Top 10 Explanatory Essays on the Poetic Forms I Love the Most

The Song Thất Lục Bát poetic form is highly beloved in Vietnam. Song refers to 2, Thất means 7, Lục is 6, and Bát is 8. Song Thất Lục Bát is a structure where the first two lines are 7 syllables each, called Song Thất. Following these are a 6-syllable line and an 8-syllable line, forming the Lục Bát structure. Many famous works are written in this format, such as the Chinh Phụ Ngâm Khúc...

The rhyme pattern of Song Thất Lục Bát is as follows: The fifth syllable of the first 7-syllable line rhymes with a flat tone (B), while the last syllable of that line rhymes with a sharp tone (T), matching the fifth syllable of the second 7-syllable line (which also rhymes with a sharp tone). The last syllable of the second 7-syllable line rhymes with a flat tone, matching the last syllable of the 6-syllable line (which also has a flat tone). The last syllable of the 6-syllable line rhymes with the sixth syllable of the following 8-syllable line. The last syllable of the 8-syllable line rhymes with either the third or fifth syllable of the first 7-syllable line in the following stanza. The third syllable is more flexible, depending on whether it rhymes with the previous line or not, and can rhyme with either a flat or sharp tone.

Example:

When the sky and earth were shaken by a storm,
Many travelers faced deep sorrows
Far away, the blue stretches wide
For whom was this sorrow built?

The drums of Tràng Thành tremble under the moonlight,
The smoke of Cam Tuyền grows thick like the fog.
Nine times the precious sword is handed over,
In the middle of the night, the order to march is proclaimed.

The peaceful waters, though three hundred years old,
The velvet robes are now entrusted to the officials.
The heavens urge the morning clouds to hurry,
The royal duty is of great importance.

Chinh Phụ Ngâm Khúc - Đặng Trần Côn - Đoàn Thị Điểm
In this poetic form, it's not necessary to have couplets, but the two 7-syllable lines, if possible, can be arranged as a couplet:

Example:

The rich Lý family
Elegant like the Vương family

The fragrance of wealth lures the distant land,
The glimmer of glory deceives the imperial officials.

At the Thệ-thủy bridge sits a statue,
The Thu-phong tavern stands with a forlorn shadow.

Cung oán ngâm khúc - Nguyễn Gia Thiều

Or:

The drums of Tràng Thành tremble under the moonlight,
The smoke of Cam Tuyền grows thick like the fog.

The traveler journeys through the winds and rain,
While the beloved returns to the old bedchamber.

The spirits of the deceased blow fiercely,
As the warrior’s face is illuminated by the moon.

In Hàm Dương, he still looks back,
At Tiêu Tương, she watches the distance.

Chinh Phụ Ngâm Khúc
This special form of poetry, Song Thất Lục Bát, along with Lục Bát, has been widely favored by authors during Vietnam's medieval literary period. This form flourished in the 18th century and continued into the early 20th century. Many iconic Vietnamese works, such as the Chinh Phụ Ngâm translation by Đoàn Thị Điểm, Ai Tư Vãn by Lê Ngọc Hân, Văn Tế Thập Loại Chúng Sinh by Nguyễn Du, Cung Oán Ngâm Khúc by Nguyễn Gia Thiều, and Tự Tình Khúc by Cao Bá Nhạ, were written in this form. However, after the rise of the New Poetry movement, Song Thất Lục Bát became less popular. Works using this form are now rare, partly due to the complex and difficult rhyming rules. So, be sure to explore these works to gain a deeper understanding!

The Ngũ Ngôn Tứ Tuyệt poetic form is an ancient style originating from China, which was later adopted into Vietnamese poetry. Along with other poetic forms like Thất Ngôn Tứ Tuyệt, Ngũ Ngôn Bát Cú, and Thất Ngôn Bát Cú, it has contributed to a thriving poetic movement that shaped the Vietnamese poetic tradition.

Ngũ Ngôn is one of the most widely practiced forms today. However, it is important to distinguish it from modern 5-syllable poetry. The Ngũ Ngôn form refers to a specific category of classical poetry that requires strict adherence to the rules of rhyme and meter.

