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

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

Based on how new synthetic methods for the research on the authors
and works are performed, the dissertation will address and demonstrate the
artistic style of Huy Can’s poetry deeply and orginally, soon appearing and
being highlights through Lửa thiêng and creating long-term effects.
4.2. The object of the research
The dissertation mainly does research on Huy Can’s poetry in
comparison with Xuan Dieu’s poetry and some other poets of the New
Poetry movement.
5. The scope of the research
The dissertation is based on Huy Can’s Lửa thiêng, Xuan Dieu’ s
poetry, such as Thơ thơ (Poetry poetry), Gửi hương cho gió (Sending
fragrance to the wind), and some other poets in the period of New Poetry
1930-1945
6. The method of the research
The writer chooses some suitable methods such as method of history
(Chapter 1), analyzing method according to poetics, stylistics, survey,
statistics, systematization, compare, analysis, synthesis (Chapter 2,
Chapter 3).
7. The new contributions of the dissertation
7.1 Scientific significance
(1) Contributing some ideas to proving the unique poetry style through
poetic language and poetic trinity Image - Culture - Philosophy of Huy
Can; (2) contributing a new approach to studying his poetry in the flow of
the life of literature, culture, contemporary society, (3) adding materials
through some poetry writing, comparing the original manuscript material
in Sacred fire.
7.2 Practical significance
By studying the artistic style of Huy Can’s poetry, through the
dissertation the writer wants to add material to research, teaching Huy
Can’s poetry in schools and perceiving the multi-dimension literature in

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

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

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

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

2.2.1. The wardrobe has just been made and the youth heart
is fragrant – The youth inspiration is full of dreams.
First and foremost Lửa thiêng is a poetic collection of the youth. Hoai
Thanh commented very subtly! Under the verses, the poem seems old, and
the critic recognized that it is the "poet of the age of twenty. " In the poetic
universe Lửa thiêng of Huy Can also has an array of poetry that almost
covers all the emotions of the young beautiful flower time, clear and
romantic youth, dreamy and full of pain. The youth is in an old poem. It
is the first feature of Huy Can’s style.
2.2.2. Alas, it is beautiful but sad – Inspiration of the beauty:
Beauty is sad.
Beauty is harmony or on the other hand: haymony is the rule of
beauty. Aesthetic beauty of classical poetry in the poetry of Huy Can
might be mentioned first as the harmony: Waves ripple in the long river
sadly / The boat swims along downstream, etc.
“Beauty is sad” With the sensitive and deep soul, Huy Can met,
received aesthetics concept very quickly, harmonously and composed
many poems full of sadness: Sadly, sadly it rains night, lengthily, great
love, pity, death, grief music Of course, in terms of actual writing, the
word sad, grief of Huy Can’s poetry, a portion received from the aesthetics
of classical poetry through many literary Vietnam works: Chinh Phu
Ngam, Kieu, Cung oan ngam…
2.2.3. The boat goes home; the water will be sad everywhere
– Inspiration of water- sadness and love
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đường thơm-Walking on a aromatic road).
On the other hand, the land also has other philosophical significance
of man. With the familiar point of view: the space of universe tends to
echo from the bottom up, while the space of land tends to look across and
often comes down to depth below ground (the grave door, the tiny grave,
hell government, hell, etc.). Land expresses the border between life and
death world (On the land is the world of life, but under the land is theworld
of death) What is death? Soon deeply sleep in the land! (Mai sau-
Tomorrow)
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2.2.5. Because fire pot has been raised to contact lips – Fire
inspiration - The nostalgia of the mission of illuminating of the poet is
not complete
Fire appeared in poetry Rimbaud “Donc le poete est vraiment voleur
de feu” (The poet is a thief on the sacred fire referring to the god
Promethee in Greek mythology stole the sacred fire from Zeus to give to
humanity.) Rimbaud considered the poet associated with the mission to
find the fire like the tale of Promethee. Earnestly through the inspiration of
his era, Huy Can had a wish that the poets in the new era would also have
the “mission ‘sacred fire’ to light a person's lifetime”. In the writer’s
opinion this concept of Huy Can is relatively new compared to Vietnamese
poets from the old days to the New Poetry movement.
The fire inspiration, the nostalgia of the poet's mission has always
been tormented and yet not revealed a lot in Sacred fire. So, Fire really
had to wait until prose Litany to be released (1941), then Huy Can had an
occasion to discuss more about fire and the role of poets in life. Fire is still
the poetic inspiration of Huy Can later. In fact, the image of fire was bright
in his poems, in the composing period after the August Revolution (Lửa và
muối-Fire and salt). Loving those who leave gods to follow him, / With
fire covenant, trying to be loyal with fire (Thăm núi Cô-ca nhớ Prô-mê-tê-

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

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

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

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

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

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

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

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