{"id":18515,"date":"2025-12-24T07:00:46","date_gmt":"2025-12-24T13:00:46","guid":{"rendered":"https:\/\/thovanyenson.com\/?p=18515"},"modified":"2026-02-04T12:46:07","modified_gmt":"2026-02-04T18:46:07","slug":"phe-binh-hoc-thuat-ve-bai-tho","status":"publish","type":"post","link":"https:\/\/thovanyenson.com\/?p=18515","title":{"rendered":"PH\u00ca B\u00ccNH H\u1eccC THU\u1eacT V\u1ec0 B\u00c0I TH\u01a0"},"content":{"rendered":"

\"\"<\/a><\/p>\n\n

B\u00e0i th\u01a1 “\u1ea2o V\u1ecdng T\u00ecnh Y\u00eau” C\u1ee6A Y\u00caN S\u01a0N<\/a>
\nTr\u1ea7n Nam Ai<\/strong><\/p>\n

Trong d\u00f2ng ch\u1ea3y c\u1ee7a th\u01a1 tr\u1eef t\u00ecnh Vi\u1ec7t Nam \u0111\u01b0\u01a1ng \u0111\u1ea1i, \u1ea2o V\u1ecdng T\u00ecnh Y\u00eau c\u1ee7a Y\u00ean S\u01a1n l\u00e0 m\u1ed9t v\u0103n b\u1ea3n ti\u00eau bi\u1ec3u cho c\u1ea3m th\u1ee9c hi\u1ec7n sinh bu\u1ed3n, n\u01a1i con ng\u01b0\u1eddi \u0111\u1ed1i di\u1ec7n v\u1edbi gi\u1edbi h\u1ea1n c\u1ea3m x\u00fac v\u00e0 s\u1ef1 b\u1ea5t kh\u1ea3 trong vi\u1ec7c n\u1eafm gi\u1eef t\u00ecnh y\u00eau. B\u00e0i th\u01a1 kh\u00f4ng d\u00e0i, s\u1eed d\u1ee5ng ng\u00f4n ng\u1eef gi\u1ea3n d\u1ecb, nh\u01b0ng l\u1ea1i kh\u01a1i l\u00ean nhi\u1ec1u c\u00e2u h\u1ecfi mang t\u00ednh b\u1ea3n th\u1ec3 h\u1ecdc: V\u00ec sao y\u00eau th\u01b0\u01a1ng d\u1ec5 t\u00e0n? V\u00ec sao k\u00fd \u1ee9c lu\u00f4n \u00e1m \u1ea3nh? V\u00ec sao con ng\u01b0\u1eddi d\u00f9 bi\u1ebft v\u00f4 th\u01b0\u1eddng v\u1eabn kh\u00f4ng tho\u00e1t kh\u1ecfi s\u1ef1 n\u00edu gi\u1eef?<\/p>\n

T\u00e1c ph\u1ea9m \u0111\u1eb7t m\u00ecnh v\u00e0o trung t\u00e2m c\u1ee7a nh\u1eefng c\u00e2u h\u1ecfi \u1ea5y v\u00e0 t\u00ecm c\u00e1ch gi\u1ea3i ph\u00f3ng ch\u00fang th\u00f4ng qua h\u00ecnh th\u1ee9c th\u01a1 ng\u1eafn, gi\u00e0u t\u00ednh h\u1ed3i c\u1ed1 v\u00e0 pha \u0111\u01b0\u1ee3m t\u00e2m tr\u1ea1ng u u\u1ea9n. Do \u0111\u00f3, vi\u1ec7c ph\u00e2n t\u00edch b\u00e0i th\u01a1 d\u01b0\u1edbi g\u00f3c \u0111\u1ed9 h\u1ecdc thu\u1eadt gi\u00fap l\u00e0m r\u00f5 ba tr\u1ee5c ch\u00ednh: c\u1ea5u tr\u00fac thi ph\u00e1p, tr\u01b0\u1eddng ngh\u0129a c\u1ea3m x\u00fac, v\u00e0 \u00fd th\u1ee9c hi\u1ec7n sinh.
\nThi ph\u00e1p v\u00e0 c\u1ea5u tr\u00fac tr\u1eef t\u00ecnh<\/p>\n

