Buzz
There are various interpretations of the 12 lines in the 3rd stanza of the poem Viet Bac, the following sample essays will help you envision the analysis of poetry from different perspectives. Moreover, this material will also assist 12th-grade students in better preparing for their important exams.
Compilation of exemplary essays Analyzing the 12 lines in the 3rd stanza of the poem Viet Bac
I. Outline of Analyzing the 12 Lines in the 3rd Stanza of the Poem Viet Bac
1. Introduction:
- Introduction to the 12 lines of poetry in the poem Viet Bac
2. Main Body:
* Analysis of the first 4 lines of the passage
- The word 'mình' resonates intimately, familiarly → expressing deep affection, gratitude
- The questions are both reproachful and anxious, poignant: the rain from the source springs floods; clouds with fog; rice dipped in salt; common enemy
- The rhythm of 2/4; 2/2/4 consistently reflects the earnestness in the hearts of those who stayed behind
* Analysis of the next 6 lines
- The unique use of pronouns 'mình', 'ta', only two but one, depicting the image of the revolutionaries who returned home.
- 'Mountains and forests' is a metaphorical reference to the people in the Viet Bac combat zone.
- The departing revolutionaries leave not only longing in the hearts of those who stay but also a landscape tinted with melancholy, nostalgia: fallen ripe trám fruits; aged bamboo shoots.
- The sentiments of the people of Viet Bac are always 'rich with heartfelt affection'
=> The people of Viet Bac always harbor a profound bond with the revolution, with the distant cadre.
* Analysis of the last 2 lines of the passage
- The 3 'mình' in the two lines represent those who stayed and those who left
- The harmony, mutual understanding between the people and the revolution
- A reminder of living faithfully with the past when recalling revolutionary landmarks: Tan Trao, Hong Thai
3. Conclusion:
- Reaffirming the value of the excerpt and the author's talent.
II. Some Sample Essays Analyzing the 12 Lines in Section 3 of the Poem Viet Bac
Sample Essay 1
When mentioning To Huu, everyone knows he is one of the leading revolutionary romantic poets in Vietnamese literature. To Huu's poetry is the voice of the grand reality, the grand emotions, the grand joys of revolutionary people and revolutionary life. The poem Viet Bac represents the pinnacle of To Huu's poetic career, specifically his resistance poetry against the French colonialists. It can be said that Viet Bac is both a love song and an epic, expressing the deep and loyal affection of the poet towards the revolutionary base throughout the country. This is further depicted vividly in the verses:
I wander, reminiscing the days.
...
Tân Trào, Hồng Thái, village thatch, banyan tree?
Viet Bac is an epic poem, 150 lines long, written by To Huu in October 1954 when the Central Party and government, Uncle Ho, and officials bid farewell to the capital's winds to return to the golden flower and sunlight of Ba Dinh Square. Enveloping the verse is a nostalgic remembrance of the years in the Viet Bac combat zone, a poignant longing, a melancholic sentiment, an affectionate lingering of those who stayed, those who departed, and those who fought.
The beginning of the third verse is a series of sweet questions:
I wander, reminiscing the days.
Rains from the source, floods, clouds along with mist.
Returning, recalling the combat zone.
A grain of rice dipped in salt, burdensome enmity.
In the verses of hardship, a series of phrases 'remembering' appear, evoking the concerned, anxious mood of those staying behind: will the returning officials remember the Viet Bac combat zone? To prompt Viet Bac to ask because the poet wants to evoke the arduous days of resistance. Remembering the Viet Bac nature rains from the source, floods, clouds along with mist, the verse has described the scene of the harsh natural environment in the Viet Bac mountains and forests, although the setting is somewhat bleak but still carries a deeply romantic, dreamy, expansive, and majestic quality. Besides facing the harshness, difficulties of nature, 'I' and 'we' also have to face a life lacking, full of hardships, a grain of rice dipped in salt. The metaphorical image of 'heavy burden of enmity' evokes thoughts of the deep-seated enmity of the people towards those who plunder our country, those who betray our nation to the enemy. At the same time, it is a subtle reminder of those staying behind of a time of great pride, 'I' and 'we' stood side by side, together defeated the common enemy, regained independence and freedom, and brought happiness and warmth to the people. The use of contrast combined with the regular 2/2/2 - 4/4 rhythm makes the verse flow smoothly, balanced, and the poetry even more poignant.
