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Top-notch Grade 11 Exemplary Essays
List of the Finest Grade 11 Exemplary Essays
1. Analysis of the Peasant Image in The Worship of Farmer-Philosopher in Cần Giuộc.
Nguyễn Đình Chiểu was the first poet in the South to have famous works written in Nôm script. Before the French colonial invasion, his literature primarily focused on noble ideals, moral values, envisioning a society where people treat each other with love, ethics, exemplified by his poetic stories Lục Vân Tiên and Dương Từ - Hà Mậu. During the period after the French colonial invasion, he shifted to writing about patriotism, vigorously supporting the anti-colonial struggle with many outstanding works in terms of content value and ideology. The most notable among them is The Worship of Farmer-Philosopher in Cần Giuộc. In this work, the image of the peasant philosopher shines vividly, magnificently, and heroically through each verse.
Images of farmers and patriots start to emerge with the phrase 'Remembering the ancient spirits'. Nguyen Dinh Chieu reverses the tide of time, reminiscing about the past, recalling the origins of Vietnamese farmers, and patriots who sacrificed during the French colonial period. Farmers, who were accustomed to silently toiling in the fields with their plows and buffaloes, 'Living frugally, constantly worrying about tomorrow, living in poverty and hardship.' Because of this, who knows what 'riding horses', 'training martial arts' entails? No one dares to think about it anymore. Throughout their lives, they only know toiling in the fields, in the villages, never thinking beyond, never contemplating worldly affairs.
For farmers, manual labor is ingrained in their blood and bones. They can do it with their eyes closed. However, they have never seen military work, swords, or spears. Yet, upon hearing news of foreign invaders, farmers only rely on the government's promises for three years, but then they see no sign of assistance. The chaos caused by the colonialists makes farmers deeply resentful, akin to 'farmers hating weeds.'
This deep-seated resentment is expressed strongly and authentically, such as 'wanting to come and eat liver,' 'wanting to bite the enemy's throat.' Even though they have never been involved in political affairs, the spirit of national pride and profound patriotism always exists in the soul of every rural resident. 'No waiting for someone to demand, this time I will exert all my efforts to fight, not bothering to escape, this journey will exert all efforts to combat the enemy,' farmers immediately unite, becoming patriotic heroes, eager to fight the enemy, cleanse the land, all based on self-awareness and love for their homeland, deep-seated resentment towards the colonial forces...(Continued)
>> View detailed analysis of the essay on the noble farmers' patriotic spirit in Can Giuoc to highlight the beauty of the image of patriotic farmers here.
2. Summary of the work Chí Phèo by Nam Cao
Chí Phèo is a kind-hearted and honest peasant, but due to the jealousy of Bá Kiến, he ends up in prison for seven or eight years. The colonial prison turned Chí from a virtuous person into a rogue, indifferent. After his release, Chí goes to beg at Bá Kiến's house, and through his cunning, Bá Kiến persuades Chí to become his henchman. One drunken night, Chí Phèo meets Thị Nở, and this encounter awakens his humanity. Chí longs for goodness, wanting to reconcile with everyone. Thị Nở's resistance leads to her rejection of Chí, and in despair, Chí kills Bá Kiến, the one who turned him into a village demon, and ends his own life.
>> You can refer to more samples of Short Story Summaries of Chí Phèo here.
3. Analysis of the poem Beloved Wife by Trần Tế Xương
Tú Xương is a master satirical poet in Vietnamese literature. In addition to his sharp satirical poems, using laughter as a weapon to mock and criticize the ugly, corrupt aspects of the semi-feudal colonial society, he also has some romantic poems, containing the profound sentiments of a poor Confucian scholar about human relationships and the deep meaning of life.
“Beloved Wife” is the most touching poem among Tú Xương's romantic poems. It is a poem of confession, as well as a poem of current affairs. The poem is filled with the poet's deep love and affection for his virtuous wife.
The first six lines depict Mrs. Tú in the family as a very capable and industrious wife. If Nguyễn Khuyến's wife is a woman “skillful and resourceful, making belts and ties, rolling up sleeves, doing everything for her husband” (Nguyễn Khuyến's couplet), Mrs. Tú is a woman who:
“Year-round trading by the river,
Raising five children with just one husband”
Analysis of the poem Beloved Wife - Selected Sample Essay for Grade 11
“Year-round trading” depicts the harsh reality of livelihood, from one day to another, from one month to another, without a single day of rest. Mrs. Tú “trades by the riverbank”, where the land protrudes, surrounded by water, a precarious livelihood. The phrase “riverbank” evokes a life of many hardships, struggling to make a living, just to “raise five children with one husband”.