1. C\u1ea5u tr\u00fac l\u1eb7p v\u00e0 tuy\u1ebfn t\u00ednh c\u1ea3m x\u00fac<\/strong><\/p>\n

B\u00e0i th\u01a1 s\u1eed d\u1ee5ng d\u1ea1ng thi ph\u00e1p l\u1eb7p (repetition structure), \u0111\u01b0\u1ee3c th\u1ec3 hi\u1ec7n qua vi\u1ec7c c\u00e2u m\u1edf \u0111\u1ea7u \u201c\u0111\u00eam v\u1ec1 l\u00f2ng b\u00e3o n\u1ed5i\u201d \u0111\u01b0\u1ee3c t\u00e1i hi\u1ec7n \u1edf kh\u1ed5 cu\u1ed1i. \u0110\u00e2y l\u00e0 th\u1ee7 ph\u00e1p t\u1ea1o v\u00f2ng tr\u00f2n (circular structure), cho th\u1ea5y c\u1ea3m x\u00fac c\u1ee7a nh\u00e2n v\u1eadt tr\u1eef t\u00ecnh kh\u00f4ng c\u00f3 \u0111i\u1ec3m gi\u1ea3i tho\u00e1t, m\u00e0 v\u1eadn h\u00e0nh theo l\u1ed1i h\u1ed3i quy \u2014 m\u1ed9t d\u1ea1ng t\u00e2m l\u00fd th\u01b0\u1eddng g\u1eb7p trong c\u00e1c v\u0103n b\u1ea3n vi\u1ebft v\u1ec1 k\u00fd \u1ee9c \u0111au th\u01b0\u01a1ng.<\/p>\n

2. T\u00ednh ch\u1ea5t ng\u1eef ph\u00e1p \u0111\u1eddi th\u01b0\u1eddng<\/strong><\/p>\n

Thi ph\u00e1p c\u1ee7a Y\u00ean S\u01a1n nghi\u00eang v\u1ec1 ng\u00f4n ng\u1eef t\u1ed1i gi\u1ea3n (minimalism), s\u1eed d\u1ee5ng c\u00e2u ng\u1eafn, \u00edt tu t\u1eeb c\u00f4ng phu, nh\u1eb1m \u0111\u1eb7t tr\u1ecdng t\u00e2m v\u00e0o n\u1ed9i dung t\u00e2m l\u00fd. \u0110i\u1ec1u n\u00e0y t\u1ea1o n\u00ean s\u1ef1 g\u1ea7n g\u0169i v\u1edbi h\u00ecnh th\u1ee9c th\u01a1 \u201cl\u1eddi n\u00f3i\u201d (speech-poetry), xu\u1ea5t hi\u1ec7n trong v\u0103n h\u1ecdc h\u1eadu 1986, n\u01a1i ranh gi\u1edbi gi\u1eefa th\u01a1 v\u00e0 t\u1ef1 s\u1ef1 \u0111\u01b0\u1ee3c l\u00e0m m\u1edd.<\/p>\n

3. Mi\u1ec1n bi\u1ec3u t\u01b0\u1ee3ng tr\u1eef t\u00ecnh<\/strong><\/p>\n

T\u00e1c ph\u1ea9m kh\u00f4ng s\u1eed d\u1ee5ng bi\u1ec3u t\u01b0\u1ee3ng phong ph\u00fa, nh\u01b0ng n\u1ed5i b\u1eadt l\u00e0 c\u00e1c c\u1eb7p \u0111\u1ed1i l\u1eadp bi\u1ec3u tr\u01b0ng:<\/p>\n

\u2022\tt\u00ecnh y\u00eau \u2194 \u1ea3o v\u1ecdng<\/p>\n

\u2022\tn\u1ee5 c\u01b0\u1eddi \u2194 n\u01b0\u1edbc m\u1eaft<\/p>\n

\u2022\tg\u1eb7p nhau \u2194 xa nhau<\/p>\n

\u2022\tsong song \u2194 chia l\u00eca<\/p>\n

Nh\u1eefng nh\u1ecb nguy\u00ean n\u00e0y t\u1ea1o th\u00e0nh n\u1ec1n t\u1ea3ng c\u1ea5u tr\u00fac l\u01b0\u1ee1ng c\u1ef1c (binary structure), m\u1ed9t \u0111\u1eb7c \u0111i\u1ec3m quen thu\u1ed9c trong th\u01a1 suy t\u01b0, gi\u00fap b\u1ed9c l\u1ed9 tr\u1ea1ng th\u00e1i n\u1ed9i t\u00e2m ph\u00e2n m\u1ea3nh.<\/p>\n

