Elaborating on a Text, a Simple Literary Genre

Essay Prompt: Elaborate on a Simple Literary Genre

4 Sample Essays Elaborating on a Text, a Simple Literary Genre
 

Tips How to Craft Insightful Explanatory Essays

1. Sample Essay 1: Elaborating on the Luc Bat Poetry Form

Luc Bat is one of the two primary poetry forms in Vietnam (Luc Bat and Song Thất Luc Bat). It has been disseminated and developed in Vietnam for hundreds of years. Luc Bat poetry has deeply permeated the soul of the Vietnamese people, as it is present in folk verses, communal songs, and lullabies. Even today, modern poets continue to embrace, refine, and uphold the significance of Luc Bat poetry in contemporary Vietnamese literature. Luc Bat poetry is characterized by its simplicity in rules and is often used to express various emotions within the human soul.

Luc Bat poetry has ancient origins and is a poetic form native to our nation. It consists of stanzas with two or more lines, where every two lines form a pair. Each pair consists of a 6-syllable line (hexameter) and an 8-syllable line (octameter), alternating between hexameter and octameter in a sequence. The number of lines in a poem is unlimited. Typically, a stanza begins with a six-syllable line and ends with an eight-syllable line. However, sometimes it concludes with a six-syllable line to achieve a light, rhythmic, and rhyming quality. Exploring Luc Bat poetry is an exploration of its rules and rhyme. Phonetic rules create harmony in the lines, and rhyme serves as the cohesive element binding the verses together.

Phonetic Rules in Luc Bat Poetry: Luc Bat poetry consists of two standard lines, hexameter and octameter. Similar to Tang poetry, it follows the rule of one, three, and five being flexible, while two, four, and six adhere strictly to a set pattern. This means that syllables in positions one, three, and five within the line can vary freely in tone, but syllables in positions two, four, and six must follow a strict rule. The rule is as follows:

Hexameter: The order of syllables in positions two, four, and six is Consonant (C) - Sonant (S) - Consonant (C)

Octameter: The order of syllables in positions two, four, six, and eight is C - S - C - C

Example:

Last midnight in Nghi Xuan district (C - S - C)
Lost in thoughts, remembering the beloved Thuy Kieu (C - S - C - C)

Regarding tonal composition, only the fourth syllable must be flat. The second, sixth, and eighth syllables must be sharp, but in the eighth line, the sixth and eighth syllables must have different tones. If the sixth has a falling tone, the eighth must have a rising tone or vice versa:

A single tree cannot form a hill
But three trees together create a towering mountain

However, sometimes freedom is allowed in the second syllable of the hexameter or octameter, transforming it into a flexible tone. Alternatively, the hexameter can remain unchanged while the octameter follows the pattern S - C - S - C. Poems constructed in this manner are known as modified Luc Bat.

Example:

There's commotion, a disturbance in the water S - S - C
Avoid stirring muddy waters, it pains the heart S - S - C - C

Or:

The stork ventures along the riverbank
Bearing a load of rice, nurturing the cries of the hamlet S - C - S - C

Rhyming in Luc Bat Poetry: Luc Bat poetry employs a distinct rhyming scheme compared to other poetic forms. Multiple rhymes are woven across several lines, providing flexibility to the rhyme structure. Typically, the end rhyme of the hexameter matches the sixth syllable of the octameter, and vice versa, creating a continuous pattern throughout the poem:

A hundred years in the realm of mortals
Talents and destinies despise each other cleverly
Enduring a sea of hardships
Witnessing painful changes that pierce the heart.

In addition to the rhyme at the feet in both lines 6 and 8, there is also internal rhyme within line 8. Parallelism in Luc Bat Poetry: This involves tonal pairing in the sixth (or fourth) syllable of the octameter with the eighth syllable of that line. If the former carries a falling tone, the latter must have a rising tone, and vice versa.

Example:

Painful is the fate of women
They say destiny is a shared tale of silver
Beyond tonal pairing, there's a pairing of meanings:
Though faces are unfamiliar, hearts are acquainted

(A Chance Encounter with the Jade Hairpin)

Breaking the Rhythm in Luc Bat Poetry: Luc Bat poetry typically follows an even rhythm, such as 2/2/2 or 4/4, to convey emotions of love, sorrow, and more.

