Curated Grade 12 essay samples

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Compilation of selected Grade 12 essay samples includes a full range of well-written and appropriate essays, covering various types from literary argumentative essays, social argumentative essays, expository essays, analysis, expression, to speeches about literary works... All literary genres, along with comprehensive essay exercises, are systematically and closely aligned with the curriculum in Grade 12 literature textbooks. These excellent essay samples will facilitate the learning and essay writing process for students, making it easier and more straightforward.

Collection of the finest Grade 12 essay samples

Best Grade 12 essay samples

1. Excellent Grade 12 English essay samples.

Essay 1. Write a 140-word paragraph discussing your favorite sport(s) and explaining why you enjoy it/them.

In my view, there are numerous sports that intrigue me, but swimming stands out as my favorite due to various reasons. Firstly, it promotes good health, enabling me to study for extended periods, resulting in academic success. Additionally, swimming serves as a relaxation method after a demanding school day, preventing stress buildup. Moreover, engaging in swimming allows me to forge friendships with like-minded individuals. Overall, swimming ranks as my preferred sport owing to the aforementioned reasons.

Essay 2. Write a 140-word paragraph outlining the reasons behind the extinction of numerous species.

From my perspective, the extinction of numerous species can be attributed to several factors. Firstly, the destruction of animal and plant habitats deprives species of suitable living environments, leading to their demise. Additionally, pollution poses a significant threat to various species. Furthermore, illegal hunting practices, including poaching for fur, skins, and other valuable body parts, contribute to the declining populations of many animals. In summary, habitat destruction, pollution, and illegal hunting represent the primary causes of species extinction.

Essay 3. Write a 140-word paragraph proposing measures/solutions to safeguard rare and endangered species from extinction.

In my perspective, there exist numerous measures to safeguard rare and endangered species from extinction. Firstly, we should conserve wildlife habitats by increasing afforestation efforts and establishing more reserves. This ensures the provision of safe havens for these species. Additionally, raising public awareness about the importance of conservation encourages contributions towards protecting endangered species. Finally, governments must enforce stringent laws to prevent illegal hunting. Overall, a plethora of measures can be undertaken to prevent the extinction of rare and endangered species.

2. Social argumentation: Learning to know, learning to do, learning to live together, learning to assert oneself.

In this era of advanced science, education plays an exceedingly crucial role. Learning is a matter of societal concern. So, why do we learn? UNESCO answers this question by proposing the purpose of education: 'Learning to know, learning to do, learning to live together, learning to assert oneself'.

The educational purposes set forth by UNESCO are not only relevant to the current era but also inherently humanitarian. Educational objectives must meet two requirements: knowledge acquisition and practical application, gradually refining character. Firstly: 'learning to know'. The first lesson for every student is learning the alphabet, numbers, writing, and reading. It is from these basic foundations that a comprehensive knowledge system at the secondary level gradually develops. Learning here is the process of receiving knowledge transmitted by others and enriching one's own knowledge. Through learning, we understand the laws of nature, the societal norms, ways of living, and gain a deeper understanding of the value of life. Knowledge acquisition can be said to be the most fundamental educational purpose. Learning enriches human intellect and enhances human intelligence.

However, our ancestors believed: 'Practice makes perfect'. If one only focuses on theoretical study without practical application, one may encounter difficulties, even failures, in real-life situations. An evident example is many individuals who possess broad knowledge but lack practical skills. Conversely, why do farmers, who work tirelessly, often uneducated formally, excel in their craft? It is their ability to observe and draw experiences from their labor. Those who talk more than they do are useless. They are individuals who adorn themselves but lack the skills to cultivate themselves.

So, 'learning' alone is not enough; it must also be coupled with 'doing'. Of course, we should not lean towards one side: 'learning' being more important than 'doing', but rather understand how to balance the two elements. In today's society, knowledge is a critical prerequisite. To excel in tasks requiring advanced techniques, one must grasp theories to apply them appropriately. Modern technology differs greatly from the alternating seasons of farming in the fields. Theory combined with practice yields higher work productivity. Thus, we see the reciprocal impact between 'learning' and 'doing', 'knowing' and 'doing', they complement each other, interact, and are two sides of the same process.

Social Argumentation: Learning to know, learning to do, learning to live together, learning to assert oneself - Selective Grade 12 Essay Samples

In addition to emphasizing the balance between knowledge acquisition and practical application, UNESCO has pointed out: 'learning to live together, learning to assert oneself'. This is a highly humanitarian educational purpose. Learning helps us understand the world around us, making our emotional states more flexible, diverse, and richer. We learn to smile at others' joys, to feel pain at human suffering, to help, share, empathize, and find ourselves. Knowledge itself is a power that makes individuals more generous, forgiving, and confident in life.

Today, modern life has influenced human thinking. A portion of today's students has not correctly defined their learning objectives. They immerse themselves in studying like machines, seeing learning as a duty, an irrevocable responsibility, towards their parents and teachers. They study for diplomas, for career success, becoming pragmatic in their approach to learning and forgetting the benefits of learning, thinking: if society views learning as a compulsory obligation and stops at the level of knowing, individuals will not be able to unleash their talents, their creative personalities, and inadvertently hinder societal development. Therefore, defining learning objectives is crucial.

UNESCO's proposed learning objectives are right and humanitarian. They make learning orientation easier, rendering learning more effective and useful. Knowledge is like an endless ladder; stepping up one rung, we gain more tools to confidently climb the next step. Education beautifies human beings!

3. Social Argumentation: Education may not have a homeland, but learners must have a homeland.

Despite writer Nguyễn Tuân's profound connection to his roots and national tradition in 'Echoes of a Bygone Era,' why does he still feel a sense of 'lacking homeland'? The poetic soul of Tế Hanh remains forever tied to the homeland, the ancestral land - a sentiment that never fades within him. 'Homeland' - what an earnest call! 'Homeland' - a sentiment so vast and profound! Perhaps that's why Louis Pasteur once said: 'Education may not have a homeland, but learners must have a motherland.'

