Phong cách nghệ thuật thơ huy cận qua lửa thiêng bản tóm tắt tiếng anh

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INTRODUCTION
1. The reason for selecting the topic
In Vietnam poetic tribune, about 1930-1945, from the New Poetry
movement emerged talents of poetry, including Huy Can, Xuan Dieu, etc.
The imprints of Huy Can’s poetry style began in Lửa thiêng (Sacred fire)
(1940). His affect and tone of the poetry collection have spread "an age in
poetry," since the mid twentieth century till the present.
Vietnamese society is innovating, transforming, and integrating into
the world. The research status on Huy Can’s poetry style on the basis of
new synthetic theories with crucial significance in contributing to the
innovation ideal, developing culture, science and domestic education. In
the new context of literary study, and from the author’s own admiration
and love of the poetry of Huy Can, especially the poetry collection Lửa
thiêng, this special study focuses on the topic: The artistic style of Huy
Can’s poetry through his work Lửa thiêng (Sacred fire).
2. The purpose of the study
Applying a number of characteristics of traditional oriental literature
and modern Western literature theories, the dissertation explores the
artistic style of Huy Can’s poetry through Lửa thiêng.
3. The history of of the research problem
Collection Sacred fire came into being in 1940, and Xuan Dieu
wrote its title. In these years, following the recommendation to
Sacred fire by Xuan Dieu were the texts by Hoai Thanh, Hoai Chan,
Luong An, Vu Ngoc Phan, Mong Son, etc.
In the 60s, 70s, and especially in the mid to late 80s of the twentieth
century, the researchers on Vietnamese literature began the new works on
the movement of the romantic literature 1930 - 1945. These were articles
or essays on the study of Huy Can by Nguyen Xuan Nam, Nguyen Hoang
Khung, Nguyen Dang Manh, Ma Giang Lan Specifically, the study of
the editorials of the New Poetry by Phan Cu De, Ha Minh Duc, Le Dinh

Ky, etc. spent many pages on Huy Can and analyzing Collection Lửa
thiêng.
Phan Cu De said: " the young Huy Can was very sad, "and went into
the world of the moon and stars Lửa thiêng is not separated from the
general orbit of romantic poetry 1930-1945, but still has its own features
through perceiving time and the aesthetic concept of Huy Can. Ha Minh
Duc explained the sadness in Huy Can’s poetry: "The poetry of Huy Can is
sad; depressing of a generation is not easily changed, but the sadness in
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Lửa thiêng does not take much of the privacy, not associated with desire,
and passion, then boredom, despair " ; Le Dinh Ky said: " the private
colors of Huy Can’s poetry is "single "," lonely " for “blankets and mats”
to decay and colors to fade forever. Huy Can mentioned time as
"permanent", "eternal" as though it is not someone's privacy, but the social
life now is so variable "
In the 60s, 70s, in Saigon, some authors studied Huy Can: Pham The
Ngu, Tran Nhut Tan, Bui Giang, etc. with the view, trend influenced by
modern philosophy air and life at that time; however, these works also had
some considerable contribution.
- Early in the 90s of the XX century and early in the twenty-first
century, the innovation in many aspects of economic and social life of
Vietnam impacted the literary and academic situation of contemporary
Vietnam. The application of research methods based on the poetics,
linguistics, psychoanalysis, etc. is found through many articles and
extensive research works related to New Poetry in general, or "touching"
Huy Can’s poetry a little, in particular. Team of researchers, writers, poets,
irrespective of generation, age, can be named: Do Duc Hieu, Tran Dinh
Su, Ma Giang Lan, Tran Khanh Thanh, Ly Hoai Thu, Ly Toan Thang, Do
Lai Thuy, Le Tien Dung, Ngo Van Phu, Vu Quan Phuong, Tran Manh
Hao, Nguyen Dang Diep, Vu Gia, Chu Van Son, Tran Huyen Sam, Bui

Quang Tuyen, Tran Thien Khanh, Le Thi Anh, etc.
- Referring to treatises on the poetics in Huy Can’s poetry, the writer
found the elaborate work of Tran Khanh Thanh on Huy Can’s poetry in the
perspective of poetics, and commented that Huy Can did not separate
image of a lonely man with sadness, sorrow, love, dream, etc. through Lửa
thiêng.
- Ma Giang Lan with the treatise: The structure of verses of Lửa
thiêng by Huy Can attends to language and poetry genre.
Also, the writer also noted a lot of information from research papers,
reviews on his life, career or recollections and memories of Huy Can - a
poet, a great culturist of Vietnam after his death (19-2-2005). These are
articles, research papers published in the printed and electronic press:
Nhan Dan, Sai Gon Giai Phong, Van Nghe, Hon Viet, Song Huong, Ha
Tinh, Binh Dinh, etc. of researchers, writers, poets: Phan Cu De, Ha Minh
Duc, Mai Quoc Lien, Huu Thinh, Giang Nam, Tran Tra Phuong, Nguyen
TrongTao, Mai Hong, Tran Dang Khoa, Tran Manh Hao, Le Thi Hong
Minh, Ngo Van Phu, Nguyen Thuy Kha, Nguyen Sy Dai, Vuong Tri Nhan,
Le Minh Quoc, Nguyen Thanh Mung, etc.
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- On the other hand, in the spirit of expanding the research but
cautiously, the writer also finds out and refers to a number of articles about
Huy Can's poetry by Vietnamese researchers abroad such as Dang Tien,
Thuy Khue, etc.
- The study introduces Huy Can’s poetry in Vietnamese literature in
French collective array "Marées Orientale de la Mer Orientale" (tidal East
Water - Nước triều Đông), Orphee La Difference published in 1994 with
the introduction of the well-known Vietnamese researcher, Paul Schneider
(French). In particular, general comments on Huy Can’s poetry in
Vietnamese literature, Paul Schneider raised an interesting comment on the
similarities between Nguyen Trai and Huy Can: two poets wrote poetry

