Appreciating the poem 'Wanting to be Cuoi'

Prompt: Appreciating the poem 'Wanting to be Cuoi'

5 exemplary essays on Appreciating the poem 'Wanting to be Cuoi'

1. Appreciating the poem 'Wanting to be Cuoi', sample 1:

In the twenties of the twentieth century, Tan Da was a prominent poet in the Vietnamese literary circle. Talented, romantic, free-spirited, and arrogant are the artistic styles of poet Tan Da. In the poem 'The Joy of Living', the poet wrote:

'Heaven gave birth to Tan Da,
Hometown had time, door had no time.
Half life in the South, North, West, East,
Friends gathering, spouses separating.
Pocket of poems worn in all three layers,
Strange forests and seas, what's missing, wind and moon...'.

The poem 'Wanting to be Cuoi' is a masterpiece, epitomizing Tan Da's artistic style:

'Autumn night, so sad, dear Hang!
In this mundane world, I'm half bored.
Who has sat under the myrtle tree?
Please remind the banyan branch to play.
With a spouse, with friends, what's the use of sorrow?
With the wind, with the clouds, that's when it's enjoyable.
Then every full moon of the eighth month,
We lean together, gazing down at the laughing world.'

1. The poem begins with a cry 'so sad, dear Hang!' A cry full of emotions. Poet Xuan Dieu commented as such:

'Autumn night, so sad, dear Hang!
In this mundane world, I'm half bored.'

Selected essay on Appreciating the poem 'Wanting to be Cuoi'

The sadness reaches a point of 'so sad'; in loneliness, only knowing to call sister Hang to confide. The three words 'dear Hang ah!' are very expressive, imbued with emotions, making the poetic tone sincere and intimate. The verses are imbued with sadness and weariness. Tan Da once wrote: 'Is life really boring, or is it just bored?'. Now it's 'half bored'. The poem is included in the collection 'Block of filial affection' published in 1916, from which we clearly see the deep-rooted reasons, sadness and weariness due to worldly affairs, to the harsh life, to the semi-feudal colonial regime, rotten and oppressive. Because of the wretched status: 'High talent, low fate, indignant spirit'. Sad because the country is being dominated by foreign powers 'Whose tears are intertwined with rivers and mountains'. That is the sadness of a generation in the cycle of lamentable slavery. As a sensitive, passionate poet, sadness has become a source of sorrow:

'Half of the goose feather pen gives birth to sorrow,
A thread of silk spans a few wistful lengths'.

(For the first block of filial affection)

2. The word 'please' is very sincere and earnest, like a plea:

'Has the myrtle seat been taken?
Please remind the banyan branch to play'

These two lines clearly illustrate the theme of the poem 'Wanting to be Cuoi' in the place of moonlight, myrtle and banyan trees. The questioning tone evokes many nostalgic sentiments. The 'banyan branch' has become the ladder to climb to the ninth layer of the blue sky to 'remind the myrtle to play'. It is a dream of liberation. A dream because of boredom with life. A dream with a negating nature:

'Sometimes, dreaming is better than life,
Regretting dreams makes life more unbearable'

(Remembering Dreams)

3. Only by ascending the myrtle seat can one alleviate 'sorrow', and only then can one enjoy 'that's when it's enjoyable'. Having sister Hang as a companion. Having wind, having clouds to play with. Inversion (having, together) and parallelism are creatively utilized, including both antithesis and symmetry. The rhythmic pattern of 2/2/3 creates a lively, rhythmic poetic tone. Saturated with poetry is the essence of romantic sentiment. Reading it aloud is very intriguing:

'With a spouse, with friends, what's the use of sorrow?
With the wind, with the clouds, that's when it's enjoyable'

Just as literary critic Le Thanh remarked in the book 'Appreciating Poets' (1939): 'His (Tan Da's) poetry is like filtered essence with indistinct scenes, fuzzy images, he paints masterpieces; with lofty thoughts, dreamy feelings, he connects beautiful verses...'.