All things in creation have origins, beginnings, yet why is it that education, according to Louis Pasteur, does not? At first, it may seem illogical, but when placed in the context of his lifetime experiences, it becomes entirely reasonable. Because all knowledge, truths, and principles in this world do not belong to any individual. They belong to all of humanity, but they become useful when each individual learns to absorb and filter them correctly. Hence, 'education may not have a homeland.'

However, on the contrary, those who possess the collective knowledge of humanity - something without origins - must have a homeland. According to the laws of life, trees have roots, streams have sources, and humans are no exception to this cycle of creation.

Indeed, 'education may not have a homeland'... Within the treasury of human knowledge, none of us has yet been able to conquer it entirely, merely grasping a portion of that intellectual treasure. Our knowledge is but a drop in the ocean. Therefore, education has no specific origin, as we, as human beings, approach it in every form and from various angles of learning. In Vietnam, we have the saying 'traveling one day, learning a heap of wisdom.' We absorb knowledge broadly, so Louis Pasteur's assertion is entirely correct.

First and foremost, having a homeland means knowing one's place of birth, hometown, origins, and background. But 'homeland,' that expression, encompasses even deeper layers of meaning. 'Having a homeland' means carrying love for the place of birth, cherishing and preserving the cultural identity of the nation, yearning to return to the warmth of home on every distant journey... And it is the soul of the nation, embraced within the heart...

'What is homeland, mother?
That teachers teach us to love...
... If one forgets homeland
They will never grow into a person.'
(Homeland - Đỗ Trung Quân)

Curated sample essays for grade 12 help students reinforce their knowledge and essay writing skills.

Indeed, learners must have a homeland because the sentiment towards homeland is a fundamental spiritual value, a solid foundation for shaping one's personality. By absorbing the essence of culture, individuals broaden their understanding and expand their knowledge base. With profound understanding, educated individuals recognize the value of homeland. Their deep-rooted emotional connection ignites into a sense of responsibility to serve the nation. They preserve and develop the noble principles and traditions of the nation.

A prominent example of these intellectual classes is Dr. Lê Bá Khánh Trình, a mathematician. He is currently a professor teaching at the University of Natural Sciences. Participating in the International Mathematics Olympiad in 1979 and winning a special prize, he received numerous invitations from prestigious universities worldwide. However, his love for his homeland compelled the doctor to decide to work in his hometown. That sentiment is dedication, contributing to the field of mathematics in his homeland.

However, sadly, there are educated individuals who lack the core human sentiments. Like Nhĩ - a character in the short story 'Homeland Wharf' by writer Nguyễn Minh Châu, a knowledgeable young man who travels all over the world only to realize at the end of his life that the sandbank across the river from his homeland is a place he has never set foot on. And in today's reality, some layers of young educated people have objectionable lifestyles. The bleeding of intellect continues, and anti-state reactionary organizations still exist. Therefore, if truly educated, let us be the ones who appreciate the roots of our homeland.

Homeland in poetry, music, and painting is a broad theme that always stimulates the creative inspiration of artists. Because love for the homeland is love for family, for the village, for the fields, engraving the lullabies and verses of the mother, it is the shelter, soaking deep in the hardships of the father. Once the attachment to the homeland becomes profound and overflowing, the awareness of building and protecting the beloved place within each individual is elevated... And education is the wide-open path for individuals to carry the two words 'homeland.' Therefore, those with a homeland are educated individuals. They are the farmers who, out of love for their land, become horticultural engineers with innovative farming tools. They are the craftsmen in the villages who, out of love for the traditional beauty of the nation, creatively apply science and technology to production... And there are many more people like them! Deep-rooted love for the homeland has become a fertile ground nurturing the lofty ideals of humanity. With a homeland, people can become educated, and educated individuals must surely have a 'homeland.'

This French scholar used the word 'but' as a connector between two contrasting clauses to emphasize the value of 'Homeland and Motherland.' 'But educated people must have a Motherland.' The motherland is where we are born and raised along with the cultural and sacred values of the Motherland. It is also where we sow and reap, nurturing our spirits. As poet Đỗ Trung Quân wrote:

'Homeland for each is just one Like it's just one mother'

Motherland is the root, the ancestors, the land where seeds are sown, the place of family, village, friends, with a sky full of childhood memories. Motherland is not just a piece of land, it is a space linked to the sacred values of human life. 'Educated people must have a Motherland' not only states a common truth: everyone has a homeland, but it also serves as a teaching, a reminder: Those who understand principles must always remember their Motherland wherever they go. It is a noble human sentiment deep in the human heart, especially for those living far from home. Moreover, it is a measure of character.

Motherland is the foundation for people to soar high in the sky of knowledge. At the same time, the Motherland always welcomes back those distant children with the aspiration to build and contribute. Thus, the love for the Motherland is a mutual bond between people and their land. L. Pasteur's statement is entirely correct as it is based on human nature, imparting a lesson about living: no one in this world can forget their Motherland.

Loving the homeland is also about cherishing and being conscious of preserving the ancient beauties of the country. Like Vũ Đình Liên once mourned for 'Those of a thousand years old/ Where are their souls now', or like the character Mrs. Hiền - 'a Hanoi person of today, pure Hanoi without any mixture' - in Nguyễn Khải's literature, they are educated to appreciate the ancient beauties, the cultural traditions of the thousand-year-old capital. Therefore, they become a bridge between the two banks of history: the present and the past, the new modernity and the values of ancient times.

Does loving the country mean participating in grand projects, billion-dollar plans to change the face of our homeland? Patriotism is tied to simpler expressions than that.

Vietnamese people, born from Mother Âu Cơ, standing side by side on the land by the Pacific Ocean filled with sunshine and wind, perhaps that's why the image of the homeland is always deeply engraved in the heart. Wherever they are, they are ready to contribute to the country.

