Reflections on Tản Đà's celestial ode

Prompt: Share your thoughts on Tản Đà's poem 'Hầu Trời.'

Sample composition on the remarkable and captivating poem 'Hầu Trời' by Tản Đà
 

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Considered a bridge between traditional and modern literature, Tản Đà is perhaps the most exceptional poet in Vietnamese literary history. He is a poet, 'a most complex phenomenon in Vietnamese literary history.' In his poetry, the dominant themes are not only romance and loftiness but also a daring, defiant 'self.' Reading any of Tản Đà's poems, one can perceive his audacious poetic essence. And 'Hầu Trời' is one of the works that vividly exemplifies this remarkable poetic essence!

The poem 'Hầu Trời' was composed in 1921, showcasing Tản Đà's most authentic self. The entire poem adopts a style of audacious poetry, coupled with the romantic essence and innovative creative thinking that few poets can express. Reading 'Hầu Trời,' one can see the author's refreshing, self-confident 'self.' Additionally, the work demonstrates the poet's awareness of the responsibility of literary figures to the national literature and his aspiration to contribute to literature. The poem narrates a creatively imagined story, led by a whimsical poetic style, about Tản Đà's journey to the heavens, where he reads his poetry to the celestial beings. There, the poet is warmly welcomed, praised, and admired by the celestial beings for his literature. Ultimately, it's the responsibility bestowed upon the poet by the heavens to 'work for the celestial welfare of humankind.'

Entering the poem, the poet immediately introduces his story:

'Last night, whether it was real or not
....
The celestial gate appears incomplete here!'
The poem begins with a questioning sentence, full of curiosity:

'Last night, whether it was real or not
....
Truly ascending to the heavens feels strangely blissful'

The author skillfully draws the reader into a fabricated narrative, yet with excitement akin to a true story. Tản Đà's tale is told, but Tản Đà himself doubts, 'whether it was real or not.' However, right after posing the question at the beginning of the story, the poet immediately affirms the authenticity of the story he intends to tell:

'Not a panic, not a dream
Real! Genuine! Actual flesh and blood!
Truly ascending, strangely blissful'

It truly is an opening line that leaves readers perplexed. Beginning with a question, yet in the subsequent three lines, the poet firmly asserts that his story is real, his own experience, not a mere 'daydream.' The repetition of the word 'real' three times is not only for the reader's affirmation but also for the author's self-affirmation that he has been 'ascending, strangely blissful.'

Tản Đà continues the story with verses full of folkloric narrative style. The playful, gentle, and folksy poetry leads us harmoniously through his tale. He recounts how, on a night spent restless 'under the shadow of a green light,' then 'lying bored, sitting up to warm water,' he immersed himself in literature under the moon. In the midst of loneliness and melancholy, suddenly, two fairies descended from the sky, giggling and saying to him:

'The heavens hear who chants
....
Whether reading aloud, the heavens hear.'

Just by reciting poetry alone, the poet was invited to the heavens to read literature for the celestial beings' enjoyment. A tale of celestial ascension full of surprises, blending elements of reality and imagination. With verses that blend introspection and storytelling with a whimsical, folksy narrative style, Tản Đà has immersed readers in a truly fairy tale-like story. Through these verses, we also sense Tản Đà's romantic and lofty 'self.' And not to be overlooked is his profound sense of self-esteem and self-awareness.

Continuing the tale of ascending to heaven, the poet leads readers to witness his reunion with Heaven and its immortals:

'The immortals sit around, serene
....
I carry them here to sell to Heaven'

This is the verse the poet uses to describe the scene where he reads poetry to Heaven and the immortals. The storytelling of literary reading and play in the celestial realm is vividly recounted by Tản Đà. When the poet ascends to heaven, the immortals are present with Heaven to prepare to listen to him recite poetry, analyze poetry. Not only that, the poet is also provided with water by Heaven to clear his throat, while the immortals sit 'serene,' silently, attentively sitting around to prepare to listen to the poetry recitation. As the literary reading session begins, the poet uses all his talents to:

'Read through verses, then prose
From theory to literary play'

Everything the poet creates is recited for Heaven to hear, the more he reads, the more 'delighted,' the more 'literary and poetic' he becomes. Heaven and the surrounding immortals are also extremely attentive, also find the author's literature 'praiseworthy.' Here, we seem to witness Tản Đà's inflated ego as he describes:

'As fresh as blossoms, tongues wagging
...
After each reading, they applaud'

If in the earthly realm the poet worries about 'literary famine,' here, his literature is welcomed, anticipated, invited. Isn't this a display of arrogant, proud self with his own poetry and talent? Although his poetry may not be welcomed in the earthly realm, it is eagerly listened to, enjoyed, and praised by the immortals in the heavens. Each immortal has their own way of expressing, some 'fresh,' some 'wagging tongues,' some 'raising eyebrows,' ... but all praise every poem Tản Đà reads. A series of expressions of the heavens' immortals are recounted by Tản Đà as if to prove the allure of his literature to Heaven.

