TÍCH hợp ĐÔNG tây TRONG THƠ mới NHÌN từ yếu tố TƯỢNG TRƯNG tt tiêng anh

1 MINISTRY OF EDUCATION AND TRAINING HANOI NATIONAL UNIVERSITY OF EDUCATION TRAN THI KIM HANH THE INTEGRATION OF THE EASTER - WESTERN IN NEW POETRY VIEWED THROUGH SYMBOLIC ELEMENTS Major: Vietnamese Literature Number: 9.22.01.21 SUMMARY OF THE THESIS WILL BE LANGUAGE LANGUAGE HÀ NỘI – 2019 The work is completed at: HANOI NATIONAL UNIVERSITY OF EDUCATION Science instructor: Dr Chu Van Son - Hanoi National University of Education Assoc Prof Ly Hoai Thu (University of Social Sciences and Humanities) - Hanoi National University Reviewer 1: Assoc.Prof Pham Xuan Thach (University of Social Sciences and Humanities Hanoi National University) Reviewer 2: Assoc Prof Ton Phuong Lan ( Institutte of Literature) Reviewer 3: Assoc Prof Le Quang Hung (Hanoi National University of Education) The thesis will be presented to the thesis dissertation committee at Hanoi National University of Education in hours days months years The thesis can be found at the library: - National Library, Hanoi - Library Hanoi National University of Education INTRODUCTION Arguments for research topic 1.1 New Poetry from 1932 to 1945 was a great accomplishment in poetry, marking a turning point in the history of poetry and national literature, creating a stepping stone for Vietnamese poetry to enter the modern times As a literary phenomenon containing many aesthetic values, New Poetry is still a unique phenomenon of Vietnamese poetry that needs to be further considered 1.2 Symbolist poetry was born in France in the 60s and 70s of the nineteenth century For about nearly eighty years of exstence in Vietnamese poetry, symbolist poetry never cease to evolve Between each stage, in each poet, along with the perservation of its aesthetic characteristics, symbolism embodies flexibility, morphing to the tastes of each person and incorporating elements of Eastern and Western symbolism (most notably French Poetry and Tang Poetry) to contribute a multifaceted personality to Vietnamese symbolist poetry 1.3 In the past, there have been many studies on the of integration detailed the transition New Poetry integrated many elements such as the romantic, the classical, and the Thi Son faction However, this thesis only focuses on the study of integration and distilation of the symbolic element of French Poetry and Tang Poetry in Vietnamese New Poetry Research purposes and tasks 2.1 Research purposes First, we research the symbolic element and identify it in the New Poetry movement to see the dynamic impact and effect of the Vietnamese literature inter-cultural exchange process, from there coming to scientific and objective conclusions, affirming the fact that the convergence of many basic aspects and quintessences of the New Poetry movement is the integration of the essence of the East (mostly Tang poetry) and the West (mostly XIX century symbolist poetry of France) in New Poetry poetry viewed from symbolic elements 2.2 Research tasks In researching the topic of East-West Integration in New Poetry viewed from symbolic elements, this dissertation sets out the following tasks: - Explain concepts, terms related to the content to be further discussed, such as Integration, New Poetry, symbolic elements, etc - Synthesize and generally analyze the research findings on new Poetry and the EastWest integration in New Poetry revolving around symbolic elements - Analyze the factors affecting the East-West integration, clarify the East-West meeting point in their symbolic views of the world, identify the progress of symbolic poetry through prominent New Poetry authors - Clarify characteristics and modes of expression of the East-West symbolic integration in New Poetry viewed from the perspective of image creation and poetry text organization, show the integration mechanism of these two sources of influence in the authors and works of the New Poetry movement (1932-1945) Subjects and scope of research 3.1 Research subjects We identify the subject of study for this topic as the integration of the symbolic elements of French and Tang Poetry in New Poetry The thesis does not cover all poets but only seek to emphasize significant writers, particular those who have expressed awareness about and proactively engaged in Eastern and Western symbolist poetry 3.2 Research scope The scope of the research includes New Poetry, however, we only focus on the essential issues that directly relate to the topic, specifically to clarify the integration of symbolic elements of French and Tang Poetry through aspects such as symbolic materials, imagery creation and poetic organization Research Methodology 4.1 Systemic-structure method: We will interpret the symbolic element of New Poetry in a multidimensional relationship with the French symbolism and Eastern poetry (Tang Poetry) 4.2 Method of approaching poetry studies: The New Poetry movement has been successful in integrating French symbolist and Tang poetry; using this method, the thesis investigates the symbolic elements in the New Poetry movement from the perspective of artistic conception, artistic characteristics, artistic thinking, document structure, and intertextual concepts 4.3 Interdisciplinary research method: Combining both literature and cultural studies in research, we also focus on ethnographic operations such as statistics, classification 4.4 Comparison method: The thesis uses this method to show similarities and differences, traditions and innovations between French symbolism and Eastern symbolism (Tang Poetry), between the trend of symbolism and other poetic trends 4.5 Methods of general analysis: This method is used to analyze authors and their literary works On that basis, we draw general conclusions about the aesthetic characteristics and literary study of symbolic elements in the New Poetry movement New contributions of the dissertation In studying the East-West Integration in New Poetry, viewed from symbolic elements, this dissertation makes the following new contributions: - Firstly, this dissertation is a specialized project that for the first time directly researches the expressions of East-West symbolic elements integration in New Poetry - Secondly, explain briefly and clearly basic concepts such as Integration, New Poetry, Symbolic factors, etc Explain the continuation and affirm the presence of symbolic elements in New Poetry - Thirdly, explain and analyze the manifestations and principles of the integration of symbolic elements in learning from Tang poems and French symbolic poems of New poets in terms of image creation and poetry text organization to create a new style of poetry - Fourthly, affirm that the process of East-West integration is the law of exchange and continuation that brings new color to Vietnamese poetry in the process of artistic creation - Fifthly, through an integrated perspective, the thesis applies the knowledge of symbolic poetry to viewing New Poetry, to identify the poetic portraits that contribute effectively to the modernization of literature The thesis is also a useful reference for researching and teaching New Poetry Structure of the thesis In addition to the