C\u1ea3m x\u00fac v\u00e0 t\u00e2m l\u00fd nh\u00e2n v\u1eadt tr\u1eef t\u00ecnh<\/strong><\/p>\n

1. N\u1ed7i bu\u1ed3n h\u1eadu t\u00ecnh y\u00eau<\/p>\n

C\u1ea3m x\u00fac ch\u1ee7 \u0111\u1ea1o c\u1ee7a b\u00e0i th\u01a1 kh\u00f4ng ph\u1ea3i l\u00e0 t\u00ecnh y\u00eau \u0111ang n\u1ea3y n\u1edf, m\u00e0 l\u00e0 t\u00e0n d\u01b0 c\u1ee7a t\u00ecnh y\u00eau \u2014 m\u1ed9t d\u1ea1ng c\u1ea3m x\u00fac \u201ch\u1eadu nghi\u1ec7m\u201d (post-affective). \u0110i\u1ec1u n\u00e0y th\u1ec3 hi\u1ec7n qua hai \u0111\u1eb7c \u0111i\u1ec3m:<\/p>\n

\u2022\tT\u1ea5t c\u1ea3 c\u1ea3m x\u00fac \u0111\u1ec1u \u0111\u01b0\u1ee3c nh\u00ecn t\u1eeb \u0111i\u1ec3m th\u1eddi gian sau khi t\u00ecnh y\u00eau \u0111\u00e3 kh\u00e9p l\u1ea1i.<\/p>\n

\u2022\tM\u1ecdi h\u00ecnh \u1ea3nh li\u00ean quan \u0111\u1ebfn y\u00eau th\u01b0\u01a1ng \u0111\u1ec1u mang t\u00ednh m\u00f2n m\u1ecfi: c\u1eb1n c\u1ed7i, x\u00f3t xa, g\u1eafng g\u01b0\u1ee3ng.
\nNh\u00e2n v\u1eadt tr\u1eef t\u00ecnh s\u1ed1ng trong t\u00ecnh tr\u1ea1ng ho\u00e0i t\u01b0\u1edfng \u0111au \u0111\u1edbn (painful reminiscence), n\u01a1i k\u00fd \u1ee9c kh\u00f4ng v\u01a1i \u0111i theo th\u1eddi gian m\u00e0 c\u00e0ng tr\u1edf n\u00ean n\u1eb7ng n\u1ec1.<\/p>\n

2. M\u00e2u thu\u1eabn n\u1ed9i t\u00e2m: ngh\u0129a \u2013 t\u00ecnh<\/strong><\/p>\n

Kh\u1ed5 cu\u1ed1i th\u1ec3 hi\u1ec7n r\u00f5 m\u00e2u thu\u1eabn gi\u1eefa:<\/p>\n

\u2022\tC\u01b0\u01a1ng th\u01b0\u1eddng: chu\u1ea9n m\u1ef1c x\u00e3 h\u1ed9i, \u0111\u1ea1o l\u00fd, ngh\u0129a v\u1ee5.<\/p>\n

\u2022\tT\u01a1 v\u01b0\u01a1ng: ph\u1ea7n c\u1ea3m x\u00fac ch\u01b0a \u0111o\u1ea1n tuy\u1ec7t, thu\u1ed9c v\u1ec1 kh\u00e1t v\u1ecdng c\u00e1 nh\u00e2n.<\/p>\n