Continuing the emotional flow, still the questions of Viet Bac but hidden within the poetry is the candid expression of those staying behind, expressing their affection for the returning officials:
To Huu used the metaphor of 'forests and mountains remembering someone,' 'forests and mountains' are the imagery of those who stayed, while the pronoun 'someone' refers to the returning officials, emphasizing the deep affection and poignant longing of the people of Viet Bac for the combatants, for the Party and government. The nature and people of Viet Bac remember the returning officials so much that 'bamboo shoots fall off to rot, bamboo sprouts grow old.' Bamboo shoots and bamboo sprouts are everyday foods of the soldiers, of the combat officials; at the same time, they are also specialties of the natural environment of Viet Bac. My return made the mountains and forests of Viet Bac suddenly become empty, sad to an unusual extent, even when bamboo shoots, bamboo sprouts are also left unharvested. Those who stayed behind have sincerely and earnestly expressed their feelings.
Viet Bac people still inquire, but in this verse, the questions are emphasized more, showing more specifically and clearly: Do the returning officials remember the landscapes of Viet Bac, the people of Viet Bac, remember the years of resistance together?
I go, remembering those houses
Whispers sweep the gray moss, deep are the heartfelt affections
I return, recalling the mountains
Remembering the resistance against the Japanese, back in the days of Viet Minh.
The phrase 'remembering those houses' is a metaphorical device - it evokes the feeling of anxiety about whether the officials remember the people of Viet Bac or not. Because the people of Viet Bac remember the officials very much, so much so that whispers sweep the gray moss. The term 'whispers' combined with the characteristic image of the gray moss of Viet Bac's nature makes the desolate, simple, and silent scenery of the mountains and forests stand out even more. But in contrast to that scene is the heartfelt affection, the warm and sincere heart of the people of Viet Bac. In addition, the people of Viet Bac also want to know: Do the returning officials remember the mountains, remember the majestic nature of Viet Bac? Do they remember the time of resistance against the Japanese, back in the days of Viet Minh? The righteous affection of the people of Viet Bac towards the military, towards the revolution; the empathy and sharing of all hardships, joys, and the heavy burden of tasks make Viet Bac - the homeland of the Revolution, the cradle nurturing the Revolution - shine even brighter in the poet's mind in particular and in the readers' hearts in general.
Summing up the verse is the reminiscence of historical landmarks:
I depart, I remember myself
Tan Trao, Hong Thai, communal house, banyan tree.
With just two lines, the author conveys a lot of emotions, containing a lot; especially in the sixth line with three words 'I remember myself' intertwined, sounding sincere and sincere. The first and second 'myself' are used to refer to the returning officials, while the third 'myself' can be understood in many ways. If understood broadly, 'myself' is the pronoun of Viet Bac's second person, then the verse implies: Do the returning officials, returning to Hanoi, remember the people of Viet Bac, remember those who stayed behind? In a narrower sense, 'myself' is the first person pronoun of the returning officials, making the verse understood in a different way: Do the returning officials remember themselves? Do they still remember their own past, remember the years of struggling for noble ideals, for the independence and freedom of the nation? With this second understanding, those who stayed behind raised a topical issue, fearing that people would fall asleep on their victories, forget their glorious past, or even betray their noble ideals. Poet To Huu foresaw the psychological developments of people after the victory, this is a verse of abstract and profound philosophy.
In the last line of the third stanza, those who stayed behind mention two famous landmarks associated with two important events that took place in Viet Bac. The first location: the Tan Trao banyan tree event (12/1944), where the Vietnam team proclaimed the liberation army's departure ceremony, initially with only a few members but later became the Vietnamese army, the key force that achieved today's victory. The second location is at Hong Thai communal house, where Uncle Ho chaired the meeting (8/1945) to decide on the August Revolution; thanks to this wise decision, the anti-French resistance was a resounding success, able to regain independence and freedom for the country. To Huu inserted two historical landmarks into the verse to emphasize the question of those who stayed behind, and at the same time gently remind: Do the returning officials remember that Viet Bac is the cradle of the Revolution, the nurturing source of the Revolution? And do the returning officials remain loyal, attached to Viet Bac as before, or have they changed their hearts and minds?