and their works were famous before joining the resistance.
- Regarding English copy, the book "Vietnamese Literature by
Nguyen Khac Vien and Huu Ngoc as editor-in-chief has a general
introduction to Vietnamese literary history from the eleventh century to the
twentieth century. Translated into the English, in Lửa thiêng, Nhạc sầu
(Grief music or Music for the dead) and Tràng giang (Vast rive or Long
river) is introduced.
In short, the history of research issues on Huy Can’s poetry through
Lửa thiêng can include many hundreds of articles and editorials in many
different research angles, over time and different spatial contexts. In
general, inspiring issues of age, a lonely man with cosmic sorrow, century
sadness, love of nature, love of home, country, love of the voice of the
nation, thoughts on life, etc. of Huy Can are identified, analyzed and
discussed relatively in many coincidental points by the authors.
Particularly the artistic style of Huy Can’s poetry is laid out in a
number of papers by Nguyen Xuan Nam, Nguyen Van Long, Ha Minh
Duc, Tran Khanh Thanh, Ma Giang Lan, etc. but most of the authors just
mentioned nroadly or commented scatteredly on the general aspects when
they made surveys on Huy Can’s poems composed over time, or some
works just mentioned some features of the poetry style by Huy Can,
mainly through the works of poems composed from the 1960s onwards.
So, from the perspective of a new synthetic research, compatible with
learning the artistic style of Huy Can’s poetry through Lửa thiêng, the
writer noticed that no author specifically mentioned it. However, from the
suggestion of some research ahead of this, the premise was to create
valuable, helping people to think more deeply by studying the artistic style
of Huy Can’s poetry towards new synthetic research.
4. The task, object and scope of the research
4.1. The task of the research
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Based on how new synthetic methods for the research on the authors
and works are performed, the dissertation will address and demonstrate the
artistic style of Huy Can’s poetry deeply and orginally, soon appearing and
being highlights through Lửa thiêng and creating long-term effects.
4.2. The object of the research
The dissertation mainly does research on Huy Can’s poetry in
comparison with Xuan Dieu’s poetry and some other poets of the New
Poetry movement.
5. The scope of the research
The dissertation is based on Huy Can’s Lửa thiêng, Xuan Dieu’ s
poetry, such as Thơ thơ (Poetry poetry), Gửi hương cho gió (Sending
fragrance to the wind), and some other poets in the period of New Poetry
1930-1945
6. The method of the research
The writer chooses some suitable methods such as method of history
(Chapter 1), analyzing method according to poetics, stylistics, survey,
statistics, systematization, compare, analysis, synthesis (Chapter 2,
Chapter 3).
7. The new contributions of the dissertation
7.1 Scientific significance
(1) Contributing some ideas to proving the unique poetry style through
poetic language and poetic trinity Image - Culture - Philosophy of Huy
Can; (2) contributing a new approach to studying his poetry in the flow of
the life of literature, culture, contemporary society, (3) adding materials
through some poetry writing, comparing the original manuscript material
in Sacred fire.
7.2 Practical significance
By studying the artistic style of Huy Can’s poetry, through the
dissertation the writer wants to add material to research, teaching Huy
Can’s poetry in schools and perceiving the multi-dimension literature in

the life of the current literature.
8. The structure of the dissertation
Apart from the introduction, conclusion and appendices, bibliography,
the dissertation includes three chapters:
Chapter 1: The factors shape the artistic style of Huy Can’s poetry.
Chapter 2: The artistic style of Huy Can’s poetry as expressed
through poetry universe of Lửa thiêng.
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Chapter 3: The artistic style of Huy Can’s poetry as expressed
through poetic language of Lửa thiêng.
CHAPTER 1
THE FACTORS SHAPE THE ARTISTIC STYLE OF
HUY CAN’S POETRY
1.1. Concept “style”
Concept of style Le style, c’ est l’ homme (Literature is human),
is drawn from the studies of Phan Huy Duong, with a speech written
citation of Buffon on the generalization on the literature style in the XVIII
century in France. Buffon said that style is the perfect manifestation on the
personality, thoughts, emotions of the subject of creativity in the works.
1.1.1. Style under the concept of Western literature theory
The dissertation is based on the literature theory of the former Soviet
Union and some of modern Western theories. According to Khrapchenko:
style is the ability to express life dominated by image; style performs the
role in the formation of structures within the literary phenomenon; style is
reflected in the intonation, tone, inspiration, originality in the description
of objects, events and circumstances reflected in the work structure, the
structure, in the language, in category, in school, etc.
1.1.2. Style under the concept of Oriental theory
According to Lu Hiep in Van tam dieu long, physical properties
include: the state may be shape, the work of literature itself and the

author's personality. Style is understood with love and air, word, form in
combination. Literature is bright; air is healthy; gems are precious so man
needs them. Building more style, making talented and distinguished forces.
How brightly beautiful! Style means manner, attitude and characteristics of
the literature.
1.1.3. Style under the concept of Vietnamese literature theory
In Vietnamese ancient literature there were no concepts or
terminology of clear literary theory on style. However, a book on poetry,
under the name "poetic dialog", was mentioned by Nguyen Du in the
sixteenth century through Kim Hoa thi thoai ky (in Truyen Ky man luc).
Afterwards, writing the regulations on compiling Toan Viet thi tap, Le
Quy Don commented on strong point of each author as factors related to
the style of poetry; Nguyen Duc Dat discussed literature in Nam Son tung
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thoai; Cao Ba Quat with a collection Bananas Forest said that "Seeing
people may be knowing their poetry. "
In modern literary theories, Phuong Luu explains, "Style is unique
with aesthetic qualities crystallized in the writer's creation. Style can
manifest inspiration, tone, genre, artistic language art, etc. Phuong Luu
also analyzes the differences between style and method of creation. In
addition, the dissertation also refers to many other ideas to explain the
artistic style by Bui Cong Hung, Lai Nguyen An, Phan Ngoc, Nguyen
Dang Manh, Do Lai Thuy, Nguyen Tuan, etc.
1.1.4. Style under the understanding and selecting of the
dissertation writer
The concept of style in Western and the Oriental literature theories
still have similarities. Khrapchenko’s interpretation of style almost
synthesizes many aspects. The dissertation chooses to sum up: in addition
to the concept of Khrapchenko, the dissertation also relies on some
characteristics in the poetic linguistic theory of Roman Jakobson, some

characteristics of the theories of Gaston Bachelard, the recommendations
of the researcger Ma Giang Lan on Lửa thiêng: " The interdisciplinary
knowledge, as the three tools: literary theory, linguistics and psychology
highlight the word system in order to show up the style of Huy Can’s
poetry in SLửa thiêng. "
In summary, the writer applied many dimension to understanding
artistic style Huy Can’s poetry through Lửa thiêng, including: factors in
the the life affecting the poet’s composition; philosophical thoughts,
artistic psychology and artistic language are expressed through work texts.
1.2. The factors affecting the formation of the style of Huy Can’s
poetry
1.2.1. Family and homeland
According to many data and books written so far: Huy Can was born
on 31-5-1919 at An Phu village, Huong Son district (sometimes renamed
Duc An commune, Duc Tho district, but recently, An Phu commune was
called again and was placed in Vu Quang district, Ha Tinh province). For
details of the birth of Huy Can there is some new information, and the
writer explores various sources to contribute more accurate data to the
actual age of the poet: the exact date of the birth of Huy Can is on
December 29 in Binh Thin (that is 22-1-1917).
In Hoi ky song doi (The dual memoir), writing about his family and
his hometown, Huy Can helped readers visualize them quite clearly about
Cu Huy surname. In his forefather’s time (Huy Can’s grandfather), his
family was relatively “well-known and well-to-do" in the village of An
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Phu and was capable of raising a teacher of Han in the house to train the
children. In the generation of Cu Huy Chuong, the poet’s father,
unfortunately, the family started deteriorating. Referring to the homeland
through memories, Huy said: "I was born in a beautiful but poor home in a
poor family but sad That mountain, river and land made my flesh and

