Analysis of the poem 'The Old Sage' by Vũ Đình Liên

Prompt: Analyze the poem 'The Old Sage' by Vũ Đình Liên

6 sample essays Analyzing the poem 'The Old Sage' by Vũ Đình Liên

I. Outline for Analyzing the poem 'The Old Sage' by Vũ Đình Liên (Standard)

1. Introduction

Introduction to the poem 'The Old Sage'

2. Body of the poem

* Image of the declining Old Sage
- The Old Sage still sits by the bustling street corner but is gradually forgotten.
- 'each year he's more absent' evokes a melancholic, desolate atmosphere and the scene of an empty Old Sage
- Paper, ink soaked with human sorrow: the sorrow of being forgotten
- 'yellow leaves fall on paper' intensifies the gloom, evokes a sense of fading, loneliness.
--> The Old Sage gradually becomes lost in life

* Poet's sentiment:
- Reverence, admiration for the talent of the Old Sage as well as the beautiful cultural values of the nation
- Compassion when the noble cultural values of Confucianism gradually decline, are forgotten.

3. Conclusion

Summarize the analysis content
- The Old Sage represents a noble traditional cultural trait, for the old generation
- The poem reflects the compassion and nostalgic feelings of the author Vũ Đình Liên

II. Sample Essay Analyzing the poem 'The Old Sage' by Vũ Đình Liên
 

1. Analyzing the poem 'The Old Sage' by Vũ Đình Liên, sample 1:

If Xuân Diệu's poetry carries a captivating and enthusiastic tone, Hàn Mặc Tử's poetry exhibits a hint of madness, and Huy Cận's poetry resonates with surreal sadness, then Vũ Đình Liên's poetry bears a nostalgic tone. Each artist has a different poetic style, which distinguishes them from other authors and leaves a unique impression on readers. Although not prolific, Vũ Đình Liên has left valuable works for Vietnamese literature, exemplified by the poem 'The Old Sage'.
The poem was composed in 1936 and published in the magazine 'Tinh Hoa'. It was written at a time when Confucianism was losing its dominance due to the influence of Western culture. This was also the time when the old sages were no longer revered due to changing times. The title of the poem evokes a beauty that has receded into the past along with profound sorrow.
When mentioning the old sage, we recall the Confucian scholars of old, who would often appear during Lunar New Year to write red couplets:

“Every year cherry blossoms bloom
We see the old sage again
Displaying red ink on paper
By the bustling street.”

This imagery has become familiar because every Tet holiday, the old sage would appear with red ink and paper. It was his golden age. Like a cyclical rhythm of time, with each transition between the old and the new year, when the pink cherry blossoms proudly displayed their beauty, the old sage would also appear. His workspace was on the street. Let's imagine under the cherry blossoms and the cool weather, there was an old sage skillfully writing characters while the bustling footsteps of people created a lively scene. The words “every year”, “again” somewhat depict that rhythmic pace. Cherry blossoms and the old sage were companions, complementing each other to enhance the beauty of Tet. The pink of the cherry blossoms, the black of the ink stick, and the red of the paper created a vivid picture.

The best essays Analyzing the poem 'The Old Sage'

The calligraphy talent of the old sage garnered praise and admiration from everyone:

“So many people hire to write
Praise and admire the talent
Writing like phoenix dancing and dragon flying.”

Many people hired him to write, not only valuing his calligraphy but also holding him in high esteem. He displayed his talent through red couplets, with characters resembling dancing phoenixes and flying dragons. One must be well-versed in Chinese literature and Confucianism for the old sage to write characters with such elegance. The metaphorical expression 'like phoenix dancing and dragon flying' conveys the admiration and respect of Vũ Đình Liên as well as our people for the old sage. This also shows the reverence for the traditional cultural values of the nation. Playing with words is a hobby that reflects the noble character of intellectuals. Moreover, calligraphers are seen as talented artists because the characters reflect the heart and mind of the creator. Not only did he write beautifully, but he also wrote quickly, which is truly admirable. The skillful strokes of characters under the hands of an educated person make everyone want to hire him to write red couplets. It can be said that during his heyday, the old sage was immensely popular, as people came to him in admiration of his bold calligraphy. Both the calligrapher and the wordsmith seem to share a deep empathy because they both appreciate beauty.

