Top 7 Best Essays on the Beauty of the Perfume River as it Flows into Hue City in 'Who Named the River'

The author's perspective on the Perfume River spans its entire journey, starting from the upper reaches and continuing through the challenging and arduous path towards Hue. Before it enters the heart of the beloved city, the river has already left its own marks. In the author's romantic and tender view, the river's journey from the source to Hue resembles a deliberate search by a beautiful girl in a fairytale for her true lover. How does the river, as a lover of Hue, appear in its beauty? In the outskirts of Hue, the river is like a beautiful girl, gently sleeping amidst the wild daisy fields of Chau Hoa, awaiting the arrival of her lover to awaken her. From here, the river’s flow seems to symbolize a conscious search for its true lover, much like a beautiful girl in a romantic love story. Under the skilled pen of Hoang Phu Ngoc Tuong, the river awakens after a long slumber, showing a new form, new vitality, filled with longing and romance. "The Perfume River continuously changes direction, winding through sudden curves, flowing in soft, graceful arcs." The journey to meet its anticipated lover is full of hardships and challenges, but throughout this, the river gets the chance to flaunt all its beauty, like a woman with enticing curves emerging from the wildflower fields of Chau Hoa: "passing the Hòn Chén Temple, near Ngọc Trản Mountain, the river shifts northwest, circles the land at Nguyệt Biều, Lương Quán, then suddenly forms a full arc towards the northeast, embracing the foot of the Thiên Mụ hill, flowing towards Hue." With a smooth narrative style, rich in diverse and vivid language, Hoang Phu Ngoc Tuong vividly captures the river’s twists and turns. The author not only portrays the natural course of the river but also transforms this journey into the "quest for a lover" of a graceful, charming, and romantic girl. When it enters Hue, the river adopts a serene, philosophical beauty, reminiscent of ancient poetry. Flowing through nature, it moves day and night past the tombs and citadels of the Nguyen emperors. The gentle river on the outskirts of Hue seems to nestle next to the "eternal sleep of the kings, sealed within the silent pine forests." As it flows by these cultural landmarks, it becomes more solemn, donning the "tranquil" cloak of ancient wisdom. The river, or rather the flow of history, continues to course through time, echoing in the present day. As it approaches its beloved city, the surface of the river becomes peaceful and dreamlike, accompanied by the sounds of the Thiên Mụ Pagoda’s bell, blending with the endless rooster calls from the surrounding villages. Overcoming countless obstacles, the Perfume River finally reaches its destination, the "city of the future" it has longed for. Perhaps because of this, the river "brightens". It docks in the cherished city between the "green boats of the Kim Long suburbs" and "meets" the city at Giã Viên islet. Here, the river resembles a beautiful, shy girl, gracefully bowing to Hue. "The river curves gently towards Hến islet," like a silent expression of love. Like the Seine in Paris or the Danube in Budapest, the Perfume River lies at the very heart of its beloved city. In the heart of Hue, the Perfume River is like a "slow, heartfelt melody dedicated solely to Hue." Hoang Phu Ngoc Tuong adopts a musical metaphor to describe the river. In English, "slow" refers to slowness, and the Perfume River flows like a slow, romantic melody meant only for Hue. The author keenly observes this characteristic of the river. Compared to other rivers in Vietnam and the world, the Perfume River's flow is not fast. The author attributes this to the geographical features: "The tributaries, along with two small islands on the river, slow the current considerably, causing the river to flow sluggishly, almost like a quiet lake when passing through the city." To emphasize this unique trait, the author compares it to the Neva River, which rushes past the old Petrodvorets Palace on its way to the Baltic Sea, so fast that "there's no time for seagulls to say anything to their friends as they gaze after them." Drawing on a quote from the Greek philosopher Heraclitus, who once lamented, "crying forever for rivers that flow too fast," Hoang Phu Ngoc Tuong offers an intriguing, heartwarming explanation: the Perfume River flows slowly because it loves its city so much that it wishes to gaze at it just a little longer before it must leave. Writing about the Perfume River in the heart of the city, Hoang Phu Ngoc Tuong does not forget a cultural aspect deeply connected to this poetic river: the classical music performances held on its surface at night. From a musical perspective, the author calls the river "the talented woman playing her instrument late at night." Anyone who has had the chance to visit Hue and witness the classical music performances on the river during late hours will fully appreciate the beauty of the music and the distinct cultural hues of the region. The entire music scene, in the author's perception, only truly comes to life when "born on the surface of the river" in a boat under the half-silence of the oars at night. Here, there’s something unique in the way the music is performed, yet it also follows the artistic rules of performing in the water. The Perfume River is to Hue like a gentle, loyal lover. After providing a sense of peace in the heart of the city, the river begins to express its familiar charm through its graceful curves: "the Perfume River forms a light arc towards Hến Islet," and in the author's romantic imagination, this curve makes the river seem softer, like a silent "yes" of love. When leaving the imperial capital, the river shifts towards the north. However, due to the natural geography of the country, the river’s course changes. It turns eastward, flowing through the ancient Bao Vinh town, a part of Hue. This is the natural geographical feature of the river. But through the eyes of the artist, this twist becomes a symbol of "longing," even of a "shy flirtation" from the faithful lover. The author imagines the river like Thuy Kiều returning to find Kim Trọng to pledge a last vow before leaving. This is a fascinating, original, and deeply literary insight into the beloved river of Hue. The Perfume River, already beautiful, becomes even more complete in the reader’s perception—a perfect harmony between its outward form and the deep, soulful essence within. Through these reflections on the beauty of the Perfume River as it flows into Hue, one can see that Hoang Phu Ngoc Tuong approaches and describes the river from multiple perspectives and across different times. At every viewpoint and through the tone of each passage, the author expresses profound, fresh thoughts on the river, which has become a symbol of Hue. From these views, one can sense a deep affection, a strong attachment, pride, and a respectful attitude towards the natural and cultural beauty of the river.

