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Essay Prompt: Appreciating the 1st stanza of Hàn Mặc Tử's poem 'Here in Thôn Vĩ Dạ'
Create an outline for appreciating Thôn Vĩ Dạ stanza 1, with 2 specific, detailed points
I. Outline for appreciating stanza 1 of the poem 'Here in Thôn Vĩ Dạ'
1. Introduction: Introduce the poem 'Here in Thôn Vĩ Dạ'
2. Body: Analyze stanza 1 of the poem 'Here in Thôn Vĩ Dạ'
2.1. Line 1: Why don't you come back to Thôn Vĩ?
- The author's main question
- Uniqueness in wording, 7 words but 6 syllables are equal
- Reflects the author's profound sadness and regret
- The question evokes the silent reproach of the sincere character
2.2. Line 2: Looking at the sun, the new sunlight shining on the betel trees.
- The line shows a brighter scenery thanks to the sunlight
- The sunlight spreads everywhere, bringing a beautiful color
- The line highlights the beauty of Thôn Vĩ Dạ
2.3. Line 3: Whose garden is so green like jade
A beauty as green as jade
'lush', a very impressive state
Besides intimacy, there is also distance and self-detachment
2.4. Line 4: The bamboo leaves cover the face of the words of the field
- People seem to merge into nature, as if hidden behind nature
- Creating a unique beauty of Huế city
3. Conclusion: State your feelings about stanza 1 of the poem 'Here in Thôn Vĩ Dạ'
II. Best Sample Essay Appreciating Stanza 1 of the Poem 'Here in Thôn Vĩ Dạ' by Hàn Mặc Tử
1. Appreciating Stanza 1 of the Poem 'Here in Thôn Vĩ Dạ' Superbly
Hàn Mặc Tử is one of the prominent figures who has made significant contributions to the development of the New Poetry movement in particular and the poetic achievements of Vietnam in general. His poetry, though beautiful, still carries a hint of sadness, perhaps his sad fate has entered his poetry, and that's probably why Hàn Mặc Tử is known as the 'poet of unrequited love.' His work 'Here in Thôn Vĩ Dạ' epitomizes that writing style. He has expressed the heartfelt sentiments of countless hearts with verses of unrequited love set in the romantic and mystical scenery of Huế.
'Why don't you come back to visit Thôn Vĩ?'
Watching the sun, the newly risen sun shines upon the areca trees
Whose garden is so lush, so green like jade?
Bamboo leaves covering the face of the rice fields
If love poems are associated with a specific time, space, and memories, then the image of the sincere character in the poem 'Here in Thôn Vĩ Dạ' is linked to the nature and people of Thôn Vĩ with unforgettable memories.
'Why don't you come back to visit Thôn Vĩ?'
Perhaps many readers are still wondering whether the line is a questioning invitation or a reproach, or perhaps the words of a girl? But no, none of that. This is like the question of Hàn Mặc Tử himself, the author asking himself, self-interrogating but also somewhat conveying longing, desire, and urging words to revisit Thôn Vĩ.
'Watching the sun, the newly risen sun shines upon the areca trees'
In the second line of verse, the landscape has shifted to the garden scene of Thôn Vĩ Dạ. It can be said that this is a journey in the poet's consciousness because when composing these verses, the author was battling with the dreadful leprosy. All depicted in the subconscious, yet it does not lack emotion. The described sunlight 'the areca trees' sunlight' can be clearly felt as the gentle morning sunlight, not harsh or uncomfortable. The early rays are lit first on the rows of areca trees in the garden. Although just through words, readers can feel a garden overflowing with the green jade color of trees, of life. Even though the body may be lying in bed, the poet's eyes are in the Thôn Vĩ garden, as if wanting to tear open the dark sky to see the miraculous sunrise from Thôn Vĩ Dạ. There is the land I miss, there are the people I love.
'Whose garden is so lush green as jade?'
'The bamboo leaves covering the words' faces'
The third line of verse seems like an exclamation, discovering that 'so lush' is also found to be 'green as jade.' 'Green as jade' is a rich green color, full of vitality, a green that feels like it can reflect light. People often say that Hàn Mặc Tử's poetry is mad because when reading his poetry, we encounter many images, a world that is both real and unreal. It's also hard to believe that in Hàn Mặc Tử's poetry, we encounter ourselves again with the face of words from the time when we were young men on Huế land. The bamboo leaves covering also create a sense of mystery, half real, half dream. Perhaps the poet wants to forget himself in the harsh reality of illness to be loved again, loved even more? Are the bamboo leaves perhaps separating people's hearts? Some say that the poet's last thoughts are directed at the shadow of the girl whom the poet has secretly loved for so long, the girl from Thôn Vĩ, not referring to the sincere character. But no matter how the verse is understood, the poet's affection for the people of Huế and the land here remains unchanged over the years.
