Exploring the Depths of the Final Stanza in Tố Hữu's Poem 'From Then' (Grade 11) - A Comprehensive Analysis

Tố Hữu, a renowned revolutionary poet, has left an indelible mark with works such as Việt Bắc (1947-1954), Gió lộng (1955-1961), Ra trận (1962-1971), Máu và hoa (1972-1977). Among his famous pieces is the poem 'From Then.' This poem marks the beginning of Tố Hữu's revolutionary path and serves as a life philosophy for the author. Stanza 3 of the poem reveals a profound psychological transformation of the author. Let's delve into Stanza 3 of the poem 'From Then' to gain a deeper understanding of its themes.

'I am the child of a myriad households

The sibling of the embryonic fates

The brother of the little siblings

No shirt, no rice, indifferent to hardship'

'I am' with the repeated use of the word emphasizes Tố Hữu's resolute and determined attitude. 'Child, brother, sibling' conveys a sense of intimacy and camaraderie. 'Myriad households' signifies a large quantity, pointing to the extended family of the laboring class. 'Myriad embryonic fates' refers to those in pain and misery in life, expressing resentment towards societal injustice and compassion for the unfortunate.

The imagery of 'myriad little siblings' depicts numerous orphaned and wandering children. 'No shirt, no rice, indifferent to hardship' is a folk proverb denoting destitute and wandering children without a place to lean on, suffering from hunger and cold in society. It reveals a firm, compassionate stance with a tone of harsh reality and emotionally charged imagery.

Tố Hữu expresses his determination to be closely connected with the impoverished working class in society. He considers the laboring class as his extended family, his parents, siblings by blood, and vehemently opposes the injustice prevailing in society, vowing to fight for a life of freedom, happiness, and justice.

Thanks to the illumination of Communist ideals, Poet Tố Hữu underwent a transformation in his emotional connection, bonding with the laboring people to combat the rotten injustice in society.

Tố Hữu, a renowned revolutionary poet, is well-known for works like Việt Bắc. One of his notable pieces is the poem 'From Then,' which marks the beginning of his revolutionary journey and serves as a life philosophy. Stanza 3 of the poem reflects a profound psychological transformation. Let's explore Stanza 3 of 'From Then' to delve deeper into its themes.

'In the 20th year of the twentieth century

I was born, yet not considered human

Country lost, father enslaved.

Oh, the old days. Rain in Huế

Why does the rain seem so sad as it falls

Looking up, no sight of the sun.

The land, lush with tears!'

(Tố Hữu)

Due to immense pain and loss, Tố Hữu early on embraced Marxist-Leninist ideology, actively participating in the country's salvation revolution at a young age. The poem 'From Then' in the collection of the same name sincerely expresses Tố Hữu's reflections and immense joy:

I am the child of myriad homes

The sibling of myriad embryonic fates

The brother of myriad small heads.'

This artistic portrayal signifies the poet's pride and joy in becoming an intimate member of the 'misfortunate' extended family, while also expressing the heartfelt emotions of a young man joining the Indochinese Communist Party. The use of numbers like myriad homes, myriad fates, myriad heads, child, sibling, brother reinforces the humanistic and empathetic nature towards the toilsome human life. Despite the early stage, these words are still somewhat unripe, showing an artful selection of words, but the poem remains rich in emotion.

In conclusion, even in its nascent state, 'From Then,' like Tố Hữu's entire collection, reflects the intoxicating blend of idealism and revolutionary romanticism on the right poetic path.

Furthermore, readers cherish 'From Then' for its earnest, vibrant, sincere, youthful, and high-minded outlook on life: living for others and for life. Hence, 'From Then' has received high praise from literary researchers and other poets. Poet Chế Lan Viên commented: 'All of Tố Hữu, poetic art, declarations, the elements that make him can be found within the poetic cells of this work.'

Speaking of Revolutionary literature, not mentioning the talented pen of Tố Hữu is a significant omission. A proficient revolutionary soldier, a skilled artist. In both politics and revolution, he has always been outstanding. With this talent, he penned sentimental and romantic poems, epitomized by 'From Then.' The poem, excerpted from the collection of the same name written in 1938, conveys his overflowing emotions towards the Party. The final stanza acts as a concluding emotional anthem.

'I am the child of myriad homes

The sibling of myriad embryonic fates

The brother of myriad small heads

No shirt, no rice, indifferent to hardship'

The opening of the stanza uses the first-person pronoun: 'I.' No longer 'we' as in ancient poetry. Revolutionary poetry, in general, and Tố Hữu's poetry, in particular, carries the voice of personal emotions. The self has been affirmed. Personal emotions have been elevated.

