Analysis of the poem 'Hastily' by Xuân Diệu

Topic: Analysis of 'Hastily' by Xuân Diệu

Sample essay analyzing the poem 'Hastily' by Xuân Diệu

I. Outline of the analysis of the poem 'Hastily' by Xuân Diệu (Standard)

1. Introduction:

- Introduction of the author and the work.

2. Main Body:

a. Expressive and Novel Inner Self:
- Desires to 'turn off the sun', 'restrain the wind' to preserve the simple beauty unfolding in life.
- Bold and powerful self, aiming to alter the laws of nature to retain the beauty of the world.
=> Portrays Xuân Diệu's passionate love for life, for the spring nature, with a deep undercurrent of regret and fear that he might not keep pace with the footsteps of creation...(Continued)

>> View the complete Outline for analyzing Xuân Diệu's poem 'Hastily' here.
 

II. Sample essay analyzing Xuân Diệu's poem 'Hastily'

1. Analysis of Xuân Diệu's poem 'Hastily,' sample 1 (Standard)

In the Modernist poetry movement, alongside the mysterious and poignant work of Hàn Mặc Tử, the genuine rusticity of Nguyễn Bính, and the profound melancholy of Huy Cận, Xuân Diệu emerged as a unique phenomenon, full of novelty and allure. He brought a breath of fresh, youthful, life-loving air to the poetry scene, passionate and enraptured, like a romantic soul hastily filling the voids and absences within, a 'greedy' individual eager to savor the normal colors and flavors amidst life's journey. Reading Xuân Diệu's poetry, those who dislike criticize vehemently, while those who appreciate praise endlessly. Those enchanted by his work are predominantly the young, brimming with vitality. 'Hastily' stands out as one of Xuân Diệu's exceptional and outstanding quartets, showcasing his writing style as well as profound life philosophies and existential insights. 

“I want to turn off the sun
So the colors don't fade
I want to restrain the wind
So the fragrance doesn't drift away”

In the first four lines, Xuân Diệu vividly expresses his personal self with remarkable uniqueness through strange and somewhat whimsical desires to 'turn off the sun' and 'restrain the wind,' seemingly distant and impossible events. Behind these bold thoughts lies an intense love for life; because of love, the poet mourns all the simple beauty unfolding in this life. For Xuân Diệu, the bright sunshine of summer and the muted hues of autumn are equally beautiful and valuable. He wishes that the warm sunshine will persist indefinitely for contemplation and enjoyment. 

The poet desires to 'restrain the wind' because, in the spring, myriads of flowers are in full bloom, their fragrances overwhelming. To tether the wind ensures that the scent of flowers, leaves, and grass remains vibrant, not fading or dissipating into the void. Xuân Diệu's self is expressed uniquely, both innocent and desiring possession like a child, yet also bold and powerful, seeking to alter the very laws of nature. All these aspects reveal Xuân Diệu's fervent love for life, for the springtime nature, coupled with a profound sense of regret and fear that he might not keep pace with the footsteps of creation, unable to fully embrace and enjoy all the simple beauties in this still abundant life.

“This bee's honey here weekly
Here is the flower of the inner field still green
Here are the leaves of the cotton branch fluttering
This is the song of love of these swallows
And here is the lightning of the eyelashes
Every morning, the Joyful God knocks on the door
January is sweet as a pair of lips nearby”

From the fresh perception that true beauty arises from simple, everyday things rather than some distant fairyland, Xuân Diệu paints a vivid and captivating picture of spring nature. He lays bare his intense, enchanting emotions towards spring, love, and youth. Xuân Diệu, acclaimed as the king of love poetry, maintains tenderness and romance in every line, even in the vibrant and passionate 'Hastily.' During moments of fervor and intoxication while contemplating the scenery of spring, the artist's eyes are brimming with love and happiness. This is evident in every verse where almost every scene in the natural landscape is coupled, romantic, and affectionate. Bees and butterflies sweetly indulge in honey; the flowers in the inner field harmoniously blend, and the leaves with the cotton branches sway gracefully. The love song of a pair of swallows adds an extra layer of richness to the spring scene. 

Especially in the line 'And here is the lightning of the eyelashes,' the spring picture becomes more romantic, pure, and warmly human. The image of eyelashes illuminated by the morning sun is beautiful and romantic. Xuân Diệu cleverly integrates human presence with nature, expressing a gentle, loving relationship with nature. It could be a young maiden strolling in the garden, bathed in a faint sunlight, her whole being covered in a soft glow, with her eyelashes curling gracefully. It could also be the figure of an artist, busy savoring spring, in a dreamy state, with half-closed eyes as the sunlight sparkles on the eyelashes. In conclusion, regardless of interpretation, Xuân Diệu has succeeded in presenting readers with a harmonious, vibrant picture of nature, full of life, both the vitality of nature and the vitality of humanity. It further reveals the poet's deep love for spring and nature. 

In the final line, Xuân Diệu's profound philosophy on human life is subtly revealed, stating, “Every morning, the Joyful God knocks on the door.” For the author, waking up each day is a great joy, akin to a god or saint standing at the doorstep. Xuân Diệu only wishes for each day to be happy, to enjoy a simple and peaceful life, surrounded by the vibrant colors of spring. This, for him, is an immense happiness, not seeking tranquility or joy in some distant, heavenly realm, far from the human world. This reflects a practical, simple philosophy of life, appreciating the present, without aspiring for lofty, unattainable ideals. Xuân Diệu values the moments of youth and life on Earth.