Hàn Mặc Tử stands as one of the most creatively powerful poets in the New Poetry movement. Despite a life marked by much sorrow, through his rich, creative, and mysterious poetry, readers can still sense a love so intense it transcends earthly existence. 'In Vĩ Dạ Hamlet' is one of Hàn Mặc Tử's renowned works, leaving indelible marks on readers' hearts. Over generations, there have been three prevailing interpretations of the poem: It speaks of the silent agony of unrequited love; it expresses affection for a rural homeland; it yearns to live in empathy, to return to life. The opening lines of the poem earnestly convey these sentiments.
'Why don't you return to visit Vĩ Hamlet?
Look at the sun on the new mango leaves
Whose garden is so lush, green as jade
Bamboo leaves shield the face of the rice field.
'In Vĩ Dạ Hamlet' was penned by Hàn Mặc Tử during his battle with a severe illness - leprosy, a disease that caused many to shun and scorn him, thus he always carried within him a longing for empathy, a desire to reconnect with life. While lying in the hospital and receiving a postcard from the girl he secretly cherished, Hàn Mặc Tử found inspiration for the poem. Through it, he painted a landscape and his inner turmoil, expressing his lonely longing for an unrequited love. Moreover, the poem is also the poet's fervent love for nature, life, and the people of Huế.
The poem opens with a rhetorical question: 'Why don't you come back to visit Vĩ Hamlet?' serving as both a warm greeting and a gentle reproach from the girl in Vĩ Hamlet. Not crude, but rather, exceedingly gentle and considerate. Because in Vĩ Hamlet, there is her, in Vĩ Hamlet is his homeland, his cherished place. However, it can be understood as the poet's self-reflection, self-reproach. He questions himself why he hasn't returned to that land, that village for so long. He yearns to revisit his homeland, the longing for that land keeps tormenting him endlessly. Unfortunately, at that time, Hàn Mặc Tử was ill, how could he return and perhaps never return...
Through the next three lines, the natural scenery and people emerge in Hàn Mặc Tử's nostalgic, imaginative reverie, very simple and familiar:
'Look at the sun on the new mango leaves
Whose garden is so lush, green as jade
Bamboo leaves shield the face of the rice field.
The rising sun is the morning sun, the dawn. Its pure, radiant light illuminates the vast, rich space of Huế. The word 'sun' not only conveys the abundance of light, of vitality, but also reveals a soul always drawn to the light, to life, of Hàn Mặc Tử. That line of verse paints a picture of lively, vigorous mango trees reaching up to embrace the first rays of morning light. Remembering Vĩ Dạ, the poet recalls the first mango trees. Because the image of mango trees, towering high, is exceedingly familiar to the people of Vĩ Hamlet. The poetic rhythm of 1/3/3 is like the careful steps of any visitor, contemplatively gazing at the newly rising sun on the lush, green mango trees shining brightly.
'Whose garden is so lush, green as jade'
The line is like a praise, a solemn, astonished exclamation at the elegant, lush beauty of the grass, trees, and nature. Whose garden? Could it be your garden? An old scene, but because it has been so long since I've been back, it's exclaimed in surprise like this. The author uses the metaphor 'green as jade' and the word 'lush', so it can be seen that Vĩ Hamlet is not only beautiful but also very prosperous. The rhetorical question 'Whose garden is so lush' is like a child's cheer, a joyful cheer, a natural praise that bursts out spontaneously upon suddenly realizing the unexpected beauty of the garden. It's as if you can hear the sap flowing through the trees. Everything is vibrant, full of life. Only a spring garden is so lush, so abundant. Or only your garden is so beautiful, so vivid.
'Bamboo leaves shield the face of the rice field.'
When mentioning Huế girls, one immediately thinks of the image of a graceful girl, gently swaying in a dreamy purple áo dài with a white conical hat, soft, graceful, and refined. 'Face of the rice field' implies a noble, gentle appearance. 'Bamboo leaves shield' is a skillful depiction, evoking the faint image of a young girl's face. Such a depiction describes the elegant, gentle beauty. It portrays the graceful figure, hidden behind bamboo leaves. And precisely the image of the delicate girl faintly behind the bamboo leaves further proves that 'whose garden' and the girl's garden are one and the same. Nature and humans under Hàn Mặc Tử's sharp pen harmoniously combine to create a beautiful, vibrant landscape, with a strange allure.
With tender, sweet, profound melodies, Hàn Mặc Tử painted a picture of Vĩ Dạ Hamlet for listeners to feel the agony of a dreamy, simple 'In Vĩ Dạ Hamlet' poem. Thereby showing his immense love for this peaceful, rich land. However, hidden behind each verse is a lament, a lingering sorrow for the people and scenes here. He reminisces, agonizes over his secret love for the girl from Vĩ Hamlet. He reminisces, fondly remembers the beautiful scenery of Vĩ Hamlet. But for the poet at that time, it's all just nostalgia.
If in the first stanza there's a cheerful, vibrant space, then in the remaining part of the poem, the tone becomes much darker. More precisely, starting from the second stanza, Hàn Mặc Tử reveals his feelings of sadness, melancholy. At that time, he suffered from leprosy, a disease that made people shun him. Living in the solitude of separation, the author yearns, craves for a soulmate, a confidant. He longs more than ever for empathy, connection. He yearns for human warmth, life's affection, happiness. He yearns to return to normal life, to return to Vĩ Dạ Hamlet. He knows his terminal illness, knows his time is running out. So the poet is both restless, anxious, and hopeful that something will change. This is the heartfelt longing and the melancholy sadness as the author reminisces.
