1. Essay Analyzing Xuân Diệu's View on Living Life in a Hurry – Essay 4
When discussing the New Poetry movement, one cannot overlook the poet Xuân Diệu, the youngest among the new poets. His poetry is shaped by a passionate and vibrant soul, one that is burning with life and the essence of living. Therefore, Xuân Diệu's poems are not just beautiful, but full of emotions; they convey deep thoughts, desires, and human philosophies. In his poem 'Vội vàng,' published in his collection 'Thơ thơ,' Xuân Diệu presents his philosophy of life—a concept of living life in a hurry.
To live hurriedly means to live quickly, urgently, and without hesitation. Xuân Diệu himself desired to live fully in every moment of his life. This philosophy is clearly reflected in the title of his poem—'Vội vàng,' which suggests a way of living life to the fullest, to savor every moment and not to waste time. He yearned to embrace the beauty of nature and the world around him, understanding that time is limited, and life is short. If one doesn't live hurriedly, will they catch up with youth and the fleeting springtime?
'Spring is coming, which means spring is leaving,
Spring is still young, which means it will grow old,
When spring ends, I too will be gone.
My heart is vast, but the sky is narrow,
It doesn't allow the youth of mankind to last,
What use is it to say spring is cyclical,
If, when it returns, it will not be the same.'
Time may seem long, but human life is short, and no one knows what will happen. Spring comes and goes as nature dictates, while we grow older. Therefore, Xuân Diệu chose to live hurriedly to experience all the wonderful moments, to avoid regretting lost time. The flow of time made him more aware of how to live for oneself, making him more passionate and eager about life:
'I want to stop the sun
So the colors don't fade;
I want to trap the wind
So the scent doesn't drift away.'
These wishes may seem illogical, but in reality, they are quite reasonable and unusual. The beauty of nature is so magnificent that the poet cannot help but feel sorrow and longing when it passes. Thus, he desires to stop the sun to preserve the brightness of the day and to hold the wind to keep the fragrant scents of the world eternal. This shows his deep appreciation for nature and his longing to preserve the beauty gifted to humanity by the Creator.
'Here are the bees and butterflies, the honeymoon;
Here are the flowers of the green fields;
Here are the leaves of the tender branches swaying;
Here are the nightingales singing their love songs.
And here is the light glimmering in the lashes;
Every morning, the joy-bringer knocks on the door;
January is as delicious as a pair of lips near.'
Earthly existence seems like a paradise, a perfect and captivating place. The harmonious music echoes the most complete and beautiful beauty of spring, full of vibrant sounds and colors—bees and butterflies, flowers, leaves, and the song of the nightingale, all intertwining with the joy of life itself. Everything seems so complete, full of meaning, as if everything is as it should be. The beauty of spring is so captivating, and the poet's heart swells with joy and longing, unwilling to let it slip away. Yet, despite all this happiness, the poet understands that he must live hurriedly to preserve these precious moments:
'I am happy. But hurried, in half'
The more he fears time, the more he fears the future, the more Xuân Diệu desires to live fully in the present. Living hurriedly, but with sensitivity, he doesn't want to live in vain; he hurries to hold on to the most beautiful and meaningful experiences for himself and for the world:
'I won't wait for the sun to set to regret spring'
Hurry, for the day is still young,
I want to embrace
The new, budding life;
I want to ride the clouds and dance with the wind,
I want to be drunk with the butterfly's wings and love,
I want to capture in one kiss,
All the mountains, rivers, trees, and shining grass.'
Not waiting for tomorrow to regret yesterday, the poet desires to fully experience life right now, right at this moment. He wishes to embrace the vitality of life, the beauty of spring, and the youth that comes with it. He yearns to capture every essence of the world, from the clouds to the wind, from the sunshine to the mountains and rivers, and savor it all in an eternal kiss.
'For the fragrance, for the full light
For the joy and beauty of youth;
- Oh spring, I want to bite into you!'
