Hãy chứng minh rằng truyện ngắn Vi hành là một tác phẩm văn chương thật sự mà Nguyễn Ái Quốc đã viết từ những năm 20 của thế kỉ XX trên đất Pháp
Sample papers for grade 11
Prove that the short story Vi Vi Vi is a real literary work that Nguyen Ai Quoc wrote in the 20s of the 20th century in France.
Prove that the short story Vi Vi is a real literary work that Nguyen Ai Quoc wrote in the 20s of the 20th century in France.
Students should be able to clarify:
Violation is a work composed for revolutionary purposes.
But Vi Vi is also a real literary work. Here, revolutionary purposes do not harm literary values. On the contrary, in this case, literature has become more sharp and modern for the sake of revolution, for the object of revolutionary movement.
– To do the lesson, students need to know how to combine literary analysis skills with literary proof skills. To prove, to clarify the conclusions, that is the purpose of the analysis. Also clearly analyzing aspects of the work, that is the basis of the proof.
I. Pose the problem
Everyone knows, during his life, Nguyen Ai Quoc – Ho Chi Minh never considered literature as a career, a means to “establish himself”. But it is well known that during the long years of a soldier’s life, he composed literature with a fairly large volume, and with a rather high artistic quality, and he became a writer, great poet of our nation in modern times.
Vi Vio, a short story he wrote in his twenties in France, is one of the typical works in his literary career.
II. Problem solving
1. “Violence” is a work composed for revolutionary purposes
a) This short story is part of a system of articles, articles, plays that Mr. Nguyen, a poor photographer in a small alley in Congo at that time, wrote to denounce the truth of the puppet king. selling country Khai Dinh – Emperor of the South and “high guest” of France at the 1922 Marxist Fair. Through Vi Vi Vi, the author wants to make it clear to the public inside and outside France that he is being scandalized. up there is nothing more than a clown with ludicrous appearances, surreptitious behavior and shady behavior, who can replace old-fashioned entertainment at a cheaper price than the king’s concubines. Cao Mien or we do acrobatic climbing…
b) This short story is also a voice condemning colonialism, the regime that through his henchmen made the colonized people debilitated by alcohol and opium, watched and stalked. groping, clinging to the soles of the shoes of the righteous with a despicable secret policy.
Discreetly and painfully, the author also shows the humiliation of the natives. Colonization, thereby, presents itself as an insult to man (pay attention to the analysis of the last sentence of the short story).
c) The above things are said not necessarily for writing. For Nguyen Ai Quoc, who once wrote the famous letter to the Versailles Conference, it was just another way to achieve the goal of anti-colonialism, overthrowing feudalism – the goal of making a revolution. But Mr. Nguyen also soon realized that in order to propagate that revolutionary purpose in Europe, it is impossible not to look to the power of literature, a style that is compatible with modern Europe.
2. “Violence” is a real literary work
a) The artistic interest of the saga is created primarily by the ingenious novelty of the creation of the situation. The talent here is such an intense content that can be embedded in a surprisingly simple artistic fiction. Just a brief moment on a tramway, only three characters, in which, one (“me”) just quietly listens and thinks. The rest is a couple of lovers chirping around a story with them also just frivolous, meager. But the deeper you go into the story, the more the seemingly simple arrangement shimmers with unexpected light.
– The driving force for the development of the story are confusing situations. People who understand French are mistaken for knowing nothing. (Only then can one party freely speak, and the other party freely listens quietly). Even more important and interesting is the situation where a non-king is mistaken for a acting Emperor. The story is like in a carnival. Real but fake, virtual but real. There is no real Khai Dinh in the work, but the real Khai Dinh still appears.
And it is that virtual change, that disguised situation that makes the story sparkle with many meanings at the same time. It creates an excuse and a unique angle for the one-of-a-kind caricature of Khai Dinh. And through the innocent voice of that couple, it also evokes – in a way and with a value of its own – bitter feelings about the plight of the protectorate.
– It is easy to imagine that the development of the story will end when the couple gets off the train. Yet no. The strange thing is that even in a situation that seemed to make the story impossible to continue, the ideological content of the story continued to move, bringing turns that the reader could not foresee. The “immeasurable wheel” of art (made up of confusion, masquerade) continues to spin. From the place where a citizen was confused with the Emperor, to the present, all Annamites in the West can be considered as the Emperor. The criticism of Khai Dinh has not stopped. (As the situation continues to show: the other monarch seems to be just a king by virtue of his robes, and on this Dharma tour, it seems that there is no corner he has not reached.) But another denunciation was opened: the stalking of the colonists’ footsteps; a thousand times bitter because of the loss of freedom from the life of a lost country.
b) Acts is a satirical short story. It seemed that there was nothing special in a literature that gave birth to Ho Xuan Huong, Nguyen Khuyen, and Tu Xuong. But that’s not it. Along with Judgment of the French colonial regime and many other stories and autographs, with Vi Vien, Nguyen Ai Quoc has brought a new laugh to the country’s literature.
– This is a laugh that is not crisp on the surface, but deep in the depth. An intellectual laugh. Laughter only appears bitter, ironic, as the end result of a thought process to recognize the unnaturalness that lies within the thing itself. The writer’s shrewdness is manifested in his ability to detect, on the one hand, the opposites in the same unified phenomenon (king: title is noble and honorable but in reality is despicable; policy protection: the name is benevolent but is actually cruel…) and on the other hand, the unity of the opposite phenomena (king and clown, ritual and game…). But the uniqueness is in the way of expression. The author always pays attention to the abruptness in the contradictory presentation and creates space for the reader’s mind to move, think for themselves, and ponder to find the hidden meaning, to solve the implication. It’s a laugh that the more you think about it, the more it gets absorbed, and the more it soaks, the more painful it becomes.
This is also the laughter of many tones, including the contempt for the enemies of a revolutionary and the pain of the people who lost their country, the profound quality of a person who knows history, and the mischievous and youthful look of his age. youth.
c) The work also attracts readers by a unique and unusual way of narrating. Not monotonous, monophonic, Vi Vi is always a rotation and interweaving of many voices, many voices. Along with the unpredictable change of the situation, the constant change of the voice has made the beauty of the work always change quickly, always change dynamically, like in a kaleidoscope. And that is a very rare thing in the autobiographical works of our country’s literature at that time.
d) Because Vi Vi’s object of revolutionary campaigning is French, European and international public opinion, Vi Vio also uses many artistic tricks that take some time to become familiar to Vietnamese readers such as: construct the story in the form of a letter sent from afar in the style of Persian Letters or Letters from My Windmills, which were not unfamiliar to the French public; or use the masquerade scenario as mentioned above. Those are the forms that can enrich Vietnam’s national cultural heritage.
III. End of problem
Thus, it can be said that Vi Vih is “an artistic crystallization of the best kind showing the combination of politics and literature in Uncle Ho’s writing career”.
Through Vi Vio, we understand more about the relationship between literature and revolution, art and propaganda. There are times when the revolution is forced to need literature as it needs a weapon of criticism that can contribute effectively to “criticism with a weapon (C. Marx). On the contrary, literature is also found in the revolution. inspiration, enthusiasm, the power to push it forward.
It is that mutual relationship that has made both Nguyen Ai Quoc – a great revolutionary and also Nguyen Ai Quoc – a talented writer, a great man who turned from the goal of making a revolution for the nation to become a poet. great of the time.
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Chuyên mục: Văn Mẫu Lớp 11
Nguồn: Họa Mi