With imagery expressing inner feelings, romantic techniques full of evocative descriptions, exquisite language, rich associations, Hàn Mặc Tử has painted a poetic, beautiful picture of a countryside. And hidden within it is not only the voice of secret love or the love for a homeland but also the longing for empathy, the longing to return to life.
'In Vĩ Dạ Hamlet' is a beautiful picture of a countryside, a heartfelt expression of a person deeply in love with life, with people. The poem is like a radiant flower amidst the garden of the nation's literature. Thereby showing a pure, life-loving soul, even in times of pain and despair, of Hàn Mặc Tử.
3. Best Appreciation of the First Stanza in the Poem 'In Vĩ Dạ Hamlet'
The poet Hàn Mặc Tử is known for his utmost creativity among the New Poetry movement. He had a short and tragic life. His poetry is the voice of a soul deeply in love with life, with nature, with people passionately and earnestly. The poem 'In Vĩ Dạ Hamlet' is one of the representative poems of the poet, expressing an earnest yet desperate poetic soul. The first stanza of the poem brings a beautiful picture of nature.
The poem 'In Vĩ Dạ Hamlet' was inspired by a photo of the Hue landscape with the inquiries of a Vĩ Dạ girl while the poet was suffering from a terminal illness. The poem can be seen as a confession to life, of a poetic soul deeply in love with life. The first stanza depicts the Vĩ Hamlet garden bright in the morning sun with a simple yet pure and elegant scenery, leaning towards reality. Emotions hidden in the scene are desires and intense infatuation.
The beauty of the natural landscape depicted is truly remarkable:
'Why don't you come back to visit Vĩ Hamlet?
Watching the sun, cau trees, just rising
Whose garden is so lush, green as jade
Bamboo leaves covering the face of the rice field'
The first line, starting with 'why,' poses a question, initiating the poem. It evokes the protagonist's turmoil and contemplation. It's a form of questioning, displaying intimacy and sincerity.
The second line, with 'watching,' conveys a visual perception, very realistic. The poet seems to be present at the moment to admire and describe. The author notices the movement of the sun.
The third line contributes to unveiling the beauty of nature in Hue. The pronoun 'whose' is indefinite, suggesting the poet's slight hesitation. The phrase 'lush' suggests the feeling of greenness, smoothness, glittering, and liveliness.
The final line highlights the beauty of the people of Hue. 'The face of the rice field' refers to someone with a kind face. The imagery of 'bamboo leaves covering' suggests the face being partially concealed, hinting at the author's sensitivity.
In appreciating the first stanza of the poem 'Here in Vĩ Dạ Village,' we perceive the beauty of the poet's soul. It's the voice of a fervently life-loving heart, despite the physical and emotional pain. Even amidst such suffering, the author maintains a gaze filled with love for life. Only someone deeply enamored with life could envision Vĩ Dạ Village in such splendor. The more we lament Hàn Mặc Tử's fate, the more we cherish the precious love for life exhibited by the author.
My impression of the poem 'Here in Vĩ Dạ Village,' stanza 1, is the most outstanding.
4. Concise reflection on the first stanza of the poem 'Here in Vĩ Dạ Village'
Hàn Mặc Tử is one of the prominent poets of the New Poetry movement. His poetry is characterized by its gentleness, richness, and a touch of melancholy. The poem 'Here in Vĩ Dạ Village' is one of Hàn Mặc Tử's finest works, expressing genuine and heartfelt emotions.
The poem draws inspiration from a letter sent by Hoàng Thị Kim Cúc to the poet. It represents the longing for homeland accompanied by a hint of sorrow for an unfinished love affair. Due to a severe illness, Hàn Mặc Tử was ostracized by society, forcing him into isolation. As a result, the poet had not visited Vĩ Village for a long time. The girl's letter, whom he secretly loved, stirred up the longing for his homeland in the poet's soul. The opening stanza consists of only four brief lines but carries immense emotional weight.
'Why don't you come back to visit Vĩ Village?'
Watching the sun, the rows of areca trees newly bathed in sunlight
Whose garden is so lush, so green like jade
'The bamboo leaves obscure the face of the village sign'
From the outset of the poem, the author poses a rhetorical question. It is asked but not expected to be answered. Perhaps, it's Kim Cúc's gentle reproach about Mặc Tử's departure. How long has it been since he returned to the dreamy Hue, visited the familiar Vĩ Village where they once shared countless memories? The line evokes a sense of nostalgia, stirring emotions. It's like an invitation to return to the homeland, to visit the poetic Vĩ Village, tenderly. And sometimes, it's the regret, the poignant longing of the poet himself.
'You have been far from the homeland without once returning. The longing to return has urged you, compelled you to ask yourself 'Why not visit Vĩ Village?' Vĩ Village is a peaceful, picturesque countryside imbued with Hue's essence. Although not directly experiencing that space, the most beautiful, sweetest images still flow in the poet's soul with intense longing.
