ngôn từ nghệ thuật thơ mới bản tóm tắt tiếng anh

MINISTRY OF EDUCATION AND TRAINING
THAI NGUYEN UNIVERSITY



LA NGUYET ANH







ART OF LANGUAGE USE IN NEW POETRY


SPECIALITY: VIETNAMESE LITERATURE
CODE: 62 22 01 21




SUMMARY OF DOCTORAL DISSERTATION
OF LANGUAGES AND CULTURE OF VIETNAM

THAI NGUYEN - 2013


This work has been completed at
College of Education – Thai Nguyen University


Scientific instructor 1: Associate Prof. Nguyen Dang Diep, Ph.D
Scientific instructor 2: Le Hong My, Ph.D


Judge 1:

Judge 2:

Judge 3:



The dissertation shall be defended before the Thai Nguyen
University level Dissertation Assessment Council held at:
………………………………………………………………………
At ……. o’clock, on day…… month … , 2013


The dissertation can be found at:
Vietnam National Library

Learning Resource Centre of Thai Nguyen University

1

PREFACE
1. Rational of the subject
1.1. Language is the first element of literature. Composing, receiving and
evaluating literature in general, poetry in particular cannot be carried out without
this element.
Artistic language (literary language) is a "different stratification" of
natural language, "mutual invasion" (Iu.M.Lotman) but not identical to natural
language. If natural language tends to be stable, artistic language - especially
poetry language - as a "code" is always changing. Each literature era, every
movement, trend, and every author tends to "possess" his or her own language
use to bring a "reality" and new forms to artistic language.
1.2. In the running flow of Vietnam poetry, New poetry movement (1932
– 1945) is a distinctive, excellent, multifarious, diverse and complicated
phenomenon in Vietnam modern poetry. On the creative process, poets of New
poetry have achieved great success, laying a solid foundation for the
modernization of Vietnam poetry. More than eight decades have passed, New
poetry has continuously been drawing the attention and love of the readers,
researchers and Literary critics. Particularly, the creation of New poetry in
artistic language has always been attracting composers, enjoyers and poetry
researchers.
1.3. Studies on New poetry have already dealt with the language of poetry
on many aspects, such as: rhyme, rhythm, music, structure of language style, use
of words …. However, the assessment, analysis, interpretation focused on
confirming innovation of each composer or uniqueness of individual poems. The
issue of art of language use in New poetry lacks a overall systematic
comprehensive view, and many points are still left to further researches, analysis

and synthesis.
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Acquiring achievements of their predecessors, studying the results from
researches on artistic language in the last decades, we saw that it was time to
carry out a thorough research on art of language use in New poetry.
1.4. New Poetry has a significant position in the Phylology program at all
levels. Reality of teaching and learning New poetry requires deeper mastering
artistic creation of poets of New poetry. The exploration and research to meet
the needs of teaching, learning New poetry in particular and modern Viet nam
literature in general in schools and universities are also a reason urging us to
choose this topic. Hopefully results from researching art of language use in New
poetry not only have new practical significance for the author of dissertation but
also have positive suggestions for practical research, teaching and learning
Phylology in schools and universities.
2. Object and scope of research
2.1. Research object
Object of this dissertation is the art of language use in compositions of
poets of New poetry 1932-1945.
2.2. Research scope
In the process of doing the research, focusing on the object of study, we
investigated, studied compositions of poets of New poetry through poetry
anthologies and poems books published or republished in Vietnam from before
the August Revolution up to now, namely: Vietnam Poets (Hoai Thanh - Chan
Hoai, Literature Publishing House, Hanoi, 1998, 14
th
print) [172]; New Poetry
(1932 1945): Authors and works (Writers Association’s Publishing House, H.,
2006, 6
th

