Top 4 Interpretations of the Huong River through Four Stages of Its Journey to Hue City in 'Who Named the River' - Best Insights

As the Huong River departs from the Imperial City of Hue, it veers northward, embracing the mist-covered Con Hen island, forever lost in a dreamlike haze. Like a love story that has not yet ended, the river seems reluctant to part, still in the midst of a reverie. Before the river drifts further away from the city, it lingers amidst the vibrant green of bamboo forests and the palm groves of Vĩ Dạ, bathed in the pure, bright sunlight that Hàn Mặc Tử captured in his poetry:

“Why don’t you come visit Vĩ village?

See the new sunlight on the palm trees.

Whose garden is so lush, green as jade?

The bamboo leaves shield the face like an ancient character.”

Though the river is filled with longing and reluctance, it must part, for “one cannot bathe twice in the same river.” Thus, the Huong River must bid farewell to its beloved city, its dream lover. However, as it begins to leave, the river suddenly realizes there’s something it has left unsaid. It unexpectedly alters its course, turning eastward to meet the city once more at the old Bao Vinh corner. This geographical spot, elevated within Hue, offers a long view over the distant landscape as the river bids its final farewell. The atmosphere here evokes the essence of ancient Chinese poetry, capturing the sorrow and grandeur of parting. The river’s sudden course change is geographically surprising, for after flowing through the tranquil plains, one would not expect it to reverse direction. But through the lens of love, the river’s actions become understandable and even acceptable. This is why HPNT remarks on the unique, human-like qualities of the Huong River – its subtle, almost secretive nature, much like love itself. The writer immediately draws a parallel to Thúy Kiều, who, in the quiet of the night, returns to Kim Trọng at a crossroad to vow loyalty before departing: “As long as the mountains stand, as long as the waters flow, I shall return, and I will remember…” This vow of unwavering devotion still echoes in the folk songs along the Huong River: Nam ai, Nam bình, Mái nhì, Mái đẩy. It symbolizes the eternal loyalty of the people of Châu Hóa to their homeland and HPNT’s own deep affection for the beloved Hue.

Hoàng Phủ Ngọc Tường (HPNT) opens his essay with a deeply subjective statement: "Among the most beautiful rivers I have often heard about in various countries, it seems that only the Huong River belongs to a single city." This observation reflects HPNT’s pride in the Huong River, while also placing it on par with the world’s most renowned rivers. Through his rich imagination and unending passion for the river, HPNT evokes the untamed beauty of the Huong River’s upper reaches.

He refers to this as the "epic of the ancient forest." This name comes from the river’s origins in the majestic Trường Sơn mountains. The Huong River’s upper course radiates a wild beauty as it winds through the untamed mountains of the region, a beauty that is unforgettable to lovers of literature. HPNT’s poetic prose captures the river’s mighty force, yet also its gentleness in contrast: "roaring through the ancient trees, fierce over the rapids, swirling like a whirlwind into mysterious depths, and sometimes gently caressing the long stretches bathed in the pure red of wild rhododendrons." The first part of the sentence is short and sharp, like high notes in a musical piece, while the latter part forms a complex structure, allowing readers to savor the softer, more entrancing notes of the river.

This river reminds readers of Nguyễn Tuân’s portrayal of the Đà River, which is similarly fierce in its upper reaches. Nguyễn Tuân focused on the steep gradient of the river as it passed through narrow sections: “The rocks along the banks rise steeply, and the river only catches sunlight at noon.” In some places, "a deer or a tiger might leap across from one bank to the other." While Nguyễn Tuân's Đà River is described with dramatic, repetitive phrasing such as “the water crashes against rocks, the rocks crash against waves, the waves crash against the wind, the swirling gusts never seem to rest, always claiming a toll from any boatman crossing,” HPNT's portrayal of the Huong River conveys its own majestic, wild spirit through distinct rhythms that echo the great forest’s anthem.

To evoke the wildness of the river’s upper course, HPNT masterfully employs contrast, opposition, and comparison to stimulate the reader’s imagination, helping them picture the diverse and powerful characteristics of the Huong River. HPNT’s choice of adjectives—roaring, fierce, swirling, gentle, and intoxicating—highlights the river’s complex and harmonious personality. The river cannot simply be understood as a tranquil, feminine force. HPNT goes further to describe the Huong River as "a wild, free-spirited girl" living in the heart of Trường Sơn, giving the river a unique, untamed beauty.