Hoàng Phủ Ngọc Tường is a renowned writer who has achieved success across various literary genres, with his primary excellence in the field of literary reportage. Nguyễn Tuân, a master of this genre, praised Tường's writing for its brilliance. What stands out in his work is the seamless fusion of intellectual depth and lyrical emotion, where sharp argumentation blends with multidimensional thinking, informed by his vast knowledge of philosophy, culture, history, geography, and more. This is reflected in his introspective, concise, passionate, and artistic writing style. His literary piece *Ai đã đặt tên cho dòng sông?* (Who Named the River?) written in 1981 in Huế, is a masterpiece that beautifully captures both the unique charm of the Perfume River and the artistic genius of the sensitive, refined Hoàng Phủ Ngọc Tường, who is deeply in love with the beauty of his homeland and country.

*Ai đã đặt tên cho dòng sông?* is an essay that is written with complete freedom and expansiveness. Ultimately, the allure of this work lies in Tường’s personal voice — a talented, culturally rich, and sensitive voice that allows readers to witness the magnificent beauty of nature, particularly the Perfume River in Huế, which is depicted as a breathtaking, mystical river, especially in its journey through the plains towards the outskirts of the city.

The description of the Perfume River flowing through the plains to the outskirts of Huế reveals the author’s skillful and elegant writing. Readers are captivated by the use of personification and the vivid verbs that convey the lively flow of the river as it traverses the various landscapes of Huế.

It’s evident that the Perfume River constantly shifts direction from its origin at Kim Phụng mountain: sometimes flowing south to north, sometimes northwest. Yet, these sharp turns and sudden shifts are portrayed in a very unique way by Tường, who imagines them as the graceful curves of a young woman. In other words, the river’s course is not linear or monotonous. The author consistently compares the river to a young woman, one who is approaching Huế, ready to meet the city of her future. Thus, the river’s winding bends not only reflect the soft curves of a woman but also evoke a sense of modesty and hesitation, as if the river is shyly arriving to meet its eternal destination in the imperial city.

