1 INTRODUCTION 1. The reason for selecting the topic In Vietnam poetic tribune, about 1930-1945, from the New Poetry movement emerged talents of poetry, including Huy Can, Xuan Dieu, etc. The imprints of Huy Can’s poetry style began in Lửa thiêng (Sacred fire) (1940). His affect and tone of the poetry collection have spread "an age in poetry," since the mid twentieth century till the present. Vietnamese society is innovating, transforming, and integrating into the world. The research status on Huy Can’s poetry style on the basis of new synthetic theories with crucial significance in contributing to the innovation ideal, developing culture, science and domestic education. In the new context of literary study, and from the author’s own admiration and love of the poetry of Huy Can, especially the poetry collection Lửa thiêng, this special study focuses on the topic: The artistic style of Huy Can’s poetry through his work Lửa thiêng (Sacred fire). 2. The purpose of the study Applying a number of characteristics of traditional oriental literature and modern Western literature theories, the dissertation explores the artistic style of Huy Can’s poetry through Lửa thiêng. 3. The history of of the research problem Collection Sacred fire came into being in 1940, and Xuan Dieu wrote its title. In these years, following the recommendation to Sacred fire by Xuan Dieu were the texts by Hoai Thanh, Hoai Chan, Luong An, Vu Ngoc Phan, Mong Son, etc. In the 60s, 70s, and especially in the mid to late 80s of the twentieth century, the researchers on Vietnamese literature began the new works on the movement of the romantic literature 1930 - 1945. These were articles or essays on the study of Huy Can by Nguyen Xuan Nam, Nguyen Hoang Khung, Nguyen Dang Manh, Ma Giang Lan Specifically, the study of the editorials of the New Poetry by Phan Cu De, Ha Minh Duc, Le Dinh Ky, etc. spent many pages on Huy Can and analyzing Collection Lửa thiêng. Phan Cu De said: " the young Huy Can was very sad, "and went into the world of the moon and stars Lửa thiêng is not separated from the general orbit of romantic poetry 1930-1945, but still has its own features through perceiving time and the aesthetic concept of Huy Can. Ha Minh Duc explained the sadness in Huy Can’s poetry: "The poetry of Huy Can is sad; depressing of a generation is not easily changed, but the sadness in 2 Lửa thiêng does not take much of the privacy, not associated with desire, and passion, then boredom, despair " ; Le Dinh Ky said: " the private colors of Huy Can’s poetry is "single "," lonely " for “blankets and mats” to decay and colors to fade forever. Huy Can mentioned time as "permanent", "eternal" as though it is not someone's privacy, but the social life now is so variable " In the 60s, 70s, in Saigon, some authors studied Huy Can: Pham The Ngu, Tran Nhut Tan, Bui Giang, etc. with the view, trend influenced by modern philosophy air and life at that time; however, these works also had some considerable contribution. - Early in the 90s of the XX century and early in the twenty-first century, the innovation in many aspects of economic and social life of Vietnam impacted the literary and academic situation of contemporary Vietnam. The application of research methods based on the poetics, linguistics, psychoanalysis, etc. is found through many articles and extensive research works related to New Poetry in general, or "touching" Huy Can’s poetry a little, in particular. Team of researchers, writers, poets, irrespective of generation, age, can be named: Do Duc Hieu, Tran Dinh Su, Ma Giang Lan, Tran Khanh Thanh, Ly Hoai Thu, Ly Toan Thang, Do Lai Thuy, Le Tien Dung, Ngo Van Phu, Vu Quan Phuong, Tran Manh Hao, Nguyen Dang Diep, Vu Gia, Chu Van Son, Tran Huyen Sam, Bui Quang Tuyen, Tran Thien Khanh, Le Thi Anh, etc. - Referring to treatises on the poetics in Huy Can’s poetry, the writer found the elaborate work of Tran Khanh Thanh on Huy Can’s poetry in the perspective of poetics, and commented that Huy Can did not separate image of a lonely man with sadness, sorrow, love, dream, etc. through Lửa thiêng. - Ma Giang Lan with the treatise: The structure of verses of Lửa thiêng by Huy Can attends to language and poetry genre. Also, the writer also noted a lot of information from research papers, reviews on his life, career or recollections and memories of Huy Can - a poet, a great culturist of Vietnam after his death (19-2-2005). These are articles, research papers published in the printed and electronic press: Nhan Dan, Sai Gon Giai Phong, Van Nghe, Hon Viet, Song Huong, Ha Tinh, Binh Dinh, etc. of researchers, writers, poets: Phan Cu De, Ha Minh Duc, Mai Quoc Lien, Huu Thinh, Giang Nam, Tran Tra Phuong, Nguyen