But has the state implemented appropriate policies to harness talents? Our country is still poor, but I believe we must pave the way for talented individuals to contribute to the nation-building, not just think about present costs and limit ourselves. The bleeding of intellect is a social problem, but it can be resolved because there are always talented individuals who are devoted to the homeland.

'Streams flow into rivers, rivers flow into the vast ocean, the Von-ga river flows into the sea. Love for home, love for the village, love for the thatched roof house becomes love for the Motherland'. Just like the words of I-li-a Ê-ren-bua, the smallest expressions can create patriotism. Japanese youth demonstrate this love by inventing environmentally friendly materials, protecting green spaces. Filipino youth form volunteer groups to help victims of tsunamis. And you, a Vietnamese youth, what do you do?

Therefore, no matter how educated we are, whether we possess the erudition of Descartes, Einstein, or L. Pasteur... we cannot forget our Motherland, our homeland. On the contrary, we must strive to study to honor our beloved Vietnam, as our dear Uncle Ho said, 'Whether our Vietnam can stand on par with other powerful nations around the world depends on the educational efforts of our youth...'

4. Analysis of the Soldier's Image in the Poem 'Westward' by Quang Dũng

On a late night in 1948, in Phù Lưu Chanh, a small village nestled along the banks of the Đáy River, Quang Dũng reminisces about vivid memories. In that year, Quang Dũng was the battalion leader of the Westward troops tasked with coordinating with the Laotian forces to defend the Vietnam-Laos border, fighting enemies along the Northwestern mountainous forest route from Lai Châu to northern Thanh Hóa. The soldiers of the Westward battalion lived in extreme deprivation and hardship due to the sacred yet treacherous forests, rampant malaria, scarce medicines, and the rugged, perilous mountainous terrain they traversed.

The majority of the Westward soldiers were young people from Hanoi, mostly students, petty bourgeois intellectuals, who, despite fighting in harsh conditions, still exhibited a romantic heroic spirit. Quang Dũng wrote the poem 'Westward' in 1918 (previously titled 'Remembering Westward') to express his nostalgia and love for a time of arduous yet glorious and fervent struggle.

The memories of Sài Khao and Mường Lát places linger strangely close to Quang Dũng. Describing the weary troops, Quang Dũng adds images of 'mist shrouding,' 'flowers returning,' and 'night's breath.' Clearly, here reality intertwines with romance, creating a unique portrayal of Tây Tiến.

In the poet's nostalgic emotions, the picture of Tây Tiến seems draped in mystical, romantic hues, rich with romantic nuances of the mountainous scenery traversed by the Tây Tiến troops, simultaneously dreamy and majestic. Within the nostalgia, memories remain vivid, as if resurrected, the poet recalls a time of hardship:

Climbing the winding slopes
Thin pigs sniffing clouds, guns scenting the sky

These two lines vividly depict the hardships of the Tây Tiến soldiers on their way to battle. The first line, in a rhythmic 4/3 beat, primarily composed of consonants, evokes a sense of ruggedness and danger. Yet, what's remarkable about this line lies in the words 'winding,' 'slopes,' and 'deep,' offering readers a multifaceted space; tall, wide, deep, far-reaching, allowing readers to empathize with the soldiers' hardships. The second line's use of 'thin pigs' is particularly striking; unlike the usual 'sniffing,' 'thin pigs' not only suggests depth but also adds a feeling of desolation, coldness, and eerie emptiness. The battlefield terrain of the Tây Tiến soldiers is indeed fraught with hardship and danger. Furthermore, the phrase 'guns scenting the sky' is used uniquely, reminiscent of Chính Hữu's 'moonlit gun barrels' enveloping a romanticized imaginary space, yet it originates from real life, from the keen eye and versatile pen of the poet. Thanks to the imagery of 'guns scenting the sky,' the lines speak of hardships yet elevate the heroic and dignified demeanor of the individuals, also displaying a hint of playful mischief, a youthful and romantic soldierly style. Amidst the desolate wilderness, the image of humanity doesn't feel small or lonely but rather asserts dominance, affirming the courage of a heroic soldier and the optimistic spirit of humanity. Furthermore, the image of a time of hardship is also expressed through these lines:

Dusk falls, the majestic waterfall roars,
Through the nights, Mường Hịch, where tigers mock men.

The imagery of the 'majestic waterfall roaring' and 'Mường Hịch, where tigers mock men' vividly illustrates the hardships and dangers that the Tây Tiến soldiers endured during the 'dusk' and 'night,' becoming a haunting memory deeply ingrained in the author's subconscious. Describing the soldiers' hardships, Quang Dũng's pen captures incredibly authentic images:

Comrades, weary, no longer stride,
They slump against rifles and helmets, forgetting life.

The immense toil of the soldiers is expressed through the phrase 'weary comrades.' Yet, even from 'weary comrades,' readers can sense the dusty valor of the soldiers on the march, perhaps because their images faintly echo those of the valiant warriors and rulers of old. Through the words 'forgetting life,' we see the brave and dignified demeanor of the soldiers shining forth from seemingly harsh and dire realities – a touch of indifference, but above all, a heroic adornment. Whether tired or sacrificing, they still regard these expressions with utmost ease. The Tây Tiến soldiers fight valiantly, yet their moments of rest are also filled with romance, enchantment:

The camp ablaze with a festival of torches,
Behold, she, in her elegant attire, when did she arrive?
The flute plays a tender melody, she shyly smiles,
Music reminiscent of Viên Chăn builds poetic souls.

