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Prompt: Analyzing the Natural Imagery in the Tale of Kieu
Sample essay on analyzing the natural imagery in the Tale of Kieu
Sample Essay: Analyzing Natural Imagery in the Tale of Kieu
Nguyen Du's 'Tale of Kieu' stands as a masterpiece in Vietnamese literature. The work not only portrays the life and fate of the main character Thuy Kieu but also paints a picture of nature with various hues. The backdrop of nature serves as the canvas for the emotional tableau, becoming the medium through which the author conveys his inner thoughts and feelings.
This Nôm poetic work consists of 3254 hexameter verses, with the verses describing natural imagery occupying a small yet significant portion, contributing greatly to the success of the 'Tale of Kieu.' Nature encompasses elements surrounding humans but not created by them. It includes plants, flowers, landscapes, sounds, colors, light, etc. Apart from its role in simple scene-setting, nature in the 'Tale of Kieu' also plays a role in expressing emotions. Therefore, Nguyen Du thoroughly exploits the technique of depicting scenes imbued with emotions.
In the clear springtime, the scenery appears vibrant and lively:
'Fresh green grass extends to the horizon,
White pear branches adorn a few flowers.'
Before the reader unfolds a space filled with vibrant greenery, teeming with vitality. The deep green of the grass blends with the sky's hue, creating a harmonious fusion that stretches into the vast universe. It seems as if this space is painted in a monotonous green, brimming with the youthful color of the grass. Adorning the myriad green is a few pure white pear blossoms. Together, they create a picturesque and tender natural scene. The space seems to extend endlessly, connecting to the distant horizon. The use of 'shivers' not only allows us to see the verdant green of the grass with our eyes but also evokes a sense of depth in the human soul. The rhetorical twist 'white dots' emphasizes and highlights the white color of the pear blossoms against the green backdrop of the fresh spring.
The natural scene seems to usher in the spring journey of the sisters, Thuy Kieu and her companions:
'Step by step along the small riverbank,
Observing the scenery with a clear charm.
Gently flowing water curves around,
A tiny bridge spans the end of the winding stream.'
As time shifted into the afternoon, shadows 'tilted west,' rendering the scene tranquil and more serene. The winding water and the tiny bridge created a painting of the evening nature, quiet to the point of stillness. The petite bridge crossing at the end of the gorge evoked a sense of smallness and tranquility. It seemed submerged in a space visible only to those with discerning eyes—Nguyen Du, perhaps. The terms 'clear charm' and 'gently flowing' stirred the soul of the landscape, concealing behind them a mood of regret, vagueness, and a hint of human sorrow. It was a premonition of the impending misfortunes of Thuy Kieu, perhaps sparked by the encounter of the tomb of Dam Tien, a talented but ill-fated woman:
'Sè sè clumps of earth by the road,
Dàu dàu, half-golden, half-green grass.'
Dam Tien's grave was desolate, devoid of the fragrance of incense, merely a clump of earth rising low by the roadside. The surrounding grass wasn't lush; instead, it carried a dreary half-golden, half-green hue. The terms 'sè sè' and 'dàu dàu' painted a picture steeped in melancholy with dark shades. Suddenly, the natural imagery took on a faded, mournful color. Faced with such a scene, Thuy Kieu felt compassion and a profound empathy for the unfortunate soul.
Nature also set the stage for the parting of Thuy Kieu and Kim Trong:
'Beneath the bridge, water flows gently,
Willow shadows gracefully stretch over the bridge in the afternoon.'
Still the flowing water, still the bridge's rhythm, yet the scene is enveloped in romance and warmth. Love at first sight made the 'national beauty' and the 'genius' encounter each other, feeling awkward as 'the inner love is apparent, but the outer appearance is still shy.' Perhaps the crystal-clear water cast the bridge's reflection on the surface. Afternoons often evoke a subtle melancholy, but the shadows in the encounter with Kim Trong exude a cheerful hue. The willow leaves and branches, inherently soft and graceful, become more spirited in the budding moments of love between the two characters. Any parting leaves a trace of nostalgia, regret, and Thuy Kieu's emotions when parting with Kim Trong also carry a touch of trembling, confusion. The nature of the first meeting is genuinely poetic and intimate. The simple landscape is rich with human emotions.
Furthermore, nature is a witness to the vow 'carve a character onto the same bronze' between Thuy Kieu and Kim Trong:
'The moon haloed amidst the sky,
Nailing down a commitment in parallel.'