The best analyses of Xuân Diệu's poem 'Hastily'

The line 'January is sweet as a pair of lips nearby' conveys a powerful and intriguing emotional shift. Traditionally, people appreciate the beauty of nature through hearing, touch, and sight. However, Xuân Diệu, in his profound love for the beauty of spring, perceives it even through taste. Due to his overwhelming fondness and desire for the beauty of spring, he not only finds it sweet but also wishes to 'kiss' the spring. In the midst of ecstatic happiness, his mood suddenly shifts:

 “I am joyful but hastily halfway
I do not wait for summer sun, still longing for spring”

 Xuân Diệu is lost in the dreamy painting of nature in the vibrant spring, yet amidst that joy, the poet suddenly stops, hastily lamenting the passing of spring right in the midst of spring. Indeed, it is an incredibly strange and difficult-to-understand way of thinking. However, this peculiar sense of regret and nostalgia reveals the poet's deep, earnest longing and appreciation for spring and youth. It also serves as a doorway to convey new philosophies of life that the author wishes to impart.

“Spring is arriving, meaning spring is passing by,
Spring is still young, meaning spring will age,
But when spring ends, it means I will also be lost.
My heart is vast, but the heavenly quota is cramped,
Does not allow the lengthy youth of humankind,
Why speak of the perpetual return of spring,
If it does not mean meeting again.
Both heaven and earth, but I won't last forever,
So I am melancholy, lamenting all of heaven and earth;”

Xuân Diệu understands and grasps the unchangeable laws of nature: “Spring is arriving, meaning spring is passing by/Spring is still young, meaning spring will age.” Time silently slips away, passing from this year to the next, flowing without stopping for anyone. Along with the steps of nature, the youth of humans also fades, withering gradually through the years. No one can resist the march of time, nor can anyone live forever with the years. Youth passes, old age arrives, and no one can escape the cycle of birth, aging, sickness, and death. The author contemplates the coming and going of spring, a perpetual, repeating cycle. However, he has only one life, one youth. This realization leads Xuân Diệu to feelings of regret and resentment: “My heart is vast, but the heavenly quota is cramped/Does not allow the lengthy youth of humankind.” The author loves life, yearns for spring and youth to the extent of harboring resentment and blame, even wishing for the heavens to grant him more vibrant youth. Consequently, Xuân Diệu becomes increasingly melancholic and somber in the verses filled with profound regrets:

 “Why speak of the perpetual return of spring
If it does not mean meeting again
Both heaven and earth, but I won't last forever
So I am melancholy, lamenting all of heaven and earth,”

The author is aware of life's brevity, and therefore, the cyclical nature of creation holds no significance for him when life is singular and cannot be repeated. Simultaneously, it expresses individuality, a bold sense of self, daring to stand shoulder to shoulder with the universe, emphasizing self-identity. Recognizing that although there is heaven and earth, one's own existence is not eternal, conveying a loss equivalent to heaven and earth. Therefore, Xuân Diệu cannot help but lament for all of heaven and earth, regretting everything happening in life. His expansive and greedy heart is adorable and profound, revealing the harsh cycles of nature and motivating us to appreciate the value of youth, providing motivation for a more meaningful life, avoiding leaving too many regrets in life. Xuân Diệu himself is a resilient individual, finding solutions for himself when early on he realized the relentless laws of time, diving into living, enjoying doubly or triply, like a hungry person standing before a forest of delicious fruits.

“Hurry up! The season has not tilted towards the evening,
I want to embrace
The new life that has just begun sprouting;
I want to follow the clouds and the wandering wind,
I want to be intoxicated with butterflies and love,
I want to weave in a multitude of kisses
And the mountains, and rivers, and blossoming grass,
For the overwhelming fragrance, for the fullness of light
For the delicate beauty of the fresh season;
- Oh pink spring, I want to bite into you!”

The line 'Hurry up! The season has not tilted towards the evening' is a self-encouraging, motivating statement for oneself, as well as for many generations of young people who must quickly step forward, racing against time to enjoy life, relishing the beauty and joy right here on this earthly plane, not in some distant place. The longing, enthusiastic heart of the artist, as 'wanting to embrace the new life that has just begun sprouting', devoting everything that is fresh and youthful in the universe, wanting to soar with 'the clouds, the wandering wind', desiring to be fully intoxicated with the love and sweetness of youth. All these wonderful things that Xuân Diệu wants to merge, to 'weave' into an 'intoxicated kiss', dreamy and profound.

The artist's heart only wants to enjoy more, even if all the beauties of the youthful time are not enough; he wants to live two or three times in one lifetime. Hence, the speed, the haste, the things he wants to enjoy, to embrace fully, are several times faster. If someone were to criticize, saying: Xuân Diệu, why so eager to live, to thoroughly enjoy this inherently simple life, he might not realize that for him, the greenery, the light of this world, is the most precious and beautiful thing. Only in this way does Xuân Diệu seem to want to enjoy endlessly, without stopping, but he is also insightful, knowing what happiness is, knowing when to be content and where to seek the beauty of life in the earthly world, rather than in some mythical, ethereal place as many ancient literati and philosophers imagined.