TrongTao, Mai Hong, Tran Dang Khoa, Tran Manh Hao, Le Thi Hong Minh, Ngo Van Phu, Nguyen Thuy Kha, Nguyen Sy Dai, Vuong Tri Nhan, Le Minh Quoc, Nguyen Thanh Mung, etc. 3 - On the other hand, in the spirit of expanding the research but cautiously, the writer also finds out and refers to a number of articles about Huy Can's poetry by Vietnamese researchers abroad such as Dang Tien, Thuy Khue, etc. - The study introduces Huy Can’s poetry in Vietnamese literature in French collective array "Marées Orientale de la Mer Orientale" (tidal East Water - Nước triều Đông), Orphee La Difference published in 1994 with the introduction of the well-known Vietnamese researcher, Paul Schneider (French). In particular, general comments on Huy Can’s poetry in Vietnamese literature, Paul Schneider raised an interesting comment on the similarities between Nguyen Trai and Huy Can: two poets wrote poetry and their works were famous before joining the resistance. - Regarding English copy, the book "Vietnamese Literature by Nguyen Khac Vien and Huu Ngoc as editor-in-chief has a general introduction to Vietnamese literary history from the eleventh century to the twentieth century. Translated into the English, in Lửa thiêng, Nhạc sầu (Grief music or Music for the dead) and Tràng giang (Vast rive or Long river) is introduced. In short, the history of research issues on Huy Can’s poetry through Lửa thiêng can include many hundreds of articles and editorials in many different research angles, over time and different spatial contexts. In general, inspiring issues of age, a lonely man with cosmic sorrow, century sadness, love of nature, love of home, country, love of the voice of the nation, thoughts on life, etc. of Huy Can are identified, analyzed and discussed relatively in many coincidental points by the authors. Particularly the artistic style of Huy Can’s poetry is laid out in a number of papers by Nguyen Xuan Nam, Nguyen Van Long, Ha Minh Duc, Tran Khanh Thanh, Ma Giang Lan, etc. but most of the authors just mentioned nroadly or commented scatteredly on the general aspects when they made surveys on Huy Can’s poems composed over time, or some works just mentioned some features of the poetry style by Huy Can, mainly through the works of poems composed from the 1960s onwards. So, from the perspective of a new synthetic research, compatible with learning the artistic style of Huy Can’s poetry through Lửa thiêng, the writer noticed that no author specifically mentioned it. However, from the suggestion of some research ahead of this, the premise was to create valuable, helping people to think more deeply by studying the artistic style of Huy Can’s poetry towards new synthetic research. 4. The task, object and scope of the research 4.1. The task of the research 4 Based on how new synthetic methods for the research on the authors and works are performed, the dissertation will address and demonstrate the artistic style of Huy Can’s poetry deeply and orginally, soon appearing and being highlights through Lửa thiêng and creating long-term effects. 4.2. The object of the research The dissertation mainly does research on Huy Can’s poetry in comparison with Xuan Dieu’s poetry and some other poets of the New Poetry movement. 5. The scope of the research The dissertation is based on Huy Can’s Lửa thiêng, Xuan Dieu’ s poetry, such as Thơ thơ (Poetry poetry), Gửi hương cho gió (Sending fragrance to the wind), and some other poets in the period of New Poetry 1930-1945 6. The method of the research The writer chooses some suitable methods such as method of history (Chapter 1), analyzing method according to poetics, stylistics, survey, statistics, systematization, compare, analysis, synthesis (Chapter 2, Chapter 3). 7. The new contributions of the dissertation 7.1 Scientific significance (1) Contributing some ideas to proving the unique poetry style through poetic language and poetic trinity Image - Culture - Philosophy of Huy Can; (2) contributing a new approach to studying his poetry in the flow of the life of literature, culture, contemporary society, (3) adding materials through some poetry writing, comparing the original manuscript material in Sacred fire. 7.2 Practical significance By studying the artistic style of Huy Can’s poetry, through the dissertation the writer wants to add material to research, teaching Huy Can’s poetry in schools and perceiving the multi-dimension literature in the life of the current literature. 8. The structure of the dissertation Apart from the introduction, conclusion and appendices, bibliography, the dissertation includes three chapters: Chapter 1: The factors shape the artistic style of Huy Can’s poetry. Chapter 2: The artistic style of Huy Can’s poetry as expressed through poetry universe of Lửa thiêng. 