The 12 Best Essays Analyzing Xuân Diệu's Poem "Vội vàng"

"Xuân Diệu's poetry is a vibrant source of life that has never been seen in this tranquil land of mountains and water. Xuân Diệu is deeply enamored with love, with the beauty of the sky, living hurriedly, urgently, wanting to experience the fleeting moments of his life" (Excerpt from "Thi nhân Việt Nam"). This assessment by literary critic Hoài Thanh highlights the key characteristics of Xuân Diệu's work - a prominent figure who has made significant contributions to the development of the New Poetry movement in Vietnam.

One of the works that clearly reflects this is "Vội vàng". Through this poem, we can feel the poet's passionate love for nature, his intense desire to live, and his positive outlook on life. First of all, the poem "Vội vàng" reflects the poet's wish, attitude, and desire to act in response to the passage of time:

"I want to stop the sunlight,

So the colors won’t fade;

I want to tie the wind,

So the fragrance won’t fly away."

In the face of the irreversible flow of time, Xuân Diệu wishes to capture and preserve each moment, wishing to "stop the sunlight" to prevent its colors from fading, and "tie the wind" to stop the fragrance from disappearing. The repetition of "I want" twice emphasizes the poet's desire to hold onto the fleeting beauty of nature, highlighting the soul of a poet who loves life, is passionate about nature, and cherishes every moment of existence. This passionate love is further illustrated in the following lines:

"Here are the butterflies in the honeymoon days;

Here are the flowers of the lush fields;

Here are the leaves of the tender branches swaying;

Here are the songs of the nightingales in love;

And here is the light flashing through the eyelashes,

Every morning, the God of Joy knocks at the door;

The first month of the year is as sweet as a kiss;

I am happy. But I am in a hurry, halfway through:

I will not wait until the sun sets to long for spring."

By using the literary technique of enumeration combined with a fast-paced rhythm, every sound, color, and image in the natural landscape comes alive before the reader. The repeated phrase "Here is" echoes with passion, showing that the poet’s senses are fully awake to embrace and enjoy the beauty of nature, of the earth, in the strength and splendor of spring. These are tangible beauties such as "flowers of the lush fields", "leaves of the tender branches swaying".

They are also intangible beauties like the passionate love song of the "nightingales", or the fleeting light that flashes across the eyelashes. Especially, Xuân Diệu compares "January" - an abstract concept of time - to a "pair of lips" – a concrete object, using the relationship "sweet" – "close" to create a unique and refreshing perception, making the earthly landscape appear beautiful, vibrant, and full of life, like "a paradise on earth".

The poet uses all his senses to enjoy the beauty of creation and nature, yet he remains acutely aware of the passage of time: "I will not wait until the sun sets to long for spring." Therefore, he immerses himself passionately in the scenery but continuously reflects on the passage of time, on love, and on youth:

"Spring is coming, which means spring is passing,

Spring is still young, which means spring will grow old,

And when spring ends, I will also be gone.

My heart is vast, but the heavens are narrow,

Not allowing the youth of mankind to last long;

Why say that spring always returns,

If youth never returns twice?

There will be heaven and earth, but not me forever,

So I am filled with sorrow, I regret both heaven and earth."

As a poet with an advanced worldview, Xuân Diệu not only acknowledges the cyclical nature of time: "Spring fades, summer comes, autumn ends, winter arrives" but also understands the "dialectical law" of time as linear, "once gone, never to return" with every moment.

Through his perceptions of "spring is coming" – "spring is passing", "spring is still young" – "spring will grow old", the invisible flow of time is vividly depicted. Even though the poet experiences the fresh, vibrant spring, it is already in the perspective of being "old", fading, wilting. However, Xuân Diệu’s most significant view is that the universal time does not equate to human time; while "spring" returns, youth and human life do not.

Thus, he believes the most beautiful thing about humans is youth and love. From this, the "king of love poetry" always regrets spring, regrets youth, with a passionate desire to live, a fierce love for life, and an active concept of "living hurriedly" and racing against time:

"I want to embrace

The life that has just begun to blossom

I want to chase the clouds and wind

I want to get drunk with the butterflies and love

I want to hold all the love in a single kiss"

The repetition of "I want" at the beginning of each line resounds with power, paired with an escalating series of action verbs: "embrace", "chase", "get drunk", "hold", which accentuate the active stance of enjoying all the beauty of life at its freshest, most vibrant state.

This love for life and the intense passion to experience it are the driving forces behind Xuân Diệu's "living hurriedly, living urgently" (as literary critic Hoài Thanh describes), but this urgency is not negative, as it is deeply connected to the poet’s joy in life and optimistic spirit. This is a positive, progressive perspective on life that carries profound educational value for every individual.

Thus, through the analysis of "Vội vàng", we can recognize Xuân Diệu's talent in his use of language and mastery of artistic techniques. All these elements combine harmoniously, contributing to the portrayal of the lyrical character with his profound love for nature, intense passion for life, and, most prominently, his concept of living "hurriedly", racing against time to capture the most beautiful moments of youth and love.

Entering the world of New Poetry is like stepping into a realm of endless emotions and diverse artistic expressions. Thế Lữ’s “expansive” verses, Lưu Trọng Lư’s “dreamy” verses, Nguyễn Bính’s “rustic” lines, and Hàn Mặc Tử’s “eccentric” works are all indispensable names when discussing New Poetry. However, it would be incomplete without the mention of Xuân Diệu.

Xuân Diệu – the youngest of the New Poets. Xuân Diệu – one of the three towering figures of modern poetry. These honored titles have firmly established his place in the world of poetry, making him a name that continues to be revered and admired to this day.

“Xuân Diệu’s poetic soul is a source of life that flows abundantly, unlike anything seen in this quiet world of ours. He is infatuated with love, captivated by the scenery, living urgently and fervently. Whether in joy or sorrow, his spirit is always passionate and sincere.” Hoài Thanh’s insightful words capture the essence of Xuân Diệu’s poetry, which is always “deeply emotional, fervent, and restless”.

“Vội vàng” (Hurry Up) encapsulates all of these emotional nuances and could be considered the most quintessential poem of Xuân Diệu. The poem begins with four five-syllable lines that seem somewhat offbeat compared to the rest of the work, expressing a strange desire:

I want to turn off the sun

So the colors don’t fade

I want to tie the wind

So the fragrance doesn’t fly away.

From the very first lines, Xuân Diệu directly expresses his longing with the words “I want,” emphasizing his proactive desire. These wishes are not grandiose – they are not about moving mountains or crossing seas, nor are they about shaping the earth like the ancient sages. Instead, these are simple, almost peculiar wishes: to stop the sun, to tie the wind.

The poet wants to turn off the sun to prevent the colors from fading, wants to tie the wind so the fragrance does not dissipate – wishes that seek to seize nature’s power. But these wishes are not truly strange; what the poet desires is to hold on to life’s most beautiful elements, to keep them from fading – a perfectly natural wish. The quick rhythm of the verses, the repetitive structure, all create an energetic and lively tone, embodying a soul filled with vitality. The following lines delve deeper into the reasons behind the poet’s urgent wishes.

