Analysis of the short story 'The Human Prisoner'

Prompt: Analysis of the short story 'The Human Prisoner' by Nguyen Tuan

Outline, 5 exemplary essays Analyzing 'The Human Prisoner' outstandingly

I. Outline Analyzing the short story 'The Human Prisoner' (Standard)

1. Introduction

- Introduction to Nguyen Tuan and the short story 'The Human Prisoner'

2. Body of the Essay

a.  Context of Creation:
- Published in the collection Echoes of a Bygone Era, originally titled The Last Line
- Embedded within the collective inspiration of the collection, praising, and affirming beauty, extolling individuals with noble, virtuous lives, beauty being the focal point of the entire story.

b.  Regarding the Story's Situation:
- The situation in 'The Human Prisoner': The prison guard encounters Huấn Cao – a talented, dignified individual but also a convicted criminal of the court. => This is a dramatically rich and poignant situation (in terms of time, space, and the characters' status).

c. Analysis of the Character Huấn Cao
-  Circumstances: Huấn Cao – a government official overseeing education in a district, playing the role of a fallen hero, a situation that could easily turn a person into a despicable coward.
-  Huấn Cao's image is indirectly revealed through the eyes of the guard and the poet:
+ To the guard, Huấn Cao is a 'star … undetermined', a 'star … of the universe'.
+ Furthermore, he has the skill of 'picking locks and escaping prison' => A person of 'versatility in both literature and martial arts'.
=> The guard greatly respects Huấn Cao, revering him as a virtuous sage.

- Huấn Cao is portrayed through three aspects:
+ A talented artist with calligraphy skills:
+ A dignified individual resembling a hero
+ Huấn Cao also possesses a pure and righteous heart:

d. Analysis of the Prison Guard Character
-  Circumstances: Living amidst corruption, ruling over a prison where 'people live … deceiving', 'a heap of filth' => a place where people most easily reveal their inherent cruelty.
- However, the guard is described as a person with a 'gentle character … an honest person', 'like a peaceful melody … stirring', a 'pure soul' => depicted with sentimental prose, evoking the image of a person with a beautiful soul.
- The prison guard is portrayed through two aspects:
+ The guard is enamored, cherishing beauty:
+ The guard is also a person who knows goodness, courageously living in accordance with righteousness:

e. Scene Setting
- This is the most precious scene in the work, a scene that has 'never existed before'. Everything in that scene contrasts with each other.
- Time: midnight 'only echoes from the guard post' - typically, people write when the sun is shining, beautiful.
- Space: the prison cell 'a dark room … cramped' - the beauty.

- Humanity: Huấn Cao writes when preparing for court - people write when they feel most relaxed, happiest.
- The characters' positions are also reversed:
+ Regarding authority: The authoritative figure (the guard): hunched over - the guilty: upright, soaring in every stroke.
+ Attitude: the guard: trembling, hunched over - Huấn Cao: calm, tranquil
+ Status: Huấn Cao educates, advises the guard 'Here … be virtuous'
=> The guard bows before Huấn Cao: the goodness within him, he bows before beauty, dignity.=> illuminating the humanity of the guard.
=> The guard is a character through whom Nguyen Tuan conveys philosophical beliefs: Every person, no matter where they live, always has a soul yearning for beauty, eagerly awaiting the light of righteousness to shine.

f. Artistic Excellence:
- Romantic calligraphy skillfully portrays individuals in perfection, in idealization
- The art of constructing contrasting characters: Huấn Cao - the guard (prisoner - warden), contrasting within the guard character itself (a figure of the court, warden - diminutive before a prisoner like Huấn Cao).

3. Conclusion

- Reaffirmation of the issue
 

II. Sample Essay Analyzing the short story 'The Human Prisoner'

1. Analysis of 'The Human Prisoner', Sample 1 (Standard)

Nguyen Tuan – a writer always seeking beauty, brought a unique, talented style to Vietnamese literature. Before the Revolution, Nguyen Tuan's works, especially in the collection Echoes of a Bygone Era, often depicted the late Confucian scholars, talented individuals but unfortunate, resigned to life yet deeply conflicted with society, amidst the 'Westernization' era. These works in Echoes of a Bygone Era describe noble, audacious individuals in life, taking their attitude as a contrast to society. Among these works, 'The Human Prisoner' stands out with its character Huấn Cao – a talented, dignified individual with an extremely pure and virtuous heart, though faced with unrealized aspirations, he never loses his proud and defiant attitude towards life.

The work 'The Human Prisoner' was published in the collection Echoes of a Bygone Era in 1940, originally titled The Last Line. The work shares the same emotional thread with other works in the collection, praising and affirming beauty, while also praising people who live beautifully with a simple yet noble lifestyle. And beauty is the center of the entire story.

Nguyen Tuan has crafted a remarkable 'The Human Prisoner' not only with skillful writing but also with a unique story situation. The story situation is the circumstance that creates a unique event created by the writer in his work, where life appears most vividly, and the writer's intentions are most clearly revealed. Based on that, Nguyen Tuan has created a story situation where the prison guard meets Huấn Cao – a talented individual, especially in rare calligraphy, but also a prisoner awaiting execution. And the prison guard – deeply admiring Huấn Cao's handwriting, is determined to obtain the prisoner's writing for his own wish fulfillment. The story situation that Nguyen Tuan created is extremely distinctive, unique, rich in drama yet full of twists. That has created 'The Human Prisoner' – a work about unparalleled beauty.

Essay Analyzing the Story 'The Human Prisoner' by Nguyen Tuan, comprehensive, detailed

Reading the work, one cannot help but be impressed by the main character in the story – Huấn Cao - a figure representing the class of talented Confucian scholars, but unfortunately out of sync with the times. Huấn Cao – a fallen hero, he is a Confucian scholar but also a leader of the people rising up against the court to reclaim justice for himself. Despite his struggles, he is caught, judged as a rebel against the court, sentenced to death, because in the Confucianism of the past, loyalty to the country is one of the prerequisites that determine a person's character. Many believe that the character of Huấn Cao was inspired by the hero Cao Bá Quát – a Confucian scholar also extremely talented, courageous, with exceptional calligraphy skills, known as the 'saint Quát', also a leader who rose up to lead a rebellion against the court.

Huấn Cao is highly respected by a district official responsible for education and by the prison guard in the work. Huấn Cao is likened to a 'star twinkling in the night', or 'a star of prominence'. With his position, someone like the prison guard, upon hearing news of a 'rebel' like Huấn Cao entering his prison, should feel anger, should hate him deeply, but the prison guard is different, he seems to revere Huấn Cao, to value him. One can see in it a part of the favor that Nguyen Tuan shows to a fallen hero like Huấn Cao.

The character of Huấn Cao is modeled after the hero Cao Bá Quát, perhaps that's why Huấn Cao also possesses talent, not only in the art of calligraphy but also as a hero with steadfast courage and a pure heart. Nguyen Tuan has depicted Huấn Cao on many levels to show a noble beauty, reaching the pinnacle of goodness in life.

Firstly, Nguyen Tuan portrays Huấn Cao as an artist, extremely talented in the art of calligraphy, renowned everywhere. Nguyen Tuan indirectly praises Huấn Cao's talent through the story of the prison guard and the teacher. In the story of the two jailers, six criminals appear, including one named Huấn Cao 'Huấn Cao? Or is it the person that our province Sơn always praises for his fast and beautiful handwriting?'. Not only that, the two jailers also remind each other that 'aside from the talent for writing, he also has the talent for picking locks and escaping', that's all people indirectly hear about Huấn Cao. Huấn Cao emerges as a 'versatile genius', embodying the qualities of a skilled hero. Nguyen Tuan was truly subtle in cleverly allowing his character to appear indirectly in the narration of others so naturally, when his fame had spread throughout the world.