'The moon haloed' in the midnight sky is a witness to the solemn vow of loyalty between the two. It's a pledge enacted in an immensely romantic yet profoundly dignified space. The shimmering golden moon has draped the entire surroundings, creating a dreamy painting. In that surreal setting, the two characters made their vows, pledging to be bound for a hundred years.
Nature has been humanity's heart-to-heart companion for ages, and the same goes for Thuy Kieu. Confined within the Ngung Bich tower, she observed the landscape with the melancholic eyes of one who has experienced the ups and downs of life:
'Before the Ngung Bich tower, spring's lock,
The youthful scene, the moon seemingly close in shared proximity.'
The moon no longer serves as a witness to the rendezvous of Thuy Kieu and Kim Trong; instead, it becomes a confidant, the soul companion of Thuy Kieu. The petite figure amidst the overwhelming space of the Ngung Bich tower. Nguyen Du brought the moon closer to Thuy Kieu from a distant land for her to pour out her thoughts. With only people and the moon, that space is not influenced by other factors, allowing readers to perceive the intimate relationship between Thuy Kieu and the 'moon.'
Kiều's emotions have permeated, seeping into the scenery, making sorrow apparent everywhere:
'Sorrowful, looking at the evening's broken door,
Whose boat with distant sails far away?
Sorrowful, gazing at the newly sprouted water,
Flowers adrift, melancholy, unsure of their destination,
Sorrowful, within, the grass is desolate,
Clouds at ground level, a verdant monotone.
Sorrowful, the wind whisks across the dewy face,
The roaring sound of waves echoes around the seat.'
From the Ngung Bich tower, Kiều glimpsed in the distance the sails of a lone boat. It was small and solitary amidst the vastness of the sea. The delicate flowers seemed to be swept away by the water, lost and crushed, unsure of their destination, only drifting with the current as a way of accepting fate. Eventually, the life fate of Thúy Kiều will be the same. She gazed at the landscape with a poignant sadness, agonizing for her own fate. She lived in isolation, far from her parents, siblings, and her lover. She suffered deeply knowing she was deceived and sold into the sordid green tower. As 'the sorrowful ones never find joy,' the inner grass is not the lush green of youth but rather 'desolate' and withered. The vast space, instead of exuding warmth, invokes emptiness, desolation, to the point of heartbreak. The rising winds carry tremendous force, and the waves' clamor around the seat intensifies Kiều's loneliness and sorrow to the utmost. The nature at Ngung Bich, as described by Nguyen Du through Thúy Kiều's eyes, is a painting with terrifyingly dark and lifeless hues. Additionally, it reveals Thúy Kiều's fears of the impending calamities and storms.
If Thúy Kiều's parting from Kim Trọng was a scene of brightness and joy, her separation from Thúc Sinh is depicted in the setting of 'The autumnal forest has taken on the color of farewell.' The autumn forest has turned red, a red of separation, farewell. The distant, winding roads have gradually emerged, and the color of farewell has enveloped the entire red autumn forest:
'The moon's halo splits in two,
Half imprints on the pillow, half illuminates the endless miles.'
The full and round moon, now perfectly divided into two, 'half imprints on the pillow' to symbolize loyalty, while the remaining half illuminates the 'endless miles' that Thuc Sinh will traverse. The farewell scene unfolds with a heart-wrenching, reluctant departure between the one staying and the one departing. It is a parting 'equal to a celestial parting' (Confucian scholar Vu Trinh).
Nature in the masterpiece 'The Tale of Kieu' is depicted with various colors. At the same time, it plays different roles in expressing the emotions and moods of the characters. This is the author's skillful use of the technique of describing scenes with rich subtlety. 'It can be said that nature in The Tale of Kieu is also a character, a character often silent and discreet but rarely absent and always soaked in human emotions' (Dang Thanh Le).
'The Tale of Kieu' is a prominent work in the literature curriculum for 9th grade. In addition to essays analyzing the depiction of nature in The Tale of Kieu, teachers and students can refer to other sample essays such as 'The Beauty of Language in The Tale of Kieu,' 'Analyzing the Depiction of Nature in The Tale of Kieu,' 'The Art of Describing Characters in The Tale of Kieu,' 'My Thoughts on the Character Tu Hai in The Tale of Kieu,' or even sections on composing essays about The Tale of Kieu.
