Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).Thi pháp thơ lục bát hiện đại (qua một số trường hợp tiêu biểu).VIETNAM ACADEMY OF SOCIAL SCIENCES GRADUATE ACADEMY OF SOCIAL SCIENCES NGUYEN QUOC KHANH PROSODY OF MODERN SIX EIGHT METRE (VIA TYPICAL CASE STUDIES) Major Vietnamese Literature Major code 9 22 01 21.
VIETNAM ACADEMY OF SOCIAL SCIENCES GRADUATE ACADEMY OF SOCIAL SCIENCES NGUYEN QUOC KHANH PROSODY OF MODERN SIX-EIGHT METRE (VIA TYPICAL CASE STUDIES) Major: Vietnamese Literature Major code: 9.22.01.21 ABSTRACT OF DOCTORAL THESIS IN LITERATURE Hanoi, 2023 The thesis is completed at: VIETNAM ACADEMY OF SOCIAL SCIENCES GRADUATE ACADEMY OF SOCIAL SCIENCES SUPERVISORS: Associ.Prof.Dr Nguyen Van Dan Associ.Prof.Dr Nguyen Thi Bich Thu Reviewer 1: Associ.Prof.Dr Ngo Van Gia Reviewer 2: Associ.Prof.Dr Le Thi Duc Tu Reviewer 3: Associ.Prof.Dr Pham Thanh Hung The dissertation is defended at the Graduate Academy-Level Council of Thesis Assessment at Graduate Academy of Social Sciences, no 477 Nguyen Trai, Thanh Xuan, Hanoi At ………… Dated ……… month …… …year 2023 The thesis can be found at: - Vietnam National Library; - Graduate Academy of Social Sciences Library INTRODUCTION Rationale of the thesis The modern six-eight metre inherits from the quintessence of national culture, from treasures of folk songs and folk tunes Poets who have been very successful with six-eight metre are Tan Da, To Huu, Nguyen Binh, Huy Can, To Huu, Bui Giang, Nguyen Duy, Dong Duc Bon, Pham Cong Tru… From the very poetic perspective, it can be seen that modern six-eight metre is divided into two tendencies, a folk one (Nguyen Binh, Nguyen Duy, Dong Duc Bon ) and a classic or scholarly one (Huy Can and partly expressed by Bui Giang…) At both of these tendencies, the modern six-eight metre has its own successes and distinctive imprints It shall be learned thereof from poetic perspectives such as genre, structure and language; thereby tendencies in composition during the movement and development of this genre are indicated Objectives and tasks of study in the thesis 2.1 Objective of study The prosody of modern six-eight metre will be studied in different aspects: genre, language, structure, and imprints of folk and classic tendencies in the compositions of representative poets of the modern sixeight metre Features in the process of the six-eight metre from folk to modern are also pointed out The movement of the genre from folk songs to modern poetry, the process of changing the structure of six-eight metre, the language of six-eight metre from traditional to modern are studied as well 2.2 Tasks of study The topic aims at understanding the process of formation and development of the genre of six-eight metre, generalizing its development stages; learning the structure of the modern six-eight metre; the language of modern six-eight metre via typical case studies and pointing out two tendencies of composition in the process of movement and development of the six-eight metre Objects and scope of study 3.1 Objects of study Objects of the thesis are firstly modern six-eight metre of typical poets (Nguyen Binh, Huy Can, Bui Giang, Nguyen Duy) from a poetic perspective In an effort of learning about the modern six-eight metre, it is based on theories of poetics, finding out the most basic poetic features of the modern six-eight metre from aspects such as genre, structure and language in the movement and development of the six-eight metre style 3.2 Scope of study To perform this study, collections of outstanding poems such as Lỡ bước sang ngang (Nguyen Binh, 1940), Tâm hồn (Nguyen Binh, 1940), Lửa thiêng (Huy Can, 1940); Mưa nguồn (Bui Giang, 1962); Lá hoa cồn (Bui Giáng, 1963); Cát trắng (Nguyen Duy, 1973); Ánh trăng (Nguyễn Duy, 1984); Đường xa (Nguyễn Duy, 1989), and some works composed by Tan Da, To Huu, Pham Cong Tru, Dong Duc Bon, etc are surveyed thereof In addition, some six-eight metre poetic works in medieval Nom folk songs and poetic stories are also selected Methodology and study method of thesis - Such theories of poetics as genre method, statistical method, comparative method and structure method are applied New scientific findings of the thesis It contributes to understanding the prosody of modern six-eight metre, clarifying the movement process of the genre, composing trends in the movement and development of the six-eight metre Imprints of these two composing trends are indicated in the works of typical six-eight metre poets The transformation of the six-eight metre is from the poetic perspective to composing, from traditional to modern Thence it is possible to decode the eternal vitality of the six-eight metre Theoretical and practical significance of the thesis - Theoretically, basing on definitions, concepts on prosody, poetic prosody, concepts on the prosody of six-eight metre are suggested, which act as basis for deploying matters of study - Practically, from the results of studies on prosody, poetics, and poetic prosody in the world and in Vietnam, we study the prosody of