2. Analysis of Hastiness by poet Xuân Diệu, standard model 2

In the Modern Poetry movement, Xuân Diệu wasn't the first pioneering poet, but upon emerging in the poetry scene with uniquely styled masterpieces, he was hailed as the 'most modern poet.' The work 'Hastiness,' featured in the collection 'Poetry of Poetry' (1938), successfully embodies Xuân Diệu's passionate and fervent outlook on life, coupled with a positive, modern perspective. It seamlessly integrates emotion, philosophy, and unique artistic creations.

Right from the beginning of the piece, the author expresses the desire to capture the beauty and essence of life:

'I want to extinguish the sun
So the colors don't fade away;
I want to restrain the wind
So the fragrance doesn't drift away.'

In the initial five verses, through the rhetorical device of anaphora with the phrase 'I want' combined with sentence structure in the first and third lines, the author emphasizes the subject of actions and strong desires, highlighting the personal ego. The sentimental subject vividly expresses aspirations towards an object through unique images like 'extinguish the sun' and 'restrain the wind,' revealing the poet's bold desire for vibrant colors and lingering fragrances. The use of 'for' and 'don't' in the second and fourth lines, along with sentence structure, illustrates the poet's beautiful purpose—to cherish and preserve the beauty and fragrance of life. Thus, in these first four verses, we witness the romantic aspirations of a poet with a soul deeply in love with life, fervently desiring it.

In the subsequent stanza, the author paints a picture of real-life as beautiful as heaven on earth:

'This bee's treasure, a weekly elixir;
Here, the flowers in the inner field are lush;
Here, the leaves on the silky branches flutter;
This is the melody of love from this swift swallow.
And here, the twinkling light caresses the eyelashes;
Every morning, joyous spirit knocks on the door;
January is delicious like a pair of lips nearby;
I am joyful. But hastily, halfway:
I don't wait for the summer sun to linger.'

The refrain 'Here' recurs throughout different lines, infusing a lively, exuberant atmosphere into the stanza. This refrain, intertwined with a rich tapestry of words and vivid imagery through enumeration about the beauty of nature—'flowers in the inner field,' 'leaves on the silky branches,' 'swift swallow's love melody,' 'twinkling light caresses,' and 'joyous spirit knocking on the door in the morning'—captures the author's perception of life through the lens of youth, vibrant, and colorful.

The finest analyses of Xuân Diệu's hasty poem

Every aspect of nature in Xuân Diệu's poetry is brimming with vitality. Through the art of metaphorical transformation of feelings, the author demonstrates a subtle appreciation for the sweetness of time, described as a 'weekly elixir.' Each new day for Xuân Diệu is when the 'Joyful Spirit knocks on the door'—a deity bringing peace, expressing joy, and valuing life. Through personification, the author paints a vivid picture of all things bursting with vitality. Particularly, through unique perception, the author creatively presents the image: 'January is delicious like a pair of lips nearby.' Using a simile, spring emerges with a fresh, sensual, and enticing beauty. The allure of spring, invisible and abstract, is tangibly brought to life by Xuân Diệu through the very real and specific sensations: 'delicious' and the simile 'a pair of lips nearby.' The art of sensory transformation reflects the poet's perception of life through all senses, showcasing the intense love and connection the poet has with life. The verse also conveys Xuân Diệu's fresh aesthetic perspective.

In medieval literature, nature is considered the highest standard of beauty—'Clouds, wind, moon, flowers, snow, mountains, rivers.' Therefore, humans are always depicted and compared to the beauty of nature. For Xuân Diệu, humans are the standard of beauty: 'January is delicious like a pair of lips nearby.' Thus, through the picturesque depiction of real-life nature on Earth, the panorama of all things appears with complete beauty, brimming with vitality, demonstrating tenderness, harmony, and entanglement. The portrayal of nature reflects a perspective through the eyes 'green and young,' viewing life in the mundane as a paradise, reflecting the poet's enraptured view and love for life. Lost in the enchanting scene of beautiful life, the poet suddenly laments:

'I am joyful. But hastily, halfway:
I don't wait for the summer sun to linger.'

The punctuation mark in the middle of the line has divided the verse into two short lines, acting as a hinge, revealing two contrasting emotions. The poet is both joyous at the enchanting scenery of nature and hasty in response to the flow of time. Thus, the poet chooses a lifestyle racing against time: regretting spring even before summer arrives. People often regret what has been lost, what has passed; however, Xuân Diệu regrets even the present, expressing a precious attitude towards each passing moment in reality.

The beauty in the earthly realm springs from a fervent love for life but simultaneously awakens in the poet's heart regrets and anxieties. The poet recognizes that time can fade everything, both life and beauty:

'Spring is coming, meaning spring is passing,
Spring is still young, meaning spring will age,
And when spring ends, it means I will be lost.
My heart is vast, but heaven's measure is narrow,
Not allowing the long youth of mankind,
It's said that spring still cycles,
But if it comes again, it's not to meet again.
The heavens and earth remain, but I won't last forever,
So in melancholy, I regret the entire universe.'