The Ngũ Ngôn Tứ Tuyệt form originated in China and, like other forms in its group, influenced the development of Vietnamese poetry. This style consists of four lines, each with five syllables. The first, second, and fourth lines, or sometimes just the second and fourth, rhyme with each other at the final syllable. In many ways, this form resembles the Thất Ngôn Tứ Tuyệt, but with fewer lines—essentially, it’s like removing the last two syllables of a Thất Ngôn poem to create a Ngũ Ngôn poem.

Example:

In the rain, sunlight still shines
Under the waves, the sea is calm
Cold stones continue to hold the fire
Does love fade, or does fate endure?

The Ngũ Ngôn Tứ Tuyệt is composed of four lines, each containing five syllables, adhering to classical rhyme rules. While it closely mirrors the structure of the Thất Ngôn Bát Cú, each line of Ngũ Ngôn drops the first two syllables, leaving only the final five syllables. Its rhyme and parallelism rules are consistent with the Thất Ngôn Bát Cú as well.

For the Ngũ Ngôn Tứ Tuyệt, we have four lines, each with five syllables. The first, second, and fourth lines, or simply the second and fourth, will rhyme at the final syllable, making the total number of syllables in the poem equal to 20. Essentially, this form is a shorter version of the Thất Ngôn Tứ Tuyệt. Additionally, it can be seen as a derivative of the Ngũ Ngôn Bát Cú, as it extracts four lines from an 8-line Bát Cú poem to create a Tứ Tuyệt. Though brief, this form is known for its simplicity and elegance. It is divided into four parts: (Introduction, Development, Argument, Conclusion).

The Ngũ Ngôn Tứ Tuyệt form is recognized for its melodic and smooth rhythm, making it pleasant to recite and listen to. It follows a 2/3 rhythm pattern, with alternating flat and sharp tones or flat-flat, sharp-sharp at the second and fourth syllables. This unique rhyme structure, known as độc vận, is maintained throughout the poem to ensure its completion in accordance with classical poetry rules.

The Thất Ngôn Bát Cú Đường Luật is a remarkable and distinctive poetic form, ideal for conveying deep emotions related to the homeland and the nation. The unique content it expresses enhances its value in Vietnamese poetry. Poems composed in this form often carry intense emotions from the poet, breaking away from the rigidity of the classical rules, and allowing the form to endure through time.

This poetic form consists of eight lines, each with seven syllables. The tone of the second syllable in the first line determines whether the poem is classified as 'flat' (bằng) or 'sharp' (trắc). The strict regulations on flat and sharp tones create a refined and harmonious sound, making the poem flow like a beautiful love song. The specific rules for the tones in each line—particularly the relationship between the first, third, and fifth syllables being less strict, and the second, fourth, and sixth syllables being clearly defined—are foundational to this style.

The structure of the poem is fixed, meaning the number of lines and syllables cannot be altered. The use of flat and sharp tones is common, with flat tones being more prevalent. The poem typically involves two lines that are matched or 'contrasted' (đối) either at the beginning or end, sometimes both, or occasionally, it may have no contrasting lines. The rhyme pattern typically involves the last syllable of the first line rhyming with the last syllable of the second and fourth lines. The layout of the poem is divided into four parts: introduction, development, transition, and conclusion, with the first two lines describing the setting and the last two lines expressing emotions.

The flat-sharp tone system plays a crucial role in the rhythm of the seven-syllable poetry. It governs how tones within each line and between lines in each stanza and poem are coordinated. Flat tones are associated with the huyền (low) and ngang (level) tones, while sharp tones are linked to the hỏi (question), sắc (sharp), ngã (creaky), and nặng (heavy) tones. These tonal rules are strictly enforced within each line and across the poem as a whole.

In the Thất Ngôn Bát Cú poetry, the relationship between the tones in each section—introduction, development, argument, and conclusion—must be consistent. Specifically, the first and eighth, second and third, fourth and fifth, and sixth and seventh lines must have matching tones. This regulation allows the poet to convey a sense of balance and order within the poem. While the modern poetry scene may not strictly require such tonal discipline, it remains an integral part of the classical form.