'Watching the sun, the rows of areca trees newly bathed in sunlight'
'Whose garden is so lush, green as jade'
The first two lines paint before the reader a beautiful and vibrant picture. Each line leads us to the beauty and dreaminess of the nature of Hue. In the small lanes of Vĩ Village, two rows of areca trees stand tall, basking in the sunlight. They exude an elegance and grandeur. The areca trees stretch out, embracing the gentle breeze and the warm sunlight. The sun is just rising, emitting the gentle light of early morning. The sunlight is not too dazzling or hot, it is warm and gentle.
The sunlight infiltrates through every gap in the leaves, casting adorable shadows of the trees on the ground. The morning sun is always the most beautiful. It brings life, breathes life into everything. And hidden behind the areca groves is a garden overflowing with green. The trees are nourished by the sun, they sprout and compete to grow lush. The green color spreads throughout the countryside. The green in the eyes of Hàn Mặc Tử has something new and strange. It's not dark green, but the green of jade.
A very special and appealing comparison. Nature becomes more humane and romantic through the eyes of the poet. That green radiates a powerful and robust vitality. The trees stretch out to welcome the sunlight. It makes the space of Vĩ Village fresh, cool, and greener. Everything is fresh and full of vitality. Vĩ Village is always beautiful, dreamy, and full of the taste of nature.
And then, within that space, the image of the people appears so gentle.
'The bamboo leaves cover the face of the village'
The bamboo leaves sway in the breeze. It's as if they're descending into the cool green garden to immerse themselves in the vitality of nature. Perhaps those bamboo leaves are leaning by the window, hiding behind the curtain is the 'face of the village' of the dreamy Hue girls. It is a generous yet charming face. Nature and humans merge, intertwine to create a new and fascinating perspective. The Hue girls are gentle, shy, hidden behind the smooth green leaves. It seems to evoke the intense homesickness brewing within the author.
The first stanza of 'Here, Vĩ Dạ Village' may be brief but it evokes so much meaning. A dreamy Hue with overflowing vitality, a pure nature along with gentle, serene people. All of this will deeply etch into the reader's heart with all the love and appreciation for life and humanity in 'Here, Vĩ Dạ Village', the word 'love' inside Hàn Mặc Tử's talented soul.
5. Most accurate appreciation of stanza 1 of the poem 'Here, Vĩ Dạ Village'
'Poetry only flows when emotions are truly full.' Indeed, poetry is the rhythm of emotions, poetry is the lifeline for each person's life. For Hàn Mạc Tử, poetry also becomes a place where he expresses many hidden feelings and intense emotions that exist within the pain. His poem 'Here, Vĩ Dạ Village' is one of the typical poems representing Hàn's poetic style. The poem is a beautiful picture of the nature of Huế and the deep emotions of life and humanity.
The natural scenery in Vĩ Dạ Village is opened up fresh with overflowing vitality:
'Why don't you come back to play in Vĩ Dạ village?'
Looking at the newly risen sun among the areca trees
Whose garden is so lush green, shining like jade
The bamboo leaves covering the rice fields
It begins with a question: 'Why don't you come back to play in Vĩ Dạ village?' echoing like a silent reproach, a gentle message from the sentimental character. Whose question is it? It seems to be Hàn Mặc Tử's, as if the author is questioning himself. It's also an affirmation of not returning to Vĩ Dạ village for a long time, and who knows when it will be possible to return to revisit the place filled with beloved memories. Moreover, the question serves as a poignant yet endearing pretext to evoke memories of Vĩ Dạ village and the vivid picture it naturally paints in the following three lines with the areca sun, the garden, and the bamboo leaves, familiar images in Hàn Mặc Tử's poetry.
In the early morning, the tall and straight areca trees embrace the first sunlight. After a night of awakening, with dew still lingering, the new sun bursts forth, flooding over the fresh and vibrant rows of trees. In these lines, the author not only describes a single ray of sunlight but also uses the metaphor of 'sunlight' to depict the flow of time, the sun spreading its rays from high above to low, illuminating the entire garden. Adorning itself in a fresh and vibrant coat, the Vĩ village garden shines with a green hue 'green as jade,' a familiar sight. 'Lush' exudes a strong and vibrant sensation, describing not only the color but also the vitality. The unique adjective combined with the simile 'green as jade' makes the verdant garden shimmer with a brilliant jade-like color. With both fresh green and sparkling light when the sun shines down from above, it creates a beautiful masterpiece. The familiar yet distant beauty is conveyed through the indefinite pronoun 'whose,' in 'whose garden,' evoking a beauty that is elusive yet captivating. It's all about the life of the world outside - a world the author yearns for. Nature is adorned with the presence of humans: 'bamboo leaves covering the rice fields.' Truly a unique and multi-layered image, with the serene and prosperous face hidden by the green color of the slender bamboo leaves. Indeed, this is a familiar incidental product in Hàn's poetry created by the sense of detachment of someone who always sees themselves as an outsider to festivities. It opens up a deep and enchanting impression in Hàn Mặc Tử's sentimental soul, revealing the anguish that dominates when turning towards Vĩ village.