Analysis of the soldier's image in the poem Tây Tiến, Sample Literature Class 12

They leave behind the smell of gunpowder, casting off the worries of war. Amidst everyday life, the Tây Tiến soldiers appear simple and approachable. A gathering suddenly transforms into a vibrant celebration through the romantic lens of the soldier's space during the torchlit night festival, resplendent and colorful in verse, as if painted. The word 'ablaze' is used aptly, signifying not only the illumination of light but also the ignition of joy, of proud intoxication. In the excitement of that night, the image of the younger sister takes center stage, all eyes drawn to her, 'behold, she, in her elegant attire, when did she arrive?' - a moment of astonishment followed swiftly by enchantment and infatuation. The Sino-Vietnamese term 'elegant attire' lends a sense of refinement, here, the image of the younger sister is romanticized. The words 'when did she arrive?' cannot hide the soldiers' overwhelming emotions; they seem to have imagined the image of the night festival with the younger sister for a long time, only to suddenly find themselves taken aback. The resplendent portrayal of the festival night, romanticized and embellished, leads readers to perceive the younger sister as if she were a fairy tale character amidst the harsh and tumultuous reality, one encounters an image akin to legend; this is the romantic tone of the poem. Adding to the picture of the festival night is the image of music, of the flute, the rhythm of poetry coinciding with the rhythm of enraptured hearts, the music of the soul spreading through each word. A time of enchantment and romance for the Tây Tiến soldiers is also evoked through a very beautiful image:

Oh, Tây Tiến, the smoke rises from the rice,
In Mai Châu, the season when the fragrance of sticky rice wafts.

The image of rising smoke from rice, the intense flavor of sticky rice, it clings to the souls of those far away. The verses primarily evoke sounds, creating a sense of floating emotions, a bit of nostalgia, a touch of poignant longing, enough to stir one's heart when reminiscing about Tây Tiến. Writing of that enchanting time, Quang Dũng crafts verses of exceptional talent.

Thousand feet ascend, thousand feet descend,
Whose home lies in Pha Luông, rain far out at sea.

The first line seems broken in two, evoking the ruggedness of the Tây Tiến mountains. The second line resembles a gentle release, drifting lightly. The verses push the reader's thoughts toward a nostalgia that seems distant in the author's sorrow: seeming vague and sudden, yet haunting and poignant in the author's mind. Furthermore, the verses maintain a clear rhythmic pattern, demonstrating musicality. Thus, the soldier is also an artist. The life of resistance not only entails hardship and loss but also shines beautifully in the soldier's soul. This life, full of poetry and dreams, dissipates the weariness and hardships in the soldiers' fighting lives. Subsequently, the emotional tone shifts: from the bustling, intoxicating urgency to a serene, contemplative tone, tinged with a hint of wistful reminiscence:

Those who venture to Châu Mộc in that misty evening,
Do you see spirits along the banks?
Do you see figures atop solitary trees,
Drifting amidst the flood of blossoms?

The author's nostalgia begins with the image of 'that misty evening', as if space lightly veils a profound melancholy. The word 'that' spatially locates memories to a distant place, allowing readers to sense the vast distance of longing. The verses evoke more than they describe; the images they conjure are not specific details but rather shapes, forms that are difficult to grasp. The poet seems not to describe scenes but rather to evoke their essence, or more accurately, scenes seen through the lens of longing, indistinct, blurred, ethereal. It's not the description of foliage but 'the soul of foliage,' not the depiction of a person but 'the figure of a person,' the reader perceives a desolate, silent space steeped in profound melancholy. The most remarkable aspect of the verses is the use of the phrase 'do you see,' 'do you remember.' These are not just questions but also like reminders, earnest reminders of affection. Perhaps 'that soul of foliage,' 'that figure of a person' has become haunting images in the author's soul, so that when recalled, they serve as focal points of emotion. Particularly, the variation in the use of the phrases 'do you see,' 'do you remember' also signifies a change in perception, not just visual but also awakening the soul, stirring the heart. The fourth verse is quite unique, featuring the image of 'floodwater' juxtaposed with the image of 'swaying blossoms': one side represents fierceness and intensity, while the other is gentle and soothing. Perhaps the image of 'swaying blossoms' is no longer a literal depiction but has become an expression of the author's emotional state. The term 'swaying' differs from 'swinging,' not only describing the figure and movement as in 'swinging' but also full of affection, it's the swaying of eyes filled with nostalgic infatuation, full of romantic nuances and the unique artistic creativity of Quang Dũng. Reading Tây Tiến, we relive a time of blazing fire with a renowned army that has entered history. To portray the soldiers' portrait, the poet uses details, real images of the Tây Tiến army, but these images are described in a romantic style to emphasize the extraordinary, the talent, bringing readers a rare and unique beauty of soldiers in history:

The Tây Tiến troops, hairless warriors,
The green army, fierce and mighty as lions.

Poet Quang Dũng names his battalion in a rather intriguing way, 'the hairless warrior troops.' It's fascinating how these individuals transform their harsh reality into pride and self-esteem. Poet Phạm Tiến Duật also named his platoon based on the stark reality of deprivation, 'the vehicle-less platoon,' revealing a spirit of optimism and a humorous, witty soldier's style. The second verse creates two contrasting clauses: 'the green army, the color of leaves' with 'fierce and mighty,' one side depicting scarcity and hardship, the other side showcasing the heroic spirit of the Tây Tiến soldiers. The three words 'fierce and mighty' create a powerful, majestic resonance for the verse, the reader feels the momentum of the marching troops, the verse's rhythmic interruption emphasizes their heroic spirit. The Tây Tiến soldiers are also dreamers, full of aspirations and dreams. Here, the poet creates a realistic portrayal of the soldier's image in the resistance against the French:

Eyes gaze, sending dreams across borders,
Dreaming of Hanoi's elegance on fragrant nights.

The two lines emphasized the words 'dream' and 'dreaming.' The word 'gaze' is used quite distinctly, showing how many aspirations, how many longings and dreams rise up from the depths of the heart, all reflected in the eyes. 'Gazing eyes' is just one powerful action, not of sternness or intimidation but of a pained, relentless gaze expressing longing, yearning until it becomes poignant. The word 'dream' makes the verse sink, hiding a sense of melancholy. Quang Dũng's verse recalls a line from Nguyền Đình Thi: 'On long nights of marching, simmering - Suddenly, longing recalls the eyes of loved ones.' The longing for a loved one, for 'fragrant elegance,' is so ordinary yet so noble. It makes the image of the soldier more real and intimate. That longing in their baggage serves as added strength and determination to fight and win, it's like a solid anchor for the young Hanoi students leaving their school desks to join the battle - those people 'with swords on their backs and soft hands holding pens.'