Introduction, Conclusion, References, the structure of the thesis consists of four chapters: Chapter 1: Overview of research issues Chapter 2: The basis of adapting symbolic elements of New Poetry poets Chapter3: Integrating french poetry and tang poetry in creating symbolist poetic material Chapter4: Integrating the symbolic elements of French poetry and Tang Poetry in organizing poetic texts CONTENT Chapter OVERVIEW OF RESEARCH ISSUES 1.1 Introduction to basic concepts 1.1.1 Concept of formation and aesthetic characteristics of the New Poetry New Poetry of 1932-1945 is a romantic poetic movement, the greatest poetic innovation in the history of national literature On the basis of trends, "organization" - the team, New Poetry is a large "movement" of poetry (not as narrow as a "group", like the Tu luc van doan group) Because the authors who subscribe to romantism are of the majority and their compositions are the foundation of New Poetry, research today still considers New Poetry a romantism poetry movement Hence, it can be affirmed: The New Poetry movement is a phenomenon of poetry that attracts many people to write and enjoy poetry It deserves to be a romantic poetic movement, the greatest reformation of poetry in the history of national literature New Poetry from 1932 to 1945, a movement as well as a poetic revolution, is the largest poetic phenomenon of the first half of the twentieth century New Poetry was born as a historical necessity, freeing Vietnamese poetry from the strict normative frameworks of medieval poetry to step into the modern times with a “free-spirited” structure, free in thinking, inspiration, and expression, which means that it was no longer bound by an unnecessary rule New Poetry is the process of transforming the image-defining characteristics in poetic thinking As a kind of writing, literary, cultural and social phenomenon, with many shortcomings of written material, New Poetry also requires more specific and diverse attention As such, New Poetry deserves to be regarded as the greatest poetry innovation in the history of Vietnamese literature in the twentieth century, a radical and comprehensive innovation from content and spirit to form 1.1.2 Overview of integration Etymology-wise, integration has roots in Latin, meaning the establishment of the common, the whole, the unified on the basis of individual parts, so in other words: combining parts together to make a whole In literature, we understand that integration is one of the literary and cultural efforts (receptive and transformative) used to create a new product Integration is not the physical addition of new elements like mixtures and combinations Integration is, instead, where the elements are forged anew, where the elements are no longer present and there is a complete change in substance, where they merge fully into each other and transform to create another product, completely different in nature to their predecesors It is the absorption and incorporation of many different sources; the characteristics of integration is to acknowledge the multiple sources 1.1.3 Overview of symbolic elements 1.1.3.1 The general meaning - Symbolic elements as defining tactics Symbolism is a broad category of aesthetics, established through comparison with two similar categories: On one side, there are the artistic imagery, and on the other, there are symbols Symbolism is imagery that can be also seen as a symbol, which is in itself a symbol of the polysemic nature of images The meaning of symbolism cannot be decoded by rational effort; it requires deep emotional understanding Symbolism differs greatly from mere symbols, being simple yet meaningful In the field of literary research, symbolism is a form of transformation The marriage of the two aspects, content of the image and its figurative, to create either a symbolic match or a concealment, which can be decoded with the sub-layer of text so that the whole work will embody a symbolic meaning In the field of linguistics, symbolism can be considered a rhetorical measure, through which things are expressed by allusion, often fixed metaphors: roses, butterflies and bees, cedar, daisies, bamboos, ochna In written literature, symbolism is a fundamental characteristic that is crucial to expression; it creates unique ways of association and contributes to the artistic performance of the work 1.1.3.2 The narrow meaning - Symbolic elements as a feature of a literary movement Symbolism was born in the West, first in France Symbolist poetry exploits the spiritual world (the irrational, the subjective, the non-impermanent, the supernatural ) Therefore, it focuses on sacred intuition Its power is that it can imbue emotions, not sympathetize with them From the content perspective, in the world of symbolism, which “begins with the concept of recognizing the world as a murky and profound unity" (Baudelaire)”, there exists harmony between things in the universe, between the natural and the supernatural, between Man and the universe Accordingly, all things in the universe are multi-symbolic With symbolism, the universe is a forest of symbols, where there exist correspondences, sudden relationships of the consciousness and the unconsciousness, the fleeting and the eternal And symbolism is a literary device to express that unique worldview Symbolism is also created through simple artistic mechanism of poetic techniques such as the use of metaphorical and rhetorical measures, symbolic comparisons – with only the physical image revealed and the mutilayered emotional meaning concealed, which, according to Baudelaire, represents the ultimate product of the sublimation and solidification of the artist’s entire spiritual essence 1.1.3.3 Approach to symbolic elements of the thesis: The symbolic element in New Poetry is the integration of both the general and narrow meanings as described above The thesis also distinguishes between symbolic elements and symbols: symbolism is the popular method of thinking in literature, while symbols are the result, or the product of this method of thinking Symbolism in the New Poetry is the result of the exchange, reception, and adaptation from many sides: the West and the East (Tang Poetry and French Poetry), which approaches the symbolic elements to bridge understanding of the world of art Symbolic factors are categorized as elements of creative composition that actively merge and evolve in the artistic work of New Poetry poets 1.2 Research history 1.2.1 History of research on New Poetry Before 1945: The study of the New Poetry movement was mentioned very early In general, the outstanding works: Viet Nam van hoc su yeu (1941) by Duong Quang Ham [40] and Thi nhan Viet Nam (1942) of Hoai Thanh - Hoai Chan [132], have proved to be very sensitive and accurate in solidifying, generalizing, and summarizing about the definition of New Poetry; these opinions are very meaningful After the Revolution of 1945: New Poetry, as well as the study of this art form, experienced many ups and downs Achievements in research on New Poetry during this period, most notably the study of Phong trao Tho moi of Phan Cu De [25], also affirmed the great