With eyes that see the “lush green” and a heart full of love for life, Xuân Diệu paints a picture of paradise on Earth with vivid colors, sounds, and light:

Here are the butterflies during the honeyed months

Here are the flowers of the lush field

Here are the leaves of the tender branches swaying

Here is the nightingale’s sweet love song

And here is the light flashing through eyelashes

The picture of life emerges like a banquet, ready and inviting. The repetition of the phrase “Here is” doesn’t feel excessive, but emphasizes the place and time of the poem – the here and now. This “here” is a place brimming with the best life has to offer. It’s where the butterflies flutter, the nightingales sing, where the fields are green, and the leaves sway. It’s a vivid portrayal of nature bursting with life and the promise of spring.

Through the poet’s romantic lens, everything is paired, full of life. Xuân Diệu, unlike other poets, didn’t seek to escape to other realms; he didn’t dream of the ethereal world like Thế Lữ, nor did he long for the peaceful countryside like Nguyễn Bính, or retreat into the past as Chế Lan Viên did. For Xuân Diệu, the most beautiful world is the one right here, right now. As he once expressed:

I don’t want to stay forever in the earthly garden

My feet turn to roots, pulling life from the earth

But perhaps the most striking and memorable line is: “January is as sweet as a pair of lips close by” – a line that is unmistakably Xuân Diệu. The poet has turned the intangible into something tangible, giving time a taste, making it feel. What’s more, Xuân Diệu associates January with the closeness of a woman’s lips – a metaphor that is both seductive and inviting.

It becomes clear that in the poet’s eyes, the greatest beauty is human beauty. People are the measure by which everything is compared. This marks a shift in aesthetic thought, where the beauty of women was once compared to flowers, mountains, or rivers. Now, Xuân Diệu celebrates the beauty of the human being.

Xuân Diệu’s deep love for life also manifests in his fear of time’s passing, as he watches youth and beauty slip away. This is why, after the lighthearted verses, the poem shifts to a more somber tone, heavy with reflections on the fleeting nature of life:

Spring is coming, which means spring is leaving

Spring is still young, but it will grow old

And when spring ends, I too will fade

My heart is wide, but heaven’s limits are narrow

Not allowing the youth of humankind to last long

With his sharp perception, Xuân Diệu saw how what is “coming” is also already “leaving,” how the young will inevitably age. This sense of the inevitable passage of time is something Xuân Diệu, often called “The Poet of the Time Obsessed,” expressed vividly:

Hurry, hurry, my love

My dear, love will soon grow old

Xuân Diệu’s obsession with time reminds us that life is fleeting, that youth and spring never return once they pass. His poetry is a call to live fully in the present, to embrace the beauty and love of life before it fades away.

Xuân Diệu’s work has left an indelible mark on Vietnam’s literary world, not only through his beautiful expressions of love but also through his profound reflections on life itself. “Vội vàng” remains a timeless masterpiece, resonating with readers across generations.

Xuan Dieu is a well-known name recognized for his poems about spring, youth (before the August Revolution), and later for his works on the Fatherland, people, the Party, President Ho Chi Minh, the two resistance wars against French colonialism and American imperialism, and the nation's development after the August Revolution. Among his poems about spring and youth, one stands out: 'Voi Vang' (Hurry Up). This poem urges us to live passionately, to cherish every second and minute of our lives, especially during our youth.

Xuan Dieu has a deep love for nature and beauty, a love that is strong and vibrant. However, his poetry often leaves readers with a sense of imbalance and emptiness. For him, love is always intertwined with pain, joy with sorrow, as joy itself is fleeting and cannot last forever. 'Xuan Dieu is a person of life, a human being in the midst of humanity. His poetry is built on the foundation of a worldly heart' (The Lu). 'Voi Vang' is the voice of a heart intoxicated by love, filled with different emotional nuances.

The poem 'Voi Vang' presents an image of an earthly paradise: Xuan Dieu vividly discovers and affirms that spring and all the beauty around us form a magical world. The first four lines express his romantic 'I' in a distinctive way:

'I want to stop the sun,

So that its color won't fade;

I want to tie the wind,

So that the scent won't fly away.'

The desire to 'stop the sun' and 'tie the wind' are strange and impossible wishes, only a poet could have. But how can one defy the laws of nature? How can we preserve these fragile, fleeting things forever? These 'illogical' yearnings create a very impressive 'I,' affirming the poet’s burning desire to 'seize' nature and the heavens.

Xuan Dieu seeks to resist the natural laws and the movements of the earth and sky. His poetry speaks from a proud 'I,' with strange and powerful aspirations, reflecting the human desire to rise and match the power of creation. The spring – this paradise – is full of beauty: everything is alive, vibrant, and youthful.

This love for life flows through the poet’s veins, and he sees life where he lives as a paradise:

'Here, the butterflies are in their honeymoon,

Here, the flowers in the fields are green,

Here, the branches are gently swaying,

Here, the warblers sing their love song,

And here, the morning light flickers at the edge of the lashes.

Every morning, the Spirit of Joy knocks at the door,

January is as sweet as a pair of lips about to kiss.'

This is a spring scene filled with light, freshness, purity, and the sounds of romance. Spring is a time for trees to sprout, a season of growth and overflowing happiness. The spring garden in the poem also 'hurries up' to release its fragrance, offering sweet nectar. Butterflies are busy as spring flowers bloom, vibrant in the green fields. The branches sway gently, pushing forth tender buds in the spring landscape. The morning light glows like pink peach blossoms. Swallows and warblers sing love songs of the season. The repetition of 'Here' expresses the poet's joy and amazement at discovering the strange beauty of life. 'January' symbolizes the beginning of the year, the beginning of spring – a symbol of life’s beauty.

The image of 'a pair of lips about to kiss' evokes the tender lips of a young woman waiting. Unlike other poets who use nature as a standard of beauty, Xuan Dieu sees humans, youth, and love in the midst of spring as the measure of all beauty. Therefore, January is filled with vitality, youthful energy, and the pinkness of spring.

For Xuan Dieu, the world is experienced through the delicate sensibilities of a soul deeply in love with life, and so life appears as a world full of springtime romance. The poet's intense desires and longings stem from his acute awareness of time’s passing. And Xuan Dieu confirms:

'Spring is coming, which means spring is leaving,

Spring is young, which means spring will age,

And when spring ends, I will too.'

Unlike the old belief that 'spring is eternal,' for Xuan Dieu:

'Why say that spring is eternal,

If youth does not return a second time!

There is still sky and earth, but I won't last forever,

And so, I mourn both the earth and the sky.'

Spring is always linked with human existence, with 'I.' Time measures youth. Time moves on, never to return, and youth, like time, is fleeting. There is no such thing as a cycle of renewal! In the vastness of the earth and sky, amidst the eternity of time, the human presence is but brief and finite.

