lonely station”.

“Trang Giang” is the most brilliant and shimmering representative poem of “Sacred Fire”. Talking about “Trang Giang” is talking about “Sacred Fire”. Talking about “Sacred Fire” is talking about immense sadness, covering space and time, seemingly containing “the layer of sadness at the bottom of the human soul!” (Xuan Dieu).

The song “beo drifting clouds” in Quan Ho folk songs used to evoke many vague emotions in our souls. In the third stanza, Huy Can takes the duckweed wing drifting on the river as a symbol of the union and separation in the life lines of the lost lives:

“Where do you drift from row to row;

Immense without a ferry across.

Without asking for any intimacy,

Quietly, the green shore meets the yellow beach.

Quietly, the green shore meets the yellow beach.

In the vastness of heaven and earth, there is almost no human figure in the river. The verse is negated by the repeated “no”: “no passing boat”, “doesn’t ask for any intimacy” and there is only one yellow color of the beach connecting with the blue of the endless shore. The sadness and euphoria of a mood are expressed in a “vast” and “quiet” space.The last stanza talks about the sunset.Sunset in ancient poetry is often associated with the love of the homeland. :

“Stop and stop: the sky is still water

A piece of me with my own situation”.

(Through Horizontal Pass)

Thoi Hieu, the eminent poet of the Tang dynasty, stood on the Hoang Hac floor and looked at the misty waves on the river at sunset, his heart sobbing:

“The homeland is hidden from the sunset,

On the river smoke waves to sad anyone?”.

(Tan Da translation)

Huy Can selected a number of poetic poetic materials to describe a country full of love: a bird’s wing in the afternoon, layers of mountains and silver clouds. No smoke and waves, but still miss the homeland dearly:

“A layer of high clouds extrudes silver mountains,

Small winged bird: dusk shadow.

The country’s heart swells with water,

No sunset smoke also homesick.”

The poem is poetic, full of images and full of emotions. The soul of Duong’s poetry seems to be absorbed into the words. Those who have been away from home, in the moment of sunset, can see all the beauty (beautiful but sad) in poems about love of the countryside and the heart of the country. “Now the sunset is back to sunset” (Truyen Kieu), ..: “The person in Chuong Dai, the traveler – Who can tell the coldness” (In the afternoon, homesick). – From that feeling, I feel like I am wistfully entering my soul into “Trang Giang”, quietly looking at “the wonderful country” but “missing home”, missing the homeland.

Huy Can doesn’t need smoke and waves, but the heart of the countryside is still “tipping”, still “missing home”. It is clear that the hometown love in Huy Can is extremely hot and tender. It is true that true poetry lifts people’s hearts, arouses the most beautiful things hidden in the depths of people’s souls to reach the sublime. Reading “Trang Giang” we feel more deeply that truth.

“Trang Giang” is one of Huy Can’s best poems in the collection “Sacred Fire”, an eternal flame that shines a beautiful poetic soul. The poet has chosen the form of a seven-word verse with four stanzas, like a masterpiece of a quartet painting. A poignant sadness is expressed in layers through beautiful and concise poems.

“Truong Giang” is a poem that sings the country’s mountains and rivers, thus clearing the way for newcomers to have “Flowing Land” and loving and warm “Poems of Life”… later. Read “Trang Giang” to make us love more and miss the land, sky, rivers and mountains of our homeland.

Poet Huy Can whose real name is Cu Huy Can, with his very own poetic voice, has affirmed his name in the new poetry movement 1930-1945. He was originally from Huong Son, Ha Tinh, born in 1919 and died in 2005. Before the August Revolution, his poetry brought sadness about human life and praised the beauty of nature and creation with typical works such as: : “Sacred Fire”, “Cosmic Song”, “Prayer of Prayer”. But after the August Revolution, his poetic soul became optimistic, inspired by the life of fighting and building the country of the working people: “The sky is bright every day”, “The land blooms”. “The Poem of Life”…

The beauty of nature, the melancholy of the world, a typical poetic feature of Huy Can, are expressed quite clearly in the poem “Trang Giang”. This is a beautiful, typical and most famous poem by Huy Can before the August Revolution. The poem is excerpted from the book “Sacred Fire”, composed when Huy Can stood on the south bank of Chem wharf of the Red River, looking at the vast landscape of waves and water, his heart filled with sadness, a haunting scene for a small human life, floating in the middle of the river. indeterminate life. With such melancholy, the poem has both classical beauty and modernity, bringing excitement and love to readers.

In awe of the wide sky, remember to live long

Waves evocative syllabic sad message message….

No smoke sunset also homesick.

Right from the poem’s title, the poet cleverly evoked the classic beauty of the poem. “Trang Giang” is a creative way of saying things wrong by Huy Can. The two consecutive “ang” sounds evoked in the reader the feeling of the river, which is not only infinitely long but also vast and boundless. The two words “Trang Giang” have elegant classical nuances, reminiscent of the Truong Giang line in Duong Thi’s poetry, a river of eternity, the river of thoughts.

The four poems “Trang Giang” have classic features like old poetry: The poet often hides behind the vastness of the waves, unlike the new poets who often express their ego. But if the ancient poets looked to nature to hope for integration and communion, Huy Can turned to nature to express concern and sadness about a lonely, small human life in front of the vast universe. It is also the captivating beauty of the work, which hides a modern spirit.

The title sentence is simple and short with only seven words, but it captures the main emotion of the whole song: “In the sky, remember to live long”. Before the scene of “wide sky”, “long river”, the immense, immense nature of nature, people’s hearts arouse feelings of “sorry” and miss. The word “mourning” is used very well, it expresses the mood of the lyrical subject, sad, melancholy, lonely, lost.

And the “long river”, listening to the endless headlines, keeps steady waves throughout the stanzas, keeps rolling up in the poet’s heart, shaking the reader’s heart. And right from the first stanza, the reader has encountered such waves of anxiety and sorrow:

The waves rippled with a sad message,

The boat goes down the parallel water.

The boat back home is sad again

Firewood dry branches located a few lines.

The classical beauty of the poem is quite evident from these first four lines. The two words stemming from “message”, “parallel” at the end of the two verses have bold ancient nuances of Duong Thi. And not only has that beauty, it is also full of images, reminiscent of the waves spreading, spreading, overlapping, the water flows away to any place, endlessly.

On the river that evokes “message” waves, that “parallel” water is a “boat on the roof”, drifting away. In the scene there is movement like that, but why only see the silence, the immensity of nature, a long and vast “trang Giang” line, I don’t know how much. The river is endless, endless, the sadness of people is also full in the heart:

The boat back home is sad again

Firewood dry branches located a few lines.

Boats and water are inherently connected, the boat floats by the rushing water, the water hits the boat. However, Huy Can saw that the boat and the water were parting, far from “the boat returned to the country”, so sad to hear why. That’s why it evokes in people’s hearts the “hundreds of sorrows”. The word plural “hundred” corresponds to the word “many” which has blown into the poem infinite sadness.

The soul of the lyrical subject is most fully expressed through the unique verse: “A few lines lost in a dry branch”. Huy Can skillfully used inversions in combination with selected words, expressing loneliness and being lost in front of the vast universe. “One” evokes meagerness and smallness, “dry branch” suggests wither, exhausted vitality, “lost” carries indeterminate sadness, floating and bobbing on “several streams” of vast natural waters. immensity. That dry wood branch drifts somewhere, the image is simple, not painted but full of horror, making the reader feel empty and lonely.

