AN INVESTIGATION INTO METAPHORICAL EXPRESSIONS OF LOVE IS a JOURNEY IN TRUYEN KIEU BY NGUYEN DU AND THEIR EQUIVALENTS IN THE ENGLISH VERSION BY MICHAEL COUNSELL

THE UNIVERSITY OF DANANG UNIVERSITY OF FOREIGN LANGUAGE STUDIES NGUYỄN THỊ THANH NGA AN INVESTIGATION INTO METAPHORICAL EXPRESSIONS OF "LOVE IS A JOURNEY" IN TRUYEN KIEU BY NGUYEN DU AND THEIR EQUIVALENTS IN THE ENGLISH VERSION BY MICHAEL COUNSELL RESEARCH PROPOSAL MASTER THESIS IN LINGUISTICS AND CULTURAL STUDIES OF FOREIGN COUNTRIES THE UNIVERSITY OF DANANG UNIVERSITY OF FOREIGN LANGUAGE STUDIES NGUYỄN THỊ THANH NGA AN INVESTIGATION INTO METAPHORICAL EXPRESSIONS OF "LOVE IS A JOURNEY" IN TRUYEN KIEU BY NGUYEN DU AND THEIR EQUIVALENTS IN THE ENGLISH VERSION BY MICHAEL COUNSELL Major: ENGLISH LINGUISTICS Code: RESEARCH PROPOSAL MASTER THESIS IN LINGUISTICS AND CULTURAL STUDIES OF FOREIGN COUNTRIES TABLE OF CONTENTS CHAPTER 1: INTRODUCTION 1.1 RATIONALE The idea expressed by beautiful words seems to accompany with language evolution; even in ordinary language, humans have implied comparisons: the heart with a certain fruit, an arm with a certain bird wing… Conversely, from the expression of the heart, the arms that people turned out the concept of comparison: the heart with the fruit, the arm with the bird wing In other words, the concept of comparison in language usage may arise from the time language has been created and developed Moreover, this is also one of the ways for language functions to expand Neither of these hypotheses denies the consequence: the sense of beautifying the words, or changing the words of beauty, is the natural consciousness of man and the metaphorical scope (metaphor) Metaphor is an interesting linguistic phenomenon which has attracted the attention of many linguists Metaphor is pervasive in everyday life, not just in language but in thought and action Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature (Lakoff and Johnson 1980) Being lovers of poetry, we all know “The Tale of Kieu” – a famous works written by Nguyen Du (1765 – 1820) Since its publication in the early nineteenth century, this long narrative poem has stood unchallenged as the supreme masterpiece of Vietnamese literature In The Tale of Kieu, metaphor is the most ideal and powerful tool perfectly used to describe love The metaphorical images in the Tale of Kieu imbued with the cultural identity of the East in general and of the Vietnamese in particular Therefore, it has a strong appeal to readers as well as researchers However, when translated into another language, are those metaphorical images intact? Therefore, there is certainly a lot of difference between English translation by Micheal Counsell and the Vietnamese version, especially the metaphorical images Let us consider the following extract taken from Truyện Kiều by Nguyễn Du expressing the love is a journey: Giữa đường đứt gánh tương tư Keo loan chắp mối tơ thừa mặc em (725) And now the vows thereof Are broken while they’re almost new; Please use the phenonix glue To join the severed thread for him Love in this case is conceptualized as a journey, in which two lovers go together on the same path Perfect love when both go to the end of the road However, this journey has been failed; both of them have only reached a certain part of the road and have to stop halfway It means love between Kim Trong and Thuy Kieu have broken The position "giữa đường" describes the unexpected stop of a loving couple, unfortunate unfinished love (the vows thereof are broken) The expression "đứt gánh tương tư" implies unfinished love The dictionary of "Keo loan" (phoenix glue) is to express Kieu’s intention of wanting Thuy Van to marry Kim Trong Not only that, she also expressed her pity towards her sister because she had to bring her deep love into a "tơ thừa" (severed threads) entrusted to Thuy Van ("mặc em") Bây kẻ ngược người xuôi (1973) Biết lại nối lời nước non? (1974) Our ways must now divide; Who knows if we shall ever meet to keep and to repeat The vows we made by the hills and the sky? “Love” in verse 1973 is described with the concept as a journey ( we have the conceptual metaphor Love is a journey), the couple means Kim Trong anh Thuy