my soul ". Huy Can said that this created the character traits of his
melancholy right since childhood.
1.2.2. Cultural tradition of a land (scholarly poetry, folk
poetry, culture, folk art)
Ha Tinh, Huy Can’s home is a famous literary territory in literature
history for poetry, poetic prose, singing-saying of many famous scholars
such as Su Hy Nhan, Nguyen Nghiem, Nguyen Khan, Nguyen Du,
Nguyen Huy Tu, Nguyen Huy Ho, Phan Huy Chu, Phan Huy Ich, Nguyen
Cong Tru, etc. Remembering "the literary qualities" of his hometown, Huy
Can could not understand why people in the village of An Phu learned by
heart Kieu story, extracted Kieu, recited Kieu naturally in daily life. But
there is a thing that few people can explain clearly why the tunes, folksong
tones of Nghe land often sound sad over warm bass voice, tormented, hurt,
anxious, very special and unique?
1.2.3. Schooling lands of Huy Can
Huy Can’s bright life started when his maternal uncle, teacher Bui
Van Nhan, upbrought since primary school in the district of Quang Dien
and then he came to Hue. Hue is the land of rekindled literary, developing
the poetic soul of Huy Can. Here he soon met many writers and
intellectuals. Huy Can was taught by Phan Tien, Doan Nong, Nguyen Dinh
Du, Buu Can, Mai Trung Thu, etc. He made friends with with Nguyen
Xuan Sanh, Te Hanh, found and met The Lu, met Dao Duy Anh, talked
about literature with Hai Trieu, was familiar with Hoai Thanh, etc. And, it
was the most strange and moving when there was union between Huy Can
and Xuan Dieu - life friendship, art friendship, intimates for more than half
a century.
1.2.4.“Dual-fruit friendship” Huy Can - Xuan Dieu
Many pens have written about beautiful and durable friendship of Huy
Can and Xuan Dieu since two poets were students and met each other at
the "baccalauréat" Khai Dinh school (National School of Hue) in 1936.

Talented poets Xuan Dieu and Huy Can shone in the first step into the
village of modern Vietnamese literature. Perhaps it is necessary to mention
the findings of the group Tu Luc Van Doan.
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1.3. The innovation marks of Vietnam in the beginning of the
XX century.
1.3.1. A whole new culture was born
After the decline of Han studies, the program of teaching national
language and French was included in the agenda of primary school pupils.
Nikulin researcher commented: " The characteristic of that period was a
disturbance between old and new, was a fierce struggle against the feudal
ideology " Nguyen Duc Dan said that the phenomenon of
"westernization" made our country's literary and arts turn into a new
period of development unprecedented in history. For the first time people
of Vietnam knew Western classical music, drama, novels, movies, news
media For press, acquiring and applying the new elements of literature,
media arts, newspapers from popular to literary subjects respectively
appeared: Indo-China magazine, Nam Phong journal, Nam An magazine,
Women's Tan Van, Phong Hoa, Ngay Nay, Tieng Dan, etc.
Arts researcher Nguyen Quan provided a panonamic view of the
Vietnamese society then and said that the pretty big change in the spatial
restructuring of urban architecture of Vietnam's cities in early twentieth
century had a powerful impact on the life of culture, arts and knowledge of
the people of Vietnam. For example, theater performances are the basis for
reformist art and drama to have the venues to promote
At this time, while fiction, poetry, painting, theater developed
gradually, the reformist art form is outstanding, Next, new music is kind of
late birth, since the introduction to Western music, influenced by
Vietnamese songs but Western music (1938). It can be said, in the new
period, a total cultural aspect emerged and its influence has gradually

spread to the younger generation early Vietnam in twentieth century.
1.3.2. New poetry confirms its position in the poetic tribune.
New Poetry movement appeared at the time when old literature
imbued with the Confucian school. Thus, the innovation process of the
poetry movement is not a story happening anytime soon, easily and
quickly.
Doing research on the status of literature and art of this period, Thanh
Lang in Literary Criticism of the generation in 1932 presented the
common characteristics, explained some outstanding events and
meticulously described 10 cases. Of these, Old Poetry - New Poetry case
also attracted great attention of public opinion and the debate tppk place
over nearly 10 years. Through Poets of Vietnam and the essay An era in
poetry, literary critic Hoai Thanh commented on 169 poems of 46 poets of
"new poetry" in a convincing way. Huy Can (also known as Han Quy)
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wrote for Trang An newspaper number 108, dated 24-3-1936, with attitude
supporting new poems calmly, cautiously: " " new poetry "is just a form
of poetry to express the mood and feeling of human soul in the new era ".
This attitude hitherto is highly topical, because" A work is always in a
context and always talks to the context. "(Todorov).
Chapter 2
THE ARTISTIC STYLE OF HUY CAN’S POETRY IS EXPRESSED
THROUGH POETRY UNIVERSE OF LỬA THIÊNG
2.1. Creative inspiration and poetic tone of Huy Can
Belinski explained the inspiration of writing is enthusiasm, intense
desire of the writer, about the features and characteristics common to the
works of writers. In addition, the thesis also refer to some comments on
the creative inspiration, the tone associated with the artistic style of literary
theorists: Hoang Ngoc Hien, Phung Quy Nham, Le Ngoc Tra, Tran Dinh
Su, etc.

For the age inspiration of the New Poetry Movement poets, The Lu
expressed his enthusiasm in Guitar of thousands of melodies; Luu Trong
Lu in eager Fall’s voice, Xuan Dieu passionate and eager in Hurry, etc.
Particularly Huy Can, a relatively new inspiration – inspiration of
Heaven immense with sadness and loneliness of man, of a little soul
bearing permanent grief, before the changes of life and society in early
twentieth century. The tone, "major sound" with strong lyrical quality,
sadness and philosophical features and sediments was revealed from
Presenting to Future through Lửa thiêng.
2.2. Poetic universe presentation in Lửa thiêng
The concept of poetic universe has been addressed through a number
of research projects by poet researchers, translators such as Nguyen Van
Trung, Dang Tien, Tran Duy Chau, etc. Nguyen Van Trung in A brief
study of literature mentioned the concept of poetic universe based on "To
create beauty" by Paul Valéry. The dissertation chose the concept poetic
universe to cover the meaning of thought, emotion, writing opinion, the
content-form, the subject and the inspiration of the poet’s composition
reflected in the product text.
Each poet has his own poetic universe: in the poetic universe Gửi
hương cho gió, Thơ thơ by Xuan Dieu, it is common to see "the world of
passionate love," "desire of happiness," Han Mac Tu. Poetry universe is
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full of " illusory virtual lights," "bizarre and incredible," "bitter gall, mad
blood, wild and crazy soul", is "the moon, water, fresh air", etc. In Ruins
Che Lan Vien also created a "realm of demons from the shadow of the
ruined Cham towers reflected in Binh Dinh sky day and night", etc. Also,
in Lửa thiêng, Huy Can's poetic universe is "cosmic sorrow," "grief for
thousand of centuries”, "the space memory", "the former beauty", "love in
life but soul in the dream”, "the philosophy of life inspired by land, water,
fire ", etc.