'The scent of May carries the taste of parting,

All the mountains and rivers silently whisper farewell...'

Xuan Dieu’s subtlety lies in his ability to sense the fading beauty of nature even when it is still in full bloom. The poet feels as if the wind sweeps through everything. When nature is in its prime, it is also when it must face the inevitable decline. Time, for Xuan Dieu, has a scent, a taste of parting, and the entire earth, mountains, and rivers seem to mourn the passing of life. This deep sense of loss and regret permeates the poet’s heart.

Unable to stop the wind, stop the sun, or hold back time, the only option left is to race against it, to live fully: 'Never again, oh! Never again…'

In the first two stanzas, Xuan Dieu speaks of his passionate love for the earthly paradise and presents a new view of time: once spring has passed, it does not return. He places humans, youth, and love as the measure of all beauty. In the fourth stanza, the poet urges us to live quickly, desperately, while we are young and the time is fleeting.

At the beginning of the stanza, Xuan Dieu writes: 'Hurry up, the evening is not yet here!' This is a call to live urgently, to make the most of our youth, for time passes quickly. In this sense, Xuan Dieu encourages a more positive way of living: to live fully, to immerse ourselves in life with all our senses, to live with passion while we are in our prime.

In the final lines, the poet uses a series of progressive verbs to express his intense feelings:

'I want to embrace,

The life that has just begun to bloom,

I want to hold the clouds and let the winds dance,

I want to feel the wings of butterflies with love,

I want to take it all in with a kiss.'

In the beginning of the poem, the poet uses 'I' to express his inner thoughts, but in the final lines, 'I' becomes 'we,' as he faces life in this world. This shift reveals a sense of urgency and excitement. Xuan Dieu wants to embrace all the beauty of life in full bloom – its beginnings, its winds, its butterflies – to hold it all tightly, but even then, he knows he cannot keep it forever. His loving heart seeks to hold the universe within it. All these emotions express a philosophy of life filled with haste and passion.

'Voi Vang' expresses a soul madly in love with life. It is about cherishing time, valuing youth, and living to love – love for others, for nature, and for the world. The poem pulses with the rhythm of a heart that has never tired of life, never tired of springtime.

Before the August Revolution, Xuân Diệu's poetry was filled with a spontaneous love for life, a deep passion for beauty, and a heightened sensitivity to the passing of time. However, the more he loved, the more he feared that life, love, and beauty would slip away and vanish.

This is why his poems often express feelings of panic, anxiety, and a desperate, hurried longing to embrace life and love fully. His poem "Vội vàng" (Hurry) is a perfect example of this emotional state. In the opening lines, Xuân Diệu uses commanding and solemn words.

"I want to stop the sun"

"I want to tie the wind"

These words reflect his intense desire, a wish to possess the power of creation and defy the laws of nature, the movements of the earth and sky. He understands that all beauty fades, and all fragrance eventually fades away. Xuân Diệu doesn't want the natural beauty of the world to disappear.

He wants to preserve it to savor it fully, forever. Following this mood, the poet's joy bursts forth. In Xuân Diệu's view, the life around us suddenly becomes incredibly alluring.

"Here is the honeybee's wedding week"

"Here are the flowers of the green field"

"Here are the leaves of the tender branches swaying"

"Here is the love song of the nightingale"

"And here is the light flickering in the eyelashes"

"Each morning, joy knocks at my door"

In Xuân Diệu's poetry, nature appears like a magical garden filled with divine fragrance and color, as if it exists in a far-off realm, not in the earthly world. It is still the same timeless natural world, but Xuân Diệu uncovers countless unexpected, charming, and captivating beauties.

Xuân Diệu sees life with eyes full of youthful wonder, cherishing and reveling in the marvelous beauties that nature bestows upon every life and every person. The repeated phrases "here is" convey the endless richness of nature, presenting a paradise on earth – a "heaven on earth."

People say that January is beautiful and joyful, but Xuân Diệu finds "January as sweet as a pair of close lips." In classical literature, nature was used as the standard for human beauty, but Xuân Diệu chooses to measure beauty by the human experience, between youth and love.

Old poetry avoided references to the senses, but Xuân Diệu boldly involves all his senses to fully experience the beauty of nature. Just as he is caught up in joy, Xuân Diệu is suddenly struck by a harsh reality.

"Spring is coming, which means spring is passing"

"Spring is young, which means spring is aging"

Before Xuân Diệu, no one had ever written such definitive lines. The repetitive phrase "which means" rings out dryly, expressing the tragic realization that one cannot hold back time as it slips away. The poet's deep sorrow over fleeting joy is profound. He feels he will die with the end of spring, when the beauty of life no longer exists.

"When spring ends, I too will be lost." This awareness of time flowing in one direction, never returning, and being linear rather than cyclical, dominates Xuân Diệu's view of life. Lacking a dialectical understanding of time, Xuân Diệu sees it as a process of decay and withering, with old age and death at the end.

Time robs people of youth, and love brings them to old age and death. This thought makes Xuân Diệu feel that nature itself is in opposition to humanity.

"My heart is vast, but heaven is narrow"

"It doesn't allow the youth of mankind to last"

Human life is finite, yet time is infinite. Our hearts remain youthful, filled with longing, while our bodies must age with the passage of time, unable to return to youth as spring does.

"Why say that spring repeats"

"When youth never returns"

"The earth and sky will remain, but not I forever."

Xuân Diệu is deeply saddened by this grim realization of the human condition. Fearing the swift passing of joyful moments and the fading of beauty, even nature loses its innocent, carefree quality in his poetry. Xuân Diệu seems to sense the taste of the passing years, but it is a taste of regret, a "taste of parting."

The murmuring chords sound like a whispered lament echoing across the mountains. Even the gentle breeze grows irritable, and the birds "lose their voices" because they fear "the inevitable fading." The poem ends with a deep sigh of despair. "Never again, oh! Never again." Realizing the cruelty of time, the poet rises with a thirst to live fully, completely.

The youthful heart, full of love for life and brimming with passion, refuses to surrender or give up. The poet urges himself, "Hurry, the day is not yet over." He wants to enjoy life, to embrace the beauty of nature while it is still fresh and green.

"I want to embrace"

"All the life that is just beginning to bloom"

"I want to feel the clouds and the wind"

"I want to be intoxicated by the butterfly's wings and love"

"I want to capture it all in a kiss at dusk" The repetition of "I want" in rapid succession expresses an intense yearning to embrace life itself.

"To be intoxicated by the fragrance, to be filled with light"

"To be satisfied with the vibrant hues of the living world"

This is a passionate love for life, so intense it dispels any sorrow and revitalizes the youthful spirit. The poem ends with the image of the young poet Xuân Diệu crying out in his deep, passionate love for the beautiful world. "Oh, spring, I want to bite into you."

"Vội vàng" expresses a deep, passionate love for life and the inevitability of aging and fading. But above all, it conveys an intense, unyielding desire to live fully, to embrace life in all its beauty and fleeting moments. It ignites in young readers a fervor for life itself.

