Abstract on literature doctoral thesis: Contribution of the narrative prose Luu Trong Lu period before 1945

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Research purposes: Through a survey of the contributions of the narrative prose of Lu Trong Lu in the period before 1945, the thesis aims to a more comprehensive assessment of Luu Trong Lu as a versatile artist, saving the bold mark of I am on many genres of literature. Also through that, the thesis wants to contribute additionally - adjust some evaluation points already on characteristics and achievements of Vietnamese literature in the period 1930 - 1945 based on newly discovered materials - distributed Show and publish.

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MINISTRY OF EDUCATION AND TRAINING VINH UNIVERSITY HO THI THANH THUY CONTRIBUTION OF THE NARRATIVE PROSE LUU TRONG LU PERIOD BEFORE 1945 Major: Vietnamese Literature Code: 9.22.01.21 ABSTRACT ON LITERATURE DOCTORAL THESIS NGHE AN - 2019
1 PREAMBLE 1. Reason for choosing the topic 1.1. In modern Vietnamese literature, Luu Trong Lu is considered one of the pioneers of the new Poetry movement. Before the Revolution, besides the famous poems, he also composed a large volume of prose works with 27 short stories, 27 novels. While Luu Trong Lu's poetry has been well studied, his narrative prose has not been given adequate attention. To fully understand the contribution of the name of a literary author of Luu Trong Lu, to get a comprehensive view of the literary picture in general and prose in a period in particular, we cannot help but care. studying the prose of Luu Trong Lu. 1.2. In 2011, on the 100th anniversary of Luu Trong Lu's birthday, Lai Nguyen An and Hoang Minh released a large volume of books with 2 volumes (1145 pages of 16x24 cm size), gathering all short stories and sub-stories. Luu Trong Lu's theory (both before and after the Revolution). Reading a system of narrative prose works he wrote, readers deeply felt that the context of quite open composition inspired the exploration and experience of writers. Through the works, it is possible to recognize the influence of Western literature, first of all French literature on writers' writing pages. Here there are imprints of emotional love, imbued with romanticism. Not only that, the actual method, symbolic method of masters of realism, symbolism is also absorbed and applied in a very specific way. Because of this, the study of narrative prose Luu Trong Lu has a meaning to provide a convincing parameter to help us understand the essence of East-West literary exchanges in the Vietnamese literary context. is rushing to shift itself towards modernizing, Europeanizing, understanding the role of famous writers before the Revolution like Luu Trong Lu in creating the foundation for a modern and capable Vietnamese literature. integration with the world. Also through short stories, Luu Trong Lu's novel, the researcher can also detect interference between genres of different types of compositions. Thus, going into this topic, the researcher will have the opportunity to see many aspects of literary life in the period of 1930 - 1945, through the creation of a particular author, Luu Trong Lu. 1.3. The topic contains the ability to provide data and materials for the study of prose poetry, especially short stories and novels in Vietnamese literature in a period with many achievements and many artistic styles. original In addition, the thesis can provide meaningful literary materials for teaching Vietnamese literature in the period of 1930 - 1945 in high school. At the University level, the thesis will be a useful reference for studying the type of narrative prose; studying literary history, specifically the acquisition of lessons from Western literature to bring home literature into the way of modernization in all aspects. That is the reason why we study the topic: The contribution of the prose of Luu Trong Lu narrative period before 1945. 2. Research subjects and scope of survey materials 2.1. Research subjects The research object of the thesis is: The contribution of narrative prose Luu Trong Lu period before 1945. 2.2. Scope of survey materials The scope of the main survey material of the thesis is 27 short stories, 27 of Luu Trong Lu's novels composed before 1945, gathered in Luu Trong Lu, Works - short stories and novels (full set of two volumes), Lao Dong Publishing House, Dong Tay Culture - Language Center, 2011.
2 In order to have an overview of the issue, the thesis also examines the compositions of many authors who are close or different about the trend, the same period or different stages of composition with Luu Trong Lu. 3. Research purposes and research tasks 3.1. Research purposes Through a survey of the contributions of the narrative prose of Lu Trong Lu in the period before 1945, the thesis aims to a more comprehensive assessment of Luu Trong Lu as a versatile artist, saving the bold mark of I am on many genres of literature. Also through that, the thesis wants to contribute additionally - adjust some evaluation points already on characteristics and achievements of Vietnamese literature in the period 1930 - 1945 based on newly discovered materials - distributed Show and publish. 3.2. Research tasks Towards the purpose of the research presented above, the thesis focuses on solving the following specific tasks: - Overviewing of the research on the composition of Luu Trong Lu in general, the narrative prose Liu Trong Lu in particular and defines a number of key concepts and terms used to study this object. - Identifying and analyzing the specifics of the aesthetic tendency of the prose of Luu Trong Lu in the relationship with the major aesthetic trends of literature (first of all prose) in the 1930s - 1945. - Clarifying the uniqueness of prose Lu Trong Lu on the subject and image system, in the same comparison with the composition of other writers of the same time. - Point outing, analyzig and evaluating (on the basis of multi-dimensional comparison) the specific types of artistic choices of the prose of Luu Trong Lu before 1945. 4. Research Methodology To implement the topic, we mainly apply the following research methods: - Method of studying poetics: This method requires first attention to verbal texts (27 short stories, 27 written by Luu Trong Lu before 1945) - an essential condition to help researchers The rescue shows the formality of the object. - Method of structure and system: This is a method to consider the object in the overall view, visualizing each object is a small system of large systems, and in each such system, the medium relationship Stable and variable between structural elements always have special meaning. - Method of type: This method proposes the prose of Lu Trong Lu on the appropriate type to obtain satisfactory assessment, in accordance with the aesthetic characteristics of the object. - Comparison method: This method requires the researcher to perform both comparisons of a homogeneous nature and the comparative nature of the calendar. - Historical - social method: This method helps the researcher to recognize the object as a spiritual product of a specific historical age with many complex relationships. 5. Contributions of the thesis The thesis is the first large-scale research project of Luu Trong Lu narrative prose before 1945, after the book of Luu Trong Lu works on short stories and novels (full set of 2 episodes, about 1,500 pages, because Lai Nguyen An - Hoang Minh collects and compiles) published in 2011. With this project, the very important and meaningful contributions of Luu Trong Lu's narrative prose before 1945 are initially identified and analyzed. , affirming, through a rich data system, contributing to a more comprehensive assessment of