One of the key strengths of this poetic form is its balance and musicality, which is achieved through careful control of rhythm and tone. The subject matter is highly diverse and rich, though it requires adherence to strict structural rules. However, the form also has limitations: its intricate regulations can seem restrictive and difficult to master, and the number of lines and syllables must remain fixed.

In summary, the Thất Ngôn Bát Cú Đường Luật is a beautiful and unique form that continues to inspire poets to craft exceptional works of art. Its combination of structural discipline and emotional depth makes it a perfect vehicle for expressing profound sentiments about the nation and homeland. Despite its complexity, the form's enduring beauty ensures it will remain a cherished part of Vietnam's poetic heritage.

The Đường Luật poetry is a significant achievement in the classical poetry tradition of China. Since its inception during the Tang Dynasty, this poetic style rapidly surpassed the earlier ancient forms. Đường Luật poetry includes the four-line quatrain (tứ tuyệt), the eight-line bát cú, and the long-line trường thiên forms. Among them, the Thất Ngôn Bát Cú is widely popular and familiar in Vietnamese classical poetry. Many of the great masterpieces passed down to posterity have been composed using this form. Phan Bội Châu's poem "Vào nhà ngục Quảng Đông cảm tác" is a prime example:

"Vẫn là hào kiệt, vẫn phong lưu

Chạy mỏi chân thì hãy ở tù

Đã khách không nhà trong bốn biển

Lại người có tội giữa năm châu

Bủa tay ôm chặt bồ kinh tế

Mở miệng cười tan cuộc oán thù

Thân ấy vẫn còn sự nghiệp

Bao nhiêu nguy hiểm sợ gì đâu"

This poem was written while Phan Bội Châu was imprisoned by the warlords of Guangdong. It reflects the calm demeanor and unwavering spirit of the revolutionary scholar who transcends the harshness of captivity. The poem consists of eight lines, each containing seven syllables, totaling fifty-six syllables (characters).

Regarding structure, the poem is divided into four parts: the Introduction (Đề), the Reality (Thực), the Argument (Luận), and the Conclusion (Kết), each part consisting of two lines with distinct functions.

The first two lines (Đề) express the serene, dignified attitude of the revolutionary scholar facing imprisonment. The third and fourth lines (Thực) describe the wanderer's life, closely linked to the struggles of the nation and its people. Lines five and six (Luận) embody the revolutionary's heroic aspirations, while the final two lines (Kết) assert the unwavering spirit and resolve in the face of danger.

The rhyme scheme of the poem follows the flat tone (bằng) in the last syllables of lines 1, 2, 4, 6, and 8, with the words "lưu", "tù", "châu", "thù", and "đâu" rhyming. It also uses a "monorhyme" style, meaning the poem sticks to a single rhyme throughout. However, the rhyme is used flexibly to reflect the poet's mood and strength of character.

The technique of "Đối" involves pairing two lines that mirror each other both in meaning and sound. In this poem, the poet adheres to the Đường Luật rules of symmetry, with lines three and four showing balance in both sense and sound:

"Đã khách không nhà trong bốn biển,

Lại người có tội giữa năm châu"

And in lines five and six:

"Bủa tay ôm chặt bồ kinh tế

Mở miệng cười tan cuộc oán thù"

The second syllable of the first line helps to determine whether the poem follows the flat or sharp tone rule. In "Vào nhà ngục Quảng Đông cảm tác", the second syllable "là" is a flat tone, so the poem follows the flat tone rule.

The technique of "Niêm" refers to the tonal connections between two lines in the poem. Traditionally, the second, fourth, and sixth syllables of two lines are matched in tone (flat with flat, sharp with sharp). For example, in this poem, the second, fourth, and sixth syllables of line 1—"là", "kiệt", "phong" (B-T-B)—match those in line 8—"nhiều", "hiểm", "gì" (also B-T-B). Similarly, the second, fourth, and sixth syllables in lines 2 and 3 also follow this pattern. If the lines are not correctly paired according to the set rule, it is called a "failure of niêm".