But as times changed, the old sage lost his reverence and admiration:

“But every year it gets lonelier
The customers for writing, where have they gone?
The red paper no longer bright, but gloomy
The ink gathers in sorrowful pens…”

Previously, the customers for the old sage's writing were plentiful, but now where have they all gone? They are still there, still present in everyday life, but the infiltration of Western culture has eroded the traditional cultural values of the nation. The author depicted a desolate and empty scene, to the point of desolation. Time has swept away the beauty of the past, leaving people feeling melancholic and regretful. The rhetorical question, “The customers for writing, where have they gone?” resounds with profound pain. The joy of wordplay is no longer favored, and word enthusiasts and purchasers are dwindling over the years. The sadness has tainted even the scenery, even the unconscious. The red paper also knows sorrow, so it is no longer bright, the color of the paper has faded and the ink stick, once sharpened, now remains unused and collected in pens. Personification has conveyed the old sage's despondency and also the poet's compassion and sympathy.

The realm of Chinese classical studies has declined, but with the desire to preserve the cultural values, the old sage still persistently sits by the street corner as he did years ago:

“The old sage still sits there
No one notices as they pass by
Yellow leaves fall on the paper
In the sky, dust mixes with rain”

However, the appearance of the old sage did not attract attention or concern as it did in the golden days. His figure silently passed through the streets, quietly along the avenue without anyone noticing. The image of the old sage has fallen into oblivion. That image is merely a “pitiful relic of a bygone era” (Vũ Đình Liên). The fading, withering is depicted through the image of yellowing leaves along with the chilly atmosphere of the drizzling rain that envelops the entire scene, tinting the landscape with emotional hues. People have pushed the old sage out of their memory and recollection; they regard him as an invisible person in contemporary society.

Vũ Đình Liên revealed his nostalgia, his sorrow through the final verses:

“This year, cherry blossoms bloom
No sight of the old sage
Those from the past millennia
Where are their souls now?”

The old sage has truly vanished, cherry blossoms still boast their fragrance, the scenery still cyclically follows the laws of nature, but we no longer see the old sage's presence. His absence makes us mourn for a spiritual value that no longer exists. The people who once hired the old sage to write couplets, those who once respected the old sage have now completely changed. They are busy adapting to the new Western culture, so their souls no longer have room for the essence of traditional culture. The rhetorical question at the end of the poem echoes with compassion, regret for what has been lost.

In the past, on the ancestral altar, alongside the pair of square sticky rice cakes and the tray of five fruits, stood the couplet for Tet. Hence, the elderly calligraphers on the sidewalks are always bustling with customers, seeking words and images of the traditional headscarf-wearing, ao dai-clad figures deeply etched in the Vietnamese psyche. Among them, poet Vu Dinh Lien stands out. With profound empathy, he penned the poem 'The Calligrapher,' lamenting the plight of a marginalized group and cherishing a beautiful tradition of the nation.

The poem 'The Calligrapher' opens with an image deeply rooted in the author's contemplation and nostalgia:

Every year as cherry blossoms bloom, we see the elderly calligraphers again, setting up their red ink and paper amidst bustling streets filled with passersby.

The structure of the poem consistently portrays the calligrapher as an integral and familiar figure during the Vietnamese Tet festivities. Alongside the pink hues of cherry blossoms, the red of paper, the black of ink, and the lively atmosphere of Tet, the calligrapher becomes an indispensable part of the springtime tableau. The verses, laden with affection, depict the calligrapher, though occupying only a small corner of the street, as the focal point of the festive scene. He immerses himself fully in the vibrant Tet atmosphere, utilizing his talents:

How many hired writers
Praise the talent
Arranging flowers of words
Like phoenixes dancing and dragons soaring

Analysis of the poem 'The Calligrapher' by Vu Dinh Lien, a selected literary masterpiece