With just twelve lines in the third stanza of the poem Viet Bac, To Huu has brought us into the world of nostalgia and memories, into a world of revolutionary affection. The best thing about the stanza is that To Huu has cleverly and uniquely used two contrasting phrases 'I depart, I remember myself.' Usually, departing and returning are two opposite directions, but in this poem, both 'I depart' and 'I return' point in the same direction, towards Hanoi. With the structural message structure combined with the rhythmic 2/2/2 - 4/4 evenly, making the poetic melody become smooth, balanced like the swing rhythm of a hammock swaying, very suitable for To Huu's style of political romantic poetry.
The tender and heartfelt poetic tone, rich in national identity, by To Huu has contributed to the success of the poem Viet Bac. Details about light and human sentiment, from the rice dipped in salt, fallen leaves of the bamboo, bamboo shoots, thatched roofs, to the shared burden of enmity, these golden-hearted sentiments will never fade, they will live forever in the poet's heart and in the minds of the people of Viet Bac, of those who return.
Sample 2
Xuan Dieu once confided when reading To Huu's poetry: 'The poetry of young man To Huu at that time, emerging from his heart, was romantic like ours, but it was a different kind of romance, more vibrant; our poetry only knocks to open the door to the sky, but To Huu's poetry has the key: Revolution, national liberation, liberation for the suffering people'. To Huu's life is the life of the nation, To Huu's way of life is the way of life of the people. His verses are the same, the verses of the struggles:
'I depart, do I remember those days
Rain from the source, floods, those clouds and mist?
I return, do I remember the battlefields
A bite of rice dipped in salt, burdened with heavy enmity?
I return, forests and mountains, who do they remember?
Bamboo leaves falling, bamboo shoots aging
I depart, do I remember those homes
Grayish-green falling leaves, profound hearts of gold
I return, still remembering the mountains
Remembering the resistance against the Japanese, back in the Viet Minh days
I go, do I remember myself
Tân Trào, Hồng Thái, village communal house, banyan tree?
In July 1954, the resistance against the French returned victorious to our country. Peace was restored, half of the nation was liberated. In October 1954, Hanoi was liberated, the central Party and government left the Viet Bac battlefields to return to the capital. The national history turned a new page. At this moment, there is a need to look back on the journey just passed, while looking towards the future path to continue. The poem 'Viet Bac' was born to meet this societal need, it is the voice of the people's hearts. 'Viet Bac' is an epic poem full of grace - the love of the homeland, the love of the country, the bonds between people. Therefore, the poem is a historical summary with emotions. Because it is a long journey, from these verses to the following lines, there is development and movement, each carrying its own significance.
The opening verses are the beginning of the epic, depicting the difficult days filled with deep affection and solidarity:
'I go, do I remember those days
Mưa nguồn suối lũ, những mây cùng mù
I return, remembering the battlefield
A piece of rice dipped in salt, the burden of heavy grudges
The stanza is a series of questions reiterated: 'I go, do I remember...', 'I return, do I remember...' like gentle reminders, filled with affection. The use of 'I - we' alongside the familiar call and response structure evokes the familiar call and response in the duets, the love songs of young men and women, between apricot and peach, between plum and bamboo. Borrowing the personal love of a couple to express a greater sentiment: the love of compatriots that transforms dry political verses into deeply sentimental ones. In the subsequent verses, the author creatively employs folk expressions, folk communication styles: 'rain from the source, floods', 'clouds with mist' to recreate the imagery of nature in the mountains and forests. If the nature of the Northwest appears romantic, sentimental in the eyes of Quang Dung: 'The flood waters sway like flowers' then nature for the people at the headwaters truly isn't easy: 'rain from the source, floods' seems capable of defeating and making people disappear at any moment. Later, that image of rain also enters the poetry of Pham Tien Duat, on the path towards ideals: 'Rain pours like heaven outside'. Furthermore, there are 'clouds with mist' - above the clouds, below the mist evoking something desolate, eerie of a remote area and some abyss. The contrasting devices: 'A piece of rice dipped in salt' - 'the burden of heavy grudges' not only speak of the hardships and difficulties that people here have to endure but also affirm the determination to fight, the victory of the people. The more difficult the conditions, the hardships, the more they remind people of the grudge that is no longer invisible but tangible, with weight and felt.