However, Huấn Cao's talent is even more apparent in the actions and thoughts of the prison guard – the one who desires Huấn Cao's writing more than anything else in the world.

As soon as he received the 'notification' informing him that 'we are about to receive six prisoners, among them, I found that the leader of the rebel group is Huấn Cao', the prison guard almost immediately wanted to treat Huấn Cao differently. The prison guard ordered the 'cleaning of the innermost cell. There's a need for it.' He wants the last days of Huấn Cao's life to be the most comfortable, so he bravely disregards danger to treat Huấn Cao with utmost kindness. For him, not only does he want to express his appreciation and respect for Huấn Cao's talent, but he also wants to fulfill his own wish, which is to obtain Huấn's writing. For him, obtaining Huấn Cao's writing has become a 'wish' that, once fulfilled, he will be 'satisfied'. Beauty truly has great influence, it makes people enamored, makes them strive to achieve it, regardless of the imminent dangers.

Huấn Cao's talent is not directly revealed by Nguyen Tuan in words, but one can still see the beautiful calligraphic characters of the prisoner before their eyes. Through the dangerous actions of the prison guard to deal with Huấn Cao and the thoughts of the guard, we are deeply impressed by the famous calligraphy talent of the Sơn region. And by simply describing the burning desire to obtain Huấn Cao's writing by the prison guard, Nguyen Tuan elevates Huấn Cao's talent, turning him into a genius beyond others, a 'poetic saint'. The prison guard's attitude towards the prisoner is full of admiration, full of respect, perhaps this is also Nguyen Tuan's admiration for beauty? It is known that Nguyen Tuan is someone who always seeks beauty, and the beauty in Huấn Cao's calligraphy talent has touched the absolute beauty that Nguyen Tuan seeks, isn't it? And is that also a tribute from Nguyen Tuan to the traditional culture of the nation that is fading away?

Not just a talented artist in calligraphy, the prisoner Huấn Cao is also renowned for possessing the noble demeanor of a hero.

Nguyen Tuan painstakingly constructed the image of a towering hero, someone who was just a minor official responsible for education in a district but dared to lead the people against the regime to restore social order. Despite being a minor official, amidst the chaos of 'Chinese learning declining,' 'Western barbarians invading,' that official had to rise up with the desire to restore justice to society, longing for a better society. Like the prison guard's assessment of Huấn Cao, he not only recognized Huấn Cao's talent in calligraphy but also admired his extraordinary demeanor, calling Huấn Cao a 'morning star,' a 'celestial being about to leave the universe,' or a 'troublemaker.' With just a few words from the guard, one could see the magnitude of the mission that Huấn Cao pursued; it was immense and magnificent beyond measure!

Huấn Cao's noble demeanor was evident not only when he was still free but even when he faced adversity and imprisonment, he maintained his unwavering and resolute demeanor.

His demeanor was indirectly conveyed through the words of the characters in the story, first through the words of the soldier leading the prisoners. When he brought Huấn Cao and his comrades to the prison camp of the guard, the soldier warned the guard: 'Master, he is the leader. Please take care. He is the most arrogant and dangerous among them.' A hero, even in adversity, remains an exceptionally dangerous figure, deserving special attention. That was the defiant demeanor of Huấn Cao, the demeanor of a hero radiating brilliantly.

Continuing, one certainly notices a small detail in the story, the enticing detail. Nguyen Tuan ingeniously inserted this small but prominent detail into the narrative, reflecting the bold and defiant demeanor of the hero Huấn Cao. Truly, only Nguyen Tuan could accomplish this!

After stepping into the prison gate, in a position where others would likely feel sorrow or even degrade into petty beings, Huấn Cao did not. His words and actions seemed remarkably relaxed, casual, as light as air. Huấn Cao said, 'A mosquito bit me, my neck turned red! Gotta endure it!' His words were gentle, as if this were a normal occurrence in his life rather than him being in shackles and entering prison. Hearing this, one might imagine Huấn Cao being calm as if performing an ordinary task in life.

And then, his defiant demeanor was further highlighted with the action of 'enduring the shackles': 'Huấn Cao coldly, pushed the heavy shackles, bent down to push the shackle's head onto the stone threshold with a resounding bang.' With just the word 'resounding,' Nguyen Tuan captured the entire heroic spirit in that phrase. The word 'resounding' echoed, making the reader feel as if they were witnessing Huấn Cao 'enduring the shackles' with their own eyes, hearing the sound of 'enduring the shackles' reverberating in their minds. Pushing the shackle's head, Huấn Cao did so calmly, as if he were performing a normal daily task. While his five fellow prisoners 'grimaced' because 'the shackle's iron collar was yanked hard, hitting their necks,' Huấn Cao showed no expression. That was the demeanor of a hero undertaking a great task, earning the respect of all.

The demeanor of the hero Huấn Cao is further exemplified through the portrayal of a prisoner in the labor camp. Labor camps have always instilled fear and dread in people, turning heroes into powerless individuals, but not with Huấn Cao. For him, the labor camp is merely a place to live because his spirit has already roamed the world. Even in prison, it's no different than being at home; Huấn Cao remains composed and free, accepting the 'hospitality' of the guard, he 'calmly accepts the wine and meat, as if it were something done out of habit in his former carefree life.' Huấn Cao is akin to Phan Boi Chau in the Quang Dong prison:

'Still noble, still elegant
Run tired legs, then hang in prison'

The arrogant demeanor of heroes truly commands profound admiration from ordinary people like us. And Huấn Cao's demeanor is also evident in his disdain for tyranny.

This is evident when the guard retreats into his 'closed chamber, timidly asking Mr. Huấn' both hoping he will keep secrets and kindly inquiring 'if you need anything else please let me know. I will try my best to accommodate,' but in response to the guard's kindness, Huấn Cao only replies with arrogance, 'You ask what I want? I only want one thing. That you don't set foot here.' To him, all those belonging to the court, the officials of the court are evil, wicked individuals who live off the backs of the people. Therefore, he also regards the guard as such. That's why he 'disdains to the point' these despicable people. When the guard hears his words and responds with a 'please pardon,' one can only perceive the stature of Huấn Cao, it becomes more majestic, more dignified. A guard, a prison lord, yet 'humbly clasping hands' with a convict, then that convict must possess a demeanor that commands respect, doesn't he?

Traditionally, for heroes with towering dignity, death is nothing more than a 'feather,' they no longer care about life or death. The same goes for Huấn Cao, even on the eve of his trial, he remained composed and calm. While others, faced with death, might not tremble with fear but still be deeply moved, however, for heroes like Huấn Cao, death holds no fear. Therefore, he remains dignified, calmly writing down the final words of his life, 'the square characters speak of the rampant dreams of a lifetime.'

If above, one only sees his talent indirectly through the narratives of others, here, his demeanor is directly revealed through words and actions, also indirectly through the guard's narrative. Nguyễn Tuân constructed Huấn Cao within the inspiration of idealized legal rhetoric, deeply engraving in our hearts the image of someone with a proud demeanor.

Not only is he talented, surpassing others, but Huấn Cao is also known for his extremely pure and noble heart.