print) [187]; the representative poems books in the movement of New
poetry.
3. Research objectives
This dissertation focuses on the following main objectives:
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- Identifying, analyzing and generalizing basic characteristics, ways of
organizing and the excellences in organizing artistic language in New poetry;
confirming respected contributions of New poetry in the process of
modernalizing poetry and innovating Vietnam literary language.
- Confirming the dialectical relationship between language creation and
artistic ideas, between form and content; the regulations of social consciousness,
the state of knowledge and power systems for creation of artistic language.
- The dissertation also aims at asserting an effective approach in the
studying, receiving and enjoying poetry.
4. Research tasks
The dissertation poses the following research tasks: 1) Surveying research
history of art of language use in New poetry; 2) Finding out the basis of theory
and practice on artistic language and art of language use in New poetry; 3)
Generalizing the formation of new communicative artistic forms from New
poetry phenomenon; 4) Pointing out language characteristics and organization of
artistic text of New poetry.
5. Method for research
The following methods in this dissertation are used: structural and
systematic method, statistic and comparing method, method of text analyzing,
inter-branch studying method.
6. New scientific contributions of dissertation
This is the first research doing an overall and systematical study on the
art of language use in New poetry.
The dissertation has a detailed analysis exploiting the endogenous and

exogenous elements, the cultural and historical conditions as an important
prrequisites to make changes of artistic language in New poetry. Thereby, it
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confirms: New Poetry is an artistic form of discourse different from other forms
of poetry discourse before and after.
The dissertation has generalized the basic characteristics of artistic
language in New poetry with such main manifestationss as: being very
subjective, biasing to emotions, feelings, modernity and personality. It has also
proved that the innovation of artistic language in New poetry is the result of the
process of absorbing and receiving the art quintessence of traditional poetry and
the art quintessence of mankind’s poetry. This is the product of the process of
exchange and acculturation.
The dissertation has selected and exploited some typical levels of
organizing artistic language texts in New poetry, such as: words, syntax and
poem organization. On this basis, it confirms the innovations , new
breakthroughs and process of modernizing poetic language of poets of New
poetry generation.
The results of the dissertation research contributes to confirm position
of New poetry in the process of modernizing Vietnam poetry Vietnamese
language as well. At the same time they are used to serve researching and
teaching of modern Vietnam literature.
7. Dissertation composition
Besides preface, conclusion and reference, main content of this
dissertation consists of four chapters as follow:
Chapter 1: Overview of resarch situation
Chapter 2: New poetry – A new form of artistical communication
Chapter 3: Characteristics of the art of language use in New poetry
Chapter 4: Organizing texts concerning language use in New poetry