Continuing that emotional thread but with a hint of longing, sentimentality, and even some perplexity:
'I return, the forests and mountains remember whom
Falling leaves of the trám tree, bamboo shoots aging gracefully
I depart, recalling the homesteads
Grayish-green moss sways, rich with heartfelt affection
A series of phrases like 'Falling leaves of the trám tree', 'bamboo shoots aging gracefully', 'grayish-green moss sways' evoke concerns about change, fading sentiments over time, where everything eventually withers and fades away. Yet, it concludes with such freshness, warmth: 'rich with heartfelt affection' shines amidst the surrounding dullness. The closing line firmly emphasizes the bond of affection, loyalty that remains unchanging.
Finally, the message from those staying behind to reminisce about the nation's resistance journey with memorable milestones:
'I return, still remembering the mountains and forests
Recalling the resistance against the Japanese, the days of Viet Minh
I depart, do I remember myself
Tân Trào, Hồng Thái, the communal house, the banyan tree?
In the final question: there are up to three 'I's. The first and second 'I's refer to the departing person. So what about the third 'I'? Still the one leaving? Or is it the one staying behind? It's indistinguishable! Perhaps it's both. Me and us now no longer differentiate. Me is us, us and me blend together, living together, sharing ideals, fighting together to enjoy the joy of victory. Those sentiments will be 'us' accompanying me on every journey, wherever 'I' may go.
The verse evokes the years of resistance, the revolutionary sentiments that are neither dry nor instructive but rather gentle, natural, entering the reader's heart through the familiar hexameter structure, the loving tone of affection with earnest, tender melodies. The simple, familiar imagery has the power to surprise. It was those years, those people who were the support, the motivation behind the resounding victories 'across continents, shaking the globe'. If literature is the 'great mirror moving along the road of life', the 'expressive wind of the era', then Tố Hữu's 'Việt Bắc' is such a work. It fulfilled its responsibility, the duty of literature: to serve the revolution, to cheer on the fight.
Let me borrow the words of poet Chế Lan Viên instead of a conclusion: 'Tố Hữu's poetry is the poetry of someone who knows how to cherish their life, wanting to make their life useful. So while others may waste their lives, doing whatever, living however, when reading this poetry, try to stop and appreciate your life, to build it up.'
Sample 3
In the book 'Writers on Their Work,' discussing the work 'Viet Bac,' Tố Hữu shared: 'The landscape and spirit of Viet Bac have merged into my soul, my flesh and blood, Viet Bac is within me.' Perhaps it is because of this that 'Viet Bac' is considered the 'highest pinnacle of poetry that Tố Hữu has stepped onto.' The third verse in the work holds much valuable content, remarkable artistry, leaving many imprints in the hearts, emotions of the readers.
Tố Hữu is a representative poet of modern Vietnamese poetry. In the introduction to the Poetry collection of Tố Hữu published in 1946, it is written: 'The progression of Tố Hữu's poetry goes hand in hand with the progression of thoughts and levels of enlightenment, of Tố Hữu's activity. Tố Hữu's poetry is not a mockery but a revolutionary instrument, a mobilization work of the revolutionary people. Tố Hữu is a poet, a soldier, but let's not forget its essence is that of a poet'. And in the preface to the anthology 1938 - 1963, there is a passage: 'Tố Hữu's poetry is the poetry of someone who knows how to cherish their life, wanting to make their life useful... His poetry is a path of lifelong endeavor, a comprehensive breath, a complete tetrameter... He is a bird of flight more than a feather, a wing, though still beautiful feathers and wings.' 'Viet Bac,' composed in 1954, is a typical poem on Tố Hữu's poetic journey. The third verse in the poem, with many thoughts, feelings that poet Tố Hữu poured into it, truly moved many souls, readers' hearts, making them love the work more and appreciate the poetic soul of Tố Hữu.
Continuing the first eight lines discussing the sentiment of nostalgia, fondness during the farewell between the departing and the staying, the next lines in the third stanza with the meaning of messages in the form of a series of rhetorical questions:
'I depart, do I remember the days
Rain from the source, floods, the clouds with mist?
Returning, memories of the battlefield linger
A grain of rice dipped in salt, burdensome grudges?