3 the author Luu Trong Lu and partly about the diversity of Vietnamese prose in the period 1930 - 1945. The dissertation also contributes more data to more fully acknowledge the issue of receiving Western literature's influence in Vietnam in the first half of the twentieth century - a specific reception, which helps the modernization process. Vietnamese literature gets significant achievements. 6. Structure of the thesis In addition to Introduction, Conclusion and Reference, the main content of the thesis consists of 4 chapters: Chapter 1: Overview of research issues Chapter 2: The blending of aesthetic tendencies in the prose of Luu Trong Lu before 1945 Chapter 3: Imprint of the prose of Luu Trong Lu's autobiography before 1945 in the system of topics and symbolic systems Chapter 4: Types of specific artistic choices in the prose of Luu Trong Lu before 1945 Chapter 1 OVERVIEW OF RESEARCH PROBLEMS 1.1. Study the theory of narrative prose 1.1.1. Conception prose concept We use the concept of narrative prose in relative distinctions with lyrical prose. Calling relative because the boundary between them is not always obvious. When using the concept of narrative prose, of course, the researcher is always conscious of distinguishing it from other types of language products that also use prose form but not for aesthetic purposes, without using fictional forms like Discourse prose and types of text are outside the scope of word art. Narrative prose focuses on describing people and social environment, describing gestures, actions, and language characters. The narrative prose is a kind of narrative, having the function of reproducing the "objectivity" of the world, there are always characters, events, actions and conflicts. Autobiographical fiction has genres such as short stories, medium stories, novels. While in the type of narrative, the narrative prose may still have (even more) lyrical elements, but these factors do not break the narrative nature of narrative prose. Of course, there are genres that can stand on the edge of narrative and lyrical such as pen signing, literary writing, literary portraits... 1.1.2. Study the theory of foreign authors on narrative prose This is a very wide field of research, which contains many rich issues, has achieved great achievements. Referring to prose, people often think of it as a form of opposition to poetry, which organizes language as ordinary speech, not governed by "equivalence principle" or rhythm, rhyme. Thus, prose can fully exploit the ability to describe the world of words, helping readers visualize specific things and situations; It feels like they're showing up in the eyes of the reader. This is the strength of prose poetry that is hard to match When defining the concept of narrative prose and types of narrative prose, G.N. Pospelov in his book "Literary Research Essay" (Episode II) states: "In addition to dividing literature into genre (narrative, lyricism and drama) there is also the division of literature
4 into poetry and prose. In ordinary language, the lyrical work is often identified with poetry, while the narrative is consistent with prose. Using such a word is incorrect. Each type of literature includes both poetic works (rhymes) and prose (without rhyme). The narrative in the early stages of the development of artistic language is often rhyming (ancient epics, French meritorious songs, Russian casts and histories...). The narrative works written in poetry are also common in modern literature [122, p.12]. In the literary genre, both poetry and prose are used, sometimes both in a work [122, p.12]. And all kinds of lyrical, mostly written in poetry, but sometimes in prose [122, p.12]. Autobiographical works of prose are the main subjects of a major research industry that is currently narrative. Narratology is a term used by Bulgarian French researcher Tz. Todorov proposed in 1969 in the Book of Grammar Story ten days. This term makes the study of narrative known by name, leading to the formation of an independent research department, which gradually replaces the theory of fiction that has become too tight. Self-learning can be divided into classic self-study (the 60s lasted until the 1980s of the last century) as a pioneer of French scholars. The post-classic period takes place from the 90s of the twentieth century onwards, with many theoretical additions of British, American and French scholars. Acquiring the rich studies of scholars, we used the concept of narrative prose to study the most important prose of Luu Trong Lu, with the understanding that prose fragment is a kind of narrative, towards story telling, narrating people, events, space, time... objectively, attached to the author's narrative. 1.1.3. Study the theory of domestic authors on narrative prose For some domestic researchers, prose (including autobiographical prose) is considered one of two forms of literature beside poetry. Author Do Duc Hieu in the Literature Dictionary (New Ministry) said: "Literature at any time is diverse. It is possible to divide literature in two types (forms) that are poetry and prose, and can also be divided into three categories: narrative, lyrical and dramatic. Although there are no absolute boundaries between categories and there are many types of transitions, the basic characteristics of each type are quite definite. Each category includes certain categories or genres (for example, the type of narrative includes genres: epics, stories, novels, etc.). Every era or period of literature flourishes various forms of genres ”. To find the concept of prose, some researchers often compare prose with poetry. For example, Vuong Tri Nhan in the essay of Pre-war Writer and the Modernization of Literature wrote: "Reading literary dictionaries, people realize that prose and poetry concepts are often written in the world. opposites. One side is more about life (in many Western languages, prose, proza, prose, when it comes to visualization, it means mediocre), one is biased towards the noble, the transcendent. One side told me what to write; the other side said no, my writing is a creative act with its full meaning [...]. Every piece of prose written - no matter fiction, or long story signing - is a story. Listening to that story, people imagine a scene there, there are people who work. Story telling means that the author creates a miniature world. Where the author's voice is like a light beam, the reader follows it. That guy who plays the god always stands a distance away from you, what he knows well. But only gradually did he cleverly remove the clue and make things complicated by his disposition become coherent "[106, p.226 - 227]. When discussing the modern narrative prose, author Nguyen Nghia Trong in the article Vietnamese writers in the first half of the twentieth century talked about the autobiography (Self-learning - Tran Dinh Su, editor-in-chief), leading to the judgments.
5 about the narrative of Phan Ke Binh, Nguyen Ba Hoc, Hoang Tich Chu, Pham Quynh, Vu Dinh Long, Truc Ha, Thieu Son, Le Trang Kieu, Truong Tuu, Hai Trieu, Nhu Phong, Vu Ngoc Phan, Thach Lam, Vu Bang. Nguyen Nghia Trong concludes: "The writers agreed to see the narrative as storytelling, narrative of the incident, describing the action, including the description of the scene, the description of love, the description of the appearance, the interior... The narrative full in novels, medium stories, short stories, depending on pen, sign, reportage, story... It synthesizes all kinds of prose, diversity, richness. However, there is a case of self-criticism. The autobiography is growing and has great prospects but always innovates depending on the historical and social circumstances and talents of writers." All of the theoretical studies reviewed above help us have a reasoning to implement the evaluation of the autobiographical archives of Luu Trong Lu in terms of its type, from which, It can be convincingly pointed out the contribution of this composition to the Vietnamese narrative prose in the period of 1930 - 1945 in particular and the modern Vietnamese narrative prose in general. 1.2. Research on the influence of Western literature on the process of modernizing Vietnamese literature in general and Vietnamese narrative prose in particular 1.2.1. Studies published before 1945 In this writing, what we are interested in is the suggestions from the study of the above problem for understanding the characteristics of the Vietnamese narrative prose period from 1930 to 1945 (in which prose prose). Luu Trong Lu) - characteristics formed in the cultural rubbing and in the literary modernization efforts of contemporary writers, trained from "Western school", while welcoming the wind of writing I still can't stop myself from the distance, but I still can't keep up with the identity and map of Vietnamese culture and literature. After the French colonialists opened fire to invade our country, Vietnamese literature at the end of the nineteenth century had a deep contact with Western culture and literature through French culture and literature. This has been confirmed, by many researchers such as Duong Quang Ham, Thieu Son, Hoai Thanh - Hoai Chan, Vu Ngoc Phan, Kieu Thanh Que. 1.2.2. Studies published after 1945 After the August Revolution, the problem of receiving the influence of Western culture and literature in our country is still concerned by researchers. In the South, there is Bui Duc Tinh, Pham The Ngu...; In the North, authors like Huynh Ly, Do Duc Hieu, Dang Anh Dao, Dao Duy Hiep and Do Lai Thuy... We find that researchers all recognize the influence of Western literature (through the typical case of French literature) on Vietnamese literature. In addition to studying the general effect, researchers also investigated this effect in some specific writers' cases. In those faces, there are initial comments on Luu Trong Lu, mainly about his poetry. 1.3. The general study of the position of Luu Trong Lu in the general picture of Vietnamese literature before 1945 1.3.1. Research published before 1945 Referring to Luu Trong Lu as a poet, most of the researchers and critics shared the same idea: he was one of the initiators of the new poetry movement. In Vietnamese Poets, Hoai Thanh - Hoai Chan critics confirmed the role of mining, paving the way for Luu Trong Lu's new poetry. In addition to assessing Luu Trong Lu's role in chanting and cheering for new poetry, the authors also affirmed that he was the one who succeeded in