If the first stanza is a vibrant green painting, then in the second stanza, it's a landscape tinted with emotions:
'The wind follows its path, clouds follow their route,
The stream flows mournfully, shaking the cornflowers
Whose boat docks by the moonlit river?
Will it bring the moon back in time tonight?'
The imagery of wind, clouds, river, and moon appears distinctive. The wind and clouds, instead of being intertwined as usual where wind blows clouds away, here they diverge. Objects that are inherently inseparable are divided by Hàn Mạc Tử's poetic soul. The river itself is an inert object, yet here it is described as 'the melancholic river.' Personification makes the river carry human emotions. Perhaps it represents the flow of emotions, the melancholy wanderings of the clouds, of the wind, also the author's sense of detachment permeating the scenery. On that river are the cornflower blooms, gently swaying on both banks. When combined with wind, clouds, and water, the cornflower blooms evoke a poignant sense of desolation, rendering the scene desolate and eerie, soaked with the sorrow of adversity. The poet's sadness blends with the melancholic rhythm of Huế, echoing the question: 'Whose boat docks by the moonlit river?' In that mood, there arises a yearning, a desire for something to return, to hold on to. The poet's dreams are intertwined with the moon and music. It's a dream of longing for harmony. The moon always holds the beauty that Hàn Mạc Tử yearns for. Through these lines, one can imagine a moonlit river flowing or the moon reflecting in the water. The imagery of 'the boat carrying the moon' is both dreamy and surreal, almost indistinguishable. For the moon, the author not only attaches dreams and desires but also worries, sensitivities about the fleeting present through the word 'in time.' The confusion existing in the wording of the longing is less than the tragic feeling. Hàn Mạc Tử's yearning is intertwined with the pain of premonition.
While stanzas one and two depict a natural landscape, in the third stanza, the image of the girl in the poet's heart appears with profound longing:
'Dreaming of distant guests, guests from afar
Your dress, so white, it's hard to discern
Here, mist and smoke obscure faces
Who knows whose love runs deep'
The urgent tone of the poem, rushed, expresses a longing associated with a specific figure: 'distant guests' and 'her' with her white dress. The silhouette of a lady faintly, it seems 'distant guests' and 'her' are one. 'Her' is a dream, a beautiful yet profoundly distant figure belonging to the outside world. For the poet, that figure only exists in long dreams. It seems like the poet is astonished to discover the lady with her delicate white dress, the very moment when the lady is most present in his mind is also the moment of his deepest despair as he feels it slipping away from his grasp.
Concluding the work with a poignant question:
'Here, mist and smoke blur faces
Who knows whose love runs deep'
The nostalgic subject has returned to the painful reality veiled by the mist of time, making everything distant and blurry, obscuring the image of the beloved. The poem ends once again with a poignant question, using the indefinite pronoun 'who,' which could be the author or perhaps the girl the author secretly loves. The echoing voice fades away, closing the poem in profound sorrow, longing endlessly for human affection. It is a desire for sharing, understanding, and love, despite the loneliness and despair, yet the longing persists.
Thus, the poem 'Here, Vĩ Dạ Village' brings profound values to the reader. In addition, the poem reveals that when humans are pushed to the brink of suffering and despair, they still aspire towards a life of sharing.
6. Reflecting on the first stanza of 'Here, Vĩ Dạ Village'
Che Lan Viên once commented: 'Before, there was no one; after, there was no one. Hàn Mặc Tử is like a comet streaking across the Vietnamese sky with its dazzling tail.' Coming to the poem 'Here, Vĩ Dạ Village,' Hàn Mặc Tử has shown readers a magnificent picture of nature in Vĩ village:
'Why don't you come back to visit Vĩ village?
Watching the morning sun, fresh and new
Whose garden is so lush, green as jade
Bamboo leaves blocking the view of the 'chữ điền'
'In 'Vĩ Dạ village' we encounter a poignant and longing self. The opening verse carries a hint of the author's intimacy:
Why don't you return to visit Vĩ village?
The opening verse is a gentle question with many nuances. It's both a question and a tender invitation from the girl of Vĩ village to the poet. Yet it's also the poet's self-reproach, self-inquiry, the silent longing of one who travels far, yearning to return to Vĩ village. Though just seven words, the line carries seven tones flowing seamlessly, softening the accusatory tone into a tender and wistful one. What's so special and alluring about Vĩ village that the invitation is so earnest? This question is steeped in regret, a poignant yearning rising from the poet's heart, for now, no matter how dreamy Vĩ village may be, the poet can only return there in thought. Hàn Mặc Tử's poetry is introspective. The question 'Why don't you return to visit Vĩ village?' may well be a self-reflection. 'You' here is a first-person pronoun, not a second-person one. It's a question with an explanatory tone. The verse is tinged with sadness, with a hint of regret. Could it be that the entire 'Vĩ Dạ village' poem is meant to answer the question posed at its beginning?