The burden of the family weighs heavily on the shoulders of a mother, a wife. Usually, people count vegetables, fish, count money, but who counts children, counts husbands. The poetic lines express the bitterness of a difficult situation: many children, a husband who is “dependent on his wife's income”.
It can be said that the two lines in the title section, Tú Xương vividly portrays the image of his diligent, capable wife.
In reality, it further emphasizes Mrs. Tú's portrait, every morning and evening going back and forth in her arduous work like a “marsh bird” in a “desolate stretch”. The poetic language intensifies, highlighting the wife's hardship. The words are like strokes, adding and enhancing colors; having “plunged” then “marsh bird”, and still “when in desolation”...(Continued)
>> View detailed analysis of the poem Beloved Wife by Tú Xương here.
4. Summary of the work Two Children by Thạch Lam.
Sisters Liên and An are two children entrusted by their mother to take care of a small grocery store next to the railway station in a poor district, to help the struggling family: their father lost his job, so the whole family had to leave Hanoi and move to the countryside. Like many flood victims in the district, Liên and An sell goods while waiting for the night train from Hanoi, bustling through the district and then disappearing, silent in the deep night sky. At that time, traders in the district only packed up after a quiet evening to return home. Meanwhile, the two children gradually sank into a peaceful sleep.
>> See more samples of Summaries of Two Children here.
5. The personality of Tú Xương portrayed through the poem Beloved Wife.
Tú Xương, in many poems, eloquently speaks of his wife. Mrs. Tú, born into a merchant family, married a market vendor. A skilled businesswoman and gentle wife, she is loved and respected by relatives and neighbors alike, enabling Mr. Tú to lead a lavish life: “Money entrusted to my wife’s hands - The horse and carriage never rest.”
“Beloved Wife” is the most touching poem among Tú Xương's romantic poems. It is a poem of confession, as well as a poem of current affairs. The poem is filled with Mr. Tú's deep and enduring love for his virtuous wife.
The first six lines depict Mrs. Tú's image within the family and in life - a true portrayal of a diligent wife, a generous mother, rich in sacrifice.
The two lines in the introduction section introduce Mrs. Tú as a very capable and hardworking wife. If Nguyễn Khuyến's wife is a woman “skillful and resourceful, making belts and ties, rolling up sleeves, doing everything for her husband”, Mrs. Tú is a woman.
“Year-round trading” depicts the harsh reality of livelihood, from one day to another, from one month to another, without a single day of rest. Mrs. Tú “trades by the riverbank”, where the land protrudes, surrounded by water, a precarious livelihood. The phrase “riverbank” evokes a life of many hardships, struggling to make a living, just to “raise five children with one husband”. The family burden weighs heavily on the shoulders of a mother, a wife. Usually, people count vegetables, fish, count money, but who counts children, counts husbands(!). The poetic lines express the bitterness of a difficult situation: many children, a husband who is “dependent on his wife's income”.
It can be said that the first two lines, Tú Xương vividly portrays the image of his diligent, capable wife.
In reality, it further emphasizes Mrs. Tú's portrait, every morning and evening going back and forth in her arduous work like a “marsh bird” in a “desolate stretch”. The poetic language intensifies, highlighting the wife's hardship. The words are like strokes, adding and enhancing colors; having “plunged” then “marsh bird”, and still “when in desolation”. The hardship of making a living at the “riverbank” seems inexhaustible! The image of the “heron”, “the egret” in folk verses: “The heron goes back and forth along the riverbank…”, “the heron welcomes the rain…”, “The egret, the bittern, the duck…” is recreated in Tú Xương's poetry through the image of the “marsh bird” bringing forth myriad touching associations about Mrs. Tú, as well as the arduous fate of Vietnamese women in the old society.
“Eo sèo” from the whimsical stature signifies the clamor of continuous calls, incessant demands; depicting scenes of buying and selling disputes, arguing on the “water's surface” during the “ferry season”. A life of “going back and forth”, a living situation “eo sèo”. A remarkable artistic technique has highlighted scenes of extreme hardship. The rice bowl, the clothing that Mrs. Tú earns to “raise five children with one husband” have to be “plunged” into the rain and sun, have to compete for “eo sèo”, have to pay the price of sweat and tears in difficult times!