modern six-eight metre in aspects of genre, structure, language to realize the movement of the two tendencies of folk and classic compositions in the six-eight metre of some typical authors Structure of the thesis In addition to the introduction and conclusion, it is comprised of four chapters: Chapter 1: Literature review Chapter 2: Establishment and development of the genre of six-eight metre Chapter 3: Structure of modern six-eight metre Chapter 4: Language of modern six-eight metre Chapter LITERATURE REVIEW 1.1 Concepts about prosody, poetics, poetic prosody 1.1.1 Concepts about prosody, poetics, poetic prosody Prosody is the study of aspects of form with content In fact, the tasks of prosody are to study a closed artistic world of texts and to supplement the extra-textual approaches such as sociology, culturology, biographical method Poetics is one of the scientific disciplines with a long history in human history In the West, the popular term "poetics" today is derived from the Greek word "Poetika" This term is a shortened word of the phrase "Poetika tekhne", it means the method, the art of poetic writing, expressed clearly in the work Peri Poetikes of Aristotle (384-322 BC) In Vietnam, the term was originally translated as "talking about the art of poetry" or "the art of poetry" According to Tran Dinh Su, if Aristotle's work is translated "the art of poetry", it is no longer appropriate The term "poetry" is no longer consistent with today's concept, so the phrase "the art of poetry" should be transformed into prosody, and the study of the prosody is called “poetics" If in the West, Aristotle with his work The Art of Poetry laid the first bricks in the study of poetics, in the East, Luu Hiep was also evaluated in the same way with Văn tâm điêu long It can be said that Văn tâm điêu long is the first complete literary theory work of Chinese literary theory It seems to deal with all issues of literature: from content and form to genre, style, development history in addition, Luu Hiep also devoted efforts to discussing creativity in literature His viewpoints have contributed significantly to the study of poetics 1.1.2 Concepts on the poetic prosody In this thesis, it is tending to use the connotation of the concept of poetics in the first way of understanding, which is poetics in the literal meaning Thus, the concept of poetic prosody is close to the one of poetry and poetics (in the narrow meaining), i.e the study of poetic form, such as structure, rhyme, rhetoric, etc of poetry, refers to the study of all the formal aspects of literature 1.2 Foreign studies of poetic prosody The Art of Poetry by Aristotle is the first work of poetic prosody It was written aiming at providing a standard framework on which writers or poets relied to compose a tragedy, an epic, like the Rhétorique, which proposes golden rules for writing a lecture; Prosody also plays another role to investigate the origins of art and to present the basic foundations for examining poetic structure Firstly, Aristotle determined that arts came from imitation If it was understood that "poetry" included "literature" in the West, it was vice versa “poetry” included "literature" in the East In ancient times, the concept of Literature or Poetics was understood as education, cultural knowledge Nevertheless, the concept that “literature” include “poetry”, because of very wide concept of literature, when talking about literature as an art, “Literature” was not used but “Poetics” instead by Chinese researchers If understood in Chinese language, "Poetics" is the first method of poem writing This understanding is not too far from the spirit of Aristotle because he also discussed the art of poetry Therefore, regardless in the East or the West, Aristotle's Poetics continues to thrive The poetic dialogue books in China have made many profound discoveries about the art of using words, composition, images, metre, cadence about poetry Researchers of the Russian formal school had many important works in the study of poetry and poetic prosody later These are also important suggestions for domestic researchers to produce works on poetic prosody 1.3 Studies of the six-eight metre and its prosody 1.3.1 Studies of the six-eight metre By receiving theories of prosody in general and poetic prosody in particular, studies in Vietnam have obtained significant achievements in this field Phan Ngoc in the work of Nguyen Du style in The Tale of Kieu took choice as basic specific principle for study, who actually bring new findings in the art structure of The Tale of Kieu and Tang poetry Phan Ngoc’s success pertains to his finding method The Poetic language by Nguyen Phan Canh is a work that is both theoretical and universal, addressing many issues of poetry that are remarkable by readers This is the first work in Vietnam written on poetic features of poetic language from the viewpoint of structuralism of a linguist An in-depth study of the genre that is firstly to mention is the Six-eight metre and double seven six-eight metre (1998) by Phan Diem Phuong In this study, common matters in the genre of poetry such as the birth and development of these two metres have been solved relatively thoroughly from the viewpoint of the prosody structure of the genre It is a remarkable step forward in defining the orthodox form of the traditional metre This work also follows the trend of Ha Minh Duc's treatise “Poetry and problems in modern Vietnamese poetry” (1974) However, author Phan Diem Phuong has given and solved this problem in a more focused and comprehensive way To Huu poetic prosody by Tran Dinh Su is a work meaningful for poetic prosody studies in Vietnam He analyzed and assessed the issues thoroughly in different levels in both content and form The tone of lyric poetry (via typical poets of the New Poetry movement) by Nguyen Dang Diep is the first work studying the most complex problems of modern poetics – Artistic tone Nguyen Dang Diep has studied tone in many aspects: expression aspect; expression mode; tone levels; tone styles Nguyen Xuan Kinh absorbed the concept of poetics from Russian scholars He understood that the study of poetics was to point out the artistic essence of the work, to show the reason for the existence of the form He studied the poetic elements in folk songs from language, genre, texture, time and art space, symbols and images His Prosody of Folk songs is one of the typical works on Vietnamese folklore prosody, including studies of folk songs from the perspective of genre prosody In addition, there are a number of research works on six-eight metre which have contributed generally to the formation of features and characteristics of sixeight metre and verse in literary history 1.3.2 Studies of prosody of six-eight metre by some typical authors In the Nguyen Binh – a poet of countryside by Ha Minh Duc, it is assessed that one of the greatest contributions of Nguyen Binh is to bring us to return to folk songs and to the rustic songs of countryside The loneliness in him is the loneliness of the times, showing a clear change in the subject of composition in modern six-eight metre The work The three culminations of New poetry by Chu Van Son mentioned Nguyen Binh on various aspects, of which he indicates features that create Nguyen Binh poetry are the uncomplete ego, the tone of the countryside, the offspring of the sixeight verse up and down in the countryside It is seen that Nguyen Binh’s composing in folk tendencies is a natural thing because his soul is always directed to the village, so in his composition subjects, images, space, language are all associated with countryside; and folk tendencies are the very cradle nurturing Nguyen Binh's six-eight metre Huy Can Poetic Prosody, treatise by Tran Khanh Thanh, published in 2001 by Literature Publishing House continues studying in poetics through cases of a single author The main issues addressed are the concept of art, art time and space, and expression methods This is the very basic approach of poetics In the work Bui Giang’s poetic language style, Nguyen Duc Chinh finds out typical matters in his six-eight metre such as structure of six-eight metre, musical characteristics in the language of Bui Giang's poetry (characteristics of tone and melody combination in the language of Bui Giang's poetry); the art of pacing in Bui Giang's poetry, the author said that Bui Giang's six-eight metre has additional structures including cadences: 1/1/2/4, 1/2/3/2, 1/3/2/ 2, 3/1/1/1 and structures with cadences: 1/1/1/1/2, 1/1/1/1/4, 2/1/1/1/1, 2/2 1/1/1/1 In regards of rhyme, the author also affirmed that Bui Giang's six-eight metre has many repetitions in rhyme harmony, this is also one of the special features of Bui Giang's six-eight metre in comparison with other ones Regarding linguistic means in Bui Giang's poetry, the author listed some of the following characteristics: oral language, proverbs, reduplicative words, Kieu verses these are quite distinctive features of Bui Giang’s poetry In the treatise of Nguyen Duy – a Vietnamese Modern Poet, La Nguyen surveyed his poetry from three levels: worldview language, body language, and lyrical tone The first level is the language of operating artistic thinking; the second one is the language of organizing lyrical emotions; The third one is the language of organizing poetry These three language levels exist in an interdependent, mutually influencing relationship, forming the unique semantic structure of each genre of poetry Subconclusion of Chapeter Studies on six-eight metre is rather diversified and plentiful In the aspect of poetics, few works studying about the movement of the prosody of six-eight metre by two main tendencies: folk and classic ones Some works delve into the study of six-eight metre from the poetic perspective of genre, language, time, and space However, there is not any work scrutinizing the matters of six-eight metre through the aspects of folk and classic styles Studies on the modern six-eight metre should focus on studying the movement of the genre; structure; language