6 the first new poems. When studying the narrative prose of Luu Trong Lu before the Revolution, remarks were very sketchy, showing an underestimation of interest in this part of his work. The person who made a fuller comment on Luu Trong Lu as a writer is Vu Ngoc Phan, with modern writer. However, Vu Ngoc Phan did not appreciate the prose compositions of Luu Trong Lu. 1.3.2. Research published after 1945 The study of author Luu Trong Lu still won the attention of researchers after 1945 in both the South and the North. In the South, Pham The Ngu in Vietnam, a modernist literary literature, has commented on Luu Trong Lu in two roles as a prose writer and poet of the New Poetry movement. The author of Vietnam 's simplified historical literature also concurred with Vu Ngoc Phan when he underestimated the prose of Luu Trong Lu written before the August Revolution in the book of Modern Writers. In the North, the book of Vietnamese Literature in the twentieth century (by Phan Cu De Editor) generalized the author Luu Trong Lu in the roles: poet, critical theorist, journalist, playwright, person write a memoir. Also in this work, the authors also argue that in the debate about new poetry - old poetry, Luu Trong Lu is a vigorous struggle for a free poetry. 1.4. In-depth study of the narrative prose section before 1945 by Luu Trong Lu 1.4.1. Research published before 1945 on prose proclamation Luu Trong Lu In Modern Writer, Vu Ngoc Phan does not appreciate Luu Trong Lu's novel. He argued that Luu Trong Lu is "a very mediocre novelist". Because, his novel is only told by "dull voice", "confidant" story, "manipulative", "flat", "remember to write that", many stories are told as in dream. When discussing Luu Trong Lu's pre-Revolution short story, the author of the Modern Writer led Phan Khoi's praise to the collection of short stories. Vu Ngoc Phan disagreed with Phan Khoi's statement and said that Son Nhan was "moved", but "not so good". Next, the author identified the first short story series - The Son - has a good structure but the rest are "mediocre". Le Trang Kieu has three articles referring to prose Luu Trong Lu. In the article "The poet Lu Lu criticized the smoke-free novel" (Hanoi newspaper, No. 23, 1936), Le Trang Kieu publicly defended this work by Luu Trong Lu and strongly attacked criticism. "Unscrew" of Luu Trong Lu on the afternoon smoke. Continuing on Hanoi newspaper (No. 24, 1936), Le Tràng Kieu published the article "Critics of the afternoon smoke". In this article, the critic cites colleagues' compliments of the afternoon-smoky novel, unanimously evaluating this as "A love affair full of romance and romanticism, the romance of female Geogre Sand, it seeped into a soul of a somber and gloomy man, a nostalgic one. 1.4.2. Research published after 1945 on the prose of Luu Trong Lu in the period before the Revolution In the book Luu Trong Lu - About the author and work, Ha Minh Duc - Nguyen Van Thanh recruited quite a number of research papers that appeared after 1945 on the prose of Liu Trong Lu. Most notable is the article by Nguyen Van Long. This researcher had remarkable generalizations: "Before the Revolution, Luu Trong Lu wrote more than a dozen episodes of short stories, novels, novels, many books were printed into books, some were stories. Long posted in the newspaper. Among them, works that have long-term value can be said to be not much. There is a fairly basic reason that authors often write quickly, write
7 hastily, not very often take care of their prose pages [119, tr.205 - 206]. But the reason is also elsewhere, but this is mainly: Luu Trong Lu's pen is not a knack for discovering and describing real, not strong social relations in the power of observation and carving. Portrait, personality, story building. In any category, Luu Trong Lu goes on "letting his heart spread on the page". Nguyen Van Long also said: "In more than ten years of writing before the Revolution, Luu Trong Lu has also written many novels, but most are still in the tendency of romantic escape." In 2011, Labor Publishing House, East West Language and Culture Center released Luu Trong Luu work - Short story, novel (full set of two volumes). As one of the two participants in collecting and compiling, Lai Nguyen An aroused the study of the prose prose Luu Trong Lu with the opening essay: "Luu Trong Lu is considered first as a poet; but the world of Luu Trong Lu poetry is in fact not separate, on the contrary, there is a continuation of the prose world he created, which is life in short stories, long stories he wrote. Sometimes, some emotional ideas are only printed in a few verses, there will be a longer resonance, not just once, in short stories, long stories. ” Nguyen An also noted that Luu Trong Lu's prose proclamation has been "perceived" more satisfactory in recent times. He also portrays the changes in Luu Trong Lu's "novel" composition on the subject aspect, indicating "the ability to feel and express contemporary life" in the writer's work. He judged Luu Trong Lu's work "contains a kind of value as evidence of the specific color of life in his time - something that is not immediately apparent". Also according to Lai Nguyen An, Luu Trong Lu's composition is imprinted with the region. Besides the real themes, customs... the most outstanding is still romantic. Recently there are a number of master thesis topics that have studied the prose of Luu Trong Lu. First is the essay Style of the prose of Luu Trong Lu in our period before 1945 (Truong Dai Vinh, 2012). In addition, there are some other essays such as: Short story characteristics Luu Trong Lu by Tran Hoai Ngoc (Ho Chi Minh City University of Education, 2012); Features Luu Trong Lu's story by Le Phuong Thao (Truong Dai Vinh, 2013)... In general, the above mentioned works, articles and master's thesis only stop at general judgment, go into some genres or evaluate the narrative prose style of Luu Trong Lu. We cherish the preceding ideas because though many, have contributed a meaningful voice to look back at the prose of Liu Trong Lu's proclamation before the August revolution. Chapter 2 SYNTHESIS OF AESTHETIC TRENDS IN THE NARRATIVE PROSE OF LUU TRONG LU BEFORE 1945 2.1. Some major aesthetic tendencies dominating Vietnamese literature in the first half of the twentieth century 2.1.1. Concept of aesthetic trends In our thesis, the concept of aesthetic tendency is used to refer to the propensity to choose media, techniques and materials to express beauty in writing. Aesthetic tendency, on the one hand is a specific expression of aesthetic conception, on the other hand, is an environment that helps form aesthetic concept, as a system of evaluation criteria, choosing beauty and chi coordinate creative activities and enjoy beauty. Aesthetic tendency exists in the form of spirit, as a direction that governs the whole