Pure-heartedness is a term referring to the inherently good nature of a person shown from birth. Huấn Cao is someone with a pure and noble heart, demonstrated through his attitude towards writing and his philosophy about it. As the guard spoke about Huấn Cao, 'his nature is rather steadfast, except for friendships, he's reluctant to write', because for Huấn Cao, writing is precious, he cannot write couplets on a whim 'I never write couplets for wealth, power, or status'. Huấn Cao's beautiful writing is such, but in his lifetime, he only wrote 'two sets of bình and a middle way for three close friends', he only entrusted his words to those deserving, to those who share the same ideals. That is Huấn Cao's philosophy about writing, about the beauty in life. Huấn Cao gave his writing to the guard because 'I appreciate your gracious attitude', not wanting to betray the gratitude of someone with 'noble preferences' and a heart that respects beauty.

The action of giving his writing to the guard not only demonstrates a precious respect for humanity, a reward for the loyal, but also uplifts the divine light in another person of Huấn Cao. Writing, composing couplets is a creative act aesthetically, but here, it is also an emotional gesture of morality.

Huấn Cao's pure-heartedness was evident when he wholeheartedly advised the prison guard, moved by the appreciation of beauty, cherishing the guard's beauty, and also from that beauty, he urged the guard to uphold his own purity of heart. A person's inherent goodness is beautiful, but when shared, helping others become virtuous amplifies that goodness manyfold. And Huấn Cao truly accomplished that by advising the guard, 'I'm telling you, I think you should return to your hometown and leave this profession... It's difficult to maintain purity here and eventually, you'll lose your virtuous life.' A prisoner used his last bit of conscience to guide others towards goodness, he used his boundless purity to inspire purity in others' hearts. That is truly a hero in life!

Huấn Cao is a character constructed by Nguyễn Tuân with romantic prose, idealizing a patriotic hero, simultaneously, thereby discreetly revealing his own deep-seated patriotism, cementing his views on the beauty of characters about art and humanity. True art will have a strange allure to those who truly love and appreciate it. Beauty will impact the consciousness, the soul of a person, it's the harmony of both talent and heart.

However, The Prisoner's Characters would not be a complete work if not mentioning the prison guard, a prison lord living amidst the 'cruel', 'deceptive', 'filth', where people are prone to downfall, easy to reveal their wildest, most cruel instincts.

Thought to live in an environment with a 'crowd of turmoil', the guard would also be like them, blending into that chaotic 'orchestra', but no, the guard is likened to 'a clear voice amidst a chaotic orchestra where music laws are all chaotic and tumultuous'. He is a person with a 'gentle character and a heart that values people', a person 'pure amidst filth'. The guard emerges completely in a passage described with sentimental prose, evoking the image of a person with a beautiful soul, appreciating beauty and talent.

The prison guard, crafted skillfully by Nguyễn Tuân, is depicted through two aspects: one as a person passionate about beauty, and two as someone who knows how to guide towards goodness, living with his own purity of heart.

The guard is someone passionate about and cherishing beauty, as seen when he received word that Huấn Cao was about to be transferred to his prison. The guard almost immediately showed a desire to 'treat' Huấn Cao - the rebellious prisoner along with his other companions, disregarding the danger to his own life if it were to be exposed. While other guards might seek to assert their authority as prison lords, this guard demonstrates a respectful 'treatment' towards a prisoner with such noble arrogance.

The guard's life philosophy revolves around cherishing beauty, talent; beauty being the primary criterion for assessing a person's character. Hence, upon receiving Huấn Cao into his prison, the guard treated him with utmost care. Loving beauty, valuing talent, thus, the guard always harbors the 'desire' to have Huấn Cao in his hands, wishing for 'a day when he could hang a pair of couplets written by Huấn Cao at his own home', 'unable to request even a few words, then regretting it for life'. Not everyone has such desires, it's a noble aspiration with the qualities of an artist. Without loving beauty, valuing beauty, one cannot truly understand the beauty of life and appreciate the talent that creates beauty, can they?

Perhaps, every action of the guard towards Huấn is a gesture of utmost respect and humility. When Huấn Cao appears before the guard, with his arrogance in the act of 'tempting the shackles', if other prisoners, the guard would probably 'employ the usual tricks of torture', but with Huấn Cao, he 'restrains himself, though trying to keep it discreet, it's already quite obvious'. Indeed, a person who cherishes beauty, talent like the guard, how could they not admire a person of talent and arrogance like Huấn Cao?

Even when misunderstood and 'disrespected to the extreme' by Huấn Cao, the guard maintained his respectful demeanor, responding with a courteous withdrawal, saying: 'Please proceed,' for he understood the nature of heroes like Huấn Cao, 'those who defy heaven and earth, even upon one's head, no one knows who else is there, let alone someone like me, just a lowly prison guard.' Huấn Cao's arrogance only served to deepen the guard's admiration for him, his disdain for the guard only made him feel more reverent, 'yet the meals and drinks kept coming, even more generous than before.'

The guard - a character whose fate is far from his soul, Nguyễn Tuân also openly acknowledged that 'God sometimes plays cruelly, exiling purity into a cesspool. And those with good and straightforward hearts, end up living among a rabble.' The guard is someone enamored with beauty, longing to possess and cherish it. And as Nguyễn Tuân once affirmed: a person who loves beauty, cherishes beauty, can never be a bad person.

The guard is perhaps someone who knows how to guide towards goodness, living courageously in response to the call of purity.

Perhaps, when stepping into this dreadful prison profession, the guard also once lamented, 'Perhaps he, like me, chose the wrong profession!' For he understood the environment of the prison 'where people live by cruelty, by deceit,' would destroy a 'good and straightforward' soul, as well as the love for beauty. When faced with Huấn Cao, a person of talent and beauty whom he respects, 'the prison guard sat pondering,' unsure how to act, what to worry about? On one hand, he did not want to violate the official rules of the court, on the other hand, he wanted to treat a rebellious prisoner whom he admired. The situation made the guard ponder his choices. Some would forget their hearts, forget the beauty they love and cherish, for the sake of duty, but not the guard. After a night of contemplation, 'the wrinkles on a thoughtful face, now disappeared completely. There, now, was just the surface of a spring pond, calm, quiet, and gentle,' he chose to listen to the voice of his heart, to follow the call of beauty, of goodness.

Welcoming Huấn Cao, witnessing his audacious 'provocation,' yet the guard showed no hesitation, moved to directly reveal his heartfelt sincerity, leaving all the soldiers surprised to the point of 'reminding.'

In the end, as Huấn Cao agreed to write, offering advice to the guard 'Sir, you should return to your hometown and leave this profession behind, then consider playing with words. Here, it's difficult to maintain purity and eventually lose one's righteous life,' upon hearing this, the guard couldn't help but be moved, bowing his head, looking at the 'brush,' 'bowing to the prisoner, clasping his hands, saying a word as tears welled up: 'This deluded one pays respect.' Ultimately, the guard's righteousness was fully revealed through beauty.

The guard has transcended the limits of his role to live true to himself, to his conscience, regardless of the danger to his life. A conflicted individual, he is a prisoner of his own, lost amidst the prison he oversees.

The guard, crafted by Nguyễn Tuân with romantic inspiration, with his love for beauty. Through the character of the guard, Nguyễn Tuân seeks to affirm his view of beauty, that it will be the source for humanity to return to the true beauty of life, or that a person who loves beauty, cherishes talent, will never become an evildoer.

Understanding 'The Prisoner's Letter' without careful examination, without delving into the most precious segments of the work, 'scene for words,' one cannot fully grasp the profound meanings that Nguyễn Tuân wishes to convey. The 'scene for words' is the most precious scene in the entire work, a scene 'never seen before.'