through typical authors Thence the eternal vitality of sixeight metre is deciphered as a traditional poetic form Folk and classic styles make that eternal vitality But the spirit of the times makes the six-eight metre modern Those are the issues that will be clarified in the next chapters Chapter ESTABLISHMENT AND DEVELOPMENT OF THE GENRE OF SIX-EIGHT METRE 2.1 Establishment of the genre of six-eight metre The genre of six-eight metre has existed for a long time, and has been developing through the words and voices of ancestors passed on to their descendants, through proverbs, folk songs and folk tunes 2.1.1 Establishment of Vietnamese tones According to A Haudricourt, until the early Christian Era, the languages of the Mon-Khmer lineage were non-tonal From the 6th - 12th centuries, Vietnamese language underwent a process of splitting from tones into tones: Common even accent - grave accent line: voiceless sounds > voiceless sounds = even accent voiced sounds > voiceless sounds = grave accent Common accute accent-dot below accent line: voiceless sounds > voiceless sounds = accute accent voiced sounds > voiceless sounds = dot below accent Common question accent-tilde accent line: voiceless sounds > voiceless sounds = question accent voiced sounds > voiceless sounds = tilde accent Accordingly, as long to 12th century (after six centuries of establishment and completion), the Vietnamese tone system was completed Opinions that the six-eight metre was born before the 6th century lack a scientific basis, because if the tonal system had not been born, the genre of six-eight metre would not have been existed before 2.1.2 Thinking of the six-eight metre Artistic thinking is different from scientific one in that, thought and emotion are not only the energy of thinking but also the perceived object of thinking Thus, it can be said that the linguistic means (tonal system) is the first factor to be taken into account when learning the origin of the six-eight metre However, the genre of six-eight metre needs not only rhyme and the number of syllables in each line, but also a strict rule of rhythm and tonal coordination in order to have overall harmony Up to 67% of Vietnamese proverbs are rhyming ones The phenomenon of rhyming in proverbs clearly shows the thinking way on rhyming by Vietnamese people: Bút sa gà chết (Material damage incurred if making a wrong decision by signing) Của đồng công nén (small economic value, but great effort to it) Ếch tháng ba gà tháng bảy (frog is delicious in Spring, chicken in Summer) 2.2.2 The genre of six-eight metre in medieval poetry We have specified that the need of expressing emotional states governs the genre of six-eight metre as mentioned above When thinking about the six-eight metre it has made great steps ahead, along with the need for expression on a greater scale and in a larger space, it is no longer around the banks of ponds, bamboo ramps, fields, and wharfs… Then, the genre of sixeight metre is used as means of reflecting a larger world and a more multidimensional life By studying the works of Đào nguyên hành (Phung Khac Khoan), Tư Dung vãn (Dao Duy Tu), Thiên Nam ngữ lục, Cổ Châu Phật hạnh it can be seen that, at this stage, the genre of six-eight metre was still in free, loose state From folk songs, the six-eight metre takes new advances: there is a change in the way of breaking syllables and rhyming, which is most clearly shown in the works of The Tale of Kieu by the great poet Nguyen Du and Lục Vân Tiên by Nguyen Dinh Chieu The Tale of Kieu by Nguyen Du is a brilliant culmination of the type of Nom poetric stories, and at the same time a brilliant peaks of Vietnamese literature The genre of six-eight metre in The Tale of Kieu is also more standardized and perfected As compared with the six-eight metre in folklore, the genre of six-eight metre in the Tale of Kieu has no longer variations It can be seen that the genre of sixeight metre in The Tale of Kieu is a pure type of six-eight metre that inherits the six-eight metre verses of the eighteenth century 2.2.3 The genre of six-eight metre in modern poetry Following the flow of six-eight metre from folk songs, many successful authors with this form of poetry were recognized in the medieval and modern literature In medieval poetry, the narrative function of the six-eight metre was promoted when the main mission of this literary paradigm was to carry morality However, in the modern poetry, the six-eight metre has returned to its inherent lyrical function Poetic stories seem to have ended its historical mission with the culmination of The Tale of Kieu by Nguyen Du Folk songs are often comprised of six-eight metre verses, while poetic stories are done of hundreds or thousands of consecutive hexagons, the modern six-eight metre tends to short poems of the six-eight metre, which can be divided into stanzas or undivided The six-eight metre then shows changes in form The eternal vitality of six-eight metre has been 11 indicated by Tan Da and new poets like Nguyen Binh, Huy