\u0110\u00e2y l\u00e0 xung \u0111\u1ed9t c\u1ed5 \u0111i\u1ec3n c\u1ee7a v\u0103n h\u1ecdc Vi\u1ec7t Nam, xu\u1ea5t hi\u1ec7n t\u1eeb th\u01a1 ca trung \u0111\u1ea1i \u0111\u1ebfn v\u0103n h\u1ecdc hi\u1ec7n \u0111\u1ea1i: nh\u00e2n v\u1eadt kh\u00f4ng th\u1ec3 quay l\u1ea1i qu\u00e1 kh\u1ee9, c\u0169ng kh\u00f4ng th\u1ec3 b\u01b0\u1edbc qua n\u00f3. K\u1ebft qu\u1ea3 l\u00e0 t\u00e2m l\u00fd l\u01b0\u1ee1ng ph\u00e2n (split affect), khi\u1ebfn con ng\u01b0\u1eddi v\u1eeba mu\u1ed1n qu\u00ean v\u1eeba kh\u00f4ng th\u1ec3 qu\u00ean.<\/p>\n

3. V\u1ebft th\u01b0\u01a1ng c\u1ea3m x\u00fac v\u00e0 s\u1ef1 b\u1ea5t l\u1ef1c<\/strong><\/p>\n

T\u00e1c ph\u1ea9m m\u00f4 t\u1ea3 m\u1ed9t d\u1ea1ng t\u1ed5n th\u01b0\u01a1ng t\u00e2m l\u00fd k\u00edn (silent trauma): n\u1ed7i \u0111au kh\u00f4ng b\u1ed9c ph\u00e1t th\u00e0nh ti\u1ebfng g\u00e0o, m\u00e0 \u00e2m \u1ec9 k\u00e9o d\u00e0i. \u0110\u00e2y l\u00e0 m\u1ed9t motif \u0111\u1eb7c tr\u01b0ng c\u1ee7a th\u01a1 Vi\u1ec7t Nam th\u1eddi h\u1eadu chi\u1ebfn v\u00e0 h\u1eadu \u0111\u1ed5i m\u1edbi: con ng\u01b0\u1eddi c\u00e1 nh\u00e2n h\u00f3a n\u1ed7i \u0111au, gi\u1eef n\u00f3 trong l\u1eb7ng l\u1ebd ri\u00eang t\u01b0.<\/p>\n

\u00dd th\u1ee9c hi\u1ec7n sinh: t\u00ecnh y\u00eau nh\u01b0 m\u1ed9t \u1ea3o t\u01b0\u1ee3ng<\/strong><\/p>\n

1. T\u00ecnh y\u00eau b\u1ecb gi\u1ea3i minh t\u00ednh ch\u00e2n th\u1eadt<\/p>\n

T\u00e1c gi\u1ea3 kh\u00f4ng xem t\u00ecnh y\u00eau nh\u01b0 m\u1ed9t gi\u00e1 tr\u1ecb tuy\u1ec7t \u0111\u1ed1i. Ng\u01b0\u1ee3c l\u1ea1i, \u00f4ng \u201cgi\u1ea3i thi\u00eang\u201d (demythologize) v\u00e0 \u0111\u01b0a n\u00f3 v\u1ec1 b\u1ea3n ch\u1ea5t mong manh:
\nt\u00ecnh y\u00eau l\u00e0 huy\u1ec5n m\u1ed9ng
\ny\u00eau th\u01b0\u01a1ng l\u00e0 \u1ea3o v\u1ecdng<\/em><\/p>\n

Quan ni\u1ec7m n\u00e0y mang m\u00e0u s\u1eafc hi\u1ec7n sinh bi quan (pessimistic existentialism), g\u1ea7n v\u1edbi tri\u1ebft h\u1ecdc c\u1ee7a Unamuno hay tinh th\u1ea7n v\u00f4 th\u01b0\u1eddng c\u1ee7a Thi\u1ec1n. T\u00ecnh y\u00eau \u1edf \u0111\u00e2y kh\u00f4ng ph\u1ea3i l\u00e0 c\u1ee9u r\u1ed7i, m\u00e0 l\u00e0 n\u01a1i con ng\u01b0\u1eddi nh\u1eadn ra s\u1ef1 gi\u1edbi h\u1ea1n c\u1ee7a m\u00ecnh.<\/p>\n

2. Th\u1eddi gian v\u00e0 s\u1ef1 b\u1ea5t kh\u1ea3<\/strong><\/p>\n

Ch\u1ee7 th\u1ec3 tr\u1eef t\u00ecnh h\u1ecfi: \u201cn\u1ebfu \u0111\u01b0\u1ee3c qu\u00e0nh tr\u1edf l\u1ea1i \/ kh\u00f4ng bi\u1ebft l\u00e0m sao h\u01a1n\u201d<\/p>\n