From the past, where everyone cherished the profession of calligraphy. The presence of the calligrapher drew attention from all, becoming the center of admiration and respect. Happiness is not just having many clients, but also receiving praise for talent - for he writes beautifully. The repetition of the consonant 't' in a sentence is like a round of applause to celebrate his talent. Amidst the crowd's anticipation, he emerges as an artist engrossed in creativity, displaying his passion and talent, earning admiration from people. With this admiration, Vu Dinh Lien also demonstrates pride in the noble tradition of couplet writing. But how many hired writers truly understand the profound meaning behind each word, each line, to share the joy and happiness with the writer of those words? In the third stanza, the image of the calligrapher with red ink and paper remains prominent, yet everything has changed. Gone are the many hired writers - the praises for talent, replaced by a desolate scene. The melancholic undertone in the previous two lines is now expressed in a poignant question filled with uncertainty:

Yet with each passing year, emptier it seems
Where are the hired writers now?

Though each year seems the same, but behind every word, the usual order is disrupted. The few who still cherish and respect Confucian script dwindle each passing year, old clients dispersing in all directions. Thus, the faint hope of the calligrapher to contribute his skill alongside others during Tet gradually fades, overshadowed by the increasingly challenging life. Through a uniquely phrased question, Vu Dinh Lien captures the nostalgia of a bygone era, transforming it into a lingering sorrow, permeating even the most inanimate objects:

Red paper mourns without its vibrance
Ink lingers in pens, steeped in melancholy

Red paper, fragile and thin, serves as the medium for calligraphic strokes, easily fading with the slightest moisture. Yet, 'Red paper mourns without its vibrance' - lacking vibrancy from long neglect, it fades with time. Similarly, the ink - a deep black substance for calligraphy - requires grinding before use with a brush to form characters. Yet now, 'Ink lingers in pens, steeped in melancholy' implies it has long awaited the skilled hand of the calligrapher, only to remain stagnant in despair. Words of sorrow and grief imbue life into these objects, transforming the once lifeless red paper and ink into entities with thoughts and feelings akin to humans. This sorrow doesn't merely penetrate everyday tools but extends into the natural scenery, casting a somber, poignant atmosphere:

The calligrapher remains seated there
Unnoticed by passersby
Yellow leaves fall upon the paper
Outside, the world is swept by dust-laden rain

Despite the waning admiration and respect for the calligraphy profession, he persisted, sitting by the roadside, hoping for the kindness and assistance of passersby. Yet, no eyes glanced his way, no hearts sympathized or shared his burden. Through metaphorical imagery, poet Vu Dinh Lien paints a poignant, desolate natural scene, reflecting the calligrapher's inner turmoil:

Yellow leaves fall upon paper
In the sky, dust-laden rain falls

But it's perplexing why, in the season of spring, yellow leaves fall? Perhaps the sight of falling yellow leaves evokes the notion of decay, decline of an era, a societal class, and a once beautiful tradition of the Vietnamese people - Tet couplets now relegated to the past. The image of the calligrapher mirrors that of the falling yellow leaves, clinging to the quiet existence of his life, yet in the face of modern times, he's merely a withered leaf drifting away. This silent, numbing sadness has even rendered the spring rain, once full of vitality, into a mournful, desolate downpour:

In the sky, dust-laden rain falls

Sky - perhaps that's the folk saying of those seemingly long gone but always present. The verse evokes the profound sadness of the calligrapher before the faint, dusty rain. Though merely dust-laden rain, it has the power to erase traces of a forgotten class. Despite no longer being cherished or respected by society, for the poet, this image remains etched deeply within:

This year, the cherry blossoms bloom again
No sight of the old calligrapher

The poem 'The Calligrapher' begins with a light image and ends with a gentle one. In years past, as the cherry blossoms bloomed, we saw the calligrapher sitting by the roadside, blending into the lively bustle of the streets. But now, at the same time, he's no longer there; the old image gradually fades into the passage of time. As Tet approaches, cherry blossoms bloom again, and everyone eagerly goes to the market to prepare for the new year, full of joy and hope. Everything is vibrant, festive. The scene remains, but where are the people? Now, the image of the calligrapher is merely a pitiful relic of a bygone era, forgotten and abandoned by society, except for the poet Vu Dinh Lien. Life flows on, carrying away the once serene and beautiful existence, leaving behind only emptiness and nostalgia, prompting the poet to pose an emotional question:

Those from ages past
Where do their souls reside now?