Amidst a cramped space in the solitary confinement cell, 'a dark, narrow chamber, damp, walls covered in cobwebs, floor scattered with rat and insect feces,' is where one can see beauty, the talent of a person. In the dead of night, 'only the echo of the guard's watch can be heard,' words are created when least expected, for traditionally, words are written when the sky is still bright, when the sun is still beautiful in the world. And the one who writes is also the same, those who engage in this creative work must be literate, in the most relaxed, happiest state, yet conversely, the one writing here is a prisoner who will be led to the execution ground tomorrow. Perhaps now is the last time the hero can leave his teachings with 'the dreams and aspirations that have flourished throughout a lifetime.'

Perhaps never before in Vietnamese literary history has there been a scene for words where the positions of the characters are reversed to this extent. The powerful figures like the guard, the poet, have to cower, shrink, while the prisoner, guilty of his crimes, stands upright, calmly, serenely soaring in every stroke of the characters! And if the warden is those who must give advice and educate the inmates, then here, the inmates are the ones speaking to educate the warden. However, no one can deny that the dignity, the talent of that prisoner has made even the powerful figures like the guard bow their heads. And that bowing does not diminish the guard but elevates him, because those teachings have awakened the goodness within him, bowing before beauty, authority, to receive teachings is never demeaning.

The guard reveres Huấn Cao, that reverence not only does not make him timid but also illuminates his beautiful, saintly character, the worship of the guard for beauty, talent, and the hero's charisma.

The warden embodies Nguyen Tuan's profound philosophy of human life. It is hidden behind every individual, even those living in wickedness, cruelty, there is always a soul longing for beauty, longing for goodness, eagerly awaiting the light of righteousness to shine forth and awaken vigorously.

With his romantic writing style and talent, Nguyen Tuan has created characters in perfection, idealized to the fullest. Like Huấn Cao - an outstanding individual, not only talented but also with extraordinary charisma, and a heart full of righteousness. As for the warden - a person living amidst all the evils yet becoming 'a clear voice amidst a chaotic orchestra,' knowing how to love beauty, value talent, and respect goodness. He also constructs contrasting characters in 'The Prisoner's Letter' such as Huấn Cao versus the warden (prisoner versus warden), or the contrast in the warden's identity and inner self.

Moreover, in 'scene for words,' the author also constructs contrasting images from space, time, as well as beauty contrasting with ugliness. The language in 'The Prisoner's Letter' is extremely rich in imagery, diverse Vietnamese Han words creating an ancient atmosphere for the work.

'The Prisoner's Letter' is Nguyen Tuan's most successful work in the collection 'Echoes of a Bygone Era.' It has shown us the beauty of a talented hero, the ethos, while also presenting Nguyen Tuan's perspective on beauty in life.

The tale 'The Condemned Prisoner's Calligraphy' by Nguyen Tuan stands as a masterpiece, nearly achieving perfection. It showcases the author's artistic prowess, skillfully crafting unique story situations and vivid character depictions through stark contrasts, rich imagery, and dignified language. Through the story, the author asserts the eternal existence of beauty, expressing Nguyen Tuan's subtle patriotism.

3. Detailed Analysis of the Short Story 'The Condemned Prisoner's Calligraphy', Model Number 3:

Nguyen Tuan was born in 1910 in Nhan Muc village, also known as Moc village, in Hanoi. He was a person of robust integrity in both life and literary work; possessing broad knowledge, valuing talent, respecting the profession, and exhibiting unique creativity in prose and insights. His literary career can be divided into two periods. Representative works before 1945 include 'Echoes of a Bygone Era' (1940), 'Pen Sketches I' (1941), 'Pen Sketches II' (1943). Post-1945: 'Campaign of Love' (1950), 'Resistance Pen Sketches' (1955), 'Da River' (1960), along with several critiques and literary portraits. Nguyen Tuan made significant contributions to modern prose literature, particularly in the essay genre, with profound perceptions and diverse, kaleidoscopic writing styles.

'The Condemned Prisoner's Calligraphy' tells the story of a prison warden who admires the talent, particularly the renowned Chinese calligraphy skills, of a condemned prisoner. He secretly treats the prisoner with respect, hoping to obtain a cherished piece of calligraphy. Just when he thinks all hope is lost, the prisoner happily grants him a piece of calligraphy, along with advice to abandon his profession, live modestly in the countryside, and preserve a pure soul worthy of the beauty of calligraphy. Through this story, especially the scene of writing by torchlight, the author aims to highlight the high value of Beauty: beautiful writing, noble virtues, and exemplary character. It praises those who cherish and preserve such Beauty as a life treasure, more valuable than gold or power. Contemporary readers exploring ancient literature always face significant cultural and historical barriers. Discussing feudalism brings up images of kings and peasants, landlords and farmers. Mentioning Confucianism evokes discussions on ethics, ruling by intellect, and serving the people. Discussing Buddhism brings up concepts of karma, compassion... one can grasp some understanding, but when faced with the material and spiritual products of feudal culture, especially those in the specific era depicted in this short story, understanding becomes truly challenging.

Extracted from the collection 'Echoes of a Bygone Era', 'The Condemned Prisoner's Calligraphy' reflects on a time and a group of people who have faded into the past but remain deeply etched in the author's memory, revered and respected. Nguyen Tuan deliberately evokes the atmosphere of the past in 'The Condemned Prisoner's Calligraphy.' The scenery, characters, and events vividly bring us back over a hundred years ago. The opening lines, 'Slab of plaster from Governor Son Hung Tuyen's road department, wanting to understand thoroughly, hesitant due to gray hair,' present an archaic atmosphere. Typically, one would write a 'trát' leaf, but the author retains the ancient term, imbued with grave meaning—'slab of plaster.' Why doesn't he write: 'from the office of Governor Son Hung Tuyen's road department' in the Hán structure, as in the plaster slab to maintain its essential qualities, exuding authority in every word... 'Governor's road department' refers to the position of Governor. Additionally, it includes the abbreviated names of three provinces: Son (Son Tay), Hung (Hung Hoa), Tuyen (Tuyen Quang), as back then, smaller provinces were headed by district officials, and only when two or three smaller provinces were combined did they have a Governor overseeing them—all these provinces collectively under the rule of a Governor. Orders issued from the Governor's palace to provincial and district levels carried significant authority.

Guidelines for analyzing Nguyen Tuan's short story 'The Condemned Prisoner's Calligraphy'

The writer borrows ancient characters to revive the atmosphere and setting of a bygone era. Descriptions include a lookout tower (a tall structure built to oversee long distances), a decorated balcony, a sword rack, official documents, a river, manuscript paper, ink stone, ink stick, inkpot, paperweight, and an oil lamp... Descriptions of people include a master scribe, a well-built prison, a young servant, and a workshop overseer... Descriptions of the calligraphy contest, changing pens, completing the composition, receiving feedback, and showing respect... Behind these words lies a glimpse into an ancient culture. This story slices a piece of that culture, transporting readers into the atmosphere of a representative prison gate during that era, brimming with power but also foolishness, collectively destroying character and talent. Yet within it emerges a subtle yet profound appreciation for the beauty of virtue and talent. The substance within the story captivates readers, a notable feat indeed.

The plot of 'The Condemned Prisoner's Calligraphy' revolves around the beautiful calligraphy of a prisoner sentenced to death. While the significance can be broadened, that remains the core. There are three types of people and three attitudes toward that beauty. The first attitude is destruction; the second is admiration, reverence; the third is magnanimity, self-respect, respect for others, befitting a gentleman. Woven into the story are these three attitudes toward beauty.