The classic beauty of the author’s skillful and talented “depicting the allegorical scene” has hinted at a sadness and melancholy like a wave that will continue to beat in the remaining stanzas so that readers can sympathize. , understanding a common mood trait in new poets. But besides that, we also see a very poetic modern beauty of the stanza.

It is in the very special way of saying “A dry branch” that not only captures the emotions of the whole suffering, but also reveals the mood of the lyrical character, a feeling of loneliness and loss. That feeling is revealed more through the lonely image of the cold space:

Little smack of poetry in the wind

Where is the sound of the village far away from the afternoon market.

The two words “lazy” and “delightful” are cleverly arranged by the author on the same line of poetry, creating a quiet scene. “Poetry” suggests meagerness, “sickness” suggests loneliness. In the midst of the scene of “small dunes”, the wind is “dull”, a cold, peppery scene, people become lonely and overwhelmed to the point of exclaiming “Where is the village’s voice far from the afternoon market”.

Only a verse that has many nuances, both evoking “somewhere”, a distant sound, not clear, can be a question of “where” as a poet’s longing and longing for a bit of happiness. activities, sounds of human life. It can also be “nowhere”, a complete negation, around here there is nothing alive to dispel the solitude of nature. The character’s lyrical eyes follow the sun, follow the river’s flow:

“The sun is down, the sky is deep,

Song Long, wide sky, lonely station.”

“The sun goes down, the sky rises” suggests movement, expansion in space, and separation: by the sun and the sky, they are separated from each other. “Toweringly deep” is Huy Can’s new and creative expression scene, with a modern beauty. The poet’s eyes not only stop at the outside of the sky and the sun, but also penetrate the whole universe, the vast and endless space. That natural world is indeed vast with “long rivers, wide sky”, and what belongs to humans is so small and lonely: “lonely wharf”.

The classical beauty of the stanza appears through familiar poetic materials in Tang Thi such as: river, sky, sunshine, human life is dull, bored with “afternoon market”, everything has disintegrated and divided. leave. The poet looked at the river again, looking at the surrounding scene, hoping for something familiar to bring warmth to the soul that was sinking into the cold, about loneliness. But nature responded to that desire with more lonely and lonely images:

Where do you drift, row after row,

Immense without a ferry across.

Without the slightest hint of intimacy,

Quietly, the green shore meets the yellow beach.

The image of duckweed floating on the river is an image often used in classical poetry, it evokes something precarious and floating of an indeterminate human life in the midst of life. But in Huy Can’s poetry, there are not only one or two duckweed wings, but “line after row”. Drifting in rows makes people feel overwhelmed by nature, so that the heart becomes more painful and lonely.

Next to the row of rows of duckweed is “green shore after yellow beach” as if opening up a vast, endless space, nature follows nature, the road has no people, no human activities. , no harmony, connection:

Immense without a ferry across

Not asking for any intimacy.

The author provides a negative structure. “…no…no” to completely negate human connections. Before the poet’s eyes now, there is nothing to suggest intimacy to pull himself out of the loneliness that is covering and enclosing, only a vast, immense nature. The bridge or the ferry crossing, the means of human connection, seems to have been engulfed by nature and drifted somewhere. Huy Can cleverly paints classic and modern beauty for the sky above:

Layers of high clouds extrude silver mountains,

Small winged bird in the evening shadow.

The striking style with “high clouds extruding silver mountains” into “layers” has made readers imagine the white clouds shining in the sun like silver. The image of classical beauty is lyrical and even more poetic when it is inspired by a quartet of ancient Duong poetry by Do Phu: The ground of clouds is extruding from the gate.

Huy Can skillfully used the verb “extrusion”, making the clouds seem to move, with internal force from within, layer by layer of clouds keeps extruding. This is also a poetic feature full of modernity, because it has creatively applied from familiar classical poetry. And the modernity is even more evident through the love colon in the following verse.

This colon suggests the relationship between the bird and the evening shadow: The bird tilts the small wing to pull the evening shadow, falling together on the surface of the river, or the evening shadow itself, weighing on the small bird’s wing, tilts the whole way. The verse describes space but evokes time because it uses “bird wings” and “afternoon shadows”, which are aesthetic images to describe sunsets in classical poetry. But in the middle of that classic scene, the reader encounters a modern mood:

The country’s heart swells with water,

No smoke sunset also homesick.

“Rigid” is a creative etymology of Huy Can, never seen before. This slang word corresponds to the phrase “awesome children of the country” showing a feeling of sadness and loneliness of “countryside”. That feeling is nostalgia for the homeland when standing in the middle of the homeland, but the homeland is no longer there. This is the general mood of the new poet now, a heartache at the loss of his country.

Next to that modern mood is the classic quatrain inspired by the verse: “On the river, the smoke and waves make you sad” by Thoi Hieu. In the past, Cui Hieu needed to hold on to the waves to be sad, but to remember, and Huy Can was sad without external circuTaxances, because from the sadness it was already very deep. Only then can I know how deeply the poet’s love for his homeland is today.

The poem is both classic and modern. Classical beauty is expressed through a seven-word poem with a strong Duong Thi style, through the use of words and from familiar classical poets such as clouds, rivers, bird wings, etc. First of all, it is the use of classical quatrains, evoking the ancient and contemplative atmosphere of Tang poetry.

Modern beauty spreads through the poet’s creative and unique sentences such as “toweringly deep”, a love colon. But that beauty remains in the end the feeling of nostalgia for the homeland right when standing in the middle of the homeland, the modern mood of intellectuals who want to contribute their strength to the country but have to be helpless and unable to do anything.

The poem will forever go into people’s hearts with the typical style of “Huy Can”, with a deep elegant classical beauty and a modern beauty with a patriotic heart and love for the motherland.

Before the August Revolution, nature in Huy Can’s poetry was often imbued with sadness – sadness typical of a whole new generation of poetry. The poem Trang Giang (1939 – extracted from the book Sacred Fire) expresses the poet’s melancholy ego in front of the wide sky and long river; the loneliness and helplessness of people in the middle of their homeland. The poem also expresses the poet’s secret love for the country

Trang Giang means long river, the word “trang” is also read as school. But from the river with its immense resonance, it evokes a vaster, more spacious scene. The author uses Sino-Vietnamese words to create an ancient and permanent look of the river. The poem begins with a river scene:

The waves rippled with a sad message

The boat goes down the parallel roof

The boat back home is sad again

Firewood dry branches located a few lines.

The first verse depicts the scene of the immense river, the ripples protruding to the horizon, creating a feeling of calm in the lonely space as if containing sadness: sad message. The sadness of the class, one after another, radiated along the water, going about a hundred ways: sorrow of a hundred ways. The scene of the river in the poem has an ancient color;

The ancient tree is green with a round canopy.

White erases the flat and quiet stretch of land.

(The boat goes)

The additional image for the boat is a dried up branch floating in the middle of the river: A dry branch is lost a few lines. From the deep forest, the branches of firewood, through many rivers and streams, drift here, bobbing in the middle of the vast river, reminiscent of a lost and helpless life. It is a metaphor for a small, lost human life being swept away by the currents of life.

The stanza evokes a scene with a vast river space with lines: parallel, message, but again: sorrowful, hundreds of directions, lost in a few lines, so it does not promise to converge, meet but separate, separate. The method of contrasting the image of a large river with the scene of dry firewood and a small boat, further highlights the vast and endless scene of the river and the lonely and small condition of people.

The general tone for the whole poem, sad because of the lonely and lost human condition in the old life. The second stanza continues the first stanza, but the space is expanded and pushed higher.

A small poem, a melancholy wind

Where is the sound of the village far away from the afternoon market,

The sun is down, the sky is so deep

Song Long, wide sky, lonely station.