4. The poet's arrogance and romanticism have reached their peak. The full moon night of the eighth month, the most beautiful Mid-Autumn night. No longer sad because of loneliness, the poet and sister Hang 'Lean together, laughing at the world'. The gesture of 'leaning together' and that smile are also a beautiful dream. A hint of sarcasm (for the worldly) but full of excitement because of liberation, because of enjoyment under the myrtle tree:

'Then every full moon of the eighth month,
Lean together, laughing at the world'

The liberating conclusion. A way of speaking with elegance, with talent. Reading the poem 'Hầu Trời' makes one realize, feel the beauty, the excitement of the poem 'Wanting to be Cuoi'. In the middle of the night, Tan Da wakes up, brews tea, then recites poetry... The heavens hear the recitation and send down two celestial maidens to escort the poet to ascend. The poet recites poetry for Heaven and the celestial beings listen. All are greatly impressed and praise:

'Literature has become rich, with many twists and turns
Even Heaven finds it amusing!
The celestial beings wish to discuss and argue
But you shoulder it, selling your goods in Heaven's market'.

(To Heaven)

The poem 'Wanting to be Cuoi' is a poem with a unique and interesting theme. The poetic tone is gentle, graceful, and playful. The imagination is rich and marvelous. The dreamy texture, the romantic colors permeate the poem.

Although it mentions sadness, talks about weariness, mentions liberation, and imbues a romantic sentiment... the entire poem exudes a spirit of determination in the midst of a semi-feudal, wicked colonial society, longing to live in a cleaner, nobler world, to forever preserve the beauty of nature. The true value of the poem 'Wanting to be Cuoi' lies therein.

After having Appreciated the poem Wanting to be Cuoi, students can proceed to Compose the poem Wanting to be Cuoi or refer to Analyze the poem Wanting to be Cuoi, the sample essay Analysis of the arrogance, sorrow, and dreams in the poem Wanting to be Cuoi by Tan Da to reinforce their knowledge.

2. Reflection on the poem Wanting to be Cuoi, sample 2:

Tan Da Nguyen Khac Hieu (1889 - 1939) stands out on the Vietnamese literary scene in the early 20th century, bringing a fresh breeze to Vietnamese poetry, with the arrogance and disdain of the last Confucian scholar and a pioneer for poetry on the professional path. Love, strange ideas, and new meters did not make up Tan Da, but the essential thing is the sincerity and naturalness of emotions, even when the poet is immersed in dreams. 'Blocks of emotions', 'dreams' contribute to Tan Da's literary career. Wanting to be Cuoi is a combination of dreams and emotions, revealing the portrait of a person who dares to take arrogance as a challenge to life.

Tan Da had the honor of being the one 'playing the prelude to a soon-to-be-remarkable concert' (Hoai Thanh, Hoai Chan - Vietnamese poets). The magnitude of that melody belongs to a free soul not confined to conventional literature, with the loftiness of a 'trailblazer' who sees himself as a wanderer in the world. Tan Da's poetry has its own space with Tay Thi, Duong Quy Phi, Chuc Nu, Hang Nga, the charming ladies with talented and elegant guests. People dubbed Tan Da as 'arrogant', but it should be understood as his reaction to the feudal colonial society that caused him much disillusionment. Wanting to be Cuoi is such a reaction.

It seems that for Tan Da, autumn also creates many debts. From the moment 'Watching leaves falling in the courtyard', recognizing fame as fleeting, to the autumn night immersed in melancholy, the poet expressed his emotions with the heavens and the earth:

The autumn night, oh sister Hang so sad,
Half bored with the world I am now.

The best Reflections on the poem Wanting to be Cuoi

Another autumn night, this time the poet sought out 'sister Hang'. But strangely, not with the ambition to marry Hang Nga but with a bit of introspection calling 'em' very sweetly! Young Hieu was weary of worldly troubles, so did he exhale a weary tone? The inherent sadness of autumn makes the poet melancholic, or does the moon facing humans evoke a sense of emptiness to vastness? Tan Da approached the moon not with a 'face-to-face' attitude - silently conversing with mutual empathy, he uttered the earnest words 'oh sister Hang!'. The worldly sadness floods the autumn night, emanating from within rather than 'autumn wind cold - autumn dew white - autumn smoke forming' as the verse in 'Feeling autumn, bidding autumn' that the poet heartily denied. What captures the reader's attention in the second verse is the 'half bored' with the 'world' rather than being 'completely bored'. Half bored implies not entirely bored, still earnest with life. Thus, the poet contradicts himself, between the desire to escape life entirely like ancient poets longing for the fairy realm 'seeking solace in' and the aspiration to stay with life to fulfill the 'heavenly reward' for the benefit of the people. There was a time the poet pondered with the question 'Is life worth being bored?' with a friend's understanding. But now, the understanding is absent, leaving the poet to confide with sister Hang.