Based on psychological and emotional grounds, human activity
always starts from a young age, dreams, love and then the other
experiences in life. The writer interimly arranged and described the
inspiration of creativity of the poet as follows.

2.2.1. The wardrobe has just been made and the youth heart
is fragrant – The youth inspiration is full of dreams.
First and foremost Lửa thiêng is a poetic collection of the youth. Hoai
Thanh commented very subtly! Under the verses, the poem seems old, and
the critic recognized that it is the "poet of the age of twenty. " In the poetic
universe Lửa thiêng of Huy Can also has an array of poetry that almost
covers all the emotions of the young beautiful flower time, clear and
romantic youth, dreamy and full of pain. The youth is in an old poem. It
is the first feature of Huy Can’s style.
2.2.2. Alas, it is beautiful but sad – Inspiration of the beauty:
Beauty is sad.
Beauty is harmony or on the other hand: haymony is the rule of
beauty. Aesthetic beauty of classical poetry in the poetry of Huy Can
might be mentioned first as the harmony: Waves ripple in the long river
sadly / The boat swims along downstream, etc.
“Beauty is sad” With the sensitive and deep soul, Huy Can met,
received aesthetics concept very quickly, harmonously and composed
many poems full of sadness: Sadly, sadly it rains night, lengthily, great
love, pity, death, grief music Of course, in terms of actual writing, the
word sad, grief of Huy Can’s poetry, a portion received from the aesthetics
of classical poetry through many literary Vietnam works: Chinh Phu
Ngam, Kieu, Cung oan ngam…
2.2.3. The boat goes home; the water will be sad everywhere
– Inspiration of water- sadness and love
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About poetic image of water, the French philosopher- literary critic,
Bachelard ever experienced his own life to explain some obsession when a
poet and writer described water. The poet’s sad tone was easily found
through the inspiration about water. (My boat shove itself through the
sliding wave / in the mid-afternoon a strange cock crommed on the dyke-
Em về nhà)
The water in the association of Huy Can was sadder, deeper over
Tràng giang (Vast river). Tràng giang soaked in sadness as sad
resonance between the human sadness with the universe one! In addition
to streams, rivers, waterfalls, etc. the water images containing a lot of
sadness of Huy Can, in Lửa thiêng, rain sound, rain drop, rain night, rain
tear, etc. echoed a lot of various grades in the provision of the poet through
Buồn đêm mưa (Sadness of rain night).
Water is also a symbol of love in Huy Can’s poetry. But how the love
of Huy Can can be shown is not exciting, passionate like the love
expression of Xuan Dieu, but still very effusive and passionate: Cool river
overflows with spring water (Xuân- Spring); Sleep, with normal dreams! /
I lull you with weeping willow sound from the banks (Ngậm ngùi-Pity)…
2.2.4. The underground ears listen to the sound of waves -
Land inspiration- Contemplation of life and death
The images of land are full of thought, philosophy of life and death of
man: land of birth was re-mud (Thân thể-Body). Sometimes land is warm
image, life circuit, young force: The bed of soil is aromatic with flavor of
the new season. Land is life nourishing many green gardens, fruit trees,
leaves, flowers: The garden is glad of a great number of presented things /
strong rasin becomes silk in the new leaves (Họa điệu -Harmony). Huy
Can's land also represents native images of Vietnam: the bold village roads
are gentle and fragrant; the bamboo shade is simple, adorning the poetic
romance of the youth: He walks with me on a fragrant Road, Land
embroiders the sun, the shade bamboo and then phoenix, etc. (Đi giữa

đường thơm-Walking on a aromatic road).
On the other hand, the land also has other philosophical significance
of man. With the familiar point of view: the space of universe tends to
echo from the bottom up, while the space of land tends to look across and
often comes down to depth below ground (the grave door, the tiny grave,
hell government, hell, etc.). Land expresses the border between life and
death world (On the land is the world of life, but under the land is theworld
of death) What is death? Soon deeply sleep in the land! (Mai sau-
Tomorrow)
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2.2.5. Because fire pot has been raised to contact lips – Fire
inspiration - The nostalgia of the mission of illuminating of the poet is
not complete
Fire appeared in poetry Rimbaud “Donc le poete est vraiment voleur
de feu” (The poet is a thief on the sacred fire referring to the god
Promethee in Greek mythology stole the sacred fire from Zeus to give to
humanity.) Rimbaud considered the poet associated with the mission to
find the fire like the tale of Promethee. Earnestly through the inspiration of
his era, Huy Can had a wish that the poets in the new era would also have
the “mission ‘sacred fire’ to light a person's lifetime”. In the writer’s
opinion this concept of Huy Can is relatively new compared to Vietnamese
poets from the old days to the New Poetry movement.
The fire inspiration, the nostalgia of the poet's mission has always
been tormented and yet not revealed a lot in Sacred fire. So, Fire really
had to wait until prose Litany to be released (1941), then Huy Can had an
occasion to discuss more about fire and the role of poets in life. Fire is still
the poetic inspiration of Huy Can later. In fact, the image of fire was bright
in his poems, in the composing period after the August Revolution (Lửa và
muối-Fire and salt). Loving those who leave gods to follow him, / With
fire covenant, trying to be loyal with fire (Thăm núi Cô-ca nhớ Prô-mê-tê-

Visiting mountain Co-ca, missing Promete)
2.2.6. Images of sparkling and falling universe - Inspiration of
aerospace and loneliness
The inspiration of immense Heaven with the sadness, the loneliness
of man through the tone, "the major sound" strong with lyrical quality, dull
and philosophical; The profound feature prominently expressed in the
poetry style of Huy Can is through Lửa thiêng. Aerospace is also the
artistic space in his poems, which is found through many layers of
language. Space can be expressed as the moon, stars, sky, clouds, wind,
rivers, mountains, ocean or, sometimes in the name of it is still the
universe (vũ trụ tàn- falling cosmos), the space (nhớ không gian- missing
space) by the poet's own sense. Going into the space of Huy Can is going
to the world full of moon, stars, the high sacred world, the noble (Thân
thể). A relatively modern point of view, compared to the new time, when
the poet describes a picture of the universe in three dimensions: high, long
and wide, so vast and beautiful:-Sun down, sun up, extremely deep: Long
river, wide sky - lonely wharf (Tràng giang)
Opposed to the vast space, man is so little, lonely: A little soul /
permanent sadness (Ê chề- Bitterly disappointed). Looking towards high
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space and always having aspirations to conquer the sky. So, from the point
of view of looking down from above would be a clear desire to conquer
hight. The point of view in (Thu rừng- Forest fall) can be seen as an
unusual spatial structure of Lửa thiêng
The inspiration of universe is not even embryonic in the later
composing phase of Huy Can: And our round earth tenders us on the
back / Taking the deep steps in immense space / Late in fall, it is clear at
night (Có những đêm- Ngôi nhà giữa nắng-There are nights –The house in
the sun). The inspiration of space is characteristics in the composition and
a basis to create "their own colors" for the unique artistic style of Huy Can.