The final two lines of the poem directly reveal the author's overflowing emotions, encapsulating profound depth. From the image of the calligrapher, the poet conjures the image of ancient souls, posing a poignant question: Asking the clouds, asking the heavens, asking life, asking an era, asking to empathize with the fate of those ancient souls forsaken by time. The question, posed like self-reflection, carries an undertone of melancholy and pity. And all that was once golden now fades into a dull, numb hue. Through successful implementation of rhetorical devices, poet Vu Dinh Lien recreates the image of the calligrapher as a pitiful relic of a bygone era, evoking even greater sympathy and sorrow for his plight.

With just the poem 'The Calligrapher,' the author evokes an enduring sense of lamentation and nostalgia in the hearts of readers. Reading the poem, one can sense in Vu Dinh Lien a person of compassion, humanity, deep empathy, and unwavering loyalty.

3. Analysis of the poem 'The Calligrapher' by Vu Dinh Lien, sample number 3:

Vu Dinh Lien is one of the poets who initiated the new poetry movement. His works, though few, are all artistically and morally valuable. Among his works that have endured to this day, 'The Calligrapher' stands out. The poem is the author's nostalgic ode to a vanishing traditional beauty.

The poem emerged during a time when Confucian scholars fell out of favor, the essence of Confucianism now mere remnants. The calligrapher and Confucian teachings became relics as people discarded brushes in favor of pencils.

The first two lines, Vu Dinh Lien recalls the heyday of the calligrapher:

Each year, cherry blossoms bloom
And again, the old calligrapher is seen
Displaying red ink and paper
By the bustling street
How many hire him to write
Admiring his skilled hands
Sketching lines like phoenixes and dragons in flight

The first stanza evokes the time and place where the calligrapher works. The time is spring, the most beautiful season of the year, symbolized by the blooming cherry blossoms, indicating that the calligrapher works during the most beautiful time of the year. The spring atmosphere, the image of blooming cherry blossoms, vividly enhances the depiction of the calligrapher during his glorious period. Especially, the repetition of 'again' indicates the long-standing bond between the calligrapher and spring, suggesting that his calligraphy work doesn't just happen in one year but spans from one spring to another. The place where the calligrapher writes is 'by the bustling street,' a crowded place during every spring, more importantly, the crowd is interested in the calligrapher, 'how many hire him to write,' and appreciates his talent, 'admiring his skilled hands.' The author describes the calligrapher's handwriting as 'sketching lines like phoenixes and dragons in flight.' The artistic comparison in these two lines highlights the elegance in every stroke of the calligrapher's pen, depicting beautiful, noble characters. In the first two stanzas, the image of the calligrapher in his prime is revered and admired by the author, who also expresses deep affection for the traditional values of the nation through the image of the calligrapher.

Analyzing the poem 'The Old Calligrapher'

The next two stanzas depict the modern-day calligrapher, a solitary figure lost amidst a world no longer conducive, a world where Confucian characters have become relics.

But each year grows emptier
Where are the hired writers now?
Sad red paper, ink pooling in pens
The old calligrapher still sits there
No one passing by notices
Yellow leaves fall on paper
Dust-filled rain outside

'this year cherry blossoms bloom again' the scene of spring still unfolds, but people have changed, 'where are the hired writers now' this is a rhetorical question containing the author's concerns and sadness over the change in people, spring is still beautiful, but people no longer care about the beauty of ancient culture. This is a verse depicting the decline of Confucian culture of the past. 'sad red paper, ink pooling in pens' in the face of human indifference, objects also become melancholic, the humanized image makes red paper, ink pens also have emotions like humans, forgotten, red paper also fades, ink pools in pens or remains in sorrow, 'pensive ink' sounds truly poignant.