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CONTENT
CHAPTER 1
OVERVIEW OF RESEARCH SITUATION
Eighty years has passed by since it appeared, New poetry has been studied
in various angels. The contributions of New poetry have increasingly been
confirmed; researches on New poetry have constantly been increasing over time.
However, in the literature review, we mainly focus on surveying the
researching works, treaties and articles and related directly or almost directly to the
topic of the dissertation. Researches on the art of language use in New poetry, in
our subjective opinion, can be generalized through the following stages:
1.1. Researches on the art of language use in New poetry at the stage
of 1932 - 1945
A lot of compliments and criticism have been made on New poetry right
since its appearance, positive articles are seen along with negative ones. These
are remarkable articles:
- New poetry movement by Luu Trong Lu [184].
- New poetry,, New poetry of Nguyen Vy … by Le Trang Kieu [184].
- Vietnam poets by Hoai Thanh, Hoai Chan [172].
- Modern writers by Vu Ngoc Phan [136].
At this stage, the issue of artistic language use in New poetry was set, but
still “left open” by the writers of Vietnam poets.
1.2. Researches on the art of language use in New poetry at the stage
of 1945 – 1985
The Issues of New poetry was reset. Due to many reasons, View on New
poetry at this stage was somewhat demanding. Even the excellent
representatives of New poetry were also strict with themselves. However, the
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assessments of art of language use in New poetry went into details and were
clearer. Generally, the study on New poetry was conducted in two opposite
directions in two regions of the country.
In the north of Vietnam, researches on New poetry included are those of
Phan Cu De [37], Bui Van Nguyen, Ha Minh Duc [125], Hoai Thanh [171]…
In the south of Vietnam, , oppinions on New poetry included are those of
Pham Van Dieu [22], Thanh Lang [88], Nguyen Tan Long, Phan Canh [101],
Pham The Ngu [124].
An overview of this period points out that New poetry continues
attracting the attention of researchers and literary critics. The content and
ideology of New poetry are strictly considered, but innovations of form,
especially innovations in terms of language use of New poetry are confirmed.
However, researchers still limite to general, oriented and suggested comments.
1.3. Researches on the art of language use in New poetry at the stage
from 1986 up to now
Ever since the 6th National Congress of Vietnam Communist Party
(1986), in the spirit of innovation in all fields, New poetry have also been
considered and valued more objectively and scientifically. The issue of New
poetry language continues to be discussed. Typical are the following works:
- Reviewing a revolution in Poetry, edited by Huy Can - Ha Minh Duc [13];
- Vietnam poetry language, by Huu Dat [36];
- Lyrical poetry tone, by Nguyen Dang Diep [43];
- New poetry, the ups and downs, by Le Dinh Ky [86];
- Reviewing New poetry and prose of Self - supported Group of writers,
edited by Tran Huu Ta, Nguyen Thanh Thi, Doan Le Giang [166].
Along with those stated above, the issue of language use in New poetry
was studied in the treatises, in the researches specialized on authors and works
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[54], [59], [64], [76], [142], [151], [152], [199], [192], , in the dissertations
[5], [29], [52], [75], [126], [145], [146], , in the M.A or M.S thesises [195],
[196], , in the articles [68], [127],
Subsummary
According to research situation, the issue of art of language use in New
poetry has been cared for right since its appearance on poetry forum and has
received more and more attention. Opinions on the art of language use in New
poetry are towards confirmation in some following aspects: First, the art of
language use in New poetry has undergone fundamental changes from poetry
language of “recited tone” to poetry language of “spoken tone”; Second, the
structures of artistic language of New poetry are free and unbounded; Third, the
achievements on the aspect of art of language use in New poetry have helped to
modernalize Vietnamese language.
Respecting and inheriting achievements of predecessors, acquiring the
scientific orientation, we continue to implement an all-sided and systematic
research on art of language use in New poetry. Hopefully, the results of our
research will contribute to make clearer an important aspect marking the New
poetry movement in the history of Vietnam poetry.

CHAPTER 2: NEW POETRY – A NEW FORM OF
ARTISTICAL COMMUNICATION
2.1. Art of language use – a special form of communication
2.1.1. Concept language use and art of language use
2.1.1.1. Concept language use
“Language is expressed in the livid human communication through speech
of an individual, full of individual features impacting another one” [205, page 51].
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However, in everyday life as well as in scientific writing style, art style
language and languagr use are not sharply separated, in many cases they are

interchangeable.
From research purposes and objects of the dissertation, we think that it is
necessary to have a clear distinction between the concepts language and
language use:
1) When we say a language (langue) we mean a store of words with
typical characteristics adapted by all the society, Language is a set of all units,
means and combinations used in speech, such as: phonetics, vocabulary.
2) Language use (parole) is personal speech with his or her own aesthetic
style used in communication. However, imbued with linguists’ ideology, we
understand that the above distinction is not absolute because of dialectical
relationship of the object itself.
21.1.2. Concept art of language use
Art of language use: "Concept denotes kind of language used to express
the content of the works of art of language use (spoken words and written
literature). In terms of materials, the means of anguage used in artistic language
can be of no difference from the means of vocabulary, grammar, of popular
language of all the people and of no difference from other factors: dialects,
coloqual language and jargon "[70, p. 1090 - 1091].
Artistic language is distinguished from other forms of language, such as:
pragmatic language, scientific language
Pragmatic language also called natural language, non-artistic language
(in order to distinguish with artistic language, also known as literary language)
is used in everyday life, as a means of social communication.
Scientific language used in scientific fields, such as: scientific books and
newspapers, scientific researches in the speciality form (such as: inventions,
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dissertations) or scientific stylistics books (such as: textbooks ) scientific
language is used to construct the terminology, concepts and scientific results.
Although it originated from and nourished by the people’s language,