“Destiny” is fate, fortune, “debt” is the “debt” of life that Mrs. Tú must accept, endure. “Sunshine”, “rain” symbolize all hardships and sufferings. The numbers in the verse increase gradually: “one… two… five… ten…” highlighting Mrs. Tú's silent sacrifice, a woman enduring hardships for the well-being of her husband, children, and family. “Accepting fate”… “managing duties”… the poetic tone is full of sympathy and compassion.
In conclusion, with gratitude and admiration, Tú Xương has depicted some very authentic and touching traits of Mrs. Tú, his virtuous wife: capable, dignified, compassionate, hardworking, silently sacrificing for the happiness of the family. Tú Xương demonstrates exquisite literary skills in language usage and image creation. The colloquial words, numerical terms, rhetorical devices, inversion, creative use of language and imagery such as “marsh bird”… have created the impression and allure of literature.
In the closing two lines, Tú Xương uses colloquial language, incorporating curses from the “riverbank”, during the “ferry season” into poetry very naturally, simply. He blames himself for “living off his wife” and being “selfish”. The roles of husband, father are of no help, negligible, even “neglectful” of wife and children. How bitter the self-reproach is!
6. Analyzing the sentiment of the sentimental character in the poem Self-Dialogue 2 by Hồ Xuân Hương.
Women have long been a source of inspiration for many writers and poets. When mentioning writers who specialize in portraying women, one cannot overlook Hồ Xuân Hương. Among the treasure trove of works she left for national literature, 'Self-Dialogue' stands out as a quintessential piece. The poem encapsulates a wide range of emotions of the sentimental character or rather the inner feelings of the female poet. Particularly poignant is the sorrowful pain in the face of her bleak fate.
At the beginning of the poem, readers sense the loneliness and sadness of the sentimental character:
'In the late night, the sound of the drum echoes
With a pale face amidst the water and mountains'
Grade 11 sample essay - Analyzing the sentiment of the sentimental character in Self-Dialogue 2
In the quietness of the late night, people begin to contemplate and reflect. The sentimental character here is no exception. As the night falls, the space becomes tranquil, only the sound of 'the drum echoes' can be heard from afar. Time quietly passes by, and the whirlpool of emotions gradually stirs up, making one restless and anxious. 'Rosy cheeks' is often used to refer to women in general and beautiful women in particular. In the poem, it serves as a metaphor for the sentimental character. The juxtaposition of 'rosy cheeks' and the artful inversion of 'pale' at the beginning of the line emphasize the melancholy, loneliness, and desolation of the woman.
Faced with the vastness of life, the woman realizes her insignificance, loneliness, and bleak fate. The echoing sound of the drum in the late night only adds salt to the wound, intensifying the sense of solitude, emptiness in the surroundings, and the melancholic mood in the soul of the female poet...(Continued)
>> Check out the complete essay Analyzing the sentiment of the sentimental character in the poem Self-Dialogue 2 here.
7. Analyzing the real value of the excerpt Into the Court of Lord Trinh by Le Huu Trac.
We often know of Hai Thuong Lan Ong as a physician, but he was also a writer. Although he didn't produce many works, he left behind valuable and meaningful pieces. A notable example is his work Into the Court of Lord Trinh. Through this work, the realism is vividly portrayed.
Firstly, the entry into Lord Trinh's court occurs in the context of the Trinh court during the reign of Lord Trinh Sam summoning Le Huu Trac to examine Prince Trinh Can. Despite his reluctance, he had to obey the lord's orders. The realities here, as seen through his eyes, reveal to us what life is like in the lord's court.
The reality of the lord's court is depicted by the author from the outside in, including the courtly manners. Everything here appears very tangible.
Firstly, the scenery here, upon stepping into the lord's court, is incomparably praised for its luxurious extravagance. There are trees and plants not seen elsewhere, all of them precious. It's remarkable how many there are. Through this, we see a life of abundance and wealth. Not only are there rare plants for decorative purposes, but the court also boasts precious birds. There are flowers of various colors and singing birds. Stepping into the lord's court, the author vividly depicts the opulent realities with rare plants and birds. Only the very wealthy could cultivate such exotic flowers in their homes.