Tây Tiến soldiers live heroically and die heroically:

Scattered along the border, graves in distant lands,
The battlefield, harsh, spares not the green life.
Replacing blankets with camouflage,
The Mã River roars a solitary tune.

The uniqueness lies in the poet's portrayal of their departure without emphasizing the sorrow, the burden of resentment, but rather emphasizing the heroic spirit, the heroic dignity. After the firm, beautiful verses, the melody suddenly becomes solemn and sinks, like a slow-motion film.

What's more sacred and noble than sacrifice, than accepting the hardships of soldiers. Along the march, the Tây Tiến soldiers encounter countless graves in distant lands of those who died far from home. Yet our soldiers look with calm eyes because they accept it. If the first line emphasizes the 'Destiny,' the second line highlights the 'Heroic,' the 'Majestic.' The second verse is like a defiant gesture from the Tây Tiến soldier: regardless of difficulties, ignoring imminent danger and death, the Tây Tiến soldiers remain steadfast in their will, courageous in their actions, arrogant in the heroic spirit. The author uses the image of 'camouflage' to describe the departure of the soldiers. Especially, it is associated with a sacred image and creates a solemn tone, reducing the sadness and sorrow. It creates a very touching image, like a sympathetic sharing of the author with the Tây Tiến soldiers. The verse continues with the appearance of the Mã River - a witness to history. The Mã River plays a 'solitary tune' - a lonely, sad song. The word 'roars' - personification, the nostalgia of the human heart as embodied in the nostalgia of the river or the river carrying away the painful songs of people. 'Back to the land' symbolizes the embodiment of the homeland, fulfilling their glorious duty. The roar of the Mã River downstream is like a series of loud farewells, bidding farewell to the beloved children of the nation. Finally, after reminiscing about the romantic Tây Tiến army, Quang Dũng reveals his longing to see Tây Tiến again:

Tây Tiến people depart without promises,
The road up is deeply divided.
Whoever goes to Tây Tiến that spring,
The soul returns to Sầm Nứa, not returning downstream.

The verse returns to the general emotional flow of the poem, the feeling of longing and nostalgia, but still carries a dazzling embellishment. The verse speaks of parting, of distance, with a sense of regret but full of courage, determination. The farther the distance, the deeper the longing becomes because one doesn't know when they'll meet Tây Tiến again. Readers feel the longing filling the entire verse. The last two lines, the tone and emotional flow shift: the verse is like an invitation, a message, a heartfelt promise. Perhaps this is a promise to meet Tây Tiến in the spring - the spring of reunions, of victories. It shows that the author looks forward to the day of meeting Tây Tiến again, returning to Tây Tiến is the day of victory. The closing verse rings with pride like an oath, a resolute promise. From the longing for an army, for specific individuals, it has turned into a longing for a piece of land, a homeland. Tây Tiến has become the longing, the fervent love of Quang Dũng.

Literary critic Phong Lan asserts: 'Tây Tiến is an immortal monument to the nameless soldiers' - immortal because of the magnificent, heroic, and glorious beauty. Therefore, the Tây Tiến soldiers through Quang Dũng's poem of the same name will live forever in eternity and in the world of humanity.

5. Social discourse: Every virtue of goodness lies in action.

When each of us does a good deed, no matter what it is, does anyone know that we are expressing our own goodness? Or as the words of the French writer M. Xi-xê-rông:

“Every virtue of goodness lies in action.”

Every person born has both good and bad sides. In the good side, one part is the virtue of each person. Virtue is morality, is quality, is the good and beautiful qualities of human beings, whether innate or acquired through training. Action can be defined as specific deeds, expressed daily, and more importantly, the manifestation of virtue. That is also the remaining part of the good side in everyone. The writer M. Xi-xê-rông's statement carries the meaning as its original principle. Every good quality needs to be demonstrated in specific actions.

One is not naturally known for virtue, but rather it depends on the meaningful deeds one has done. Simply put, these are just ordinary acts, such as helping the elderly cross the street, giving up seats for women and children on buses, or showing care for others and treating everyone around well. These are just small daily deeds that stem from a pure soul, always aiming for beauty and goodness, and that will be the manifestation of virtue.

People often say:
“Thought is the bud
Speech is the flower
Action is the sweet fruit.”

When we have a meaningful deed, we need to speak up for consideration. But not just speak, we need to act upon it. We do it with all our hearts, turning those thoughts and words into specific actions, only then can it become the “sweet fruit.”

Nevertheless, there are still some cases that need to be considered in each circumstance. Lying is generally considered a bad and wrong action. But in the case where a doctor has to lie about a patient's condition to reassure them to continue treatment, that is a noble act. However, there still exist many people lacking in virtue. They speak grandiosely, loftily, but their actions are the opposite because, in reality, they do so for their own selfish purposes. We should not exclude them but instead work to change these individuals.

A good society is one with individuals who do many good deeds, cultivate themselves, and refine their souls. This stems from virtue, which is also the manifestation of a person with all the good qualities of virtue.

The sample literature of grade 12 is a useful study material for 12th-grade students.

The German musical genius Beethoven once said, “In life, there is nothing noble and beautiful than bringing happiness to others.” Does that opinion still hold value in today's life? “Happiness” is a good life; joy, spiritual satisfaction, human emotions... And “noble” and “beautiful” are phrases that glorify. Beethoven's statement “In life, there is nothing noble and beautiful than bringing happiness to others” reflects the beautiful living philosophy, affirming the praise for the dedication, benevolence...