The Thất Ngôn Bát Cú is a widely used poetic form in Đường Luật, favored by many Vietnamese poets. This form uses seven-syllable lines as the basic rhythmic unit.

Originating in China, it evolved from the seven-syllable ancient quatrain (thất ngôn cổ thể), and during the Tang Dynasty, the Thất Ngôn Bát Cú form flourished. After a thousand years of cultural exchange during the Northern domination, this form was introduced to Vietnam, where it became popular among classical Vietnamese poets such as Nguyễn Trãi, Nguyễn Bỉnh Khiêm, Nguyễn Khuyến, Hồ Xuân Hương, and Bà Huyện Thanh Quan. After 1930, modern poets, especially those of the New Poetry movement, revolutionized poetry by breaking free from rigid rules, but the Thất Ngôn Bát Cú form was still used. However, apart from a few works written in this form, modern seven-syllable poetry has evolved, with multiple forms following one another, and rhyme and tonal rules are more flexible, as seen in Tố Hữu's epic poem "Theo chân Bác".

The Thất Ngôn Bát Cú follows a four-part structure, with each part consisting of two lines assigned a specific function. The first two lines (Đề) introduce the time, space, and events. The next two lines (Thực) describe the objects or events. The following two lines (Luận) express the poet's thoughts, attitude, and feelings toward the subject. The final two lines (Kết) summarize the poem's content, expanding and elevating the theme. In some cases, the Thực and Luận parts share a dual function of both description and reflection, as seen in the poem "Qua đèo Ngang" by Bà Huyện Thanh Quan:

"Lom khom dưới núi, tiều vài chú

Lác đác bên sông, chợ mấy nhà."

"Nhớ nước đau lòng con quốc quốc

Thương nhà mỏi miệng cái gia gia"

The law of flat and sharp tones is a crucial element in creating the rhythm of the seven-syllable lines, regulating the tonal harmony within each line and between lines. The flat tone includes the huyền and ngang tones, while the sharp tones comprise hỏi, sắc, ngã, and nặng. In each line, tonal placement follows the rule "Nhất tam ngũ bất luận" (The first, third, and fifth syllables are not subject to scrutiny) and "Nhị tứ lục phân minh" (The second, fourth, and sixth syllables are clearly defined). The tonal relationship between lines is strict: if the first line is flat and the corresponding line is sharp, it is called a "đối" (contrast), while matching tones are called "niêm" (alignment). In the Thất Ngôn Bát Cú form, the relationships of flat and sharp tones between the Đề, Thực, Luận, and Kết parts must align with each other, and the pattern of 1-8, 2-3, 4-5, 6-7 must follow the niêm rule. This clearly shows the strict regulations in the Thất Ngôn Bát Cú form. By examining the second syllable of the opening line, we can determine if the poem follows the flat or sharp tone rule, for instance.... However, modern poetry does not require such strict tonal regulations.

Rhyme is a crucial part of a syllable, excluding tone and initial consonants (if present). The rhyme scheme is an essential principle in composing poetry, where words with similar rhyme parts are said to rhyme together. Unlike the Lục Bát form, the Thất Ngôn Bát Cú form rhymes at the end of lines 1, 2, 4, 6, and 8.

Additionally, rhythm plays a significant role in shaping the musicality of the poem. The way the rhythm is broken is not merely to create pauses but also to express the intended meaning and emotion. In this form, it is common to break the rhythm as four-three or three-four. However, in some works, the author may alter the rhythm to serve a specific artistic purpose. For example, in Bà Huyện Thanh Quan's poem "Qua đèo Ngang":

"Lom khom dưới, tiều vài chú

Lác đác bên sông, chợ mấy nhà."

The rhythm break of 2/2/3 highlights the desolate scenery and the poet's sense of loneliness and sadness.