Furthermore, as Lê Hữu Trác delves deeper into the palace, he depicts the lavishness and beauty of the lord. The author perceives but doesn't desire fame or wealth, indicating a dislike for excessive comfort. Perhaps it's this very comfort that led the prince to fall ill. The palace scene continues to display grand halls and opulence. Here, one sees gleaming gold everywhere. The golden hue signifies wealth and opulence, evident in the golden coating on even the smallest items. The king's life here is truly like a paradise that many desire. From the towering pillars in the grand halls, all gilded in gold, to the dining utensils and everyday items, everything is adorned with gold. Even simple dining ware, usually reserved for display, is now for everyday use. Life appears truly abundant and luxurious.
Moreover, the palace etiquette also somewhat reflects the realism of this work. To enter the palace, one must pass through many gateways, announced at each, akin to entering the king's house. Lê Hữu Trác's entrance into the palace, even with a royal mandate, requires passing through several doors. People here treat the lord with reverence. Lord Trịnh Sâm is surrounded by many court ladies awaiting his favor. This lifestyle truly reflects that of kings and lords. However, to live like this, where does the money come from?
Furthermore, when examining Prince Trịnh Cán, despite being just a child in the palace, even the aged physicians must bow before the prince before taking his pulse. The room is quite magnificent, with the prince situated behind precious silk screens to protect his delicate body. Attendants surround him, and in the end, Lê Hữu Trác finds the remedy to cure Trịnh Cán.
Despite the opposition from most physicians in the palace, Lê Hữu Trác still demonstrates his profound wisdom, earning the admiration of his colleagues.
Here, we clearly see the extravagant lifestyle in the lord's palace. Answering the question of where all those lush trees and colorful flowers come from, where does the money come from for such a lavish lifestyle? It can be affirmed that the money comes from the taxes paid by the people. In a divided nation like ours, the Trịnh lords don't worry about the people's livelihoods, governing the country, or winning the people's hearts. Instead, they live a life of luxury and indulgence. Here, we see the reality of our country in those years, where while the people live in hardship, the lords lead lives unmatched by anyone.
Through the excerpt from Lê Hữu Trác's visit to the Trịnh lord's palace, we perceive how deeply this work reflects the social reality of Vietnam in those years. The lives of kings and lords, filled with indulgence and pleasure, neglect their duty to govern and protect the nation.
>> Explore more about the realistic values in 'Entering the Trịnh Lord's Palace' here.
8. Analyzing the character Huấn Cao in Nguyen Tuân's 'The Condemned Person's Letter.'
Nguyễn Tuân stands out as an excellent writer in Vietnamese literature both before and after the Revolution. Before the Revolution, he was famous for works like 'Echoes of a Bygone Era,' 'The Copper Censer with Crab Eyes,' and 'Chua Dan'... After the revolution, he left a profound mark through various works such as 'Our Hanoi Fights the Americans Well' and 'The Da River.' 'The Condemned Person's Letter' is the most outstanding work by Nguyễn Tuân, excerpted from 'Echoes of a Bygone Era.' The prominent figure in 'The Condemned Person's Letter' is the heroic figure Huấn Cao, exuding talent and heroic spirit so intense that each page turn leaves an indelible impression.
As a 'beauty-seeking' writer, Nguyễn Tuân spent his life pursuing beauty, infusing his writings with beautiful imagery. 'Echoes of a Bygone Era' is perhaps where noble beauty converges: the pleasure of tea drinking, calligraphy, composing poetry, and debating poetry... Accompanying these refined pleasures are inherently talented individuals. 'The Condemned Person's Letter' is a remarkable work from 'Echoes of a Bygone Era,' and Huấn Cao is the most vividly portrayed character. He is a hero of turbulent times, embodying qualities of valor, purity, and eloquent talent. Huấn Cao is a real historical prototype of the 19th century, a symbol of martial prowess, the hero of the Mỹ Lương uprising, a distinguished poet, and calligrapher Cao Bá Quát in his prime. Through Nguyễn Tuân's skilled pen, this historical prototype seamlessly enters the pages of literature, shining brilliantly in every word.