2.2.7. Where is the loss of life by time - a Life Inspiration - Ideal
aspiration of the poet
Nothing is as nice and peaceful as a beautiful life of the student: at the
age of fifteen folding books, standing listening / Opening heart among
warm life hands (Tựu trường- Gathering school). But, his life began
"evolving" in many grades. When love comes to the young man, how
beautiful and busy life is! (Tình tự - Love talk). When love is sublimated,
life is full of hope; In a pink beautiful dream one will see heaven opened
wide / Pink space colors life with hope (Lời dịu- Mild words)
However, Huy Can sometimes felt spicy and sour, was puzzling to the
fate of chance as a gamble game: Ah! Well, place of daily residence / Life
gamble game is just plain lucky enough, (Quanh quẩn- Around). As many
stumbles with life got over; life arms widely open. Huy Can suddenly
discovered the truth: If God knew how many lines of bitter, flowing like
rivers, but not washing life sadness (Thân thể), I will hand to welcome life,
to help short hands pick the game with Lời dịu.
It can be said Huy Can has gradually expanded and enhanced meaning
of "life" from pure romanticism to a positive romanticism with the world
outlook and the new human life that is beginning to reveal the mind. The
ideal life aspiration started from Lửa thiêng.
2.3. Literary impact on Huy Can’s poetry
2.3.1 The impact of Vietnamese classical literature and folk
poetry on Huy Can’s poetry.
Through 50 selected poems, the natural images appear as beautiful
landscapes with seasonal changes, of which the poet wrote 04 poems about
Spring; 03 about summer; 02 about fall; 02 about winter. Only the
comment on own natural " substance" in the poetry of Huy Can showed
that fall topics are quite familiar and are connected through the generations
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of poets. From classic poetry: The Story of Kieu, Nguyen Khuyen’s

poetry, Tan Da’s poetry to modern poets, it is easy to find something
inspiring about the fall circuit. Thus, when Forest fall of Huy Can was
born, the influence from classical poetry is contained in "essential spirit"
of the poem. It is perhaps natural.
The influence of classical poetry on the poetry of Huy Can, could be
felt in "indirect way" when the poet used words, phrases through some
relevant verses of classical poetry of Nguyen Du, Ba Huyen Thanh Quan,
etc. (Đẹp xưa - Past beauty, Tiễn đưa; Farewell, Khung tình- Love frame,
Tràng giang- Vast river,Thuyền đi- Going Boat, etc.)
In the poetry of Huy Can, the influence of folk song and folk music is
not a lot. Ha Tinh folk song traces can be found through the poetry
category of 4 words, 5 words (Điệu buồn- Sad Melody, Ê chề- Bitterly
disappointed, Chiều xuân- Afternoon Spring, ). Particularly, in the verse
the spider quickly weaves sad thread (Ngậm ngùi- Pity) it is also probably
just a case related to popular singing in Nghe Tinh, a rare case of a familiar
folk song: Last night I came out to stand on the edge of the pond the
spider quickly weaves sad thread.
2.3.2. The influence of Tang and French poetry on Huy
Can’s poetry
2.3.2.1. The influence of Tang poetry
In addition to the comments referring to the works of those earlier
studies, the writer, in the process studying Huy Can’s poetry, also found
"traces" of Tang poetry suggested from a word in the verse. Cases from the
"ten thousand miles" “mountain contacting cloud" in the poem Ten
thousand miles’ love of Huy Can: ten thousand miles’ sadness up the
mountain contacting cloud / the afternoon Sun goes to your land. The
readers think of: Tràng giang bi dĩ trệ/Vạn lý niệm tương quy/Huống
phục cao phong vãn/Sơn sơn hoàng diệp phi(Vương Bột- Từ quy -
Wanting to go back); or, Rain: Rain sadness is not identified, just pitiful /
my heart like a boat on the wharf / Perceiving the fall cold come, lowering

the roof, with the influence of Chu trung vu da by Bach Cu Di: Giang van
am du du / Giang phong lãnh tu tu/Dạ vũ trích thuyền bối,/Dạ lãng
đả thuyền đầu: River clouds dragging with resounding / River wind blew
with extremely cold to river guests / Night rain drops down to the hood /
Night waves tap the boat nose – translated by Tan Da)
2.3.2.2. The influence of French poetry
In thematic "Revelation about the New Poetry movement", Ha Minh
Duc, said: "New Poetry movement arose in the context of Vietnam
beginning influenced by French poetry."
15
Particularly, Huy Can showed most clearly influenced by Baudelaire
in Going on the fragrant road with harmony inspiration with aromatic
taste, sound, color. Another point of Baudelaire influenced by Edgar Poe
of beauty-evil, so sinister. He expressed these thoughts through poem
Boredom (Spleen). Based on the translation of poetry, with the own
reasoning, the writer said that all possible effects of boredom related to
Grief music and Afternoon sleep: How sad, my God! Afternoon of the
world end (Nhạc sầu- Grief music) Through the infinite yawn / Image
of sparkling falling universe (Giấc ngủ chiều- Afternoon Sleep)
Looking back on this period: The meeting between the two cultures
East and West, philosophically and the concept of arts of the East, the
West are mixed in time with a fairly wide margin. However, it depends on
the receipt, then application on each poet.
Huy Can’s poetry also shows the influence lines and subtle sound
effects of very diverse literature acculturation over Lửa thiêng.
Chapter 3
THE ARTISTIC STYLE OF HUY CAN IS EXPRESSED
THROUGH POETIC LANGUAGE
LỬA THIÊNG
3.1. The artistic style of Huy Can is expressed through artistic

words Lửa thiêng.
In Poetic language studies in the 80s of the twentieth century in
Vietnam, Nguyen Phan Canh is perhaps the leader, using the theory of
linguistic structure in Prague (Czechoslovakia). The dissertation applied
some methods of combining and selecting the analysis of poetry writing. A
poem comes from the verse with the basic elements: words, rhyme,
rhythm, musical tone, etc. The sorrow tone is also found in the blend of
artistic expression from Huy Can.
3.1.1. Word
3.1.1.1.The operation of selecting words
The associated capacity will help the poet find and choose the
appropriate words from the "seam of ore" of the language "potential" or
"pit" in the brain. In the method for combining words for six and eight-
word verse, it is clear that the word system of Huy Can is metaphorical but
it still makes a mark from the tone of sorrow (Wild virgin garden half-fold
sad leaves; the spider quickly weaves the thread; My soul is ripe for some
painful seasons; Let me hear heavy falls of the sad fruit).
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In language poetry section, the diseration selected Tràng giang typical
for 7 documents in the form of original manuscripts (handwritten by Huy
Can): Tình tự- Love talk, Tâm sự- Confidence, Trò chuyện- Dialogue, Vạn
lý tình- Ten thousand miles’ love, Vast river- Tràng giang, Mai sau-
Tomorrow, Nhạc sầu- sad music. Huy Can said he had written Tràng
giang 17 times. "The drafts of the poem, keeping the traces of the shift
from in terms of a general environment that can be considered as a
valuable material for research characteristics of the synonyms in the text
poems "(IU. M. Lotman.) Surveying poem Tràng giang, the writer uses
statistical methods to classify, analyze, compare, contrast and make
analogies of the manuscript with the official document Tràng giang.
This shows that getting wonderful poems is now the artistic choices of