8 behavior, the whole choice, description, and expression of the author. But when it is realized, the aesthetic tendency manifests itself in every structural element of an aesthetic phenomenon, which makes the recipient aware. Aesthetic tendency is a historical phenomenon. There may be many different aesthetic trends that coexist for a period of time, or they will continue to play a dominant role in writing in the history of literature. It is the diversity of aesthetic trends that enrich the spiritual life of the public. Intuitively, one can immediately identify any aesthetic tendencies that dominate literary life. But to verify, specific criteria are needed. When it comes to asserting the existence / existence of an aesthetic tendency, the following factors need to be considered: a) The thought foundation on which will arise aesthetic tendency; b) Cultural foundation defines the deep relationship between aesthetic tendency and all other factors that make up the spiritual face of a society, a national community; c) Systemality of options for aesthetic expression methods and means; d) Compatibility between the system of options and aforementioned aesthetic expression facilities with the entire conditions of social development in a certain period of time. 2.1.2. The trend of classic aesthetic "The trend of classic aesthetics" is a conventional concept set by us to indicate the direction of beauty with universal, formal, solemn, favorite harmony, balance in the composition of writer, poet. This trend stems from the aesthetic tradition of national literature, most evident in the literary and later literary section, which has been modified by the successors on the basis of acquiring aesthetic principles. of French classicalism, broadly speaking, is classicalism in Western literature. The classic aesthetic tendency dominates Vietnamese medieval literature for a long time. Entering the modern era, this trend is no longer popular and is not the first choice of the composer but it is still maintained. Its existence depends on the writer, each author approaches classic aesthetics according to their own organs. In poetry, due to the specificity of the genre, the mark of the classical tendency is most clearly expressed, expressed in the still-exaggerated words, in the way of image building, in the conception of harmony. .. In Dong Ho, Quach Tan, Han Mac Tu, Bich Khe, Huy Can, Ngan Giang, Vu Hoang Chuong, Dinh Hung..., the classic aesthetic tendency allows poets to create works sharp. Of course, Luu Trong Lu also needs to be included in the number of poets who are still heavy with the classic aesthetic tendency, although he is among the most enthusiastic in the struggle for "market share" for new poetry. Different from poetry, the classic aesthetic tendency leaves a fainter imprint in the narrative prose, including short stories, novels, and autobiographical forms... The reason for this is because in the new literary era, The nature and structure of the genres has been changed. The narrative of the stories of contemporary life has helped writers gradually "liquidate" the old literary beliefs, towards a more democratic view of the object of description, accordingly, will find a form of compatible expression. Of course, the "liquidation" must also have a process. In the prose's prose of the transitional period, the view of morality also governs the writing of many writers such as Pham Duy Ton, Nguyen Ba Hoc, Ho Bieu Chanh, accordingly, influences the way of choosing topics, building images , choose their... tone. The rhetoric of rhetoric is still popular, making readers of the new era sometimes tired. They partly diminish the "prose" which is a very important property of modern narrative prose works.
9 2.1.3. Aesthetic trend of citizens We use the concept of aesthetic tendency to show a modern aesthetic tendency, associated with the concept of people living in urban environments. Aesthetic development of the population along with the reception of Western influences in lifestyle and living; with the emergence of diverse and diversified material and spiritual needs; With the popularity of psychological fancy newness, preferred change. All of these are associated with the rise of personal consciousness of bourgeoisie and bourgeoisie. Aesthetic beauty of the people associated with the romantic look, with the need to release the ego from the cramped environment. The aesthetic tendency of the people in our country is not the time when the French colonialism appeared. However, when the production relationship of capital goods appeared, with the emergence of urban areas, the rise of the bourgeoisie, the trend of aestheticism of new citizens flourished. To meet the needs of readers, the composer must follow this aesthetic tendency, pay attention to new emotions, express new classes, new behaviors... That is one of the reasons why writers when writing according to the aesthetic tendency, people often choose the content attached to the attitude of heightening the ego, paying attention to the romance of emotions, the way of expressing the words while being lyrical, polished and close life. New romantic poetry is the voice of the urban bourgeoisie who has escaped the political struggle of the nation. New Poetry authors often go into the inner world, into the subjective, "I". In the prose, if many works of Ho Bieu Chanh, Ngo Tat To, Nguyen Tuan... show the presence of classic aesthetic tendencies by promoting morality, customs, and seeking the beauty of the time. In the old days, the works of Nguyen Cong Hoan, Vu Trong Phung, Nam Cao, Nguyen Hong... tend to have a clear aesthetic tendency. This is evident in the way writers exploit the subject, deploy the topic and aim to mass in the selection of art methods and means. In general, the trend of urban aesthetics denotes the need for innovation of literature to meet the demands of new, and earlier readers, to meet the expressing needs of creative subjects. The aesthetic tendency of the local people is not a closed and closed nature but can encourage and promote many creative discoveries in different directions with modern spirit. In public literature from 1930 to 1945, it can be said that this tendency plays a key role, influencing the writing of some revolutionary poets like To Huu (of course, only on some aspects belong to art form and self-expression needs of the self). 2.2. The continuation of the aesthetic tendencies of the era in the prose of Lưu Trọng Lu before 1945 2.2.1. The premise of succession Luu Trong Lu was born into a family with a Confucian tradition, studied at Hue National University and Hanoi. He went to teach private schools, write and make newspapers for a living. The author is also the composer, initiator and promoter of the new poetry movement. As a person mainly trained and experienced in Western schools, the reception and modification of the aesthetic tendency of the era in the writer's prose before 1945 has been selected, bearing its own mark. The source of that continuation stems from the author's preservation of the beauty of traditional literature and the flexible reception of new values of Western literature. In fact, the composition shows that Luu Trong Lu's soul is heavily influenced by old influences, including Tan Da poetry. That influence created in him the love of old values and true values through the writings on Nguyen Du, on Truyen Kieu. In prose are works that
10 bear the mark of medieval prose through the expression of moral or psychological tendencies, nostalgic for the past, attached to the old beauty. Tuy Luu Luu was influenced by traditional literature but still came to modern literature by the senses of romanticism, love and dreaming. He was always conscious of preserving the continuity between tradition and modernity. Those who love Luu Trong Lu's work also recognize the influence of French romantic literature in his writing: it is a romantic spirit; is an indeterminate state, which is an ego-dreaming individual. The characters are often depicted in complex relationships, often living in urban environments, with a rich, emotional, introvert world. 