Kieu no longer go on the same path, they are “ kẻ ngược người xuôi” Obviously this is the opposite movement of the couple, so that the dispersion of love and “ Biết lại nối lời nước non?” This is a rhetorical question that implies a separation story between Kim Trong and Thuy Kieu – Its also means that they will not see each other in the future Đau lòng kẻ người (781) Lệ rơi thấm đá, tơ chia rũ tằm (782) And oh! The broken hearts Of her who went and those who stayed; There fell a great cascade Of tears upon the paving – stones; Such pain in flesh and bonnes Like silkworms emptied of their thread! “Người đi” means Kieu and “kẻ ở” means Kim Trong and her family Here the separation of Kieu with Kim Trong and her family is expressed through “kẻ người đi” Thuy Kieu's pain when she had to say goodbye to her lover – Kim Trong, and at the same time expressing the humanitarian spirit of Nguyen Du for the character This family love is conceptualized by the separation between Kieu and her family It’s the leaving of Kieu without a return date As you know, Truyện Kiều is a masterpiece of Vietnam poetry background It has an inspiration to the poet in the world Truyen kieu really has undergone a period of hundreds of years of social life, the family, the love and the fate of Vietnam women and nowadays there are still issues to be exploited more about its language, measures rhetoric as: metaphor, metonymy The diversity in metaphors Love is a journey in original Truyen Kieu by Nguyen Du and Kieu by Michael Counsell motivated me to choose the topic “AN INVESSTIGATION INTO METAPHORICAL EXPERSSION OF “LOVE IS A JOURNEY” IN TRUYEN KIEU BY NGUYEN DU AND THEIR EQUIVALENTS IN THE ENGLISH VERSION BY MICHAEL COUNSELL” to my research This topic is hoped to open the door to identify and helps the readers, especially the students who love Truyen Kieu by Nguyen Du have deeper understanding about this work between Vietnamese version and English version by Michael Counsell in terms of metaphor, translation and interpretation 1.2 AIMS AND OBJECTIVES 1.2.1 Aims This study aims to clarify the function of metaphor This research aims to investigate into metaphorical expressions of conceptual metaphor about love is a journey in The Tale of Kieu and their translational equivalents in its English version and clarify linguistic similarities and differences of these metaphors between the two languages 1.2.2 Objectives In order to reach the aims, there are three objectives to guide the study: - Identifying the metaphorical expressions of the conceptual metaphor “love is a journey” in The Tale of Kieu - Finding out the procedures in the translation of linguistic expressions of the conceptual metaphor “Love is a journey” from the original to versional ones by Michael Counsell - Suggesting some implications for deeper understanding, for drawing useful experiences in translating a valuable but complicated text like a poetical masterpieces Truyen Kieu, especially in terms of metaphorical expressions and for teaching and learning English 1.3 SCOPE OF THE STUDY This research focuses on identifying metaphorical expressions of “Love is a journey” in both original version Truyen Kieu by Nguyen Du and translated English version by Micheal Counsell The research also analyses the procedure of translation about love from original version Truyen Kieu by Nguyen Du and translated English version by Micheal Counsell 1.4 RESEARCH QUESTIONS In order to achieve the aims and objectives of the study, the research questions below will be addressed What are the metaphorical expressions of “Love is a journey” in Truyen Kieu by Nguyen Du? How are the metaphorical expressions of “Love is a journey” in Truyen Kieu by Nguyen Du translated into English by Michael Counsell? 