Can, etc and Bui Giang, Nguyen Duy, Dong Duc Bon later The six-eight metre currently follows two main tendencies: the folk one (Nguyen Binh, Nguyen Duy, Dong Duc Bon ) and the classic one (Huy Can, The Lu ) However, a combination of these two tendencies are shown in composition for some authors, such as Tan Da, Bui Giang Subconclusion of Chapter In the folklore, folk songs (somewhat proverbs) are the cradle contributing to the formation of the six-eight metre In folk songs, many factors that are necessary and sufficient conditions to form this genre are met: the formation of Vietnamese tones, the aesthetic thinking of Vietnamese people, the people’s need to reflect the human emotions and feelings are the factors contributing to the formation of the six-eight metre It is said that, through a process of selection and elimination, one of the successes of folk songs in terms of genre is to form a relatively complete pattern for the six-eight metre In the period of modern literature, poetic stories continued the source of the six-eight metre, and its culmination in this period was the Tale of Kieu by Nguyen Du who upgraded the level of six-eight metre to the classic pattern Chapter STRUCTURE OF MODERN SIX-EIGHT METRE 3.1 Structure of six-eight metre pattern 3.1.1 Structure of six-eight metre pattern and its variants The forming of an existing pattern in folk songs is the very method of rhyming, tone and cadence harmonization, which is also the basis for the development of the genre of six-eight metre later A pair of six-eight metre in the folk songs brought almost sufficiently all the typical elements of the genre By temporarily skipping a process of sorting and selection (rhyming uneven syllables, rhyming the sixth syllable of the six-syllable verse and the fourth syllable of the eight-syllable verse, adding and subtracting number of syllables in the six-syllable verse and the eight-syllable verse ), the sixeight metre in folk songs shapes the original rather completed pattern as follows: 12 Line Position of sound 6-syllable Even Uneven Even verse (syllable) 8-syllable Even Uneven Even Even verse (syllable) (syllable) 3.1.2 Six-eight metre variants: The six-eight metre varies in folk songs in many forms: The break in genre is reflected in rhyming the 6th syllable of the sixsyllable verse with the 4th syllable of the eight-syllable verse; - Changing the number of sounds in the six-syllable verse, keeping the same unchanged in the eight-syllable verse; - Changing the number of sounds in the eight-syllable verse, keeping the same unchanged in the six-syllable verse; - Changing the number of sounds in both the six-syllable verse and the eight-syllable verse In the medieval literary period, the phenomenon of six-eight metre variation remained in some poetic stories, but if The Tale of Kieu is considered as a pattern, the phenomenon of rhyming in the sixth syllable in six-syllable verses with the fourth syllable in eight-syllable verses no longer exist and 100% of the verses in The Tale of Kieu all comply with the rule of syllables in six-syllable verses and eighth syllables in eight-syllable verses However, in the modern poetry, poets sometimes use the six-eight metre variation to enrich the way they express their thoughts and feelings Several modern poets fail to attach pattern of the shaped six-eight metre but have unique ways in variation However, it is hardly that a work can be successful with the six-eight metre variation, but a varied work can mainly create new nuances to the writing style of poets of the six-eight metre 3.2 Text structure of in the modern six-eight metre 3.2.1 Narrative structure In folklore, the function of performance dominates the length of the folk songs, so folk songs are usually comprised of sentences with to pairs of 13 six-eight metre, which is perfectly suitable for the need of reflecting the emotion and feelings of the people in daily life and work In the medieval period, poetic stories flourished and occupied an almost unique position in literature The literary function of performance then gave way to the narrative function This is a narrative type capable of reflecting on the reality of society and people with a relatively wide scope The social life as well as author's conceptions and ideals of life are often expressed in the content of Nom poetic stories by describing and often in detail, narrating a relatively complete life of a character by a plot with a series of outstanding upheavals and events A wide range of such medieval poetic stories were born, composed in the genre of six-eight metre as the Story of Pham Tai and Ngoc Hoa, the Tale of Tong Tran and Cuc Hoa, Nhi Do Mai (The Plum Tree Blossoms Twice), the Story of the flower-letter, the Tale of Kieu, the Tale of Luc Van Tien In the modern literary period, the need of revealing the individual self has become the dominant tendency; poets’ or lyric characters’ feelings and thoughts toward the phenomena of life are expressed more directly The individualization of feeling and the