Back to the woods and mountains, reminiscing of whom
Leaves fall, bamboo matures
Leaving, remembering the homes
Whispers of grey reed, deep-rooted redness
Returning, still recalling the mountains and forests
Remembering the resistance against the Japanese, in the days of the Viet Minh
I depart, yet I remember myself
Tan Trao, Hong Thai, village communal house, ancient banyan tree?
Here, Tố Hữu's poetry reminds us of Quang Dũng's verse in 'Tràng Giang': 'Floating river currents, flowers bobbing and swaying'. While Tố Hữu depicts reality to portray the fierce nature and hardships of people, Quang Dũng opts for romanticism to express beauty. Despite the different approaches, both poets successfully depict and evoke the hardships of revolutionaries during the resistance.
The sentimental character reminisces about the nature, recalling the landscapes of the Viet Bac mountains and forests during the arduous resistance with 'source rains,' 'stream floods,' 'misty clouds,' 'falling leaves,' and 'maturing bamboo.' Additionally, in the sentimental character's mind, there is a recollection of deep affection amidst hardships, remembering the time of activism.
The deep-seated feelings of longing, the profound appreciation for the revolutionary cadre, or even the poet Tố Hữu's affection for the beloved people of Viet Bac, with whom he once shared a bond and endured hardships, have been delicately and subtly expressed by the poet in every line, every image of the third stanza of the work 'Viet Bac'.
Sample 4
Tố Hữu is the most representative poet of the 20th-century Vietnamese revolutionary poetry. Not only in terms of quantity but also in terms of quality, Tố Hữu has outstanding poems that closely and timely reflect the significant historical events of the country. The poem Viet Bac is an excellent work that fulfills that mission. The sentiments of longing and attachment of the departing and the staying ones are conveyed through earnest instructions in the third stanza of the poem.
If stanzas 1 and 2 are the words of the departing, then stanza 3 is the earnest instruction of the staying. The people of Viet Bac remain steadfastly loyal to the revolution, earnestly sending words of assurance:
'Leaving, remembering the days
Source rains, stream floods, misty clouds
Returning home, memories of the war zone linger
A bite of rice dipped in salt, the burden of heavy grudges?
Back home, the mountains and forests remind of someone
Leaves fall, bamboo sprouts age gracefully.
Going away, remembering the homes
Eyes teary, gray wisps, heart filled with determination.
In this stanza, those who stayed behind recall memories of nature, humanity, and the resistance struggle in the mountains of Viet Bac. The repetition of the phrases 'I go, I return' and the refrain 'remember' creates a poetic resonance, deeply engraving unforgettable memories. A series of rhetorical questions in the stanza express the earnest feelings of the people of Viet Bac towards the cadres:
'Leaving, remembering those days
Torrential rains, swollen streams, clouds and mist.'
Those who remained reminisce about the days of resistance in Viet Bac, days filled with hardships and struggles. The imagery of 'torrential rains, swollen streams, clouds and mist' depicts the harsh nature characteristic of Viet Bac, as well as the challenging period of the resistance facing numerous difficulties. These were the trials experienced by both those who stayed and those who left, deeply felt on the land of Viet Bac throughout the resistance era.
The line 'a bite of rice dipped in salt, the burden of heavy grudges' breaks the rhythm 4/4 with two contrasting clauses, creating a harmonious structure. The poetic idea portrays the extremely arduous and deprived life during the resistance. However, amidst such poverty and hardship, the people of Viet Bac remained steadfastly loyal, always standing shoulder to shoulder with the revolutionary cadres in fierce combat, fueled by profound hatred towards the invading enemy.
The poetic imagery serves as a symbol of unity, solidarity, and the spirit of shared suffering between the resistance masses and the revolutionary cadres. The phrase 'the burden of heavy grudges' demonstrates Tố Hữu's unique use of language. The author has transformed the abstract emotion of hatred into something tangible, measurable by its weight, to express a deep-seated animosity towards the invading foe.
In a sentiment of lingering farewell, those who remain continue to evoke memories of a bygone era, once bonded, sharing both sweetness and bitterness:
'Leaving, remembering those homes
Eyes tearful, wiping gray, a heart rich in affection.'