The image of the contemporary calligrapher has also changed, 'the old calligrapher still sits there/ no one passing by notices' if in the past it was 'how many hired writers/ praising his talent' now the image of the old calligrapher quietly fades into the oblivion of everyone. Originally, the calligrapher's profession was that of the ancient Confucian scholars who did not achieve the dream of scholarly success, had to resort to selling medicine, teaching, or spreading mats to sell characters, an involuntary job of a Confucian scholar, the meaning of the characters only to sell, who would buy, like the Confucian teachings where a prisoner's lifetime is only given three times, yet here the calligrapher has to sell characters to make a living is enough to show the misfortune of the scholar's life. Formerly, accepted by everyone, at least able to make a living by this profession, now, Confucian scholars are despised, no one cares about the old calligrapher, about the characters he writes, meaning he can no longer make a living by his own abilities, here is not only the misfortune of talent but also the misfortune of livelihood. The scene around the old calligrapher also contains sadness 'yellow leaves fall on paper/dust-filled rain outside' the art of depicting sentimental scenes, the landscape of spring also becomes bleak, sad along with human sorrow, indeed 'sad people, is there ever joy' (Nguyen Du)

The last stanza the author uses to express compassion for the old calligrapher as well as for a cultural beauty that is being lost by the people.

This year cherry blossoms bloom
No sign of the old calligrapher
Where are the ancient ones
Whose souls now reside?

The author begins the poem with 'each year cherry blossoms bloom/ seeing the old calligrapher grow old' ends the poem with 'this year cherry blossoms bloom/ no sign of the old calligrapher' the corresponding beginning and ending structure of the poem helps to make the poem tight, cohesive, unified yet also deeply engraves the author's sadness over the increasingly clear disappearance of the traditional beauty of the nation. Nature scenes remain beautiful, cherry blossoms still bloom but the old calligrapher is no longer 'spreading red ink on paper' the old calligrapher has completely disappeared in that unchanging spring picture, time and scenery have forgotten the old people, or is it the disappearing traditional beauty? The rhetorical question 'where are the ancient ones/ whose souls now reside?' is the author's lament for the old calligrapher and for the good cultural values of the nation.

With the pentameter poetry casting deep lines, simple yet profound verses, concise, the poetry is like a narrative recounting the ancient traditional beauty of the nation, with a tight corresponding structure from start to finish, the poem contains all the most outstanding artistic elements. Through those typical artistic features, the author expresses pity for the old calligrapher as well as regret for the loss of the nation's cultural essence.

4. Analysis of the poem 'The Old Calligrapher' by Vu Dinh Lien, model number 4:

Everyone has a homeland and a different perception of their homeland. In the endless flow of time. Vu Dinh Lien mourns the fading of cultural identity. And with 'The Old Calligrapher,' the poet has sounded the alarm to awaken modern people to the consciousness of preserving national identity, to the beauties, values of a once glorious era, prompting us to pause and reflect on our homeland, our roots, our own responsibilities.

The poem was born when the old calligrapher had become a relic of a bygone era. Confucian scholars have fallen out of favor, everyone rushes to follow the times with Roman and Western characters.

The first two sections of the poem introduce the glorious days of the old calligrapher:

So many hired writers,
Praising talents with zeal,
Hands gracefully crafting strokes,
Like phoenixes dancing, dragons soaring.

That was when Confucian script was revered. The Confucian characters, beautiful, neat, vibrant, embodying the deep-rooted values of a cultural era, and the Old Calligrapher, with his talent, was praised. For an artist, nothing is more precious than the admiration of guests from all directions. But times change, for nothing is eternal. And in that flow of time, it's easy to wash away valuable principles. In that flow, the old calligrapher is not exempt from fate:

But each year grows lonelier,
Where are the hired hands now?
Red paper saddened, no longer bright,
Ink pooling in pens, melancholy profound...
The old calligrapher still sits there,
Unnoticed by passersby,
Golden leaves fall upon the paper,
Dust-storms rage beyond the sky.