Every sense is awakened to fully taste the beauty of spring and of life itself. Spring, like a lover, is radiant and sweet, yet deep and loving. The more beautiful it is, the less time the poet has to waste, for he must seize the moment and live to the fullest today. To live urgently, passionately, as if embracing the vast, beautiful universe with open arms. Xuân Diệu truly must have a very human and vibrant soul to create such poetry full of vitality and life.
I often wonder, what is the purpose of living hurriedly? Could it lead to losing oneself amidst the challenges and temptations of life? But after reading Xuân Diệu's 'Vội vàng,' I understand better the necessity of this way of life. It is a healthy and positive way of living. We should live, enjoy, and give our all to the present, to our beloved country, and to the community. Life in every moment must be meaningful, making our soul and our life more beautiful. Live hurriedly, but in a way that benefits both oneself and society.
Illustration image (Source: Internet)2. Essay Analyzing Xuân Diệu's View on Living Life in a Hurry – Essay 5
Youth is the most beautiful period of a person's life. Indeed, youth is like the sky's clouds, and once it passes, it can never return. Perhaps it is because we understand this bitter truth that people begin to cherish the present, choosing to live in haste, racing against time, and savoring every moment. This is also the theme conveyed by Xuân Diệu in his poem 'Vội Vàng' (Haste).
From the title alone, we can grasp part of Xuân Diệu's philosophy of life. It is to live fully, to enjoy the beauty of the world, to live without procrastination and waste time. However, rushing does not mean living shallowly or ignoring important things; life should be about enjoying and loving. This desire to live fully burns brightly in the opening lines of the poem:
'I want to stop the sunlight,
So its color doesn’t fade;
I want to tie the wind,
So its fragrance doesn’t drift away.'
A longing that transcends human limits. A desire to stop the sun, to bind the wind. Simply to preserve the colors and scents, this small person dares to dream of changing the universe, altering nature’s laws just to enjoy the beauty of the world. However, these are impossible dreams, ones that no human can fulfill, for no one can stop the sun or tie the wind, because they are invisible, much like youth itself—something intangible that the poet is trying to outrun.
Then, with the next verses, he paints a paradise filled with sounds and colors:
'Here are the bees in their honeymoon
Here are the flowers in the green fields
Here are the leaves of tender branches swaying
Here is the song of the nightingale
And here is the light sparkling on the eyelashes
Every morning, Joy knocks on the door
January is as sweet as a pair of lips.'
This is not just the earthly world with a bit of grass, trees, and flowers; it is a place that, for the young, full of life, seems utterly magical. It is a world where color and light radiate, a place where gods often wander. The landscape bursts with color—the green of the plants, the green of life at its fullest. In this dreamlike space, the lively chirps of birds and the interplay of sounds, light, and color converge to showcase the beauty of heaven on earth. When the sensitive artist encounters such a majestic sight, his heart stirs with eagerness to live fully and experience the beauty of this world. The desire to enjoy life is expressed through the repetition of 'here,' like an irresistible invitation for a love-stricken soul who has forgotten their heart while passing through this world. And beyond this, the earthly garden still holds even more captivating wonders, waiting to greet visitors every morning, bringing joy to all.
Spring is the most beautiful season of the year, the time when flowers bloom in full splendor, when young buds burst out of the rough shells of tree branches to offer the earth the breath of life. Spring is no longer cold, no longer the bleakness of winter. It marks the beginning of the year, a time of rebirth, with a slight chill and the faint scent of rain and grass that urges one to gaze upon and enjoy it. Spring is the season of life, and this rich, abundant life is perceived by the poet as 'the close pair of lips.' Perhaps these are the plump, fragrant lips of a young woman, full of life, representing love, hope—something no one can resist. These lips of life encourage travelers to cherish their youth, to value their life while they are young. Being young means having everything—you can do anything, pursue any dream, with passion and energy, undeterred by age or health. It is only when you are young that you can chase your dreams. But the more one understands the value of youth, the more one hastens to live. The poet does not wish to waste even a second of his brief, uncertain life. As people say, the more you cherish something, the more you fear losing it. When one realizes this, they change the way they live:
'I am happy. But hurriedly so…
Never again, oh! Never again...'