5 Chapter 3: The artistic style of Huy Can’s poetry as expressed through poetic language of Lửa thiêng. CHAPTER 1 THE FACTORS SHAPE THE ARTISTIC STYLE OF HUY CAN’S POETRY 1.1. Concept “style” Concept of style Le style, c’ est l’ homme (Literature is human), is drawn from the studies of Phan Huy Duong, with a speech written citation of Buffon on the generalization on the literature style in the XVIII century in France. Buffon said that style is the perfect manifestation on the personality, thoughts, emotions of the subject of creativity in the works. 1.1.1. Style under the concept of Western literature theory The dissertation is based on the literature theory of the former Soviet Union and some of modern Western theories. According to Khrapchenko: style is the ability to express life dominated by image; style performs the role in the formation of structures within the literary phenomenon; style is reflected in the intonation, tone, inspiration, originality in the description of objects, events and circumstances reflected in the work structure, the structure, in the language, in category, in school, etc. 1.1.2. Style under the concept of Oriental theory According to Lu Hiep in Van tam dieu long, physical properties include: the state may be shape, the work of literature itself and the author's personality. Style is understood with love and air, word, form in combination. Literature is bright; air is healthy; gems are precious so man needs them. Building more style, making talented and distinguished forces. How brightly beautiful! Style means manner, attitude and characteristics of the literature. 1.1.3. Style under the concept of Vietnamese literature theory In Vietnamese ancient literature there were no concepts or terminology of clear literary theory on style. However, a book on poetry, under the name "poetic dialog", was mentioned by Nguyen Du in the sixteenth century through Kim Hoa thi thoai ky (in Truyen Ky man luc). Afterwards, writing the regulations on compiling Toan Viet thi tap, Le Quy Don commented on strong point of each author as factors related to the style of poetry; Nguyen Duc Dat discussed literature in Nam Son tung 6 thoai; Cao Ba Quat with a collection Bananas Forest said that "Seeing people may be knowing their poetry. " In modern literary theories, Phuong Luu explains, "Style is unique with aesthetic qualities crystallized in the writer's creation. Style can manifest inspiration, tone, genre, artistic language art, etc. Phuong Luu also analyzes the differences between style and method of creation. In addition, the dissertation also refers to many other ideas to explain the artistic style by Bui Cong Hung, Lai Nguyen An, Phan Ngoc, Nguyen Dang Manh, Do Lai Thuy, Nguyen Tuan, etc. 1.1.4. Style under the understanding and selecting of the dissertation writer The concept of style in Western and the Oriental literature theories still have similarities. Khrapchenko’s interpretation of style almost synthesizes many aspects. The dissertation chooses to sum up: in addition to the concept of Khrapchenko, the dissertation also relies on some characteristics in the poetic linguistic theory of Roman Jakobson, some characteristics of the theories of Gaston Bachelard, the recommendations of the researcger Ma Giang Lan on Lửa thiêng: " The interdisciplinary knowledge, as the three tools: literary theory, linguistics and psychology highlight the word system in order to show up the style of Huy Can’s poetry in SLửa thiêng. " In summary, the writer applied many dimension to understanding artistic style Huy Can’s poetry through Lửa thiêng, including: factors in the the life affecting the poet’s composition; philosophical thoughts, artistic psychology and artistic language are expressed through work texts. 1.2. The factors affecting the formation of the style of Huy Can’s poetry 1.2.1. Family and homeland According to many data and books written so far: Huy Can was born on 31-5-1919 at An Phu village, Huong Son district (sometimes renamed Duc An commune, Duc Tho district, but recently, An Phu commune was called again and was placed in Vu Quang district, Ha Tinh province). For details of the birth of Huy Can there is some new information, and the writer explores various sources to contribute more accurate data to the actual age of the poet: the exact date of the birth of Huy Can is on December 29 in Binh Thin (that is 22-1-1917). In Hoi ky song doi (The dual memoir), writing about his family and his hometown, Huy Can helped readers visualize them quite clearly about Cu Huy surname. In his forefather’s time (Huy Can’s grandfather), his family was relatively “well-known and well-to-do" in the village of An 7 Phu and was capable of raising a teacher of Han in the house to train the children. In the generation of Cu Huy Chuong, the poet’s father, unfortunately, the family started deteriorating. Referring to the homeland through memories, Huy said: "I was born in a beautiful but poor home in a poor family but sad That mountain, river and land made my flesh and my soul ". Huy Can said that this created the character traits of his melancholy right since childhood. 