subjectivity of expression are typical signs of lyric poetry Thus, the function of poetry has changed markedly The six-eight metre is then born with the characteristics that they have moderate volume from a few sentences to a few dozen six-eight sentences Thus, from the folk songs to the six-eight sentences in the Nom poetic stories and to the six-eight metre is a whole journey of the genre of six-eight metre The flexibility and diversity of modern six-eight metre has brought into play many advantages of this genre 3.2.2 Text structure of the modern six-eight metre There are works of the six-eight metre massive in volume but few in quantity Following the line of medieval Nom poetic stories, it is possible to mention Nguyen Binh with the Tale about zither (1548 verses) and The Drum in Spring Night (1976 verses); Pham Thien Thu with Post-tale of Kieu (3296 verses) and the epic Vietnamese lullabies (3320 sentences) In the modern six-eight metre, genres with massive volume are indicated when it has function of performance or propagating, but it is a special case of functions of the six-eight metre In summary, in the modern poetry, though 14 there are still a few works with hundreds or thousands of six-eight verses, it can still be affirmed that poetic stories have ended their historical mission after the Tale of Kieu because its narrative was left in the past and gave way to the modern poetry with its lyrical quality In the modern six-eight metre, poems are formed with complete structure and are divided into remarkable levels in text structure 3.3 Some typical structures of the modern six-eight metre 3.3.1 Dualistic structure (dualiality, parallel dualiality) Since ancient times, although duality has appeared naturally in Chinese poetry, it has not been recognized as a poetic measure Generally, the dualistic form in Vietnamese classic poetry absorbs the engineering of Chinese poetry and literature, but due to its own linguistic characteristics, there are certainly differences The principle of parallelism is one of the most important structures of poetry in general, and the six-eight metre in particular Moreover, it is spacious for this principle’s development and it contributes to raising the art of contrasting poetry to a new level The duality in the six-eight verses of the Tale of Kieu is quite diverse compared to other genres because odd 5-word, 7-word verses are unlikely to have variation like 6-word, 8-word verses, especially the balance when the number of words in the sentence is even In addition, in the parallel structure, reduplicative words play a particularly important role Researcher Thuy Khue said that reduplicative words could be considered as the smallest parallel unit in the language, a combination of sound and semantics between two equivalent or opposite elements, whose feature was of duality of life, bearing the image of yin and yang, the two factors that made up the living relationship of all species By this structure, the expressive, symbolic, onomatopoeic and figurative abilities of reduplicative words are interpreted, helping readers and listeners not only recognize objects by their names, but also visualize their looks and hear sounds and sometimes feel their movements Therefore, the reduplicative words have an important role in poetry, whose basic structure is based on images, music and emotions 3.3.2 Continuity and repetition structure Continuity and repetition is a way of organizing words in a repetitive way to repeat different units of a text in order to create new meanings for a 15 text that cannot be obtained when separating that unit There are the following methods: sentence repetition, word repetition, semantic repetition, syntactic repetition, etc In poetry, elements of repetition and continuity create a rhythmic repetition, this is a rhythm with repetition of an element or a sound contour For example, a rhythm repeats, overlaps in syllables, pitches, accents or tones; this is a rhythmic organization basing on repetition, it is associated with word repletion, semantic repetition, sentence-type repetition, listing method 3.3.3 Structure of the lyrical character's mood Since the medieval poetry period, the structure of modern six-eight metre has shaped according to the structure of the mood of the lyric character In medieval poetry, there were many paragraphs describing the character's inner and the surrounding space was covered by the character's mood, but these were only verses describing love scenes However, these are original clues to the lyrical six-eight metre later Tan Da can be considered as the initiator of the lyrical six-eight metre in Vietnamese poetry Thence after being born in the early sixteenth century, it would take 400 years for the six-eight metre to become lyrical It is clear that the sixeight metre and the lyrical six-eight metre not appear at the same time Thus, in the six-eight metre, the structure of the lyric character’s mood dominates the problems of poetic prosody: from structure, language, cadence, image