Analyzing the poem 'The Old Calligrapher' reveals the contrast between when Confucian studies were esteemed and when they declined.

The Old Calligrapher finds himself in the plight of an artist forsaken, a beauty faded. Fate once welcomed, now departed early, alone at noon. The Old Calligrapher remains seated, unnoticed. Amidst the hurried modern life, he stands like a barren island, lonely and cold. This reality outside is as it is, and only that—it's rejection. But in poetry, alongside that reality, is the author's heart, where red paper fades and ink turns sorrowful. Personification, richly employed, imbues mundane objects with souls, haunting the reader's mind. Best of all, amplifying this profound sadness is the scene of misty rain and gusty winds. Is it the earth and sky's tears or the quiet coldness within the human soul? Unsure, but there sits a pitiful relic, amidst the rain and dust, a poignant figure amid the golden leaves of spring. It's truly a paradox, but a paradox that explains the rationality of emotion. For now, the Old Calligrapher is only a pitiful relic of a bygone era, hence

'Scenes bear nothing but sorrow,
For the sorrowful, what joy could there ever be?'

The ancients said 'poetry within paintings,' and here, with this poem, it's truly justified. The prose is sparse, yet the scene unfolds like a painting, revealing not just the Old Calligrapher's figure but also society's indifference through his eyes. The author has depicted precious details: where the Old Calligrapher is ink and pen, where the heavens are rain and wind, where society is indifferent. The five-word verse, with its expressive power for tales of woe and nostalgia, proves invaluable, its rhythm evoking a gentle sadness. The curtain of dust-laden rain closes on a dismal, cold, lonely verse, leaving a fleeting melancholy. And in that moment of reflection, one must bow to oneself under the poignant question that plagues the artist's soul:

This year, cherry blossoms bloom again,
But the old calligrapher is nowhere to be seen,
Where are the souls of those from ancient times now?

The Old Calligrapher has been cast aside from society, alone with his pen and paper, silently returning to his homeland. He tried to cling to modern society, and we modern folk saw his struggle, but we did nothing, only to realize now, he's been abandoned long ago. His shadow isn't just that of a person, or a profession, but the shadow of an entire era, the echo of our souls. Now we feel regret, but it's too late. Ask the heavens, the earth, the people, and society itself. What have our generations done with our nation's cultural beauty, perhaps even losing ourselves in the process? Today, as we look back, we suddenly remember the 'old days.' Is it a question, a plea for remembrance, or a regretful confession? It's not just a question; it's a lament, a choked cry of the poet witnessing the scene of national culture. The two most poignant lines of the poem reveal the fate of the Old Calligrapher and, more importantly, the sentiment of an entire class towards what belongs to the nation. The syntax of this verse is unusual, but no one finds it awkward: 'Those from ancient times.' 'Ancient times,' in reality, is just a few years, but calling it 'ancient' is correct. The era of the Old Calligrapher is long gone, lost in the pens and brushes of history. The phrase 'those from ancient times' in the first line juxtaposed with 'now' in the second line evokes a poignant sense of nostalgia.

With a unique sense of longing, a love for the culture of the homeland, Vu Dinh Lien awakens in the reader's consciousness a glimpse of the cultural beauty of a bygone era. To briefly reflect on ourselves, we question our lives, what have we done, how have we treated indifference and apathy. We thoughtlessly let ourselves drift, innocently joining the race, losing our national identity for fleeting pleasures, while those very values are the eternal essence of each individual's roots.

5. Analyzing Vu Dinh Lien's poem 'The Old Calligrapher,' sample number 5:

The true talent of an artist is not measured by the quantity of works in an extensive literary collection but in the lingering echoes of the spiritual child they nurture wholeheartedly. Some poets write sparingly but leave an indelible mark, haunting us with their verses, and Vu Dinh Lien is one such writer. Appearing intermittently in the poetry scene like a lover of words, Vu Dinh Lien has painted a magnificent image of a past worth longing for and proud of through the poem 'The Old Calligrapher.'