2.2.2. The convergence of aesthetic trends in the prose of Luu Trong Lu before 1945 Luu Trong Lu was born, grew up, studied and worked in an urbanized European environment. The writer quickly manipulated and absorbed the aesthetic trends of many contemporary literary trends into his compositions. Luu Trong Lu also has many pages of nostalgia for the past, regretful of feudal golden age. Remembering the past may be a memory of the feudal family full enough, children are educated under the school of Chinese characters, rowing times, sailed to their hometown to get paddy rice so that the author expresses his feelings. regret for a time that was far away, once the ball passed through the old Ben, the Family, the Green Stretcher The writers' writings are the collection of pieces of his own life. The trend of aestheticism in the composition of Luu Trong Lu expresses first in the attention described (with many sympathies) the Europeanized lifestyle and enjoyment psychology, including enjoyment in love. The aesthetic tendency of the townspeople often hits the curiosity, wryly, squeezing out tears, so the content must be somewhat thrilling, far away, tricky and strange. Thus, the main aesthetic trends of the era were selected, collected and expressed by Luu Trong Lu in composition. The writer still expressed his regret for the beautiful memories and golden values for a while. But on the other hand, the writer sees the inevitable victory of the Westernization of thought, of new values arising from the acquisition of Western lifestyles and activities. All of this is reflected in the complex mood, emotions of the character, especially the character of the townspeople in his work. 2.3. The principle of reflection - manifested in the prose of Luu Trong Lu before 1945 2.3.1. Paying attention to the chaos in the character's feelings With Liu Wei Lu, the mysteries of the characters as an underground circuit spread throughout the work. The pain, sorrow, feeling of hindering, distant in the hearts of the boys - the young girl in dating is interested by the writer to describe. Writing about the love of a couple in a rural and smoky village is a naive love story from the pasture of the pasture and the grass. Also write about the compassion in the human soul, but in the novel I am a girl on the side of the door and The girl picking strawberries, Luu Trong Lu brings the reader to a love affair through the window that is linked by a thread. string, or put correspondence into short stories to show the psychological and ideological world of the characters. Besides the pain in the love of the boys - the young girl is dating, Luu Trong Lu also writes about the nagging in the hearts of the characters who have become husband and wife. Sometimes the leeway in the fate of the characters is integrated into the thrilling story by the writer. Overall, it can be said that public literature in Vietnamese literature from 1930 to 1945
11 was a literary part of thousands of songs. This relates to the political-cultural-social context of that time, which also relates to the strong domination of romanticism in Western literature plus similar influences from the novelist movement. "New" of Chinese literature (also derived from the stimuli of Western literature). Although he also wrote about the characters' passions as contemporaries, but in his pages, Luu Trong Lu often pushed it into a smoky table space, similar to the space of sentences. ancient story. 2.3.2. Notice the description of the unfortunate fates of women Having shared with the direction of composing of many contemporary writers, in his narrative prose compositions, Luu Trong Lu also chose to show the fate of unlucky women as one of the principles of reflection. - manifest in his aesthetic tendency. First of all, he depicts the image of the new girls in their modern ideas, wanting to find a free love and a happy marriage life, but then face the reality of pain caused by themselves. family and society cause (Miss Nguyet, Co Nhung, I am a girl at the door). In addition to expressing the unfortunate fate of girls living in urban environments and in the feudal family, Luu Trong Lu also wrote about the fate of the girls who have been prostitutes. When going into the tragedy of the female character, just as Lai Nguyen An commented, Luu Trong Lu not only saw the number of lives "as a wife all over them", but also realized a paradox, that is the definition talented artists and souls as pure as the good part of their people .. The image of the mother in Liu Ni Lu's narrative prose also appears with misfortune and suffering. The mother of the family, sacrificed because her husband and children were repeated many times in the narrative prose of Luu Trong Lu before 1945 as an obsession through novels: Family, Green stretcher, Wind-leaf wind, Ben Old, I'm a girl on the door. Through relationships in the patriarchal lineage of the previous generation, the lower part of the family, Luu Trong Lu showed that the mother is a woman with an important position in the family, but also suffers a lot. disadvantaged as a successor (concubine). The fate of women is one of the topics that many writers expressed in the period 1930- 1945. When writing about the fate of unfortunate women, Luu Trong Lu still has his own features: he cares about the fate of talented young, affectionate, and knowledgeable girls who are always unhappy. The most impressive is the female students in the mandarin family, sent to study in Western schools, know French, love French literature, have the concept of free love, but the remnants of grape consciousness outdated religion has pushed the fate such as Nguyet, Nhung, Can, Quynh must accept living a meaningless life or choosing death to liberate himself. Through the status of women, Luu Trong Lu wants to convey a message: in the context of Vietnamese society on the road of Europeanization, there are many fate of disadvantaged and disadvantaged women. While living in suffering, but they always preserve the beauty of the soul and that is the core, the eternal value that literature must improve. 2.3.3. Coordinate harmoniously between distant space and specific space Also depicting space in a sad, impassive look like the contemporaries, Luu Trong Lu noticed the interwoven space between the distant space and the specific space. He disturbed real dreams, dreams with real, first with people, first created a virtual dream space hidden in earthly life. In that space, animals can talk, birds can speak and understand human language, plants, flowers can dance and pebbles can smile. In the prose Luu Trong Lu, there are many motifs close to fairy tales and ancient stories, with the characters of King, Queen, Princess, Prince... Although very "drunk" in creating far-away space, Luu Trong Lu does not forget to describe the specific space of real
12 life and space of memory. This is also his forte. This space is associated with memories and memories of the author about family, childhood and especially the image of the mother. It also contains a special "far away" look, which is paradoxically compatible with the legendary virtual dream space. Chapter 3 THE HALLMARK OF THE NARRATIVE PROSE OF LUU TRONG LU BEFORE 1945 AT THE SYSTEM OF THESIS AND IMAGE 3.1. Some outstanding themes and symbols of Vietnamese narrative prose before 1945 3.1.1. Principal topics 3.1.1.1. Family conflict Family is not a new topic in literature in general and Vietnamese literature in particular. From the medieval times, both in poetry and in prose, family relations have been shown deeply, whereby social issues are also enlightened under a unique perspective. The family theme continues to be deepened in the writings of many writers before 1945. When exploiting conflicts in the family, writers have the opportunity to see the correlation between the efforts of protection, preserving traditional morality and other changing aspirations, which are aroused by the stimulation of liberal ideology that promotes personal ego. At Ho Bieu Chanh's composition, family conflicts appear very well, when it is associated with forced marriage (Money money), when it is associated with attempts and interests (Teacher of interpretation). Through the family problem, Ho Bieu Chanh wanted to affirm the ethics of the grape house as well as the traditions of good behavior of the Southern farmers. Unlike Ho Bieu Chanh, the works of self-reliant authors exploited the fierce conflict between the rising personal consciousness and the traditional moral family's moral framework. The writers of self-reliance and self-reliance have been on the side of the new, the positive to protect the right to life, the right to enjoy the happiness of women. The center of attention of critical writers is humanistic issues, first of all, the issue of clothing, oppression, exploitation, the issue of rich and poor. However, in their work, family problems also appear haunting. Two novels are both autobiographical: Nguyen Hong's Childhood Days and Manh Phu Tu's Living. Luu Trong Lu's prose prose before 1945 also mentioned family topics, but he did not exploit deep conflicts in traditional families or family breakdowns such as contemporary writers. He mainly uses memories and memories about family, lineages and hometowns as compositions. 3.1.1.2. Rural tragedies Until the first half of the twentieth century, Vietnam was still a backward agricultural country, with a population of over 90% being farmers. It is entirely natural that farmers become a subject of primary interest in literature. When it comes to this object, their tragic life in front of colonial exploitation by colonialism is of particular interest. Vietnamese literature inherently has a tradition of compassion, therefore, rural tragedies always slander writers. In addition, due to the influence of Western critiques of realism, digging into the misery of the bottom laborers has become an impulse to the depictive painter's writers. Writing about the rural landscape must include Ngo Tat To, Nguyen Cong Hoan and Nam Cao. Reportage The village of Ngo Tat To showed that backward customs, habits in the village have caused many disasters for farmers. The general atmosphere that covered the