In this verse, the author effectively employs the contrasting literary device: 'spring is coming - spring is passing,' 'spring is still young - spring will age,' 'my heart is vast - heaven's measure is narrow,' 'heavens and earth - I won't last forever.' The contrast back and forth in the lines, combined with connectors like 'meaning,' 'it's said,' 'but,' offers a lively tone and rhythmic debate. All of this reflects a philosophy of life regarding the swift passage of time, a one-way journey. The poet is not only sensitive to time but also deeply aware of the individual self. Under the poet's pen, the individual becomes fragile, tiny, and easily dissolvable, yet the individual yearns for a passionate life, unable to overcome the harsh laws of nature. With this philosophy of life, Xuân Diệu subtly affirms: Human youth is short, only once, and invaluable. This perspective contradicts the medieval cultural view that time is cyclical and unchanging. Stemming from an awareness of the modern flow of time, the poet recognizes that spring may return, but the youth of humans is 'one gone, never returning.' The poet also painfully realizes the universe is eternal, but the 'self' is finite and unique.

In the following seven verses of the third stanza, the author uniquely expresses a distinctive perception of time:

'The scent of months and years subtly divides,
Across rivers and mountains, farewells are whispered...
The gentle wind murmurs among the green leaves,
Perhaps resentful of the inevitable departure?
Birds cease their joyful cries abruptly,
Perhaps fearing the imminent fading away?
Never again, oh! Never again...'

Through sensitive perception, the author once again creates a unique image through the metaphorical device of transforming feelings. The poet senses time through multiple senses: olfaction - 'the scent of months and years,' vision and taste - 'subtly divides.' The poet not only senses the smell of time but also tastes the separation of time. The verse demonstrates the author's delicate perception through the intersection of the senses. Alongside the perception of time is an awareness of space: 'Across rivers and mountains, farewells are whispered...' Personification and rhetorical questions have helped the poet depict the fading and separation of each entity: 'the gentle wind murmurs,' 'resentful of the inevitable departure,' 'birds cease their joyful cries' as they 'fear the imminent fading away.' Space is filled with the laments of all things, for they part ways, fade amidst each entity and within every creation. The poet has expanded every sense to perceive the subtle, vague states of the landscape. Faced with the fading, withering of the scenery, the poetic tone conveys a sense of despondency, regret, full of lamentation: 'Never again, oh! Never again...' The exclamation combined with the unique 3/1/4 rhythm not only expresses the mood of regret, sorrow but also conveys urgency and impulsion. This stems from a profound self-awareness of the value of individual life fading within the flow of time. And this is the profound foundation of the philosophy of living hastily:

'Hurry now! The season hasn't tilted towards evening yet,'

Desiring to embrace
All the vibrant new life that begins;
Wanting to chase the drifting clouds and the wandering wind,
Longing to be intoxicated with butterfly wings and love,
Wishing to be imprinted in a multitude of kisses
And in the mountains, waters, and the blossoming grass,
For the dizzying fragrance, for the brimming light,
For the luscious hues of the fresh times;

- Oh, blushing spring, I want to bite into you!

For poet Xuân Diệu, living hastily is, above all, living at an extraordinary pace, racing against time, anticipating time: Hurry now! The evening sun hasn't tilted yet. The sentence structure urges like an urging command, compelling everyone to live in haste, eagerly. Living hastily is also living profoundly, passionately. The refrain 'I want': the poet's strong desire along with the evocation of people's love for life. The poet used a system of increasingly powerful verbs: 'embrace,' 'chase,' 'intoxicate,' 'imprint,' 'bite,' expressing the perception of life with both heart and soul, emphasizing the profound, intense philosophy of living wholeheartedly. Accompanying these verbs are nouns indicating the freshness, and adjectives describing the spring-like qualities: 'vibrant life,' 'drifting clouds,' 'wandering wind,' 'butterfly wings,' 'love,' 'mountains,' 'waters,' 'blossoming grass,' 'dizzying fragrance,' 'brimming light,' 'luscious hues,' 'blushing spring': recreating a beautiful, tender world. At the same time, the progressive verbs' states: 'dizzying,' 'brimming,' 'lush' have expressed emotions of passion, intensity, and enthusiasm. The fast-paced, urgent rhythm of the poetry reflects the lively, surging love of life by the poet. The verse seems to recreate the heartbeat, the breath of the poet, beating rapidly, urgently, to love, to be intoxicated, to be dedicated to life. Perhaps, for Xuân Diệu, living hastily is a way to transform life, inherently limited, into limitless, similar to the poet's profound contemplation:

'Better a minute of brilliance followed by sudden darkness,
Than lamenting through a hundred years'

All the love for life and the desire to live have been offered in the final verse: '- Oh, blushing spring, I want to bite into you!' The metaphorical image of 'blushing spring' evokes a life full of allure, inviting, and tender like a young woman in her youth. The verb 'bite' expresses the desire to savor, to conquer all the beauty of life's essence. It is a fresh longing never seen before in medieval literature.

The poem brings forth a modern, positive perspective on life. It is the philosophy of living hastily, living fully every moment, and living with all one's heart. The poem seamlessly combines emotion and reason. With numerous masterpieces, Xuân Diệu deserves to be the 'newest poet among the new poets.'

3. Essay analyzing Xuân Diệu's hurried poem, sample 3 (Standard)

The new poetry movement emerged in the period between 1932-1941, lasting less than a decade, yet it became a golden age, propelling a series of talented young poets with remarkable poems in both genre and theme. Among them, Xuân Diệu stands out as the 'newest poet among the new poets' for his passionate and vibrant poetic voice. He exhibits a special passion for love, encompassing human love, nature, and life. Simultaneously, he holds profound sentiments for spring and youth. 'Hastily' is one of Xuân Diệu's finest poems, showcasing his love for life, sensitivity in the soul, and his perspectives on spring, youth, and love.