\u0110\u00e2y l\u00e0 m\u1ed9t h\u00ecnh th\u1ee9c nh\u1eadn th\u1ee9c mu\u1ed9n (late cognition), n\u01a1i con ng\u01b0\u1eddi \u00fd th\u1ee9c r\u1eb1ng s\u1ef1 tr\u1edf l\u1ea1i l\u00e0 b\u1ea5t kh\u1ea3, v\u00e0 tri th\u1ee9c r\u00fat ra ch\u1ec9 c\u00f3 gi\u00e1 tr\u1ecb trong h\u1ed3i t\u01b0\u1edfng. \u0110i\u1ec1u n\u00e0y \u0111\u01b0a b\u00e0i th\u01a1 g\u1ea7n h\u01a1n v\u1edbi t\u01b0 t\u01b0\u1edfng hi\u1ec7n sinh ch\u00e2u \u00c2u: \u0111\u1eddi s\u1ed1ng lu\u00f4n \u0111\u01b0\u1ee3c hi\u1ec3u r\u00f5 sau khi n\u00f3 \u0111\u00e3 tr\u00f4i qua.<\/p>\n

3. C\u00e1i tr\u1edb tr\u00eau nh\u01b0 b\u1ea3n ch\u1ea5t c\u1ee7a nh\u00e2n sinh<\/strong><\/p>\n

Kh\u1ed5 th\u01a1: \u201cnh\u01b0ng \u0111\u1eddi tr\u1edb tr\u00eau qu\u00e1 g\u1eb7p nhau chi r\u1ed3i xa\u201d cho th\u1ea5y c\u00e1i nh\u00ecn v\u1ec1 \u0111\u1eddi nh\u01b0 m\u1ed9t chu\u1ed7i ng\u1eabu nhi\u00ean phi l\u00fd (absurdity), r\u1ea5t g\u1ea7n v\u1edbi tinh th\u1ea7n c\u1ee7a Camus: con ng\u01b0\u1eddi lu\u00f4n r\u01a1i v\u00e0o ngh\u1ecbch c\u1ea3nh kh\u00f4ng mong mu\u1ed1n, v\u00e0 kh\u00f4ng l\u00fd gi\u1ea3i \u0111\u01b0\u1ee3c v\u00ec sao.<\/p>\n

K\u1ebft lu\u1eadn<\/strong><\/p>\n

\u1ea2o V\u1ecdng T\u00ecnh Y\u00eau l\u00e0 m\u1ed9t v\u0103n b\u1ea3n tr\u1eef t\u00ecnh mang c\u1ea5u tr\u00fac gi\u1ea3n l\u01b0\u1ee3c nh\u01b0ng h\u00e0m ch\u1ee9a chi\u1ec1u s\u00e2u tri\u1ebft h\u1ecdc. B\u00e0i th\u01a1 k\u1ebft h\u1ee3p:<\/p>\n

\u2022\tthi ph\u00e1p t\u1ed1i gi\u1ea3n,<\/p>\n

\u2022\tng\u00f4n ng\u1eef m\u1ed9c m\u1ea1c,<\/p>\n

\u2022\tchi\u1ec1u s\u00e2u n\u1ed9i t\u00e2m,<\/p>\n

\u2022\tv\u00e0 c\u1ea3m th\u1ee9c hi\u1ec7n sinh u u\u1ea9n.<\/p>\n

T\u00e1c ph\u1ea9m cho th\u1ea5y Y\u00ean S\u01a1n kh\u00f4ng t\u00f4 v\u1ebd t\u00ecnh y\u00eau nh\u01b0 m\u1ed9t huy\u1ec1n tho\u1ea1i, m\u00e0 nh\u00ecn n\u00f3 v\u1edbi s\u1ef1 trung th\u1ef1c \u0111\u1ebfn l\u1ea1nh l\u1ebdo: y\u00eau th\u01b0\u01a1ng \u0111\u1eb9p nh\u01b0ng d\u1ec5 v\u1ee1, k\u00fd \u1ee9c ng\u1ecdt nh\u01b0ng l\u00e0m \u0111au, v\u00e0 con ng\u01b0\u1eddi d\u00f9 mu\u1ed1n v\u01b0\u1ee3t kh\u1ecfi nh\u1eefng r\u00e0ng bu\u1ed9c c\u1ee7a \u201cc\u01b0\u01a1ng th\u01b0\u1eddng\u201d v\u1eabn b\u1ecb quy \u0111\u1ecbnh b\u1edfi ch\u00ednh \u01b0\u1edbc v\u1ecdng c\u1ee7a tr\u00e1i tim.<\/p>\n