natural language, artstic language has its distinctive characteristics.
2.1.2. Characteristics of art of language use and art of poetry
language use
2.1.2.1. Characteristics of art of language use
The traditional method determines characteristics of artistic language by
quality. With this approach we have listed the features and properties that
artistic language can have, that is: image, detail, personalization, implicitness,
accuracy, v.v
R. Jacobson said: "Language should be studied in all the diversity of its
functions" and we should be interested in the basic components made up a
language event, an act of communication [149]. Communication theory of
R.Jakobson directed our attention to organization of poetry but limitations of R.
Jacobson were just to focus on organizing materials not pay attention to the
relationship between materials organizing with those who use of the materials
to communicate.
Discussing language, M. Bakhtin also put language in communicative
activities. However, M. Bakhtin is far more interested in the social and aesthetic
nature of language and considered dialogue as the primitive feature of speech.
Bakhtin said that language used in dialogue as a lively repartee which was
formed in the past interactive dialogue with other people's words on the subject;
The language of dialogue is not only the collection of object , any speech is also
intended to respond and inevitably affectd by the profound impact of the
expected response [110, tr.87-101].
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Thus, every dialogue also includes: words of speakers (words a people
say), words of recipients (responses), object or expected response.
Communication activities are governed by the nature of dialogue and have
structure of characteristic dialogue.
Theory of M.Bakhtin has turned attention to the social nature, aesthetics

of language and is somewhat close to the famous propositions in the theory of
postmodernism that is represented by M. Foucault.
It can be said, when M. Foucault introduces the concept of discourse
(Discours), the social and aesthetic nature of literary language was "clearly a
step out" (Tran Dinh Su). According to the interpretation of M. Foucault,
discourse is a form of expressing language of a large group of people in a social
situation, in a certain history. In that social condition, the secret mechanism
domonating language is the social consciousness, state of human knowledge,
and mechanisms of social power. The attention of M. Foucault to system
limitations, the limitations of language behavior is a new step in epistemology.
According to M. Foucault, research oriented on structures accidentally stripped
the conditions of forming and creating texts, making texts isolated as a static
entity, and the factors creating the sense of the text are neglected [164].
Accordingly, each times will produce the corresponding discourse. The
types of that discourse were of course subject to the provisions of the
"intellectual framework" and the culture of the times. Literary language, from
the perspective of discourse, is not "asleep" language in the dictionary but that
contains and refracts many different strata of history, culture, society, religions,
life relationships This was emphasized by Tran Dinh Su: "the discourse
analysis in every society shows the internal logic, the secret mechanism
dominating language, which is the social awareness, the state of human
knowledge, and mechanisms of power in society "[158].
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It can be seen from many angles and degrees of language researchers,
poets have confirmed: the dialectical relationship between natural language and
artistic language, in which artistic language is "restructuring" (Tran Dinh Su)
from natural language in artistic principles.
The development of knowledge about language, theory of language use,
poetic language suggests, researches on artistic language are integral to the

quality factor and the social nature of language. In other words, artistic language
should be evaluated as an artistic discouse, a special artistic form of
communication.
On the other hand, artistic language is also controlled by specific
category. Each category represents a type of relationship to practical life and to
readers, which is a type of communication.
2.1.2.2. Characteristics of art of language use in poetry
As far as type is concerned, poetry belongs to lyrical type, reality in
poetry is that of mood. The voice of poetry is the voice of sentimentality.
According to M. Bakhtin: "Poetry language is the language of his." [110, p.115].
Opinion of M. Bakhtin emphasizes the subjective element of poetic language.
Kate Hamburger who surveyed poetic theory also said poetic discourse
was different from everyday discourse and dramatic, epic discourses. The
difference is that it does not direct to the object extreme but subject extreme
subject, to speech subject. [80, 325-354].
The biggest difference between the poetry language and prose language is
in the way of organizing language. In many criteria, the formalists think that
characteristic signs to distinguish the language of prose with language of poetry
ar aspects of sound and rhythm structures.
J.Tynianov defined poetry as a special structure characterized by the
dependence of all the elements on priciple of rhythm.
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B. M. Eikhenbaum thought: "The start was from the sound of verse,"
rhythm and tone by themselves undecided characteristics of style and were
inable to establish principles of structure and therefore did not create the
research basis for the difference of specific characteristics between this style and
another style. Factor that may characterize poetry is intonation structure of
sentences with its structure role [6].
Thus, we can see clearly the dominating of type to characteristics of