Tố Hữu acknowledges himself as the 'child of myriad homes.' 'Myriad homes' here is not just the dreamy, picturesque land of Huế but every piece of land on the beloved S-shaped strip of land. The image of the people in the author's heart is genuinely close-knit and united. Tố Hữu also says he is 'the sibling of myriad embryonic fates.' Mentioning 'embryonic fates' is recalling the glorious past of his ancestors. Acknowledging himself as 'sibling' means the author wants to follow in his ancestors' footsteps, embracing the fighting spirit of their unity. And Tố Hữu also acknowledges himself as 'the brother of myriad small heads,' doing so because he wants to shelter and love the poor, the victims of war, the oppressed by colonialism, and relieve their suffering.

The short stanza consists of four lines. Tố Hữu uses the rhetorical structure of repeating three times 'I am already...' to clearly affirm his position in a large united bloc. From there, he also asserts a self-awareness, certainty, and steadfastness. Tố Hữu merges himself with the people. The author implicitly affirms the block of solidarity of brothers and sisters from every home, the affectionate feelings of the people. The author is willing to fight alongside them, willing to fight with them.

The poet voluntarily becomes 'the child of myriad homes, the sibling of myriad embryonic fates, the brother of myriad small heads,' willing to devote his whole life to bring happiness to the unfortunate lives, the weary lives in despair, the pitiful children suffering from unjust wars, the hungry lives. The images of the Vietnamese people in the late 1930s appear pitiful in the poet's emotionally charged words. The author implicitly condemns the oppressive colonial regime and, at the same time, ignites a strong belief in the Revolution and the Party, which will bring a new, beautiful, happy, and painless life to the country.

'From Then' is the joyful cry not only of the poet but also of an entire generation when they find the ideals of the Party, willingly giving their all for the ideals, for the people, for the country. They are young soldiers, carrying in them the passion, carrying in them the ideals, and the love for fellow countrymen, love for the country. The final stanza encapsulates all those emotions. Love for the revolution, faith in the Party, and the compassionate love for the people blend into one determined fighting spirit for the Vietnamese people.

Tố Hữu is indeed the poet of the Vietnamese people. The verses are both romantically sentimental and revolutionary steel. The final stanza of the poem 'From Then' succinctly summarizes the emotions, love, and absolute belief in the Party's Revolution of this passionate young man.

Tố Hữu, the poet, is considered the vanguard of the revolutionary poetry of Vietnam. His poetry is imbued with the essence of political sentiment, as if Tố Hữu's entire poetic life is dedicated to praising the nation, praising the people, praising the revolutionary ideals. It demonstrates a self deeply in love with ideals, a citizen full of responsibility towards the people, towards the country. This is very evident in the third stanza:

'I am the child of myriad homes

The sibling of myriad embryonic fates

The brother of myriad small heads

No shirt, no rice, indifferent to hardship'

The third stanza concludes with the transformation of emotions in Tố Hữu's poetry. The change in perception leads to a change in emotions.

In this stanza, the poet continues to record the changes in perception and actions manifested in relationships with various layers of the working class. Here, the author affirms a bond with the 'myriad homes' (I am the child of myriad homes: 'myriad homes' is a large, extensive community, broader than the entire laboring people, 'myriad embryonic fates' refers to those living in poverty, decline, hardship, and 'myriad small heads' are wandering children struggling here and there).

The author's emotions are expressed through the terms of address: child, brother, and sister, showing a class friendship, a flesh-and-blood love. The phrase 'I am already' is a focal point, helping the author deeply express his bond with the suffering working people. The author identifies himself as a member of the large family of the suffering working people. That emotion becomes more noble when we understand that Tố Hữu was originally an intellectual petite bourgeoisie, living a lifestyle that exalted personal ego, selfishness, and narrowness.

The poet has transcended his own class to come to the proletariat with sincere emotions, demonstrating the powerful emotionalization of revolutionary ideals on petite bourgeoisie intellectuals. The communist ideals not only emotionalized Tố Hữu but also changed an entire generation of petite bourgeoisie intellectuals like Xuân Diệu, Huy Cận. They were originally romantic poets who became revolutionary poets, creating for the revolutionary cause. This reflects a change in their creative perception.

With flexible use of autobiographical techniques, sentimental and romantic, effective use of literary devices such as comparison, metaphor, language using rich emotions and images. The poem vividly demonstrates a profound, subtle change in the awareness, ideology, and emotions of an outstanding young man when enlightened by revolutionary ideals and honored to stand in the leadership ranks of the Party.

The poem also shows new perceptions of the way of life, that is, a harmonious connection between one's own ego and the collective self of everyone. Just as the profound transformation of the poet, the poem also has the opening significance for the revolutionary path, the poetic path of Tố Hữu.

The transformation of Tố Hữu's nature and emotions upon grasping the ideals of Communism is vividly expressed in the third stanza of the poem 'From Then.'