\u1ede ngh\u0129a \u0111\u00f3, b\u00e0i th\u01a1 l\u00e0 m\u1ed9t \u0111\u00f3ng g\u00f3p \u0111\u00e1ng ch\u00fa \u00fd cho d\u00f2ng th\u01a1 suy t\u01b0 Vi\u1ec7t Nam hi\u1ec7n \u0111\u1ea1i: m\u1ed9t ti\u1ebfng n\u00f3i b\u00ecnh l\u1eb7ng nh\u01b0ng \u00e1m \u1ea3nh, n\u01a1i t\u00ecnh y\u00eau hi\u1ec7n l\u00ean kh\u00f4ng ph\u1ea3i nh\u01b0 gi\u1ea5c m\u1ed9ng h\u1ed3ng, m\u00e0 nh\u01b0 m\u1ed9t \u1ea3o v\u1ecdng \u0111\u1ea7y nh\u00e2n t\u00ednh, l\u00e0m con ng\u01b0\u1eddi v\u1eeba m\u1ec7t m\u1ecfi v\u1eeba kh\u00f4ng th\u1ec3 r\u1eddi xa.<\/p>\n

Tr\u1ea7n Nam Ai<\/strong>
\n<\/br><\/p>\n

Philosophical Reflection on
\n\u201cIllusory Longing of Love\u201d by Y\u00ean S\u01a1n<\/strong>
\n<\/p>\n

In the quiet current of contemporary Vietnamese lyricism, Illusory Longing of Love emerges like a small tremor of the soul\u2014an intimate utterance where a human being stands before the fragile architecture of affection. The poem is brief, austere in vocabulary, yet behind its simplicity there pulses a depth of wondering: Why does love fade so quickly? Why do memories linger longer than the moments that created them? And why, even when we understand impermanence, do our hearts cling to what has slipped beyond reach?<\/p>\n

Y\u00ean S\u01a1n does not attempt to answer these questions. Instead, he allows the poem to live inside them, to circle through emotion as if tracing the dim orbit of an old moon.<\/p>\n

I. Structure as Echo: A Circle That Never Closes<\/strong><\/p>\n

The poem opens\u2014and closes\u2014with the same line: \u201cNight comes, and storms rise in the heart.\u201d<\/p>\n

This repetition does not merely frame the poem; it becomes its philosophical core.<\/p>\n

It suggests that sorrow is not linear but cyclical, returning with the calm inevitability of tides.
\nMemory, rather than healing, loops back on itself, deepening its wound with each turn.<\/p>\n

This circular motion mirrors the human psyche when confronting loss: we wander, we reflect, we ache\u2014 yet we remain where we began.<\/p>\n

II. The Music of Plain Speech<\/strong><\/p>\n

Y\u00ean S\u01a1n writes with a deliberate spareness, a language stripped to its essentials. There are no elaborate metaphors, no ornamental flourishes. This minimalism is its own form of music: soft, steady, conversational\u2014 as though the poem were spoken not aloud, but inwardly.<\/p>\n

In this modest diction lies a quiet honesty: the poem does not hide behind imagery; it lets emotional truth stand unshielded.<\/p>\n

III. Emotional Topography: The Landscape After Love<\/strong><\/p>\n

This is not a poem about love\u2019s arrival. It is a poem about love\u2019s residue\u2014 the fine dust left after passion has burned itself out.<\/p>\n

Every emotion in the poem looks backward. Every image is tinged with fatigue: parched years, aching hearts, forced smiles, suffering endured in silence.<\/p>\n

The speaker dwells in the strange realm where the past is more vivid than the present \u2014 a place where the heart continues to live in what is no longer possible.<\/p>\n

IV. The Inner Rift: Duty and Desire<\/strong><\/p>\n

One of the poem\u2019s most piercing tensions appears in the final stanza: to break free from conventions, and yet remain bound by longing.<\/p>\n