Beloved one, oh my beloved
Where to go, leaving behind this chilly fragrance

Sometimes to emphasize, one may switch to an odd rhythm, such as 3/3: Husband, oh dear, what debt am I to repay here? When expressing obstacles, confusion, strength, sudden emotions, or unusual and uncertain moods, one can shift to odd rhythms like 3/3, 1/5, 3/5, and so on. Luc Bat poetry, with its simple rhyme scheme, tonal pairing, and even rhythm, is remarkably versatile, rich, and diverse, offering abundant expressive capabilities. Over 90% of folk verses are composed in Luc Bat. According to researchers, Luc Bat is the predominant form in folk poetry.

From these distinctive structural characteristics, it is evident that Luc Bat poetry fundamentally remains a meticulous and well-regulated poetic form with clear rules regarding rhyme, rhythm, and the number of syllables per line. However, there are instances when hexameters spill into octameters, and the lengths of both exceed the norm. There are variations in tonal pairing, rhyme schemes, and more – these are considered as modified Luc Bat. Despite these variations, the fundamental characteristics of syllable counts, tonal regulations, and rhyme schemes in Luc Bat poetry are retained. This serves as a distinctive feature for identifying it as Luc Bat.

In addition to traditional Luc Bat, there is the variant known as modified Luc Bat – verses maintaining the Luc Bat form but deviating from the standard six to eight syllables. There is a certain flexibility in syllabic structure, rhyme, and rhyme position. The phenomenon of modified Luc Bat is noteworthy in folk poetry, where we can observe variations in both increased and decreased syllable counts in this poetic form.

2. Sample 2: Exposition on the Seven-Word Eight-Line Poetry

The Seven-Word Eight-Line poetry form originated during the Tang Dynasty. For a considerable time in the feudal system, this poetic form was utilized for selecting and assessing talents. It gained popularity during the Northern domination in our country and was mainly favored by the literati class.

The structure of Seven-Word Eight-Line poems consists of 8 lines, each with 7 characters. If the second tone of the first line is equal, it is called the equal form; if it has a rhyme, it is called the rhyme form. The poetry form strictly regulates the laws of equality and rhyme. These regulations have crafted a delicate, harmonious network of sounds, creating verses that flow like a love ballad. There were discussions regarding the regulations of equality and rhyme in each syllable of every line: The tones one - three - five are unrestricted, while tones two - four - six are specified. However, during the creative process, authors have ingeniously loosened the rigidity of these rules, allowing the romantic soul to soar within each poetic line. An example in the poem 'Over the Ngang Pass' is written in the equal form:

Stepping onto Ngang Pass, the shadow of the sunset - T - b - B - t - B - B
Grasses intertwine with rocks, leaves mingle with flowers - B - t - T - t - B - B

Regarding rhyme, the poetry often employs end rhymes in the last words of lines 1 - 2 - 4 - 6 - 8. Rhyming not only enhances coherence but also contributes to the melodic quality of the poem. In the poem 'Over the Ngang Pass,' the rhyme pattern is consistently 'a.'

The poetry also shares a commonality in sound at the second tone in pairs of lines: 1 - 8, 2 - 3, 4 - 5, 6 - 7. This creates a tight structure and rhythmic flow in the sound. In the poem 'Over the Ngang Pass,' Lines 1 - 8 have identical sounds in all tones, except for the sixth tone (TTBBTB). Lines 2 - 3 have identical sounds in the 2nd, 4th, 6th tones (BTB)...

In terms of couplets, the poetry exhibits either complementary or contrasting pairs in lines 3 - 4, 5 - 6. In the poem 'Over the Ngang Pass,' lines 3 - 4 collaborate to express the sparse, humble existence of people amidst the pristine mountain pass, while lines 5 - 6 reveal the author's longing for the beloved homeland. The couplets align in terms of word type, sound, and meaning.

The structure of Seven-Word Eight-Line poetry consists of four parts: Two lines presenting general sentiments about people or scenery, two lines vividly describing scenes, events, or emotions to clarify the feelings expressed in the first two lines; two lines of discussion: Delving into ideas, expanding emotions, often presenting the main idea of the poet; two concluding lines: Wrapping up the poem while emphasizing the emotions expressed above. Such a structure allows the author to fully reveal the inspiration for their creative process, the intense emotions that lead to timeless poems.