For Hàn Mặc Tử, this sweet, evocative, and mildly reproachful verse has reignited a flood of memories about a dreamy and poetic Vĩ Dạ. Immediately following is the world of life revealed through the scenes and people of Vĩ village, through the poet's nostalgia in many subsequent poems:
'Observing the sun, newly risen over the betel trees,
Whose garden is so lush, green as jade?
Bamboo leaves screening the face of the rice field.'
The image of 'Sunrise over the betel trees' evokes a pure and pristine beauty. The betel tree, being the tallest in the garden, catches the first rays of the day, hence the betel sun is fresh and pure. The sunlight shining on the betel trunk casts shadows over the garden, the betel trunk straight and segmented, resembling a natural ruler erected in the garden to measure sunlight. This species of tree is illuminated by a special kind of light, the newly risen sun, the first sunlight of a warm day.
Before crafting this timeless piece 'Here in Vĩ Village at Night', Hàn Mặc Tử once passed by the garden of Hoàng Thị Kim Cúc's house at Vĩ Dạ wharf, but only stood at the gate and gazed in. The profound impression retained in readers' minds when reading the first stanza is the scene of 'Vĩ Dạ wharf at dawn'. Through this scene, Tử wants to convey what subtle feelings? Among the myriad of trees, leaves of Vĩ Dạ, the poet mentions betel trees bathing in the morning sun. Since ancient times, betel trees have evoked the love of couples, using artistic techniques to elevate, the poet emphasizes 'the newly risen sun', 'green as jade'. Sunrise is truly beautiful, but through the romantic poet's eyes, it also passes by very quickly.
The garden 'lush' contains the meaning of the adjectives wet and shimmering, demonstrating smoothness, tender, glossy, lush greenness. That beauty made the poet marvel and enraptured. The image of comparison 'green as jade': The dewy night saturates the grass, flowers, and leaves. The color green, tender, shines, reflects under the pink dawn, looks 'lush', a jade green color. In the morning sunlight, the image of the garden during dawn appears full of vitality. We can understand through the author's panoramic view of the entire garden. Everything blends harmoniously and shines with exquisite beauty. The line is a vibrant, fresh, and full of life countryside painting. The poet wants to absolutely blend the noble, dignified beauty of the subject. Through it, we see the sincere devotion to the worldly life of the sentimental subject.
In that beautiful garden, there is a faint shadow of a person behind the bamboo grove. The image of the people of Vĩ village emerges with the face of rice field
'Bamboo leaves screening the face of the rice field'
The image of bamboo leaves contributes to further elucidate the noble nature of the Vĩ Dạ garden. The face of the rice field obscured by bamboo leaves has long been a challenge for many poetry enthusiasts. Many agree that the face of the rice field is a face of prosperity, kindness, honesty. As the folk verse from Huế goes:
'Your face is square like a rice field
Your skin is fair, dressed in black outside
Your heart encompasses the land and sky
There are sayings about kindness and loyalty'
'Bamboo leaves covering the rice field's face' - Those bamboo leaves must be in that precious garden, they obscure, they conceal all the prosperity, kindness, honesty; Perhaps they truly become the barrier separating human emotions. They make 'The wind follows the wind's path, the clouds follow the clouds'; they create 'The sad water with swaying corn flowers'; they conclude in a reproach:
'Here the mist obscures the human figure
Who knows whose love is profound'
The concluding line of the poem has fairly adequately answered the question 'Why don't you return to Vĩ Village?' It merely focuses on exploiting the romantic beauty of nature and the people of Huế, perhaps superficially, as some amateur poets may misunderstand Hàn Mặc Tử's tragic love. When he wrote 'Here Vĩ Village in the Dusk,' the poet's feelings for Hoàng Thị Kim Cúc were already a thing of the past. Furthermore, he was in a state of confusion and pessimism to the extreme upon learning of his incurable illness. Therefore, the first stanza in particular, and the poem 'Here Vĩ Village in the Dusk' in general, still lie within Hàn Mặc Tử's 'painful' inspiration.
7. Impressions of the 1st stanza of the poem 'Here Vĩ Village in the Dusk,' the shortest
Hàn Mặc Tử is one of the most creative poets in the New Poetry movement. Despite a tragic life, through a rich, creative, and mysterious soul, readers still feel a painful love for their earthly life.
'Here Vĩ Village in the Dusk' is one of Hàn Mặc Tử's famous works that has left an indelible mark on readers. Therefore, over many generations, people have three opinions about the poem: It is a poem about the poignant voice of a secret love; it is an expression of love for a nation; it is a desire to live in sharing, empathy to return to life. The first line of the poem has expressed a passionate and touching expression of that sentiment.
Why don't you come back to visit Vĩ Village?
Watching the sun on the betel nut trees as the sun rises anew
Whose garden is so lush green like jade?
Bamboo leaves cover the face of the written characters.
'Đây thôn Vĩ Dạ' was penned by Hàn Mặc Tử during his battle with leprosy, an ailment that led many to shun and reject him, thus he yearned for sharing, empathy, and a return to life.