'I am the child of a thousand homes

The sibling of a myriad of life cycles

The elder brother of a thousand small heads

Without bias towards anyone's rice or cloth'

This passage asserts, emphasizing a warm and intimate family sentiment. It is the grand family of the working people, where the author is a child, a sibling, and an elder brother within that large family.

The author's heart has merged into the heart of the national family. Understanding and sharing that heart is genuinely moving and sincere. From this, we see the poet's indignation towards the hardships of 'a myriad of life cycles,' of the small ones without rice or 'without bias towards anyone's rice or cloth.'

He opens his heart to embrace the suffering lives of the people, receiving them with the same sincerity as close relatives. The phrase 'Without bias towards anyone's rice or cloth' leaves ellipses like the author's heart spreading wide, opening up to the many souls in distress. The poem is special not only in its poetic meaning but also in its four verses. The author uses traditional poetry, employing imagery-rich language and melody to highlight the poet's mood.

Tố Hữu has expressed the determination to bond blood relations with the labor class in society. He regards the labor class as his family, his parents, his siblings, and feels resentment towards the injustice prevailing in society. The phrase 'Without bias towards anyone's rice or cloth' with three ellipses symbolizes the poet's wide-open heart, sharing the sorrows of many.

Thanks to the illumination of Communist ideals, Poet Tố Hữu underwent a change in emotional attachment, forming a blood bond with the struggling people to fight against the rotten injustice in society.

'From Then' is an exceptional poem, marking the revolutionary activities of the poet's life. In July 1938, Tố Hữu joined the Communist Party of Indochina. Commemorating that memorable moment with deep emotions and thoughts, Tố Hữu penned 'From Then.' The poem is part of the 'Fiery Blood' section in the collection 'From Then.' It serves as the poet's aspirational words, a young patriot's realization of communist ideals. The poet's emotional journey is vividly depicted through vibrant imagery, poetic devices, and particularly in the final stanza.

Ideals embrace the poet, enlightening him within the ideals that lead to shifts in emotional and ideological thinking, paving the way for meaningful endeavors:

I bind my heart to everyone

To experience situations from a hundred places

For my soul to intertwine with myriad sorrows

United, we make life's block stronger.

The poet's initial transformation involves immersing himself in the struggles of the laboring masses, empathizing, and sharing their hardships. The poet comes to them not from a hidden reluctance but with a heart full of love. Emotions are expressed through concise and impactful words. The word 'bind' vividly expresses the poet's close connection to the working class. 'Experience' evokes a sense of broad sympathy. 'United' conjures images of the strength of solidarity. These words carry both imagery and expressive value. Ideals guide the poet back to life, finding a place within the ranks of the people.

The rhythm of the verses creates a resonant atmosphere, contributing to the expression of the poet's soul. At this moment, ideals have opened the wings of the soul. The poet's soul is soaring in all directions, towards a hundred paths. The soul is attempting to transcend the ordinary self to fulfill noble aspirations in the vastness of life:

I am the child of a thousand homes

The sibling of a myriad of life cycles

The elder brother of a thousand small heads.

Without bias towards anyone's rice or cloth.

The phrase acts as a strong link, one side representing the self, the other the myriad life cycles of pain. The balance is skewed, leaning towards harmony with the vast 'us.' The solemn words affirm the voluntary commitment to the suffering masses. This stanza marks a powerful transformation in the poet's emotional and ideological thinking. Bonding with the people, the poet pledges to be a member of the large family of those at the bottom of society, awakening them to struggle for their rights. If the second stanza mainly focused inward with the self-origin, in this stanza, the self is primarily directed outward, yet deeply rooted in the soldier's soul is boundless affection for the fate of the wanderers, the small, the helpless: Two children, Go, my little sister, A night announcement. The two subsequent stanzas express revolutionary life views, the humanitarian and communist spirit of the poet.

If the poetry collection 'From Then' is the poetic journey of the soul of a bourgeois youth enlightened and transformed into a revolutionary soldier, the poem 'From Then' summarizes that transformation. The process of emotional and cognitive transformation is succinctly expressed in a short, imagery-rich, and emotionally charged poem. The poet is ecstatic upon encountering the magical light, the enlightenment of the Party, and the poet vows to be a revolutionary soldier fighting for the rights of the common people. The poem serves as a declaration of the poet's life philosophy with new perceptions and emotions, based on which is the poet's artistic viewpoint: Literature serving the revolutionary cause. The youth must know how to choose and build lofty ideals for a life rich in meaning.

'From Then' is an exceptional poem, marking the revolutionary journey of the poet's life. In July 1938, Tố Hữu joined the Communist Party of Indochina. Capturing that memorable moment with profound emotions and thoughts, Tố Hữu wrote 'From Then.' The poem is part of the 'Fiery Blood' section in the collection 'From Then.' It serves as the poet's declaration of patriotism and realization of communist ideals. The dynamic flow of the poet's emotions is vividly portrayed through bright imagery, realism, and authenticity in the final stanza.