As for the rhythmic pattern of this poetry form, the common ones are 3 - 4 or 4 - 3 (2 - 2 - 3; 3 - 2 - 2). The rhythmic pattern creates a smooth, flowing rhythm that follows the poet's emotional expressions line by line.

The Seven-Word Eight-Line poetry is truly a masterpiece, perfectly suited to express profound and intense emotions burning passionately for the homeland and nature. This has enhanced the simple beauty of the poetry form. Some poets, inspired by boundless creativity, have transcended the strictness of the form, breaking rhyme and couplet structures to express their emotional thoughts. In summary, Seven-Word Eight-Line poetry remains a fragrant page for countless poets to compose noble artistic works for future generations.

Sample 3: Exposition on Comedy

Comedy is a 'dramatic genre where character, situations, and actions are presented in a humorous or satirical form, intending to mock, criticize the bad, the ridiculous, the outdated, and joyfully send them out of social life.' Comedy was considered, until the 17th century, as a genre opposed to tragedy, and its works necessarily ended on a humorous note.

Comedy, as mentioned earlier, directs its humor towards mocking the undesirable, the ridiculous, contrasting with societal ideals or ethical standards. Characters in comedy often lack alignment between their inner essence and their external reputation, making them the epitome of ridiculousness. The personalities in comedy are vividly and closely portrayed, especially the amusing traits. The scope of comedy reflection is extensive, ranging from socio-political issues to daily life's vices. While comedy can depict human suffering, it's limited to a certain extent, ensuring that sorrow doesn't overshadow laughter, thereby transforming comedy into drama.

Comedy emerged early, almost simultaneously with tragedy. Aristophanes (around 445 - 385 BCE), an ancient Greek playwright, is considered the 'father' of comedy.

Due to content, nature, and the spectrum of laughter, comedy is divided into various sub-genres such as character comedy, situational comedy, lifestyle comedy, satirical comedy, etc.

To this day, the works of the great French comedic playwright Molière (1622 - 1673) are regarded as classical examples of the comedy genre.

Sample 4: Exposition on Folk Poetry

'A stork ventures out for a night meal
Landing on a soft branch, dipping its neck into the pond
Dear sir, please rescue me
Do I have any compassion, sir, please stir the bamboo shoots...'

That is the sweet and gentle melody of folk poetry that has accompanied us since childhood. Folk poetry embeds itself in the soul of every Vietnamese person from an early age. It is a simple yet distinctive genre, representing Vietnamese literature, and, more broadly, our longstanding cultural tradition.

Folk poetry encompasses the romantic folk genres that combine lyrics and music, expressing the inner life of the Vietnamese people. It is also a simple form of literature - the folk poetic form. Emerging early, it has been transmitted through various forms up to the present day.

Folk poetry, also known as love poetry, possesses distinctive characteristics in terms of both content and form within the realm of literature. Concerning content, folk poetry embraces a wide range of topics, reflecting various aspects of rituals, customs, family life, community, ethical beauty, and precious life experiences. The subjects of folk poetry are diverse and prevalent across all age groups, with different romantic characters depending on the topic. In family-related folk poetry, the romantic character may be a mother, a wife, etc. In love between young men and women, it could be a young man and a girl, while in broader societal contexts, it might be a woman or a farmer.

In terms of form, folk poetry exhibits traditional artistic features. The poetic forms predominantly used are those of the ethnic groups, luc bat, and its variations. Other poetic forms include song that luc bat, four-word poems, five-word poems. Folk poetry is often concise, profound, flexibly utilizing literary techniques such as similes, metaphors, and various symbolic images. Repetition is a common stylistic feature in folk poetry, whether in structure, words, phrases, or sometimes entire lines. Analyzing folk poetry requires consideration of these repetitive elements. The language used in folk poetry is often simple, close to the spoken words of the people, rich in the ethnic and regional colors.

In the treasure trove of Vietnamese folk poetry, it is divided into various categories reflecting different content and subjects. The first type is poetry expressing love and affection, including family relationships between parents, children, husbands and wives; love between couples, love for the homeland, the country, praising the beauty of the nation. These are poetic verses about every corner of our beloved homeland:

'Dong Dang has the Kì Lừa street,
There's Ms. Tô Thị, and Tam Thanh pagoda.'
Or the millennium-old capital Hanoi:
'Gather to see the scenery of Kiếm Hồ,
See the Thê Húc Bridge, see Ngọc Sơn Temple.
Nghiên Tower, Pen Tower not yet worn,
Ask who built this nation?!'