13 entire countryside in Nam Cao's work was a frigid, impoverished, desolate air. Occasionally, there are noises, which are slash-and-slash, slashing and shouting of thugs like Chi Pheo. The character of the farmer of Nam Cao seems to be pushed to the extreme: either gentle and weak to mental or fallen paralysis. The fate of farmers and rural paintings is also reflected very sincerely and vividly in the Step of the Road (Nguyen Cong Hoan), the Thunder, the Dam of Vu Trong Phung. When recreating the tragedies in the village, Luu Trong Lu's work is not as intense as the critically-acclaimed literary works, but there is no shortage of pitiful stories. However, Luu Trong Lu did not go deep into exploiting the tragic life scenes, impoverishment or the image of the evil mobs with fierce conflicts. He saw many painful realities but wanted to make a smooth reconciliation. With a slow, calm storytelling, Luu Trong Lu does not push the story to a painful climax like Turning off the lights, Step along... 3.1.1.3. Life in the city Since the French colonial rule in our country and accelerated the exploitation of colonies, the face of the city has many other changes, taking the nature of privatization. The urban population increases with many different components, classes, with different concepts, life styles and artistic tastes. It can be said that market readers are a key component of literary readers of that period. Therefore, there is no reason to live in the city and not become an attractive topic of literary writing. Moreover, with it, new ideas have a strong disclosure condition and artistic experiments also have a competitive land. If the life in rural areas is often recreated in a calm, dull manner, life in the city is often expressed with a bustling, bustling atmosphere, where corruption takes place as a rule. has popularity. Writing about the city first of all, there are real writers such as Nguyen Cong Hoan, Vu Trong Phung, Tam Lang... The world of urbanization in the short story Nguyen Cong Hoan is the world of the bottom: the car, Dual singing, lotus, tangerine... In addition to the world of bourgeois bourgeois new people with a lot of ridiculous and cheating situations in Red Number, Vu Trong Phung expresses the vividness of life of many lives living to snuggle around the dark corners of the place called the flower. Urban in Nam Cao works closely with the plight of poor intellectuals. They are people with dreams and ambitions, but life does not allow them to raise their heads. All dreams are lost, they live in the tragedy of "redundancy" and "death wear". With a lot of prosperity, the town is also a place where sorrows such as prostitution, gambling, and smoking evolve... The prostitutes pretending to live in every corner and corner to make a living through days, families are broken by gambling, fate is pushed to the road... - these are the materials that make up the tragic, bitter pages of Trong Lang (with Hanoi mistakenly), of Tam Lang (with Huong River Night), by Vu Trong Phung (with Luc Xi, Trapped by people), by Nguyen Dinh Lap (with Suburb, Alley)... Luu Trong Lu also writes about people in urban environments. While vividly reproducing the life of the intelligentsia, new male and female men of the time, he did not forget to criticize the way of life and enjoy the weakness of the character. Do not deepen into the poverty of life, wobbly like the characters of Vu Trong Phung, Nam Cao and Nguyen Dinh Lap, Luu Trong Lu's main characters are new and young men and women, living in a Europeanized but weak way, preferring the materialistic way of life. And many tragedies have come to them. In this regard, the writer Luu Trong Lu has realistic colors in his own way.
14 3.1.2. Featured character figures 3.1.2.1. The Rebel The concept of "rebellious people" is used here to refer to a rather special type of character of Vietnamese literature in the period of 1930 - 1945. It is a type of character with complicated personality, actions It is difficult to follow the traditional conception, daring to resist rigid set of rules to pursue personal freedom. When building this type of character, Vietnamese writers clearly absorb the ideology of promoting individual people in Western literature. There are many close points between "rebellious people" in Vietnamese literature and "rebellious people" in Western literature, however, the difference is still clear, because these human models are based on cultural and social premises are not the same. Ho Bieu Chanh is a novelist with many works from Western literature. Despite many influences of ideological ideology, Ho Bieu Chanh still sees a reality: the individual person is rising strongly, against the old framework and discipline. Many of his characters reacted fiercely to his family, with rituals to protect love. The writer Tu Luc Van Doan has built many "rebellious" characters. Mai in the middle of the spring (General Hung) dares to fight to assert personal ego before the feudal family. Mai dares to overcome the barriers of feudal ritual, fierce struggle for happiness, love for freedom and equality. Loan in the Great Paragraph (Nhat Linh) pushed the struggle that Mai had conducted to a higher level. She reacts to her old mother-in-law right from the beginning to her husband's house. She struggled fiercely to protect the values she pursued, to determine her own happiness. From 1936 onwards, social life became increasingly suffocating. In this context, the pillar novelists of Tu Luc Group launched "strange" novels such as White Butterfly (Nhat Linh, 1941), Thanh Duc (Concept, 1943), described quite vividly. kind of anarchist rebel, immoral, perverted, sick. Luu Trong Lu met with Ho Bieu Chanh in the spirit of spirituality, Hoang Ngoc Phach in To Tam expressed his half-rebellious rebellion. In novels written about women 's fate, Luu Trong Lu also expressed them as rebellious characters. For example, the young lady Phan in Tàn had a life that gave up her life and wealthy life, and wealthy people to "turn around" and follow the wife of a blind Xam. Princess La Mai in Princess La Mai's novel left her father in disguise, rather than marrying, not "taking a husband and a man in a tribe of ordinary people" that she despised. 3.1.2.2. The corrupt People who are corrupt are the kind of characters that literature in the period before 1945 in general and critical literary literature in particular are very interested. While focusing on reflecting corruption as a common phenomenon in half-feudal colonial society, critical real writers have actually built immortal examples, demonstrating the development of private. The only novel in the way of exploring, depicting reality, people. The world of characters in the short story Nguyen Cong Hoan is a corrupt world, deformed and highly materialized. People in the short story Nguyen Cong Hoan were corrupted, distorted and "materialized" in a terrible way. In the Thunderstorm, Winning the jackpot, Doing the slap of Vu Trong Phung, many main characters like Mich, Long, Phuc, Huyen... are all corrupt. They came from self-esteem intellectuals, white-haired peasant girls. But the situation of the dark society pushed them. The material benefits, money and love swept away them, making them irresistible. When they had slipped into the muddy area, they could only pour out the fate, pouring into the situation. Nam Cao's characters are