Lying in the hospital and receiving a postcard from the daughter he secretly admired, Hàn Mặc Tử drew inspiration for the poem. Through it, he depicted landscapes and his own loneliness about an unrequited love. Moreover, the poem embodies the poet's deep affection for nature, life, and the people of Huế.
At the beginning of the poem, the author posed a grand question: 'Why don't you come back to visit Vĩ Village?' It served as both a warm greeting and a subtle reproach from the village girl. Not rude, yet very sincere and delicate.
However, it can be understood as the author's self-reflection and self-blame. He questioned why he hadn't returned to that region, that countryside, for a long time. He longed to revisit his homeland, the memories of that land were painful. Surprisingly, at that time, Hàn Mặc Tử was sick, how could he return but could not return forever...
Through the following three verses, the natural scenery and people emerge in Hàn Mạc Tử's reminiscence, his imagination is very simple and familiar:
'Behold the sun, the first rays on the betel trees rise
Whose garden is so lush, green as jade
Bamboo leaves veiling the face of the village sign.'
The betel tree sunlight, the new sunrise, is a scene filled with early morning sunshine. That pristine, radiant light illuminates the vast and spacious space of Huế. The message from the 'betel tree sunlight' not only expresses the brightness of light and vitality, but also reveals a soul always oriented towards light, towards the life of Hàn Mặc Tử.
That verse paints a strong betel tree reaching up to catch the first rays of the morning. Remembering Vĩ Dạ, the poet recalls the first betel trees. Because the image of betel trees and sunlight is too familiar to the people of Vĩ. The rhythm of the 4/3 poetry is like the footsteps of any visitor, admiring the new sun on the bright green betel trees.
'Whose garden is so lush, green as jade'
If other poets of the New Poetry movement often describe scenes of melancholic beauty:
'In the stillness, a small islet, the wind whispers
Where distant village sounds echo through the evening market'
(Tràng Giang, Huy Cận)
Or:
'Willow grove stands solemnly, mourning silently
Sad hair hangs down, tears in rows'
(Autumn arrives, Xuân Diệu)
Despite depicting physical and emotional pain in many other poems, Hàn Mặc Tử still lets his pen flow in vibrant light and abundant inspiration when it comes to Thôn Vĩ. The indefinite pronoun 'who' adds an intriguing touch to the verse, echoing the rhythmic dance upon the Perfume River.
'Whose garden' is not merely a specific garden, but it's akin to embarking on an explorer's journey, traversing through the landscapes of the mind, with gardens lining each side of the road.
Immersed in the green hues of garden foliage, Hàn Mạc Tử unexpectedly conceived a unique artistic creation: 'so lush'. 'Lush' denotes a state of plumpness, freshness, brimming with vitality, radiating with emerald green under the rosy sun of dawn.
A garden must be meticulously tended by a skillful hand to appear so lush and sparkling. Perhaps because the poet himself is attentive, caring, preserving, and nurturing each leaf in his heart, so he can conceive such a beautiful and dreamy poetic idea!
The imagery of 'green as jade' is a portrayal of the soulful essence of the trees and foliage in 'whose garden', where readers can almost hear the sap flowing within the leaves, and perceive the fragrance of the garden.
All are radiant, rejoicing in a new joy. The beauty that can be compared to 'jade' is not only dazzling but also extremely precious. Even the simple green color of grass and flowers can become a magical, enchanting image, so beautiful that it becomes a symbol of Vĩ village.
'Bamboo leaves shading the face of the village character'
When mentioning Hue girls, one immediately thinks of the image of an enchanting, graceful girl in a dreamy purple ao dai with a gentle, elegant white leaf hat. 'Bamboo leaves shading the face of the village character' shows a gentle and delicate appearance.
'Bamboo leaves shading across' is a clever painting, evoking the fleeting image of a young girl. A stroke describing the elegant, gentle beauty. A painting depicting a fleeting glance, hidden behind the bamboo leaves of the girl.
And the image of the shy girl peeking behind the bamboo leaves proves that 'whose garden' and the girl's garden are one. Nature and humanity under the sharp pen of Han Mac Tu have harmoniously combined to create a beautiful landscape painting, full of vitality and mysterious charm.
With an enchanting, sweet, and profound tone, Han Mac Tu has painted a picture of Vĩ Dạ village, bringing a sense of pain in this dreamy and simple song Đây thôn Vĩ Dạ. This reflects his great love for this peaceful and prosperous land.
However, hidden behind each poem is longing, lingering about the people and scenes here. He asks questions, worries about his secret love for the girl of Vĩ village. He asks about the beauty of Vĩ village. But all this was just longing for the poet at that time.
If in the first stanza of the poem is a cheerful and lively space, in the rest of the poem, the voice slows down and becomes much more gloomy. More precisely, starting from the second pain, Han Mac Tu expressed his sorrow and melancholy.
At that time, he contracted leprosy, a disease that isolated him from everyone. Living in a state of separation, the author desires, wishes in a negative mood, a confidant. He yearns more than ever to share, to empathize.
