The Evolution of the Sentimental Self in Tố Hữu's Poetry from Then On to Viet Bac

Essay Prompt: The Evolution of the Sentimental Self in Tố Hữu's Poetry from Then On to Viet Bac

The Movement of the Sentimental Self in Tố Hữu's Poetry from Then On to Viet Bac
 

I. Detailed Outline of the Movement of the Sentimental Self in Tố Hữu's Poetry from Then On to Viet Bac (Standard)

1. Introduction

- Brief overview of Tố Hữu's position and writing style.
- 'From Then' and 'Viet Bac' stand out as Tố Hữu's most prominent and successful works in his poetic journey. Composed in different revolutionary periods, it's evident that the sentimental self of Tố Hữu undergoes clear and distinct movements and shifts in these two poems, reflecting the historical stages of the nation.

2. Body of the Essay

* Overview of Tố Hữu's Sentimental Self
- The sentimental self embodies the deeply personal perceptions of the literary figure.
- In Tố Hữu's works, the sentimental self is the self of a revolutionary soldier...(Continued)

>> See the detailed Outline The Movement of the Sentimental Self in Tố Hữu's Poetry from Then On to Viet Bac here.
 

II. Sample Essay The Movement of the Sentimental Self in Tố Hữu's Poetry from Then On to Viet Bac (Standard)

Poet Trần Đăng Khoa expressed: 'Tố Hữu is a great poet. More precisely, he is a revolutionary romantic poet. His entire life is intertwined with the revolution. Poetry and life are one for him. Throughout, Tố Hữu views the revolution through the romantic eyes of a poet. His poetry seems to have only one voice - a resounding hymn praising the revolution.' Mentioning Tố Hữu is synonymous with mentioning the most representative poet in modern Vietnamese literature, the 'battle flag of revolutionary poetry.' Tố Hữu's poetic journey is intimately connected to authentically reflecting the arduous and sacrificial stages of the revolution, as well as the glorious victories of the nation. All of Tố Hữu's works share a common thread - a political sentimentality combined with deeply traditional national elements. His poetic voice consistently exudes profound, pure, and warm emotions, yet brimming with passionate encouragement for the revolutionary spirit of soldiers and the people in their struggles. 'From Then' and 'Viet Bac' stand out as Tố Hữu's most prominent and successful works in his poetic journey, composed in different revolutionary periods. Therefore, it is easy to observe the dynamic and distinct movements of Tố Hữu's sentimental self in these two poems, reflecting the historical stages of the nation.

The sentimental self embodies the deeply personal perceptions of the literary figure regarding life and the societal changes of the country in different historical stages and circumstances. For Tố Hữu, his sentimental self is closely linked to the revolutionary journey, filled with numerous hardships and the resplendence of the nation and its people. Despite being a personal self, Tố Hữu always places it within the embrace of the people, the Party, and the state, sharing common joys, driving inspirations that are era-specific rather than merely personal, and isolated feelings.

In Tố Hữu's works, the sentimental self always appears vivid and bright, representing the self of a revolutionary soldier, one carrying immense emotions and a longing to merge with the people and the community. This is vividly expressed in his debut poetry collection 'From Then' and the poem of the same theme.

'I bind my heart with everyone
To experience conditions in a hundred places
To unite my soul with countless souls in suffering
We strengthen life by being close to each other
I am a child of a myriad homes

As Tố Hữu journeyed further along the arduous and illustrious path of the revolution, his sentimental self deepened. It transcended being merely the sentiment of a revolutionary soldier, evolving into a grand self, representing the Party, the people, with verses becoming more intimate, rich with revolutionary sentiments. The dynamic movement of Tố Hữu's sentimental self in poetry is inherently tied to the revolution, maintaining the initial sentiments while showcasing the maturation of a poetic soul, 'a life wholly dedicated to Revolution - Art - Love.'

The evolution primarily stems from the historical context of the creation of these two works, marking crucial milestones in Tố Hữu's revolutionary life and the revolutionary cause of the nation. 'From Then,' written in July 1938, coincided with the clear directions of the Vietnamese revolutionary movement. Tố Hữu, having actively participated in the youth movement in Huế, joined the ranks of the Communist Party of Vietnam at the age of 18. This marked a brilliant milestone in Tố Hữu's poetic and revolutionary career, spanning both the anti-French and anti-American resistance wars. While 'From Then' focused on Tố Hữu's personal circumstances, 'Viet Bac' drew inspiration from the glorious victory of the nation at Điện Biên Phủ in July 1954 and the signing of the Geneva Accords. The North became independent, initiating a new era. The departure from Viet Bac, returning to the capital, left indescribable emotions in the hearts of revolutionary soldiers and the people. Viet Bac was born in those extraordinary circumstances.