When we mention Xuân Diệu, we are referring to the poet of love. During the New Poetry Movement, his works predominantly focused on the intense love between people and nature, and life itself. One cannot speak of Xuân Diệu's poetry without mentioning his famous work, "Vội vàng". This poem encapsulates the lively, fresh springtime imagery and conveys the author's profound message about life.

Right from the start, Xuân Diệu reveals his bold, audacious desire through the following verses:

“I want to stop the sun

So its colors won’t fade,”

I want to tie the wind

So the scent doesn’t fly away”

Xuân Diệu’s deep love for life and his eagerness to seize everything beautiful in the world are expressed in his daring wish to “stop the sun” and “tie the wind”. Amidst the shifting of nature, he yearns to hold on to all the beauty around him.

Yet, in this bold and reckless spirit, there is still the endearing quality of a romantic soul. For Xuân Diệu, life is a miracle to be cherished and lived to its fullest, contributing all one can to life. In his eyes, the world is a magnificent banquet filled with vibrant colors. Nature comes alive in his verses, with spring depicted in full bloom like the beauty of a young woman. Xuân Diệu is intoxicated by spring, by the sunshine, by the lushness of trees and flowers, and by the song of birds:

“The bees are here, it’s the honeymoon period;

Here are the flowers of the green fields;

Here are the leaves of the tender branches;

And the birds are here, singing in love.”

The author’s love for nature is boundless, and he seeks every way to immerse himself in its beauty. In the midst of his joy, he suddenly exclaims:

“I am delighted, but hurried, in half

I don’t wait for the summer sun to regret the spring.”

The author realizes he must “hurry in half”. Flowers bloom, then fade; spring arrives, and then it departs. Birds stop singing, time moves on, and one cannot hold onto these fleeting moments. Just as people grow old, time cannot be stopped. These two lines vividly reflect Xuân Diệu’s passionate love for life.

"Spring is coming, which means spring is leaving.

Spring is still young, which means spring will age.

And when spring ends, I will also be gone.

My heart is wide, but the heavens are narrow,

Not allowing the youth of humankind to last long.

Why speak of spring's cyclical return,

If youth does not blossom again?

The heavens and earth remain, but I will not last forever.

So, with hesitation, I lament both earth and sky;

The scent of May carries a tinge of parting,

The mountains and rivers murmur a farewell.

The gentle breeze whispers through the green leaves,

Could it be that it resents having to fly away?

The birds' joyful songs suddenly fall silent,

Could it be that they fear the approaching decay?

Never again, oh! Never again.

Hurry, for the day is not yet fading,"

This evokes a reflection on time’s passage: nothing lasts forever. Even though spring, the earth’s season, repeats every year, a person’s youth is unique and fleeting. Everything follows a cycle, but “I will not last forever.” The author is deeply sensitive to the passage of time and views it with extraordinary insight. His words echo with the longing and rhythm of a heart eager to embrace life to its fullest. This is the heart of a lyrical self, candidly expressing its desires.

"I want to embrace.

The life that is just beginning to bloom;

I want to feel the wind and the clouds dance,

I want to be drunk on the butterfly's love,

I want to capture in a kiss so many things,

And the mountains, the rivers, the verdant grass,

To be overwhelmed by fragrances, to be filled with light,

To be satisfied by the hues of this vibrant time;

Oh spring, I want to bite into you!"

The phrase “I want to embrace” stands out in the poem, depicting the speaker reaching out to embrace life during the blooming season—life amidst the freshness. This is a portrayal of a self that is greedy and eager, standing between the earthly world and the flow of time, wanting to embrace it all, feel it, and experience it fully. The desire to taste, to enjoy the full richness of life, resonates deeply throughout the poem.

All of this reflects an intense yearning to merge with the world and life, a longing that defines Xuân Diệu’s poetic spirit.

The poet describes nature using beautiful metaphors, humanizing it, bringing it to life as a person with the traits of youth. The final line of the poem encapsulates the fervor of Xuân Diệu’s heart: “Oh spring, I want to bite into you.” This conveys a powerful longing for love and life. The verb “bite” gives the line a unique, daring energy, expressing Xuân Diệu’s insatiable desire for connection and experience. His passion and his longing remain boundless, a desire that transcends all limits.

The title of the poem, “Vội vàng” (Hurry), encapsulates the poet’s life philosophy: live urgently, live with passion. Embrace all that life offers. The poet’s message is clear: live fully while still young, don’t let time pass in vain, and live meaningfully for society and the world, so that when time moves on, you will have no regrets.

Xuan Dieu is considered the most modern poet among the new poets. He is a lyrical, romantic poet who is always eager to connect with life in a passionate and enthusiastic way. His poem 'Voi Vang' intensely captures this longing. Xuan Dieu expresses the desire for connection between youth and spring, revealing a fresh, modern philosophical emotion and a new view of life.

Xuan Dieu loves nature and beauty passionately, but within his verses, there is still a feeling of imbalance and emptiness. Love is always linked with pain, joy comes with sorrow, and joy too must end, it cannot exist forever. Through a keen examination, we can see that the poet's love for life in 'Voi Vang' is split into two layers: one is a tragic perception of the world and the other is a positive response to it.

The poet deeply loves this life, desiring to hold onto it, but upon reflection, he perceives the tragedy of existence. In Xuan Dieu's worldview, life is discovered through its tragic nature. This tragedy is a tug-of-war between love and pain, between emotion and understanding.

This love for life fills the poet's veins, and he sees the world as a paradise. A big question has always pushed humankind to find its answer: where is the beauty of life? Christianity finds beauty in heaven, Buddhism in Nirvana, and for Xuan Dieu, the paradise lies right on earth:

The butterfly's gate here, the honeymoon month

Here, the flowers of the green fields

Here, the leaves of tender branches swaying

Here, the song of the bird in love

Each morning, the god of Joy knocks on the door

The January months taste like a pair of lips close.

Life is so beautiful and worth living when each morning the god of Joy knocks on the door. The repeated phrase 'Here' four times is the poet's joyful exclamation of amazement at the endless beauties of life. After each joyful cry, life appears, simple yet entrancing: the charming intoxication of the butterfly, the bird; the vast green of the countryside; the delicate youth of the leaves... From these vivid images, the poet's exclamation stirs up a strange and overwhelming emotion before nature: 'The January months taste like a pair of lips close.'

This is considered one of the most unique lines in Vietnamese poetry, where the poet compares what is seen with the infinite passage of time. The verse sparkles with three distinct beauties. 'January' marks the beginning of a new year, the arrival of spring – the fresh, vibrant spring symbolizes the beauty of life. The image of 'the pair of lips close' evokes the fresh, red lips of a young girl waiting expectantly.

The comparison unites spring with youth as the ultimate beauty of life. Xuan Dieu’s fresh and daring aesthetic view places the young girl's lips at the center of the universe, turning human beauty into the standard for nature’s beauty. Another bold and unique trait of Xuan Dieu appears in the use of the word 'tasty', full of sensuality, which mobilizes both the soul and the body in the love for life. The beauty of the stanza is youthful and passionate.