1.5 DEFINITION OF TERMS - Metaphor A word or phrase for one thing that is used to refer to another thing in order to show or suggest that they are similar An object, activity, or idea that is used as a symbol of something else - Metaphorical expressions of “Love is a journey” Love is metaphorically expressed as a journey, thus “Love is a journey” is a metaphorical concept and the representations of the metaphor are metaphorical expressions 1.6 SIGNIFICANCE OF STUDY The findings of this research can bring some benefits as mentioned below: - Providing useful information for learners in using metaphoric language creatively - The investigation into the expressions of the metaphor LOVE IS A JOURNEY in The tale of Kieu by Nguyen Du and its equivalent translation helps prove the universality and culture-specification of metaphor as a means of understanding and expressing the concept of love - The study could be used as a reliable reference for those who are interested in conceptual metaphors about love for further studies concerning conceptual metaphors CHAPTER 2: LITERATURE REVIEW AND THEORETICAL BACKGROUND 2.1 REVIEWS OF PREVIOUS STUDIES As you know, many Philogist and writers in Vietnam and Worldwide have research and discussed about Metaphor, especially Metaphorical Based on previous studies from many linguists reseachers, I found the concept metaphor was written by Aristotle in 1982 Its literal meaning is “to carry elsewhere” or “to transfer” Since then, classical theorists have referred to metaphor as an instance of novel poetic language in which words are not used in their normal everyday meaning The concept of metaphor in general, which includes the concepts of lexical metaphors and rhetorical metaphors, has been mentioned by Aristotle who viewed metaphor as implicit comparison, which is based on analogy (Ortony, 1979: 3) According to Aristotle, the primary function of metaphor is stylistic and ornamental (Katz, 1996) Aristotle discusses metaphors in two works: The Poetics and The Rhetoric (Rhetoric) Aristotle argued that philosophy needed metaphor to augment the argument in order to persuade others in the political world and also to be used in poetry to describe human acts Aristotle's metaphor stands out between two areas: rhetoric and poetry Rhetoric is rhetorical, the purpose is persuasion Poetry is not eloquent, not trying to convince anyone Poetry and rhetoric paint two separate universes In the end, the metaphor has a unique structure, but suffers from two functions: the rhetorical function and the poetry function In the Poetics, Aristotle defined metaphor as: the application to one thing of thename belonging to another We may apply (a) the name of a genus to one of its species, or (b) the name of a species to its genus, or (c) the name of one species to another of the same genus, or (d) the transfer may be based on aproportion (Aristotle, 1982, p 67–68) Centuries after Aristotle, the metaphor is presented, first of all, by Antiquity rhetoricians, and later, by Middle Ages theologians In general, they all respect Aristotle's metaphorical interpretation, but pay no special attention to it Based on the Oxford English Dictionary defined “ Metaphor” as te “ figure” of speech in which a name or descriptive term is transferred to “ some object” different from, but analogous to that to which it is properly applicable Beside the Oxford 10 dictionary, I also found Mark Johnson with “Philosophical persprctives on Metaphor” is “We are in the mindst of metaphormania Only three decades ago the situation was just the opposite; poet created metaphors, everybody used them and philosophers ignored…( bổ sung) He is the person who to doubt the traditional view of metaphor, which always involves the finding of similarities in terms of shape, spatial relationship, fuction, postion, movement or behavior and character Then Max Black (1979) took up Richard’s ideas and opening deeper them Black assumed that Metaphor are not reduable to their meaning, he also emphasized that Metaphor are projection of one concept to another which allows us to see one concept from the point of view of the other In fact, Metaphor theory has underwent a revolutionary change Beside Aristotle I found the conceptual metaphor in “Metaphors We Live By” of Lakoff and Johnson in 1980 in their study presented the Conceptual Metaphor Theory, which asserts the pervasiveness and systematicity of metaphorical language and thought They said “Our ordinary conceptual system, in terms of which we think and act, is fundamentally metaphorical in nature” (Lakoff & Johnson, 1980, p.3) And the main aspects of this approach