'Hastily' (1938) is printed in the collection 'Poetry,' a work resembling a vibrant garden full of fragrances, exuding the scent of flowers and grass, brimming with life. It is a symphony of many tones, expressing the entire spectrum of emotions from joy, tenderness to intense, enraptured love by Xuân Diệu. 'Hastily' can be considered the author's fervent love for life, portraying very new, very strange emotions emanating from 'a source of life abundant as never seen in this silent homeland.'

'I want to turn off the sun
So the colors don't fade away
I want to tie the wind
So the fragrance doesn't drift away'

In the first stanza, the author reveals a strong, burning desire through the phrases 'I want to...' bringing a rhythmic, urgent beat to the verse. The poet wants to 'turn off the sun,' 'tie the wind' to grasp the essence of life, a passionate and bold yearning. Xuân Diệu aims to hold onto all the freshest elements of nature, including the gentle warm light of spring, the fragrant and intoxicating scent of flowers wafting in the wind. Through this peculiar desire, we clearly see the poet's particularly sentimental self, primarily the audacious and bold 'self,' daring to challenge creation, resisting the cosmic progress to preserve the beauties one craves. This 'self' is also the innocent, pure, and stubborn self when faced with the things one loves and cherishes.

The amalgamation of these two elements creates a very unique, impressive poetic soul for Xuân Diệu, allowing readers to perceive more clearly the poet's passionate, profound love for the universe. It vividly displays the poet's intense and profound perspective on life and beauty. For the poet, beauty is not in any mythical paradise but right next to us, in seemingly simple, ordinary things, be it sunlight or the fragrance of flowers—elements that people easily overlook without much concern.

After understanding the laws of creation and the ephemeral nature of human life, Xuân Diệu, cherishing the simple beauty bestowed by nature, sees it as a precious and worthy privilege. The poet does not want to miss any moment, even selfishly desiring to retain them all for personal enjoyment. Xuân Diệu, audacious and irrational, derives these principles from sensible life philosophies: Human life is limited, and beauty exists in the earthly realm, so why not relish it to the fullest?

After realizing and intensely desiring to preserve the beauty of natural creation beyond human capabilities, Xuân Diệu swiftly finds a solution. Seizing the opportunity while still young, he rapidly indulges, swiftly capturing the beauty bestowed by nature, reveling in the freshness of life. The poet unreservedly enjoys the exquisite beauty of existence, the spring garden, without remorse. This is vividly expressed in the following eight lines, unveiling not only a picturesque, fragrant nature but also the author's attitude towards the limitations of human life and the boundlessness of the universe: Haste, desire, the longing to embrace all that is beautiful, and the ecstatic joy before the wonderful spring garden.

'This honeybee's treasure of weeks and months
Here is the flower of the inner field, lush green
Here is the leaf on the swaying branch
Of this melodious swallow, here is the love song
And here, the twinkling light in the eyelashes
Every morning, the Joyful Deity knocks at the door
January is delicious like a pair of lips close'

In these lines, one can easily perceive the author's immense joy, the utmost jubilation upon discovering a life paradise existing right beside them. Each line carries melodies, sometimes lively, sometimes subtle, complete with the intoxicating feelings of love, youth, and a spring brimming with vitality. The refrain 'here is...' brings a rhythmic beat, expressing sudden emotions, the surprising happiness and bliss when realizing the precious gift bestowed by nature.

The vivid depiction of spring begins with the scene of a pair of butterflies immersed in happiness, akin to a young couple entwined in honeymoon bliss. The lush beauty of spring flowers, combined with the greenery of the inner grass, creates a vibrant yet harmonious painting. The image of 'leaves fluttering on the branches' portrays serene happiness, tender and romantic. Furthermore, the 'love song' of the swallows adds a lively and joyful atmosphere, encompassing the colors, scents, and flavors of a lively spring painting. Xuân Diệu goes beyond by infusing a gentle, harmonious, and warm light into his painting, like dew or sunlight enhancing all scenes, making them more romantic and vibrant. The line 'And here, the twinkling light in the eyelashes' prompts one to wonder whose 'eyelashes' they belong to—Xuân Diệu standing in the spring garden immersed in the light's fragrance, or a poetic maiden strolling. Regardless of the sincere character, one can always perceive the artist's tender touch, the desire to add the human element, life, and human love to the painting, bringing harmony and vitality, highlighting the profound connection between the artist and the vast nature. It distinctly affirms that the beauty of nature always goes hand in hand with human discovery and appreciation.

In addition, the verse 'Every morning, the Joyful Deity knocks at the door' conveys a new philosophy of life by the author: every day lived, waking up to the morning sun, is a joy, an ultimate happiness. Xuân Diệu genuinely values and appreciates this. Finally, summarizing the radiant spring nature painting, Xuân Diệu concludes with an impressive line: 'January is delicious like a pair of lips close,' bringing about a sophisticated shift in feelings through sight, sound, and touch. The author leads the reader to experience through taste. Not only does it express the emotion of wanting to engulf spring into the heart, but also the yearning desire. Xuân Diệu relishes spring like a gourmet relishing the flavors of life. Furthermore, the comparison of spring, comparing January to 'a pair of lips close,' makes the reader marvel at the romantic, affectionate nature of someone deeply in love and craving for love. For the spring poet before the eyes, brimming with vitality, like a young girl in her prime, one truly wants to cherish and appreciate with all their heart.