Is the theme of the story to honor beauty ambiguous? The beauty in the calligraphy of the prisoner is indisputable. The prison warden heard praises from all over Son province for the fast and beautiful calligraphy of this prisoner. Of course, this calligraphy talent is associated with a specific name, Huấn Cao. Mr. Cao was once a supervisor in Son Tay province, where the prison warden affectionately refers to as Son Tay province. This Huấn Cao now tops the list of six prisoners convicted of rebellion, daring to wield a sword against the regime. The narrative only tells so much, whether the character Huấn Cao is the famous poet or calligrapher Cao Bá Quát, who was once appointed as a religious official in Quốc Oai district, Son province, and rose up alongside peasants against the ruling class, remains unknown. It's the mystery of the pen, where the moon hides in the clouds, as the ancients say. If there are any coincidences, they may be considered random.

Ordinarily, in life, anything beautiful is esteemed as it adds joy and significance to life. Beautiful calligraphy is no exception. These are ancient Chinese characters, a type of pictographic script, stylized over generations into a calligraphy art form with strict rules (calligraphy). Our ancient books and those of China mention the Lan Đình letter of Vương Hi Chi as a famous example of beautiful calligraphy, while also recording the emergence of various schools of Chinese calligraphy. In the past, wealthy households, especially those with scholars, often displayed many couplets, scrolls, placards, and banners... made of fine silk, thick flower-printed paper, lacquered wood with gold leaf or mother-of-pearl inlay. Especially the banners, a set of four silk panels forming a painting with elegantly written characters copied from the words of friends and cherished poets of the Tang dynasty, displayed in the house was a matter of pride and honor, a treasure more valuable than gold and jade. Beautiful calligraphy is a rare beauty in the world, but unfortunately, it belongs to a prisoner facing the death penalty, meaning when he dies, it will be lost as well. The risk of losing such a treasure in the world is evident. Even if a pearl is found, where can one find those soaring dragon and dancing phoenix characters, characters that an entire province praises? This suddenly makes its beauty even more dazzling.

This beautiful calligraphy hand is accompanied by an extraordinary character. When the writer mentions the skill of lock-picking and prison escape, it's likely to emphasize martial prowess alongside literary talent. Please don't hastily judge it as inferior. Lock-picking to escape prison, daring to resist the brutal ruling regime, and saving innocent lives, who would dare to criticize that? The respectful demeanor of the prison warden towards the prisoner reflects nobility; addressing him once, twice, asking if there is anything else needed... it must not only be because he heard the name Huấn Cao and remembered the rumor of beautiful calligraphy, but also because he had heard and thought of many other things about that person: Those who stir the heavens and ruffle the waters, when they come to one's head, one no longer knows who else is there... In the character of Huấn Cao, the soul is beautiful, the character is beautiful, the actions are beautiful, but all are hidden behind beautiful calligraphy strokes. Those beautiful strokes represent moral beauty, while beautiful calligraphy is an art form. Art that is both beautiful and exquisite, no one can help but admire it. Nguyen Tuan uses it as the core of his story.

In his work, Nguyen Tuan explores three attitudes towards Beauty. The first attitude is destruction. Some characters depicted in the story, although described, are of the lowest caliber, merely existing within the prison walls for so long that they've become accustomed to brutish behavior. These are the rough soldiers, the petty thieves, the jailbirds, the guards, the inmates. Their way of life is one of cruelty and deception. They are a despicable lot, a gang of rogues. When they see fellow prisoners kneeling down to hammer the fetters into the stone threshold to loosen them, one of the guards jests with a venomous tongue: You don't need to bother kneeling anymore. Perhaps someday there will be someone knowledgeable who will lead you to entertain in the court. Then you can kneel all you want. He continues, mockingly: If you stand up, the boss won't beat you with the clubs anymore. In the same tone, he reminds the prison warden when he notices the warden showing respect and a hint of fear towards Huấn Cao: That guy is the ringleader. Please pay attention. He's the most arrogant and dangerous among them. Their ways are corrupt. Naturally, such a place breeds individuals like him. Even if someone has a pure heart, it's difficult to maintain moral integrity, and eventually they too succumb to corruption. Huấn Cao's advice to the prison warden at the end of the story merely echoes a timeless truth about the prison gate of the ruling class in decline. The poet Cao Bá Quát has a poem about the fetters: You only know how to shackle people, but do you know what's right or wrong in this world, it aptly refers to these brutish individuals. Those prisoners, whether Huấn Cao or whatever officials they may be, no matter how high their morals and talents, to them, they are just prisoners, they are death row inmates, so they speak through shackles, through rulers, through rods, through swords. They only obey one command: to destroy. Another type of person, though not present in the story, are the big-eared, big-nosed ones, giving orders from afar. They are Sơn Hưng Tuyên, the governor of the road department, the figure of the Minister of Heaven in the classics, the usurer, or more abstract but more terrifying, the national regime... Invisible, but it is itself the machine of destruction. Talent, virtue, integrity, dignity, patriotism, concern for the country, concern for the people, literary talent, art... it doesn't need any of those. It only needs as many foolish slaves as possible to help it tightly grip onto its filthy and hollow throne.

The second attitude is one of reverence, honoring talent, and noble spirit. This is the attitude of the prison warden and the poet alike. Beauty is admired by all, but it is only when something is beautiful that it becomes truly valued. The poet knows that Huấn Cao possesses both literary and martial skills, but this knowledge comes from the words of the prison warden and hearsay. Yet, upon hearing that such a person is to be executed, there is a sense of lamentation. This innate trait, to appreciate talent and sympathize with suffering, in this simple and sincere poet is truly admirable! The prison warden may not have much in terms of saintly morals, but his level of education is evident in his words: Those who study are like rice and grains, those who don't are like straw and grass. What's more admirable is his ability to appreciate the Beauty of writing, the Beauty of dignity, treating the appreciation of Beauty as a refined pleasure in life. His character is above average, knowing how to appreciate the Beauty of writing, the Beauty of dignity, and knowing how to cherish the dreams of those talented in writing, making him even more worthy of respect! Loving Beauty, valuing Beauty, and admiring Beauty also elevate human beings, making their qualities greater, higher, and more fragrant. The prison warden has tapped into the pure heart of the poet, first through the innocent feeling of regret, and from there, he affirms that anyone who knows how to admire dignity, to pity, and to respect those with talent cannot be a bad person. It's not just deduction, but understanding from one's own heart to the heart of others. That's the assessment of others, while for oneself, it's impossible to hide the reverence, the subtle respect for Huấn Cao and to use the power of the state to suppress the rough soldiers accustomed to their ways. It took him a long time before he dared to enter the prison cell, humbly asking, bowing and scraping, requesting a favor from Huấn Cao, only to receive a lofty dismissal: What do you want from me? I just want one thing, that your family doesn't set foot in here. Then he politely withdrew with: Please understand! without resorting to petty tricks of intimidation and still offering more food and drink than before. That's demeaning oneself excessively. Normally, officials from the highest to the lowest, just need to display authority, speaking through death sentences, through shackles, through threats, not through justice. But this prison warden has approached the death row inmate from the perspective of an underling, according to the true values of righteousness: those with little talent and virtue should respect those with great talent and virtue... Moreover, he even wanted to ask for the beautiful handwriting from that death row inmate, even if he died, he would die with it. Playing with beautiful writing, on one hand, is a refined pastime, but being able to preserve that beautiful handwriting for life is a consciousness of a treasure that was rare in a society that valued titles and money more than education and culture back then. That pastime, that consciousness, the prison warden hoped to turn it into reality. The preparation became increasingly meticulous, and the anticipation grew more intense every day. He had already bought dozens of pieces of white silk But he still flattened it out neatly. Oh! Please understand his heart: From what days, the wish of this prison official is to have one day in his own home a couplet written by Huấn Cao... To have Huấn's handwriting hanging is a treasure in life. A person with such an aspiration, within his character, is there not something worthy of admiration? Not to mention that he resides in a place filled with scenes of the King of Hell, the Underworld: without oil, there are dark cells, without saws, there are shackles, tortures, even turning prisoners into headless ghosts... There, there is no room for righteousness, compassion, justice, even a little bit. Yet, to have managed to retain two souls, one pure and one noble, amidst such cruelty and depravity, makes that pure and noble spirit even more worthy of reverence! In the mud, the lotus still emits its fragrance. The characters of the poet and the prison warden complement each other to fully demonstrate the order of the true value system and righteousness in this story. The scene of writing in the prison cell at night under the red glow of a torch and Huấn's moment of joy, the prison warden's satisfaction, along with the respectful words following Huấn's advice, is a harmonious blossoming of the three beauties of three individuals deserving of being called Human.