During his lifetime, Cao Bá Quát penned two brilliant verses of patriotism:
Ten ancient battlefields offer ancient swords
One's life defends the homeland, bowing gracefully
(For ten years, I've searched for the treasure sword
Only to bow before the blossoming plum branches)
Right from the beginning of the work, Huấn Cao appeared like a radiant light covering the entire sky of Tinh Son province. Through the conversation of the guards and the poetry, we see Huấn Cao's reputation spreading like wildfire. What makes the prison guards awe-struck is not only his beautiful writing but also his skill in picking locks and escaping. However, this isn't the mischief of petty individuals but the image of a heroic figure, a resolute man who refuses to endure the oppression of imprisonment, seeking to break free from the shackles of slavery. Huấn Cao exudes the demeanor of a proud and extraordinary gentleman. While those who follow Confucianism often show blind loyalty, leading to the suffering of the people, Huấn Cao chose a different path: the path of fighting for the innocent people's right to live. Judged by the ruling dynasty as a rebellious prisoner, sentenced to death, labeled as an enemy of the state, but in the hearts of the hardworking people, he is an indomitable hero, a defiant figure who 'stirs up the heavens and ripples the waters,' living outside the confines of convention, shining brightly like the 108 heroes of Mount Liang in ancient China. Despite his unfulfilled ambitions, he remains steadfast and resolute, radiant amidst life's challenges.
Faced with the authority of the prison, that person shines even brighter. The petty tricks and threats of the petty only serve to make him more arrogant. He maintains a calm demeanor, disdainful, coaxing, brushing off, joking. Huấn Cao 'bowed his head, forcefully lowered the iron collar to the ground, and struck it hard,' shattering the solemnity of the prison. It's the attitude of defiance, disregarding the law of a corrupt society.
The selected sample essays for grade 11 help students reinforce their knowledge of the work.
Ancient people used to say “A day in prison is worth a thousand autumns outside.” Instead of feeling sad or despondent, he calmly accepted food and drink as if it were a routine occurrence. It shows that he viewed prison not as a dark dungeon but merely as a resting place to rejuvenate.
To the prison guards, Huấn Cao was: cold, disdainful, addressing them with 'I - you', scornfully saying 'What do you want from me, as long as you don't step foot here again.' His arrogant and defiant responses were because Huấn Cao was inherently proud and resilient; “even if faced with death, I fear nothing anymore...” He paid no heed to the revenge of those he offended. Huấn Cao was very aware of his position in society, placing himself above the societal filth. His character was as pure as crystal, with no blemish. According to him, only “moral integrity”, the inherent goodness of human nature, is truly valuable. Perhaps that's why upon hearing the news of his execution, he remained calm, unafraid, smiling faintly, disregarding death.
In addition to the sky-high courage of a hero, the beauty of Huấn Cao is also the beauty of a talented individual. He had a talent for beautiful handwriting. In the aesthetic taste of the ancients, in Vietnam as well as in China, beautiful handwriting was considered a noble art (Calligraphy). Playing with beautiful characters was a refined pastime. Huấn Cao's talent in calligraphy was therefore an expression of the beauty of a bygone culture. “Huấn Cao's handwriting is very beautiful, very square.” Beautiful to the point where people longed for it, aspired to it “having Huấn Cao's handwriting displayed is like having a treasure in the world.” However, he was also someone who cherished beauty, had self-respect: “I will never force myself to write couplets for the sake of fame, wealth, or power.” The torment of the prison guard was having Huấn Cao under his control, yet unable to obtain Huấn Cao's handwriting. The prison guard and Huấn Cao were two people in two different worlds, opposing each other: the prison guard representing the prison authority, wielding the law; Huấn Cao was the prisoner. Huấn Cao was the creator of beauty; the prison guard cherished beauty but was the one being 'cruelly played by fate, exiled to keep purity among filth'. They were opposites in society but allies in art. The story's essence lies in that, both meeting in this dire situation.
When he understood the heart of the prison guard: Huấn “pondered silently”, “smiled”, surprised “I feel the kindness in your heart... I almost lost a heart in the world.” His words were sincere, moving. This shows that Huấn Cao was a proud and dignified person but also had a sense of nobility. One cannot ignore a “clear voice amidst a cacophony of a musical instrument where laws and music are all chaotic”.