Indeed, by comparing the river to a Gypsy girl, HPNT captures both the raw, mysterious allure of youth and the strength of the land. The Gypsy girl’s beauty is enchanting—her sun-kissed skin, deep green eyes like distant meadows, golden hair rippling in the wind, and fiery dances. Similarly, the Huong River’s upper reaches, hidden in the dense forest, embody a life of freedom and resilience, as if it were a nomadic spirit never to be subdued. Yet, the same wilderness that shapes the river also refines it, creating a blend of wild energy and delicate grace. If not for the river’s initial fierce beauty, it would not possess the timeless elegance it later reveals. These two contrasting aspects of the river’s personality evoke the maturation of a young woman: in youth, she is bold and untamed, but with time and experience, she acquires the qualities of wisdom and grace, becoming fit to be a mother, a symbol of nurturing and culture.

Through vivid imagery, artistic techniques, and varied comparisons, HPNT presents the upper reaches of the Huong River in a way that deepens our understanding of both the river and the author’s intellectual approach. This is the hidden, multi-faceted nature of the Huong River that few know, for it is not just a tranquil, gentle river, but a force of nature, powerful and subtle all at once.

Before leaving the forest, the Huong River locked away its secret and tossed the key into the caves beneath Kim Phụng mountain.

Next, HPNT describes the Huong River from its origin to the outskirts of Hue. The author's portrayal of the river reflects a deeply romantic perspective, showcasing an artist’s soul. Before becoming the devoted, gentle lover of Hue, the river journeyed through trials and hardships. With HPNT’s keen sensitivity, the entire journey, from the river’s source to the city outskirts and eventually settling in Hue, feels like a conscious quest for a long-awaited lover, reminiscent of an ancient fairytale. The river is compared to "a beautiful girl lying in a dreamy slumber in the wildfields of Chau Hoa," awaiting her lover's kiss to awaken her. This invokes the tale of Sleeping Beauty, who waits for her true love to break the spell with a kiss – a kiss that will come from the city of Hue. HPNT skillfully employs personification and metaphors, giving the river both lyrical beauty and a vibrant life.

Awakening from her long sleep, the Huong River "constantly shifts its course, winding around sharp bends, curving gracefully, and then suddenly drawing a perfect arc towards the northeast, embracing the base of Thien Mu Hill." This passage flows like poetry, evoking the river’s endless, graceful movement. Literary enthusiasts may think of Nguyễn Tuân’s description of the Da River in its lower reaches with similar beautiful prose: "The Da River flows endlessly, like a stream of poetic hair, the head and tail hidden in the mists of the Northwestern skies, blooming with the flowers of February, and the smoke from the fire of the Mèo mountain fields." Why does the river constantly change its course? Could it be that HPNT is saying that the quest for a dream lover is not easy, and one must wander along many paths, as the folk saying goes:

"You came looking for flowers,

But the flowers had already bloomed.

You came looking for the boat,

But the boat had already crossed the river.

You came looking for me, but I had already married."

And so the Huong River, in its journey to find its true love, must continuously change its course, winding around sudden bends to finally meet Hue. Soft and shy, it follows gentle curves, but then unexpectedly makes a sharp turn towards the northeast, embracing the base of Thien Mu Hill.

Perhaps it is in this sudden curve that the river sees the faint figure of its dream lover, and without hesitation, follows that direction. The Huong River flows past lush banks, gathering the colors of Ngoc Tran Mountain, passing through Tam Thai and Luu Bao, becoming as soft and smooth as silk. HPNT paints a picture using the reverse lighting technique of cinema. The river reflects the hills, creating a spectrum of colors: "morning green, noon yellow, and evening purple." One can imagine the delicate, reserved beauty of the river before it meets Hue, preparing to meet her lover, choosing her three favorite colors—green, yellow, and purple—as if to charm her beloved. The river is portrayed with graceful elegance in HPNT’s eyes. While the Huong River changes colors throughout the day, Nguyễn Tuân’s Da River changes its hues according to the seasons. In spring, the Da River’s water is "emerald green," not the "pale green" of the Gâm or Lô Rivers. Each spring, its waters are "deep red, like the face of someone bruised from a drinking bout."