contributions New Poetry had had on art In this period, in the South, New Poetry was highly regarded and was taught in schools Prominent works included: Viet Nam van hoc su gian uoc tan bien (volume III, 1961) by Pham The Ngu, Khao luan luat tho by Lam Gian, Nhung buoc dau cua bao chi, tieu thuyet va Tho moi by Bui Duc Tinh, From 1975, after the reunification of the country, the issue of New Poetry evaluation remained in negative press Since 1986 (from the Sixth National Party Congress) to the present, in a period of rapid renovation and integration (with the world), New Poetry and many pre-war literary phenomena have been reconsidered and reevaluated in a more calm, objective and scientific way Prominent projects were: Ngon ngu tho (Nguyen Phan Canh) [6], Van hoc lang man Viet Nam 1930 - 1945 (Phan Cu De) [34], Tho moi - binh minh tho Viet Nam hien đai (Nguyen Quoc Drug) [150], Thi phap hien dai (Do Duc Hieu) [42], Tim hieu tho (Ma Giang Lan) [60], Lich su van hoc Viet Nam 1930 - 1945 (Nguyen Dang Manh's literary history textbook) [77], In addition, there were other forms of work going into the poetic problem of the poets' own style, such as: The gioi nghe thuat tho Che Lan Vien by Ho The Ha [35], Ba đinh cao Tho moi Xuan Dieu - Nguyen Binh - Han Mac Tu by Chu Van Son [124], Tho tinh Xuan Dieu (Luu Khanh Tho) [140], Tho Xuan Dieu truoc Cach mang thang tam 1945 by Ly Hoai Thu [143], The gioi nghe thuat tho Xuan Dieu, thoi ky truoc 1945 (Le Quang Hung) [50] In general, New Poetry has had a long history of research, criticism, analysis, 10 evaluation and as each day goes by, more and more achievements are coming into light 1.2.2 Historical research on the impression of symbolism in the New Poetry In 1941, Tran Thanh Mai completed the book series: Han Mac Tu - than the va thi van, the first indepth analysis of Han’s poetry In Thi nhan Viet Nam (1942), Hoai Thanh - Hoai Chan have fairly carefully and objectively assessed French symbolism, as well as its influence on the New Poetry movement Tho moi nhung buoc thang tram by Le Dinh Ky gave an overview of the New Poetry movement The author pointed out: "New Poetry by itself and modern poetry in general, have sought new ways to capture and express things that are difficult to grasp, beyond the capabilities of conventional poetry and other artistic styles and techniques ”[54] Phan Cu De in Phong trao Tho moi 1932 – 1945 referred to the influence of foreign poetry, concentrated in the section "Tiep thu anh huong cua van hoa nuoc ngoai tren co so truyen thong dan toc " [24 p.218 - 254]; in addition to talking about the influence of French Poetry in general, the author mentioned the specific influence of symbolist poets such as Baudelaire, Rimbeau and Verlaire on Vietnamese poetry Nha van hien dai by Vu Ngoc Phan, has devoted many pages to about 10 prominent poets such as Xuan Dieu, Huy Can, Luu Trong Lu, Vu Hoang Chuong, When referring to the relationship between Vietnamese poets and French symbolist poetry, the author saw the similarities between Xuan Dieu and Rimbeau, Verlaire, and some poems by The Lu mirroring the poetic symbolism of Baudelaire In the treatise Mot thoi dai thi ca, besides portraying vivid portraits of New Poetry poets and the poetic heights of Loan poetry, Ha Minh Duc proved that Vietnamese New Poetry poets used poetry to symbolize feelings, ways of thinking, and lifestyle Baudelaire, chu nghia tuong trung cua Tho moi by Hoang Ngoc Hien and Tho moi cuoc noi loan ngon tu by Do Duc Hieu, stemming from concrete evidence from the New Poetry movement, confirmed the presence and positive impact of Vietnamese symbolist poetry and modern poetry Hoang Hung discussed the journey to the symbolism of the New Poetry movement in Vietnam, assessing: "In the age of Han Mac Tu, Che Lan Vien, Bich Khe, Xuan Thu, New Poetry went into the poetic orbit of Europe and America.” Tran Thi Mai Nhi wrote in Van hoc hien dai - Van hoc Viet Nam: Giao luu gap go to demonstrate that symbolism is a school of Western modernism thought French symbolist poetry was making its the way into the literary hearts of the world when it stopped in Vietnam and left inspiration for new poets Phac thao quan he van hoc Phap voi van hoc hien dai Viet Nam (Mui Ca Mau Publishing House 1998), by Hoang Nhan, stated: In the process of colliding with French culture and literature, modern Vietnamese poets have been receptive of the “synthetic nature of literary trends from the late 14 On that basis, they were confronted with their national literature and saw its stagnation and backwardness The task of renewing national literature in general and poetry, in particular, became more urgent, both a prerequisite and a vital condition In addition to promoting traditional values, inner power, poets have actively embraced foreign elements Instead of looking to Chinese literature (Tang poetry) as before, they chose the path of "introversion" in Western literature (specifically, French poetry) That choice has contributed to the voluntary, long-lasting marriage between modern Vietnamese poetry and French symbolism Western romantic poetry, mostly French romantic poetry, has impacted Vietnamese New Poetry poets the earliest, the most powerful and most widespread With a long background in writing in a heavily-structural way of thinking, New Poetry poets, when exposed to romantic poetry, saw the most obvious opportunity for liberation The French symbolist poetry has been introduced into Vietnam, however, thanks to their bravery, wisdom and national self-esteem, the intellectual class with "Western indigenous learning" has chosen among the "colonial culture" which gems to absorb Modern Vietnamese poets not only discovered the good, the beauty, and the uniqueness of this poetic sect, they also realized that there were similarities with the national poetry Therefore, symbolist poetry quickly captured the attention of many Vietnamese poets, making it a historic reunion 2.1.2 Theoretical rationale In the historical period when the feudal government still existed, Tang dynasty’s poetry was widely publicized, and became an ideal in the arts of poetry Even in the early 20th century, when Confucianism was declining in popularity, Tang’s poetry still thrived, for people could not easily forget what seems to have run in their blood for thousands of years Many poets in the New Poetry Movement era with broad knowledge in Sinology thoroughly studied Tang’s poetry Poetry in this transitional period was only the first step of the old-style poetic system shifting to the new-style one, paving the way for newer forms of poetry to come in the New Poetry Movement in the 30s of the 20th century 2.2 The meeting between the symbolic senses in French Poetry and Tang Poetry 2.2.1 Compatibility in perceptions of the natural world For a long time, Eastern people saw the universe as a unified body and humans as a micro-universe within that universe Therefore, all beings and people have a close relationship with each other and our ancestors believed that thanks to that close relationship, Heaven and Man have the ability to interact and correspond The symbolist poetry of France discovered the