language. The study of poetry language, of course, is inseparable from the study
of type, speech subject and speech organization.
Belonging to the category of speech, literary language in general and
poetry language in particular, express profound concept, usage, education
degree, art of literature master. Participating in communication arts, poetry
language of a great period is associated with characteristics of image thinking of
that time, is a "fossil" of psychological life, society; subjected to the assessment
of knowledge, power and responsibility.
The above analysis is the basis for us to conduct a research on art of
language use in New poetry as a special artistic form of communication, a
contemporary discourse, characterized by its own private language and a
specific way of organizing.
2.2. Artistic New poetry communication – a new cultural phenomeneon
2.2.1. Historic and cultural premise leading to the appearance of New poetry
The internal elements foster national poetry, but they are not enough to
create an expected change.
The contact with the Western has changed Vietnamese people’s everyday
life and concept. The democratic ideology expanding in the life has made a deep
change in spirit of the times. The need to modernalize literature has become an
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urgent issue. New poetry itself has had an enough preparation to form a
revolution in poetry with new orientation and with a new artistical
communication.
In our national history of poetry, "New Poetry" has become the name of
poetry movement opening for modern Vietnam poetry, which appeared and
flourished in the early years of the twentieth century, a rich and diverse poetry,
modern and full of personality, a special cultural phenomenon and rich
manifestations.
2.2.2. Speech subject in New poetry artistic communication

History of poetry shows that, each times often linked to a choice of
lyrical style, a sense of mission, the role of the subject in relation to life. At
each new stage of history, new discourses always appeared. It is actually the
change of the communication convention.
In Vietnam medieval poetry, the poet has a lyrical characteristic posture.
Traditional lyrical consciousness is the art expressing feeling and emotion and
will. Type of "showing will", "showing heart" in medieval poetry tends to blur
the boundaries between subject and object, the voice in the poem is super
individual voice, "voice of heaven" (Che Lan Vien) . Medieval poetry writing
style is indirect and full of implication, commision. Direct communication does
not become an issue, too much concern for the poets of middle age.
New Poetry is the voice of each particular individual. Subject of speech
in New poetry made an "arrogant", "not shy, cringing" appearence (Nguyen
Dang Diep). The need to express feeling, boundless ambition, great destination,
which expands creative horizons for poetry. In this process, New poetry
thoroughly liberates creative power of the artists, to present the world of soul as
a complex and mysteriousobject . Accordingly, the world of poetry language is
also continuously moving.
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During the movement, discourse of New poetry resists against medieval
poetry as a negation of history, but on the other hand it is still subject to
refraction of medieval and traditional literature. It is the refraction of cultural
deposits.
2.2.3. Types of language and artistical communicative organization in
New poetry
The appearance of New poetry has changed the form of artistical thinking
that existed for thousands of years in our literature.
Because of this, the view on language has also been changed. The view on
language in New poetry attaches with the view on language of individual and

sensitive intonation. Organization of language in New poetry obeys grammar of
feelings.
Consequently, the sentence of New poetry is saturated with spoken tone,
language in New poetry is typical for type of the language of spoken tone. New
poetry has created a turning-point in expanding the direct communicative ability
of poetry.
Subsummary
New poetry (1932 – 1945) is not only a particular phenomenon of
Vietnam literature in the period of the early 20
th
century but also a national
cultural phenomenon.
New poetry has created a new turning-point in expanding the direct
communicative ability of poetry. This is an innovation that has the meaning of
poetics. In this innovation, language – the first element of literature composing
will be changed as the confirmation of the nature of the new. New poetry has not
only made a new “face” for Vietnam poetry but also created a highlight mark in
the innovation of national language.
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CHAPTER 3
CHARACTERISTICS OF THE ART OF LANGUAGE USE IN
NEW POETRY
3.1. Language of New poetry is very subjective, biased to feelings
3.1.1. Language in New poetry as subject
As far as nature is concerned, lyrical poetry is the means of direct
expression of sensitive mood and thinking of poets towards the phenomenon of
life. Nevertherless, this characteristic is not always exposed clearly.
In the middle-aged poetry, subjectivity is aspiration, ambition which
makes us look at an ideal area to praise and confirm. It tries to have a harmony