In life, everyone seeks happiness, but each person's concept of happiness differs. Some consider material satisfaction, their own emotions as happiness. But there are also many people who view happiness as dedication, as giving. For them, life only has meaning when people sacrifice for the happiness of humanity. Beethoven believed so. Those who live for others, bring happiness to others, are those with a humanitarian heart; they have a noble and meaningful life, worthy of appreciation... Indeed, in life, if we can bring happiness to others, it is wonderful. That happiness can easily be achieved when we help an elderly person cross the street, or give up our seat for a pregnant woman on the bus... All of these simple acts bring happiness to others, make everyone happy. And it doesn't stop there; happiness also stays with us when we do something good, useful for others, for society. Noble and beautiful actions, greater than oneself, are the happiness of peace that our soldiers, revolutionary soldiers have brought to us. All the sacrifices of those soldiers are only to bring happiness to us, to the nation. Happiness here is the independence and freedom for the entire nation. Indeed, noble and beautiful gestures deserve every bit of praise!

Bringing happiness to others is simple yet noble. However, in society, many people fail even in the smallest deeds. Some are selfish, causing unhappiness to others. Within families, we must condemn abusive husbands, neglectful parents, or disobedient children who only seek pleasure, disregarding their parents' pain. Why do these individuals bring unhappiness to their loved ones? Beyond society, there's a group of youth who, instead of helping the weak, exploit them for theft or robbery. Those who find joy in others' misery deserve punishment! “In life, there is nothing noble and beautiful than bringing happiness to others.” This is a humanitarian philosophy. If I had one wish, I'd wish for everyone in the world to be happy. Therefore, let's strive to do many things, big or small, to bring happiness to others, to our families, and also to ourselves from now on...

6. Analysis of the prison guard character in Nguyen Tuan's 'The Condemned Man's Letter.'

Nguyen Tuan portrays heroic figures under a layer of pure and exemplary national language, always striving to revive a glorious past. Yet, he seems to feel inadequate. Nguyen Tuan pulls his characters in that direction. This is evident in the case of the prison guard in the short story “The Condemned Man's Letter” (in the collection 'Echoes of a Glorious Era').

Prison Guard: not a handsome hero like Huan Cao, nor the figure and character of a bloodthirsty warlord (A Bloody Feast). This person is an intermediary between beauty and ugliness. Under the masterful pen of a language expert, this intermediary image remains ambiguous, with no clear boundaries.

At first glance, the prison guard appears to be a person resigned, serene, no different from those of the same status: “What do we know about our country's court affairs?'. The feudal framework, the “state's rule” made the guard accustomed to receiving prisoners, handing over prisoners, with 'routine tortures'. At those times, the prison guard remained as indifferent as a tuft of grass, as obedient as a loyal slave to his role.

But who would have thought, inside that person, there always exists a fresh seed of beauty. That seed is suppressed but still throbs, as if waiting for a moment to sprout. And that moment arrives. Huan Cao, the versatile talent, appears with “the talent for writing very quickly and beautifully”. The prison guard begins to fall into a very difficult mood. A silent struggle becomes the epitome of the guard throughout the story, which is also a typical expression of the “introverted” nature we often encounter in Nguyen Tuan's works.

In the end, the passion for beauty triumphs. Although that victory is not absolute, it is enough to transform the prison guard into a different person. “So many complex sounds soared high above the ground, supporting a star that wanted to bid farewell to the universe”, “The political star' obviously refers to Huan Cao. And the “complex sound” implicitly refers to whom? That person is the prison guard. The guard wants to cherish beauty but is afraid. Therefore, Nguyen Tuan allowed this character to embody something invisible, illusory. This detail both reveals the strength of Echoes of a Glorious Era in romanticism and the desire to awaken beauty, and also reveals the faint weaknesses and vulnerability of Nguyen Tuan in a distant hopeful gaze. It makes Nguyen Tuan seem to avoid, blame the heavens: '‘Heaven sometimes plays cruelly by exiling purity amidst a pile of filth'.”

From that notion, the guard thought he 'chose the wrong profession', Nguyen Tuan went in search of beauty and found glittering, fragile beauty amidst a dark sky.

Exempting the tortures, the favors for prisoners, then daringly requesting letters, skillfully adding beauty to the prison guard's persona because: “Knowing talent isn't wicked'. Yet, despite the favoritism, the cunning letter requests, the guard still fears, still instructs the poet to say to Huan Cao: “As long as you keep it secret”. A small but indispensable detail. A detail both romantic and realistic. Admiring Huan Cao's talent, yet fearing the “royal decree”. It must be very subtle. Nguyen Tuan discovered that. Nguyen Tuan must be very talented to express that. If not written about the subconscious fear, it would be insincere, and Nguyen Tuan is a person always reaching for beauty, for truth. If written too much, it would disrupt the tumultuous, boiling plot within the character.

Admiring Huan Cao's talent, longing to “have a letter from Mr. Huan hanging is having a treasure in the world”, at this point, the guard seems to no longer be the guard but the embodiment of Nguyen Tuan with a heartbeat and breath devoted entirely to nurturing beauty. “On a cold afternoon, the guard frowned picking up the person after reading the document”. No longer pity, sorrow, but reached the peak of grief, stunned. Receiving the document, the guard knew in advance but still felt suddenly, disappointed. The celestial sign just awakened in a person who urged the guard to act. An action contrary to what the guard said: “I already know, my lord's affairs have been arranged beforehand”.

The love of beauty to passion has awakened the dormant temperament lying silent for so many years.

In the grand scene of granting letters, there is a memorable detail: “After the prisoner finished writing a letter, the guard hurriedly tucked away the coins marking the letter placed on the official paper”, “hurriedly” not just for flattery but out of admiration. When admiration reaches its peak, it is also the end of the story. “This infatuated person bows to authority”. A masterful art, ending the story at its climax. That unique art highlighted the comprehensive, exquisite beauty of both the letter requester and the letter giver.

Throughout the length of the story, the prison guard character always exists with a certain significance. The guard is not only a unique figure but also a character embodying the most common characteristics of 'Echoes of a Bygone Era', of Nguyen Tuan's philosophy and style: romantic yet realistic, the voice of justice, of the national spirit, an expression of 'affection and nostalgia for the past and the ability to revive an ancient era'.