The third attitude is the lofty demeanor of a true statesman and gentleman. First, the character of Huấn Cao emerges through rumors. Since it's based on hearsay, not everything is accurate. There may be some exaggeration in accordance with the distorted laws of oral tradition, like his skill in picking locks to escape prison, for instance, but his ability to write beautifully and swiftly, acclaimed by all, is likely true. As for the accusation of treason and rebellion, it's clearly documented in official records. But anyone daring to engage in such acts must naturally possess integrity and talent, hence the sense of lament upon his execution. His actions concern the nation and the court, beyond the comprehension of prison officials. Thus, even though Huấn Cao has not been seen, his reputation precedes him, emphasizing his credibility and renown. In the minds of the two prison officials, there's an emphasis on Huấn Cao's character, including the cautionary words of the supervising soldier. The three characters each contain distinct evaluative meanings: the poet feels sorrowful, the prison warden remarks on Huấn's precision (he's naturally precise, except in matters of friendship, where he's less firm with his words), and the supervising soldier labels him arrogant: That person is the mastermind. Please pay attention. He's the most arrogant and dangerous among them. Why does the poet feel sad? It's because he recognizes the talent of the death row inmate. With talent comes the duty to live and utilize that talent for the betterment of society, as desired by our ancestors. Talent coupled with virtue can overcome any hardship. Having read ancient stories, the poet thinks: Having talent but turning to rebellion is truly saddening because in rebellion, right from wrong is unclear, yet one is sentenced to death. Such talent, unused by the rulers, is extinguished, to the detriment of society! How sad for the world! This is an evaluation of talent, which is also a form of Beauty in life. But what about precision? Precision in what? Precision with whom? Huấn Cao's handwriting is beautiful, but he only writes for close friends. Is he wasteful or biased? No! He believes that not everyone can appreciate and value beautiful writing. Only close friends understand Beauty, cherish that Beauty, and other Beauties within oneself. Writing for close friends is sharing one's soul, talent, and Beauty with them. Such precision values oneself, values others, sees Beauty as a treasure in life, not something to be squandered. Writing, like prose, like poetry. Even the renowned Chinese poet, Dao Tiem, stopped writing upon comparing himself to the Third Lady of the Western Kingdom, feeling inadequate to leave a legacy. It's not easy to lay down the pen so easily! We'll hear Huấn himself speak similarly. Recognizing Beauty naturally leads to appreciating it. Daoist Tai Wang Mother only bore fruit once every five hundred years, it's mythological, but the underlying meaning emphasizes the elevation of Beauty.

As for the supervising soldier calling Huấn Cao arrogant, there's no need for discussion. His frog-in-a-well mentality makes the sky seem no bigger than his palm. Huấn Cao's self-respect he interprets as arrogance. According to him, a prisoner should know to bow his head, to accept death, let alone preserve his dignity as a human being. The lackeys of that time were no different from the shackles they wielded, understanding nothing of righteousness and honor. But by evaluating Huấn Cao in this way, the soldier indirectly places him above, daring to disdain them openly.

Above are the rumors surrounding Huấn Cao, as whispered through the corridors, pondered by two esteemed figures within the prison walls, and echoed by a misguided soul. But what does Huấn himself think of himself, of others, and how does he speak and act? Initially, under the care of the prison warden, who was directly supervised by the poet, Huấn Cao accepted food and drink casually, as if it were a routine part of life. When the prison warden himself entered the cell, displaying respect and reverence, addressing him as a man of honor, asking if there was anything else he needed, Huấn responded curtly: Your people shouldn't set foot here. Pushing them away, he awaited a response with authority, but they retreated respectfully with a surprising statement: Please, meaning to obey, asking why Huấn didn't suspect anything. The attempt at bribery within the prison was a rather common ploy, and Huấn became even more annoyed, thinking the warden had some sinister motive. Upon reflection, he realized otherwise. Only when the poet hurriedly revealed the warden's distant wishes to him, along with urgent news that he and his companions would be taken deep into the Capital to face trial, did Huấn finally understand the peculiar treatment from his supervisor and recognize this warden as someone who truly appreciates Beauty. He smiled, instructing the poet to prepare thoroughly so he could reciprocate the warden's kindness tonight. Huấn's tone became solemn: Tell your master, tonight... bring silk, ink, pen, and even a bundle of torches down here for writing. For writing, not just to write. It sounded like the words of a superior, of a divine oracle. Huấn asserted: Words are truly precious. I have never compelled myself to write couplets for the sake of wealth, jewels, or power. In my life, I have only written two sets of poetry and one scroll for three close friends of mine.

This time marks the fourth occasion Huấn has bestowed his writing. He held his beautiful writing in such high regard, so what made him lay down his pen this time? It was due to sincerity, appreciation, and the preservation of Beauty rarer than jewels and gold from the prison warden: I feel the rare mutual understanding between you all. How could I have known that someone like Supervisor Quản could possess such noble interests? Just a little more, and he would have lost a heart in the world. Huấn's self-respect encountered the warden's respect. It wasn't just understanding but also empathy, and even more so, reverence that elevated the warden to the status of an extraordinary individual with a rare heart in the world. Huấn's subsequent advice flowed naturally. To preserve this Beautiful writing, one must change their living environment. This time, the prison warden stepped back, almost on the verge of tears: This misguided soul bows in reverence. In the previous encounter, after Huấn Gao's resolute words, the warden politely stepped back and stammered: Please forgive me! This time, his words faltered with emotional choking. Above, there was misunderstanding; now, all three resonated with shared emotions: a passionate love for Beauty, where the Beauty of writing intertwines with the Beauty of the soul.

The scene of Huấn's writing was both strange and beautiful, akin to an illusion, a radiance not of this world but of some mythical realm, a spectacle unseen before. The narrow, filthy, damp, pitch-black cell illuminated by a blazing torch, three figures in motion. One sat on the ground, both hands holding a taut piece of white silk on a wooden board. Another trembled as they held a pot of ink. The third, with a collar around their neck and shackles on their ankles, wrote gracefully on the silk. It was the prison warden, the poet, and Huấn Cao. After finishing, Huấn helped the warden stand, then looked back at the beautifully written words, which spoke of the aspirations of a lifetime. Huấn concluded with a final piece of advice for the warden: To display this beautiful writing in your home, one must change their living environment. This time, the prison warden stepped back and spoke, almost on the verge of tears: This misguided soul bows in reverence. In the previous encounter, after Huấn Gao's resolute words, the warden politely stepped back and stammered: Please forgive me! This time, his words faltered with emotional choking. Above, there was misunderstanding; now, all three resonated with shared emotions: a passionate love for Beauty, where the Beauty of writing intertwines with the Beauty of the soul.

The tale concludes with many profound emotions. Huấn Cao's attitude may change over time, but it remains that of a true statesman and gentleman. Towards the prison warden and his students, Huấn maintains a certain distance, initially cold, then warm, considerate; still dignified, composed, generous, and broad-minded towards Beauty, no matter how small, in any circumstance.

