Tran Quang Quy and the nostalgia 'not spoken with another person's tongue'

Late poet Tran Quang Quy.

Each flight of Tran Quang Quy always has a shift, diversity and richness in perspective and imagery. The spatial and temporal dimensions of his poetry are expanded, but tied, entwined with people's hearts in the nostalgia for their homeland and the world. Wherever he goes, he sings the heartfelt love of a burning heart. That sentiment sinks into the poet's blood, subconscious and spreads in each character.

OnescoopThe land alone is enough to kindle a burning thirst, enough to feel one's bloodline blend with the bloodline of the homeland.Carrybowl of rice, the poet sees himself ascarryTake the whole tray of hometown and inhale, sip and enjoy every bit:Holding a bowl of rice with the fragrance of homeland.The fragrance of the earth and rice rises from the depths of human love.

The Central region is a harsh region, with drought and floods, but that difference still makes the hearts of those far from home ache. Tran Quang Quy was not born in this harsh land, but he was so thirsty that he wanted to dissolve his breath and blood into the Central region:I melted into the Central region of life.Here, the verbdissolvehas moved from a process of transformation to a process of harmony, in harmony with the same beat. He alsodrink, drink to the Central region to satisfy your intoxication with the peoplea piece of poverty, gray hair still fragrant. A heartfelt and sincere confession.

Poetry works of the late poet Tran Quang Quy.

The immense, overlapping beauty of nature and the simplicity and honesty of the Northwest people captivate many wandering travelers. Tran Quang Quy is the same, so fascinated by the Northwest that even after he returns, his soul still lingers:Brought me back to the mountains and hillsVerbpinIt's so good here. The Northwest has a strong impact on the poet, making him voluntarilypinsoul again. It is the impact from both sides, not forced or compulsory.

Or like the charm from the pastMai Chau season with fragrant sticky ricealso moved, the poet's heart was troubled:Tied us into the Mai Chau maze.Verbforced, the active verb transformed the poet's soul, tying the poet to longing for the love of the people here.

Hue, a famous dreamy land, also makes the poet feel nostalgic:Fall down to the land we drift.Verbs of movementfall downalso, not forced but very natural. Each drop of Hue dreamfall downthe poet's mind. The poet seems to be letting his heart receive every drop of love that the Hue girl brings. Both Hue and the poet are doing the same activity: harmonizing with love.

Or one way in Vam Cong, Long Xuyen, An Giang,each memorylikepinpoet in the net of memory of more than twenty years.Pinis a causative verb, but here it is not only Vam Cong that affects the poet, pushing the poet into a cycle of nostalgia, but the poet himself is also suppressing and self-repressing.pinemotions are running high.

Late poet Tran Quang Quy and his wife - writer Y Mui.

Thus, that nostalgia itself exists and is very vivid. In the poem Son Tay, the poet writes:The ladies washed me, scrubbed me with the classic countryside afternoon/ with the fairy tale of Ba Vi...Verbwash, scrubcombined with the meansClassical countryside afternoon, fairy tale Ba Viis a good and interesting creation. In addition to the affection that the Son Tay girls bring, it also evokes many feelings about the old homeland. It is a double impact, a chain of sublimation of love for land and people. Tran Quang Quy also wantslocked upCa Mau in the left chest is hot and stuffy. Actionlocked upso beautiful, impressive. The heart is small but contains so much love, so passionate desire.

It can be said that each region the poet passes through is recreated with its own beauty, full of love and humanity. The actions of grabbing, swallowing, wanting to monopolize show the burning thirst for love that is stirring intensely. That love of life is the poet's true desire and desire for reconciliation.

In Tran Quang Quy's poetry, the love for the countryside is very prominent. The love for the countryside is present through many images: ripe golden rice grains, the fragrant smell of straw, plowed furrows, mud, the sound of crickets, a rickety ox cart, buffalo footprints, rice husk stoves, rice barns, roasted sweet potatoes,... It evokes the rustic, simple beauty of many peaceful, familiar countrysides. Reading those verses, we all feel like we are living, letting our hearts be free with the place where we were born and raised.

Tran Quang Quy pushed that nostalgia and thirst to the end as he once melted into his beloved Central region..From the bottom of my heart, that love was already there, blossoming. Becausedrunk enough of country lifeSo the poet can see the invisible closeness and attachment between himself and his village:There is a thread of smoke that ties me up without a knot.Image of the poet himselftightenhimself with a very beautiful blue smoke of the afternoon. A tangible object but very profound. Because, it is the hinge of the nostalgia for the homeland that has been throbbing for generations. The anchoring pushes the nostalgia for the homeland to become closer, more simple. Only when putting himself in that position, the poet can:touch my village fairy taleTiean invisible nostalgia in a tangible object, the poet has created a high level of integration. And from that integration, the poet sees the love and feelings.squeeze, tuck, linein the countryside is inevitable.