The lonely little dune in the middle of the river, adding a melancholy wind makes the scene more desolate, lonely, and hidden. The flood water upstream poured down to engulf the small dune in the middle of the river with only a few grass blades protruding, reminiscent of the fates that were drowned by the currents of life.

The space expands to the shore: the scene of the afternoon market has already deepened the deserted and distant place.. The scene of the afternoon market evokes life and home, but it is just the sound of the body and then disappears in the vast landscape. the silence of the river. River and. The poet seems to be separated from life, so standing in that scene, people’s hearts are more and more missed the life of the homeland.

The appearance of the sky also adds to the lost feeling: The sun descends into the sky to the depths of the sky. The poem is rich in images, evoking space with shapes, lines and colors: each sunbeam from above falls to create a deep space in the sky, the depth of the sky is like the top of a tower. The use of the word deep evokes the space of the sky as expanding and pushing higher and deeper, creating the infinite, infinite space of the universe and the poet’s sadness seems endless and immense:

Song Long, wide sky, lonely station.

The river, the beach, and the sky are all disjointed and filled with the sadness of the poet, sad because of the absence of life, so he hopes to return to life. But the more the scene appeared, the more lost and indifferent:

Where do you drift, row after row?

Immense without a ferry across

Not asking for a little intimacy

Quietly, the green shore meets the yellow beach.

Things are side by side: the drifts are connected, the green shores meet the yellow ones, but create a separate, unrelated world. In that scene, the poetic soul wants to find traces of life, but everything is vast and far away, emphasized by two negations:

Immense without a horizontal move

Not asking for any intimacy.

There is no boat, no bridge, no human shadow or anything suggestive of humanity to meet and communicate. Only the vast and quiet water surface.

At the junction of waves on all sides,

A strange cock crowing by the dike at midnight

(I’m going home)

In that scene, human love is even sadder, sad because of the absence of life. The poet stands in the middle of his homeland but feels helpless and lonely, so he wants to stick with people, life, and homeland:

Boats don’t connect here and there

Forever waiting for a sail

(Island)

The poem closes with a magnificent sunset on the far horizon:

Layers of high clouds extrude silver mountains,

Small winged bird; evening shadow.

The country’s heart swells with water,

No smoke sunset also homesick.

The scene opens with the image of silver mountains created by white clouds sparkling in the sun. The author commented: “White clouds are layer after layer like white cotton buds blooming in the sky. Afternoon light before it fades out in beauty. A wonderful, bright, majestic beauty.

This image is reminiscent of a poetic idea translated from Duong’s poetry: “The ground is covered with clouds and the gate is far away” (Do Phu) but has a more radiant beauty. An evening bird appeared, making the picture more vivid, poetic, beautiful but small and vague. The small bird’s wings are like being pressed down by the afternoon sun, just tilting the leaves of the afternoon leaves, making the space seem to have volume, weight and nature seems to be burdened with the sadness of the poet. That far-flung landscape evokes even more nostalgia for the homeland:

The country’s heart flutters with the water

No smoke sunset also homesick.

The wave of the poet’s nostalgia for his hometown has radiated out into the water wave. The sympathetic water has brought immense country love to the waves. The country of sympathy has carried the immense love of the country to all directions. The last verse is borrowed from the four poems of Thoi Hieu of the Tang Dynasty:

Homeland in the shadow of the sunset

On the river smoke waves to sad anyone.

(Hoang Crane Tower)

The ancients looked at the waves and missed home, while Huy Can didn’t need the waves to still miss his homeland. Because that love is always in the heart. That is the main cause of the sadness that runs through the poem. A sad person who misses his homeland when right in the middle of his hometown feels so helpless and pitiful! The poem ends with a sunset on the river and opens up an immense love of the countryside.

In short, the sadness of rivers, the sky and clouds in Huy Can’s Trang Giang is also the pain of life, the sorrow of the world. The poet conveys in it a passionate love for the motherland and the respect for the Vietnamese language. Therefore, Xuan Dieu assessed: “Trang Giang is a poem that sings the country’s rivers and rivers, thus clearing the way for the love of the country and the country”.

The poem expresses the general sadness of an era in New Poetry. But the sadness emanating from the beauty of nature lacks contact and lack of human love, not sadness because of the suffocating bondage in The Lu’s Memory of the Forest. The poem has a classic style in image and tone but still has the characteristics of modern poetry in the space of colors, words, and quatrains.

Everyone who goes far carries in them a little bit of the beloved shadow of the hometown river. Especially for poets and writers, the countryside river is always an inspiration that never runs out, motivating poets to write. A river of “mirror water reflects the bamboo’s hair” in Te Hanh’s poetry, a Da river in Nguyen Tuan’s essay, a peaceful Perfume river in Hoang Phu’s literature…. And only when we come to Huy Can’s “Trang Giang”, we can see all the most beautiful and poetic things, but also full of country love in the author’s sense.

Bringing in both talent, mind and reach, Huy Can is known as a great poet and great cultural house. Although he understands many civilizations and cultures of mankind, his poetic soul is still imbued with national identity. The source of traditional poetry has poured into Huy Can’s soul melodious melodies, making the poetry – when it reaches maturity – very easily penetrated into people’s hearts. Traditional hexagonal poetry, five-word poetry of Nghe Tinh folk songs – in Huy Can’s hands – are both simple, sincere, and concise; expressive nuances are clearly promoted. The quality of thinking is silver throughout the quatrains.

The image of Huy Can’s poetry is often not sharp, making a strong impression, but profound and evocative; like light wool, as if it penetrated deeply into the reader’s soul and mind. Nature paintings in Huy Can’s poetry often have very few lines, simplified according to classical style, more suggestive than descriptive.

Therefore, it can be said that the spatial impression is obtained – first of all – thanks to the taste of Tang Thi. Poet Xuan Dieu once commented: “Poetry about the country, nature and homeland is a strong point of Huy Can. It seems that here the poet exudes the deepest and most beautiful aroma of his soul. And “Trang Giang” has deeply expressed that.

“Trang Giang” is a wonderful poem printed in the volume “Sacred Fire” published in 1940. According to the author, on an autumn afternoon in 1939, while still a student at the University of Canh Nong, Huy Can stood on the shore. south of Chem wharf, watching the immense Red River, filled with emotion, wrote this poem. Those are the feelings of the river and a manic sadness rising at sunset when the poet stands in front of the scene: “Long river, wide sky, lonely wharf.”

It can be said that the title of a poem is the gateway, the starting point for the reader to follow to discover the content and art of the work. And the poem “Trang Giang” too, the thoughts and secret feelings are all sent in the title of only two words “Trang Giang”.

“Truong Giang” or also known as “ Truong Giang” is a Han Vietnamese word that refers to a long river. But the author took the name “Trang Giang” and not “Truong Giang”. Because inherently “Truong Giang” only means such a simple long river; But on the contrary, “Trang Giang” speaks of the immense long river, and expresses the author’s own mood and feelings. The rhyme “ang” stretched out like Huy Can’s feelings never ceased when standing in front of this vast and immense river. Entering the world of Trang Giang, we feel like we are lost in a long, wide and attractive river:

The waves rippled with a sad message

The boat goes down the parallel roof

The boat came back, the water was sad again

Firewood dry branches located a few lines.

The first verse opens with waves. Not noisy, strong but “ripple waves”. The verb “ripple” describes both posture and mood. Because, “ripple” first refers to the extremely small, slow movements of waves. Although it is a verb, “ripple” actually evokes the quiet, silent emptiness of the river nature. The poet’s art of moving and describing the stillness is so ingenious. Details reveal the natural circuTaxances, but also open up the poet’s mood space. We see there the mentality of a person carrying deep, but also sad.