In writing this story, Nguyễn Tuân seeks to convey more than mere implications. It's certain the author wishes to express regret for a talented, virtuous individual, a noble character in a time of national decline, while also subtly embedding a shared pain for the nation and for all that is good and talented in life, which the oppressive colonial rulers ruthlessly suppressed. At the same time, the author asserts: no matter how dark life may seem, within the people, there are still shining hearts.

Nguyễn Tuân, prior to the August Revolution, was a writer of aestheticism. He was passionately enamored with beauty, praising and revering it. According to him, beauty is the pinnacle of human character. He tirelessly pursued beauty. He described beauty with his rich linguistic arsenal. The characters that emerged in Nguyễn Tuân's works had to embody beauty.

These were individuals of exceptional talent operating in extraordinary circumstances and environments. He discovered and described the external and internal beauty of characters. In his concept of beauty, it encompasses both goodness and kindness. He also combined beauty with courage. The short story 'The Words of a Death Row Inmate' (1939) in the collection 'Echoes of a Bygone Era' is the most eloquent and representative work of Nguyễn Tuân. The ideological value and artistic technique of Nguyễn Tuân are primarily demonstrated in the passage describing 'a scene as yet unseen in antiquity,' the image of a death row inmate writing for a prison warden.

Nguyễn Tuân, prior to the August Revolution, was a writer of aestheticism. He was passionately enamored with beauty, praising and revering it. According to him, beauty is the pinnacle of human character. He tirelessly pursued beauty. He described beauty with his rich linguistic arsenal. The characters that emerged in Nguyễn Tuân's works had to embody beauty.

In the story 'The Words of a Death Row Inmate,' Huấn Cao is portrayed as a once-great scholar whose brilliance now only echoes in the past. Nguyễn Tuân drew inspiration from the archetype of Cao Bá Quát, a poet, educator, and leader of the peasant uprising, a man of exceptional talent and extraordinary courage, to create the character of Huấn Cao (Cao being the surname, Huấn meaning to teach). Before becoming a peasant leader, Cao Bá Quát was also a teacher. Nguyễn Tuân based the character of Huấn Cao on two aspects of the archetype: Cao Bá Quát's renowned calligraphy skills and his illustrious demeanor. By constructing the character of Huấn Cao, Nguyễn Tuân not only embodies his aesthetic ideals but also satisfies his rebellious spirit against the dark and brutal society of the time.

The story revolves around two main characters: Huấn Cao, gifted in calligraphy, and the prison warden, enamored with Huấn Cao's beautiful writing and determined to obtain it to adorn his house. The warden treasures Huấn Cao's calligraphy as if it were a treasure.

The exemplary essay analyzes 'The Words of a Death Row Inmate' in the most excellent manner.

They encountered each other in the dire situation of the prison. The individual skilled in calligraphy is the leader of a peasant rebellion (referred to by the authorities as a rebellion, an enemy) awaiting execution, while the prison warden enamored with Huấn Cao's calligraphy represents the social order. Artistically, they are kindred spirits, but socially, they occupy opposing positions. The story's situation is dramatic, and from this tension, the characters' personalities and the profound thematic ideas of the story are revealed.

Huấn Cao declares: 'I never write couplets for the sake of wealth or power.' Despite his disdain for riches and authority, Huấn Cao willingly grants his calligraphy to the prison warden, acknowledging those who uphold integrity and appreciate the beauty of noble sentiments. He remarks, 'I am touched by your sincere admiration. One never knows one may encounter such noble souls.' Initially suspicious, the warden faces rejection but later earns Huấn Cao's trust, prompting a heartfelt admission: 'I nearly disregarded a noble soul amongst us.'

Disregarding wealth and power, Huấn Cao esteems those who appreciate beauty, talent, and noble pursuits. He believes that such individuals retain their 'celestial purity.' Advising the warden to abandon his ignoble profession, he warns, 'Maintaining celestial purity amidst this depravity is challenging, and one risks losing a lifetime of righteousness.'

Huấn Cao exudes dignity even in adversity. As a death row inmate nearing his execution, he maintains a noble bearing reminiscent of the heroism of Cao Bá Quát. 'That night, when the Son Penitentiary fell silent except for the tolling bell, an unprecedented scene unfolded in a cramped, damp cell teeming with cobwebs, rat droppings, and filth.' Through deliberate contrast, the author juxtaposes Huấn Cao's noble character with the squalor of the prison, a microcosm of society at the time.

Huấn Cao's resplendent beauty shines forth as he writes for the prison warden. In this moment, beauty and bravery harmonize. Amidst the glow of a burning torch, 'a shackled inmate, feet bound in irons, diligently paints characters on a taut white silk stretched over a wooden board. Once the inmate completes a character, the warden hurriedly marks the corresponding slot on the silk with zinc coins.' The image of the death row inmate becomes majestic, while the warden and his clerk appear diminutive and submissive in his presence.

Why does Nguyen Tuan describe this as an 'unprecedented scene'?

This scene is indeed extraordinary because the refined wordplay typically doesn't unfold in libraries or halls but rather in the cramped, squalid confines of a prison cell.

The unprecedented sight is the image of a condemned prisoner illuminating grandeur while the prison warden and clerk, representatives of contemporary society, cower in fear.

It signifies that amidst the darkness of the prison, embodying evil and brutality, it's not vice or malice that reigns but rather Beauty, Courage, and Virtue. With this scene of calligraphy, the dark prison has collapsed, for there are no longer criminals, wardens, or clerks, only a talented artist creating beauty before the admiring eyes of the enlightened, all permeated by the pure light of beauty, the beauty of celestial purity and dignity. Also, with this scene, the prisoner is entering the realm of immortality. Tomorrow he will face execution, but the square, beautiful characters representing his lifelong aspirations on white silk will remain. Especially his advice to the warden can be seen as his teaching on moral conduct in that turbulent era. Nguyen Tuan's belief is that Beauty is inseparable from Goodness. Those captivated by beauty must first possess celestial purity. Nguyen Tuan's concept of Beauty is also linked with Courage. The embodiment of Beauty is the illustrious figure of Huấn Cao, shining brightly in the darkness as he writes in prison.

Next to the majestic image of Huấn Cao, we also witness a compassionate heart among the people. During the calligraphy session, the image of the prison warden is also moving. It's the pure sound amidst a chaotic orchestra, a sincere attitude that evokes sympathy for this pitiful individual.

The passage where Mr. Huấn Cao writes calligraphy is the finest in the short story 'The Prisoner's Calligraphy'. The exquisite writing style, sharp in character and scene depiction, every detail is evocative, leaving a lasting impression. Nguyen Tuan's language is versatile, creative, soulful, and rhythmic. There's an atmosphere of solemnity and emotion, with a touch of grandeur, evident in this passage.

'The Prisoner's Calligraphy' transcends mere 'writing'; it's not just about Art, but 'the fresh strokes tell the soaring aspirations of a lifetime.' This is the triumph of light over darkness. It's the victory of beauty, nobility over the profane, and the triumph of indomitable spirit over a submissive attitude. The harmony of Art and Courage in the figure of Huấn Cao represents the pinnacle of character according to Nguyen Tuan's aesthetic ideals, following the philosophy of 'beauty only.'