1.2.2. Cultural tradition of a land (scholarly poetry, folk poetry, culture, folk art) Ha Tinh, Huy Can’s home is a famous literary territory in literature history for poetry, poetic prose, singing-saying of many famous scholars such as Su Hy Nhan, Nguyen Nghiem, Nguyen Khan, Nguyen Du, Nguyen Huy Tu, Nguyen Huy Ho, Phan Huy Chu, Phan Huy Ich, Nguyen Cong Tru, etc. Remembering "the literary qualities" of his hometown, Huy Can could not understand why people in the village of An Phu learned by heart Kieu story, extracted Kieu, recited Kieu naturally in daily life. But there is a thing that few people can explain clearly why the tunes, folksong tones of Nghe land often sound sad over warm bass voice, tormented, hurt, anxious, very special and unique? 1.2.3. Schooling lands of Huy Can Huy Can’s bright life started when his maternal uncle, teacher Bui Van Nhan, upbrought since primary school in the district of Quang Dien and then he came to Hue. Hue is the land of rekindled literary, developing the poetic soul of Huy Can. Here he soon met many writers and intellectuals. Huy Can was taught by Phan Tien, Doan Nong, Nguyen Dinh Du, Buu Can, Mai Trung Thu, etc. He made friends with with Nguyen Xuan Sanh, Te Hanh, found and met The Lu, met Dao Duy Anh, talked about literature with Hai Trieu, was familiar with Hoai Thanh, etc. And, it was the most strange and moving when there was union between Huy Can and Xuan Dieu - life friendship, art friendship, intimates for more than half a century. 1.2.4.“Dual-fruit friendship” Huy Can - Xuan Dieu Many pens have written about beautiful and durable friendship of Huy Can and Xuan Dieu since two poets were students and met each other at the "baccalauréat" Khai Dinh school (National School of Hue) in 1936. Talented poets Xuan Dieu and Huy Can shone in the first step into the village of modern Vietnamese literature. Perhaps it is necessary to mention the findings of the group Tu Luc Van Doan. 8 1.3. The innovation marks of Vietnam in the beginning of the XX century. 1.3.1. A whole new culture was born After the decline of Han studies, the program of teaching national language and French was included in the agenda of primary school pupils. Nikulin researcher commented: " The characteristic of that period was a disturbance between old and new, was a fierce struggle against the feudal ideology " Nguyen Duc Dan said that the phenomenon of "westernization" made our country's literary and arts turn into a new period of development unprecedented in history. For the first time people of Vietnam knew Western classical music, drama, novels, movies, news media For press, acquiring and applying the new elements of literature, media arts, newspapers from popular to literary subjects respectively appeared: Indo-China magazine, Nam Phong journal, Nam An magazine, Women's Tan Van, Phong Hoa, Ngay Nay, Tieng Dan, etc. Arts researcher Nguyen Quan provided a panonamic view of the Vietnamese society then and said that the pretty big change in the spatial restructuring of urban architecture of Vietnam's cities in early twentieth century had a powerful impact on the life of culture, arts and knowledge of the people of Vietnam. For example, theater performances are the basis for reformist art and drama to have the venues to promote At this time, while fiction, poetry, painting, theater developed gradually, the reformist art form is outstanding, Next, new music is kind of late birth, since the introduction to Western music, influenced by Vietnamese songs but Western music (1938). It can be said, in the new period, a total cultural aspect emerged and its influence has gradually spread to the younger generation early Vietnam in twentieth century. 