between the subjective and objective. The method and technique of language are
used to obtain that harmony. The lyrical subject rarely makes a direct
appearance but is often in an impersonal mood.
Since New poetry appeared, the subjectivity of subject has directly been
exposed. First of all, it is present in the self-confirmation of individual thinking.
Lyrical subject establishes a communicative channel in one’s talk and
presentation.
With the aim of exposing the personal individual direcly, New poetry
totally liberates creative personality of the artist and enables artistical styles to
bloom freely. The language of New poetry also sets up a system with private
characteristic full of subjectivity.
3.1.2. Multi-tone of sensation and feeling
The development of New poetry is the very important renovation stepof
Vietnam lyrical poetry. With the intention of going deep into inner feelings,
poets of New poetry have made the wonders of the soul tangible. New poetry
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directly exposes every level and feeling: happiness, sadness, sulkiness, anger,
eager, passion, dream, bitterness, laments …
The lyrical “I” of New poetry turns into the true meaning of itself – a
sensitive “I”. Together with multi-tone of sensation of the language in New
poetry full of feelings … is the echo of history, with various levels New poetry
breaks the classic rules to go to the end of feelings, realizes the life with all the
vibrations of the soul. Each poet, with his creative personality has adorned to
make that world more mysterious and enchanting …
3.2. Language of New poetry continues and develops that of
traditional lyrical poetry
3.2.1. Continuing and developing language of folk lyrical poetry
In the process of Vietnam literature, New poetry (1932 – 1945) is
considered to be “a revolution in poetry unprecedented in the history of national

literature. But it is not a reform in the form of “replacing the old by the new”.
The poets of New poetry with their extraordinary creative talent have established
a link of modern poetry with traditional one, with the national source.
It has already been proven by the appearance and eternity of New poetry
having folk features with the famous names, such as: Anh Tho, Bang Ba Lan,
Doan Van Cu … Especially, the appearance of the poet “real countryman”
Nguyen Binh has made New poetry become a land of elevating and crysterlizing
countryside soul, countryside love … with a language full of “countryside
personality”
From the folk lyrical poetry to New poetry is a long time of many ages.
But that time is gradually narrowed, moreover it proves that the inner national
force is the strength, the start of artistical creative source.
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3.2.2. Continuing and developing middle-aged lyrical poetry
Different from folk lyrical poetry, a collective spiritual goods saturated
with spoken features, middle-aged lyrical poetry is an individual spiritual goods.
However, due to political, historic reasons, the language primarily used in the
middle age is Kanji. Since the end of the 18
th
century, the face of the middle-
aged poetry language has undergone many changes. Together with the
achievements of Kanji poetry, Nom poetry has developed brilliantly. In
composing literature, the sense on language is more and more clearly expressed.
In spite of innovations, Vietnam poetry language at the age of Ho Xuan
Huong, Nguyen Khuyen, Tu Xuong still belongs to middle-aged category. The
poets of New poetry have received that spirit of innovation.
On the way to look for the influence of the middle-aged poetry on New
poetry, we simultaneously identify the movement of Vietnam poetry language. As
can be seen, since the 18

th
century Vietnam poetry language has gradually moved
from fomular, convention into simple, popular tendency, increasing real element
and the feature of “spoken tone”. But that change cannot become a movement. Up
to the 20
th
century, having met the Western wind, the issue of innovation and the
need to innovate the language of New poetry is really urgent, resulted in the first
bumper harvest of poetry in the modern direction of New poetry.
3.2.3. Moving closer to the language of life
In the thousands of years’ influence of Chinese culture, Vietnam poetry still
preserved its own characteristics. But it cannot be denied that the process of language
contact has left the marks of the Eastern poetry for our national poetry. That is the
expression of form-emphasized way, recited poetry, read-composed poetry …
together with the way of using typical incidents which are more or less academic.
Poetry always keeps a definite distance from every life.
By receiving the sense of language of the middle-aged poets through the
Nom composings with new ideologies in the contact with Western culture poets of
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New poetry gradually bring poetry language closer to everyday life. Language in
New poetry is condensed with the popular spoken words. In many poems,
spoken style is used.
In addition, many poems of New poetry are in the shape of dialogues.
Statements, imperatives, exclamatives are seen with the condensed degree.
The tendency of using everyday language in poetry is the inner need with the
aim of bringing poetry closer to life and narrowing the distance between poetry and
people.
3.3. In language of New poetry, Tang poetry is linked with French one
3.3.1. From conflict to reconciliation