The second stanza most explicitly reflects a sentimental self. It's a self representing the contemporary class, a representative of the nation. 'I bind my soul to everyone' signifies the harmony between the self and the collective, between the individual and the community, opening up the heart to empathy with those around. This creates a sense of unity and collective strength. Especially, the working-class people join hands, forming a bloc to overcome all difficulties and hardships.

'I am the child of a thousand homes

The sibling of a myriad of life cycles

The elder brother of a thousand small heads

Without bias towards anyone's rice or cloth.'

The final passage emerges as an affirmation, emphasizing a warm, intimate family sentiment. It is the grand family of the laboring masses. In it, the author is a child, a sibling, and an elder brother of that large family. The author's heart merges with the heart of the national family. Understanding and sharing that heartfelt connection is genuinely moving and sincere. From there, we perceive the poet's indignation towards the adversities of 'a myriad of life cycles,' the fate of the small ones without rice or cloth.

He opens his heart to embrace the painful lives of the people, embracing the suffering souls as his own kin. The phrase 'Without bias towards anyone's rice or cloth...' leaves three ellipses like the author's heart spreading wide, opening up to countless sorrows. The poem is remarkable not only for its poetic ideas but also for its fourfold structure. The author uses traditional poetic forms, employing rich imagery and melody to highlight the poet's emotions.

This is the oath of a patriotic youth enlightened by the revolutionary ideals of the Party and Uncle Ho. At the same time, it is a vow tied to the toiling masses. The poem marks the beginning of Tố Hữu's revolutionary activities, expressed through emotionally and ideologically charged verses. It embodies the romantic essence of Vietnamese poetry.

Tố Hữu, the poetic standard-bearer of Vietnamese revolutionary literature. His verses resonate with a blend of sentimentality and political fervor. Through his lifetime, Tố Hữu's poetry seems devoted solely to praising the Party, Uncle Ho, and the Vietnamese people. Reading his poetry, historical events unfold vividly. A crucial milestone marking the revolutionary life of the poet is when he officially joins the ranks of the Party. The poem 'From Then' candidly captures the joy, exhilaration, and aspirations of a young patriot enlightened by revolutionary ideals. This is particularly evident in the final stanza.

From these profound new insights into the thoughts of the young intellectuals, there is a transformation in emotions. The fate of the petite bourgeoisie intelligentsia transitions to that of a communist intellectual. Now, the author places himself within the Vietnamese nation, expressing genuine familial sentiments:

“I am a child of a myriad homes

A sibling to myriad generations

A brother to myriad small heads

No clothes, either rough or refined.”

The poet has identified himself as a member of a 'myriad homes.' The use of the terms 'am,' 'of,' combined with the designations 'child,' 'sibling,' 'brother,' and a series of quantitative words like 'myriad homes,' 'myriad generations,' 'myriad small heads,' reveals the poet's emotional connection to the people, akin to siblings in the family, exhibiting a class solidarity, affection for those who share the same fate. He once wrote:

“What's more beautiful in life

Than people living to love one another?”

Or the poet vividly described his sincere joy when reunited with the people in the poem 'The Song of the Ship's Engine:

“Meeting the people like a deer returning to its familiar stream

Grass welcomes spring, birds meet the season,

Like a hungry child finding milk

A cradle suddenly touched by supporting arms.”

Thus, we can see the profound bond of the revolutionary poet with the Vietnamese people. This makes his poetry intimate and endearing.

Throughout his life, 'Tố Hữu engaged in both revolution and poetry, composing poetry to advance revolution and engaging in revolution to enrich the wellspring of poetic inspiration.' Revolutionary ideals have a powerful impact, passionately influencing Tố Hữu and many other romantic poets. As we know, Tố Hữu came from the petite bourgeoisie intelligentsia, so his personal ego was initially high, reflecting a selfish lifestyle. However, he overcame class barriers to immerse himself in the collective 'us.' Every work of his is a revolutionary event correctly marked, just as President Hồ Chí Minh said:

“Today in poetry, there must be steel

Poets must know how to participate.”

Every revolutionary poet must also be a soldier on the cultural and ideological front. Tố Hữu, from the beginning of his engagement in this front, secured a firm position deserving of being 'A precious gem in Vietnamese literature.'

'Tố Hữu views the revolution through the romantic eyes of a poet. His poetry often has a single tone: a resounding chorus praising the revolution.' 'From Then' is an exemplary poem of Tố Hữu's artistic style, a declaration of revolutionary ideals, a melodious voice of joyous youth in the eighteen to twenty-year-old years, happy and enlightened by the light of the Party, along with new perceptions and movements in the emotions of a communist soldier.