Analyzing the opening 12 lines of Côn Sơn Ode

Prompt: Analyzing the first 12 lines of Côn Sơn Ode by Nguyễn Trãi

Analyzing the opening 12 lines of Côn Sơn Ode

I. Structuring the Analysis of the Initial 12 Lines of Côn Sơn Ode (Standard)

1. Introduction:

- Introducing the author and the work.
- Presenting an overview of the first 12 lines of the poem 'Côn Sơn Ode.'

a. The Pictorial Landscape of Côn Sơn:

- Sound of the stream:
+ The flowing stream echoes like the melodious sound of a 'harp.'
→ This harmony purifies and refreshes the human soul (Comparative to Hồ Chí Minh: 'The stream sounds like distant singing.')
+ Art of using dynamic descriptions for stillness: Using the stream's sound to depict the tranquility of the mountains and forests.

- Image of the mountain rocks:
+ Perceived through sight and touch.
+ 'Moss-covered rocks': ancient rocks adorned with moss.
+ Comparing 'rocks' to a 'mat' makes Côn Sơn feel familiar, like a home.

- Painting of the pine forest in Côn Sơn: Comparing the pine forest to a 'seasoning' reveals the dense, intertwined density of the pine trees.
- Bamboo forest scenery: Using phrases like 'cool green shade' to describe the beauty of the bamboo forest.
=> A peaceful and poetic natural scene.

b. Sentiments and Contemplations of the Sincere Character:

- The pronoun 'I' repeated five times associated with activities like 'listening,' 'sitting,' 'lying,' and 'contemplating poetry' in the natural setting indicates a sense of leisure, tranquility, and absolute harmony with nature.

- Living amidst nature, mountains, and forests, Nguyễn Trãi truly understands life's philosophies:
+ 'Depart': Like an urging, an invitation to escape worldly entanglements.
+ 'Half a lifetime': the period during which Nguyễn Trãi dedicated himself to the court, but the political struggles made him weary.
+ The question 'Why entangle half a lifetime in vain?': a reminder to himself about the past.
+ 'Nine levels' or the nine summits: representing societal power in feudal society.
+ The question 'What is the purpose of a myriad of levels?': Nguyễn Trãi's self-inquiry, questioning the efficacy of power in life.
+ 'Rice and vegetables, clear water': Signifying a simple life in the countryside, the life Nguyễn Trãi desires.
=> After years in court politics, Nguyễn Trãi realizes that power does not bring true fulfillment.

3. Closing Remarks:

Summarizing the Value of the Initial 12 Verses

II. Sample Essay Analyzing the Opening 12 Lines of Côn Sơn Ode (Standard)

Nguyễn Trãi is a world cultural figure and a prolific poet. His major works include 'Ức trai thi tập,' 'Quốc âm thi tập,' 'Chí Linh sơn phú.' Among them, the poem 'Côn Sơn Ode' belongs to the collection 'Ức trai thi tập,' written during his seclusion in Côn Sơn after facing political pressure and returning to his hometown. The first twelve verses vividly depict the beautiful and poetic natural scenery, while also revealing the poet's reflections on life.

Côn Sơn is a mountain range in Chí Linh, Hải Dương, and it holds significance as the hiding place of Nguyễn Trãi's grandfather, Trần Nguyên Đán. Since childhood, Nguyễn Trãi has been intimately connected to this place. Perhaps it is this deep connection that led the poet to depict the natural beauty of Côn Sơn with unparalleled freshness:

'Côn Sơn, where streams flow melodiously
I hear them like the sound of a harp near my ears.'

The natural scene unfolds with the image of flowing streams. Their gentle, rhythmic sound resembles that of a harp. Here, the poet employs a simile, likening it to the sound of a harp to illustrate the pure and melodious quality of the flowing streams. The resonating sound makes one feel purified and immensely serene. Nguyễn Trãi not only perceives the beauty of Côn Sơn's nature through hearing but also through sight and touch:

'Côn Sơn, rocks adorned with moss
Sitting on them is like sitting on a comfortable mat.'