The history of the Thất Ngôn Bát Cú form is documented in ancient texts, appearing in the literary works of the Tang Dynasty. This poetic structure was widely used for a considerable time, particularly during the feudal era, and was employed in the recruitment of talented individuals. It is evident that this form became popular in Vietnam during the period of Northern domination, particularly among noble writers.

The structure of the Thất Ngôn Bát Cú is defined by eight lines, each consisting of seven syllables. The second syllable of the first line determines whether the poem follows the flat (bằng) or sharp (trắc) tone pattern. The strict rules regarding the flat and sharp tones in this form contribute to its harmonious and flowing sound, resembling the melody of a heartfelt song, with the rhythm flowing like waves rolling smoothly in rhythm. The tone patterns are based on the rule "Nhất tam ngũ bất luận" (The first, third, and fifth syllables are not scrutinized) and "Nhị tứ lục phân minh" (The second, fourth, and sixth syllables are clearly defined). The sounds of these tones create a refined auditory effect that enhances the poem’s elegance and flow. The flexibility allowed by poets, through their creativity, lessens the rigidity of the original Tang-style poetry, allowing the romantic soul to soar freely, creating a sense of lightness and artistic expression. A clear example of this can be found in the poem “Qua Đèo Ngang,” written in a flat-tone pattern:

Bước tới Đèo Ngang bóng xế tà (t T b B t T B)

Cỏ cây chen đá lá chen hoa t B b T t B B

Through this, we immediately recognize the rhyme pattern and the typical use of the flat tones in lines 1, 2, 4, 6, and 8. The rhymes create both a cohesive meaning and an auditory charm, adding a melodic quality to the poem. In "Qua Đèo Ngang," the rhyme "a" continues to resonate throughout the poem.

Furthermore, the Đường Luật poetic form shares sound similarities, particularly in the second syllables of paired lines, such as 1-8, 2-3, 4-5, and 6-7. This reveals that Đường Luật poetry has a tightly structured and rhythmically balanced sound. In "Qua Đèo Ngang," lines 1-8 match perfectly except for the sixth syllable (TTBBTB), and lines 2-3 share identical second, fourth, and sixth syllables (BTB).

Regarding the rhetorical opposition, the poetry exhibits a harmonious and contrasting parallelism in lines 3-4 and 5-6. The structural integrity of the Thất Ngôn Bát Cú consists of four distinct parts. The first two lines (Đề) express the poet’s general thoughts and impressions of nature, while the following two lines (Thực) describe the scene in detail, clarifying the emotions from the first two lines. The next two lines (Luận) expand on the poet’s reflections and thoughts, offering deeper insight. The final two lines (Kết) conclude the poem, reinforcing and elevating the feelings expressed in the previous lines. The precise structure allows the poet to express powerful emotions and inspiration, crafting a lasting masterpiece with creative vitality.

The Thất Ngôn Bát Cú form is a popular style within the Đường Luật poetry tradition, highly favored by Vietnamese poets. This form uses seven-syllable lines as the basic rhythmic unit. Originating in China, Đường Luật poetry flourished in its homeland and spread widely to neighboring regions, including Vietnam. The form is governed by a set of intricate rules, covering aspects like rhyme, tone, parallelism, and structure. Among the various forms, Thất Ngôn Bát Cú is regarded as a standard and exemplary style of classical poetry.

The Thất Ngôn Bát Cú structure consists of eight lines, each containing seven syllables. If the second syllable of the first line is flat (bằng), the poem is considered to follow the flat tone pattern, while if the second syllable is sharp (trắc), it follows the sharp tone. This strict regulation of tone creates a finely tuned auditory network, lending the poem a flowing, melodious quality akin to a love song. The tonal rules are rooted in the concept of “Nhất tam ngũ bất luận” (The first, third, and fifth syllables are unrestricted) and “Nhị tứ lục phân minh” (The second, fourth, and sixth syllables are clearly defined). However, through creative expression, poets have softened the rigidness of the tone structure, allowing the romantic spirit to soar freely within the verses.