From Bến Tuần, the Perfume River flows through the lingering echoes of the Trường Sơn mountains, passing a deep gorge at Ngọc Trản mountain, causing the water to become a deep, verdant green. From there, the river moves between two towering hills, reminiscent of city walls, and passes notable spots such as Vọng Cảnh, Tam Thai, and Lựu Bảo. Tường describes the boats on the river as tiny, like shuttlecocks, while the river itself is compared to a vast, colorful silk fabric. This silk shifts its colors throughout the day: green in the morning, golden at noon, and purple in the evening. While this change occurs with the time of day, it emphasizes the enchanting beauty of the region’s nature. These colors do not appear simultaneously, but rather evolve with time, transforming into the familiar expressions of the local people of Huế. This constant change enhances the mystique and dreamlike quality of the landscape. These colors reflect the emotions of the people, intertwined with the landscape, evoking a sense of nostalgia:

In the morning, the earth is tender green, the mountains are dear

In the evening, the sky’s colors echo the purple of the clouds

(Xuân Diệu)

When talking about Huế, one must mention its tombs, inseparable from the city’s identity. The author mentions a section of the river flowing between hills, where only the lonely pine forests remain, as if echoing the solemn pride of the royal tombs. The Perfume River here seems submerged in the mist of the mountains and the shadows of the pine trees:

The mountains are surrounded by mist and pine trees

The eternal moonlight casts its shadow on the ancient pines

This section of the river flows in a quiet, reflective manner, evoking thoughts of deep, philosophical contemplation. The author compares it to classical poetry, using abstract and distant imagery that leads readers to meditate on the river’s beauty in a more profound, contemplative way.

When the river flows into the beloved city of Huế, the author sees it transformed into the most beautiful, graceful, and poetic river. From the Thiên Mụ Pagoda onwards, the Perfume River takes on a different beauty. The author observes that the river becomes brighter and more lively as it moves through the green fields. This moment reminds readers of the poem *Bên kia sông Đuống* by Hoàng Cầm, which describes a river flowing through green fields of sugarcane and mulberry. However, unlike the poet’s hidden sorrow, Tường conveys the river’s joy, signifying that it has found its true path. The joy of the river resonates with the peaceful, prosperous life of the people living in this fertile land.

The river meets the Tràng Tiền Bridge along its way. The author notes how the crescent-shaped bridge appears against the sky, delicate like a new moon. This comparison is both unexpected and poetic, as it captures the bridge’s shape and color, while also suggesting a subtle reflection of light. The crescent-shaped bridge in the distance is like a new moon, which echoes the image of a young girl. Tường’s comparisons to Nguyễn Du’s *Truyện Kiều* emphasize the depth of this connection.

The river’s joy upon meeting the bridge is not loud or chaotic, but rather deep and quiet. As the river nears the Giã Viên sandbank, the author sees it soften and curve, comparing it to a quiet “yes” of love, unspoken yet understood. This is a delicate and poetic comparison, evoking the image of a shy young woman who, though not saying anything, expresses her consent through her actions. It brings to mind the graceful, modest beauty of Huế women, as also reflected in Hàn Mặc Tử’s famous verse: *Why don’t you visit Vĩ village?* (from *Đây thôn Vĩ Dạ*).

The Perfume River, as it flows through the heart of Huế, evokes memories of Paris’ Seine or Budapest’s Danube. Yet, it is distinct from these rivers because it not only reflects modernity but also embraces the traditions of boat communities and the glow of fishing boat lanterns. The Perfume River flowing through Huế’s city center is a unique blend of past and present, giving the region its distinctive character. The river’s slower pace, especially in its lower reaches, contrasts sharply with the rapid currents of the Neva River. Unlike the rushing flow of the Neva, the Perfume River flows gently through the city, its pace reminiscent of a slow, sentimental dance. The tranquil, lingering flow of the river is like a signature of Huế itself, immortalized in poems:

The river lingers, it doesn’t hurry

It flows through Huế, making it so poetic

(Thu Bồn)

Oh, Perfume River, so serene

It flows through my heart, day and night, full of emotion

(Tố Hữu)

The wind follows the path, the clouds drift along

The water is sad, the cornflowers gently sway

(Hàn Mặc Tử)

Hoàng Phủ Ngọc Tường’s perception of the Perfume River is mainly through its spatial journey, as it moves through different landscapes. However, it would be a mistake not to appreciate the river’s beauty from a temporal perspective, especially during the night when the river becomes even more magical. The author references the sound of traditional music echoing through the night on the river, suggesting that the Perfume River transforms into a graceful musician playing an ancient Huế melody. Tường emphasizes that Huế music can only be fully appreciated at night, not in a theater, but aboard a boat on the river, where the sounds blend with the rippling water, creating a harmonious, enchanting effect.