The verse describes the sincere, simple affection of the people of Viet Bac towards the revolution through two contrasting clauses, tearful eyes wiping gray and 'a heart rich in affection'. The harder and more difficult life becomes, the more loyal the people of Viet Bac are. Because the depth of their affection is so profound, when the revolutionary cadres depart, it seems as though the entire mountains of Viet Bac become desolate, lonely. The mountains and forests also feel a lingering, unquenchable longing:
'Returning to the mountains, reminiscing about someone
Falling leaves of bamboo, aging bamboo shoots.'
Bamboo shoots and bamboo are the everyday dishes of soldiers in the combat zone. They are also the specialties of the Viet Bac mountains and forests. The metaphor in the verse 'returning to the mountains, reminiscing about someone' evokes many touching emotions. Once the cadres return, no one picks bamboo shoots to let them fall throughout the forest, and no one eats bamboo shoots to let them age throughout the mountains. The indefinite pronoun 'someone' in 'reminiscing about someone' intensifies the longing of the people of Viet Bac.
Those who remain continue to evoke memories of the resistance war. It recalls the Viet Bac combat zones associated with significant events in the history of the Vietnamese revolution.
'Returning, still remembering the mountains and forests
Remembering the resistance against the Japanese when still Viet Minh
Leaving, remembering oneself
Tân Trao, Hong Thai, communal house, banyan tree'
Viet Bac not only played a crucial role in the resistance against the French but also in the general revolutionary uprising in August before that. Viet Bac was where significant political events took place when the revolutionary forces were still young but had a decisive nature in determining all victories for the nationwide revolution. Place names like 'Tan Trao,' 'Hong Thai,' 'communal house,' and 'banyan tree' have become historical witnesses to the arduous yet glorious period of the Vietnamese revolution.
In the verse 'I go, I remember myself,' there are three instances of 'myself' blended into six words in the verse. The first and second 'myself' are used to refer to the cadres returning, while the third 'myself' is an ambiguous word.
If understood as 'myself' referring to the people of Viet Bac - the second-person pronoun - then the verse implies: as cadres return to Hanoi, do they still remember the people of Viet Bac, do they still remember those who stayed?
If understood as 'myself' referring to the cadre of resistance - the first-person pronoun - then the verse has a different meaning: as cadres return, do they remember themselves? Do they remember their past, remember the years of fighting hardship for noble ideals and the independence and freedom of the nation? With this second understanding, those who stayed have raised a contemporary issue: do not fall asleep on victory; do not forget the glorious past of the nation during a period of arduous and glorious resistance.
The word 'myself' here can also be understood to encompass both the people of Viet Bac and the cadre of resistance. The verse reminds those leaving not to forget the deep-seated affections, the bonds formed in the past. Each memory recalled carries a profound historical significance, with the core idea being: Viet Bac is the root, the homeland of the revolution; Viet Bac is where the revolutionary forces were born and the starting point for every victory. The verse expresses the author's gratitude and loyalty to the revolution.
In this short passage of 12 six-eight couplets, the poet uses up to eight instances of 'myself,' seven instances of 'remember,' and two pairs of 'I go, I remember' repeated many times like a refrain. The passage employs simple, straightforward language, balanced and harmonious poetic ideas. Coupled with a melodious, sweet poetic tone, akin to folk songs, it candidly expresses the deep-seated feelings of those who stayed and those who left. The passage demonstrates that 'Viet Bac' is indeed a love song about the revolution, about life, and the people of the resistance.
Sample 5
The poem Viet Bac stands as the pinnacle of Tố Hữu's poetic career, specifically in the realm of resistance poetry against the French colonialists. Viet Bac can be considered both a love ballad and an epic, demonstrating the deep-seated affection and loyalty of the poet towards the revolutionary base of the entire nation. This is further vividly depicted in the verses:
I depart, remembering the days
Tan Trao, Hong Thai, communal house, banyan tree?
Viet Bac is an epic work spanning 150 lines, penned by Tố Hữu in October 1954 when the Party Central Committee, the government, Uncle Ho, and the cadres bid farewell to the Capital's thousand winds to return to the Capital of golden flowers and sunlight, Ba Dinh. Encompassed within the verses is a nostalgic reminiscence of the years spent in the Viet Bac combat zones, a poignant longing and sentimentality shared between those who remained and those who departed - the dwellers of the homeland and the warriors.