7. Social discourse: Don't strive to become famous, but first be useful

How should one live to please others, adhere to moral principles, to become famous or useful?

This is a quite reasonable opinion, once mentioned by many to serve as a guiding principle for behavior and actions throughout life: 'Don't strive to become famous, but first be useful'.

So, what does it mean to be famous? to be useful?

A famous person is someone with a widely known reputation, mentioned and recognized by many. Synonymous with fame is renown, notoriety, celebrity. A famous person may be honored by the community for their talent and virtue, or they may be infamous, notorious.

For example, teacher Nguyen Ngoc Ki, born with congenital disabilities, uses his feet to write, draw... famous far and wide, beloved by millions of elementary school students. Tran Dang Khoa is a child prodigy poet famous since the age of 9 - 10. On the contrary, the bandit Nam Cam became 'famous' for his acts of stabbing, killing, and robbing. The character So Khanh is also 'famous':

'Silver threads in the blue boudoir renowned,
One hand buries countless ephemeral blooms.'
(The Tale of Kieu)

Being useful means bringing benefits, bringing good results to the family or society in the spirit of service and dedication. Working people are useful individuals, remembered by society for their contributions: 'Oh, whoever brings a bowl of rice full/ Remember the labor in the early sowing.' Synonymous with being useful is 'helpful', antonymous is 'useless'.

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The above statement reminds us that we must live practically, must depend on our talents and virtues to strive: 'first of all, be useful', consider sacrificing, serving the family, the country as a duty, a joy throughout life.

To become famous, one must have high moral integrity, achieve success in their career. If one is just an ordinary person, 'a commoner', how could they become famous? 'Don't try to become famous' because it's just vague, illusory. The proverb: 'Rice goes with fish sauce' reminds everyone to have a practical mindset, to live realistically! The idiom 'famous but useless' satirizes, mocks those who are 'famous' but contribute nothing in society, abundant in life!

Social status varies for everyone, leaders/commoners; wealthy/poor; intellectuals/manual laborers; children/adults,... everyone needs to study, work, cultivate to become useful individuals. Being useful is noble, illustrious for contributing to the nation's prosperity and well-being. Indeed, 'the most perfect person is the most useful to society' (Quran).

Youngsters, children 'young age, small work...', diligent, studious. Elderly people: 'Live healthy, live happily, live meaningfully'. Workers, farmers strive in production for national wealth, strength. Teachers, engineers, doctors... dedicate their talents to modernization, industrialization of the country. Soldiers firmly hold their guns, protect the homeland's territory, sovereignty, safeguard and maintain the nation's peace.

Life should have dreams, always have the consciousness to strive to build a career for oneself. Do not dream in vain, but also should not be content with mediocrity.

The slogan: “Where there are youth, there are no difficulties for youth” always reminds our youth to live beautifully, strive to become useful individuals, useful for the family, useful for the country.

8. Analysis of a unique situation in the short story 'The Gatherer Wife' by Kim Lan.

The short story 'The Gatherer Wife' by the writer Kim Lan portrays the stifling, distressing life of our people in 1945, amidst the horrifying famine that claimed over two million lives from the North to the Central region of Vietnam. The author wrote this story during the famine, initially titled 'The Settlement,' but due to the loss of the manuscript, it wasn't until after the peace in 1954 that he rewrote it and presented it to readers as 'The Gatherer Wife.' Over half a century has passed, yet the work still deserves to be one of the finest short stories in modern Vietnamese prose.

The captivating factor of the work lies in Kim Lan's creation of a unique, compelling situation, a situation fraught with drama yet imbued with profound humanistic meaning.

The plot is simple: A poor, single, aging, and unattractive homeless man, who works as a hired ox-cart puller, earns himself a 'gatherer wife' with just a few jests and a few bowls of rice cakes – a girl on the brink of life and death due to hunger. They become husband and wife amidst the gloomy backdrop of starvation. Their wedding night unfolds quietly in the dark, chilly, echoing with the faint cries of households with starving dead. Their wedding feast consists only of watery porridge, banana flowers, and salted eggs. The mother-in-law treats her son and daughter-in-law to a gruel made from bran. The meal takes place amidst the pounding of tax-collection drums. The family's story revolves around the Viet Minh's call for the people not to pay taxes and to organize raids on Japanese rice storehouses to distribute to the poor.

The scene where Trang brings home the gatherer wife is a peculiar situation, creating surprise and intrigue for the entire homeless community, even Trang's own family. He leads the unfamiliar woman home as dusk descends. The two of them walk into the desolate, impoverished settlement by the riverbank. The houses on either side of the road are huddled together, shrouded in darkness, without a single light, resembling deserted graves. The atmosphere is filled with the stench of death. Life barely hangs on. The ominous darkness blankets everything.

Trang brings the stranger woman home to be his wife, to build a family, to continue life. On the brink of death, they seek out life. Trang is delighted by this unexpected major event in his life: he has a wife, he is bringing her home. Hunger and death are rampant. Yet here he is, hungry himself, his elderly mother hungry, and yet he's taking a wife now. It's truly strange and fascinating!

Firstly, it's strange to the homeless community. The sight of Trang leading the way with an unusually exuberant expression and the woman trailing behind three or four steps with a shy or hesitant demeanor arouses curiosity among everyone, drawing them out to see. First, it's the children. Tired from hunger, they suddenly start chattering, teasing Trang: 'Hey Trang, got yourself a funny wife!' The homeless residents hear the commotion and come out to watch, whispering among themselves. Then they understand, and their faces suddenly light up. A genuine joy wells up from deep within their souls. They are amused by the sudden news of Trang having a wife and genuinely want to share in his happiness. This dying settlement suddenly comes alive for a moment. But amidst the joy, there is also concern. They worry for Trang: 'Oh no! Now he's bringing in a mouth to feed. Can they survive this famine together?' That's their concern for life facing death, still hopeful of overcoming it.