As the river flows through Huế, it seems reluctant to leave. Tường repeatedly mentions the river’s bends: sometimes soft, sometimes hesitant, as if the river is parting from its lover. The Perfume River is like a girl, a Thúy Kiều in a moment of longing. The river returns, flowing again, as though bidding farewell to Kim Trọng, affirming its promise to return: *As long as the mountains remain, as long as the rivers flow, I will return, I will remember...* The river’s journey is like a metaphor for the deep affection and timeless bond between people and the land.

*Ai đã đặt tên cho dòng sông?* by Hoàng Phủ Ngọc Tường is a remarkable prose piece full of poetry about the Perfume River. With his profound love, deep cultural understanding, and historical knowledge, the author has provided readers with an unforgettable impression of the beauty of the Perfume River in Huế, especially its path through the plains towards the city’s outskirts. The river, already beautiful in reality, becomes even more captivating in Tường’s portrayal, as a work of art, gentle like a slow dance, or enchanting like a dream lover. This work stirs in readers a deep longing to visit the beautiful Perfume River of Huế, a river that is truly a divine gift from nature.

Finally, the Perfume River reaches its beloved city, carrying a unique beauty. The river flows like a slow, heartfelt dance, distinct from all others. Is it because the river is so deeply in love with its city that it lingers, savoring every moment before leaving? This love could be that of the river for Huế or perhaps the special affection that Hoàng Phủ Ngọc Tường has for the river and the city. The Perfume River is like a talented woman playing her instrument in the quiet night.

In writing about the river in the heart of Huế, the author doesn’t forget the cultural beauty intertwined with it. From a musical perspective, the river is likened to a skilled musician. The Perfume River is portrayed as a gentle, loyal lover. The author’s pen truly soars, crafting vivid, striking images, subtle impressions, and surprising, delightful metaphors that express a deep love for the river.

These are gentle, tender, and passionate strokes: "the white bridge in the city reflects softly on the sky, delicate as a crescent moon"; the river "bends gracefully like a bow towards Hến Island", its curve softens the water like a quiet, unspoken 'yes' of love. The thousand floating lanterns make the river more enchanting, its hesitant movements suggesting "unspoken longing, not ready to leave the city...". As Thu Bồn’s poem says: 'The river lingers, the river doesn’t hurry, It flows through Huế, making it deeply poetic.'

At last, the Perfume River reaches its home city, radiating a unique and captivating beauty. The river flows like a slow, tender melody, distinct from any other. Could it be that the river, so deeply in love with its city, wishes to linger and observe it for a little longer before leaving? This affection could be the river’s love for Huế, or perhaps it reflects the special connection Hoàng Phủ Ngọc Tường feels toward both the river and the city. The Perfume River is like a talented woman playing music in the stillness of night.

In his portrayal of the river winding through the heart of Huế, the author doesn’t forget the cultural charm intertwined with it. From a musical perspective, the author likens the river to a gifted musician. The Perfume River is portrayed as a gentle, faithful lover. The author’s writing truly reaches its zenith in crafting vivid images, delicate perceptions, and striking metaphors, all conveying an overwhelming love for the river.

These are truly “gentle, affectionate, and passionate” strokes: “the white bridge in the city reflects softly against the sky, delicate like a crescent moon”; the Perfume River “arches gently toward Hến Island,” its curve softening the river’s flow, like an unspoken ‘yes’ of love. “A thousand floating lanterns” add to the river’s splendor, while the river hesitates, as if carrying “the lingering emotions of a heart not ready to part with the city…”. Just as Thu Bồn’s verse says: 'The river lingers, the river doesn’t hurry, It flows into Huế, making it profoundly poetic.'

From the moment the title is read, the question arises in the reader's mind: “Who named the river?” – a question that carries a dreamlike, poetic quality. This fleeting moment of wonder opens the floodgates to a flood of impressions about the beauty of the Perfume River, gently flowing through the ancient city of Hue. Repeated throughout the text, this question deepens into a contemplative thought that stirs the writer's accumulated cultural knowledge, compelling it to manifest on paper. Here, we are witnessing the great sources of inspiration that led Hoang Phu Ngoc Tuong to immerse himself in the essence of the river, ultimately inspiring readers to express their own heartfelt love for their homeland.