Vội vàng của Xuân Diệu thể hiện những quan niệm mới mẻ về thời gian

After the euphoric emotions, hastily savoring every beauty of nature by fully opening all senses, Xuân Diệu suddenly pauses, 'I am delighted but hastily halfway/I do not wait for summer sun, just longing for spring.' Clearly captivated by the dazzling nature, when the feast is only halfway through, the poet is both elated and anxious, carrying a sense of regret. Xuân Diệu does not wait for summer to regret spring; he fears that spring will pass right in the midst of its richness, most vibrant. It's akin to a person in their youth fearing aging, regretting the passing of their prime. While it might seem peculiar, almost paradoxical, reading Xuân Diệu's following verses makes one understand that the author's fears and regrets all have specific reasons.

'Spring is arriving, meaning spring is passing by,
Spring is still young, meaning spring will age,
Yet when spring ends, it means I'll be lost.
My heart is vast, but the heavens' measure is narrow,
Not allowing an extended youth for humankind,
Why speak of spring's cyclical return,
If it comes again, it's not a reunion.
The sky and earth remain, but 'I' won't endure forever,
Thus, in awe, I regret both land and sky;'

Xuân Diệu acknowledges a cruel law of nature, that spring comes, and then it goes. Life, akin to humans, has a youthful period but will eventually age and return to dust. Hence, he eloquently expresses, 'My heart is vast, but the heavens' measure is narrow,/Not allowing an extended youth for humankind.' He questions why human life isn't longer for one to relish the earthly fragrance a bit more. Although spring is seemingly cyclic, the poet contends that individuals have only one chance to live on this earth. Even though spring is perennial, the poet won't witness its beauty again. The universe remains intact, but the individual is transient, leading to the poet's feeling of a 'vacant regret for both land and sky.' In this verse, Xuân Diệu's personal ego is prominently displayed, not just lamenting life's brevity but also positioning the poet's self as central, with personal significance equivalent to the vast universe. This self is assertive and confident, traits seen at the beginning of the work. Due to the awareness of life's limitations and the harsh cycle of 'birth, aging, illness, death,' Xuân Diệu cannot escape the sense of 'nostalgia for both land and sky.' The poet, amid the vibrant essence of youth, love, and spring, always cherishes these aspects the most, considering them life's essence. Therefore, when bidding farewell or anticipating separation, the poet feels constant regret and melancholy.

However, Xuân Diệu is an optimistic author, not dwelling in as much sorrow as Huy Cận nor despair like Hàn Mặc Tử. In contrast, aware of the transience of youth and life, the author swiftly finds a novel solution. Initially desiring to halt the progress of time, Xuân Diệu now presents a more fitting approach: to loosen oneself, swiftly immerse in the complete enjoyment of spring as much as possible.

'Quickly go now! The season has not tilted its evening,
I want to embrace
The entirety of new life budding;
I want to let the clouds drift and the wind roam,
I want to be intoxicated with butterflies and love,
I want to immerse in a multitude of kisses
With the youthful exuberance of landscapes,
- Oh, rosy spring, I want to bite into you!'

At this very moment, Xuân Diệu fully realizes the preciousness of youth and the current spring season. Therefore, he eagerly steps into the enjoyment of the spring feast before him with enthusiasm, as if afraid that a slight delay would make the feast disappear. Powerful verbs like 'embrace,' 'immerse,' 'enjoy,' coupled with the phrase 'I want,' accentuate the intense desire to savor the exquisite essence of spring. The poet longs to be passionate in love, reaching 'full of the youthful exuberance of landscapes,' leaving no room for regrets. Instead of merely experiencing spring once, Xuân Diệu awakens all senses and energies in his body to immerse himself in the intoxicating feast of nature. This verse portrays Xuân Diệu as avid, seemingly voracious, yearning to engulf every splendid aspect of spring and wishes to experience it not just once but multiple times. This underscores Xuân Diệu's awareness of life's limitations, the brevity of youth, and the harsh cyclical laws of nature. Unable to resist the march of time, Xuân Diệu endeavors to enjoy as if he has multiple lifetimes. It's a smart and humane solution from the artist, introducing readers to fresh thoughts and perceptions. The concluding line, 'Oh rosy spring, I want to bite into you!' represents the pinnacle of love for spring, an ardent and sincere desire to relish spring, love, and youth passionately. It's not just an embrace, a savor, or an intense grip but a deep, affectionate bite, capturing the essence of spring within, claiming it as one's own. Practical yet endearing, embodying the artist's assertive and childlike ego.

'Vội vàng' stands out as one of Xuân Diệu's finest works during the 1932-1941 New Poetry Movement, not only expressing innovative perspectives and philosophies on the artist's life but also revealing the author's fervent affection for spring, youth, and love. Xuân Diệu is a fresh breeze that dispelled the long-standing melancholy of the new poetry community, opening up a new horizon with a gentle, romantic French touch, yet deeply rooted in the Vietnamese soil. Truly deserving the title of the 'newest poet among new poets.'