The beginning of the verse is marked by a series of very tender questions:
I depart, remembering the days
Source of rain, stream floods, clouds and fog
Returning, remembering the combat zone
A piece of rice with salt, burden of heavy enmity
In this stanza, a series of phrases 'remembering' appears, evoking the feelings of those who stayed - a caring, anxious mood: will the returning cadre still remember the Viet Bac combat zone? This question is posed by the poet to evoke memories of the harsh days of resistance. Remembering the nature of Viet Bac 'source of rain, stream floods, clouds and fog', the verse vividly describes the pristine scenery, harsh weather of the Viet Bac mountains. Despite the somewhat bleak scenery, it still carries a deeply romantic, dreamy, and majestic essence. Besides facing the harshness and difficulties of nature, 'I' and 'we' also have to confront a life of deprivation, full of hardship, a piece of rice with salt. The metaphorical image 'burden of heavy enmity' brings to mind the deep-seated 'enmity' of the people towards the invaders, those who are selling our country to the enemy. At the same time, it is a discreet reminder from those who stayed of a proud time when 'I' and 'we' stood side by side, together defeating the common enemy, regaining independence and freedom, and bringing happiness and prosperity to the people. The juxtaposition of contrasts combined with the consistent 2/2/2 - 4/4 rhythm make the verse smooth, balanced, and heartfelt.
Continuing the emotional thread, still the questions of Viet Bac but hidden within the poetic rhyme are the candid confessions of those who stayed, expressing their fondness for the returning cadre:
Returning, the forests and mountains reminisce about whom
Leaves fall forlornly, bamboo shoots await aging
Tố Hữu employed the metaphor 'forests and mountains reminisce about whom', where 'forests and mountains' represent those who stayed, while the pronoun 'whom' refers to the cadre returning, emphasizing the deep affection and poignant longing of the people of Viet Bac for the fighters, the Party, and the government. The nature and people of Viet Bac remember the returning cadre so much that 'leaves fall forlornly, bamboo shoots await aging'; 'bamboo shoots' and 'leaves' are everyday food for the soldiers, for the cadre of the resistance; at the same time, they are also the specialties of the nature of Viet Bac. Returning makes the forests and mountains of Viet Bac suddenly become desolate, unusually melancholy, even when bamboo shoots, leaves are left unpicked. Those who stayed have expressed their sincere and earnest feelings.
The people of Viet Bac continue to ask, but in this stanza, the question is emphasized more, expressed specifically and clearly: 'Do the returning cadres remember the landscapes of Viet Bac, the people of Viet Bac, remember the years of fighting together?'
Departing, remembering the houses
Wiping the grayish moss, the heartfelt redness
Returning, recalling the mountains and hills
Recalling the resistance against the Japanese, back when Viet Minh still stood.
The phrase 'remembering the homes' - a metaphor - evokes the feeling of anxiety, wondering if: Do the cadres remember the people of Viet Bac? Because the people of Viet Bac remember the cadres dearly, so much so that they 'wipe the grayish moss'. The term 'wipe' combined with the characteristic imagery of the nature of Viet Bac 'grayish moss' highlights the desolate, simple, silent scene in the mountains and forests. But contrasting with that scene is the 'heartfelt redness', the warm and sincere hearts of the people of Viet Bac. Furthermore, the people of Viet Bac also want to know: Do the returning cadres remember the majestic mountains and nature of Viet Bac? Do they remember the time when we fought against the Japanese, back when Viet Minh still stood? The righteous affection of the people of Viet Bac towards the army, towards the Revolution; the empathy and sharing of all hardships, joys, and the burden of heavy tasks, difficulties make Viet Bac - the homeland of the revolution, the source nurturing the revolution - shine even brighter in the mind of the poet and in the hearts of readers in general.
https://Mytour.vn/phan-tich-12-cau-trong-doan-3-bai-tho-viet-bac-29119n.aspx
Poems composed during the revolution always possess unique beauty and enduring appeal, among them are those that speak of Uncle Ho's soldiers, each with its distinct impression, not blending into one another, such as both the Poem about Comrades and the Poem about the No-Glass Vehicle Squad, you can refer to the sample essays to appreciate and compare the image of the soldiers in these two poems.