15 mostly honest people, but due to their inability to resist the pitfalls of society, they gradually become corrupted and corrupted. Unlike many realistic writers, Luu Trong Lu paid little attention to explaining the social cause of alienation. He only focused on reflecting the tragedy of corruption, mainly with modern-day youth such as Huy (From Heaven to Hell), Luong (Modern Girl), Minh (A Suffering Person). From people who are more or less ambitious, they quickly surrender, following the way of enjoying life. The cause is not primarily because of society but because of the superficial lifestyle, easy to surrender to their circumstances. Sometimes, the writer also poised the Wanderer and enjoy life. 3.1.2.3. People, social victims The image of human victims appears concentrated in the writing of critical literary realist tendencies 1930 - 1945. Writers often pay attention to the image of small people being pinched and stripped taking the rights, from the land, the food to the right to be human. With materialist thinking, to explain the causes of poverty, unhappiness is from society, critical realist writers have widened the scope of reflecting and deeply expressing the extreme life of many classes in society. , outlined major class conflicts. On the subject of intellectuals, urban life, critical literary reality also created many heartbreaking tragedies. The Ho, Dien, Thu (Nam Cao), Long, Phuc, Huyen (Vu Trong Phung), Uncle Square, Huyen (Nguyen Dinh Lap)... all quickly became victims of a suffocating society, no for people to exist, to live the true human life. The prose Luu Trong Lu also writes about the victims, but they are primarily victims of the customs and habits of those who have rights. Many characters in the prose Luu Trong Lu are victims of the patriarchy, the type of feudal behavior "where do you put your parents?" And that is the cause of death in the hearts of many characters. 3.2. The definition of the theme in the prose of Lưu Trọng Lu before 1945 3.2.1. Human subject in urban environment Romantic literature often builds up the contrast between the life of a liberal, liberal individual and urban living environment, which is characterized by suffocating, full of profanity. With Luu Trong Lu, the ability to feel and express contemporary life, especially the life of the characters living in the urban atmosphere before the August Revolution, is re- presented quite comprehensively. The writer does not intend to cover the vast picture, buckling the color of human beings in the urban environment but mainly goes into the life of the bourgeoisie, the class of artists and artists that he has attached. bundle, familiar (because he is actually a member of the family). He is not too deep in describing the mental tragedies of those people in the style of Nam Cao. Reading his autobiographical prose compositions, it is clear that the duality of material civilization is displayed in the city. On the one hand, it reveals the modernity of living space with the real and legitimate beneficiary needs of people, on the other hand it also carries many dangers, will draw many people into the path of desolation, beating lose yourself. Here, it is clear that his view of "periodic light" is a non-biased, prejudiced view. Because of that, he got very clear pages when he sketched a picture of Ha's students in the years before the Revolution. 3.2.2. The subject of human misfortune In composing before 1945, Luu Trong Lu was often interested in "those who lost their lives". This is also a familiar topic of romantic writers in general and Vietnamese romantic writers in particular. Nguyen Tuan with the Golden Ball once erected the image of those
16 who are outdated, reluctant and often embrace nostalgia of the past. Writers like Nhat Linh, Dung Hung, Thach Lam and Ho Dzachnh... have written many works about people who are deadlocked and disillusioned with their careers, accepting a life around and stagnant. Writing about people who are miserable, Luu Trong Lu focuses on building characters who are male and female. Many people came from a noble family, but due to circumstances, they fell to the bottom of society. Some wild characters like the great Le are also recognized by writers as people who miss. In the prose prose Luu Trong Lu, the negligence is often associated with love. There is a character who has renounced himself to run after the call of love and become a discouraging man. For example, Thay Lock Van in Sensation (Huong Giang history novel). In the novel "Tra Hoa Nu," Luong Ha Dat represents the type of character "selling peddlers", not pursuing the goal to the end. The misshapen character in the narrative proclamation Luu Trong Lu before 1945 was quite diverse: heroes who hated because of the failed national dream; the girls Gypsy but still retain the features of the channel, talent; the monks could not shake off all the dust to consecrate themselves to the Buddha... With this type of character, Luu Trong Lu contributed to making the image of the people who missed in Vietnamese literature before the August Revolution. so lively, richer. 3.2.3. Themes of private memories Private memories are not a private subject of romantic literature or works of romanticism. But it must be admitted that, in this type of composition, the topic of private anniversary is particularly popular and there are specific highlights. In Luu Trong Lu's narrative prose, memories of childhood, about yourself, your family, your homeland are often returned regularly. In these cases, the storyteller confesses "I" almost identical to the author, and thus, the autobiographical appearance of the compositions is also clearly revealed. Integrating in the love story in the old Ben novel is the memory of childhood and family of the writer himself. The memories of the family, the lineage of Luu Trong Lu expressing vividly in the clan's novel. This is "Considered as an essay and memoir about the family and the author's homeland". When writing about the topic that we call an estimate of "private memories", the writer has successfully used the form of correspondence. Letters are the means to inform and also the secret and delicate way of exchanging emotions that people prefer. Therefore, when writing about private memories, Luu Trong Lu does not mind putting in short stories, his novels express feelings in the form of letters. Luu Trong Lu often takes memories of childhood, self, family and homeland as a material to create fiction. Many images in prose are also haunting images in many of his poems: the stretcher stretches on the mountainside; image of the mother with "Black smile on the back of the sleeve" and "Red shirt of the person who brought it to the front of the rooster (New sunshine), the image of the sisters sitting sad on the side of the door (Crazy Love, One Winter)... Look collectively, with the theme of private anniversary, People can read short stories and novels that he writes to better understand his poetry and vice versa. Having talked about private memories, one cannot help but remember the particular spatial contexts associated with it. In the narrative prose before 1945 by Luu Trong Lu, the reader saw a localized space. The striking space in Luu Trong Lu's narrative prose is the space of the central land of Quang Binh, his hometown, with many caves, rivers, mountains
17 and passes. Thus, when writing about the spaces attached to my own memories, Luu Trong Lu as well as Bui Hien and Thach Lam have shown their own unique style of the countryside. This local flavor has contributed to the own charm of the particular aesthetic and atmospheric compositions needed in literature. 3.3. The unique feature of the human image system in the prose of Luu Trong Lu before 1945 3.3.1. The image of a human being has a psychological failure The romantics are more or less all have psychological failure. This mentality arises inevitably when people see how many beautiful social goals are in turn stolen by dark forces in society. A pessimistic, depressed feeling covered the lives of many dreamers. There is nothing difficult to understand when in his compositions, poetry as well as prose, Luu Trong Lu expressed quite strongly the psychology of failure of the characters. Female characters like Ms. Nhung and Ms. Quynh and Ms. Cẩn have clearly failed in the struggle for free love. Someone must "follow her husband to give up the game" like Nhung and Nguyet, but there are also people who have to seek death to keep love, piety and honor for themselves like Cẩn and Quỳnh. Write the same problem, but the male characters in Luu Trong Lu's story are willing to give up religion to enter the garden forbidding love. Not only seeing the psychology of defeat in the wild characters, Luu Trong Lu also saw it in many other subjects. More importantly, he paid close attention to them. According to the writer, many times people fail only because of a lack of will and have a superficial ideal. 