Xuan Dieu's poetry is never calm because love always collides with pain. The joyful flow of his verse suddenly hits a punctuation mark that divides the sentence:

I am delighted.

But I am hasty in half.

The beauty and meaning of life only make the poet feel the greater tragedy of existence. The tragedy of life converges in the line of poetry. This tragedy stems from a philosophical discovery about time:

Spring is coming, which means spring is passing

Spring is young, which means spring will age

And when spring ends, it means I will also be gone.

This is a completely new perspective on time. The medieval view of time was cyclical, repetitive (December was for planting potatoes, January for beans, February for cabbages). The eternal, unchanging rhythm of time created an inner balance, making people calm and slow.

Modern time is different, it is linear (once gone, never to return), and therefore time self-destructs in the brief, hurried process of life. Xuan Dieu expresses this understanding with pairs of words like 'coming – passing', 'young – old'. Life moves and develops in a process of affirmation and negation, where negation is embedded in affirmation.

This is a profound philosophical reflection that satisfies the intellectual curiosity of readers (especially young readers who want to understand Xuan Dieu's poetry). Xuan Dieu's shortcoming is that he focuses too much on the 'passing' and 'aging' (the negation), making his worldview feel somewhat unstable and leaning towards 'haste', creating a distinct, hurried breath in his poetry.

Thus, the tragedy in his perception invades his soul, and Xuan Dieu sees loss and separation everywhere:

The smell of May is tinged with the taste of parting

Across rivers and mountains, there is still the whisper of farewells.

The pain permeates the wind, the birdsong, but the greatest sorrow is felt by the young, sensitive souls thirsting for life:

Why say that spring still recycles

If youth doesn't bloom twice again

The sky and earth remain, but not forever me.

In the grand picture, the pain contrasts with love to form tragedy, and it is also the result of love. Because, without knowing how to deeply and passionately love life, how could one feel sorrow when realizing that time flows endlessly, nothing is permanent, especially the impermanence of spring, youth, and life? Therefore, haste is the great pain of a great love.

The first stanza reflects a desire to defy the laws of nature: 'I want to stop the sun – So that the color doesn't fade away – I want to hold the wind – So that the fragrance doesn't fly away.' This is the only stanza where Xuan Dieu uses a five-character verse, creating a strong, compact rhythm to express his will to stop the passage of time. But how can subjective will defeat objective laws? Therefore, the energy of the verse is strong, but deep inside, it remains helpless and powerless...

But Xuan Dieu doesn't give up. He finds another way: to enjoy life. This is the main theme of the final lines: 'I want to embrace all the vibrant new life, I want to chase the clouds and the wind, I want to intoxicate with butterfly wings and love, I want to gather in one kiss many things – The mountains, the trees, and the bright grass – For the dizzying fragrance, for the full light – For the abundance of vibrant colors of time – Oh red spring, I want to bite into you!'

The words: embrace, chase, intoxicate, gather, bite build an emotional crescendo that reveals a strong and vigorous desire for life. Xuan Dieu's heart seems to want to embrace the whole universe. The last line of the poem is breathtakingly beautiful. Life is vibrant, round, and enticing like the red spring fruit. The poet longs to 'bite' into this life to experience its pleasures fully, in a sensual and wholehearted way. Only Xuan Dieu can create such bold, new, yet pure emotions.

Thanks to Xuan Dieu’s bold imagination, many of us wish to return to our youth, to live passionately with the beautiful nature and with this heaven right here on earth. Not only does he praise the beauty of nature, but he also gives a piece of advice to the younger generation: don't let your youth pass by in vain, live for yourself and for society, live to enjoy life’s beauty.

Living hastily doesn't mean living selfishly or recklessly. 'Voi Vang' shows a soul that loves life passionately, cherishing time, valuing youth, and living also means loving: romantic love, love for nature. This emotion embodies a new, progressive human philosophy.

Seven decades after the poem 'Voi Vang' was published, many of Xuan Dieu's verses still amaze readers! Xuan Dieu lived 'Voi Vang' in this way. With more than 50 works, over 400 love poems, he has enriched modern Vietnamese poetry.

Poet Xuan Dieu has passed into eternity with other great minds, but we still feel his presence in the world, singing:

– 'Oh red spring, I want to bite into you!'

– 'Hurry, come with me! Hurry up, come with me!

You, oh you! The youth is almost gone...'

'Voi Vang' is a poem that demonstrates a beautiful, humane artistic perception, a lively, overflowing voice that is captivating. It contains a tactile quality in its poetry. The boldness in word choice and the skillful construction of verses and stanzas reflect Xuan Dieu’s mastery. 'Voi Vang' is a quintessential example of 'New Poetry', romantic poetry from 1932 to 1941.

Xuân Diệu's poetry is always full of intense passion for love, the sky, and the rushing, frantic pace of life. This energy is vividly seen in the poem 'Vội vàng' (Hurry Up), which serves as a powerful self-manifesto, revealing the poet's deep understanding of himself and a progressive, optimistic view of life and beauty.

At the heart of 'Vội vàng', Xuân Diệu depicts a world filled with the serene beauty of nature, resembling a Buddhist paradise. Hoài Thanh's observation is astute: 'For Thế Lữ, the poet dreams of ascending to the heavens, a very ancient dream, but Xuân Diệu transforms the celestial realms into the earthly paradise.' This fantastical landscape, though intangible, offers an escape, much like the idealized visions of the Taoist immortals Xuân Diệu and Thế Lữ once shared.

In ancient times, human imagination crafted a land of immortality—dreams designed to soothe and comfort the present. Xuân Diệu’s view of nature is enchanting:

The sky stretches endlessly above,

Two white cranes soar toward the immortal land.

But Xuân Diệu, unlike others, wants to show us this paradise, pulling us into an earthly heaven meant for ordinary people. This paradise brims with life and vitality, accessible to all with a simple key—the act of living wholeheartedly, fully, and awakening all of one’s senses. Consider the following verses:

Here are the butterflies in their honeymoon flight,

Here are the flowers in the meadow, green and lush,

Here are the leaves of the tender twigs swaying gently,

Here is the song of the nightingale, filled with love,

And here, the gleam of light catching on lashes,

Every morning, the Spirit of Joy knocks on the door.

January feels as sweet as a lover’s kiss.

The paradise Xuân Diệu speaks of is not a faraway dream but a tangible joy, one that the poet invites us to experience. The repeated phrase 'Here are...' does more than list; it invites, offers, and urges us to appreciate the treasures of nature. These moments are not meant to be savored slowly but urgently, urging us to act, to feel, and to enjoy before they slip away. The vivid images of 'meadow flowers' and 'butterflies' remind us that nature is not chaotic but a clear and beautiful backdrop for our human creation of paradise.

In this earthly paradise, everything is imbued with love and joy, especially as seen in these intimate lines:

And here, the gleam of light catching on lashes,

Every morning, the Spirit of Joy knocks on the door.