interrelationship, the correspondence between the senses: scents, colors, and sounds; the mysterious relationship between man and the universe is a coincidence between 15 the search of French poetry and the depth of the mind of the Eastern and Vietnamese people Westernist poets met with the Eastern spirit in the belief of the universe unity, but they are always conscious of defining the boundary between the poet’s subjectivity and the natural objectivity as well as seeing the parallel existence of those two interconnected entities If Westerners find strength in conceptual and poetic thinking that is majestic, bold and factual, then Eastern people are more fond of abstract thinking, using symbolic imagery to express truth and the vastness of the universe This is also the meeting point between the Tang poetry in Vietnam with the symbolist French poetry 2.2.2 Compatibility in intuitive perceptions and depictions of the world We have witnessed spiritual encounters between the Tang and the French symbolist poets Distant as they were regarding time and space, separated as they were regarding ideologies and spirits, they came together when describing a state of mind They considered feelings as the result of world perception through the five senses: hearing, sight, touch, smell, and taste they suppressed emotions to achieve emotional harmony Inside the mind of a poet always lies an impressive archive, along with his impressions of sceneries, people and things which form schools of association Tang poetry and French symbolist poetry had had certain moments of intersection 2.2.3 Compatibility in the construction of images and poetic figures The meeting point between symbolist French and Tang Poetry is still in the principle of image building We know the most important principle of literary law is brevity and conclusiveness The Tang poets conceived the concept of “ y ky lo, mach ky thang”, advocated showing not telling straightforwardly, but only evoking through very intimate yet poetic connections Another feature that these two types of poetry share is the requirement for musicality in poetry, which requires "thi trung huu nhac" Tang poetry not only wants poetry to convey feelings and knowledge to the world but also to create pleasure and aesthetic vibrations The symbolist poet believe that thanks to the sound of the word, poetry conjures up the most subtle nuances of affection, of the gloomy worlds within the soul of man; with that melody, poetry will have a mantra-like value, fascinating the reader 2.3 Overview of symbolism in the New Poetry 2.3.1 The formation of symbolic tendencies in new poetry New poets tried every efforts to transcend romantic poetry to form a truly symbolic trend, with the works of Han Mac Tu, Che Lan Vien, Bich Khe, Dinh Hung, Xuan Thu Nha, Da Dai At the first stage of the new poetry movement (1932-1935), the symbolic tendency was not really clear In the second stage (1936-1939), the symbolic poetry began to flourish deeply in the new poetry with such authors as Xuan Dieu, The poetic school From 1942 to 1945), the new poetry showed many important innovative efforts The Da Dai 16 group, with the participation of Tran Dan, Dinh Hung, and Vu Hoang Chuong, proclaimed the trend of symbolism Appearing at this stage, there were also the Xuan Thu Nha Tap group which included such authors as Pham Van Hanh, Nguyen Xuan Sanh, Doan Phu Tu 2.3.2 Notions about the symbolism in the New Poetry movement 2.3.2.1 The first stage (1932 - 1935) People recognize The Lu as having the "boredom" (spléen), the depraved, the want to forget about "painful animals" like Baudelaire; Lòng tắt khơng tin tưởng nữa/ Thì quên đi! Quên hết để say sưa/Để mê ly thú ân hờ/ Để trốn tránh ngày trống trải (Truy lac); (The heart has no longer believed / Forget it! Forget to be drunk / To fall in love with grace / To escape from the empty days (Depravity); or listen to the poem in which Luu Trong Lu extends some dreaming melodies, like the poetry of Verlaine: Em không nghe mùa thu/ Dưới trăng mờ thổn thức ?/ Em không nghe rạo rực/ Hình ảnh kẻ chinh phu/ Trong lòng người phụ?" (Tieng thu) (You didn't hear autumn / Under the moon, sobbing? / You didn't hear the flare / The image of the soldier/ In her heart "?" (The Sound of Autumn) With "Tieng thu," Luu Trong Lu recorded his emotions and gave himself a quite unique spot on the poetry platform of the autumn-related poets Luu Trong Lu once mused: Poetry is not music but musicality in poetry is extremely rich 2.3.2.2 The Secondly stage (1936 - 1939) Xuan Dieu - a prominent representative of the New Poetry movement, was in tune with Baudelaire's thought in the poem Corespondances Xuan Dieu started his work Huyen dieu with the words "Les parfums, les couleurs et les sons se répondent" (Corresponding colors and sounds) similar to that in Corespondances First of all, with Corespondances, Baudelaire articulated the important characteristics of symbolism, initiating the trend for sensory correspondence in France Among the highlights of the "corresponding" theory, Xuan Dieu has been most interested in two points First, the concept of cosmic and profound unity Second, the correspondence of the senses With the miracle of correspondence, the poet indeed went into the magical world, made amazing adventures that would not be possible without sensory correspondence From Xuan Dieu notion of symbolism, the world opened before the poet could not be observed but the Huyen Dieu, Du Duong that logic failed to grasp Hence, space in symbolist poetry is extended to infinity and the world also appears complete Symbolist poetry began to take root in Vietnamese poetry from the New Poetry movement Baudelaire's concept of beauty spread to Vietnamese New Poetry poets, among whom the most influential is probably Loan Poetic School It is Han Mac Tu who admitted that when writing, poets are in a state of "delirium", "dreaming" and "insanity"; based on the subconscious mind, intuition arises instantly without the intervention of reason Beauty is 17 the mystic and artistic creation and the creation of the metaphysical With the thought of " Lam tho la lam su phi thuong" (To write poetry is to create the extraordinary), poets want to dive into the complex world to struggle, to challenge themselves Following the romanticism of the New Poetry movement, the Loan School of Poetry embarked on symbolism and put poetry into the starting point of surrealism Influenced by Edgar Poe, Baudelaire and Western symbolists, and surrealists, Loan Poetic School emphasized the role of poets, of beauty to the extreme However, if examined from the history of literary development, it is undeniable that the Loan Poetic School managed to advance by taking a material leap in creative thinking through the concept of modern art 2.3.3.3 The Thirdly stage (1940 - 1945) If the notion of symbolism of the Loan Poetic School is skewed towards Western symbolism, then the Xuan Thu Nha Tap group prefer Eastern symbolism They advocated a "pure" and clear poetry " Tho chi can rung dong, khong can hieu va khong nen giai thich tho” (Poetry only needs to move; there is no need to understand or explain poetry" [26, p 