1.3.2. New poetry confirms its position in the poetic tribune. New Poetry movement appeared at the time when old literature imbued with the Confucian school. Thus, the innovation process of the poetry movement is not a story happening anytime soon, easily and quickly. Doing research on the status of literature and art of this period, Thanh Lang in Literary Criticism of the generation in 1932 presented the common characteristics, explained some outstanding events and meticulously described 10 cases. Of these, Old Poetry - New Poetry case also attracted great attention of public opinion and the debate tppk place over nearly 10 years. Through Poets of Vietnam and the essay An era in poetry, literary critic Hoai Thanh commented on 169 poems of 46 poets of "new poetry" in a convincing way. Huy Can (also known as Han Quy) 9 wrote for Trang An newspaper number 108, dated 24-3-1936, with attitude supporting new poems calmly, cautiously: " " new poetry "is just a form of poetry to express the mood and feeling of human soul in the new era ". This attitude hitherto is highly topical, because" A work is always in a context and always talks to the context. "(Todorov). Chapter 2 THE ARTISTIC STYLE OF HUY CAN’S POETRY IS EXPRESSED THROUGH POETRY UNIVERSE OF LỬA THIÊNG 2.1. Creative inspiration and poetic tone of Huy Can Belinski explained the inspiration of writing is enthusiasm, intense desire of the writer, about the features and characteristics common to the works of writers. In addition, the thesis also refer to some comments on the creative inspiration, the tone associated with the artistic style of literary theorists: Hoang Ngoc Hien, Phung Quy Nham, Le Ngoc Tra, Tran Dinh Su, etc. For the age inspiration of the New Poetry Movement poets, The Lu expressed his enthusiasm in Guitar of thousands of melodies; Luu Trong Lu in eager Fall’s voice, Xuan Dieu passionate and eager in Hurry, etc. Particularly Huy Can, a relatively new inspiration – inspiration of Heaven immense with sadness and loneliness of man, of a little soul bearing permanent grief, before the changes of life and society in early twentieth century. The tone, "major sound" with strong lyrical quality, sadness and philosophical features and sediments was revealed from Presenting to Future through Lửa thiêng. 2.2. Poetic universe presentation in Lửa thiêng The concept of poetic universe has been addressed through a number of research projects by poet researchers, translators such as Nguyen Van Trung, Dang Tien, Tran Duy Chau, etc. Nguyen Van Trung in A brief study of literature mentioned the concept of poetic universe based on "To create beauty" by Paul Valéry. The dissertation chose the concept poetic universe to cover the meaning of thought, emotion, writing opinion, the content-form, the subject and the inspiration of the poet’s composition reflected in the product text. Each poet has his own poetic universe: in the poetic universe Gửi hương cho gió, Thơ thơ by Xuan Dieu, it is common to see "the world of passionate love," "desire of happiness," Han Mac Tu. Poetry universe is 10 full of " illusory virtual lights," "bizarre and incredible," "bitter gall, mad blood, wild and crazy soul", is "the moon, water, fresh air", etc. In Ruins Che Lan Vien also created a "realm of demons from the shadow of the ruined Cham towers reflected in Binh Dinh sky day and night", etc. Also, in Lửa thiêng, Huy Can's poetic universe is "cosmic sorrow," "grief for thousand of centuries”, "the space memory", "the former beauty", "love in life but soul in the dream”, "the philosophy of life inspired by land, water, fire ", etc. Based on psychological and emotional grounds, human activity always starts from a young age, dreams, love and then the other experiences in life. The writer interimly arranged and described the inspiration of creativity of the poet as follows. 2.2.1. The wardrobe has just been made and the youth heart is fragrant – The youth inspiration is full of dreams. First and foremost Lửa thiêng is a poetic collection of the youth. Hoai Thanh commented very subtly! Under the verses, the poem seems old, and the critic recognized that it is the "poet of the age of twenty. " In the poetic universe Lửa thiêng of Huy Can also has an array of poetry that almost covers all the emotions of the young beautiful flower time, clear and romantic youth, dreamy and full of pain. The youth is in an old poem. It is the first feature of Huy Can’s style. 2.2.2. Alas, it is beautiful but sad – Inspiration of the beauty: Beauty is sad. Beauty is harmony or on the other hand: haymony is the rule of beauty. Aesthetic beauty of classical poetry in the poetry of Huy Can might be mentioned first as the harmony: Waves ripple in the long river sadly / The boat swims along downstream, etc. “Beauty is sad” With the sensitive and deep soul, Huy Can met, received aesthetics concept very quickly, harmonously and composed many poems full of sadness: Sadly, sadly it rains night, lengthily, great love, pity, death, grief music Of course, in terms of actual writing, the word sad, grief of Huy Can’s poetry, a portion received from the aesthetics of classical poetry through many literary Vietnam works: Chinh Phu Ngam, Kieu, Cung oan ngam… 2.2.3. The boat goes home; the water will be sad everywhere – Inspiration of water- sadness and love [...]