In terms of rhyme, the Thất Ngôn Bát Cú form typically uses a flat rhyme, appearing at the end of lines 1, 2, 4, 6, and 8. The rhyme serves to connect the meaning while also contributing to the musicality of the poem. For instance, in the poem “Qua Đèo Ngang,” the rhyme “a” is used consistently. The form also shares tonal similarities in the second syllable of paired lines, such as lines 1-8, 2-3, 4-5, and 6-7, which contributes to the poem's tightly woven, rhythmic sound. In “Qua Đèo Ngang,” the first and eighth lines mirror each other entirely, except for the sixth syllable (TTBBTB), while the second and third lines align in their second, fourth, and sixth syllables (BTB).

Regarding parallelism, the Thất Ngôn Bát Cú form often employs either symmetrical or contrasting opposition between lines, such as 3-4 and 5-6. In “Qua Đèo Ngang,” lines 3-4 emphasize the sparsity of human life in the desolate mountains, while lines 5-6 convey the poet’s nostalgia for their homeland. The parallelism extends across word choice, sound, and meaning. As for rhythmic breaks, the typical patterns are 3-4 or 4-3 (2-2-3; 3-2-2), creating a gentle flow that mirrors the poet’s emotional journey. However, some poets have altered this rhythm for artistic intent, as seen in the following excerpt from “Qua Đèo Ngang” by bà Huyện Thanh Quan:

"Lom khom dưới, tiều vài chú
Lác đác bên sông, chợ mấy nhà."

The 2/2/3 rhythm highlights the desolation of the scene and the loneliness of the human experience. Despite the constraints of the Thất Ngôn Bát Cú form, its beauty lies in its harmonious balance, classical elegance, and melodic structure. However, its strict rules make it increasingly rare to find a modern poem composed strictly in this form.

Despite its limitations, almost every famous poet has experimented with seven-syllable verse. Thất Ngôn Bát Cú holds a significant place in Vietnamese poetry, symbolizing an era when poets created enduring works that became landmarks in the history of lyrical literature.

The Lục Bát form of poetry is an ancient tradition in Vietnamese literature, recognized as a deeply cultural and national style. This form consists of alternating lines of six and eight syllables, typically arranged in pairs. Each pair consists of one six-syllable line (lục) followed by one eight-syllable line (bát), and this alternating pattern can continue without any strict limit on the number of lines in a poem.

Virtually every Vietnamese person is familiar with Lục Bát poetry, which has been an integral part of the country's cultural heritage for millennia. From early childhood, through the lullabies of mothers and grandmothers, Lục Bát verses have embedded themselves in the hearts and minds of the Vietnamese people, enriching their spiritual and emotional lives. In addition to absorbing influences from Chinese poetic forms such as Cổ Phong and Đường Luật, the Vietnamese also developed their own distinctive styles, such as Song Thất Lục Bát and Lục Bát, which have become iconic in Vietnamese literature. Among them, the Lục Bát form has been favored by numerous poets for creating works with a profound national spirit.

Lục Bát poetry consists of two parts: the six-syllable line (lục) and the eight-syllable line (bát), alternating between them. A typical Lục Bát poem begins with a six-syllable line and ends with an eight-syllable one. The length of a Lục Bát poem is not as rigidly defined as in forms like Đường Luật or Song Thất Lục Bát. It may consist of just two or four lines, such as:

“Anh đi anh nhớ quê nhà
Nhớ canh rau muống nhớ cà dầm tương
Nhớ ai dãi nắng dầm sương
Nhớ ai tát nước bên đường hôm nao”

Alternatively, it may extend into hundreds or even thousands of lines, such as the monumental “Đoạn Trường Tân Thanh” (The Tale of Kiều) by the great poet Nguyễn Du, which contains 3,253 lines, half of which are six-syllable and the other half eight-syllable lines. The poem's length entirely depends on the themes and message the poet wishes to convey to the reader.

In Lục Bát poetry, there are rules regarding tonal patterns. Like Đường Luật, the Lục Bát form follows strict rules for syllable tonality: the first, third, and fifth syllables of each line may vary in tone, while the second, fourth, and sixth syllables must follow strict tonal rules. Specifically, the Lục line follows a pattern of Bằng (flat) – Trắc (sharp) – Bằng (flat) for the second, fourth, and sixth syllables, while the Bát line follows a B-T-B-B pattern for the second, fourth, sixth, and eighth syllables.