words in the verse of Huy Can, and this is one of the new searches through
the manipulation of the studies the initial references of Lửa thiêng
3.1.1.2. The manipulation of combining words
According to Nguyen Phan Canh, the manipulation of combination
which is essential elements of language can be put together thanks to the
close interrelationship between them. In Sacred fire, the words Chiều-
Afternoon and Đời- Life are used in many poems by the poet. The tone
through the word sytem highlights poetry language in a sad way.
 Afternoon sometimes a single word can describe the lyrical
character, sometimes a compound word can describe the space - time of
afternoon is quite diverse (Word "afternoon" accounts for significant
proportion: 45 words from the 21 poems in total 50 items)
 Life is a philosophy about life, an important artistic concept in the
universe of the poetry of Huy Can (was discussed in Chapter 2). So, going
into the poetic language, the class of "life" appears, with relatively high
frequency in the collection Lửa thiêng (49 cases out of 50 poems)
3.1.2. Reduplicative is one of the elements creating quite favorable
tone in Huy Can’s poetry.
In some cases, reduplicative words of meaning (Complete
reduplication from the beginning) will create increasing meanings
(or decreasing) level, rank of activity, things, feelings, etc.
- Falling falling…mildly falling…(Sadness in a rainy night);
waves ripple lengthily and sadly and sadly (lengthily): the reduplicative
suggested association sorrow as thickly ascending soul; layer after layer of
high clouds creates silver mountains (lengthily) Country feeling gradually
moves tide (lengthily)
The reduplicatives describe the feeling of Huy Can, creating
emotion and even “dimensions of images” of perception:
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-Sad afternoon in an exciting scene (Họa điệu- Harmony); Sad

rain does not indicate anything, only pitiful (Mưa- Rain); The tree
does not go and love also is slanting (Họa điệu); A little
soul/thousand years’ sorrow (Ê chề); Slantingly nodding to
discharge sadness (Mưa).
Some sound reduplicatives create more impressive and clearer
images:
-The sun goes down, the sun goes up, extremely deep. (Tràng
giang); Scatteredly it is slightly windy on the island. (Tràng giang)
…
3.2. The style of Huy Can’s peotry through musical features of
Lửa thiêng
3.2.1. Musical features through poetic kind of 7 words, 8 words
3.2.1.1. Rhyme
With 50 poems in Sacred fire, which includes poetry of 4 words:
02 items; poetry of 5 words: 05 items; poetry of 7 words: 19 items;
poetry 8 words: 16 items; poems of six and eight words: 8 items, Huy
Can chose the appropriate genre of poetry, complied with the rhyme
agreement and rhyme patterns: falling, consecutive, holding, mixing.
Besides the normal one-line verse, Huy Can also applied to the squeezing
line (rejet ou enjambement) of French poetry to keep proper rhyme when
composing. But, in the verses of squeezing lines of Huy Can, the rhythm
still keeps harmony, steadiness thanks to the influence of aesthetics and
ethnic poetry. The verse with squeezing line sometimes has mixed
rhythm:-Where is the love I do not wait for? / Month rockets, clothes
fade / Childhood dreams of fairies (Buồn)
The formists of Russia also noted squeezing verse form that squeezes
the line when the sentence stops abruptly before the end of the line or even
overlaping it will alleviate the tension between rhythm and syntax. The Lu
made "strange culture" while squeezing the six-word line (in the six and
eight-word verses): High sky is very blue Look / Two white cranes fly to

Heaven (Tiếng sáo Thiên thai - Flute of Eden) or, squeezing technique was
improved by Bich Khe and then "varified", which would change the verse
forms (Duy tân - Innovation)
3.2.1.2. Rhythm
Most poets in the New Poetry movement are paying attention to
melody, rhythm, the music of the verse. Xuan Dieu expressed provision in
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the poem as the basis of music, poetry rhythm falling by emotion: 4/3,
2/2/3, 4 / 3, 2/3/2, etc (Nhị hồ ).
In sacred fire, the poetry rhythm of 7-word verses follows the
traditional rule 2/2/3 or 4 / 3: Từ buổi/ tiên đi,/ sầu cũng nhỏ,/Nhân
gian/ thôi nhớ/ chuyện trên trời (Hồn xa);-Than ôi, trời đẹp/ nhưng
trời buồn/Như cảnh tươi màu/ rạp cải lương/ (Giấc ngủ chiều-
Afternoon sleep)
The 8-word verse, in addition to the familiar pauses 3/3/2,
occasionally switches to 3/2/3: (Love loss) Ai chết đó?/ Nhạc buồn/ chi
lắm thế!/ Chiều mồ côi,/ đời rét mướt/ ngoài đường/ (Nhạc sầu)
Similarly, the 6 and 8-word verse often has rhythms 2/2/2/, sometimes
Huy Can moved to verse rhythm 3 / 3, creating new emotions, but also
bringing some effects the 6 and 8-word verse rhythm in the story of Kieu
by Nguyen Du Làn thu thủy/nét xuân sơn/; Người quốc sắc/kẻ
thiên tài/. Poet Bui Giang also often used rhythm 3 / 3 in this format:
Người lận đận/kẻ lao đao (Nhớ nhung- Missing): Nai cao gót/ lẫn
trong mù (Thu rừng- Fall forest), Ngủ đi em,/mộng bình thường/
(Ngậm ngùi- Pity)
In general, most of the verses are still in compliance with traditional
rhythm, harmony rather than breaking. It is also features to create deep
tone found frequently in his poems.
3.2.1.3. Tone
Rhyme, rhythm and tone are related to the music in the poetry.

According to Nguyen Phan Canh, music or the music of poetry, is
made up of Vietnamese characteristics: one is through rhyme; the other is
thanks to the tone produced. Tone “Bang”: (ground tone) level, grave
accent; Tone “Trac”: nga, sac, hoi, nang; Tone “High”: ngang, nga, sac;
Tone “Low”: huyen, hoi, nang.
Also, according to linguist Ly Toan Thang, applying Tang poetry
manipulating sound laws and laws based on the tone in Vietnamese, is a
method to "identify", "understand sound" music visually from the arts of
language. Tang 7-word and 8-sentence poetry law has 56 syllables; bang
and trac are equal, each has 28 syllables, but according to Ly Toan Thang:
in fact, there are only 4 models of sound laws which are always applied by
the new poets flexibly. He ranked according to conventional rules of music
available for Tang poetry law: models I, II and III has “bang” (level/low)
rhyme, and models III and IV has “trac” (high/curved) rhyme which are
represented with B and T, respectively.
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Model I: BBTTTBB
Model II: TTBBTTB
Model III: BBTTBBT
Model IV: TTBBBTT
The dissertation applies the above sound rules to "penetrate" into the
music of Vạn lý tình (Thousand miles' love) by Huy Can, compared with
Nguyet Cam (Moon guitar) by Xuan Dieu and Mùa xuân chín (Ripe
Spring) by Han Mac Tu. Results: the poets use the models I, II (rhymes
Bang) more than models III, IV (rhymes Trac). That proved all three
poems have general tone deep as background music.
Of tones, Van ly tinh has 55 high groups, 29 low groups; Nguyet Cam
has 66 high groups, 45 low groups, Mùa xuân chín has 75 high groups, 35
low groups. All three poems have more high group tone in proportion than
low group tone. It also shows the harmony as a common feature in the tone