Two unified individuals shine in the darkness for the script “A scene never seen before”. Nguyễn Tuân poured all his writing power into this scene. The writer mobilized his language, passion, and talent to gather in a grand ancient atmosphere of noble art: CALLIGRAPHY.
The writer constructed the scene skillfully and full of artistic implication. The contrasting techniques create an extraordinary scene with magnificent characters. It's the contrast between darkness and light; between the filth of prison society and the bright purity, the resplendent dignity. The contrast between the blazing torch on the wall and the deep dark night; the contrast between the white silk square, fragrant ink, and the walls, ground full of spider webs, rat droppings, lice. “Here the contrast between light and darkness struggles fiercely. Darkness presses like it wants to devour the light fresh. But no, the light here still shines brightly, radiant, not like the dim, sad light of Tý's lamp and the dazzling light like a train then sinking into the void of the night in the short story “Two Children” by Thạch Lam. Yet on a deeper level, that light not only carries the meaning of physical color but also the color of profound human significance: the light of righteousness, of humanity, of bright purity has triumphed over the darkness of tyranny, violence. That victory is inevitable because all goodness, all nobility, righteousness will ultimately prevail. With that light, it has profoundly influenced people, supporting those with virtue, admiring talent, but meekly returning to a virtuous life… That victory is an epic, praising the moral character of noble humans” (Lưu Thế Quyền)
Calligraphy is a place of clean, airy writing halls, with flowers, moonlight, and strong wine. But the usual scenery is absent here. Here, the dirtiness, the mundanity is very evident: “a dark, cramped room, damp, walls full of spider webs, ground littered with rat droppings, lice.” The squalor, the mundanity peaks. But the appearance of silk panels, fragrant ink has dispelled the foul odor. But the stench gradually disappears because “Beauty is the cornerstone of life, beauty has ascended to replace the ugliness, the lowly, beauty uplifts humanity.” So even with “Feet chained, ankles fettered” Huấn still freely indulges his life's desire on each white silk square. It's a dignified, noble attitude, a “sacred tiger” attitude when “confronted with danger” without any cowardice. That attitude, indeed, is “The body is in the labor – The spirit is outside the labor”. The prisoner has dominated this darkness with a majestic, awe-inspiring posture that makes prison wardens fearful, reverent: “the wardens hurriedly stored zinc coins marking the characters placed on the silk panels” and “the poet nervously carried the ink pot.” His writing is like a flying dragon, his purity shining brightly in the prison. Talent and righteousness and dignity have merged into Huấn Cao. Courage and Beauty form a tableau of shining characters.
Strangely, in this scene for the script, the law and authority of the prison have collapsed. Authority and violence have now vanished, subdued by beauty, by righteousness. There are no longer prisoners and guards, poets. There are only people who cherish and appreciate beauty. Evil, wickedness, and death have yielded to beauty, to immortality. “That shows that in the dark prison, the embodiment of evil, of cruelty, it is not evil, ugliness that is ruling but rather Beauty, Courage, Goodness, the noble that is in charge. With this scene for the script, the dark prison has collapsed because there are no longer criminals, no prison guards and poets, only talented artists creating beauty in the eyes of admired, revered geniuses, all soaked in the pure light of beauty, the beauty of righteousness and dignity. Also, with this scene, the prisoner is entering the realm of immortality”.
Huấn Cao's advice to the prison warden once again affirms the beauty, the righteousness of humanity: “Here we're all mixed up, I advise you, Warden, to change your living environment. This place isn't for hanging a piece of silk with neat, fresh characters, it speaks of the unrestrained aspirations of a lifetime”. Huấn Cao's advice affirmed that beauty, righteousness can never and will never coexist with ugliness, evil: “It's difficult to maintain righteousness here and eventually it will corrupt a lifetime of goodness”. A truly kind, sincere advice from Huấn Cao moved the prison warden: “bowing to the prisoner, folding hands, a tear trickling down the corner of the mouth making it choke: – This extraordinary person bows in respect”. The phrase: “This extraordinary person bows in respect” shows that beauty, goodness, talent have absolutely triumphed. The beauty of art has blurred all distances and boundaries bringing people together in the beauty of Truth – Goodness – Beauty.