have become quite influential since then Goatly (1997) also mentioned the metaphoric purposes and the fictions of language in his book “The language of metaphors” Gibbs (1992, 1994) continually extended Lakoff’s original proposal to account for the production and comprehension of novel metaphors in the same system as idiomatic expressions Beside Lackoff and Johnson or Gibbs, I found Zoltán Kovecse (1986) in his Metaphor of Anger He helps a general and detail look about conceptual metaphor In Vietnamese liguists also have similar views such as : Ly Toan Thang (2005) said “Language knowledge (i.e knowledge of the meaning and form) is basically conceptual structure and semantic expression is basically conceptual expression the expression about syntax, morphology, and phonology is also basically conceptual expression; because the sound and the mouthpiece must be generative at the output and be received to understand at the input of the cognitive processes that govern speaking and listening, reading, writing - which are two processes related to 40 the world’end merges in the blue!) Đầu cành quyên nhặt, cuối trời nhạn thưa (566) (A cuckoo sadly cried; his note gave pathos to the view; a flock of wild geese flew Before him, scattered on the sky) Từ góc bể chân trời (899) (From now on, I don’t know how far she’ll go away from me, which corner of the sea it is to which her way will lead Nàng dặm khách xa xăm (911) (Far, far away from home,) Bên trời góc bể bơ vơ (1041) (Beneath a far-off unknown sky.) Song sa vò võ phương trời (1267) (How lonely now it seems Behind silk curtains here to lie Beneath this foreign sky.) Chân trời mặt bể lênh đênh (2607) (Beneath this foreign sky, upon this ocean’s vast expanse?) “chân mây cuối trời - the world’end”, “cuối trời – sky”, “góc bể chân trời – corner of the sea”, “dặm khách xa xăm - far away from home” “góc bể bơ vơ - a far-off unknown sky”, “phương trời - foreign sky”, all of them are original samples 41 of space, condensed into long-standing experience, easily touching on the lonely, small fate of human beings in the vast, strange and strange space In the stray space, the disposition of man is toward the old homeland, remembering the origin: Bốn phương mây trắng màu Trông vời cố quốc nhà (1787) (but when the way was barred By streams and hills, there was no chance To see his countenance Till in some future life on high White cirrus veiled the sky; She peered toward her native land And where her home must stand;) Đối thương mn dặm tử phần Hồn quê theo mây Tần xa xa (2235) (Sad distant memories Of all the elms at home she knew returnes to trouble Kieu; how far away her village seemed!) Tấc lòng cố quốc tha hương Đường nỗi ngổn ngang bời bời (2245) (Her brain became confused ; Nostalgic thoughts within her mind Of loved ones left behind; The present, as a lonely wife; And in her recent life Adventures, grief, misfortunes, pain, Grew like a tangled skein 42 Of mixed impressions blurred and dim.) Lost space, a form of adventure/JOURNEY space is a very specific space for fiction; where people are forced to live outside their inherent limits and frameworks, alone against the world Bakhtin considered it a space to reveal man in man However, in English translation of The tale of Kieu, some words can’t be changed directly like “bốn phương”, “tha hương”, “Đường kia”; Micheal Counsell had to base on context and story to convey the author's metaphorical notion It is one of differences between Vietnamese and English denoting LOVE IS A JOURNEY of The Tale of Kieu It can be said that the differences between the two languages can originate from different cultures, environments and living conditions 4.3 OBSTACLES IN LOVE THROUGH CONCEPTUAL METAPHOR LOVE IS A JOURNEY The Tale of Kiều is a medieval, metaphorical classical literary work in the orbit of Eastern poetry Here metaphors have little cognitive value, findings but heavy on expressive value Expressive metaphor has a type that expresses transient, fleeting emotions There are constant emotions Because of the heavy sense of constant expression, people often use familiar metaphors such as proverbs These metaphors are not discrete, individual but a cluster, a set