5. Comprehensive Analysis of the Short Story 'The Prisoner's Calligraphy', Sample 5:

Nguyen Tuan is a prominent writer in modern Vietnamese literature. Mentioning Nguyen Tuan is synonymous with mentioning a talented artist. Each of Nguyen Tuan's writings is like a masterful stroke, akin to delicate carving on the precious gemstone of language (Ta Ty). One of these masterful strokes is the work 'The Prisoner's Calligraphy.' Prominent in this work is the character of Huấn Cao and the act of writing - a scene of unprecedented rarity.

Huấn Cao embodies the typical romantic writing style. We all know that romantic literature often depicts idealized models. It means that writers often employ their imagination to pursue the most perfect beauties. Therefore, characters written in a romantic style possess extraordinary qualities. They represent the aspirations and desires of the writer. Huấn Cao is such a character. From start to finish, he appears as an extraordinary individual. From talent to nobility, from nobility to dignity, every aspect of him is exceptional. Huấn Cao can be considered a humanistic dream of Nguyen Tuan's pen.

As a talented and artistic character, Huấn Cao's first quality is talent. The story begins with a dialogue between two characters, the prison warden and the poet. Although Huấn Cao indirectly appears here, it's enough to see his fame with both literary and martial talents, renowned throughout Son province. His most emphasized talent is his skill in calligraphy - an art form that is traditional and noble. Each stroke of the brush carries deep aspirations. Each character is a profound artistic creation, a manifestation of nobility, dignity, and talent. Huấn Cao's calligraphy embodies his character. It's precious not only because it's written beautifully and neatly but primarily because it expresses the lifelong aspirations of a human being. Obtaining Huấn Cao's calligraphy became the prison warden's greatest and most sacred wish. To acquire it, the warden was willing to sacrifice everything, including his own interests and life. But Huấn Cao is not just a talented individual; deeper still, he has a heart - a heart that values human nobility.

A foreign writer once spoke of a profound truth: Genius lies within the heart. It turns out that the root of talent lies within the heart, the essence of skill is the soul. Huấn Cao's character is rooted in valuing human nobility. In Huấn Cao's eyes, the prison warden is merely an ordinary person who has fallen into disrepute. Huấn Cao's principles demonstrate open disdain, only to regret deeply upon realizing the warden's pure intentions amidst the chaotic environment. With great emotion, Huấn Cao said: 'I feel the sincere hearts of you all... I almost betrayed a noble heart in this world.' These words reveal the creed of a person living in accordance with worthy hearts.

Romantic inspiration always tends to compel artists to depict images to perfection, even to the point of extraordinariness. Mr. Huấn Cao is no exception. Nguyen Tuan has turned this image into a superhuman with an emphasis on extraordinary dignity. Despite his hatred for the corrupt society, he led a rebellion against the regime, which failed, leading to his death sentence. Yet, neither imprisonment, shackles, nor death could subdue him. He always found himself in places where freedom was stripped away. For Huấn Cao, all constraints, interrogations, and captivity were meaningless. And when the warden asked what he wanted to help, he responded with disdain... his words could be the cause for him to face retaliation. But once spoken, he did not tremble, nor did he submit to tyranny and violence. Huấn Cao stood firm throughout the tale, like an indomitable and imposing dignity.

These remarkable qualities of Huấn Cao shone brightly in the final scene that Nguyen Tuan called the scene of unparalleled rarity - the scene of writing. The scene of writing is a vivid expression of the talent, nobility, and dignity of Huấn Cao.

To understand the profound value of the scene of writing, we must mention the process leading to it. The keen observer will notice that the story has two distinct parts: the introduction of characters and storyline preparation for the subsequent scene of writing. Without the second part, the first part would merely be fragmented and lifeless. Therefore, although the second part is short, it is the essence of the entire story. And Nguyen Tuan's writing prowess is most concentrated in this part. The entire story revolves around a particular situation: the highly strained encounter between Huấn Cao and the warden - Meeting place, the prison; time, the last days before Huấn Cao's execution. These circumstances make the situation tense, poignant, and difficult to navigate. But the greatest difficulty lies in the characters' identities: socially, they are adversaries. One is a rebel, daring to rise against the contemporary regime, while the other is an official representative of that regime. However, artistically, they are kindred spirits: one possesses the skill of beautiful writing, and the other greatly admires that skill. This contrast puts the warden in a harsh dilemma: either fulfill the duty of an official and trample on loyalty or uphold loyalty and betray the role of an official. How will the warden act? His actions will shape the ideological direction of the work.

With such a dynamic, their initial relationship was highly tense. The warden's greatest wish was to obtain Huấn Cao's writing, but this was his last chance. However, while Huấn Cao had the talent for writing, he only granted it to those he deemed loyal. Therefore, for the warden to obtain Huấn Cao's writing, he must be acknowledged as loyal within the next few days. That seems nearly impossible. In Huấn Cao's eyes, the warden was just a petty person, with a vast chasm between them. In reality, the warden also had advantages in dealing with ordinary prisoners. He had power and money. But Huấn Cao was not an ordinary prisoner; power could not compel him to write, money could not buy his words. Fortunately, the warden possessed a pure heart - a heart that valued loyalty. And this heartfelt gesture moved Huấn Cao. Huấn Cao's emotion was the root cause leading to the scene of writing.

Therefore, granting Huấn Cao the gift of writing is not akin to settling a debt in the usual manner, nor is it akin to a condemned individual bequeathing their final possessions to the living, nor is it merely a last chance for Huấn Cao to showcase his talent. Fundamentally, bestowing the ability to write is the stirring of one heart before another.

And the scene of granting the ability to write, as referred to by Nguyen Tuan, is an unprecedented scene. Instead of taking place in a refined, dignified setting, it unfolds in a cramped, foul-smelling, squalid prison cell. And the one bestowing beauty, ideally belonging to the world of freedom, finds themselves here as a condemned prisoner. Particularly noteworthy is the unprecedented shift in power occurring here. The wielder of authority finds themselves stripped of all power, cowering before Huấn Cao, while the one seemingly stripped of the right to live, Mr. Huấn Cao, becomes authoritative as he painstakingly inscribes words and offers counsel to the prison guards. And the prison guards bow and worship Huấn Cao as if he were a saintly figure: This deluded individual bows to your wisdom. The scene of writing emphatically affirms the triumph of beauty, righteousness over ugliness, evil. In that damp, dark prison room, the radiant light of the torch has pushed back the shadows, the fragrance of the ink pot has dispelled the stench of rat droppings, lice, the white hue of the silk cloth has dispelled the gloom of the prison. At this moment, beauty is ascending, beauty is shining brightly, completely vanquishing ugliness. To those individuals, there remains only reverence, adoration for beauty. And the righteousness of Huấn Cao is shining, illuminating the path for the prison guards—a lost, misguided individual. Through this, the author also affirms that beauty can exist everywhere, at all times, triumphing over all that is ugly, evil. And beauty can redeem the human soul, helping people understand each other better, drawing closer to one another. Beauty will not fade even when it is suppressed. That is the humanitarian value of the work.

Through the art of painting clouds, sprouting moons, and the art of contrast, Nguyễn Tuân has brought to prominence the figure of Huấn Cao and affirmed the triumph of beauty. Additionally, the writer employs an ancient language system: deferential salutations, righteousness, wisdom, wishes... bringing to the story the ambiance and rhythm of a distant feudal era, aiding the writer in recreating the narrative of a bygone era.

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Alongside analyzing 'The Death Row Inmate', to excel in and achieve high scores in the 11th-grade Literature subject, students must pay attention to exemplary compositions like 'Crafting a Eulogy for a Mourning Family,' analyzing Thạch Lam's short story 'Two Children,' contemplating the exalting anthem, or dissecting the poem 'Yearning for a Wife' to illuminate the author's worldly lamentations... With the shared knowledge here, may students find the most beneficial and captivating study materials.