After crafting the “epic of the ancient forest” and depicting the “vibrant rush through the towering trees” in the river's upper reaches, the river eventually takes on the form of “a beautiful girl sleeping peacefully amid the wildflowers of Chau Hoa” on the outskirts of Hue, before finally flowing into the city itself.

From a geographical perspective, the Perfume River meets Hue at Con Gia Vien, bending gracefully as it flows into the city. Its flow slows significantly due to the presence of two small islands and various tributaries that spread its waters throughout the city. As a result, the river moves at a tranquil pace, almost like a calm lake.

Through the skilled and passionate eyes of Hoang Phu Ngoc Tuong, the river takes on a distinct personality. It flows from southwest to northeast, “drawing a reassuring, straight line,” “as if it has found its way home,” like a girl who has found the refuge of love, serene and content. Her form is “as soft as silk,” delicate like “the unspoken consent of love,” graceful and subtle. Hoang Phu’s gaze is not simply observational but the captivated glance of a lover for his beloved. On both banks of the river, beauty unfolds in a variety of forms: distant and near, ancient and humble, majestic and simple, all reflecting the life of the hardworking people: “ancient banyan trees cast a deep shadow over clustered boat villages; from these places, the flickering lights of fishing boats shine through the night mist, evoking a forgotten spirit that no modern city can still witness.” Then, there is the river itself. In Han Mac Tu's view, the rhythm of the river is melancholic:

“The river flows mournfully, the corn flowers sway.”

In To Huu's vision, it is a rhythm of love:

“Perfume River, oh gentle river,

My heart, still whispering to you, night and day.”

For Thu Bon, it is a rhythm of stillness:

“The river hesitates, the river does not flow.”

When comparing it to the Neva River in Leningrad, the author finds himself even more nostalgic, cherishing the slow, deliberate flow of the Perfume River. For its flow is not just a movement of water but a rhythm of the soul, a slow pace of life, where one can live, feel, and listen. Observing the rivers of other lands only deepens his love for his own river. The author has truly become a confidant of the Perfume River, understanding its very essence. According to the author, the river flows “psychologically” when it “flows slowly, very slowly” through the imperial city of Hue, as if to console people not to dwell too much on the fleeting nature of life and the swift passage of time. The river’s water flows purposefully, as if carrying the lantern lights from the July full moon festival in Hon Chen Temple across Hue, “hesitant, as if unsure whether to leave or stay.” Through this unique flow, the Perfume River seems to remind people that life contains many things worth holding on to. Moreover, without the author’s deep connection with the river, who would know that the Perfume River changes its course after leaving Hue for an emotional and “human” reason: it simply wants to return to Hue “to make a promise before going to the sea.” Here, three deep affections converge: the river’s love for Hue, the people of Hue’s love, and the author’s love for the river and the ancient land of Chau Hoa. Ultimately, without the author's devotion, the river's devotion could not have become such a profound spiritual force!

If the Perfume River could speak, it would undoubtedly say that it is at peace knowing it has found a voice through the writings of Hoang Phu Ngoc Tuong. Perhaps the author himself senses this trust, which is why his every sentence soars with an extraordinary, ethereal quality. Many times, readers may feel that the words are not the author's but the river’s own song, flowing effortlessly, naturally, with a melodic tone. The words flow so naturally, and if there is any “melody,” it’s a natural one, for the writer’s inherent elegance and romanticism shine through. The essay brings forth much information while maintaining a light, graceful quality, thanks to the author’s deep connection to the people, culture, and land. His love for the Perfume River does not prevent him from appreciating other rivers around the world. On the contrary, his admiration for the unique characteristics of rivers from different regions only deepens his emotional bond with the river that raised him, the river of his homeland.

Is there anything more beautiful than the beauty of one's homeland? A country’s beauty is not only defined by its hardworking people but also by the stunning landscapes that it holds. The Perfume River – a symbol of Hue – is a quintessential part of Vietnam’s charm. What stands out most is the scene of the river flowing into the heart of Hue city.

Hoang Phu Ngoc Tuong did a brilliant job in capturing and portraying the scene of the Perfume River flowing into the city in such a beautiful and enchanting way. Readers will surely be surprised by the gentle, soft, and graceful beauty of the river as it enters the city.