4. Analysis of 'Vội vàng' by Xuân Diệu, Sample 4 (Standard):

'Xuân Diệu's poetry is a vibrant source never before seen in this silent land. Xuân Diệu is intoxicated with love, enchanted by the sky, living hurriedly and eagerly, wanting to enjoy the fleeting moments of life' (Excerpt from 'Vietnamese Poets'). The assessment by literary critic Hoài Thanh has praised the predominant excellence in the works of poet Xuân Diệu—a representative face with significant contributions to the development of the New Poetry Movement. 'Vội vàng' is a clear manifestation of this, showcasing an ardent love for nature, a fierce desire for life, and the positive outlook on life by the author.

First and foremost, the poem 'Hastily' has conveyed the author's intentions, mindset, and desires in the face of the march of time:

'I want to turn off the sun
So the colors don't fade away;
I want to restrain the wind
So the fragrance doesn't fly away.'

Faced with the irreversible cycle of time, author Xuân Diệu seeks to grasp and preserve each moment by wanting to 'turn off the sun' to keep colors from fading and 'restrain the wind' to prevent the fragrance from drifting away. The phrase 'I want to' repeated twice emphasizes the earnest desire of the 'I' to preserve the quickly fading beauty of nature, highlighting the soul of a poet who loves life, is passionate about nature, and cherishes and nurtures life. And this ardent and intense love is further vividly depicted in the following lines:

'This butterfly's treasure of weeks and months;
Here, the flowers in the green meadow;
Here, the leaves swaying on the slender branches;
This swallow's melody of love;
And here, the twinkling light along the eyelashes,
Every early morning, the Spirit of Joy knocks on the door;
January is delicious, like a pair of close lips;
I am delighted. But hastily, halfway:
I won't wait for the summer sun to linger.'

By artistic enumeration and a combination of fast and rhythmic poetic techniques, every sound, every color, and image of the natural painting vividly exists before the reader's eyes. The echoing phrase 'Here' is full of passion, expressing the poet's senses vibrating to receive, to enjoy the beauty of creation, of the earth and sky in the vitality and color of spring. These are tangible beauties like 'flowers in the green meadow' and 'leaves swaying on the slender branches.' They are also intangible beauty, like the love song of the passionate 'swallow,' the swiftly twinkling light along the eyelashes, and the hastily passing light of each morning. Particularly, Xuân Diệu compares 'January' – a concept of invisible time like a 'pair of lips' – an actual object in the 'delicious' – 'close' relationship, creating a unique and fresh perception. It makes the picture of nature on earth appear beautiful, fresh, and full of life, like 'a paradise on earth.' The poet employs every sense to enjoy the beauty of creatures and nature but does not forget the awareness of the flowing of time: 'I won't wait for the summer sun to linger.' Hence, he is intoxicated, passionate about the scenery of the earth and sky but continually contemplates the flowing of time, love, and youth:

'Spring is coming, meaning spring is passing,
Spring is still young, meaning spring will age,
And when spring is over, it means I'm gone.
My heart is vast, but the measure of the heavens is narrow,
Not allowing the youth of humanity to last long;
Speaking in vain that spring always revolves,
If youth doesn't bloom twice.
Heaven and earth remain, but not me forever,
So, in nostalgia, I regret the entire world.'

Analysis of Xuân Diệu's poem Hastily

As a poet with progressive worldviews and philosophies, Xuân Diệu not only recognizes the cyclical nature of the flow of time: 'Spring is ending, summer arrives, autumn ends, winter comes,' but also understands the 'dialectical' nature with a linear dimension, the 'never returning' of each moment. Through the perception of 'spring is coming' – 'spring is passing,' 'spring is still young' – 'spring will age,' the invisible flow of time is vividly depicted. Even though the poet is experiencing the beautiful, vibrant spring, it is also the spring that is in the distant future, 'will age,' will fade. Yet, the most special aspect of Xuân Diệu's philosophy is that the universal time is not synchronized with human life, meaning 'spring passes,' and then spring will 'come' again in the cyclical nature of the earth and sky, but youth, human life, 'never blooms twice.' Therefore, he believes that the most beautiful thing about humans is youth and love. And from there, the 'king of love poetry' always regrets spring, regrets youth with a keen desire for life, intense love for life, and a proactive attitude racing against time:

'I desire to embrace
All the new life beginning to unfold.
I want to entwine with the drifting clouds and swirling wind.
I yearn to be intoxicated with the dance of butterflies and love.
I wish to immerse in a kiss so profound.'

The phrase 'I want' is boldly placed at the beginning, resonating with enthusiasm. Combined with a series of escalating verbs like 'embrace,' 'entwine,' 'intoxicated,' 'immerse,' it highlights the proactive stance of enjoying life at its freshest, most vibrant state of the sentimental 'self.' The zest for life and passionate enthusiasm drive Xuân Diệu to 'live hastily, live eagerly' (as stated by literary critic Hoài Thanh). This hastiness is not negative, as it is intimately connected with the joy of living and the optimistic spirit of the author. It represents a positive, progressive life philosophy with profound educational implications for each individual.

Thus, through the analysis of the poem 'Hastily,' we can witness the talent of the poet Xuân Diệu in the adept use of language and the seamless application of artistic techniques. All these elements harmoniously and delicately contribute to portraying the image of a sentimental character with a fervent love for nature, an intense passion for life, and, most prominently, the life philosophy of 'hastily' racing against time to grasp the most beautiful aspects of youth and love.