of new poem.
Thus, the proportion of rhyme (B: 50, T: 34); tone highlights from
aigue (20) and from a accent grave (18), the music in thousand miles’ love
is deep, high , clear, gentle, with sad echoing melody. Nguyet Cam with
rhymes (B: 69, T: 43), showing highlights from aigue (17), words with dau
nang (16) accent grave (22), with a tone high, low, mixed, creating the
melodious music, but sometimes "varifying", decreasing tone level,
creating deep and bass rhythm, and sad silence. Mùa xuân chín has the
proportion of rhyme (B: 59, T: 53), showing that the general tone is quite
harmonious, but with tones from a prominent aigue word; the rate is high:
34, opposite a accent grave word : 19 creating high music, echoing sound,
smooth, conceptualist.
3.2.2. The music through the genre of six ans eight-word
poetry
Huy Can appeared on the poetic tribune with the six and eight-word
verses which were familiar with the nation’s poetry tune but it's very
strange and magic to express the inner man, and external scene: night rain
makes missing space / Trembling heart suffers from more cold and the
immense freezing / drops leaking the roof can be heard / it is a little heavy,
I feel saddist (Buồn đêm mưa-Sad rainy night).
However, six and eight-word melody with the tune of folk song is
deeply national with some Western literature in poetry when it switches to
poetic music in Huy Can’s poetry. For example, in case of Ngậm ngùi .
The poem itself already has all the folk music with rhythms 2/2/2 / so
simple with the back rhymes bar but with swinging rhythms, with lullaby.
20
When Pham Duy set the poem to music, words are not "sacrificed" or
changed at any grades. But, on the other hand, the song Ngậm ngùi is is
fluenced by Western music. Tone becomes clearer with the major sound
Do, sounding melodious, smooth, steady: The Sun split the beach into

halves / Wild virgin garden folds sad leaves in half / Quickly the spider
weaves the thread! Dear! Go to sleep / I offer to fan you!
On the one hand, the parallel makes music easier to find in the six and
eight-word verses of Vietnam: Though blood flows to the heart / But that
does not prevent birds from wandering / The person goes building the
country / The person goes back burying a grave of youth (Nguyen Binh).
In Vietnamese classic poetry we often find the type of form parallels in
form of sud parallel with bass and treble tone. For example, Nguyen Du
often used subparallel for the story of Kieu: A national-beauty> <man of
genius.
Forest fall by Huy Can is also found to have parallel pairs of poetry in
style of similar parallel: The sun went pale under the slot / Birds go away
leaves fall > <branches become cold / Sad fall soars up in parallel / The
trees are lonely > <the heart is solitary /
In principle the parallel in poetry, in the West has the works of
Hopkins, Robert Lowth in early nineteenth century. It is worth drawing out
here: the principle of parallel is related to poetry when Hopkins
demonstrated the parallel structures are related to verses in the world.
(Poetry from Vietnam is not outside these principles.)
3.3. The style of Huy Can’s poetry through the grammar of
Sacred fire
About the grammar of poetry, Baudelaire said: "Grammar itself is
hard-to become something like a witch allowed to call soul; the words to
life with bone, with meat, be refreshed in the majesty of nature, the
adjectives with clothes definitely to cover to decorate for painting, also a
verb, the angel of the Flexibility seems to bring excitement to the verses. "
There is a classic line: with round canopy the old tree is dark green / quite
white and quiet the long river is quite white and quiet (Ba Huyen Thanh
Quan), fine forests are colored by fall (Kieu), there must be inversion for
the language of poetry, which should, according to normal order of his

sentence,be:The old tree is dark green with round canopy; The long river is
quite white and quiet; Fall tinted with the coral (for) forests
Huy Can’s poetry is often inverted to create multiple levels of
"strangers" of the verses:- Dispersed the steps not dating (Footprint on the
way); mouth smiles bursting steady teeth / light the blue sky for a few
miles of the way. (Hồn xuân - Spring soul)
21
Or making flexible, or better verses: Blowing the forest fragrance, the
wind comes / I feel dazed with wide sky and long river Nhớ hờ (Missing).
The inversion in the following verses seems to be considered a "western
poems" in Lửa thiêng :-Where did the past stream flow? / What do I love
is amazing?
It is lyrical and sad tone with deep philosophical that might easily be
recognized through the reduplicative statements (reduplicative sentences)
and a question in Sacred fire: the sun, Oh, I miss you / Who plays to make
the strings loose / Who 's farewell far away / Making these steps feared
(Nhớ hờ)
In another case, the reduplicative sentence has a subject (word "he")
over and repeat affliction in a tormented, passionate way:-He loves people
so he should be rejected / He loved so long that people are separated from
him / He self-loves with the song lament / He talked to quiet afternoon
countryside.
The questions in poetry have passionate but deep tone and the poet’s heart
echoed in sad and bass tone:-Where has she ridden? (Gánh xiếc- Circus);-
Which world does mourning car go to? / Who died there? How sad is the
music / Where are exciting birds? The tree has broken some branches /
(Nhạc sầu- Grief music )
In particular, in Lửa thiêng, Huy Can used many sentence structures
of comparison the chest is as white as a sesame fruit / eye like alcohol,
hair like flavor / Your legs look as nice-round as columns / She smiles so

beautifully (Hồn xuân- Spring soul) / There is a bewildered lad like
cock /A hundred year old man looks like a child / (Gánh xiếc- Circus). The
sentence compares sad, quiet as the image of a lone boat in the cold: The
heart is soft like boat without wharf/ Fall cold comes back lowering roof
/ (Mưa- Rain). Another one to compare with the opposite type:-Alas!
Beautiful but sad sky / As reformed theater scene is blooming.
In summary, the discovery of grammar poetry confirmed talent, skill
and creativity of language in Huy Can’s poetry, contributing to the artistic
style of his poems. "Grammar of poetry is less known to the researchers. In
contrast, innovative writers often take the advantages to get great results".
3.4. The influence of Lửa thiêng through “a poetic era”
With an own unique tone, Huy Can’s poetry went into the human
mind across the generations of readers; integrating into love poems in the
pages of youth, the pages of textbooks of the student’s time Among the
adult poets during the American war in the north, perhaps poet Anh Ngoc
relatively clearly influenced on the language of poetry, lyrical character,
deep philosophy in Huy Can’s poetry soul. In the South, poet Bui Giang
22
claimed he was influenced early by Huy Can’s poetry. Perhaps, Bui Giang
caught the same tune with Huy Can in the space of sources rain, mountain
wind, quiet rivers, cold weather, etc.? The word "loneliness" in Huy Can’s
poetry is also applied by Bui Giang to his poems: In this spring do you
come back / The apricot branch in the old district will bloom gently
It is difficult to describe all the effects and sound effects of Huy
Can’s poetry in the long period of poetry. Earlier, Tran Dan, called for
"burying new poetry "; Creative groups in the South with many critics,
reviewed the defects of the development stage of arts novels, poetry,
drama in Tu Luc Van Doan time Though they wanted to delete New
Poetry aggressively, but later on, poetry of Thanh Tam Tuyen and To
Thuy (the creative team members) is also difficult to escape its effects on