Subconclusion of Chapter The format of a six-eight sentence given complete has been shaped in folk songs, this is deemed the first model of the genre of six-eight metre Through the development process, it is considered model with The Tale of Kieu by Nguyen Du Until the modern poetic period, the basic six-eight verse format still adheres quite closely to the structure and rhyme correspondence rules, however, there have many innovative points in the use of tone and rhyme, even innovation in Bui Giang's six-eight metre, but basically, the six-eight metre is not over the format that were shaped in the previous stages In folk songs, the function of performance dominates, so most of the folk songs were usually short in size, until the medieval poetry period, the narrative function played a dominant role, and most of the 16 compositions in the genre of six-eight metre were narrative The structure of the work composed in the genre of six-eight metre in this period is close to the structure of folk tales In the modern literary period, the narrative function has basically completed its historical mission to give way for the lyrical function of poetry There are still some works of singing and storytelling with a very large number of six-eight metre verses, but in general, the structure of modern sixeight metre has shaped distinct levels, from low to high: verse, stanza, verse paragraph, poem The dualistic structure is one of the most characteristic structures of the six-eight metre, throughout the development of the genre This structure began to appear in folk songs, then developed into classic patterns in in the Tale of Kieu by Nguyen Du and still has changes in the modern six-eight metre to suit the times In poetry in general and in six-eight metre in particular, parallel structure is an important feature when studying the prosody of six-eight metre Repetition in parallel structure is an element governing the intonation and rhythm of the six-eight verse Chapter LANGUAGE OF MODERN SIX-EIGHT METRE Poetic language is a term that is established on many levels In the framework of this thesis, the main phonetic features in the language of sixeight metre are mentioned only 4.1 Intonations Intonations are a concept used in relation to tone and rhythm Accordingly, intonation can be understood as a harmonization created from the alternate appearance of sound units (voices) with similar and different phonetic qualities on the linear axis Intonations are the fundamental factor that makes a difference in the phonetic qualities of each syllable In this sense, it must be interested in understanding on two aspects: the sonic pitch (high - low) and the way of movement (even- uneven) in the sonic pitch 4.1.1 Intonation in the traditional six-eight metre There are many elements constituting intonations, for which the most 17 dominant elements that make up them can be analyzed with an overview These factors included: distribution of intonation on the overall scale in the even-uneven correlation; even-uneven distribution in the tonal law model (at all positions in each verse); the degree of intonation modulation in the tonal law (ruled positions) There is a very high consistency between the inspiration of composition, tones and intonation created by cadences With increased narrative and the more diverse intonation, the more the number of even syllables decreases and the number of uneven syllables increases If folk songs are considered as the starting point, it can be seen that the lyrical nature is dense (emotions, lamentations), so the basic intonation is low and sad, the number of even syllables is overwhelming However, in terms of correlation, the ratio of even syllables of folk songs is still inferior to that of modern six-eight metre authors This small difference is due to the fact that many of the folk songs born from folk tunes are still of speech; the intonation is not completely harmonious and smooth, and the tone has not reached the typical and homogeneous level In the comparative position, the number of uneven syllables in the Tale of Kieu is the highest (as compared to modern folk songs and syllabaries) It is due to the strong influence of narratives Poetic stories contain linguistic structures that are not purely lyrical (such as direct questions and answers; dualistic structures ) that have a strong impact on the choice of sound pattern (the emphasis is on the lyrics so meaning structure dominates phonetic structure) 4.1.2 Tendencies of innovated intonation in the modern six-eight metre In the modern six-eight metre, the model of cadences of the six-syllable line same as folk songs: even-even-even-uneven-even-even are often seen: Tre xanh tự (Green bamboo, when was it green? (Tre Việt Nam– Nguyen Duy); Trăng êm cho gió tân (Calm moon for fresh wind) (Xuân ý - Huy Can) The second model of typical six-syllable line is even-even-unevenuneven-even-even Its numbers in modern six-eight metre authors are rather same In which folk songs take the second position (18%), the Tale of Kieu 18