At the beginning of the poem, we encounter the law of nature or the law of humanity:

Each year cherry blossoms bloom,
And the old calligrapher reappears,
Displaying Chinese ink, red paper,
By the bustling street.

The event of cherry blossoms blooming reminds us of a Tet atmosphere, a spring day that follows the eternal laws of nature every year. It seems that within the natural order of this movement, the old calligrapher emerges as a habit, as something entirely natural with one word: 'again.' The image of the old calligrapher associated with Chinese ink, red paper, ... the tools of ancient Confucian scholars, all form the cultural backdrop for a traditional ethnic tradition, that is, Calligraphy Day on Tet with wishes for a peaceful new year. And in the following lines, the image of the old calligrapher appears truly talented, radiant:

How many hired writers
Praise talent so high:
'Hand blooms like flowers,
Brush strokes dance like dragons.'

Top 6 analyses of Vũ Đình Liên's poem 'The Old Calligrapher' handpicked

'Hand blooms' refers to the calligrapher's talent. One can imagine an old calligrapher in ao dai and a folded scarf, meticulously crafting on fresh red paper, shaping the Confucian characters with smooth yet firm strokes, likened to dragons and phoenixes emerging on the page. At that moment, everyone around is in awe, demonstrating their profound respect for the creator of these characters and the splendid national script. However, we easily recognize the fading glory of a once-grand past when:

But each year, more and more absent
Where are the hired writers now?
The red paper is sad, not bright
Ink pools in pens filled with sorrow...

The poet's questioning words delve deep into the reader's heart, not merely inquiring about the hired writers. The bustling presence of those who once wrote characters embodies an era of reverence for traditional Confucianism, now vanished, perhaps lamenting the decline of long-standing cultural values. The line 'each year, more and more absent' gradually diminishes enduring values. The anthropomorphism of 'sad red paper' and 'sorrowful ink' concretizes human sorrow. It depicts a reality where the absence of hired writers leads to faded red paper and ink pooling in pens due to disuse, symbolizing the poet's or the people's sadness. Is the sorrow that of the old calligrapher or the poet's empathy with the scene? The imagery of the old calligrapher at this moment is desolate, solitary:

The old calligrapher still sits there
Unnoticed by passersby
Yellow leaves fall on the paper
Dust drifts in the rain outside

Once revered, the old calligrapher is now marginalized, ignored by society's sidelines. He remains faithful to his pen, 'still sitting there,' yet people have changed, no longer paying attention to him, even ignoring his existence. Passersby rush by, oblivious to him sitting there. His image remains quietly mournful, to the extent that even the falling yellow leaves on the paper no longer seem to grieve, perhaps signifying the waning autumn of the Confucian era. In an era where the winds of Asia and the rains of Europe rage across the homeland, people seem indifferent to their rich cultural heritage, causing it to fade away, leaving the soul of the nation tinged with melancholy, like endless dusty rain.

The past has passed, and now, perhaps many are just realizing the absence of the old calligrapher:

This year, peach blossoms bloom again
No sight of the old calligrapher
Where are the souls of those ancient beings now?

If in the lines above, the image of the old calligrapher still lingers, even if 'unnoticed by anyone,' then in this passage, he disappears. The peach blossoms still bloom, the universe still cycles, but the figure of the old calligrapher from years past is gone. His disappearance signifies the loss of traditional cultural values. The final question of the poem: 'Where are the souls of those ancient beings now?' seems like a soul-summoning call, invoking the spirits of the ancestors, a plaintive cry echoing as if searching for the fading soul of the nation.

The poem is the heart of someone burdened with love for the motherland, for the thousand-year-old traditional cultural values of the nation. Through the poem, Vu Dinh Lien not only expresses his earnest yearning for the value of Confucianism but also engraves in the hearts of readers the desire to cherish the ancient cultural values of the nation.