461] They experimented with and went quite far in exploring closed-off poetic poems, once considered as "hu nut" (pitch black( poetry (Buon xua - Nguyen Xuan Sanh, Duong xuan - Pham Van Hanh ) Besides Xuan Thu, there was also Da Dai Although this group appeared quite late and on limited newspapers series on November 16, 1946, the poets in the group (Dinh Hung, Tran Dan, Vu Hoang Dich, Tran Mai Chau, Nguyen Van Tau) have all composed previously, with close linka to the New Poetry movement In addition to making in bold impressions in the art, Da Dai had a manifesto, proving that they had a sense of creating their own creative ways: combining tradition and modernity, the East and the West, they believed that " tho cung phai am u nhu canh gioi cua cai toi tham lang (poetry must be as murky as the realm of silent self), and thus was also close to the " vo ngon chi mi" (speechless description), the illusory magic of Tang Poetry, which was by itself similar to Da Dai’s commitment to the unspoken meaning A prominent member of this group was Dinh Hung, with his source of Western inspiration, most clearly in the direction of Baudelaire, especially Rimbaud Summary: It can be seen that the reception of symbolism is both an objective factor in the process of modernizing literature and an artistic choice of the New Poetry movement authors Although a sect from the West, symbolist poetry is not far from the tradition and aesthetic experience of Eastern and Vietnamese people 18 CHAPTER 3: EAST-WEST INTEGRATION IN CONSTRUCTING SYMBOLIST POETIC MATERIAL 3.1 Popular symbolic imagery in Tang poetry and French 3.1.1 Popular symbolic imagery in Tang poetry 3.1.1.1 Nature images Nature in Tang Poetry is skewed towards generality, for example, when talking about the Mountain, people are not specific, yet generalization assigns it the symbolic meaning as the rough and strong surface Water, on the other hand, is flexible, persistent, and tender The authors have formed a system of allusive imagery and symbolism to express the world, society, and people For example, when talking about nature, it must be: "phong, hoa, tuyet, nguyet" (wind, flower, snow, moon); and if referring to the seasons then it must be: spring with its peach and apricot blossoms, summer with its lotus flower, autumn with its chrysanthemum; while talking about distance, use the images: river, boat, the sunset, the aodai flap When speaking of people, there are the generous and the petty Generous people are often linked with: cedar, chrysanthemum, apricot, or ochna The petty are linked with images of sparrows and swallows Therefore, when reading any poem written about nature, readers are confronted with the natural landscape through which they can understand the author's feelings 3.1.1.2 Materials from human imagery Space, time, and people are often considered to be the basic subjects when studying art and literature; studying poetry, it is these elements that make up a Tang poetic picture, where there are people, time, and space, portrayed in an ingenious, lively and meaningful way Nature is rarely absent from meditation poetry and Tang Poetry It serves as a background for human existence It seems that in the spatial dimensions there is always symmetry, propelled by the notion that "Man is the center of the universe.” Man is inconsequential amidst the vast sky but the space in Tang Poetry is always open, creating conditions for human souls to enter into space, transcending space In general, the symbolic meaning in Tang Poetry material tends to be metaphorical, relatively fixed Each image of Man in Tang Poetry expresses a philosophical conception, that people in Tang Poetry are always hidden in the familiar nature 3.1.2 Popular symbolic imagery in French symbolist poetry 3.2.1.1 Light, music, and smell In short, art requires the creation of beauty; poetry is a miraculous artificial product created under the power of the artist That world is convincing and seductive to readers 19 mainly through evoking and foreshadowing It is the interplay between the senses - sight, hearing, taste, touch, and smell - which is also the correspondence between their objects So the sound, the color, the fragrance can be integrated into one entity The object of poetry reflection is manifested in many dimensions, nuances so that poems then become alive and the process of artistic perception becomes rich and attractive 3.1.2.2 Soul, body, and beauty In philosophy and religion, each school of thought, depending on the origin, whether East or West, has their own way of thinking The soul according to the Eastern perception is understood as a polysemy, meaning both the Devil and the Spirit If the soul is a Devil, the soul is heavy with the aspirations of the mortal man The soul is a special imagery in symbolist poetry Nowadays, people are considered a unity between body and soul The body can die, but the soul is immortal and supreme Mentioning the Soul is mentioning the supernatural, an invisible power, beyond the control of reason Symbolism has overcome the aesthetic conception of E Kant "art for the sake of art" by T Gautier From the contrast between the beautiful to the useful, symbolist poets have come to contrast Ethical and Moral Beauty They extended the amplitude of Beauty to infinity when praising both death, mediocrity and horror Because according to C Baudelaire, Beauty can arise anywhere In summary: While the popular imagery material in Tang poetry often has a general meaning inclined to be metaphorical, relatively fixed, both as a concept and as a symbol, those in French poetry are very flexible, polysemic depending on the text In one document, the imagery may have this meaning, while in other texts it has different meanings From imagery, to create symbolist poetry imagery, one must go through a complicated process Symbolist poets prefer not to reflect the "real" world but to create a more real "reality" based on the sensory thinking of a "visionary prophet” Symbolists also seek new ways of expressing themselves, identifying poetry with music, language, and symbols that bring symbolist poems a modern look About the poetic trend, scholars all acknowledge that symbolist poetry opens a new history page for French poetry, which strongly influences poetic scenes in the world 3.2 Constructing symbolic imagery 3.2.1 Method of constructing imagery in Tang Poetry 3.2.1.1 Constructing symbolic imagery using metaphorical images Poetry creates imagery based on familiar materials, according to the principle of minimalism, inner spirituality, mainly by using generalized metaphorical images "Metaphor 20 is the basic structure of poetry language" (Thuy Khue) Metaphor "is essentially an implicit comparison, in which the original object disappears, leaving only the compared Thus, metaphor is the method of translating the meaning of an object into another object when these two objects have some kind of similarity Chinese Tang poetry is usually only suggestive and not descriptive Tang poems are condensed, so they are also evocative since the poets choose only the most basic of images and recast them into subtle expressions Demand for brevity