Han Mac Tu seeks love for humanity, love for life, happiness. He longs to return to normal life, to return to Vĩ Dạ village. He knows his serious illness, and knows that his time is very limited. Therefore, the poet is both anxious, worried and hopeful to have something to leave. It's a heartfelt desire and sadness when the author remembers himself.
With imagery full of inner depth, romantic descriptions, delicate language, rich connections, Han Mac Tu has painted a poetic and beautiful picture of a countryside. And behind it is not only a worrying voice of a secret love or a love for the countryside, but also a desire for empathy and return to life.
Đây thôn Vĩ Dạ is a beautiful picture of a homeland, a voice of someone who loves life, loves people. The poem is like a bright flower in the garden of national literature. It shows purity, love for life even in times of suffering, despair of Han Mac Tu.
8. Reflection on the Sorrows in Hàn Mặc Tử's Poem Đây thôn Vĩ Dạ
Hàn Mặc Tử, a representative poet in the new poetry movement from 1932 to 1945 with his exemplary works. The poets immersed themselves in nature, admiring the beautiful scenery of the homeland despite enduring the pain of illness with the desire to be more connected to this life. It's an admirable spirit and that sentiment is clearly depicted in the poem 'Đây thôn Vĩ Dạ.' The first stanza portrays the beautiful village of Vĩ alongside the author's nostalgic mood.
The stanza begins with a question: 'Why don't you come back to visit Vĩ village?' The question echoes like a silent reproach, a whisper from the sincere character in the vague longing. Whose question is it that simultaneously accuses, reproaches, and yearns? It might not be Hoàng Cúc's, nor any girl from Vĩ village. So, whose could it be? Perhaps it's from Hàn Mặc Tử, the author, questioning himself. The question confirms a long-standing truth that the author hasn't been able to return to Vĩ village for a long time or doesn't know when he can return. It's a poetic pretext, light yet deeply poignant, calling back memories of Vĩ village. Though the verse consists of only seven words, there are six equal syllables, with the final stressed syllable rising like a crescendo, making the verse gentle yet profoundly imbued with unending regret. From this cherished remembrance, the image of Vĩ village suddenly comes alive in the poet's heart:
'Gaze at the sun, newly risen cau sun'
'Whose garden is lush green like jade'
'Bamboo leaves conceal the village's face'
With just three lines, Hàn Mặc Tử vividly depicts the distinctive features of nature in Huế. Each line is a stroke, each detail vividly portrays the beautiful nostalgia of Vĩ village. First is the pure beauty of early morning: 'Gaze at the cau sun, newly risen sun' isn't just the usual sun along the white riverbanks but the pure, fresh sunlight of a day. Merely describing the sun evokes numerous beautiful thoughts. The slender cau trees stretch upward, embracing the gentle morning rays warmly. This familiar scene can be found in any corner of the Vietnamese countryside. The poetic phrase 'cau sun, newly risen sun' makes the sunlight seem to spread and shine even brighter. The message from the 'sun' paints a picture of sunlight flooding the space, illuminating everything from high above down to the gardens, Vĩ village as if adorned in a new, fresh coat.
The third line describes the garden bathed in the sparkling morning sunlight like a marvelous jade: 'Whose garden is too lush green like jade.' The line is a joyful exclamation, not just green but green like jade. What could be more pure and noble than jade? It's a scene of simplicity yet extraordinary purity and elegance. Perhaps the night dew has washed away all impurities to clothe the leaves in a transparent, sparkling coat when the sun rises. The word 'lush' strongly impacts the reader's senses, impressing the smooth, sleek texture of the garden. But the magic of the line all focuses on the word 'whose,' just one word that suddenly pushes the familiar scene far away, elusive and hard to grasp. The subtle sound of this word makes the breath seem to drift into a dreamlike, vague realm. For Hàn Mặc Tử at this moment, it's the world outside, the world of life beyond, not the world of illness. And naturally, following the flow of emotions, mentioning 'whose' immediately reminds the poet of the figure of a person:
Bamboo leaves veil the village's visage
The concluding line is a skillful stylistic feature of Hàn Mặc Tử to capture the essence of Vĩ Dạ. Perhaps the image of bamboo branches has become familiar when mentioning the people here, the land of the ancient imperial capital. People seem to blend in, to hide within nature, a discreet and refined beauty. It's a unique beauty in the land of the ancient capital, yet amidst the euphoric emotions, one can feel a profound sadness permeating into the hearts. But there's also something special in Hàn Mặc Tử's poetry, blending the influence of folk poetry with the products of creative poetry, or drawing the face behind the willow rows written by the sense of detachment of someone who always sees themselves outside of the joyous occasion.
Appreciating the first stanza of the poem 'Here in Vĩ Dạ Village' is a depiction of the scenery and the people of Huế both earthly and pure, pristine in Hàn Mặc Tử's mind. Through this, one can see in Hàn Mặc Tử a deep love for the homeland, for the people, and also the poignant longing of the poet towards the scenery and people of Vĩ village. Reading the poem evokes in the hearts of people a love for the homeland, a profound love for nature, and the people of this place. From this, we learn how to preserve and protect what surrounds us.
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