6. Analysis of the poem 'The Old Calligrapher' by Vu Dinh Lien, Sample 6:

During the bustling days of Tet and the arrival of spring on every street corner, poetry lovers gently immerse themselves in the simple yet humane rhythm of poet Vu Dinh Lien's work: the poem 'The Old Calligrapher.'

The poem was born when the old calligrapher had become a relic of a bygone era. Confucianism had fallen out of favor, and people rushed to embrace the modern era with Western letters.

In the first two stanzas of the poem, the author introduces the glorious days of the old calligrapher:

How many hired writers
Praise his talent
Hands gracefully crafting characters
Like phoenixes dancing, dragons soaring.

Praises may sound generous, but upon closer reflection, they are merely accolades from those outside the realm of pen and ink. Writing couplets for hire is a fate of disgrace, a step down for scholars. Passing the civil exams to become officials, inspectors, or even low-ranking positions is still considered honorable, but being a hired writer is a mark of failure. Without accomplishment or renown, one must return to the village to teach, engage in fortune telling, or consult horoscopes in the bustling city as Tan Da once did. On Tet days, sharpening ink and selling characters on the sidewalk may also be an unfortunate task for Confucian scholars. The love and admiration from others for the art of writing, which they may not understand, or perhaps only appreciate martial arts, leads to such exaggerated praises. These praises do not bring glory to the old calligrapher; they may even add to his sorrow, but they provide comfort and signify the compassion of people during his decline. The author introduces: alongside the blooming peach blossoms, appearing just once a year, the red paper and Chinese ink characters representing moral righteousness are displayed on the streetside. Do not think of scholarly pursuits; consider the perspective of a vendor, then these two stanzas are amusing as they depict the demand, ensuring the old calligrapher can survive in this changing society. However, life does not remain the same forever, and people's interests change with the times. The younger generation has no connection to cherish those figurative characters. The refined talent in calligraphy, elegant, profound, and flowing, that the old calligrapher possesses, they do not need to know about.

But each year, more and more absent
Hired writers, where are they now?
Sad red paper, no longer vibrant
Ink pooling in pens, melancholy deepens...
The old calligrapher still sits there
No one notices as they pass by
Golden leaves falling onto paper
Outside, dust swirls in the rain...

Analyzing the poem 'The Old Calligrapher'

The old calligrapher finds himself in the plight of an artist without an audience, a maiden without her beauty. If fortune comes, someone will escort you; when fortune leaves, you return alone. The old calligrapher remains seated there, unnoticed by anyone. This is the harsh reality and the only reality, it is a state of obscurity. But in poetry, alongside this reality is the author's sentiment, hence the red paper fades and the ink of sorrow accumulates. Best of all is the harmony in this profound sorrow is the scene of rain and wind. Reality in poetry is the reality of one's emotions, the joy felt when the old calligrapher was 'in demand' in past years, does anyone feel the rain? The wind blows, leaves scatter, golden leaves fall onto the blank paper, they fall and remain there because the paper has not been used, there is no need to pick up those leaves. The unmoving leaf in its improper place demonstrates the complete stillness of the old calligrapher and his gaze upon the swirling rain and dust. The author has depicted precious details: where the old calligrapher is the ink, where the heavens and earth are the rain and wind, where society is the indifferent bystander. The poetic form of five-word phrases, inherently expressive of struggles, reminiscences, proves to be remarkably poignant, evoking a gentle sadness. The scene of rain and dust concludes the stanza with a somber, cold, melancholic, and desolate tone. Thus, with just eight lines, forty words, it conveys the final steps of a declining era. The contrast between this stanza and the previous one: ink with ink, paper with paper, people with people, serves to profoundly impress upon us the lamentable and poignant changes.

The compassionate heart, filled with empathy for the goodness of past eras in Vu Dinh Lien's 'Mr. Ink Peddler,' still resonates today. Besides this work, 'Homeland' by Te Hanh is also a poetry piece brimming with emotion from the poet towards their land of buried vegetables and cut rice. Mytour invites you to explore further the analysis of the poem 'Homeland' by Te Hanh, Vietnamese literature for 8th grade students.