The rich and intense imagination of the poet has created a lofty aspiration:

3. Reflection on the poem Wanting to be Cuội, number 3:

Being dubbed as the bridge between two literary eras, Tản Đà's poetry is bold, audacious, often surprising and astounding readers with its content. One of his most famous poems is: 'Wanting to be Cuội.'

Right from the opening lines of the poem, Tản Đà captures readers' interest:

A melancholic autumn night! Oh, Sister Hằng!
This transient world, I've grown weary halfway through.

Two lines of poetry emerge, imagining an autumn night with moonlight illuminating the world below. The poet, gazing at the bright moon, reminisces about the fairy tale on the moon featuring Sister Hằng, addressing the moon with a weighty pause. The term 'Sister Hằng' is intimate, natural, and close. The poet seems to confide in his 'sad' scene while expressing his weariness with life, feeling 'half-weary.' Perhaps, living in a repressive, frustrating society, where the nation loses sovereignty, and people lose freedom, those who seek advancement compete, neglecting the fate of the country. He feels melancholic for his talent, trapped in misfortune, powerless to change the tragic reality.

Tản Đà reveals his desires:

Who has yet sat upon the quince throne?
The banyan branch, please remind Sister to play it.

Tản Đà's style can be summed up in one word: 'bold,' in an attitude of audacious disregard for conventional constraints. He always surprises readers with the ideas in his verses. He reveals his desires through a surprising question and a 'please' that is natural and sincere, asking Sister Hằng to use the banyan branch to lift him to the moon so he can resemble Cuội. And he gives the reason:

With pregnancy, with companionship, what need for sorrow,
Together with the wind, with the clouds, that's true joy.

Reflection on Tản Đà's poem Wanting to be Cuội

Tản Đà has proposed befriending Sister Hằng, revealing a desire for companionship to alleviate sorrow. Perhaps, in this mortal world, he feels very lonely, finding it difficult to find true companionship, so he can only ascend to the moon, the realm of dreams, to alleviate that loneliness. This also reveals a desire to wander with the clouds and wind in a dreamy, vast space, free from constraints. At that time:

And every full moon of the eighth month,
Leaning on each other, we gaze upon the world, smiling.

On the fifteenth day of the eighth month, then the moon shines brightest, roundest. Some believe that at that time, one can even see the banyan tree and Cuội sitting beneath it. Tản Đà desires to ascend to the moon to live in a realm of bliss, escaping from reality, far from all the dark, gloomy realities to a carefree celestial scene. Then, when looking down upon the earthly realm, to laugh freely at the powerful, mundane figures, competing and vying for supremacy, laughing at the insignificance, emptiness of a world that he finds 'half-weary'. Moreover, it is a laughter of fulfillment when liberated from the mundane, freed from the profound abyss that he has struggled with for so long. The word 'laugh' is separated by a comma to emphasize that meaning.

With the form of poetry, which is free from constraints, the poem brings readers ease of access and understanding. Although the desire to become Cuội may seem fanciful, Tản Đà, like most intellectuals of his time, simply wants to escape the constrained reality, withered by being talented and ambitious but helpless before the times. They can only vent their frustrations through poetry, through aspirations for liberation.

The poem is a precious defiance of Tản Đà amidst the dark whirlpool of the nation's fate. Reading the poem, readers feel at ease in understanding the author's sentiments, and those of contemporary intellectuals in general.

4. Reflection on the poem Wanting to be Cuội, sample number 4:

Wanting to be Cuội is a famous poem by Tản Đà, excerpted from the collection Khối tình con (1916). Although the work follows the format of seven-character lines and alternate rhyme scheme, readers will still sense a bit of audacity from the author and a unique poetic style that easily resonates.

Entering the title of the poem: 'wanting to be Cuội', the poet employs a bold tone, very natural as if satisfying his heart fully, the straightforwardness of the poet along with the 'audacity' show a practical desire, without any concealment. 'Wanting to be Cuội' means wanting to ascend to the heavens, wanting to escape from the real world. Although the desire seems lofty, in the poem, it sounds easily achievable as reality.

The essence of an artist is inherently sentimental and imaginative. Tản Đà adds a touch of audacity: wanting to be Cuội, not someone else, the way of addressing is simple yet contains many meanings. The poem is the dreamy desire to ascend to the moon of a romantic poet:

A melancholic autumn night, oh Sister Hằng,
In this transient world, I'm halfway weary!