For example:
Nửa đêm qua huyện Nghi Xuân
B T B
Bâng khuâng nhớ Cụ, thương thân nàng Kiều
B T B B
(Tố Hữu)

The rhythm in Lục Bát poetry is mostly even, producing a soothing and relaxed musicality, making it ideal for lullabies or recitations.

For example: Vì mây / cho núi / lên trời,
Vì chưng / gió thổi / hoa cười / với trăng.

Or: Gió sao / gió mát / sau lưng
Dạ sao / dạ nhớ / người dưng / thế này?

However, when conveying specific emotions or ideas, the poet may adjust the rhythm. For example, in the conversation between Thúy Kiều and Hoạn Thư in the scene of revenge:

Dễ dàng / là thói / hồng nhan,
Càng / cay nghiệt lắm / càng / oan trái nhiều!

Clearly, the tone here is sharp and scornful, reflecting Thúy Kiều’s bitter remarks towards Hoạn Thư's intense jealousy.

Regarding rhyme schemes, Lục Bát poems, though less strictly bound than Đường Luật poems, still adhere to essential rules. Specifically, the final syllable of the sixth line of a couplet must rhyme with the final syllable of the eighth line in the following couplet. This rhyme pattern connects the two lines together. For example, in the poem “Việt Bắc” by Tố Hữu:

“Mình về mình có nhớ ta?
Mười lăm năm ấy thiết tha mặn nồng.
Mình về mình có nhớ không
Nhìn cây nhớ núi, nhìn sông nhớ nguồn.

In terms of content, Lục Bát poetry captures the many emotional nuances of the subject. Ordinary people often use this form to express their feelings and thoughts about life, relationships, and love. Additionally, there are variant forms of Lục Bát, where the structure may slightly deviate, but still retains the basic essence of the form. This transformation is particularly evident in folk songs and can be explored through various instances of variations in syllable length or rhyme positions.

Thus, we can summarize the basic characteristics and rules of Lục Bát poetry. Through this understanding, we gain insight into the creative process of poets, who blend talent and swift thinking to craft masterpieces of Vietnamese literature.

Poetry has always been an integral part of enhancing the lives of laborers, adding vibrancy and depth to their world. Since ancient times, poets have utilized poetry as a means of conveying their messages. One of the oldest and most renowned poetic forms is Lục Bát, exemplified by folk songs and tales that have been passed down through generations.

Vietnamese literature has a long history, spanning thousands of years, during which the finest human values have been absorbed, refined, and evolved, creating a more sophisticated and beautiful literary culture. Vietnamese poets have embraced and adapted various forms of Chinese poetry, such as Cổ Phong and Đường Luật, to enrich their own literary tradition. However, the Vietnamese also created their distinct poetic forms, including the Song Thất Lục Bát and Lục Bát, which encapsulate the cultural spirit of the nation. Numerous works and folk songs have used Lục Bát poetry to communicate deep and meaningful messages, resonating with readers across time.

The characteristic feature of Lục Bát poetry is its alternating six-syllable and eight-syllable lines. The first line contains six syllables, while the second line contains eight. Typically, a Lục Bát poem begins with a six-syllable line and ends with an eight-syllable line. The number of lines in Lục Bát poems can vary from two to an infinite number. For example, in folk poetry, a typical two-line verse might look like:

“Ai ơi bưng bát cơm đầy,
Dẻo thơm một hạt, đắng cay muôn phần.”

Or:

“Thân em như tấm lụa đào
Phất phơ giữa chợ biết vào tay ai.”

However, some Lục Bát poems can extend to thousands of lines. For instance, the poem “Truyện Kiều” by Nguyễn Du comprises 3,254 lines.

Additionally, the beauty of Lục Bát lies in its rhyme scheme. The final syllable of the six-syllable line must rhyme with the sixth syllable of the subsequent eight-syllable line, and the final syllable of the eight-syllable line must rhyme with the final syllable of the next six-syllable line.