Not only that, having to let himself live a life of hardship and exhaustion with the village, the poet had a profound sharing:The sweat of the village rolled down on me.ActrunThe song is extremely natural, demonstrating the high level of engagement between the poet and the village. A sincere love originating from the poet's blood, sweat and tears. Therefore, the village is like a root firmly attached to the poet's heart, filling the endless longing..

Polynomial Colors - a collection loved by many readers by the late poet Tran Quang Quy.

The image of the countryside in Tran Quang Quy's poetry is also associated with people with muddy hands and feet, hard-working mothers and wives. The love for the village joins the love for his grandmother. The poet feels the smell of his homeland, the fragrant smell of straw from his grandmother's story. Not only that, the poet also feels the warmth of his childhood horizon.growup after her coughs. Not just the coughgrowmemories of the countryside and her stick too, the stickstir alongthe warm smell of home from house to house.

With mother, the poet has a different perspective. A mother's life is unstable.sowseason,sowhope forever clings to the land and lullaby:“Let's move/ Our mother sowed/ She sowed a life of hope into the soil/ A life that goes forever without leaving the fields/ A life that lulls forever in the stork's wings”(Singing to call the seeds). Then the seasons of fragrant green rice on moonlit nights, I alsoforcedpoet's soul -you tied me knots of memories. Associating the image of the countryside with the country people, Tran Quang Quy's poetry becomes more intimate and full of emotion. The sweetness of the heart shines through the sweetness of the characters.

Modern life tosses people into the volatile market machine, full of painful and bitter problems. But the tradition and culture of the countryside never disappears but always remains painful and lingering. And for those who are far from home, that nostalgia is even more intense. Beautiful, warm memories of the countryside become a seed of affection throughout, supporting the soul of poet Tran Quang Quy. The immense fields of golden season, immense sweat, immense mudcloseinto the heart, forever fragrant with the poet's poetry.

In a life full of tongues coming out of deformed mouths, migrant faces, masked hypocrites,... it is obvious that people always long to return, to crave the echoes of their homeland. Therefore, the image of the countryside does not disappear but burns more, clings more tightly, is a peaceful place for the soul's return. Moreover, urban life is so cruel, where kindness is greased on the toes of shoes, cold, indifferent, silently passing through the streets, the poet's reminiscing about the countryside is the most reasonable way to escape. These sounds are sad, but not the sounds of boredom, deadlock, but beautiful sounds. Sad sounds revive the purity of the soul.

In a noisy and bustling place, Tran Quang Quy heard the birdsong and his heart ached and throbbed:I crave the sound of birds in the concrete age/ and it is the sound of birds every morning that wakes me up from loneliness!(The sound of birds). This lonely consciousness is a remaining and necessary emotion for the artist to fight against the erosion of conscience and humanity that is gradually decaying when everything is priced by money. Awake upfull of initiative, confidence, stemming from a passionate and haunting love for the homeland. Therefore, the hardships of the village, of the farmers, of parents,... in the past are still like the blood that continuously boils in the poet's heart:Running through my veins the heavy breathing of the village road.

Is it only when we go through and go far away from the dirty, hard life that we feel a deep longing and cherish it so much? The sounds heavy with sweat and tears, the familiar, rustic images... one after anothergraduallydream,trembling in the chestpoet. The longing for the countryside is sometimes kindled by the rustic flavor of sim fruits. Where is the poet?buysim that isbuychildhood,buyThat is the soul of the village. It is the sincere, simple, rustic roots of the village that helped him stand up in the midst of the storms of life:Life is easy to turn away/ I return to my basket when I'm hungry(Country people). Life is poor but the soul is warm and full of love.

Author Hoang Thuy Anh and late poet Tran Quang Quy.

Thus, we see that the words that delve into the depths of the ego, the depths of love and longing for the homeland are often independent verbs, indicating the action and state of the subject..The verbs are woven into layers of passionate, passionate, and passionate undercurrents of love. Thanks to that, love for the homeland and nostalgia for the homeland are not simply static memories of emotions, but always throbbing, whining, and stirring, helping us realize that the poet's love for the homeland is never lost, never dormant, but always in a state of movement, surging, burning, and fresh. When the poet calls the nametied,To beforced, To betighten.. then everything starts from a voluntary, extremely affectionate dedication. On the other hand, the dense frequency of verbs like rubbing back and forth makes the feeling of the countryside rise even higher. Flowing to another space, facing the new life, the urban life with masks, the tongues shaped like chopping boards, the love for the countryside is still deep, burning in the heart.

Tran Quang Quy's poetry is the result of a process of constantly kindling the fire, distilling the yeast, and testing life. With a layer of independent verbs, he has created a source, a village consciousness that is both strong and unique. It can be said that, in this familiar, memorized genre, his poetry is alsodon't speak with another person's tongue