January feels as sweet as a lover’s kiss.

Yet, this paradise is fleeting. Xuân Diệu recognizes that youth is transient, and beauty fades with time. He urges us to embrace every moment, for life’s happiness is short-lived. 'I am happy, but I must hurry' is a central theme in the poem, reminding us that time moves swiftly, and we must live to the fullest before it slips away. This urgency is palpable in the poet’s words, as he reflects on the fleeting nature of youth and love.

Xuân Diệu’s vision of life is a celebration of youth and beauty in their prime. In his eyes, the most beautiful aspect of life is the human experience, and the pinnacle of beauty lies in youth and love. Unlike earlier poets who considered nature to be the standard of beauty, Xuân Diệu reversed this view: it is humanity itself that is the measure of beauty. The universe may cycle endlessly, but human life, especially youth, is precious and rare, only to be truly appreciated in the moment.

In his poem, 'Vội vàng', Xuân Diệu creates an image of spring as both a symbol and a call to action:

And here, the gleam of light catching on lashes,

Every morning, the Spirit of Joy knocks on the door.

January feels as sweet as a lover’s kiss.

I am happy, but I must hurry,

I won’t wait for the summer to return,

The poem reflects Xuân Diệu’s desire to capture the beauty of life before it slips away, an urgency that drives his every word. This is a philosophy that encourages us to savor every moment, to experience the fullness of life and love while we can.

Xuân Diệu’s philosophy of living with urgency is not just about embracing joy in the present but also confronting the inevitability of life’s end. His plea to 'hurry up' is not a call for reckless abandon but a call to live fully, to feel deeply, and to appreciate the fleeting beauty of existence. Through his verses, Xuân Diệu reminds us that life, like spring, is short, and we must savor its sweetness before it fades.

The eternal spring of the world may continue, but our personal spring—our youth, our love—is fleeting. Xuân Diệu’s realization of this truth is at the heart of his call to live 'hurry up' and embrace the short but beautiful period of youth, love, and life. And in his work, we find an echo of universal human experience, the bittersweet awareness that time waits for no one, and the beauty of life lies in living it fully, now.

Xuan Dieu is a writer known for his intense, abundant, and enduring creativity in Vietnamese literature. He brought a new vitality to contemporary poetry, infusing it with fresh emotions and innovative artistic techniques. As literary critic and researcher Vu Ngoc Phan once said about Xuan Dieu: "With new sources of inspiration—love and youth—whether joyful or sad, Xuan Dieu always sings to the youth with a deeply passionate tone about life."

Among the many poems that earned him the title of the king of new poetry, "Voi Vang" is considered one of his most iconic works, showcasing his unique perspective on life and his personal voice.

The poem is a surge of powerful, flowing emotions yet follows a logically structured format. Through each stanza, the author expresses a fierce desire to live and a unique view of time and youth.

In the very first stanza, Xuan Dieu expresses a passionate and intense love for life:

"I want to stop the sun

So the colors don't fade away

I want to tie the wind

So the fragrance won't fly away."

The repetition of "I want" combined with strong action verbs expresses the author's intense longing and desire to control nature. This is a bold and unrealistic wish, as no one can ever control the forces of nature or halt the passage of time.

Yet, Xuan Dieu boldly expresses his desire to "stop the sun" and "tie the wind," knowing that the brightest colors will eventually fade, and the most intense fragrances will eventually dissipate. Spring and youth cannot be held back forever. Xuan Dieu's deep love for nature and life leads him to desire the preservation of time. Moving into the second stanza, the poet paints a picture of paradise on Earth:

"Here are the bees and butterflies during the honeymoon

Here are the flowers of the green fields

Here are the branches swaying gently

Here is the nightingale singing its love song

And here is the light flashing through the lashes

Each morning, the God of Joy knocks on the door

January feels as sweet as a pair of close lips

I am happy. But in haste, half of me

I do not wait for the sun's decline to yearn for spring"

The familiar imagery of nature becomes vibrant and alluring through the poet's unique perspective. The repeated phrase "Here are" does not seem redundant but instead emphasizes the space and time of the poem. Xuan Dieu affirms that the most beautiful place is not some faraway land, but life on Earth, where butterflies flutter, nightingales sing love songs, and the green fields bloom. Here, we find the sounds of love, the freshness of dawn's light.

The imagery of nature and life that Xuan Dieu creates is both familiar and captivating, filled with tenderness. The poet reveals the wondrous beauty of nature and infuses it with a passionate love. Xuan Dieu views nature through the lens of love, through the eyes of youth. Thus, everything seems to be immersed in the sweetness and beauty of spring.

"January is as sweet as a pair of close lips." This comparison is particularly unique and interesting, as poets have traditionally used nature as a standard. Only Xuan Dieu, with his fresh perspective, sees humans as the measure of beauty, as the standard for all things in the universe. For him, the most beautiful place is right here, on Earth, where nature exists and where humanity is present.

"I am happy. But in haste, half of me

I do not wait for the sun's decline to yearn for spring"

The two clauses, separated by a period, express two seemingly opposite but united moods: the more you love and indulge, the more you fear losing. The most precious moments in life are youth and love. Thus, Xuan Dieu always yearns for love, happiness, and to live fully with a joyful, passionate spirit. However, due to his intense love for life, the poet transitions into feelings of anxiety and fear:

"Spring is coming, meaning spring is leaving

Spring is still young, meaning spring will grow old

When spring ends, it means I will also be lost

My heart is vast, but heaven is too narrow

It doesn't allow human youth to last long

Why say that spring always returns

If youth does not bloom twice?

As long as the heavens and earth exist, I won't last forever

Thus, I am filled with sadness, I regret the world;

The smell of months and years is tinged with parting,

Across rivers and mountains, there is a quiet farewell...

The beautiful wind whispers through the emerald leaves,

Is it angry because it must fly away?

The birds suddenly stop their joyful calls,

Are they afraid that their beauty will fade soon?

Never again, oh! Never again...

Hurry, let's go! The season has not yet reached its evening"

From the passionate and rapturous tone in the second stanza, the tone shifts to one of shock and worry in the third. Xuan Dieu becomes filled with doubt, despair, panic, and anxiety as time moves swiftly forward.

"Spring is coming, meaning spring is leaving

Spring is still young, meaning spring will grow old"

The beautiful and radiant spring is also a forewarning of the swift passage of time. As spring fades, so do youth and love, the most valuable aspects of life. While nature is eternal, human life is finite.

Through this stanza, we grasp Xuan Dieu's unique perspective on time.

For him, time is not a cyclical cycle, but a stream flowing in one direction, never to return. Human life is limited to a few short years. Xuan Dieu uses human life as the measure of time, which makes him feel powerless, anxious, and regretful. His perspective on time arises from an awareness of the value of individual life.

Each moment in life is precious. Thus, everyone should cherish each second of life. The poet's deep sorrow and despair seem to cover all of nature, making everything appear less carefree. Even nature feels sadness, fear, and hesitation.