Folk poetry of love and affection easily evokes feelings of empathy, pride, patriotism, and gratitude towards the previous generations who bravely fought and sacrificed, or most intimately, love and gratitude for those who had the merit of giving birth and nurturing. There is a folk poem that many still remember today:

'A father's merit is like the Thái Sơn mountain,
A mother's virtue is like water flowing from the source.
Wholeheartedly revere the mother, respect the father,
Fulfilling filial piety is the true way of a child.'

Another familiar type of folk poetry is the lamentation, born from the hardships and injustices of life. It portrays the life of farmers in the old society and women facing oppression and injustice.

'My body is like raindrops,
Falling on the court, flowing to the plowed fields.
My body is like a well in the middle of the road,
Wise ones wash their faces, ordinary folks wash their feet.
My body is like a peach blossom silk,
Fluttering in the market, wondering whose hand it will fall into.'

The patriarchal regime in feudal society has oppressed countless unfortunate women. Folk poetry, like heartfelt grievances, echoes from the souls of the unhappy. Forever engraved in memory.

Alongside that, there are humorous, satirical folk poems. Together with folk jokes, this genre of folk art showcases the vibrancy of Vietnamese folk culture. It elicits laughter for entertainment, criticizes vices, and mocks laughable individuals in society. For instance, a satirical folk poem on superstitious practices goes:

'If a woman isn't rich, then she's poor,
On the thirtieth day, meat hangs in her house.
If a woman has both a mother and a father,
Her mother is a woman, her father is a man.
If a woman has a husband and a wife,
Her firstborn is neither a girl nor a boy'

Folk poetry has become an indispensable part of the Vietnamese people's soul. It is a spiritual and cultural value transmitted from generation to generation. It not only expresses the melody of love and precious emotions but also encapsulates a wealth of experience distilled from the realities of life, such as 'In the night of the unslumbered month, it's already morning. In the tenth month, before laughter, it's dark.' At the same time, folk poetry imparts valuable moral lessons, including filial piety towards parents and the power of love. In literature, folk poetry serves as a rich and diverse source for writers and poets to create their masterpieces. Folk poetry embodies the beauty of the Vietnamese soul.

Despite the passing years, folk poetry continues to live eternally in the hearts of millions of Vietnamese. Each time the familiar melody of folk poetry resounds, we reminisce about the golden past of our homeland.

5. Exposition on the Literary Genre of Phu

Phu is an ancient literary genre originating from China. Throughout its adoption and evolution, this literary genre has undergone various transformations. Many Vietnamese poets and writers during this period utilized Phu to create outstanding works.

Phu is a versified literary genre, dating back to the Han Dynasty, but its prevalent use in Vietnam has roots in the Tang Dynasty, known as Tang Phu. In Chinese, 'phu' primarily refers to descriptive writing about landscapes, but Phu poetry often employs scenery to depict emotions, using natural settings to convey human introspection. Vietnamese monarchs utilized the Phu style in academic examinations. In Hương and Hội exams, Phu constituted a segment of the triennial contests.

A phu poem comprises two elements: rhyme and antithesis. Each line is divided into two verses that must correspond. The last word of the second line rhymes, and the flexible structure allows the poem to resemble prose in storytelling. The organization of a phu poem consists of five sections: the backbone, introduction, explanatory section, vivid description of meaning, performance section to clarify ideas, and a concluding section for discussion and summarization. The number of lines in a phu poem is not fixed or limited. The first line of each section often uses a four-character phrase.

Vietnamese literature boasts famous phu poems like 'Cư trần lạc đạo phú' written in Nôm characters by King Trần Nhân Tông.

Wandering freely on the path of fate
Constrained by circumstances, boundless in misery
Within the family, there's protective care, a measure of modesty
Facing the scenery with indifference, immersed in meditation

In the 19th century, there is the poem 'Tụng Tây Hồ phú' by Nguyễn Huy Lượng:

Tired of chanting Tây Hồ again;
Tired of chanting Tây Hồ!
Originally, there was a wide pit that turned into a pond;
Perhaps there are rocks sticking out here and there?
Some say the place Long Tử dug became a pond, thanks to the mystical charm bestowed by Master Huyền. Thus, the white fox snuck into the mansion,
Others claim Cao Vương dug to block the flow, influenced by the sound of the bell from Master Khổn. Hence, the golden buffalo followed the traces to the capital.
...