Waves are not only river waves but also heart waves, mind waves are gently rippling, absorbing the “sad message” emanating from the scene and reverberating into the poet’s heart. The word “message” not only depicts the continuous ripples of the river, but also the river of the poet’s mood, the waves of the heart roll into each other.

More specifically, right at the beginning of the sentence, the author repeated the title of the poem not without purpose. “Trang Giang” is a river that is both long and wide, evoking a vast and overwhelming space. In the middle of that background is a small, lonely person who is sending sad eyes along the waves to the horizon.

This deepens the heart of Huy Can, a poet who is ready to be sad at all times. The sadness of a traveler who stops at a restaurant with a high pass, sad at night when it rains, sad to miss you, sad when the sun goes down, when the afternoon comes up, even sad when no longer sees the footprints on the road.

If the first verse wavered, then the next few lines had a glimpse of the boat. “The boat goes down parallel water” or is also the boat drifting aimlessly, drifting parallel to the water, letting the waves take it away. That image reminds me of a mindset of surrender, letting go of the flow of life, the life of the poet. Along with the above “sad message”, the verse brightens up this profound meaning.

It can be said that the third verse is an ingenious creation of the author. Normally, the water pushes, the boat drifts. The boat floats with the water. In other words, the boat and the water are never separate, in opposite directions. But with Huy Can, “the boat returns, the water returns”. The two opposing positions suggest the absurd in logic, but in fact, in terms of depth, depth, and depth, we understand more clearly the heart of a river traveler.

Is it the feeling of separation in Huy Can’s feelings when standing in front of a long river and wide sky? Just like Han Mac Tu when he was still lying on his hospital bed, looking out into the distance, he saw “Wind follows the wind, clouds follow clouds”. It is a haunting sadness in the separation complex. Therefore, Huy Can is “sad for a hundred ways”. Great sadness that nothing can compensate.

The whole heart of the poet is finally condensed in the image of “a few lines of firewood and a dry branch lost”. Poetry from ancient times, sadness is explained in countless different angles. There is sadness when seeing “the corn trees, golden fall and immense autumn” (Bich Khe), there is sadness at the “sorrowful willows” (Xuan Dieu), and there is sadness when hearing the rooster crowing. nervousness in Luu Trong Lu’s poetry.

But perhaps, sad before a dry wood branch has never appeared in the treasure of Vietnamese literature. Firewood refers to small, unhappy human lives, also floating aimlessly in the flow of life. Therefore, “a few lines of firewood and a dead branch are lost” is inevitable.

The second stanza continues the poetic circuit of the first stanza:

Little smack of poetry in the wind

Where is the sound of the village far away from the afternoon market?

The sun is down, the sky is so deep

Song Long, wide sky, lonely station.

The first thing that impresses readers is the inversion. The word “leisurely” is placed at the beginning of the sentence, followed by “small dune with dull wind”. A sentence that appears in a row with three adjectives indicating the fragility, smallness, and loneliness of creation. The sadness, or the sadness that no one shares, is stirring in the author.

Instead of a picture of nature like the first stanza, the second stanza recreates daily life, most notably the image of the afternoon market at the time of the day. The market inherently describes the feeling of being crowded, full and full of life, just as Nguyen Trai once described: “The fish market in Ngu Phu village”.

Enough to see the fun and bustle of a market. Huy Can is not like that, he chooses the time to visit the market as a unique artistic signal. The market is when “all the people have returned and the noise is gone. On the ground, there are only pomelo peels, market skins, longan leaves and sugar cane leaves…” (Thach Lam). The detail that evokes the desolate, shabby, lonely, and attractive village of the riverside village is also a reminder of the infinite sadness in the poet’s heart.

The last two sentences are an artistic creation that represents Huy Can’s poetic soul in the style of Duong Thi. The previous and the following sentences are opposite, strictly using the same verbs and adjectives in pairs: up – down, long – wide as if opening up more space. The river that was already overwhelmed is now much wider. Rivers open up in height, depth, length, width. Space seems to be expanding slowly in all dimensions.

Reading the verse we see that everything is moving farther, higher, wider, deeper. And in the middle of that picture, we see that the focus is still a small, seemingly lonely figure in the middle of the universe. The sadness and sorrow of the poet is therefore multiplied many times over.

The third stanza continues the emotional circuit of indifference, loss of contact between things. The poet’s eyes look at duckweed, small and weak creatures in the vast water.

Where do you drift, row after row?

Immense without a ferry across

Not asking for any intimacy

Quietly, the green shore meets the yellow beach.

The vast, sad, and empty scene of Trang Giang is multiplied several times negative. The bridge, the boat connecting the two banks, is an expression of the connection between people and life, often evoking a busy, intimate atmosphere, reminiscent of the homeland: “The bridge is the place for our dating. – The moonlit night on the bridge, I play the flute – The moonlit night, I ask you to wash my clothes – The bridge connects the happy banks” (The bridge connects the happy banks). But here, there is not a bridge connecting the two banks, which means absolutely no trace of life or anything that evokes human love, the human heart wants to meet again across the deserted shore.

The two banks of the river continued to run towards the horizon like two lonely, alien worlds, never meeting, without the intimacy of like-minded souls. Trang Giang scene is now only “quietly the green shore meets the yellow beach”. The picture is beautiful, but it is so quiet and sad.

On the surface of the water appeared the image of a lonely and lonely duckweed, reminiscent of the identity of “water duckweed” (Nguyen Du), the disintegration, separation, and adventure:

Water hyacinth keeps water

Floating anywhere is just floating

(Nguyen Du)

The verse shows us: The flower drifting on the Trang Giang river is also the life of people floating in the flow of time. All four sentences, each with its own sadness, pull together like ripples in Huy Can’s heart. Not looking at the sad and lonely water anymore, the poet leads us to look higher:

Layers of high clouds extruding silver mountains

Small winged bird in the evening shadow.

In Huy Can’s poetry, there are also bird wings and clouds as in some ancient poems about the afternoon, however, these two images do not have the same effect on each other as in ancient poetry, but they also have meaning. contradictory. In the late afternoon, but layer upon layer, layer upon layer of clouds above still piled up, forming silver mountains, striking against the clear blue sky.

What a majestic sight this is! It is not a lonely cloud floating in the middle of the sky at dusk as in Ho Chi Minh’s poetry. Clouds here pile up, shining in the afternoon sun, making the whole sky beautiful and brilliant. In the middle of that scene, a small bird appeared. The bird’s wings fly among the beautiful and majestic high clouds, as if highlighting its smallness. It is lonely in the vastness of heaven and earth, like a lonely poet’s soul between heaven and earth.

Placing bird wings and silver clouds in the opposite position, deepened the sadness in the poet’s heart. Sadness seems to permeate and spread throughout the space:

The heart of the country moves with the water

No smoke sunset also homesick.

“Country heart” is also the soul of the country, the love of the countryside in the heart of a poet, the direction of the heart, not just a simple, rural heart. The two words “fluffy” let us feel the waves are with us, the waves also know how to miss or is the author missing?

The two words “fluffy” also remind us to see the ups and downs of the sea waves or the overflowing nostalgia of the poet when standing in front of the desolate scene of a late afternoon. And that nostalgia is not only once but continuously, many times, but that feeling is only “fluctuating” but not passionate. The poem wants to express the nostalgia for the homeland when the author stands in front of the overwhelming river.