Yet, the Huong River no longer shines with dazzling beauty. It has absorbed the quiet, contemplative beauty of a pine forest. This is a philosophical beauty, like ancient poetry, and the somber pride emanates from the deep slumber of ancient kings. It is the river’s most tranquil, reflective beauty. When it emerges from the rocky cliffs and ravines, the Huong River awakens, its voice joining the bells of Thien Mu Pagoda, while distant roosters crow in the hillside villages. HPNT’s description of the Huong River is a magical reflection of the dreamy beauty of the ancient capital’s landscape.

The first thing the author wants to highlight is the noticeable change in the Huong River as it enters the Imperial City of Hue: it becomes joyfully vibrant. This is an inevitable rule of love. Who, after traveling halfway through life’s journey searching for their dream lover, would not feel joy upon finally meeting them? It is the joyful moment of a girl in love, the most beautiful time in her life. Perhaps that is why the Huong River seems to linger, slowing down to savor the moment.

Describing the seductive beauty of the Huong River as it flows through Hue, HPNT perceives it through the eyes of an artist: both a painter and a musician. From a painter’s perspective, the Huong River appears with soft curves and harmonious colors. The river finds its love as it returns to the city of Hue. At this moment, the river is like a silent "Yes" of love—gentle, tender, and shy, reflecting the hesitation of a maiden accepting her lover’s affection. This silent "Yes" brings to mind the subtle shake of the head in acceptance from a girl in love in Xuân Quỳnh’s poem:

The wave starts from the wind

Where does the wind come from?

I don’t know either

When did we fall in love?

When meeting the lover, the one who holds your heart, who would want to part from them? Every moment feels full of love, and time seems to stand still, as if trying to hold onto that love. This is why HPNT compares the Huong River to a "Slow" dance, a slow rhythm meant for Hue.

The personification of the river makes it feel as familiar as the people and the land of Hue. The phrase "peace of mind" in the text captures the Huong River’s feeling when it finds its true love. After the peace within Hue, the river reappears with graceful, familiar curves, gently weaving through the landscape, enchanting the lover with its timeless charm.

Comparing the Huong River with the Seine in Paris and the Neva in Leningrad elevates its ancient, precious beauty. The similarity between these rivers is that they all run through their beloved cities. But unlike these other rivers, the Huong River flows slowly within Hue, unlike the fast-moving Neva, which rushes by without leaving time for a word with its city. When the Huong River reaches the heart of Hue, geographically, it is slowed down by small tributaries and islands, creating a serene, almost lake-like stillness. The river moves slowly, so slowly that it becomes a tranquil, quiet surface. However, from the perspective of the author, this is the moment when the river finally meets its lover.

Furthermore, HPNT imbues the Huong River with the essence of Vietnamese heritage, capturing the beauty of the ancient capital. The author evokes images of "old banyan trees and cypress trees casting their shadow over the bustling riverside villages," of flickering fishing boat lights. Not only is the river drawn with delicate lines, but it is also painted with colors.

Through the artist’s skilled hands, HPNT paints the Huong River with alluring lines and harmonious colors: the blue hue of the areca palms, the shade of bamboo, sparkling with countless floating lanterns on the river, and especially the white bridge, small and delicate like a crescent moon in the sky. These floating lanterns hover on the water, wavering as if hesitant, wanting to stay or go, swaying gently like the lingering feelings of the heart. Only someone who loves their homeland, the Huong River, and the land of Hue so deeply could write such an emotional passage. Through the eyes of a musician, HPNT perceives the river as a unique and charming melody, a slow, tender rhythm exclusively for Hue. The river flows slowly, like a heartfelt song because it loves Hue so much. This is the love the Huong River has for the city, and also the love the author feels for the river and the ancient capital. The keen eyes of the writer reveal the profound relationship between the graceful Huong River and the people of Hue, who, just like the river, are gentle and refined, embodying the grace of the ancient city’s daughters.