It is the dynamic movement of Tố Hữu's sentimental self within the changes of the nation's historical circumstances. While the content shifts based on historical contexts, the self of the revolutionary soldier undergoes certain changes. However, it is crucial to emphasize that Tố Hữu's revolutionary ideals, patriotism, and orientation towards the people remain unchanged from the beginning. The transition lies in the refinement of poetic soul and the progression of the national revolution from its early stages to maturity. Tố Hữu's perception of revolutionary poetry is clear: 'To have good poetry, one must first create emotions. A genuine poet must constantly strive and cultivate ideological positions; define a clear vision and perspective. Voluntarily dedicating oneself sincerely is the highest requirement for an artist in relation to the country and the people. Revolutionary poets must firmly struggle, without compromise, against deviations and evils.' In summary, writing poetry must be worthy of being a vanguard soldier on the cultural-ideological front. If 'From Then' predominantly expressed joy and happiness, the enlightenment of revolutionary ideals for an 18-year-old, 'From Then in me bursts the summer sun/The sun of truth shining through the heart,' Viet Bac reveals the exuberant emotions of a young man singing the anthem of marching soldiers, with a heart full of the vigor of youth. Free-flowing poetry, a fast rhythm, propels the author's joyful and eager emotions to new heights, accentuating the open and ready-to-embrace nature of the sentimental self, merging with the community, forming a vast collective self.

Sixteen years later, Viet Bac emerged in a new context. Tố Hữu transformed from the young novice taking the first steps in the revolutionary journey into a seasoned soldier with rich experience. His perceptions of the era underwent significant changes. In Viet Bac, the intense desires and powerful emotions are no longer explicitly expressed. Instead, both the content and tone of the poem are warm, contemplative, saturated with loyal affection. The poem reflects on the arduous war years, the nostalgia of those departing for those staying behind, poignant and emotionally overwhelming. Importantly, the sentimental self integrates with the collective 'we' of the nation, the interchange of 'we with ourselves,' 'ourselves with us,' alternating between the words of those leaving and those staying. In a broader sense, Tố Hữu's verses represent the feelings of an entire generation of revolutionary soldiers who fought and lived in the mountainous region of Northwest Vietnam, expressing deep gratitude and recalling the enduring, loyal bonds with the people of Viet Bac. Note that the parting in Viet Bac evokes indescribable emotions, a mix of touching and poignant feelings for both the departing and the staying. Yet, it is not a lingering sadness. The past is gone, and the future ahead will be better. Today's farewell is a prerequisite for the future unity of the nation.

'Returning, do we remember ourselves?
Fifteen years, earnest and profound.
Returning, do we remember or not?
Looking at trees, remembering mountains; looking at rivers, remembering the source.'

The movement of the sentimental self is also evident in the poetic style. If 'From Then' saw Tố Hữu choose free verse, soaring and delivering powerful emotions, in Viet Bac, he adopts the traditional hexameter verse of the ethnic people. This reflects a shift in the author's poetic style, accurately representing the development and maturation of Tố Hữu's poetic soul. It evolves from a focus on political sentimentalism towards a combination of political sentimentalism with rich ethnic artistic material. This demonstrates that Tố Hữu's sentimental self is increasingly aligning with the people and forging a profound connection with them.

It can be said that the movement of Tố Hữu's sentimental self is closely related to the historical context and the development of the revolutionary movement through two wars against the French and the Americans to save the nation. From the poetry of a young and free soul, strong personal sentiment, consciously moving towards the collective, it gradually transitions into mature poetry in both style and creative inspiration. Tố Hữu's sentimental self has completely merged with the Party and the people, expressing the dedication to life and revolution until closing eyes and lowering hands: 'Farewell to my dearest life/Few lines of poetry, a handful of ashes/Poetry sent on the journey. Ashes fertilize the land/Living is for giving. Even in death, it is for giving.'