Trang's elderly mother, Tứ, is surprised to see the strange girl sitting on her son's bed. Addressed as 'u,' she is even more puzzled. It's not until she hears Trang say: 'Look, my home is greeting you, u...' that she understands: The old woman bows her head in silence. She understands now. The heart of this poor, weary mother understands so much, feeling both regret and pity for her child's fate... So it turns out her son has found a wife and brought her here. The old woman's emotions are mixed with sadness, joy, and worry. Sad because as parents, they haven't fulfilled their responsibilities to their children, so poor they couldn't even marry off their son. Happy because suddenly their son has a wife, even if she's a gatherer wife. And worried as she ponders: Will they be able to feed each other through this hunger and thirst? The more she thinks, the more she pities her son and the stranger girl infinitely: Tears trickle down from the corners of her eyes.

Even Trang himself was equally astonished. Astonished to the point of disbelief: Seeing her sitting in the middle of the house, he still couldn't believe it was true. Has he really got a wife now? Ha! The whole thing happened so suddenly, he hadn't even thought about it seriously, and yet here they are, husband and wife... The next day, waking up to see her sweeping the yard, Trang still couldn't believe he had a wife. It all felt like a dream, but that woman, flesh and blood, is indeed his wife, even if there was no formal marriage.

The situation Kim Lan portrays in the story is a pitiful, ironic one, whether to be sad or happy about. Initially, Trang is happy to suddenly have a wife, but then he hesitates, thinking: Even this handful of rice, he's not sure if he can support himself, let alone someone else. The neighbors worry for him, especially the old mother, torn between concern and affection. The author vividly describes the wedding night of Trang and his wife with truly impressive details and profound meaning: Trang only dares to light the lamp for a moment before extinguishing it. The two lie quietly together in the terrifying darkness, disturbed by the faint cries of hunger echoing from the houses of the starving.

Their fleeting happiness, fragile as it is, is besieged by hunger and death. But life is indomitable. From within death, life still sprouts and thrives. Suffering intensifies into fierce resilience. Life defies death, demonstrating the strength of human will and the laws of life!

Placing the characters in such dire circumstances, the writer highlights the profound humanitarian significance of the work. Although not directly addressing the French colonialists, the Japanese fascists, and the puppet regime, the story of the gatherer wife still accuses sharply the heinous crimes committed by them, causing the unprecedented famine in our country's history. More importantly, the story successfully demonstrates the hidden spiritual beauty within the outwardly wretched appearance of the impoverished. In a life not worth living, they still nurture faith and hope for a better future, for a brighter tomorrow. That is the humanitarian value that constitutes the enduring vitality of the work.

9. Analysis of the poem 'Westward Advance' by Quang Dũng.

The romantic and sentimental nature of the Northwest mountains and forests is apparent, yet hidden behind it lies the ruggedness with numerous dangers lurking. Against the majestic backdrop of the land, the image of the Western Advance soldier by Quang Dũng emerges like an immortal monument, bearing the magnificent and artistic beauty of the Hanoian people. The poem 'Westward Advance' vividly portrays the brutality of war, the hardships and challenges that soldiers must endure on the resistance journey. However, they never retreat in the face of difficulties; these great soldiers remain optimistic, embracing life and fighting bravely with resilience.

Quang Dũng (1921 – 1988), real name Bùi Đình Diệm, was originally from Hà Tây (now part of Hanoi). He was a multi-talented artist who excelled in writing, poetry, painting, and composing music. However, when it comes to Quang Dũng, he is primarily remembered as a talented poet. His poetic voice is both innocent and sophisticated, romantically extravagant, especially when he writes about his Sơn Tây soldiers. His major works include 'Clouds at the Top' (1986) and 'The Poetry of Quang Dũng' (1988). In 1948, while stationed at Phù Lưu Chanh, Quang Dũng composed the poem 'Remembering Westward Advance,' later renamed 'Westward Advance,' which was included in the poetry collection 'Clouds at the Top.'

The poem begins by vividly portraying the majestic yet rugged natural scenery of the West, along with the arduous march of the Western Advance battalion. The young soldiers fear no danger as they advance forward with the innocent, optimistic spirit of youth...(Continued)

>> View sample essay Analysis of the poem 'Westward Advance' here.

10. Analysis of the essay 'Who Named the River' by Hoàng Phủ Ngọc Tường.

With a rich knowledge of culture, history, geography, and philosophy, Hoàng Phủ Ngọc Tường's writings always combine harmoniously between intellectual substance and sentimental essence, with concise language and profound writing style, inward direction, enchantment, and artistic talent. The essay 'Who Named the River' written in Huế in 1981 is one of the most outstanding essays, exemplifying Hoàng Phủ Ngọc Tường's literary style.

Firstly, the author used his extensive and profound knowledge to vividly depict the meandering course of the Perfume River with its various beauties from its upper reaches to where it lies nestled within the dreamy city of Huế. At its source, the beauty of the Perfume River is portrayed by the author through unique and interesting comparisons. The Perfume River is likened to 'an epic of the primeval forest, roaring amidst the shadow of ancient trees, fierce through the rocky rapids, swirling like a storm into mysterious abysses.' With the use of long sentences, divided into multiple clauses along with strong verbs like 'roaring' and 'swirling' and unique imagery, the author has depicted a Perfume River with fierce and majestic beauty, yet in that river, we also see the beauty 'gentle and enraptured amidst the long stretches of red azalea flowers.' Additionally, at its source, the Perfume River is compared to 'a free-spirited and wild girl' - a simple and pure beauty. Finally, the Perfume River at its source is like 'the reed mother of a cultural region.' It seems that the Perfume River is like a cradle, like a mother who has given birth to and nurtured the timeless cultural beauty of the city of Huế. It can be seen that through a series of unique comparisons, the Perfume River at its source is like a multi-faceted entity, with fiercely majestic beauty but also gentle, feminine beauty...(Continued).

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