Rereading the epic poem "Dragon Vein" by Hoang Tran Cuong

In his rather extensive literary career, Hoang Tran Cuong has presented both prose and poetry, including epic poems, with four epic poems alone: ​​Dinh Vua (2002), U Minh (2002), Tram Tich (1999), and Long Mach (2015). While the epic poems...SedimentThis led critics to rank Hoang Tran Cuong among the "master poets" after he won many important awards such asFirst prize in the poetry competition of the Literature and Arts weekly newspaper, 1989-1990. Ministry of National Defence Arts and Culture Award (1994-1999)(The Ho Xuan Huong Award of the Nghe An Association of Literature and Arts (1997-2002), translated into English and published in 2007, and especially the State Award for Literature and Arts (2022), recognize the epic poem.Dragon VeinThe epic poem, written later, had a different "fate," even though it had previously been honored with the Vietnam Writers Association Award (2015). Could this coincide with the assessment (or prediction) of a critic at the time, following the epic poem's resounding success?Sediment"Then, Hoang Tran Cuong will find it difficult to surpass himself.” (Thai Doan Hieu)*.

So, despite his immense creative potential and the momentum he's building on, and the recognition and high praise he's received for his epic poem "Long Mach," does Hoang Tran Cuong actually fail to surpass his previous peak, as achieved by the epic poem "Tram Tich"? In our opinion, answering this question isn't easy unless the reader has the necessary perspective to read and contemplate both epic poems, to truly appreciate Hoang Tran Cuong's valuable contributions in terms of content and artistry, and to understand what's new and different from his previous brilliant successes, as many are already aware?

There have been numerous reviews and studies, and seminars on the epic poem "Sediment," which was immediately widely received and highly appreciated upon its publication. I would like to quote the profound impression left on me when speaking of Hoang Tran Cuong: “For Hoang Tran Cuong, poetic sediment is the sediment of pain, the sediment of hope, and above all, the fossilized images of his beloved village, a village in Nghe An province with all its ups and downs, hardships, endurance, and resilience like smoked bamboo…” (Thanh Thao).

While in the epic poem "Sediment," Hoang Tran Cuong recounts, "My mother gave birth to me beside a rice mortar / I landed on the muddy ground / The Lao wind clothed me in a brown garment" (Origin) and "At the age of seven // I followed my father to Hanoi" (Wooden Fish), in the epic poem "Dragon Vein," he appears with a different mindset, "I carry within me / Three rivers at once / The red Red River / The green Lam River / The emerald Cau River..." (River and You). This means that from the mischievous, hot-tempered, and devoted people of Nghe An, Hoang Tran Cuong absorbed the culture of the Red River and the Cau River, adding new qualities to his personality and poetry—more profound, more intense, and more resonant.

Carefully reading the two epic poems, "Sediment" and "Dragon Vein," it's easy to see that he originated from a poor but virtuous homeland, venturing far and wide across the country. In "Sediment," he brilliantly portrays the image of Central Vietnam in general and the villages of Nghe An in particular: "Central Vietnam is thin and sharp like bamboo/Crafting its heart into a silken ribbon of the Lam River" (Central Vietnam). Meanwhile, in "Dragon Vein," Hoang Tran Cuong, with his "main vein" also from his homeland of Nghe An, from his father and mother, and familiar place names like the Do Luong bara, the Luong River bank... knows how to reach a higher level and a more generalized perspective on each issue and event he speaks of. The following poem is a concrete example, taken from the chapter "The Nature of the Land":

"Oh! May the Lam River never have a day like this!

It no longer flows downstream.

And every stream and river that once flowed through the verdant land of Vietnam

Don't have a day

"I don't know where it's flowing to."

While discussing the everyday struggles of hunger and plenty, Hoang Tran Cuong's writing style shifts from simply describing things in a way that is truly excellent, impressive, and surprising:

"The burning ember has been pried away.

The fingernail marks are still visible.

Plow it

The bottom of the pot swelled up."

(Origin – Sediment)

It has come to confront the harsh and ironic realities of life directly, without flowery language or flowery words, focusing instead on the profound emotions of each person and each life:

"The child went and stood by the river.

Silently watching the rushing water

(Water spirits – Dragon veins).

It's evident that the epic poem "Sediment" with its intense emotional flow and sublime artistic talent, Hoàng Trần Cương's pen has left behind many excellent verses, beautiful stanzas, and even impressive chapters like "Central Vietnam," for example. This is not reflected in the epic poem "Dragon Vein," even though it is longer, more specific, and more general, and the author's emotions and energy are equally intense. Is this why the epic poem "Dragon Vein" no longer makes the same impression as "Sediment"?

Many readers and writers know that, after the outstanding success of the epic poem "Sediment," Hoang Tran Cuong felt he still had the strength to write four more epic poems, although in reality he only presented the epic poem "Dragon Vein" that we are discussing. The success of "Sediment" is a welcome achievement, a major milestone, but at the same time it created an obstacle in the creative process of "Dragon Vein," as well as all other subsequent creations, forcing the poet to act decisively with the motto of renewing/differentiating himself, to rise higher and further than the poetic peaks he had already reached.