that represents a plump phenomenon and an integral emotion Feeling of weakness, brokenness, obstacles in love through the movement (journey) of very familiar images of Vietnamese people: Gió mưa âu hẳn tan tành nưóc non (676) (then all we love today Would be destroyed by storms untold;) Rõ ràng hoa rụng hương bay (2996) (They thought that she had left 43 Her present life for evermore;) Phận phận bạc vôi, Đã đành nước chảy hoa trôi lỡ làng (753) (Why is my fate so cruel? My life’s flower cast on the stream) Vì rụng cải rơi kim Để bèo mây chìm (769) (But why must iron and magnet part?) Rằng bèo bọt chút thân Lạc đàn mang lấy nợ nần yến anh (1095) (she whispered, “I’m of no esteem, The flotsam on life’s stream, One homely little sparrow strayed, All lonely and afraid, Midst orioles and swallows fair.) Phận bèo bao quản nước sa Lênh đênh đâu lênh đênh (2019) (Why should a mere weed care at falling in the stream once more? I drifted to this shore and I shall drift away againe) Nghĩ mặt nước cánh bèo (2475) (I’m only just a floating flower) Chẳng bách dòng E dè sóng gió hãi hùng cỏ hoa (2485) (Is such a course not more 44 worthwhile than drifting like a boat that tries to keep float in swirling currents, frightened stiff of every little whiff of wind or shock of any wave?) The images “hoa rụng hương bay”, “nước chảy hoa trôi”, “rụng cải rơi kim”, “bèo bọt”, “phận bèo”,”lạc đàn”, “lênh đênh”, “chiếc bách dòng… have created a very national sense Images of “sóng gió – gió mưa” (waves, storms and rain), cánh bèo, “nước sa”, “bèo mây chìm”, “mặt nước cánh bèo” suggesting a river, stormy and flood environment that Vietnamese are very familiar with At the same time, images in Duong's poetry blend with images of idioms of proverbs, creating a new quality for Vietnamese literary language The metaphorical images in the Tale of Kiều are all sexy images Clearly the journey of love is not easy To get the final destination, to live together, the travelers on this journey must go through a lot of hardships, overcoming many obstacles and challenges (“sóng gió”, “giữa dòng”) But not everyone departs to the desired destination; but instead is an unfinished, floating, undetermined journey (“nước chảy hoa trôi”, “rụng cải rơi kim”, “bèo bọt”, “lạc đàn”, “lênh đênh”,) Table 4.5 The similarities in the conceptual metaphor LOVE IS A JOURNEY denoting love obstacle in English and Vietnamese version of The tale of Kieu English flower cast on the stream/ flotsam on Vietnamese Nước chảy hoa trôi/bèo bọt/mặt nước life’s stream (or: a mere weed) / a cánh bèo floating flower strayed/drifted/swirling currents Waves/wind/storms/ falling in the Lạc đàn/lênh đênh/ dịng Sóng gió/gió mưa/nước sa stream 4.4 THE IMAGE OF HORSE IN THE TALE OF KIEU * HORSE WITH THUY KIEU AND KIM TRONG 45 “Vó câu” are the footsteps of the horse, the HORSE in Nguyen Du's Kieu Story Together with the characters and other animals in the Tale of Kiều, we glimpse the HORSE figure throughout the life of the fateful Kieu Horses in the Tale of Kiều are the means of transport that the ancients used to travel on roads In The Tale of Kieu, this means is used as une conceptual metaphor to describe love Throughout the story of Kieu, we often see Kieu wandering from one place to another by “xe châu” and “xe hương”, but not having to carry a noble but to transport a body, a broken and suffering soul And one more thing is that the men related to her life Kieu used horses as a means to come to her or take her away We know that people use horses to ride, or sit on horse-drawn carriages The horse in the Tale of Kiều is sometimes expressed in horse words, sometimes in metaphorical words to refer to this animal, such as: “Ngựa câu”: “câu” means a two-year-old horse, a young horse, a young and healthy horse “Vó câu”: The foot is hoofed, like the feet of cattle and buffalo “Roi câu”: Whip uses horse control “Dây cương”: The leather strap is tied to the tin of the horse's muzzle to control the horse Using the bridle to control the horse which not allow the horse to run freely “Tay khấu”: “khấu” is a horse's head tied with a reins When the horse is running, the rider pulls the horse to slow down or the horse stops “Tay