The last verse concludes the whole poem. That is the deepest point, closing the thoughts and feelings of the poem. “No sunset smoke” means that no external factors directly affect the poet, but why is the poet still homesick?

Put in poetry from ancient times, Thoi Hieu once expressed his nostalgia like this: “The homeland is hidden from the sunset / On the river, the smoke and waves are sad for anyone” (Hoang Hac Lau). Before the scene that surged to love remember. As for the analysis of Huy Can’s poem Trang Giang, we see that there is not a bit of reminiscence, but the poet’s heart is still towards his fatherland. Enough to see how rich that country love is.

In the context of the poem’s birth, Huy Can stood in front of his hometown river but still missed his homeland, profoundly but deeply. That love, that heart, who can match? In the form of a poem with a strong taste in Tang poetry, coherent structure and creative language skills, the image of the author, the poem appears as a symphony in which the musical notes are all harmonized. sing songs of love for nature and country.

Critic Phan Cu De once remarked: “The Romantics put in their poetry a passionate love for the country’s nature and a respect for the Vietnamese language, which at that time was regarded as the mother tongue. scabies, child’s voice…

The voice in Poetry is the mother tongue of love, the landscape in New Poetry is the beautiful country of Vietnam with its own beauties of each homeland (“Homeland” by Te Hanh, “Here is Vi Da village”. by Han Mac Tu, “Da Lat on a misty night” by Quach Tan, “Perfume Pagoda” by Nguyen Nhuoc Phap, “Spring afternoon” by Anh Tho, etc.). Therefore, we can easily agree with Xuan Dieu when he wrote: “Trang Giang” is a poem that sings the country’s rivers, thus clearing the way for the love of the country.

Time can dust some things. But there are things that are further away from time, the brighter, the more beautiful. Huy Can’s “Trang Giang” is such a poem. Along with the poet’s heart filled with love for his homeland, the poem will live with us forever.

Huy Can is a famous poet in the New Poetry movement (1930-1945) with works that combine modern and classical elements. His compositional style has a big difference associated with two times: before the August revolution and after the August revolution.

It can be said that it is the transition from melancholy and sadness because of the pre-revolutionary times to the joyful atmosphere after the revolution associated with the renovation work. The poem “Trang Giang” was written in the pre-revolutionary period with a feeling of sadness, evoking the stalemate in the life of a floating human life. The poem leaves in the reader’s heart many indescribable emotions.

Right from the title of the poem, the author was able to generalize the main thoughts and feelings of the poem. The two words “Trang Giang” can be said to be a long, vast and boundless river. This Sino-Vietnamese word reminds people of the Tang poems of China. But it is this river that also evokes the thoughts of the insiders when they want to mention the floating and small identities living adrift on the long river of thoughts and the river of melancholy.

The title of the poem “Brave the wide sky and miss the long river” once again generalizes, so the theme of the poem is the feeling of not knowing how to express it to anyone when standing in the midst of the vast and immense heaven and earth. The whole poem exudes a beauty that is both modern and classic, which is also typical in Huy Can’s poetry. Entering the poem, the first stanza reminds the reader of a river filled with deep sadness:

The waves rippled with a sad message

The boat goes down the parallel roof

The boat back home is sad again

Firewood dry branches located a few lines

With a series of mournful words “sad”, “down”, “sorrowful”, “lost a few lines” combined with the word “message”, “parallel” seems to have fully expressed the spirit. and the author’s boundless, endless sadness in this time of so much injustice. Right in the first stanza, the break-through of the classic is mixed with the modern one.

The author has borrowed the image of a boat going down the roof and above all, the image of “dry firewood” floating alone, alone on the immense, endless, aimless water. The evocative power of the verse is really haunting, a long river, a river with a melancholy and calm beauty, makes the reader feel sad and dreary.

Originally, the boat and the water were two inseparable things, but in the verse, the author wrote “the boat returns to the country to be sad again.” Is there any confusion, or is it an unannounced separation? and it sounds so heartbreaking.

A sadness to the end, immense with the flowing river. The highlight of the stanza is in the last verse with the image of “firewood” evoking loneliness, smallness, fragility, drifting everywhere. It can be said that the verse has expressed the mood of new poets in general at that time, a life of multi-talented people but still long and struggling in the midst of a busy life like this. In the second stanza, the loneliness seems to be doubled:

Little smack of poetry in the wind

Where is the sound of the village far away from the afternoon market?

The sun is down and the sky is deep

Song Long, wide sky, lonely station

The first two verses reflect a sad, lonely and quiet scene of a lifeless village. Is it the author’s hometown? The image of “small dune” clearly hears the melancholy wind in the riverside and seems to wear a default sadness. Even the noise of the afternoon market in the distance could not be heard, or maybe it was as sad and lonely as this.

A rhetorical question that evokes a lot of emotions, asks the person or the author who is asking himself. The word “where” comes up dreary and has no fulcrum to cling to. The wild, desolate landscape at the wharf has no people, no sound.

The last two verses of the author borrow images of heaven and river to describe the immensity of infinity. Not “high” but “deep” sky, taking height to measure depth is really Huy Can’s ingenious, delicate and unique feature. The image of the immense river and the word “solitude” at the end of the paragraph seem to have fully expressed the deep sadness of not knowing who to talk to.

In the third stanza, the author wants to find warmth in this lonely nature, but it seems that the nature is not what people expect:

Where do you drift, row after row?

Immense without a ferry across

Not asking for a bit of nostalgia

Quietly the green shore meets the yellow beach

In the third stanza, it seems that the reader realizes a change, the movement of nature, no longer melancholy and silent to the dreary as in the second stanza. The word “drift” has very subtly described this transformation of all things. However, this word associated with the image of “beo” makes the author disappointed because “beo” is inherently indeterminate, floating everywhere, without a place to cling, quietly drifting “where”, not knowing where to drift. Where to go, I don’t know how long it will be.

The vast water surface does not have a boat. The author is just waiting for a ferry to see that life exists, but it seems impossible. Looking forward to sending nostalgia for the homeland, but the author received in return is the silence of things around here, from “quiet” to dreary and dreary. In the last stanza, it seems that the author’s style is pushed to the top, the dotted lines are used very nicely:

Layers of high clouds extruding silver mountains

Little winged bird in the evening shadow

The country’s heart flutters with the water

No smoke at sunset also homesick

It can be said that the poet’s thoughts and feelings are conveyed through this stanza. The dotted lines of “high clouds” and “silver mountains” like in Tang’s poetry are more sad and sadder. The image of “winged bird” and “afternoon shadow” are the author’s visualization of the invisible. The evening shadow can’t be seen, but through the pen and the author’s eyes, one can imagine the afternoon sun is slowly falling.

The last two verses are homesickness, homesickness of the author who doesn’t know where to send it, only knows how to fill it up in the heart. Huy Can’s verse reminds us of the four poems of Thoi Hieu:

On the river smoke waves to sad anyone

Is it the wave of the river or the wave in the heart?

Huy Can’s poem “Trang Giang” with a combination of realistic and classical style paints a picture of a melancholy and lonely nature. Thereby portraying the lonely, lonely mood of people and a love of homeland, longing for Huy Can’s sincere and profound homeland.

Coming to the New Poetry movement, we are immersed in the poetic garden full of wonderful flavors of poets. We can’t help but be excited and excited by Xuan Dieu’s daring, energetic poems, and we can’t help but feel sad before The Lu’s clear poetic soul, sobbing at Che’s strange poetic image. Lan Vien, or infatuated with the simple but dear poetic soul of Nguyen Binh.