Sister Hằng is originally a celestial maiden in the moon palace. From the outset, the poet wants to become Cuội to express his feelings to the beautiful celestial maiden. The opening two couplets are like a lament from the mortal world. Without using imagery or objects to express sadness, the poet candidly expresses true emotions. The phrase 'so sad' at the beginning of the stanza makes the sorrow pervasive, spreading from the heart to every word. We often encounter sorrows, sorrows that spread everywhere. Because it's so sad, the poet wants to become Cuội. But perhaps that's not a vague, groundless sadness. The sadness here is the sadness of life, the weariness of real life, everything seems chaotic and mad. It's in the context of a semi-feudal colonial society in the 20th century, not just the poet rejecting reality, seeking the fairy realm, but the sadness has become the sadness of the era. The cramped, gloomy space of a country fallen into the hands of foreign invaders burdens everyone's hearts. Born out of thousands of different sorrows, they are all entrusted to verses, but they all revolve around the era, carrying a common feature of stagnation and dissatisfaction with life.

Tản Đà's sadness and world-weariness originate from that. And so the poet seeks liberation by escaping from reality, living in a secluded world, that of the fairy realm. Then Tản Đà raises a questioning tone:

Has anyone sat on the quince throne there yet?
The banyan branch, please remind Sister to play

Wanting to be Cuội is a poem that reflects Tản Đà's audacious spirit, his talent.

The essence of Tản Đà's 'Audacious' attitude is his way of responding to life, a manifestation of weariness, dissatisfaction with the era of society. In the poet's internal conflicts, perhaps he had to be a poet deeply enamored with life so that when life no longer resembled his dreams, it became suffocating, and with it, dissatisfaction soared. The third line poses a discreet question, followed by a straightforward request to ascend to his own moon palace. Perhaps, the author had no one to share and relieve his newn so he sought the moon as a companion, Sister Hằng as a confidante:

With pregnancy, with companionship,
With kindred spirits,
With wind, with clouds, that's when it's truly joyful.

Though audacious, he still has his own rationale, his loneliness, sadness prompting him to burst forth with verses full of desires to escape life, to avoid the complexities of the mortal realm. The longing to ascend to the moon actually reveals a heart yearning for empathy, soul connection in Tản Đà's life. In the last two lines, the poet even paints a future scene:

And every full moon of the eighth month,
Leaning against each other, gazing down at the world, laughing.

The romantic essence along with the audacity is clearly revealed in these last two lines. 'Leaning against each other' like a unique intimacy of the author, he is sitting on the moon palace, bursting into laughter at the dark life, it's also the triumphant smile of a successful recluse, he looks at life with disdain for the sorrows, the darkness of reality.

The poem wraps a familiar transcendental inspiration in classical poetry but with a twist, a bit of the poet's audacity. The simple yet evocative verses and unique expression style make the poem captivating and appealing to readers.

5. Reflection on the poem Wanting to be Cuội, sample number 5:

The water ripples, a fish jumps in the Đà river,
Clouds envelop Tản's hills, kites soar.

Tản Đà is the pen name of the poet Nguyễn Khắc Hiếu, composed from the name of Tản Mountain (also known as Ba Vì Mountain) and the Đà River, located in the former Sơn Tây province, the author's homeland. In the Vietnamese literary community of the early 20th century, the name Tản Đà emerged as a sudden phenomenon, abundant in creative capacity. He brought a new vitality to Vietnamese poetry, affirming the strong innovation of the New Poetry movement then and forever after.

In the context of Vietnamese society, a blend of the Western and Eastern cultures, Tản Đà's poetry reflects a discontent with the complex and stifling reality, while expressing a poetic soul both lofty and free-spirited in the passionate heart of an artist!

Escaping to the moon is the theme of the poem Wanting to be Cuội, first published in the work Khối tình con in 1917. Through the poem, the author expresses a longing to escape the current tangled life to reach a beautiful, free world. The poem vividly embodies the characteristic style of Tản Đà's poetry, often referred to as romantic, sentimental, and audacious.

Wanting to be Cuội is written in the classical form of the Đường poetry, with clear, concise regulations, precise, and harmonious tones, the general tone of the poem expresses the poet's heartfelt emotions. Right in the opening two lines:

Oh sister Hang, the autumn night is so dreary,
In this mundane world, I feel half weary.

The poet has unveiled his melancholy mood on this moonlit autumn night. Alone, he sighs amidst the mystical beauty of the scenery, unable to conceal the deep-seated sadness within. The poet is resentful of the grim reality of a dark and stagnant society. How can one accommodate a free-spirited soul in such a stifling and constrained life? The heart longs to soar, yet where to fly when contemporary colonial society feels like a vast prison? To completely detach from the earthly turmoil and sorrow, the poet has chosen the moon, a serene and perfect haven to freely express his thoughts.