khấu” is the handle of the horse's bridle to take the horse a leisurely walk or to stop “Nhạc vàng”: The neck of the horse usually wears a rattlesnake which is a small bronze bell in a string, when the horse is walking or running, the rattles are resounding like music Using “vàng” in “nhạc vàng” is saying "to speak beautifully, to use beautiful words to talk about good man" [1] “Yên” (Saddle): The part is covered with leather, soft cushion is placed on the horse's back so that the horse rider can ride the horse The saddle used in the military is called “nhung an” for the horsemen (“kỵ sĩ”) in the cavalry (“Ba thước gươm cỗ nhung an” – Chinh phụ ngâm) If an elderly person rides a horse on a 46 long distance, relying on the saddle is a soft, smooth pillow, which is called “gối yên” And in The tale of Kieu, we also see the horse-drawn carriage, “xe ngựa”, sometimes called “xe châu” which is the kind of horse-drawn carriage with the veil made from jewels of pearl beads, indicating “xe tang” for carrying the casket of dead man to bury But “xe châu” also refer to the horse-drawn carriage of luxury people In addition to “xe châu”, there is also “xe hương”, also a carriage for noble women to sit Appearing first in the Tale of Kiều is the image of “ngựa xe” (the chariot): Dập dìu tài tử giai nhân Ngựa xe nước, áo quần nêm (48) (Fair ladies passed along and noble, well-dressed gentlemen The crowds divided when each vehicle and horse would pass.) That's the scene Thuy Kieu sisters go to the grave in Thanh Minh festival (the day ordained) in March During the festival, the horse-drawn carriage goes back and forth one after another, from layer to another layer like flowing water, creating a large image of the people using the carriage vehicles participating in the festival On the way home, in the cemetery, Kieu discovered a neglected tomb without perfume of joss-sticks She was explained the life of the person who’s buried here is a girl named Dam Tien – a singer who was very famous for her talent, but when she died , the owner intended to throw her body in the stream A distant visitor came to visit her soon after she had died Buồng không lặng ngắt tờ, Dấu xe ngựa lờ mờ rêu xanh (71) (He entered with a frown and found her room sad, silen, cold and empty Where of old the horse and carriage used to pass, the ruts were sprouting grass.) 47 He cried and worried her burial, using “xe châu” (funeral service) to bury her: Sắm sanh nếp tử xe châu Vùi nông nấm cỏ hoa (77) (He had made, from a wedge of teak her coffin, and with pearl adorned her hearse The girl was buried here, where flowers and weeds grew on the grave) For the first time Kieu met Kim Trong, the initial encounter signaled a couple's love through the details of transport images When Kieu sisters are not sure if they should stay or go (“dùng dằng nửa nửa về”), they hear the sound of tinkling bells: Dùng dằng nửa nửa về, Nhạc vàng đâu tiếng nghe gần gần (135) Trông chừng thấy văn nhân, Lỏng buông tay khấu bước lần dặm băng (137) Đề huề lưng túi gió trăng, Sau chân theo vài thằng con Tuyết in sắc ngựa câu giòn Cỏ pha màu áo nhuộm non da trời (140) (They stood, uncertainly not sure if they should stay or go, when, musical and low, the sound of tinkling bells grew clear A scholar soon drew near riding a sturdy snow-white steed; So lively that, indeed, his pageboys scarce could keep apace His robes glow with a grace in which grass-green with sky-blue blends;) 48 It was Kim Trong riding a horse carrying bronze rattles that echoed the music, coming to Kieu sisters from a distance, drawing everyone's attention The beauty of Kim Trong when sitting on the saddle "lỏng buông tay khấu" is in harmony with his leisurely manner Nguyen Du used the image of the horse subtly (the white male horse), but also described the horse's form and demeanor: “ngựa câu” is a good, young horse; “giòn” is its steady and healthy walks In the translation version of Michael Counsell, the details of the horse described the appearance of Kim Trong are “nhạc vàng” – “tinkling bells”, “tay khấu” and “ngựa câu” – “snow-white steed” With the appearance of people and horse, everything is so smooth, talented boys and girls meet each other