3.3.2. The image of people immersed in love In the period 1930 - 1945, in literature, individual people began to assert themselves strongly. Sad, lonely is the mood associated with each individual but is a common feature of many writers. This arises from the objective cause, they do not know what to do, must go in any direction between the dissolved society. They also do not accept ordinary, boring life. Therefore, they feel lost and helpless in society. Collection of the prose of Luu Trong Lu before the Revolution consists of 27 short stories, 27 novels, most of them mention love. Enough of love levels in his pages: love in dreams, new and transient love, gentle vibrations, sometimes unrequited love, prevented love, love distinguish the floor. Every time the thunderstorm voice calls, the love in Luu Trong Lu's pages is love regardless of boundaries. Not only beautiful love makes people want to trade everything to follow its call, but the love in Luu Trong Lu's prose is also a greedy, selfish and hateful love. It can be seen that, when showing the image of people who dive in "tank of love", writers sometimes want to concurrently play the role of a philosopher. Nowhere else have we seen the philosophy of love given so much. Basically, they also have their own colors, given the specific literary context before 1945. 3.3.3. Image of a dreamlike person Luu Trong Lu is a romantic and dreamy person. It is natural that in his prose, he often takes us immersed in the shimmering, mystical and dreamlike realms of grace. Luu Trong Lu revels in all the beauty of man and creation. His heart always sobbed, his soul was always dreamy, he brought real disturbance with dreaming, dreaming with reality, first with
18 people, first with custom. In his prose prose before 1945, there were many characters belonging to the virtual dream world. In the real world, Luu Trong Lu's character also lives in illusion. These are stories built with "material" taken from the world of fantasy. The author finds a miraculous world, which blows souls into senseless objects that make them souls like humans. First of all, the characters of the world of the fairy world The characters of the fantasy world in prose Liu Jing Lu not only appeared in stories about fairy tales and ghosts but also in many stories on other topics. This reflects his view of reality, as he once claimed in the midnight memoir: "Dream and life are two threads across the loom. Life creates dreaming and dreaming makes life." Chapter 4 ART CHOICES WITH SPECIAL FEATURES IN THE NARRATIVE PROSE OF LUU TRONG LU BEFORE 1945 4.1. Using and modifying familiar motifs of romanticism 4.1.1. The concept of motif and the premise of using and modifying familiar art motifs in narrative prose Luu Trong Lu The Glossary of Literary Dictionaries (Le Ba Han - Tran Dinh Su - Nguyen Khac Phi, co-editor) commented: "The Sino-Vietnamese word motif is a theme (by the Chinese transliteration of motif in French), yes "It can be transformed into mold words, forms or types in Vietnamese in order to refer to elements, large or small parts that have been formed in a stable and sustainable manner and used many times in folklore and artistic writing." By the early twentieth century, motifs were explored by Western scholars as a category of literary research. The condition for turning an element of composition into an artistic motif is that these elements must be sustainable in content, form in a literary text, in the writings of a writer or a good trend. a literary era. This is also synonymous with viewing motifs as an art phenomenon that exists over time, which can be used, modified, consolidated over time, through different compositions of authors. different. Luu Trong Lu was born in the Confucian family, so it was natural for him to love old values. At the same time, due to the fact that in Western school, having been exposed to the noble beauty of the trend of Western classical aesthetics, the above affection has not faded, but it has been strengthened, with new shades. We can recognize in the composition, he has applied the traditional beauty and approached the Western nobility beauty, which has created a feature in the author's aesthetic tendency. Moreover, Luu Trong Lu came to modern literature with the spirit of romance, love and dreaming. He was always conscious of maintaining the continuity between tradition and past and present. At the same time, in the process of composing writers, it created romance in the inspiration of creation and selection of topics; Priority is given to expressing the emotional world of people and absorbing the artistic experience of many creative trends. Since then, he has created an impressive personal style. With the influence of modern aesthetic ideals, the impact of real life and the demands of personal style in composing, Luu Trong Lu learns on one side and acquires elements from outside. , using some motifs of romanticism in general, on the other hand, the writer turns them into today's stories, escaping the "eternal" and "eternal" nature.
19 These are stories that are relevant to the reality that the author is in need of understanding, expressing, and stories associated with the lives of Vietnamese people, with Vietnamese nuances. 4.1.2. The imprint of Luu Trong Lu in using and modifying familiar motifs As a pioneer of the new Poetry movement, Luu Trong Lu has learned many creative experiences of romanticism. In the narrative prose, the writer has also created an old and new look for familiar motifs. He is ready to use the available motifs, but the motifs have been modified to suit the psychology of people at that time. In the composition of Luu Trong Lu, there is the presence of the "Look for the past" motif. Many of the references in the previous chapter show that this motif has been used systematically, throughout many of his narrative prose works. In the writing of Luu Trong Lu's narrative prose before 1945, there are 34 out of 54 works written on the subject of love. The figure of 63% is not small, this is consistent with the starting point of a romantic poet writing prose to create the motif that we temporarily call "Ai love is a suffering tank". Luu Trong Lu often builds characters that are influenced by Western civilization. This type of character often comes from a family of mandarins, but is able to study French Vietnamese school, speak French. They have new ideas, are soon in tune with Western civilization to express their personal selves, but it seems that they do not have the courage, motivation and power of thought to go along with their journey. They become fast-paced with contemporary life, like many other characters we encounter in many romanticist compositions. It can be said that here, Luu Trong Lu used a fairly popular and temporary motif named "Half-hearted rebellion". Nature is the favorite topic of many writers and poets of all time. In medieval literature, nature appears through the themes of flowers, flowers, snow, and moon... and it is also a great inspiration of romanticism. Therefore, most romantic artists are passionately looking for beauty in nature. Nature is like a clear, clean sky that gently lulls romantic souls that are deeply discordant with the suffocating and cramped life of the era. They consider it a friend to share, confide. Luu Trong Lu is a writer who is in that flow and the reader has complete basis for it Through his works, Luu Trong Lu makes his own mark in how to combine motifs into synthetic symbols. He looked back to find the past with the figure of a gentle mother, aloof in a black smile. Sometimes, it is a picture of a red cervical neck that she brings to the rooster in the sun. Or is it the green of the stretcher - a symbol of affluence and comfort in the loving arms of the family. Clearly, Luu Trong Lu's work is often placed in a flashback of the past. The past may be clear, when vaguely fanciful, but it is the impression, the shimmering moments in the mind so that each character reminiscing is once more powerful, more motivated to live, to survive in and dreams (Blue stretcher, family line, old Ben, I am a girl at the door...). Remembering the obsessive past, Luu Trong Lu's character is not "negative". Return to the past to look forward to the future. The sadness of the past shines for much bitter reality is also a clear sadness that is not tragic, tragic. In the subject of love, Luu Trong Lu expressed love in many ways. His characters often float in endless love affairs. This is the reason why we can refer to the "Immerse in love pool" motif - a particular motif of romanticism - used again and again in many of his compositions.