This is Vi Da’s body from a volume titled Crazy Poetry, later changed to Pain, born in 1938. From the first poems of Tang Lu, through the collection of Country Girls, to Pain, Han Mac Tu’s poetry has passed. a long step.

During the New Poetry movement in the period 1930-1945, there were many beautiful poems about nature and the country. Here Vi Da village writes about the poetic and elegant beauty of Hue, and at the same time expresses Han Mac Tu’s desire to be attached, in harmony with the scene and with the people.

Vi Da village is located on the edge of Hue citadel, right on the banks of the Perfume River. This village is famous for its lush green gardens, fragrant flowers and sweet fruits of the four seasons and charming scenery along with charming and dignified young women who easily captivate people.

The poem opens with a reprimand: “Why don’t you come and play in Vi village?”. The responsibility is light, simple, but very lovely. Blame but imply invitation: you should visit Vi village and visit… me. The way to say it is very subtle, the girl thanks to the sunshine of areca trees to convey her thoughts. He went back to Vi village to admire the scenery: Look at the sun and the new sun rising. The new sun rises early in the morning – pink on the tall green areca leaves, from afar has caught the eye. From the very realistic features of that scene, we can think that the tree instead of the person standing on tiptoe to receive the affection of the visitor, instead of me to be the first to receive your gaze. This image evokes a full of nostalgia.

Verses 2, 3, 4 are the poet’s feelings before the beauty of Vi Da orchard. Whose garden is so green as jade is a word of admiration and wonder at the splendid beauty: the lush, fertile green of the leaves, the pure yellow of the early morning sun filtering through the canopy of leaves to create a green color like jade. Everything is vibrant and full of life. I thought I heard the sound of plastic moving up the branches and onto the leaves. The human soul in front of that branch is also a joyful tune.

Who’s garden can be the girl’s garden. The tree is already beautiful, the person is more beautiful: Bamboo leaves cover the letter fill. Man looms hidden behind the bamboo grove. The slender lines of the bamboo leaves add to the full and kind beauty of the face of the font. The poem highlights the traditional shyness and tenderness of Hue girls.

That is the meaning of this stanza. People in Vi village are cleverly reprimanded by inviting and introducing the rustic beauty of their hometown. People who come to visit are complimented, fascinated by the beautiful scenery and beautiful people. Beautiful scenery, beautiful people. All harmonize into a picture of the homeland fresh, full of energy and strangely seductive. Against the background of that colorful landscape, there was an unspoken reunion, but joy permeated the scene, as if there was a vague, illusory whisper of love.

The happy moment is not long. Without any transition, the next sadness immediately:

“Wind follows the wind, clouds follow the clouds

The water is sad and the cornflowers are lying. “

The cornflower blooms, swaying in the light breeze. The water of the Perfume River does not seem to want to drift, quietly and still. The wind and clouds in the sky are all the same, the wind is in the trees and the clouds are in the sky. Real scene? Correct. It’s real up there, but it’s real here. Fresh and brooding are all Hue. The garden is bright in the morning, the river is incubated in the afternoon. The feeling of sadness, lightness, penetrating to the bottom of the heart, a contemplative feature that cannot be found anywhere else, is the characteristic of Hue. Remembering her motherland, To Huu remembers that invisible but very permeable atmosphere: The clouds and mountains are quiet in the afternoon… Here is the wind blowing, the plane, the cornflowers swaying, but listening to it is so quiet.

Does that sadness in the scene have anything to do with people? Those who invite, those who return, both sides are quiet, but the scene is joyful. But the separation lies deep in the truth that the wind and clouds divide the road. The wind blowing clouds is usually one-way, here is the fault: Wind follows the wind, clouds follow the clouds. Again fiercely separated, the wind is framed in the wind (two words wind close the two ends); Clouds roll in clouds (two clouds are also closed around). Such is the fate of this girl and boy. So the water flow is sad, and the cornflowers are also swaying and swaying next to the still water.

So sad? Is there any hope? It was time for the young man to ask: Whose boat is at the moon river – Can you bring the moon back in time tonight? then the poem lights up. From day to night and moonlit night is an unannounced leap. Tonight was another sudden turn of events.