in the sunset scene of a leisurely spring trip Tuyết in sắc ngựa câu giòn Cỏ pha màu áo nhuộm non da trời (140) In order to describe the color of the horse's hair, Nguyen Du wrote: “Tuyết in sắc ngựa câu giòn”, he reversed the sentence, the word prefix first, the subject word later, different from the usual saying "the horse is as white as snow", the image of Kim Trong appeared before the eyes of a beautiful beauty, to start a love story and a long life story called the stage The horse image is repeated in the following two sentences to describe the first meeting between Thuy Kieu and Kim Trong Nẻo xa tỏ mặt người Khách đà xuống ngựa tới nơi tự tình (142) (But when he saw Vuong – Quan and his two sisters, straight away he stopped, and came to pay his compliments.) and: Bóng tà giục buồn, Khách đà lên ngựa, người ghé theo (Kim has already made 49 A move to mount upon his horse And as he left, of course, A furtive glance the shy girl took.) At first, Kim Trong appeared as an elegant gentlement, this isn’t described directly, but through details of his horse such as: “nhạc vàng” (horse music), “lỏng bng tay khấu”, “ngựa câu giịn”, “tuyết in sắc ngựa”… He slowly approached Kieu's sisters, gotting off the horse Kieu and her sister were shy, their brother greeted Kim Trong because they were friends Without an appointment, but to meet in the spring tour, through eyes and smile, Thuy Kieu - Kim Trong, they fell in love with each other: Người quốc sắc kẻ thiên tài, Tình mặt ngồi cịn e (Despite her modest care To hide her feelings, Kieu, whose grace And loveliness of face Was ranked all other girls above, Was loved by and in love With Kim whose talents were supreme.) And when it was nearly dark, Kim Trong could not linger, so the scene “upon his horse” (lên ngựa) – Thuy Kieu is shy but give him “a furtive glance” (người ghé theo) The moment of separation of the couple in the first meeting brought many feelings of love The horse image is shown in two verses (“xuống ngựa” – “lên ngựa”) describing the early love between Thuy Kieu and Kim Trọng * HORSE WITH THUY KIEU’S LIFE To portray Kieu's life with many difficulties and sadness, when her family was in distress, Kieu’s father, Vuong Ong was unjustly accused: Người nách thước kẻ tay đao, Đầu trâu mặt ngựa ào sôi (577) (But suddenly, at least A dozen ugly thugs, all armed 50 With clubs and daggers, swarmed From all four sides, round and about.) Ugly thugs arrest Thuy Kieu's father, she had to sell herself to ransom her father She thought her love with Mr Kim was over Tái sinh chưa hương thề, Làm thân trâu ngựa đền nghì trúc mai (708) (I’ll keep in my rebirth the incense of our vows aglow, as horse or buffalo, to serve you and to pay the debt) She had to follow Ma Giam Sinh, who said that she bought Kieu as a wife, but he sold Kieu into prostitution with 15 years of living in her life Leaving family and hometown, Thuy Kieu came to Lam Truy, on the path of misfortune: Vó câu khấp khểnh, bánh xe gập ghềnh (870) (Kieu left with heavy heart for ten miles of uneven road the horses, stumbling, towed the coaches to another inn) “Vó câu” – “the horses”, “khấp khểnh”, “gập ghềnh” – “uneven road”, “stumbling” Sitting in the carriage, Kieu thought sadly about her life, she lamented all the time In the flesh-pot, Thuy Kieu met So Khanh: Rằng: “Ta có ngựa truy phong” (1107) (I have some very speedy steeds.) Cùng bước xuống lầu, Song song ngựa trước ngựa sau đoàn (Together down the stair They stole to where the horses stood; As softly as they could They rode away in single file.) “ngựa truy phong” – “speedy steeds” means the horse run fast like wind, a strong 51 horse Unfortunately, So Khanh is actually a decoy, he wants to push her into prostitution again, led her into the trap of Tu Ba Being hold in prostitution, Kieu met Thuc Sinh, a generous and kind man Thuc Sinh is infatuated with Thuy Kieu's talent He had redeemed Kieu away from the brothel, marry her as a concubine, although his father did not agree and sued him Admiring Kieu's talent, the judge let Thuc marry Kieu They lived together for a while, then Thuc returned to visit his eldest wife, Hoạn Thư: Người lên ngựa, kẻ chia bào (1519) (Thuc, slow and