creates the evocative power learned by poets New Poetry poets have been directly inspired by Tang Poetry Therefore, some of the New Poetry poets, though not raised on the values of Confucianism, have a special love for Tang Poetry like Han Mac Tu and Bich Khe Many who were raised on Sino-culture like Quach Tan have devoted themselves to Tang Poetry Poets such as Bich Khe, Luu Trong Lu, The Lu, Huy Can all studied Confucianism; they all knew the Western alphabet yet eventually returned to Chinese characters Tang Poetry communicated directly to their souls, controlling their emotions, thinking and expression 3.2.1.3 Constructing symbolic imagery by contrast − − − − − − Dĩ tiểu kiến đại: (using the smallto describe to the giant ) Dĩ tĩnh tả động: (using the static to describe the dynamic) Dĩ động tả tĩnh: (using the dynamic to describe the static) Dĩ lạc tả ai: (using happiness to describe sadness) Dĩ tân tả chủ: (using the objective to describe the subjective) Dĩ khoắc kiến chân: (using the exaggerated to describe the truth) 3.2.2 Method of constructing symbolic imagery in French Poetry 3.2.2.1 Constructing symbolic imagery through symbol design Symbols are the most concentrated, impactful images, evoking a deeper meaning behind things Every symbol is an artistic image; however, the artistic image is not necessarily a symbol To become a symbol, literary ideology must have a highly generalized meaning and carry a more or less social and systematic impact on the artistic world of the artist Baudelaire said that the symbol "is really one of the most original and natural forms of poetry;" the poet thus advised artists to focus on exploiting, comparing metaphors and symbols in the creation of their art In terms of artistic tactics, the symbol is a special metaphor The symbol Baudelaire often create reveals mysticism, the correspondence between the natural and supernatural 3.2.2.2 Constructing symbolic imagery according to the principle of interaction French Poetry creates imagery according to the principle of creating a different and extraordinary world The aesthetic principle of symbolism is the fellowship and compatibility of creating a different world Baudelaire believed: The universe is a unified 21 entity, in which all correspond with each other There is a correspondence between the natural and the supernatural, a correspondence between this world and the mysterious shadow world, and especially the correspondence between the senses In the symbolic world, inspiration flicker between dreams and reality, between the subconscious and the conscious, and in that flicker, the poet rises to the heights of passion and pleasure Poets feel subtly and deeply the conflicts in the nature of things and depict them with dramatic paintings of symbolist poetry 3.3 New Poetry integrates methods of creating symbolic imagery of French Poetry and Tang Poetry 3.3.1 Acquisition of symbolistic elements from Tang Poetry In this Eastern-Western combination, New Poetry writers of the beginning of the movement return to the traditional poetic styles and familiar sounds, yet the structure was not quite the same; return to the conventional way of thinking, but with the perceptive of the modern era In ancient poetry, nature always occupies the "honorary status" (the word used by Dang Thai Mai), Quach Tan also liked to live with nature and thus nature became his most basic of poetic images, his main aesthetic object for his poetic soul In the New Poetry movement, the symbolic elements in Tang poems and French poems also sometimes ingrain themselves in a poet, even mixing together in a poem The New Poetry poets are most directly, clearly, and profoundly affected by French poetry However, an interesting point is that French poetry – Tang Poetry have many similarities to each other, which is the nature of poetry, although the East and the West have very different points of view, in two distinct periods of time, and maintain opposite beliefs New Poetry poets, in writing, have been conscious of inheriting the Tang poetic flavor, advocating the application of the poetic language and imagery in their poetry Thus, to build imagery, New Poetry of 1932 – 1945 romantic thinking met the Tang thinking through the emphasis on polysemic brevity; New Poetry poets were not mechanical and tried to make new discoveries while studying, absorbing Tang words and symbolic imagery This contributed to the vitality of New Poetry which was still influenced by ancient literature 3.3.2 Constructing symbolic imagery in French symbolist way In New Poetry, integrating the ways of creating symbolic images of Tang Poetry and French symbolist poetry is difficult to carry out because it is smooth and natural as if flesh and blood; however, it can still be recognized through the manifestations of content and art New Poetry has smoothly commanded the homogeneous thinking and correspondence method of French symbolist poetry The result is a new type of imagery that leans towards 22 symbolism Symbols are polysemic images Some New Poetry poets, while technically considered a part of this literary sect, still maintained influence from the other sects New Poetry integrates the homogeneous thinking, the corresponding tactics of French and Tang Poetry Poetry has retained and revived these symbols and cultural values through the expressions of words However, in the transition, cultural collision makes the "original" symbols more and more variable with multilayered meaning With the same original form, yet the interpretation of the meaning of these "variations" differs between the East and the West Symbolist poetry, therefore, not only inspire but also evoke Evocative poetry makes reading difficult Symbolist poetry is a poetic way of embracing the deep emotions of Man, from the depth of spirituality, from the subconscious mind of the poet, so the reader must open his soul to receive the most subtle things from the spiritual world, from the unconscious mind within the poetic image 3.3.3.Constructing imagery through integrating and transforming French Poetry and Tang Poetry If Easterners are focused on the homogeneous, single-sided imagery construction, with a well-defined meaning and associated with metaphorical tactics, Western symbolists tend to prefer complex, multilayered imagery, with many meanings overlapping so that they can create symbols with layered meanings New Poetry integrates the constructive methods of French Poetry and Tang Poetry, using and transforming smoothly between symbolism and metaphor; homogeneous thinking and correspondence tactics, resulting in imagery that is polysemic Even as a New Poetry poet, Xuan Dieu managed to incorporate the essences of folk and classical poetry Xuan Dieu enriched his works with all that a poet could to add quality for his poetry Summary: Wilful national vitality, the foundation of Chinese literature with unique Eastern thinking and the historic encounter with Western literature have created the unique image of literature in the time of great integration Integration proved to be a more comprehensive method in expressing the integration law of culture Integration followed the reception