And especially, coming to Huy Can’s poetry, we come across a unique and unique sadness that is an overwhelming sadness, melancholy, before the vast universe, it seems that the horizon of the poet’s sadness is like that. Long endless. The poem “Trang Giang” is a typical work of Huy Can’s style.

The poem is printed in the book Sacred Fire written in 1940, the work reveals the melancholy mood of people in front of the vast and vast landscape, depicting absolute loneliness and sadness.

“The waves rippled with sadness and sadness,
The boat goes down the parallel water.”

Tired waves rippled in the middle of the deep river. The lonely small boat in the middle of the river highlights the smallness and loneliness, the boat is drifting aimlessly down the vast river. The ripples “message”, the water “parallel”, the scenery is still moving but still strangely quiet. The river is endless, nature is still beautiful, but still carries sadness. indescribably sad:

“The boat came back, the water returned, the sadness was hundreds of directions
Firewood dry branches located a few lines”

Boat and water are closely linked and go together “boat back”, “water back” – it seems that the two objects are in opposition to each other, suggesting separation, distance, as well as sadness of the poet. so. The more he tries to find nature to escape his sorrow before the world, the more crazy the reality, the more the poet finds himself lonely, sad, and small in front of the infinite universe.

The water flows like that, and the dry wood branches are lost in the middle of the waves. It seemed that he could not control the flow of his water, drifting aimlessly in the middle of the river. The scene is gentle, peaceful, beautiful but full of great sadness. Does the scene also contain the mood or the sad person’s heart makes the scene also bring sadness, because “The sad scene is never happy”. That feeling is deeper, more dreary and lonely, immersed in each scene:

“Small, lonely poetry in the wind
Where is the sound of the village far away from the afternoon market?

The small, meager dune beach further accentuates the solitude of the space. The landscape is somewhat wild, desolate, and lonely. The sound of the market in the distance was not clear. There are sounds, there are human activities, but still, the silence of time, nature and people’s hearts is not lessened. The little sound of voices in the far away market is not enough to dispel the sadness and loneliness that overwhelms this place.

The more I look towards the nature of my hometown, the more I yearn for something to warm the cold soul, but the more lonely I feel in my own homeland. Nature responds to people, then a scene full of sadness and solitude:

“Where do you drift, row after row;
Immense without a ferry across.
Without asking for any intimacy,
Quietly, the green shore meets the yellow beach.”

The duckweed drifts in the middle of the river, with no purpose, no place to return, so it goes down the water. Looking at the wharf, I only see loneliness, loneliness, the ferry crossing is nowhere to be seen, no one makes me stop melancholy, no one is with me, so I can reduce my sorrow at this time. Looking forward to a little bit of human activities can’t be seen, surrounded by only green banks, yellow beaches one after another, sadness just piled up, how pitiful, how painful.

“A layer of high clouds extrudes silver mountains,
Little winged bird: dusk shadow.”

The poet has a very delicate look when describing the magnificent, majestic, beautiful and poetic nature of nature. Each layer of clouds, which gently drifted by, now forms beautiful and large mountains, each cloud carries internal force, brings immortality and eternal life. The little bird’s wings tilting is also when the evening’s shadow gradually falls. At that time, the homesickness, the homesickness, the deep feelings for the homeland arose even more, indescribably abundant:

“The heart of the country is full of water,
No sunset smoke also homesick.”

The lyrical character’s heart is filled with so many good feelings at home. Although sad, sad, but thinking about the homeland is even more emotional, speechless. Is “the wavering heart of the homeland” the waves of the heart that are surging strongly in the soul of the poet that has been pent up for so long, the more you love and remember it, the more you can’t help it. .

With evocative images, bold in the style of Tang Thi, with typical classical images, and successful use of unique artistic methods, Huy Can has expressed his unique ego in poetry. . The poem fosters and nurtures each person’s soul with a passionate love of nature and a deep heart for the nation’s homeland.

Unlike the lively and enthusiastic poetic soul associated with the renovation work after the August revolution. Huy Can’s poetry in the years before the revolution brought melancholy and sadness ahead of the times. No wonder “Trang Giang” was born depicting the loneliness of the individual in front of the vast space of nature. Along with the sadness and anxiety in front of the vast space, the poem is also the poet’s nostalgia for his homeland and love for the country that is in mourning.

The poem was composed in 1939 and printed for the first time in the newspaper “Today” and then in the volume “Sacred Fire” – Huy Can’s first collection of poems. It was also this collection of poems that made him the typical face of the early “New Poetry” movement. As soon as reading the title of the poem “Trang Giang”, one can imagine the thoughts and thoughts that the author sent in it.

The title suggests a long, immense, boundless river. However, hidden behind the image of a long river are the precarious, floating and melancholy lives. The sentence from “The sky is wide, I miss the long river” continues to affirm the melancholy, not knowing who to express to the lyrical character before the vast space of the river.

The first stanza comes to the reader with the image of a sad river, filled with indescribable feelings

“The waves rippled with sadness and sadness

The boat goes down the parallel roof

The boat back home is sad again

Firewood dry branches located a few lines.”

Having just read the first stanza, the reader can see the melancholy and sad atmosphere through the words “sad”, “sad”, “lost dry branch”. The first sentence describes the waves, the second sentence describes the currents, the currents on the river surface. If the first sentence evokes the waves spreading, spreading far, chasing each other to the horizon, the second sentence depicts the parallel streams of water, chasing each other to the end of the sky. In the first sentence “ripple waves” are small, rolling waves.

But just that one ripple, Trang Giang was “sad message”. The word “message” completely describes the sadness that is piled up, layer after layer. The image of the boat “going down the parallel roof” evokes the feeling of being alone on the endless endless water.

The two verses combine to make the space both open in width and stretch in length. The author continues to portray the separation through the third verse. “Boat” and “water” are inherently two images that are closely related, but through the eyes of the lyrical character, these two images are no longer parallel to each other.

“Hundreds of sadness”, sadness, melancholy, and sadness are increasing day by day. With the fourth verse, the author uses an inversion of “wood on a dry branch” to talk about the loneliness and barrenness of “firewood”. The number of words “one” alone, lonely together with the adjective “dry” – out of vitality, makes the image even more wither. The author is ingenious when he has used the art of “one” – “some” as emphasizing the loneliness of the firewood on the river.

“Lost a few lines” not only expresses the loneliness of firewood but also refers to the precariousness and floating when “lost” from one river to another. The unique feature of the verse is not only the parallelism but also the 1/3/3 beat. With that pause, “firewood” appears “independent” and that further clarifies the isolated situation of this thing.

It can be said that the image of “wood and a dry branch” partly speaks to the poet’s mood – a talented person who is still struggling in the midst of a chaotic life. Thus, only with the first stanza, the picture of a sad, melancholy nature appeared clearly. The combination of classical and modern pen strokes also helps readers better understand the poet’s mood. The second stanza continues to be a sad scene but with a gloomy, lifeless feature.

“Small, lonely poetry in the wind

Where is the sound of the village far away from the afternoon market?

The sun is down, the sky is so deep

Song Long, wide sky, lonely station.”

Huy Can skillfully used two words in the same verse to describe the desolate and deserted scene on both sides of the river: “Low poetry” – sparse, meager, “derelict” – quiet, little. people. On the “small dune” the breeze floats the sad, gloomy atmosphere of a place with few people and lack of vitality. It was so melancholy that it did not hear the noise of the afternoon market. “Where” describes a vague feeling, unable to determine the fulcrum to cling to.

Thus, just through a few strokes of the poet, a picture of a dreary, lifeless country appeared. Coming to the next two verses, the author seems to expand his vision through the countermeasure of “sunset down” – “heaven up” which has made the space expand in height, there is an expanding space in the middle. .