... each poet Huy Can’s poetry also shows the influence lines and subtle sound effects of very diverse literature acculturation over Lửa thiêng Chapter 3 THE ARTISTIC STYLE OF HUY CAN IS EXPRESSED THROUGH POETIC LANGUAGE LỬA THIÊNG 3.1 The artistic style of Huy Can is expressed through artistic words Lửa thiêng In Poetic language studies in the 80s of the twentieth century in Vietnam, Nguyen Phan Canh is... The influence of classical poetry on the poetry of Huy Can, could be felt in "indirect way" when the poet used words, phrases through some relevant verses of classical poetry of Nguyen Du, Ba Huyen Thanh Quan, etc (Đẹp xưa - Past beauty, Tiễn đưa; Farewell, Khung tình- Love frame, Tràng giang- Vast river,Thuyền đi- Going Boat, etc.) In the poetry of Huy Can, the influence of folk song and folk music... "clearly" the poetic style Huy Can in the 7 or 8-word, and six and eight-word verses And, sometimes the "concise, considerate words with classical aesthetic poetry in Lửa thiêng will disrupt the ability to create rhymes "Almost Huy Can does not not create rhyme." In short, the attraction of a rich universe and poem tone from the word arts, music, poetry grammar, etc has been located: Lửa thiêng is worthy of... north, perhaps poet Anh Ngoc relatively clearly influenced on the language of poetry, lyrical character, deep philosophy in Huy Can’s poetry soul In the South, poet Bui Giang 22 claimed he was influenced early by Huy Can’s poetry Perhaps, Bui Giang caught the same tune with Huy Can in the space of sources rain, mountain wind, quiet rivers, cold weather, etc.? The word "loneliness" in Huy Can’s poetry... of Thanh Tam Tuyen and To Thuy (the creative team members) is also difficult to escape its effects on inspiration and love melody! Conclusion Lửa thiêng had a pretty impressive and deep place in many generations loving poetry Lửa thiêng shines and highlights Huy Can’s talent, and, the poetry collection has been associated with the name of the poet on the national poetry tribune more than half a century... Lời dịu It can be said Huy Can has gradually expanded and enhanced meaning of "life" from pure romanticism to a positive romanticism with the world outlook and the new human life that is beginning to reveal the mind The ideal life aspiration started from Lửa thiêng 2.3 Literary impact on Huy Can’s poetry 2.3.1 The impact of Vietnamese classical literature and folk poetry on Huy Can’s poetry Through... opened wide / Pink space colors life with hope (Lời dịu- Mild words) However, Huy Can sometimes felt spicy and sour, was puzzling to the fate of chance as a gamble game: Ah! Well, place of daily residence / Life gamble game is just plain lucky enough, (Quanh quẩn- Around) As many stumbles with life got over; life arms widely open Huy Can suddenly discovered the truth: If God knew how many lines of bitter,... Tràng giang This shows that getting wonderful poems is now the artistic choices of words in the verse of Huy Can, and this is one of the new searches through the manipulation of the studies the initial references of Lửa thiêng 3.1.1.2 The manipulation of combining words According to Nguyen Phan Canh, the manipulation of combination which is essential elements of language can be put together thanks to... life, an important artistic concept in the universe of the poetry of Huy Can (was discussed in Chapter 2) So, going into the poetic language, the class of "life" appears, with relatively high frequency in the collection Lửa thiêng (49 cases out of 50 poems) 3.1.2 Reduplicative is one of the elements creating quite favorable tone in Huy Can’s poetry In some cases, reduplicative words of meaning (Complete... island (Tràng giang) … 3.2 The style of Huy Can’s peotry through musical features of Lửa thiêng 3.2.1 Musical features through poetic kind of 7 words, 8 words 3.2.1.1 Rhyme With 50 poems in Sacred fire, which includes poetry of 4 words: 02 items; poetry of 5 words: 05 items; poetry of 7 words: 19 items; poetry 8 words: 16 items; poems of six and eight words: 8 items, Huy Can chose the appropriate genre . Thang, Do Lai Thuy, Le Tien Dung, Ngo Van Phu, Vu Quan Phuong, Tran Manh Hao, Nguyen Dang Diep, Vu Gia, Chu Van Son, Tran Huyen Sam, Bui Quang Tuyen, Tran Thien Khanh, Le Thi Anh, etc. - Referring. spent many pages on Huy Can and analyzing Collection Lửa thiêng. Phan Cu De said: " the young Huy Can was very sad, "and went into the world of the moon and stars Lửa thiêng is not separated. of the poetry of Huy Can, especially the poetry collection Lửa thiêng, this special study focuses on the topic: The artistic style of Huy Can’s poetry through his work Lửa thiêng (Sacred fire). 2.