Here lies a quintessential Vietnamese dilemma\u2014 the collision of moral duty with the unruly pulse of the heart. The speaker cannot return, yet cannot move forward. And so he is suspended, not in time, but in emotion: a soul standing on the bridge between what should be done and what cannot be forgotten.<\/p>\n

V. Love as Illusion, Memory as Fate<\/strong><\/p>\n

The poem\u2019s core thesis emerges with disarming clarity: \u201cLove is but a dream. Affection, merely an illusion.\u201d Yet this is not cynicism. It is a recognition shaped by experience \u2014 a philosophical acceptance that love\u2019s beauty is inseparable from its transience. It is reminiscent of Buddhist impermanence, and of the existentialist insight that meaning is always fleeting, always slipping through one\u2019s fingers even as one tries to grasp it.<\/p>\n

When the speaker asks: \u201cIf I could turn back, what would I do differently?\u201d He enters the domain of existential regret\u2014 the knowledge that life can only be understood in hindsight, never in the moment of living.<\/p>\n

VI. The Absurdity of Destiny<\/strong>
\n\u201cLife is strange \u2014 we meet only to part.\u201d <\/p>\n

In these lines, the poem touches the absurd: the irrational, unbidden nature of human encounter. Here love is not a blessing or a curse, but an event that arrives without reason and departs without explanation.<\/p>\n

In its quiet way, the poem approaches Camus\u2019 vision of the absurd\u2014 the understanding that life often denies us the meaning we ask of it.<\/p>\n

VII. Final Contemplation<\/strong><\/p>\n

Illusory Longing of Love is woven with the softness of regret and the clarity of insight. It is a poem of small words and wide silences, where emotional restraint opens into philosophical depth.<\/p>\n

Y\u00ean S\u01a1n refuses to mythologize love. Instead, he reveals its delicate impermanence: how it dazzles, how it wounds, how it remains\u2014 even when it is no longer there.<\/p>\n

In this sense, the poem becomes more than a lament. It becomes a meditation on the human condition: the struggle to accept what the heart desires, the difficulty of release, and the stubborn persistence of longing in a world shaped by change.<\/p>\n

A quiet poem. A gentle ache. And yet\u2014an echo that lingers long after the final line has fallen still.<\/p>\n","protected":false},"excerpt":{"rendered":"

B\u00e0i th\u01a1 “\u1ea2o V\u1ecdng T\u00ecnh Y\u00eau” C\u1ee6A Y\u00caN S\u01a0N Tr\u1ea7n Nam Ai Trong d\u00f2ng ch\u1ea3y c\u1ee7a th\u01a1 tr\u1eef t\u00ecnh Vi\u1ec7t Nam \u0111\u01b0\u01a1ng \u0111\u1ea1i, \u1ea2o V\u1ecdng T\u00ecnh Y\u00eau c\u1ee7a Y\u00ean S\u01a1n l\u00e0 m\u1ed9t v\u0103n b\u1ea3n ti\u00eau bi\u1ec3u cho c\u1ea3m th\u1ee9c hi\u1ec7n sinh bu\u1ed3n, n\u01a1i con ng\u01b0\u1eddi \u0111\u1ed1i di\u1ec7n v\u1edbi gi\u1edbi h\u1ea1n c\u1ea3m x\u00fac v\u00e0 s\u1ef1 b\u1ea5t […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"categories":[20,17],"tags":[],"_links":{"self":[{"href":"https:\/\/thovanyenson.com\/index.php?rest_route=\/wp\/v2\/posts\/18515"}],"collection":[{"href":"https:\/\/thovanyenson.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thovanyenson.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thovanyenson.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thovanyenson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=18515"}],"version-history":[{"count":8,"href":"https:\/\/thovanyenson.com\/index.php?rest_route=\/wp\/v2\/posts\/18515\/revisions"}],"predecessor-version":[{"id":18851,"href":"https:\/\/thovanyenson.com\/index.php?rest_route=\/wp\/v2\/posts\/18515\/revisions\/18851"}],"wp:attachment":[{"href":"https:\/\/thovanyenson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=18515"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thovanyenson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=18515"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thovanyenson.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=18515"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}