Two opposite direction verbs “up” and “down” give a sense of movement. The sun is down, the sky is pulled higher. And the main highlight is “towering depth” – the space expands in depth. “Towering” is an exclusive word when it comes to height.

When it comes to depth, people often use “deep hun” or “deeply deep”,… It is Huy Can’s unique use of words that evokes the deep space of the universe, that’s also the time. The poet’s sadness and loneliness rose, becoming endless. An interesting, new perspective.

The last verse of the poet uses a large space to talk about loneliness and loneliness. “Lonely Wharf” – sad, sparsely lonely in the vast space of the river and sky. The panorama of the second stanza is a lonely, deserted color, in contrast to the image of the sparse landscape, the vast space, emphasizing the ancient melancholy.

“Where do you go, row after row?

Immense without a ferry across

Not asking for any intimacy

Quietly, the green shore meets the yellow beach.”

The image in the third stanza has initially moved with the verb “to drift”, but the thing that accompanies this verb is “beo”. “Beo” is inherently an image that symbolizes precariousness, floating, no stable abode. Moreover, the phrase “row after row” describes the indeterminacy and precariousness when one row after another “follows” each other.

Space contrasts with the reality of the scene. The author looks forward to being able to see the ferry to feel life. But the response to that expectation was “not a horizontal ferry”. In this stanza, the poet uses many negative words: “no boat” and now “no bridge”.

The image of the bridge evokes the look of the countryside, bringing the feeling of “intimacy”. But because this image is absent, the feeling of alienation and loneliness is clearly felt. With the last verse of the stanza, the author uses many colors to highlight the picture. “The green shore meets the yellow beach” – the painting is bright and striking, but accompanied by the word “quiet” to sink this color. Now these two images are no longer as fresh as their original colors.

This word also makes the stale air “spread” from one object to another. All things are engulfed in solitude. If the first three stanzas are a picture of a sad, quiet nature, the last stanza is the poet’s mind and heart.

“Layer of high clouds extruding silver mountains

Little winged bird in the evening shadow

The country’s heart flutters with the water

No sunset smoke also homesick.”

Throughout the poem, the author constantly uses the artistic technique of using the word leprechaun. “Layer” – to overlap, “extrusion” is to press on to make something lower. Thus, with the first verse of the fourth stanza, the author paints a picture of his homeland with a large image of many layers of clouds over the silver mountain. The image of “little winged bird” evokes a feeling of being small and helpless. “Tilt” – unsteady.

This image is the opposite of the latter “afternoon shadow”. On the large shadow background is the image of a worried little bird, still vaguely showing the way to find his shelter. The image of this bird was once seen in “Queen of the bird quilling quintessential tree” (Tomb – Ho Chi Minh), roughly translated “The tired bird goes back to the forest to find a place to sleep”. Coming to the third verse, the author expressed his nostalgia for his hometown. “Ridiculous” is to evoke, to arouse, to have an unspeakable feeling.

Every time I see “the water”, the author’s love for the motherland rises. However, the special feature lies in the last verse: “No smoke in the sunset also misses home”. More than a thousand years ago, Thoi Hieu was also moved to miss his hometown and exclaimed:

“Japanese flavor mandarin of origin marketing grave

Yen’s three depressed using the upper stretch.”

(The homeland is hidden from the sunset

On the river smoke waves to sad anyone?)

The sorrows of the two poets have some differences. In Thoi Hieu, because he saw the smoke and waves on the river, he was sad and missed his hometown, while in Huy Can, he couldn’t see the smoke, but the homesickness still rose. If Cui Hieu is homesick because he is far away from home, he is in a foreign country, and Huy Can’s nostalgia comes from a person standing on his own land but helpless and lost. The nostalgia also comes from the helplessness and boredom of the poet himself ahead of his time.

Artistic features in “Trang Giang” must first of all refer to the skillful combination between Classical elements (Duong Thi poetry) and new poetic elements. In the poem, the author uses many Sino-Vietnamese words such as Trang Giang, Lonely Ben, … along with the theme of ancient and unspoiled nature, the small ego in front of the immense nature imbued with Tang elements. exam. New poetic elements are expressed through emotional ego, vivid and evocative images. Besides, the use of words and opposites also contributes to clarifying the smallness of human beings in front of the vast universe.

With “Trang Giang”, Huy Can not only brings a picture of vast and vast nature through which the author also emphasizes the loneliness of the “me” in front of the vast galaxy. This contrast partly speaks of the lonely situation, the floating of human lives. At the same time, the author expressed his nostalgia for his homeland, his passionate affection for his country.

Trang Giang is a beautiful poem by Huy Can and one of the typical poems of the New Poetry movement. The poem expresses the loneliness and helplessness of people in the middle of their homeland. Trang Giang is printed in the book Sacred Fire, published in 1940. The poem talks about generational sadness, sadness that cannot find a way out, so it seems to last forever.

The first four lines of the poem that appear in the first paragraph of the work are a picture of a quiet and deserted river.

The waves rippled with a sad message,

The boat goes down the parallel water.

The boat returned to the country, sorrowful hundreds of directions,

Firewood dry branches located a few lines.

The first verse opens is a picture of a river, “Ripple waves, sad messages” with two images reproduced: nature and human mood. The word “trang Giang” suggests not only length but also breadth. That river has the word “ripple” which is just a slight ripple, rolling in the direction of the light wind. The atmosphere of silence embraces the space. From the mood of nature, the author talks about the mood of people, it can be said that there are many ripples that are so much sadness “People who are sad are never happy”.

The word “message” expresses the feelings in the heart that are light but persistent. “The boat goes down the parallel water” The image of the boat on the roof stands out in the middle of the river, becoming small and lonely. “Downstream” is in a passive state despite the flow of water. From the word “parallel” “The boat returns to the country with a hundred falls”, the author has used a pair of words in the opposite direction, whether this is a separation, to start a hundred-way sorrow.

In the last sentence of stanza one, the simple and realistic image is “dry wood”. The art of inversion as emphasizing the petty and worthless mediocrity, not only and broken and falling objects. Another dry branch was too insignificant, small and alone, exhausted. Drifting aimlessly between the vast space, hidden behind human lives and lost egos in Huy Can’s new poetic movement.

The small, melodious wind is sloppy,

Where is the sound of the village far away from the afternoon market.

The sun is down, the sky is deep;

Song Long, wide sky, lonely station.

The general painting in describing nature in Huy Can’s poetry is more suggestive than descriptive.” Lonely poetry is small and the wind is melancholy”. The word “leisurely” evokes meagerness, emphasizing the small emptiness, the solitude in the vast space with only a small desert. The author tries to listen to the human voice. “Where is the village’s voice far from the afternoon market”, this is a rhetorical question, denying the presence of human life.

In the last two lines of the second stanza, the author used the countermeasures of “sunshine to rising sky”, “long river to wide sky”, “toweringly deep with lonely wharf”. Up and down reverse verbs evoke a distinct sense of movement. Suggesting the height and depth of the boundless open space. The sadness that permeates human creation presents itself with a state of loneliness.

Where do you drift, row after row,

Immense without a ferry across.

Without asking for any intimacy,

Quietly, the green shore meets the yellow beach.

The next stanza evokes the indeterminacy, “the duckweed” is not simply the duckweed that can’t find the direction of nature. It’s a whole generation of young Vietnamese who can’t find their way.

There is absolutely no human figure in this entire universe. Because the ferry, the bridge must have people, but the author said “no”. Using negative words to affirm that there is only one thing that is “quietly green shore meets yellow beach” which is just nature.