taciturn Mounted his horse and rode away) The image of the horse appeared again to describe the separation between Thuy Kieu and Thuc Sinh, “người lên ngựa” (mounted his horse) – “kẻ chia bào” Far from Thuy Kieu, Thuc Sinh is not happy He listened to his neighbors and his wife's opinion Knowing that Thuc married Kieu, Hoan Thu was still happy because she had already prepared a plan Hoan Thu advised him to visit his parents But his parents moved to another place: Vó câu thẳng ruổi nước non quê người (1602) (He hastened to depart And rode off over hills and streams Towards where all his dreams Were focused in that foreign town.) The horse was describe by the image of “vó câu”, “thẳng ruổi” – it means Thuc Sinh’s horse runs very fast In translation version of Micheal Counsell, he used “rode off” – that means Thuc Sinh rode the horse About Thuy Kieu, when Thuc Sinh was away, Thuy Kieu was immediately arrested by Hoan Thu: Vực lên ngựa tức (1647) (The ruffians rushed to sweep The now unconscious girl with force Straight up onto a horse 52 That they had waiting by the gate) Thuc Sinh did not know that Thuy Kieu had fallen into a plot of Hoạn Thu One moonlit night, Thuy Kieu escaped from the hands of Hoan Thu and took refuge in the temple where there is an abbot named Giac Duyen * HORSE WITH HERO AND SUCCESSFUL 53 ORGANIZATION OF THE STUDY Chapter 1: INTRODUCTION Chapter 2: LITTERATURE REVIEW AND THEORICAL BACKGROUND Chapter 3: RESEARCH METHOD AND PROCEDURE Chapter 4: FINGDINGS AND DISCUSSION Chapter 5: CONCLUSIONS TIMELINE OF THE STUDY The proposed timeline for the research is described as follows: 05/01/2020 –15/03/2020: Specifying topic of research proposal Finish writing Reseach Proposal 17/8/2020 – 03/9/2020: Write the Introduction of the Research 07/9/2020 - 30/9/2020: Write the Literature Review 30/9/2020 – 20/10/2020: Collect data 20/10/2020 – 10/11/2020: Write the Methodology and Procedures part, describe the information and the process of collecting data 11/11/2020 – 05/12/2020: Begin analyzing the data and write the Discussion and Findings Part 05/12/2020 – 2012/2020: Write the Conclusion and Implication part 05/11/2020 – 10/11/2020: Write the Referencens of the Research 10/2/2020 – 15/3/2020: Editing the Research REFERENCES English books: [1] George Lackoff and Mark Johnson (1980), METAPHOR We Live By, The University of Chicago Press, Chicago and London [2] Phan Thi Huong (2011), The metaphor “Love is a Journey” in English and Vietnamese, VNU Journal of Science, p.176, Foreign Language 27 54 [3] Phan Van Hoa, Ho Trinh Quynh Thu (2016), “Terms of location in English and Vietnamese metaphorical expressions of love” Journal of Science and Technology p.67, ISSN 1859 -1531 [4] Michael Counsell (2011), Kieu (Bilingual Vietnamese – English) [5] Phan Van Hoa, Ho Trinh Quynh Thu (2016), “Terms of Sensory Perception in English and Vietnamese Metaphorical Expressions of Love”, International Jounal of Language and Linguistic p.47 -52 [6] Gibbs R., “Taking metaphor out of our heads and into the cultural world”, in Metaphor and cognitive linguistics, Amsterdam: John Benjamins, 1999, pp.145-166 [7] Kövecses Z., “Metaphor and Culture”, Acta Universitatis Sapientiae, Philologica, 2(2), 2010, p 197-220 [8] Hồ Trịnh Quỳnh Thư (2011) “An Investigation into Conceptual Metaphor Expressing “Love”, “Like” and “Hate” in English and Vietnamese” Master Thesis, The University of Danang Vietnamese books [9] Đào Duy Anh (1974) Từ điển truyện Kiều NXB Khoa học xã hội, Hà Nội [10] Đinh Trọng Lạc, Nguyễn Thái Hòa, Phong cách học Tiếng Việt, Hà Nội, NXB Giáo dục, 1995 ... land) Similarly, Nguyen Du also described the mood of people leaving their families, leaving their homeland, and going to a foreign land Their love for their family and homeland became an infinite... Tale of Kieu, the separation is also expressed in the feelings of people with their homeland, the origin For the middle man, his family, his origin and his homeland is a guarantee of peace and value,... understanding of each participant, including their opinions, opinions and attitudes Qualitative research collects data in a qualitative way, and analysis methods are mainly qualitative This usually