The success of the Prisoner's Script lies in the unique creation of story situations. Initially two opposites, later united in harmony, shining together brilliantly. The art of storytelling, plot structure, dialogue and monologue, vivid characterization. Nguyễn Tuân used a series of valuable Sino-Vietnamese words (justice, prisoner, execution, lifetime, harmonious quartet, middle way, grief, world, righteousness, goodness, etc...) creating a historical, ancient, magnificent color. Indeed, Nguyễn Tuân is a master of language, very elegant and profound in history, in society. Just as Vũ Ngọc Phan said: “… Nguyễn Tuân's literature is not something for the common people to appreciate”.
9. A New Poetic Spirit through Hoài Thanh's poem 'An Era'.
The new poetic spirit is a prominent theme deeply discussed by Hoài Thanh in the final part of the essay 'An Era in Poetry'.
After delineating the form of poetry, the rhythm of poetry, the softness, pauses, use of words, sentence structure, ... of new poetry, he emphasized that the new poetic spirit is more important and something we should seek. He presented a criterion of 'matching good poems with good poems'; he pointed out the inheritance of objects as 'Today is conceived from yesterday and in the new, some of the old still remains'. Because each era continues along the flow of time, 'to understand the uniqueness of each era, one must look at the general context'.
The new poetic spirit, according to Hoài Thanh, is most evident in the word 'I'. In old poetry it's 'we', but in new poetry it's 'I'. Although there are similarities, there are still differences, which is something we need to understand.
The self is the self-awareness of each individual, something everyone possesses, it's the awareness of oneself. It carries an unprecedented notion: Personal belief. Initially, the word 'I' appeared on the Vietnamese poetic scene 'awkwardly', like a 'stranger in a foreign land'. 'The word 'I' and its absolute meanings' initially appeared on the Vietnamese poetic scene, it came alone, 'many eyes looked at it uncomfortably'. Day by day, 'losing its awkwardness and becoming 'familiar to many', feeling 'pitiful', 'too poor!'.
Phan Khôi's poem 'Old Love', the poem 'On the Road of Life', and 'Empty Guest of Poetry' (later changed to 'Spring Returns') by Lưu Trọng Lư are three new poems introduced in the Phụ nữ tân văn newspaper in 1932. Six years later, in 1938, the collection 'Poetry Poetry' by Xuân Diệu was published. Let's introduce two poetry excerpts as examples to see how the 'form of poetry' is, how the self from being 'awkward' at first becomes 'familiar to many' later?...(To be continued)
>> Check out the sample analysis of the New Poetry Spirit in A Time in Poetry here.
10. Analyzing the poem 'From That' by Tố Hữu.
The Revolutionary Ideal is a guiding light illuminating the path for our nation, leading our country through the darkest night. For the young revolutionary Tố Hữu, that ideal provided him with a new, abundant, and powerful source of life, shining upon his still lonely heart. 'From That' emerged as an inevitable outcome, marking the transition into adulthood for the revolutionary youth, while also echoing the joyful, jubilant cheers as Tố Hữu stood for the first time among the ranks of the Party.
'From That' was composed in 1938, printed in his first poetry collection. The entire collection is a sincere, enthusiastic, and passionate ode of the Communist youth. Divided into three parts: Blood and Fire, Shackles, and Liberation. The poem 'From That' is excerpted from the opening section 'Blood and Fire', expressing Tố Hữu's emotions when he first felt the grand ideal, the pride of standing among the revolutionary ranks, marking the most important milestone in his life.
Here's a compilation of the best and most remarkable sample essays for 11th grade. You can entirely refer to and explore them to adapt to your writing needs. However, these are merely reference materials, and you should not misuse them to achieve better academic results. In the 11th-grade essays, you'll witness different writing styles, vocabularies, ways of expressing ideas, and the arrangement of sentences to suitably convey messages. Through this, students can completely refer to and improve their studies.
The best and most outstanding sample essays for 11th grade students
To excel in the subject of literature, 11th-grade students need not only rely on reference materials but also employ the most effective learning and writing methods. Typically, when writing essays, you need to outline your ideas before composing, present key points, and organize them logically. Moreover, besides referring to excellent 11th-grade sample essays and other reference materials, you can also generate creative ideas to make your essays more vivid and engaging.
Here is a selection of excellent and curated sample essays for 11th grade students, hoping to provide them with valuable resources. For 9th-grade students, Tải Miễn Phí also shares and updates sample essays for 9th grade students. Through these 9th-grade sample essays, students can gain new insights, helping them develop their critical thinking skills.