inspiration and love melody!
Conclusion
Lửa thiêng had a pretty impressive and deep place in many
generations loving poetry. Lửa thiêng shines and highlights Huy Can’s
talent, and, the poetry collection has been associated with the name of the
poet on the national poetry tribune more than half a century. Sacred fire
collects many beautiful poems which have wonderful poetic language,
attracting, obsessing and going into the heart-felt of many generations of
readers. Sacred fire represents the tone of sorrow for his lyrical poetry with
characterized-unique philosophy right from the beginning of writing
poetry of Huy Can.
In Chapter 1, the dissertation has generalized factors forming poetic
artistic style of Huy Can. Thereby, the dissertation stated objectives and
mission of interpreting and presenting this matter: family, hometown, age,
environmental education, training, character, inclinations, hobbies, strong
points, etc. Of course, the nature of objectivity and subjectivity influences
relatively on the style of a poet.
In Chapter 2, different from the lyrical style of passionate love with
the fantasy of Xuan Dieu, Huy Can’s poetic artistic style is expressed
through the poetic universe plentifully. It was inspired by the vast space
with the loneliness of man, inspired poetry full of the metaphor through
Land, Water, Fire, side by side with " life quality" in life. The meaning of
this metaphor is not overwhelming emotions, writing inspiration, although
the effect and sonority of oriental and western philosophy always appear
through some verses and poems of Huy Can. Traditional poetry, ethnic
culture, Tang poetry and the knowledge learned from the West, from the
23
brooding, philosophical osmosis cultures of humanity are revealed in the
poetry of Huy Can harmoniously.
In Chapter 3, especially in language poetry, Huy Can’s poetry talent

shows a harmony between classical poetic law and Western poetic law in
both audio and meaning, on language and category. It can be said that
unique style of poetry of Huy Can has been formed from the method of
choice of words, combinations of words, phrases, grammar, poetry,
especially in creating the music of the verses. With seven and eight- word
Poetry category, Huy Can skillfully used sound law of B-T model of Tang
verses and applied both the French poetry, creating the music for his good
poems such as Tràng giang, Vạn lý tình, Áo trắng, Tình tự, Thuyền đi, Đi
giữa đường thơm, Nhạc sầu, Mai sau etc. (particularly, four and five-word
poetry category of Lửa thiêng does not show deep and moving emotions
but the rhythm of the poetry is innovative like Chiều xuân-Spring
Afternoon, Điệu buồn- Sad Melody, Ê chề- Disappointed Sadness.
Huy Can’s six and eight-syllable verses are promoted from the
expression in parallel mode, or method for primary parallel (similar to the
six and eight-word verses of the story of Kieu by Nguyen Du). The music
in six and eight-syllable verses of Huy Can shows the originality from
talent of selecting and combining the syllable-words of his poems. The
word system shows the classical nature and music of the old tunes found
through Chiều xưa- Old evening, Đẹp xưa- Old Beauty. Or vice versa, the
poems reveal romance, love dreams. Huy Can chose and combined words
flexibly, elaborately, closer to life. The music in the poetry is melodic
gentle through Ngậm ngùi- Pity, Buồn đêm mưa- Sadness in a rainy night,
Thuyền đi - Boat travelling, etc.
In the method for combining words in six and eight-word verses, it is
clear that the word system of Huy Can is metaphorical but still makes a
mark from the tone of sorrow: Wild virgin garden half-folds sad leaves;
the spider quickly weaves the thread; My soul is ripe for some painful
seasons; Let me hear heavy falls of the sad fruit. It is also a difference
from the word system full of tone from scholarly literature in the Story of
Kieu by Nguyen Du, or, full of sound effects in the six and eight-word

verses of Nguyen Binh’s poetry; or, full of sound effects in the epic-lyric
six and eight-word verses of To Huu, etc.
However, the poetic style of Huy Can does not overcome, "the limited
framework" of the movement of New Poetry: It is easy to repeat the
deadlock of the soul, the boredom of awareness, O God, so I bowed to ask
for returning. My soul goes wildly. The sorrow is ripe for your picking.
Get me, hell or paradise! (Trình bày - Presentation); How sad! Oh dear!
Afternoon end of the world! (Nhạc sầu- Grief music)
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His arts shows a gloomy tone of the four-word verses (Điệu buồn-
Sad tone, Hồn xuân- Spring Soul) and does not express "clearly" the poetic
style Huy Can in the 7 or 8-word, and six and eight-word verses. And,
sometimes the "concise, considerate words with classical aesthetic poetry
in Lửa thiêng will disrupt the ability to create rhymes. "Almost Huy Can
does not not create rhyme."
In short, the attraction of a rich universe and poem tone from the word
arts, music, poetry grammar, etc. has been located: Lửa thiêng is worthy
of the twentieth century’s poetry and affirms the artistic style of Huy Can
full of lyrical - a unique philosophy through Lửa thiêng.
Huy Can-great poet- culturist of the Vietnamese poetry of twentieth
century Vietnam, whose poetic artistic language is excellent and lyrical.
Its philosophical ideas have profoundly influenced many generations of
poets.
RECOMMENDATIONS AND NEXT RESEARCH ORIENTATION
Today, on the basis of the open literature research, besides the formal
study of poem Lửa thiêng, the dissertation also compares the text with the
original manuscript (handwritten manuscript by Huy Can). As for this
comparison and contrast, the writer suggests: It is also necessary widely
to introduce during the process of analysing and teaching Huy Can’s
poetry in schools, to show the poet’s interest in Vietnamese; The subtle

choice of word arts and significance of serious artistic labor from two
methods of selection and combination. These factors have contributed to
the formation of lyrical artistic style - unique philosophy, unique poetry of
Huy Can, confirming the talent of a great poet.
The thesis focused on studying Lửa thiêng, but in the direction of
proposing: the poetry of Huy Can composed in the years of war, love
poems, poems written for children, poems about people and experiencing
the universe in new era, full of philosophical thinking about national
culture, the culture of countries around the world , there is the direction
desired by the writer to do further research to illuminate and to compare a
long trail of the artistic style through the poetry periods of Huy Can. On
the one hand again, looking back from the twenty-first century, people still
continue to pose new questions about the process of modernization in a
number of outstanding poets in the New Poetry movement, especially in
the poetic erudite and abstruse soul of Huy Can.