Boats moored, boats sailing on the Perfume River on a moonlit night is a normal thing, carrying love is also conceivable. But the moon river is only in the soul of Han Mac Tu’s poetry. If there is a date tonight that needs the moon and needs a boat, the boat will be happy to return to the appointment in time, with wine and moon, how beautiful it is to have lovers! In return, the scene in the two sentences above is separated, sad in silence, this is the hope of a cool and harmonious meeting. Hope is slim because it is questioned, though definitively concluded: in time for tonight?.

What sadness has to do with these two, does this hope have anything to do with it? Whose boat is purely vanity or is it a definite boat: your boat? My boat is moored at the moonlit riverbank like my life is full of spring, will you bring the moon back, bring joy back to my wharf to give you a little bit of cool fun tonight? The silent longing so earnestly that from far away in the rush of time appears right into the present: tonight. Tender but fragile. The more fragile, the more earnest.

Such are the four sentences before this stanza. Wind and clouds divide the road. Double mates. Sad to the river, the top of the corn. So sad! Someone’s boat or boat is full of moon light? Bring the moon back in time tonight so we can meet. But that’s just a wish, bright but fuzzy, vague.

“Mo Guest distance, long distance guests,

My shirt is too white to see.

Here the smog is misty,

Anyone who knows the bold! “

The image of the Hue girl is very close but also far away. Far away in time, space and the poet feels that the love between him and the girl has also become illusory. Because you promised to stick with what? In which realm are you an angel, and my brother exiles his body on earth. The above verse is still a dream, this verse has flown into an illusion, a very Han Mac Tu leap, hard to find in other love poems…

The lyrics in these two sentences sound like something interrupted, choked, lost, struggling, unbalanced. Shame, how pitiful for the boy’s heart!

Where is the sunshine of the areca trees, the garden is so smooth, where is the green like jade, the face is filled with words. There is also no quiet wind and clouds, sad water, blooming corn flowers, moon river and moon boat… Only fog obscures people’s silhouettes: Here the fog is blurred with human figures. I am also blurred, but you are also fading, in the cold fog. The rest may have the word love, such as: Who knows whose love is rich? Who was who first? Who is next? After the wind and the wind, the clouds and the clouds, carrying the moon back, dreaming of guests from afar, if you can’t see it, who must first be a girl, and who will be a boy.

In the last stanza, the author responds to the reproach at the beginning of the poem: Why don’t you come back? It’s about there. Going back by imagination, by recollection, quietly looking, drunk, sad, expecting, hoping, then disappointed, humiliating. Chi is also sure of one thing, that is his forever bold sentiment. The verse ceases to hover. And so it is necessary to review the two words ai, and reconsider love. In reverse, the first one is me, the second one is me. As for me, I know that love is still strong, but do you know it?

No matter how you understand it, the verse still has a sad touch: the fog is already hazy, the image is hazy, obscured, and the words are bold, sowing a more dangling, doubtful feeling, so it’s even sadder.

This third stanza continues to go deep inside the love, from the way to prevent the clouds from dividing the way to the break. From the scene of nature as joyful, full of life in the first stanza, goes to the erasure of all dreams and smoke in the third stanza. A very passionate love is letting it disappear into the dark, obscure, leaving only a rich aftertaste in people’s hearts and in their hearts.

The poem begins with a happy tune, if not a fresh one, but ends with a sad tone as if you just missed a date. Such sadness. It is in the land of romance. This and a few others, which stand on their own and bring a light of their own, in the volume of Sorrows.

Is the poem limited to a specific pain, a lost love with a Hue girl? If so, its fate would not last until now. Nor does it speak for the pain of thousands of unfortunate boys in love school. The deep roots of humiliation in the poem go beyond the framework of a couple, which shows that the mood is not happy yet sad, just early in the morning but hastily in the evening, so many good dreams are all slipped out of my hand. The mood of the youth generation from 1930 to 1945 was very heroic, asserting themselves, but the barriers of society were always present to negate, when the echo of the Revolution for them was still far away.