Not only that, after reading through his works 'from verses to prose,' the poet lists a series of his famous works as if to demonstrate his talent:

'The written words are imprinted all over
...
How many times have they been printed?'

Here, the writer seems to affirm his rich literary career, making even Heaven marvel and praise:

'Literature has enriched so many ways
...
I carry them here to sell to Heaven'

Reading this, once again the reader perceives the distinctive self in Tản Đà's poetry. It's a self full of enthusiasm and self-confidence, brimming with pride and arrogance about one's own talent. With his works, the poet takes pride in being praised by Heaven, being eagerly awaited by the immortals. For a poet, being praised and embraced by readers for one's work isn't something to be proud of?

And with a charming, playful storytelling style, the poet continues his tale:

'Heaven once again applauds 'Excellent literature!''
...
How can one not ascend to serve Heaven every night.

After reading literature for Heaven and being praised by Heaven for his literary talent, with such talent, one would surely never worry about 'literary famine,' yet, the poet immediately reflects on the sad reality of the literary class back then when literature was not paid attention to, not valued properly:

'Selling words, trading letters to earn a living
All year round, struggling with literary famine
In stature, inferior even to a folk singer'

So when praised by Heaven with priceless compliments, the author was overjoyed. Heaven praised the poetry as: 'truly magnificent,' 'hardly any worldly literature could compare,' then:

'Thanks to polished prose as beautiful as shooting stars
...
Dense as rain, cold as snow!'

These are invaluable praises bestowed upon Tản Đà when his poetry is compared to the most beautiful things in the sky like shooting stars, drifting clouds, gentle breeze, ethereal as mist,... In this verse, the author demonstrates his skill not only in expressing his talent in writing poetry but also embeds within it, a strong sense of self. If we often admire the unique self of Nguyễn Tuân, we cannot forget the arrogant self of Tản Đà when he admits:'Condemned to the earthly realm for arrogance'. His arrogance here is only the consciousness of his own value, the awareness of the great achievements and value of his literary works. These are things that were not properly valued in the society of that time compared to Tản Đà.

Although telling a fictional story, the poet still reflects his own reality within it.

'Heavenly decree, the scene of my true poverty
...
Knowing, can I dare to pursue?'

Reading this verse, the reader sees the dialogue between Heaven and Tản Đà, it is the entrustment of responsibility to the poet:

'Heaven decrees for you to undertake this task
It is the divine duty for humanity'

This is the awareness of responsibility and at the same time the poet's self-comfort about the noble meaning of the poet to humanity and life. However, there is a truth that poverty is always the companion of true poets back then, as Tản Đà revealed to Heaven. The suffering, though talented, is not valued, 'literature is as cheap as duckweed,' and sometimes hunger consumes their days. The realities of their plight are vividly and clearly recounted by Tản Đà. The worries, the concerns about food and clothing, will make it difficult for poets to fulfill the 'divine duty' bestowed by Heaven.

The concluding verse recounts the final part when the poet is sent back by Heaven. The farewell is solemn and nostalgic. And when 'the moon fades,' 'the rooster crows,'... until standing in his own courtyard, the poet couldn't help but feel regretful, longing for the brief encounter with Heaven and lamenting:

'Three hundred and sixty nights a year
How could every night ascend to serve Heaven.'

The poem concludes but leaves unforgettable impressions on the reader. A story known to be mere imagination yet it makes the reader feel intimately connected and vividly peculiar. This is owed to the poet's rustic, humorous voice, along with the simple yet flexible style of introspective and romantic poetry by Tản Đà. The poetic form utilized is the pentameter seven-word verse but transformed with flexible rhyme schemes. In this poem, we can clearly see Tản Đà's distinctive and impressive poetic style with a strong sense of self-importance. An arrogance displayed by someone with talent, integrity, and a sense of responsibility as a poet.

The poem 'Serving Heaven' has brought Vietnamese literature a work with not only humor and joy but also profound philosophical reflections on the artist's self. It can be said that with this work, Tản Đà has breathed new life into Vietnamese literature today, hence why he is considered the 'bridge between two literary periods.' And in this work, through his poetic style, he has showcased a profound sense of self with a rare arrogance in Vietnamese poetry. It can be said that for Vietnamese literature, Tản Đà is indeed a shining name, a true and talented poet.

Tản Đà's celestial poem exudes an aura of classical elegance in form while delivering a refreshingly innovative essence in substance. Drawing inspiration from the exemplary essay on interpreting 'Hầu Trời,' students may explore Tản Đà's unique persona encapsulated within the celestial ode. Furthermore, they can delve into lesson plans, drafting exercises, and critical analyses to underscore Tản Đà's poetry as a pivotal bridge between literary epochs.

Concluding Tản Đà's ethereal masterpiece, one encounters a fusion of classical aesthetics with avant-garde thematic elements. Through insightful critique and creative exercises, students unlock the depths of 'Hầu Trời,' illuminating Tản Đà's profound literary influence spanning epochs. As they navigate lesson plans and interpretive essays, Tản Đà's poetry emerges as a timeless nexus, seamlessly uniting disparate literary eras.