When New poetry appeared, the powerful collision between classic spirit
with modern spirit has created the conflict between old poetry and New poetry,
this side “wins the right to live”, that side “keeps the right to live’. At first, it
was the fierce conflict between two cultural times, two paradigms of poetics.
After the shocks, staggers poetry forum has returned to balance, a wonderful
reunion has already happened. Modern Western thinking meets traditional
Eastern poetry thinking.
But it is noted that before absorbing the Western civilization, Eastern
civilization has had a deep root in the Vietnamese mind, in their gene, Eastern
civilization has become the flesh and blood, inherited from the ancestor” (Ngo Van
Phu), it is comprehensive that poets of New poetry “go to Tang poetry with a pure
and fresh heart” (Hoai Thanh – Hoai Chan). Classic poetry with deep content,
skilful art and modern Western spirit has become a nursing source of New poetry.
3.3.2. The appearance of a new laguage form: modern and full of personal
characteristics
“Home of New poetry” (Phuong Luu) has warmly welcome two
honorable guests who are far away from each other in terms of space and time.
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This wonderful meeting, in our opinion has created a new language, modern and
full of personality.
The sense of confirming the individual, personality, of free exploration
and of passion to display has urged poets of New poetry to find out the words,
sentences to express the vibrations of the soul. With a lot of effort and
extraordinary creative ability, poets of New poetry have quickly built up the
specific marks on the forum.
Subsummary
The innovation of the language in New poetry, first of all, aims at
denoting new awareness of life and society, expressing the senses and
ambitions. From this practical denotation, poets of New poetry have given

language a new power. At the same time, with the effort of expressing and new
feelings, the language thinking of poets of New poetry has been changed. They
have established the particular marks of language in their times. In this process,
poets of New poetry have realized a historic task: Innovating Vietnam poetry
language, transfering Vietnam poetry from lyrical “recited tone” to a new stage
attaching with lyrical “spoken tone”, integrated with the process of
modernalizing the world literature.

CHAPTER 4
ORGANIZING TEXTUAL LANGUAGE IN NEW POETRY
4.1. Richness and diversity of words in New poetry
4.1.1. Words formation by using compounding
In creative language formation of New poetry, the best to be mentioned is
the compounding way to form strange and special words.
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Combining nouns, adjectives, verbs in a collection, a line in a poem, poets
of New poetry have created a new expression: Please knit a love for me (luu
Trong Lu), Hey listen to a piece of fragrant music (Xuan Dieu) …
4.1.2. Words formation by using meaning transference
In the means of meaning transference, metaphor is a popular way used
much in literature language and practical language.
In New poetry, poets of New poetry use metaphor in a specific way.
System of metaphors in New poetry is not as “rustic” as in folk-songs and not as
the type of expressive metaphor which is “always seen” in the middle-aged
poetry.
4.2. Flexible and creative syntax of New poetry
4.2.1. Tendency of inheriting syntax of sentences of a traditional poem
Typical for the sung tune is the traditional six-eight words verse springing
and developing from folk lyrical poetry. Besides the standard six-eight words