"The smell of months and years is tinged with parting,

Across rivers and mountains, there is a quiet farewell...

The beautiful wind whispers through the emerald leaves,

Is it angry because it must fly away?

The birds suddenly stop their joyful calls,

Are they afraid that their beauty will fade soon?

Never again, oh! Never again...

Hurry, let's go! The season has not yet reached its evening"

All objects and things in the world are steeped in the sorrow of farewell and separation: rivers and mountains whisper their goodbyes, the wind and birds carry the sorrow of having to leave. The poet feels this acutely and exclaims in regret: "Never again, oh, never again...", followed by a call to action: "Hurry, let's go! The season has not yet reached its evening." The final line suddenly becomes urgent, signaling a passionate and intense desire to live fully in the following stanzas.

"I want to embrace

All that is alive, just beginning to bloom;

I want to chase the clouds and fly with the wind,

I want to intoxicate myself with the butterfly's wings and love,

I want to gather in a kiss so much

Of the mountains, the rivers, the trees, and the bright grass,

To be drunk with the fragrance, to be filled with light,

To be satisfied with the vividness of this fresh time;

- Oh spring, I want to bite into you!"

In the final stanza, the poet's mood shifts from doubt and despair to a strong desire to live urgently and fully. The use of strong, progressive verbs such as "embrace," "chase," "intoxicate," and "gather" combined with the repetition of "I want" reveals the author's intense yearning to live, to love, and to savor every second of life. It seems the poet wants to embrace, experience, and enjoy all the beautiful things in life to the fullest, to feel "dazed, filled, and satisfied" with life.

"Oh spring, I want to bite into you!" is a bold and powerful image. The passion and intensity of love seem to have reached their peak. How much must one love life for the poet to express such a daring and earnest wish?

It can be said that "Voi Vang" conveys a meaningful life message from a poet's heart filled with enthusiasm for life: live intensely, live fully, and treasure every second of your life, especially the precious years of youth. The poem is filled with unique and creative images, passionate tones, and a powerful call to live for each and every moment.

The deep love for life, the intense desire to live fully, and the fear of the finite nature of human existence drive the poet to live urgently, to live frantically. But this is an urgent living with purpose, living fully for each moment so that every passing second is meaningful and not wasted.

“Better to have one brilliant moment and then fade away

Than to live in dim light for a hundred years”

(Urging – Xuân Diệu)

Xuân Diệu is one of the towering figures in Vietnamese poetry, often referred to as the “king” of passionate, intense love poems. His work reflects an insatiable longing for love and life. Both in his poetry and in his life, Xuân Diệu displayed a fervent desire for living fully, without hesitation. Unlike his contemporaries, Xuân Diệu quickly asserted his unique identity through the energetic, fervent quality of his work. “Vội Vàng” (Hurry Up) is one of his most representative pieces, expressing the voice of a heart yearning, intoxicated by the pursuit of life’s meaning, while also expressing the poet’s deep concern about the fleeting nature of time.

Xuân Diệu, whose pen name was Trảo Nha, was born in Bình Định and raised in Quy Nhơn. He was a member of the Tự Lực Văn Đoàn (Self-Strengthening Literary Group), and a key figure in the New Poetry movement in Vietnam. Notable works from this period include “Thơ Thơ” (Poetry, 1938) and “Gửi Hương Cho Gió” (Sending Fragrance to the Wind, 1945).

He became involved in the revolutionary movement in 1944 and began writing stirring poems about the revolution. His poems were known for their grand tone, political depth, and lyrical self-expression. “Vội Vàng” is an excerpt from his “Thơ Thơ” (1938) collection, inspired by a soul deeply in love with life and fascinated by philosophical insights into the human experience.

In the opening lines of “Vội Vàng,” Xuân Diệu invites the reader into a world full of joy and love for life, evoking the vibrant beauty of spring. The world around him bursts forth in a symphony of colors, with natural images so breathtaking they stir the soul. To the poet, life unfolds with energy and vitality:

“I want to stop the sunlight

So its colors don’t fade

I want to tie the wind

So its scent doesn’t drift away.

The bees and butterflies in their honeymoon time

The flowers in the green fields

The leaves on the delicate branches swaying

The larks singing their love songs

And the flashing light in the morning

Every morning, the Spirit of Joy knocks on my door

January is as sweet as a close pair of lips”

Perhaps driven by his overwhelming joy, the poet suggests a daring thought: “stop the sunlight,” “tie the wind”—concepts of intangible elements that can only be perceived through our senses, yet we cannot touch them. The repetition of “I want” along with powerful verbs shows his intense desire and the poet’s urge to conquer the forces of nature. The initial quatrain not only encapsulates the poem’s essence but also carries a deep emotional charge.

The lush beauty of nature is depicted by Xuân Diệu with soaring, vivid imagery. The landscape appears to be a “paradise on earth.” The images of “bees and butterflies,” “flowers in the fields,” “leaves on tender branches,” and “larks,” seen through the poet’s artistic eye, are full of charm, enchanting the reader.

Life seems like a banquet filled with sweet, romantic flavors—“honeymoon months,” “the fragrant fields of green,” the captivating sounds of a “love song.” The love between two people adds warmth and love to life, making everything feel more alive and joyous. Xuân Diệu’s clever use of the “here” repetition acts as an invitation, showcasing the finest, most beautiful aspects of life.

Each early morning, “the Spirit of Joy knocks on my door,” ushering in a new day filled with happiness. The creative and evocative comparison “January is as sweet as a pair of lips” describes the month of January, the season of spring, full of vitality, likening it to the full, beautiful lips of a young woman in her prime.

Xuân Diệu’s perspective is fresh and unique; he uses the beauty of humankind as the standard by which he describes the beauty of nature. This is a remarkable line with immense artistic value. Overcome with his passion, the poet rushes through life, unable to wait for the “decline of sunlight,” as his soul is forever alive with the brilliance of spring.

Though deeply in love with life, Xuân Diệu lives in haste, grasping at fleeting moments. He cannot hide his anxiety and longing. Life is infinite, but human life is too short. These existential thoughts torment the poet’s soul: How can one hold onto youth? How can one fully enjoy life?

“I am happy. But half in haste:

I do not wait for the setting sun to reflect on spring.

Spring is coming, meaning spring is passing,

Spring is young, meaning spring will age,

And when spring ends, I will too.

My heart is vast, but heaven is cramped,

It does not allow the youth of humanity to last long,

Why say that spring is cyclical

If youth does not come back once more

There is still heaven and earth, but not me forever,

So I am filled with regret for both heaven and earth;

The scent of months and years is tinged with the taste of parting,

The rivers and mountains quietly lament...

The gentle wind whispers through the blue leaves,

Is it angry because it must leave?

The birds suddenly stop their singing,

Is it afraid of the fading soon?

Never again, oh! Never again...