It wasn't easy, full of pitfalls, but Hoang Tran Cuong bravely and spiritedly overcame them. Clearly, when writing the epic poem "Long Mach," Hoang Tran Cuong dared to take risks by setting forth "a subject that cannot be verified by reality, a theme difficult to limit by history," and "satisfiedly found a prime spot to unleash both the content of his thoughts and the form of expression" (Vu Quan Phuong)***. In writing "Long Mach," Hoang Tran Cuong even further developed his inherent creative power, authentically and vividly portraying the spirit and momentum of the rivers and mountains, of the water, of the land, and of the people—not only the people of Nghe An and the impoverished Central region, but the entire Vietnamese nation. Clearly, Hoang Tran Cuong's awareness of space, time, and the scope of his creative subject matter has expanded, his destination is further away, and his ambitions are greater, although reaching the destination, the peak, may not entirely depend on the poet's will.

Although "unverifiable by reality," the structure of the epic poem "Dragon Vein" with its 11 chapters firmly adheres to the poetic dragon vein with unique innovations that remain true to the original source, such as the chapters "Land Character," "River Soul," "Main Vein," "Water Demon," "Sea Spirit," "Mountain Formation," etc., plus the author's own dragon vein such as "Silent Prayer," "River and You," "Bloodline," etc. With abundant realistic material, especially the reality of Nghe An province bearing the strong imprint of traditional and modern culture, the rhythm of the poetry is surging and hurried, the verses transform and flourish thanks to abundant inner strength. Hoang Tran Cuong continues to create an epic and intensely realistic resonance in each verse, stanza, and chapter, fitting together harmoniously and gracefully in the overall work.

"My father

Eyes still smiling

Sadness, joy, success, failure

Children and grandchildren gather together.

Small kitchen

"Smoke of uncertainty"

(Bloodline)

This stanza was written in the author's overflowing, personal inspiration. This section contributes to the overall poetic theme of the work, speaking of the individual to contribute to the broader universal, discussing a specific person and a specific, familiar space, yet still creating a sense of generalization and capturing the soul of that space through the ethereal line "Smoke wavers." The poet not only describes but also reveals his thoughts and anxieties through description, moving events from static to constantly moving…

Conversely, the general river-vein in poetry also leads to the very skillful development of specific river-veins, such as when Hoang Tran Cuong recounts the Soul of the River, describing the flow of the river in general:

"Flowing like it's possessed.

A gnawing, gnawing anxiety, like that of someone with an illegitimate child.

The frogs jump and die gradually in the footprints of rabid dogs in July.

Silently along the embankment

Underneath the grate, carrying the sun

xuyên sơn

"The village's paint is worn and faded..."

The free verse bursts forth, the bold comparisons imbued with vibrant realism suddenly shine, soaring with a line full of romantic and contemplative spirit: "The shadows of the village are worn." Perhaps someone will recall Nguyen Trai's Nôm poem, "Opening the door at night, waiting for the scent of cinnamon to enter / Sweeping the veranda during the day, tears fall as the shadows of flowers fade," with a poetic idea full of poetic quality, humanism, and ultimate wisdom: the poet hesitates to sweep the veranda because he "fears the shadows of flowers fading"! (Vu Binh Luc).

Certainly, with his excellent knowledge, Hoang Tran Cuong had read the masterpiece of his ancestors' poetry, and in the surging flow of creativity, he knew how to learn from his predecessors while avoiding forced repetition. Clearly, Hoang Tran Cuong's poem describing the flowing water, "The weary shadow of the village," creates a unique impression. First, it fits the poetic atmosphere of the aforementioned stanza, while also creating a distinctive and profound perspective on a specific phenomenon. "The fading flower shadow" and "The weary shadow of the village" share the same illusory concept of a shadow, and the same movement in the direction of regret and unwillingness—"fading" and "weary"—but the intensity is clearly different. This is the difference between a moment of emotional outburst and a persistent process, which can only be seen and felt upon close observation. Hoang Tran Cuong's learning, and his excellent ability to surpass and continue the legacy, lies precisely in this.

As poet Vu Quan Phuong remarked, “This work is both a realistic experience and a culmination of a lifetime's reflections on the people and the nation. Both the expression and the content bear the clear imprint of aesthetic sensibility and the laborious effort of poetry. A significant step forward in terms of intellectual stature, subject matter handling, and writing technique is highly commendable.”*** Clearly, the epic poem "Long Mach" deserves a firm place in the hearts of readers, and Hoang Tran Cuong's achievement is like a new record for a champion—seemingly insignificant, very little, but in reality, at the peak, striving to increase even a small achievement is a miracle not everyone can attain.

^{Offering incense in remembrance of the 5th anniversary of the passing of poet Hoang Tran Cuong. (9/4/2020-2025)}

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*http://vanhoanghean.com.vn/chi-tiet-tin-tuc/1156-hoang-tran-cuong-nguoi-hoa-giai-nhung-noi-niem-khat-vong

**https://thanhnien.vn/hoang-tran-cuong-da-nhap-vao-tram-tich-185945248.htm

***Vu Quan Phuong: The mountains and rivers reflect the soul of the nation – An introduction to the epic poem "Dragon Vein," Vietnam Writers Association Publishing House, 2015

****Vu Binh Luc: A true poet, personal Facebook page 12/08/2024