5. Analysis of Xuân Diệu's 'Hastily,' Standard Sample 5

'Hastily, Xuân Diệu' is a self filled with jubilation and fervor for every sign of life, yet brimming with anxiety, apprehensive about Xuân Diệu's temporal journey. The more one loves life, the more Xuân Diệu fears the fading beauty, the fleeting nature of life. Unable to alter the inexorable flow of time, the poet advocates living hastily, urgently, to fully embrace the moments of youthful vigor.

In Xuân Diệu, we often encounter a poetic personality that is expansive, distinctive, and remarkably creative, arguably unparalleled in Vietnamese poetry. Xuân Diệu kicks off 'Hastily' with four pentameter verses that initially seem to diverge in rhythm from the rest of the poem:

'I want to extinguish the sun
So the colors don't fade away.
I want to restrain the wind
So the fragrance doesn't drift away.'

Right in the first stanza, Xuân Diệu manifests a daring and extravagant aspiration. Sun and wind are both phenomena belonging to nature and operate under the laws of nature. Wanting to extinguish the sun, restrain the wind might sound irrational, even audacious. However, deeply hidden within this audacious and bold desire is an earnest, poignant love for life. Xuân Diệu wishes to extinguish the sun so the colors don't fade, wants to restrain the wind so the fragrance doesn't drift away; in essence, the poet yearns to preserve the natural, pure beauty of life, to eternally capture the moments of youth.

'Guide to Analyzing 'Hastily' by Xuân Diệu'

With eyes 'green, inexperienced, and curious' and an ardent love for life, poet Xuân Diệu discovered the most vibrant and bright beauties on Earth:

'This butterfly's honey this week
Here, the flowers of the domestic field are green
Here, the leaves of the silk thread branch flutter
This is the serenade of these swallows
And here, the light flickers in the eyelashes'

Xuân Diệu unfolds a vivid portrayal of life with imagery, colors, sounds, and subtle movements within all living things. The phrase 'here' evokes the excitement, fervor of the poet introducing the beauty on Earth—a place where the poet is intoxicated with a passionate love. Images of butterflies, flowers, domestic fields, silk thread branches, swallows, and light are beautiful, fresh depictions of everyday life. Through the romantic lens and the poet's love for life, these familiar images suddenly become bright, enticing like scenes in paradise.

'Nature, life in Xuân Diệu's poetry is always fresh, inviting. The most distinctive feature in the poet's perception lies in the comparison 'January is as delicious as a pair of close lips'. Thus, in the poet's perception, spring is as fresh, irresistibly attractive as a pair of close lips. Using humans as the benchmark for the beauty of nature not only demonstrates the poet's creative personality but also reveals a new perspective in creation. While the ancients used nature as a measure of human beauty, Xuân Diệu goes against that notion, placing humans at the center of the universe and asserting that humans are the standard for all beauty.

With a heart always vibrant, burning with love for life, Xuân Diệu constantly maintains an anxious, uneasy mood before the steps of time. The more one loves, the more one cherishes, the more one fears it will vanish into the invisible. Perhaps Xuân Diệu is the same, the more he loves life, the more unsettled and worried he becomes:

'Spring is coming, meaning spring is passing
Spring is still young, meaning spring will age
And when spring ends, it means I'm gone
My heart is wide, but the measure of heaven remains narrow
Not allowing the long youth of mankind
Said that spring is still cyclic
If youth does not bloom twice
There is still heaven and earth, but not me forever
So I regret both heaven and earth'

With his keen perceptions, Xuân Diệu could see the signs of fading life even in its prime. Spring is blooming and vibrant, yet within the beauty of that youthful time lies the seed of decay, decline 'Spring is coming, meaning spring is passing', and youth is the same, once it passes, it will never return 'And when spring ends, it means I'm gone'. Xuân Diệu has linked youth with spring and presented his views on time: Youth, spring, love, though beautiful, are not eternal, limitless but limited, short-lived like a blink of an eye. Therefore, to live meaningfully, to fully enjoy the beauty of life, love, and human life, Xuân Diệu advocates living 'hastily'

'I want to embrace
All life starting to bloom
I want to weave through the clouds and the wind
I want to be intoxicated with the wings of butterflies and love
I want to be immersed in a passionate kiss
And in the mountains, and trees, and the blossoming grass'

Xuân Diệu used a series of strong verbs: 'Embrace, weave, immerse' expressing the desire to seize the beauty of youth. If you can't stop the steps of time, then live to the fullest, live passionately, love with all your heart so that there are no regrets as time passes. Xuân Diệu's philosophy of living 'hastily' is like sincere advice, earnestly given to the reader: Live meaningfully, live fully for this life and don't let time slip away meaninglessly.

The poem concludes with the emotionally charged line 'Oh pink spring, I want to bite into you'. The line is the crystallization of the poet's love and creativity, 'pink spring' not only evokes thoughts of the season but also suggests a fresh, enticing color. 'Bite' is an action of strong possession. If pink spring is the most delicious and attractive part of life, the poet wants to claim it to fully enjoy the beauty of the earthly realm.

Through 'Hastily,' poet Xuân Diệu not only expresses passionate love for life but also subtly conveys meaningful life philosophies. With that beauty, with that philosophy, 'Hastily' is a sentimental poem that can stir the hearts of readers across generations.

'6. Analysis of 'Hastily' by Xuân Diệu, sample number 6:'