Giai nhân kỳ ngộ diễn ca, một thể nghiệm mới của Phan Châu Trinh về truyện thơ lục bát

Abstract

This article, from the prosodiacal perspective, goes deeply into new contributions as well as limitations of Phan Chau Trinh in adapting the novel "Kajin no Kigù" of the enlightenment age literary in Meiji Restoration by Japanese writer Tokai Sanshi to the Vietnamese six-eight meter poem. Using the theme and literature materials of a political novel, Phan Chau Trinh incorporated 3 plots into his poem: a decisive plot with the structure as meeting - catastrophe - wandering - the work remains its traditional form of a poetry transcribed Vietnamese but it is adapted from the wandering stage from the monolingual form into the bilingual form and in the stage of union, using the union of the "messenger" to emblem the real reunion of the protagonist; the adventure story cage into the first one, but it is the style of a plot-to-lot; and contained in the adventure story is a chain of historical narratives; whereby, the patriot wishes that Vietnamese people will awake to go into the struggle for their independence with a new ideal of democracy and freedom. The author experienced an extraordinary way and created a open structure for the narrative poems in the new age. When building the characters, despite the influence of the traditional style, even the mixture of two great poets - Nguyen Du and Nguyen Dinh Chieu in terms of expressing the psychology and love, Phan Chau Trinh brought dialogues into the story, changed the words so that the one-sided narrative turned into interesting conflicts of art, the pure story turned into a two-layer context dialogues; thereby, he improved many weak spots in building the lines of characters, that brought the characters a chance to experience, unfold over the course of the story, then the characters become lively. However, Phan's experiBoment was not completely successful because his poem words were not sharpened well enough. Some verses seemed like rythmstanza. This might make his works become a kind of popular literature. On the other hand, Phan's noble efforts in the French homeland did not come at the correct time, when the era of the novel began to dominate the literature in the country and the era of Nom story had almost been pushed back.