Using the sound of the stream to portray the tranquility of the mountains and amidst that tranquility is the poet's leisure and freedom. Pausing by a moss-covered rock, the poet imagines sitting on a warm, soft grass mat, feeling gentle and soothing. The unique description of the rocks, unparalleled by any poet, reveals their historical depth, representing the ancient nature, with the mossy green being the ideal resting place for the poet's contemplation. Comparing 'rocks' to a 'mat' makes the nature at Côn Sơn feel close, like a large home enveloping our poet. The natural scene at Côn Sơn not only includes rocks and flowing streams but also tall, soaring pine trees among the rocky cliffs:

'Amidst the rocky cliffs, pines grow like seasoning
Seeking a shady place, I rise and lie down.'

The cliffs are places with steep slopes, a river, or a stream, seemingly containing only water and rocks, yet there are countless pine trees growing vigorously. They 'intermingle' with each other, competing to grow lush in the 'cliffs,' making the poet imagine as if they are tightly pressed, squeezed in, and firmly embedded. The simile 'grows like seasoning' allows us to imagine the lushness of the pine forests here. Moreover, within Côn Sơn, there is also a green and beautiful bamboo forest, captivating our senses:

'In the forest, the shade of bamboo offers coolness
Under the cool green, I immerse in leisurely poetry.'

Bamboo, a distinctive plant of tall forests. It often forms thickets, so here Nguyễn Trãi uses phrases like 'shade of bamboo' or 'cool green' to describe the bamboo forest of Côn Sơn. The beauty of Côn Sơn opens with the sound of streams and closes with the cool shade of green 'bamboo.'

Amidst that natural scene, the poet immerses himself, leisurely, contemplating deeply. Nature here is not dazzlingly beautiful but brings peace, tranquility, making one's soul feel fresher. The pronoun 'I' repeatedly appears along with verbs like 'listen,' 'sit,' 'lie down,' 'contemplate poetry,' associated with the natural scene, indicating absolute harmony with nature. Living amidst nature, under the vast sky, free and spacious, the poet feels as if he has 'enlightened' himself:

'Returning early, why not?
Half a lifetime entangled in worldly dust, what for?
A myriad of levels, what's the use?
Rice and vegetables, clear water, fate is enough.'

'Returning early' is like an urging, an inviting call to come back and escape from 'worries,' the remaining 'dust.' 'Half a lifetime' is the period when Nguyễn Trãi dedicated himself to the Lê dynasty's cause, and leaving now brings inevitable regret. However, he detests the political turmoil, so his loyalty might have been shattered. The question 'Why entangle half a lifetime in vain?' is a self-reminder, similar to Nguyễn Bỉnh Khiêm's when he retired to seclusion 'I foolishly sought a secluded place/ Some are wise, thriving in bustling places.' Nguyễn Trãi accompanied Lê Lợi in the early years of the Hậu Lê dynasty, being one of its first loyal officials. Surprisingly, the king doubted him, listened to mocking words without trust. Therefore, Nguyễn Trãi seems to have lost faith in that political realm. Hence, he consoles himself:

'A myriad of levels, what's the use?
Rice and vegetables, clear water, fate is enough.'

'Myriad of levels' or 'nine summits' symbolizes authority in feudal society. His question 'What's the use of myriad of levels' is like a self-reminder that power in life eventually serves for what, what benefits does it bring. Simple, rustic life of 'rice and vegetables, clear water' is the chosen existence, the fate he desires. Similar to Trạng Trình Nguyễn Bỉnh Khiêm:

'Autumn eats bamboo shoots, winter eats expensive
Spring bathes in lotus ponds, summer bathes in ponds'

They - the virtuous officials, talented individuals, would rather choose a rural life, eating 'rice and vegetables, clear water,' steadfastly refusing to be entangled in the whirlpool of power, avoiding eternal shame. The last four verses are Nguyễn Trãi's confessions about life. The continuous questions he poses are like self-reminders, reminders about the cycles of fame and gain in life, 'for what,' 'what use,' eventually returning to dust. His viewpoints reflect profound life philosophy.