The poet’s joy is mingled with doubt and fear. He fears that youth will slip away as time passes relentlessly. “Spring is coming, meaning spring is passing” seems like an illogical thought but actually embodies the poet’s philosophy of life—each new spring brings hope and joy, yet it also brings the sorrow of passing youth. Xuân Diệu’s words echo with melancholy: “Why say that spring is cyclical / If youth does not return again.” Time is endless, but human life is fleeting, and everyone eventually returns to dust.

Xuân Diệu has long realized the inevitable conflict between the eternal nature of the world and the smallness of humankind. His poetry expresses this anguish and the desire to live eternally with life. The repetition of “spring” and the contrasting elements of “vast” and “cramped” build a sense of urgency and emotional intensity that captivates the reader. Words like “regret,” “parting,” “farewell,” “broken,” and “fading,” paired with exclamation points and rhetorical questions, create a melancholy, somber, and sorrowful atmosphere, filled with nostalgia.

The final verses are filled with an intense desire to live, yearning to connect with the world. Xuân Diệu portrays the hurried pace of life through verses brimming with emotion and fervor:

“Hurry up! The day hasn’t yet set,

I want to embrace

All of the newly blossoming life

I want to hold the clouds and let the winds dance,

I want to drunkenly embrace the butterflies in love,

I want to capture in a kiss the fullness of life

And the mountains, the trees, the morning grass

Filling the air with fragrance, lighting up with brightness

Until I am intoxicated by the freshness of life’s hue

- Oh spring, I want to bite into you!”

The urgent call “Hurry up!” and the repeated “I” reveal the poet’s powerful ego. A series of poetic, romantic images such as “new life blossoming,” “clouds and winds dancing,” “butterflies in love,” combined with strong verbs like “embrace,” “hold,” and “capture,” create a passionate and consuming tone, celebrating the intoxicating beauty of love.

The daring and unique phrase “Oh spring, I want to bite into you!” uses the verb “bite” to suggest the allure of spring, invoking a desire to possess and capture its beauty. Xuân Diệu realizes that he cannot change the laws of nature, and the final verses of the poem serve as advice for readers: Life is fleeting, so one must live fully and chase their desires with passion, so as not to have regrets later on.

Xuân Diệu is considered “the most modern among modern poets.” His poetic soul is deeply humanistic, with a versatile voice, creative language, and captivating expression. “Vội Vàng” contains the full spectrum of the poet’s emotional and intellectual desires, showcasing his profound yearning to engage with life. This work significantly contributed to establishing his place in the Vietnamese poetic world.

“Hurry Up” by Xuân Diệu presents a self filled with exuberance and enthusiasm for every sign of life, yet fraught with anxiety and tension at the advancing steps of time. The more he loves life, the more Xuân Diệu fears the fading beauty and life itself. Unable to change the inevitable flow of time, the poet advocates living swiftly, seizing every moment of the vibrant present.

In Xuân Diệu's poetry, we often encounter a free-spirited, unique, and creative personality that is unparalleled in Vietnamese literature. He opens “Hurry Up” with four short, seemingly out-of-sync lines:

“I want to stop the sun

So that colors don't fade away

I want to tie the wind

So that fragrance doesn't fly away”

Right from the first stanza, Xuân Diệu boldly and almost absurdly expresses a desire to control natural phenomena like the sun and wind, which follow their own laws. Isn’t it too unreasonable and reckless to wish to stop the sun or tie the wind?

However, beneath this bold and reckless yearning lies a deep, passionate love for life, an intense longing. Xuân Diệu wants to stop the sun so that colors won’t fade, tie the wind so that fragrance won’t escape, which reveals his wish to preserve the pure beauty of life, to capture the moments of the vibrant present.

With his “bright green, shimmering eyes” and deep love for life, the poet discovers the brightest, most radiant beauties of the world:

“Here are the bees and butterflies of the honeymoon

Here are the flowers in the green fields

Here are the leaves on the tender branches

Here are the swallows singing love songs

And here is the light flashing through the eyelashes”

Xuân Diệu paints a vivid picture of life, filled with images, colors, sounds, and even subtle, delicate movements in everything around us. The repetition of “here” conveys the poet’s excitement, as he introduces the beauty of the world, where he is deeply immersed in a passionate love.

The images of bees, flowers, fields, tender branches, swallows, and light are all familiar symbols of daily life, yet through the romantic lens of the poet’s love for life, they become bright, captivating like scenes from paradise.

In Xuân Diệu’s poetry, nature and life are always inviting and fresh. Yet, the most distinctive element in his perception is the comparison, “January is as delicious as a pair of close lips.” In the poet’s view, spring is as irresistible and delectable as a kiss.

Using humans as the standard by which to measure nature’s beauty, Xuân Diệu not only showcases his creative personality but also reflects a new perspective in his writing. While ancient poets measured human beauty by nature’s standards, Xuân Diệu reverses this idea, placing humans at the center of the universe, asserting that humans are the true standard of all beauty.

Alongside his burning passion for life, Xuân Diệu is constantly anxious and uneasy about the passage of time. The more one loves and cherishes something, the more one fears losing it. Perhaps Xuân Diệu, too, experiences this, fearing that as he loves life more, it will slip away:

“Spring is coming, meaning spring is leaving

Spring is still young, meaning spring will grow old

And when spring ends, I will also be lost

My heart is vast, but the sky is limited

It won’t allow the youth of mankind to last”

With his keen perceptions, Xuân Diệu can sense the signs of life’s fading, even while spring is still in its prime. Though spring is still young and blooming, it already carries within it the seeds of decay, as the poet laments, “Spring is coming, meaning spring is leaving.” This is also true for youth—it passes and never returns. “When spring ends, I will also be lost.”

Xuân Diệu links youth with spring and expresses his view of time: youth, spring, love—while beautiful—are not eternal. They are brief, fleeting like a momentary glance. Thus, to live meaningfully and fully enjoy the beauty of life, love, and youth, Xuân Diệu advocates living “hastily”:

“I want to embrace

All of life in its beginning bloom

I want to ride the clouds and swirl with the wind

I want to be drunk with the butterfly wings and love

I want to gather everything in a single kiss

And the rivers, trees, and bright grass”

Xuân Diệu uses strong verbs like “embrace, seize, gather” to express his intense desire to capture the beauties of the vibrant present. Since we cannot stop time, we should live fully, passionately, and love deeply, so there will be no regrets when time moves on. Xuân Diệu’s philosophy of living “hastily” serves as a heartfelt, sincere piece of advice: Live meaningfully, love wholeheartedly, and don’t let time slip away pointlessly.

The poem ends with the emotional line, “Oh red spring, I want to bite into you.” This line encapsulates the poet’s love and creativity. “Red spring” not only refers to spring but also evokes the idea of something fresh and alluring. “Biting” is an act of strong conquest, and if red spring represents the most delicious, captivating part of life, the poet seeks to claim it and fully experience the beauty of the world.

Through “Hurry Up,” Xuân Diệu not only expresses his deep love for life but also subtly conveys his life philosophy—one full of meaning. With its beauty and philosophy, “Hurry Up” is a lyrical poem that resonates with readers’ hearts across generations.