It was the loneliness, the insecurity of a new poetic self. It is this feeling that has been said a lot by the author such as in the title of the word “I’m sorry for the wide sky and long for the river”, creating a unique point for poet Huy Can, the people here are lonely, insecure, rippled.

Layers of high clouds extruding silver mountains…

Little winged bird: dusk shadow

The country’s heart swells with water,

No smoke sunset also homesick.

The last stanza seems to fade away, the image of “extruding silver mountains” is a majestic and magnificent space, layer by layer. Contrasting with the majestic and magnificent space is the “little winged bird in the evening shadow”. If the above line of poetry shows a classical impression, then here is a modern element, the little bird’s wings are trying to rise up in that late afternoon. That new poetic self carries a sadness in itself, an awakening. The wings of the bird not only carry the weight of the sunset, but also the sadness of the new poets.

Coming to the last two lines of the poem “the country’s heart flutters with the water, no smoke in the sunset also misses home”. This is nostalgia, the modernity here is the negation of the impact of the external environment on the mood. Nostalgia is more intense, more burning, going on the homeland but feeling lacking and missing the homeland. The word “roggy” is like the waves of the heart that are pent-up in Huy Can.

In general, the whole poem is sad, this is the mood of the romantic poets at that time, the sadness of the whole generation of young people at that time who had not yet realized the revolutionary ideal, this poem represents the Huy Can’s poetic soul is “sorrowful and delusional”. The poem “Trang Giang” is considered as a poem that prepares the way for poetry about the homeland. The use of poetic language as well as rhetoric is to create a beautiful and unique work.

The new era of Vietnamese poetry marked the success of many talented poets. It was a Xuan Dieu yearning for a burning, intense love. A Che Lan Vien struggled to find a personal ego. A Han Mac Tu immersed in reality and dream. And there is also a poet – a person with the soul of a delusional person, precarious between the vast world.

His poetry is concise but contains many philosophies and endless lines of thought. It is none other than Huy Can – the poet who left behind many outstanding works, but the most outstanding one is the poem “Trang Giang”.

The exact situation of Trang Giang’s composition was in September 9, when Huy Can had just entered his 1939s, studying at Canh Nong College. The poem is a spontaneous moment of the poet in the afternoon cycling to Chem wharf to watch the flowing Red River. So many nostalgia, so many sad scenes, the loneliness of an “I” in front of nature just flowed out to become a poem that has been handed down to posterity to this day.

Initially, the poem was called “Afternoon by the river” then the author changed it to “Trang Giang”. Compared to the old title, Trang Giang has a more solemn and ancient Sino-Vietnamese sound. The spread of the rhyme “ang” not only depicts the overwhelming vastness of the river’s natural space, but also evokes unending sadness.

After the title is the title from “Breaking up the wide sky, remembering the long river”. It is this preface that captures both the scene and the love of the poem. Where do we see the vastness of nature without seeing the end, and the sadness and sadness are endlessly wide and long.

In the poem Trang Giang, we can see two pictures depicting the scene and describing the poet’s mood very clearly. About the scenery, all are tinged with a lonely, deserted, lonely color. The poet opens with four lines:

“The waves rippled with sadness and sadness,

The boat goes down the parallel water.

The boat returned to the country, sorrowful hundreds of ways;

Firewood dry branches located a few lines”

The word “message” combined with the open sad state creates a low note in the emotional level when just reading the first verses. Not only do we see the waves of the river rolling, but also the waves of the poet’s heart seem to be spreading in harmony with heaven and earth.

The boat on the waves did not even bother to steer to wear “parallel water”. Then at the end, “The boat returned to the country, sorrowful hundred directions” tinged with sad separation. The poems are so classic that they seem like a Chinese poet composed, until the author mentions the image of firewood. Neither duckweed nor flower floated in the river, but this is a branch of firewood that has strayed aimlessly.

The condition of the firewood withered, floating on the river is more and more shaken. The first two lines of the second stanza of the poem continue the sadness that creeps into each space:

The small, melodious wind is sloppy,

Where is the sound of the village far away from the afternoon market?

The sun is down, the sky is deep;

Song Long, wide sky, lonely station.

The entangled, vague sadness mixed with the lonely, lonely look on the river banks. The poet wanted to hear a lot, wanted to see a lot of people talking and laughing, but “Where is the village’s voice far from the afternoon market”. “Where” here is the expression “somewhere” or “where” – the author does not clearly tell the reader.

The word “vaan” creates a feeling of remoteness, boredom, and loneliness. So I want to hear the sound of life, but in the end, in response to the poet’s heart, it is just a wild landscape, a sad sadness. Then suddenly, the point of view from below was suddenly pushed up.

“The sun is down, the sky is deep;

Song Long, wide sky, lonely station”

Huy Can’s pen draws on “sun”, “heaven”, “river”, “wharf”. Scenes that are familiar in poetry are now in a different mood by a subtle use of words. The author describes “heaven as deep as the sky” instead of “heaven is high in the sky”. Because the “deep” here is not only the spatial dimension of the landscape, but it also evokes a bottomless sadness, a sadness that stretches to the infinity of the human heart. Are sad people ever happy, so that in the end, all that remains is “Long river, wide sky, lonely wharf”.

By the third stanza, it seems that the author has been completely powerless to pull himself out of the overwhelming sadness.

“Where do you drift, row after row;

Immense without a ferry across.

Without asking for any intimacy,

Quietly, the green shore meets the yellow beach.”

Huy Can uses the image of “beo” – a small, insignificant thing instead of a description of the lives of people with precarious, floating, and indeterminate fates in the midst of life. The four-sentence stanza does not see the appearance of a human figure. It’s all just nature after nature, sadness after sadness.

The negative structure “no crossing” – “doesn’t call for intimacy” has erased human connection. It is difficult to see in “Trang Giang” a little trace of the hustle, bustle and hustle of everyday life. What immerses readers is just an indescribable sadness. In the last stanza, the loneliness here is pushed up like a high note in the symphony of sadness:

“A layer of high clouds extrudes silver mountains,

Small winged bird: dusk shadow.

The country’s heart swells with water,

No sunset smoke also homesick.”

Classical poems. Huy Can used a dotted brushstroke to paint a watercolor painting of mountains, clouds, slanting bird wings, evening shadows, and sunset smoke. The sky casts a shadow on the sunset, the loneliness is more poignant. The lonely bird appears alone, causing the reader to make two hypotheses.

The bird tilts its small wings and drags the evening shadow down to the river, or the evening shadow gradually falls and weighs on the tilted bird’s wings. But in any case, the scene at this time is also heavy with the emotions of the sentimental poet. The word “heavy” expresses the sadness and loneliness that wells up in the heart. All the emotions accumulated to bring the feeling of “homesick”. The last sentence of “Trang Giang” reminds us of a couple of old poems by Thoi Hieu:

“Japanese flavor mandarin of origin marketing grave

Yen’s three depressed using the upper stretch.”

(The homeland is hidden from the sunset

On the river smoke waves to sad anyone?)

Thousands of years ago, Chinese poets saw the smoke and waves on the river and felt sad, but Huy Can, sadness just came naturally. There is no need for any external influences. All overflowed in the heart of helplessness, anxiety, loneliness, skin with life.

With evocative words and classical writing style with bold lines of Duong Thi, Huy Can created a Trang Giang tinged with sadness and loneliness. A lonely “I” in the vast impermanent universe has been revealed very clearly. At the same time, it clearly shows the homesickness, the homesickness in the soul of the sentimental poet.