mechanism in the spirit of mixing traditional, cultural capital with Tang and French poetry 23 Chapter 4: EAST-WEST INTEGRATION IN ORGANIZING POETIC TEXTS 4.1 Text organization in Tang Poetry 4.1.1 Organizing text according to literary expression Tang poetry is the literary product of the understanding of cosmic immutability and the unity between the three elements, Thien, Dia, and Nhan (Sky, Land, and Man) in the age when people see all changes as a closed-circuit cycle, the age of “golden moulds"imposed on every human behavior and activity, including artistic creation As an inevitable consequence of the aforementioned worldview, the observable world became important in the literary expressions of classical lyric poetry in general and Tang Poetry in particular The reason behind the unity between the literary expressions and the theme is because their relationship in Tang Poetry is very tight: each topic voices a "unique" literary expression to be further individualized in the poets’ hands This common literary expression is based on the contrast and unity between lyrical subjects, such as the oceans, the heaven, the earth, the river, the mountain, the day, the moon, the past, the future In that unity, the size of Man is enlarged and the ability for human sympathy with his surroundings is almost limitless Of course, the people here have to be superhuman to get such extraordinary abilities The strong domination of literary expression creation in poetry also brings many ways to start and end the poem However, the reality is that the harmony in classical poetry is very different from the harmony in modern poetry In Tang Poetry, between people and the universe, between reason and emotion, between emotional content and form of expression, there is a corresponding, unified relationship 4.1.2 Organizing text according to the space-time continuum "Spatial continuum" is mainly associated with images of space, and its styles and portraits Although still subject to time manipulation, this type of structure, once used, is still capable of creating a vivid impression of the space that the poet wants to describe, with the illusion of the simultaneous appearance of images and objects in it "Time continuum " is associated with images developed in time (and of course in space) as a story, a certain emotion, etc Lyric poetry is often used in storytelling and narrative forms Of course, narrative in lyrical poetry is very different from narrative in prose The story included here does not include all the details and events It is only reproduced in a compact way, just enough to be the basis for expressing and deploying the breadth and depth of the emotion of lyrical character with a problem in life 4.2 Text organization in French Poetry 4.2.1 Organizing text according to symbol networks The symbolist poetic structure appeared at the same time with the French Symbolic School and then spread throughout the world with its rich variations Symbolist poets 24 looked to poetry as a tool, a method to help people discover the mysteries behind the obvious phenomena of life and the universe, and in that way, they affirmed that their spiritual strength can see beyond appearance to reach the truth of the matter Of course, to become such a "tool", symbolist poetry must establish itself an organizational principle We can then talk about the encompassing nature of such a principle in determining the corresponding relationship between objects Using the same principle, each symbolist poet chose for himself a specific structural method 4.2.2 Organizing text according to the flow of music There are many reasons for organizing poems this way; the most encompassing cause lies in the interaction, the interplay of structures between art forms in an era New Poetry is the poetry of the romantic era - the era in which music reigned supreme in the artistic world of sounds (according to R Jakobson's comment) It is natural to see poetry directed towards music, learning the specific expressions of music to renew itself, hoping to achieve brand new artistic synthesis Considering that New Poetry is seen as a universal phenomenon showcasing the East-West cultural exchange of our time, this development path is crucial New Poetry has learned a lot from the artistic experience of French poetry in the second half of the nineteenth and early twentieth centuries; during this period of development, the bright stars of the French poetry unrelentingly called for poetry to "seek” music 4.3 Organization of literary expression - structure - music in New Poetry text 4.3.1 Organizing text in a combination of rhyme and improvised associations The New Poetry movement of 1932-1945 is a harmony of two faraway cultures, a classical and modern symphony, and a combination of echoes between East and West, “without distinction, it is New Poetry.” The harmony between Tang poetry and French poetic symbolism in the continuation of Vietnamese New Poetry represents the organization level of poetry writing If literary expression is seen as the embodiment of the literary content, then the shaping of meaning and arguments has completely dictated the expressive structure of Tho duyen; in a literary work, the most important thing is not necessarily the idea, nor the structure, nor the content-based formatting ; it is a transition that counts This transition turns work of poetry into a dynamic structure, in which, according to the linear progression of the poem, the idea has both manifested and transformed into a poetic image in a logical and complete way Xuan Dieu's Voi vang invoked a fast-paced lifestyle, deeply rooted in the sense of time, to elaborate about the shortness of human life Therefore, the poetic circuit always has a natural and delicate look Voi vang is a rush of emotion, at times even a flood of emotions, rolling with so many poetic images like a tapestry of worldly scenery Yet it is also a poetic version, which presents a notion about hurried human life Perhaps it is not poetry that illustrates philosophy, but it is the philosophical feeling of a poetic soul 25 4.3.2 Text organization by connection of the imagery-symbol system Tang Poetry also used the visualization of an awareness, an experiment; yet that visualization only took place at the sentence level, but not at the level of the entire work because classical authors have not paid attention to building a unified image that each characteristic of the imagery corresponded to a specific aspect of the thought that the poet wanted to express Symbolic elements in Bich Khe’s poetry occurred at both the level of letters and sentences: Bich Khe not only put two different images side by side but also contrasted two completely different verses side by side, such as Vang nam im tren hoa gay / Tuong tu nguoi xua thoi qua day ( Gold star lies still on the thin flower / Old flame must be forgotten.) The first sentence describes the intimacy of the flesh: The golden star lies still on the thin flower The change in a poetic genre has its roots in the change in artistic perception New Poetry poets have begun their journey from classical poetry to symbolist poetry with their own