The author cleverly compares the river to “the gentle and loyal lover of the ancient capital.” This artistic metaphor is not mere coincidence, but a brilliant depiction of the river's intimate connection with the city.

As the river reaches the city, it exudes a unique attraction, crafted with a writing style that is delicate and refined, reflecting the exceptional talent of Hoang Phu Ngoc Tuong. Not only does he depict the beauty of the Perfume River with exquisite words, but he also distills his sincere emotions and deep love into the narrative.

Amidst the wildflowers of Chau Hoa, the Perfume River appears like a “beautiful girl sleeping dreamily,” a scene that seems to have emerged from a fairy tale, so beautiful and poetic, like a story full of vibrant images and colors. The river also continuously changes its course, gently “embracing the foot of the Thien Mu hill,” then “flows between two towering hills like ancient fortresses.” Its beauty is like silk or velvet, glowing with various colors—“green in the morning, golden at noon, purple at dusk”—creating a distinctive charm for those who behold it.

Hoang Phu Ngoc Tuong has painted a perfect picture of the Perfume River. He has drawn a flawless portrait of this river, which, like a girl, nurtures the land with its fertile soil, contributing to the city’s vibrant beauty. Thanks to Hoang Phu Ngoc Tuong, the beauty of the river has found its way into the hearts of readers.

"Who named the river?" is a famous essay by Hoang Phu Ngoc Tuong. In this piece, the author praises the beauty of the Perfume River, which also symbolizes the beauty of the people of Hue. The writer describes the river with deep affection, admiration, and pride, especially when depicting the river as it flows into the ancient city of Hue.

The author presents the Perfume River’s entrance into the city in a lyrical, introspective, and uniquely artistic style. With a keen, emotional, and creative perspective, Hoang Phu Ngoc Tuong reveals the river’s distinct characteristics, which no other river possesses. As the river enters the beloved city, it appears to find itself, becoming "joyful among the lush green meadows of the Kim Long suburbs." The river then "draws a calm, reassuring straight line from southwest to northeast," and the author personifies it, describing the river as "looking ahead, and seeing the white bridge of the city etched against the sky, small and delicate like a crescent moon." When the river reaches the Gia Vien peninsula, it forms a gentle curve toward the Hen island, "softening, like an unspoken "yes" of love." With this unique metaphor, the author highlights the river’s gentle and contemplative nature as it enters the city.

Moreover, to emphasize this quality, the author compares the Perfume River to famous rivers like the Seine in Paris and the Danube in Budapest. Just like these rivers, the Perfume River flows through the heart of its cherished city, but it gives Hue a distinct character that no modern city in the world can replicate: "At the city’s gates, the tributaries of the river spread the waters of the Perfume River throughout the streets, with ancient banyan and cypress trees casting their shadows over crowded boat villages; from these places, the flickering lights of fishing boats in the misty night represent an ancient soul that no modern city can witness. The river’s tributaries, along with the two small islands on the river, slow the current, making the river almost glide like a tranquil lake through the city."

The author perceives the Perfume River through various lenses: at times as a painter seeing the river’s tributaries create delicate lines contributing to the beauty of the ancient capital; at other times, as a musician feeling the river’s flow like a slow, soulful melody; or as a romantic heart seeing the river as a "gentle and faithful lover." This sentiment is captured beautifully in a passage brimming with creativity and artistic insight: "Leaving the city, the Perfume River veers north, wrapping around the Hen island, perpetually shrouded in mist, slowly drifting away from the city, bidding farewell amidst the green of bamboo groves and the golden betel gardens of the Vĩ Dạ suburbs. And then, as if remembering something left unsaid, the river suddenly changes course, bending eastward to meet the city once more at the ancient Bao Vinh town. For Hue, this is where the river bids its final farewell, drifting out beyond the ten-mile horizon." The author compares this sudden bend to a human longing, calling it a "wistful desire," like a romantic soul on a passionate search for love, akin to the figure of Thuy Kieu in her night of longing, as the river seeks its final connection with the city before it returns to the sea.

Thus, through the delicate, artistic lens of the writer, the Perfume River is no longer just a river; it becomes a gentle, loving figure, seeking its faithful love with deep, unspoken passion and longing.