The tonal quality of Lục Bát poetry is also noteworthy. The rhyming syllables typically carry a flat tone, as seen in this example:

“Ớt nào là ớt chẳng cay,
Gái nào mà gái chẳng hay ghen chồng.

Vôi nào là vôi chẳng nồng,
Gái nào là gái có chồng chẳng ghen.”

In Lục Bát poetry, the flat tone plays a key role in its rhythm. The poem’s melody flows gracefully, with alternating high and low tones that provide a smooth, pleasant reading experience.

In conclusion, Lục Bát poetry is a true gem of Vietnamese culture. It is more accessible and easier to understand than the more rigid Đường Luật form from China, making it a form that is simple to memorize, read, and use to express thoughts. Many renowned poets have contributed to the popularity of this form, which remains beloved by many to this day.

The Seven-Syllable Four-Line Poetic Form, or Thất Ngôn Tứ Tuyệt, consists of four lines, each with seven syllables. Typically, the first, second, and fourth lines—or at times just the second and fourth—rhyme at the ends. This form originated in the 7th century during the Tang Dynasty in China and has been embraced by renowned Vietnamese poets throughout history.

This poetic form is categorized into two types: the Thất Ngôn Tứ Tuyệt Đường Luật (a highly regarded form within Classical Chinese poetry) and the Thất Ngôn Tứ Tuyệt Cổ Phong. The Đường Luật variant follows strict regulations regarding meter, rhyme, and tonal structure (alternating between even and odd tones), with a clearly defined structure. The Cổ Phong variant is more flexible, permitting single or multiple rhymes as long as they conform to the tonal pattern, maintaining a rhythmic flow for ease of reading. In middle school literature, students are introduced to the Đường Luật variant, where the tonal structure is identical to the Thất Ngôn Bát Cú form, with four lines, each containing seven syllables.

Three common rhyme methods used in the Thất Ngôn Tứ Tuyệt form are:

Method 1: Rhyming the final syllables of the 1st, 2nd, and 4th lines (with the final syllable of the 3rd line following an opposite tone pattern).

For example: Thân em vừa trắng lại vừa tròn
Bảy nổi ba chìm với nước non
Rắn nát mặc dầu tay kẻ nặn
Mà em vẫn giữ tấm lòng son
This method is most commonly used by ancient masters.

Method 2: Cross-rhyme: The final syllables of the 1st and 3rd lines rhyme, while the final syllables of the 2nd and 4th lines must have opposite tonal patterns.

For example: Trăng nhập vào dây cung nguyệt lạnh
Trăng thương, trăng nhớ, hỡi trăng ngần
Đàn buồn, đàn lặng, ôi đàn chậm
Mỗi giọt rơi tàn như lệ ngân
In this case, the rhyme in the 2nd and 4th lines is "ân", and thus the 1st and 3rd lines must end in opposite tones such as "lạnh" (cold) and "chậm" (slow).

Method 3: Enclosing rhyme: The final syllable of the 1st line rhymes with the final syllable of the 4th line, while the final syllable of the 2nd line rhymes with the final syllable of the 3rd line.

For example: Tiếng đàn thầm dịu dẫn tôi đi
Qua những sân cung rộng hải hồ
Có phải A Phòng hay Cô Tô?
Lá liễu dài như một nét mi.

The typical structure of a Thất Ngôn Tứ Tuyệt poem includes four parts: Introduction, Elaboration, Argumentation, and Conclusion. The "Introduction" consists of the first two lines, with the first line known as the "opening line" and the second line acting as a transition. The "Elaboration" follows with two lines that further explain the main theme. The "Argumentation" further develops the idea, and the "Conclusion" contains the final two lines to wrap up the message of the poem.

In summary, the Seven-Syllable Four-Line Poem is a harmonious and balanced form that blends classical music and rhythmic poetry. Its diverse content and emotional depth make it easy to connect with and appreciate. It is important for us to preserve and honor the poems left to us by the great poets of the past.