The poet addresses the moon as 'sister' Hang, referring to himself as 'I,' creating a soothing and tender tone. If Sister Hang could hear, she would surely be moved by the poet's gentle and earnest voice, as he inquires if anyone weary of life has fled to the fairy realm before him:

Has anyone sat upon the cassia throne there?
Then earnestly implores:
Cassia tree, please remind Sister to play.

The Latest Reflection on the Poem 'Desire to be Cuoi'

It seems the poet longs to return to childhood, to every Mid-Autumn Festival where he would carry lanterns, break offerings under the moonlight, and eagerly search for the banyan tree and Cuoi, secretly wishing for Hang to 'remind to play,' to revel freely with the moon, clouds, and wind. Returning to innocent childhood is to rid oneself of worldly dust, to ignore 'the things that hurt the heart' throughout half a lifetime. Suddenly, the poet reverts to childhood with a tender and earnest tone of this unique prayer. The scene and emotion in the opening lines carry a profound sadness, yet the tone reveals a playful smile.

If sadness only lingered faintly in the reality, the subsequent lines express joy vividly as the poet imagines living with the fairy Hang Nga on the moon:

Pregnant with friends, why feel sorrow?
With wind and clouds, that's when joy grows.

The poet desires to become Cuoi to liberate the long-accumulated sadness. Living on the moon, the poet aims to escape the murky scene of the human world, satisfying the desire to wander with the companionship of 'wind and clouds.' However, the greatest joy lies in being shoulder to shoulder with the beautiful fairy, to gaze upon, to behold, and to experience joy and sorrow.

Every year, on the full moon of August,
They lean together, gazing upon the world, laughing.

The poet's sentiment upon transcending mortality to become a celestial being is to perceive the world below as small, cramped, and confined with all its absurdities. The poet aspires to become a celestial being to 'laugh' at the pursuit of fame and fortune, and the trivial struggles of human life in the earthly realm.

The two lines resemble self-reassurance: 'Pregnant with friends, why feel sorrow?' while the laughter in the closing line erupts into 'Leaning together, gazing upon the world, laughing.' After that prolonged laughter, the poet returns from the realm of dreams to reality, where sadness fills the heart; the desire to become celestial is merely spiritual joy for the freedom Tản Đà seeks. It is an illusion, a haunting desire as the poet must live amidst a harsh reality. The poem does not evoke a sense of pessimism or weakness but rather stirs up a melancholic urge, urging readers toward freedom, toward the most beautiful and perfect aspects of life.

The poem 'Wanting to be Cuoi' epitomizes Tản Đà's poetic soul, a renowned poet known for his audacity. While his contemporaries like Chế Lan Viên sought solace in ruins, living in solitude with painful memories; Xuân Diệu intoxicated with romantic love; Huy Cận concealed within the 'Universe's Song,' and Vũ Hoàng Chương wandered in intoxication with poetry, Tản Đà sought Hang Nga's companionship, the wind, the clouds, and sought to become part of Hang's eternal harmony. Amidst the decaying society of the time, where many lost their humanity in pursuit of fame and profit, our audacious poet longed to transcend mundane life, striving for noble freedom. It's a precious testament to the poet's character.

Tản Đà's audacity stems from his desire to befriend Hang Nga, the wind, the clouds, and to achieve true harmony with Hang. In the decaying social context of the time, where many succumbed to the allure of 'fame' and 'gain,' forsaking their humanity, our audacious poet sought transcendence to maintain purity and strive for lofty freedom. It's a remarkable testament to the poet's character.

The poem 'Wanting to be Cuoi' is not only meaningful in content but also creatively unique in artistic expression. It epitomizes the poetic prowess of Tản Đà, the poet of the mountains and rivers. The poem is woven with romanticism and the humane heart of the poet. Though written in the style of Duong's law, readers still perceive its naturalness, akin to everyday speech, resonating with folk songs, folklore, as a successful Vietnamese localization.

Reading 'Wanting to be Cuoi,' we sense a profound weariness towards the contemporary societal landscape. The poet seeks to escape the darkness of reality through imagination. It's a bold hallucination in line with the poet's nature. Tản Đà's sorrow transcends individual melancholy, encompassing the era, society's future, and the shared sentiments of intellectuals and artists of that time.