verse, New poetry has created standard deviations with more deviations than
balances, rhythm is based on sensitive rhythm.
Together with six-eight words verses, the sung tune from Ca tru to New
poetry of eight words has created a break of the Vietnamese verse. On the way
to look for an appropriate form of expressing, poets of New poetry have found
out the flexibility of forms in the sung tune which is a store of overspreaded
sense.
4.3. Organizing textual language of New poetry in a free and liberal way
4.3.1. Organizing a poem as a flow of language sound
Psychologists said that under the pressure of sense, people often raise up
their voice, give rhythm to speech. In expressing moods of sense, if the content
of speech greatly impacts the mind, tone, strong or weak degree, high or low
degree, rhythm do much impact on the realm of sense. Through rhythm and
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degree of echo of words, people have the feeling of themselves, identify the
sense of their own.
In textual language of poetry, rhythm, rhyme and tone are the basic element
forming the sound of a language, the poeticalness of a text. Especially, in the type
of language full of music as New poetry organizing these elements are of great
importance.
The combination of rhythm, rhyme and tone in the organization of a poem
create the architecture full of “echoes” in New poetry. Organizing the textual
language of New poetry is guided by music creating wonderful poems like
ethereal sound from a musical instrument.
4.3.2. Organizing a poem following the flow of emotion
The poem is organized according to the movement of sentiment. The
respect of natural flow of emotion is of great importance in liberating poetry
from the bindings.
Organizing a poem is not limited by the rules but gone with the flow of

emotion. The length of a poem is loosened according to emotion. The poem
itself has its own music and the tonic is the music of heart with the harmony of
sentimental levels.
4.3.3. organizing a poem according to the narrative flow
The poem is organized in a narrative way, attaches with the flow of
events.
In New poetry, many poems which have the structure in a narrative way
have made specific impressions.
The diversity of the poem organization make New poetry become a choir
of thousands of particular concrete moods making its presence free and liberal.
The process of decoding it is that of finding out the beauty of the art of language
use in integrity and wholeness.


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Subsummary
In studying the text organization of language in New poetry, despite
having just considered partial elements (words, verse syntax) and the
organization of a poem, we have already discovered the prominent innovation
and the experiences of New poetry. Basically, the innovation of New poetry is
based on traditional poetics and the meeting at the right time with Western
poetics. It is the innovation of quality, the change in the direction of modernity
in the living art itself, which is modern but traditional. This is the strength and
eternity of New poetry.

CONCLUSION
1. New poetry is the heart voice of a generation of poets who have a desire
of “being honest”, of devoting for art. The development of New poetry is both
the inner need and the objective laws. The challenging innovation of New poetry

has helped Vietnam poetry to break out the bounds of formulas which existed
thousands of years according to the modes of Eastern literature and at the same
time to receive Western literature to quicly put Vietnam poetry into the modern
world orbit. The achievements of New poetry in both respects content and form
have been recognized and affirmed. New poetry is not only a specific
phenomenon of our national literature at the beginning stage of the twentieth
century but also a great cultural event of our nation.
2. Language use in New poetry has made a considerable contribution to
the modernization language use in Vietnam poetry. This is an evidence of a
powerful inner strength hidden in the generations of Vietnamese poets in which
poets of New poetry are the worthy successors. They have sung their heart voice
in their language. As a result, the lyrical scope is widen. It is truly a voice of
human nature with the emotion of the heart: love, sulk, anger, suffering pain,
lament, passion, boredom, disappointment … It is because of this, poets of New
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poetry have created their new own system of language embedded with times
mark which is modern and full of personality.
3. New poetry is the creation of language in many aspects. At words level,
New poetry displays its creation in two basic forms: compounding and meaning
transference. By doing it, poets of New poetry have created a rich, diversified
system of words which has a good ability of expressing. At the grammar level,
the creation of New poetry is made on the basis of inheriting the traditional
verse. The poets of New poetry have reformed the Vietnam lyrical verse, turning
Vietnam poetry from lyrical “recited tone” into lyrical “spoken tone”. The verse
has gradually lost the recited tone to have intonation of speech, of sentimental
voice. New poetry has produced a new great change modernizing Vietnamese
verse. At the text level, the text organization of New poetry is free and liberal.
Poems of New poetry follow the flow of language sound, of feelings to make a
new expressing force. The challenging innovation on the aspect of art of

language use has made a contribution to confirm the position of New poetry in
Vietnam poetry.
New poetry has undergone a nearly one-century period so far, After the
appearance, shaping and being confirmed of New poetry, Vietnam poetry
continues welcoming the next generations. In other words, New poetry will not
be “new” any more. But this identity has occupied “a special position in a period
of time” in our national history of literature because of the contribution of
important achievements of New poetry in the process of modernizing Vietnam
poetry and because of its particular position in the process of modernizing the
language of our national literature.