efforts to renew poetic thinking A new concept of poetry along with creating new imagery, with methods such as "selecting", "combining" words, sounds, rhyming, rhythm, musicality, and new genres, on the basis of classical poetry has brought about new works “upon the Eastern traditions" 4.3.3 Text organized according to the flow of music Classical poetic musicality is tightly controlled, having a limited ring within the prescribed framework, having the function of auxiliary elements, easing people's hearts, similar to Bach Cu Di’s view "nothing is closer than sounds" (Thu gui Nguyen Chan) Meanwhile, New Poetry musicality retains a certain independence and sometimes plays an important role in controlling the organization of the poem, a dynamic element of the structure, because it is associated with the natural development of emotions, New Poetry not only evokes images or symbols but also music New Poetry poets such as Huy Can, Xuan Dieu, Luu Trong Lu, Vu Hoang Chuong, Bich Khe, Han Mac Tu, Nguyen Xuan Sanh, Doan Phu Tu despite their differences, are mostly unable to exploit the benefits of musicality in poetry For them, poetry is music and music is poetry to express the delicate, endless part of the vast universe and deep spirituality, and thus the advantage of the Vietnamese language and the tradition of " thi trung huu nhac" (in poetry there’s music) are utilized at their utmost It is one of the important factors contributing to the addition of musicality in poetry and closeness between New Poetry and the musical spirit of French symbolism 4.3.4 Text organized according to the literary expression - structure – music combination New Poetry, which had "welcomed" Tang poetry, now "welcomed" warmly French symbolist poetry The harmonious influence between Tang poetry and the French symbolist 26 poetry has imbued New Poetry with an artistic tone while conserving the Eastern and the Western flavor in creating a basic "platform" for its integration into the fabric of world poetry The combination of literary expression - structure – music of Tang poetry and French poetry in organizing the poetic text of New Poetry authors is very rich and diverse, retaining the unique and creative personality of each poet At the level of the entire poem, prominent works such as Nguyet Cam (Xuan Dieu), there is a connection with both Tang Poetry and French symbolism, which are united in their similarities, so that their harmony becomes more and more specific and detailed with every word, every sentence, each stanza, each artistic tactics Such is a natural result that New Poetry poems have very interesting statements, unpredictable sentences, even for the creators themselves When writing poetry, New Poetry poets often pursue emotions rather than chasing ideas As said, the issue of organizing text according to literary expression - structure – music combination of New Poetry is a big and complicated issue with undiscernable intertwining factors; the integration of literary expression - structure – music in organizing poetic texts is always aimed at bringing value to New Poetry Summary: While studying in Western and Tang poetry, New Poetry poets have made an important synthesis of East-Western culture and tradition It is a marvelous artistic integration in the organization of poetic texts In the process of accepting influences, symbolist New Poetry is formed in its own orbit and no longer maintains the essence of Western symbolist poetry Although not enough to establish a distinct school of poetry like in France, the symbolic element in the Vietnamese New Poetry movement is also considered an interesting phenomenon As a result, the garden of literary art of the nation has gained new and interesting sights and scents to go beyond the regional framework, approaching the global literary world CONCLUSION The birth of symbolist poetry has opened a new era for human literature – the modern times - with prominent faces such as C Baudelaire, P Verlaine, A Rimbaud, S Mallarmé, and P.Valéry Over half a century of evolution within French literature, the symbolist sect has fulfilled its historical mission, bringing French poetry to a new level With "compatible" thinking and "clairvoyant" vision, French symbolist poets have uncovered and widened the poetic border to infinity With the concepts of modern art, symbolist poetry attracts many generations of poets across five continents In Vietnam, many poets have come to see it as seeking a union 27 between the ancient and traditional poetic thinking of the East with the modern poetic thinking of the West They actively accept in these sects both the aesthetic understanding and the poetic understanding Indeed, the reception of French symbolist poetry and Tang poetry has made an important contribution to changing the face of the national poetic field; to admire it is to understand the rules that design and create it Slowly but surely, French symbolist poetry integrated itself into New Poetry, into the souls of artists with the cultural traditions in their hearts, open minds, and a desire to explore new things and with the world First of all, in terms of emotions and imagery, many people have repeatedly seen the meeting between the souls of Tang and French poets, as well as in imagery building The two poetic influence all reached the height of literary art through refined and concise language, capable of expressing the subtle metamorphosis of creation and the human heart To create the symbolic world in poetry, New Poetry has mobilized "special" materials, taken from Eastern-Western ancient poetry and French symbolist poetry To research The integration of the quintessence of Tang Poetry and French Poetry in New Poetry (19321945), viewed through symbolic elements is clearly a challenging undertaking Nevertheless, that same challenge has created a passion for exploration and conquest for poetry lovers, including us THE WORKS PUBLISHED RELATED RELATIONSHIP Tran Thi Kim Hanh (2016), "Symbol of Soul - A mark of symbolism poetry in new poetry", Proceedings of literature study - Episode 2, University of Pedagogy Publishing Tran Thi Kim Hanh (2017), "Musical music in Luu Trong Lu's poetry before the August Revolution", Collection of literary studies - Episode 3, Vietnam Education Publisher Nguyen Thi My Hien - Tran Thi Kim Hanh (2017), "Musicality - A symbolic element in Bich Khe's Poetry" Journal of Human Resources and Social Sciences (No 11, 74) Tran Thi Kim Hanh (2018), "Creating expectation symbol in new poetry" Journal of Human Resources and Social Science (No 4, p 93) ... objective attitude 1.2.3 Historical research on the influence of Tang Poetry in the New Poetry The study of symbolic factors, in general, has been referred to for a long time and has attracted the attention... the petty Generous people are often linked with: cedar, chrysanthemum, apricot, or ochna The petty are linked with images of sparrows and swallows Therefore, when reading any poem written about... things are expressed by allusion, often fixed metaphors: roses, butterflies and bees, cedar, daisies, bamboos, ochna In written literature, symbolism is a fundamental characteristic that is