Classical Chinese phu poetry includes Trương Hán Siêu's 'Bạch Đằng Giang phú'

Guest host:

Wandering through the vast expanse,
Roaming freely under the moonlit sea.
Ruling over the mysterious Nguyên, Tương dynasty,
Exploring the enigmatic Vũ constellation.
....

The primary content of a Phu poem is often used to depict landscapes. With the characteristic of an unlimited number of lines, an undefined number of words per line, Phu poetry typically describes the beauty of nature, connecting with the emotions of individuals.

In the medieval period, poets often used Phu poems to depict the beauty of the country, various elements such as moonlit nights, forests, rivers, birds, sunsets, and sunrises. Based on the scenery, authors express their emotions and inner thoughts. In 'Bạch Đằng Giang phú,' Trương Hán Siêu speaks of respect and gratitude for the nation-building and preservation efforts of heroic figures. 'Cư trần lạc đạo phú' embodies the tranquility and simple lifestyle of a practitioner. In Ngọc tỉnh liên phú by Mạc Đĩnh Chi, the imagery of a lotus flower and the description of the lotus in the jade well serve to remind of one's own value and talent.

Thus, Phu poetry is extensively used in classical literature. Throughout the exchange, learning, and absorption process, it has undergone various transformations to align with the style and beliefs of the Vietnamese people.

>> Refer to the analysis of Trương Hán Siêu's 'Bạch Đằng Giang phú' to gain a deeper understanding of the Phu literary genre.
 

6. Exposition on the Literary Genre of Epic Poetry

The world literary scene has flourished with diverse genres such as epic poetry, folk songs, short stories, novels, and one cannot ignore the unique genre of epic poetry in literature.

In ancient times, epic works were considered as epic poetry. Nowadays, works belonging to the genre of epic poetry are voluminous poems or autobiographical writings. Epic poetry has been present since early times, and through its developmental process, it has garnered various interpretations and evaluations. Nevertheless, it still holds a particularly important position in literature.

To understand the essence of epic poetry, some researchers delve deep and present different opinions. Some identify its essence quantitatively: they believe epic poetry must have breadth in content and emotional scale. Others define the nature of epic poetry qualitatively: it must inherit the self-expressive nature of ancient epics or be a harmonious combination of self-expression and folk elements. However defined, epic poetry always carries a unique folk essence, allowing the author to express their emotions and sentiments.

The classification of epic poetry is based on various criteria, including content. Epic poetry encompasses romantic narratives, heroic epics, didactic epics, and more. Its themes are diverse, covering topics such as the nation, national history, world history, heroes, or religion. Regardless of the theme, epic poetry always captivates and asserts its charm in each written work.

The development of epic poetry throughout history is marked by numerous significant works. In ancient times, John Milton's 'Paradise Lost' and Dante's 'Divine Comedy' are noteworthy. The medieval period boasts epics like Rustaveli's 'The Knight in the Panther's Skin' and Ariosto's 'Orlando Furioso.' In the romantic era, epic poetry flourished with renowned works such as Pushkin's 'The Bronze Horseman' and Lermontov's 'The Demon.' In the late 19th century, the genre experienced decline, yet outstanding epics like 'The Song of Hiawatha' and 'The Ice Queen's Point' persisted.

In the national literary context, epic poetry has thrived. The rich history, national heroes, and glorious historical periods serve as abundant inspiration for poets. Vietnamese epic poetry has evolved in two stages according to researchers. The period before 1975 witnessed the emergence of epic poetry, carrying the weight of historical epics. Post-1975, epic poetry leaned towards sentimentality, expressing the personal identity of the authors. Outstanding and contributive epic works in Vietnamese literature include 'The Thirsty Road' by Nguyen Khoa Diem, 'Those Who Go to the Sea' by Thanh Thao, 'The Path of the Stars' by Nguyen Trong Tao, 'The Song of Heroes' by Tran Dang Khoa, 'Every Flower, A Sun' by Tran Anh Thai, and more.

Distinct from other genres, epic poetry carries a unique and distinctive charm, both powerful and tender, overflowing with emotions. This genre has been embraced, developed, and transformed flexibly by poets and writers. It is hoped that epic poetry will continue to be a fertile ground for authors to showcase their talents, revealing perceptions of the new era and modern society.