Life is constantly slipping away, and indeed, nothing is predictable in life. Perhaps understanding this fleeting nature of life, the poet is both happy and worried. He delights in experiencing the beauty of the world, but deep down, he knows that one day he will grow old, unable to do what he once could, or that an unexpected illness may take his life without warning. Such is the saddest and most regrettable outcome of life: no one chooses where they are born, but they can choose how they live. And so, he chooses a hurried life, as if tomorrow may never come, to embrace the beauty of the world. He races against time, but in his heart, he is still anxious about the fleeting nature of his youth. The world is infinite, but human life is so short; with each spring comes a new year, meaning one more year of youth is gone. So, although he delights in the full vitality of life’s spring, he also remains anxious. He reflects on life, on the things he may never get to experience, and the artist’s sorrow infuses the scenery with a sense of poignant loss. The beautiful wind, once carefree, now feels sadness because it must leave, as it travels somewhere far. The bird that once sang now falls silent, as it too feels the passage of time, aware that the moments of life do not return.
'Let us go quickly! The day has not yet faded...
Oh, spring, I want to bite into you!'
The more one cherishes something, the more desperately they try to hold on to it. At this point, both reason and emotion urge the artist to live fully, for only then will there be no regrets when everything passes. And so, this desire grows fiercely, driving the artist to immerse himself in his passion and yearnings, living selflessly with love and longing. He devours the beauty of life until he is full, savoring the entire experience. But does human desire ever stop? And the peak of that desire is to 'bite' into the spring that overflows with life. Xuân Hồng wishes to savor the sweetness of the earth, to hold on to it so that nothing will slip away, so he can live forever with the youth of his life.
In the end, we see a soul full of passion and enthusiasm—a poet who has absorbed the philosophy of life. Because of this, he is determined to live fully and experience the beauty of life. To live for love and to immerse oneself in the essence of life. This is the way the poet has chosen to embrace the spring of his life, and it is also the wisdom we, as youth today, must learn to live meaningfully, to integrate and contribute, to burn with our own passions.
Illustrative image (Source: internet)
3. Analysis of Xuân Diệu's perspective on living life in a hurry - Essay 6
A person who deeply understands and loves the poetry of Xuân Diệu before the Revolution is the critic Hoài Thanh. He once commented that "The poet expresses his true soul, being himself most authentically when writing verses that depict delicate, fragile, and elusive emotions, feelings that are difficult to name and even harder to grasp." For example, these verses:
'Where are the green clouds rushing?
A stork over the field, its wings hesitant.'
Such observations must have a foundation. However, for most readers, Xuân Diệu is primarily seen as a poet of intense passion, someone who fervently loves life, a person longing to connect and harmonize with nature. He calls out with deep urgency, urging to live fully and enjoy all the pleasures of life. And if we were to name the most representative poem for such a soul, no one would hesitate to immediately recall the poem 'Vội vàng' (Haste).
'I want to turn off the sun,
So its colors don't fade away;
I want to tie the wind,
So the fragrance doesn't fly away.'
'Here are the bees and butterflies in their honeymoon,
Here is the flower of the vast fields,
Here are the leaves of the tender branches swaying;
Here is the nightingale's love song,
And here is the light flashing through the eyelashes.'
Every morning, the God of Joy knocks on my door;
The first month of the year tastes like a pair of close lips.'
'I am overjoyed.'
The feeling of haste is clearly displayed in the first stanza of the poem: the only five-syllable stanza in a poem where most verses are eight syllables. The eight-syllable line evokes the style of traditional ca trù singing, and Xuân Diệu's use of it represents a new wave in modern poetry. The short lines create a rushed rhythm, like a breath of someone overflowing with emotion. Moreover, Xuân Diệu places the phrase 'I want' at the start of the verses, and the lyrical subject immediately emerges. The poet presents the 'I' boldly, openly, with no hesitation or disguise. It is a defiant 'I,' challenging the conventions of medieval poetry, where such expressions of self were rare. The poet's audacity in openly challenging the aesthetics of previous poetic traditions is to assert the self with a great longing, a desire to seize creation's powers to do what only creation could, like 'turning off the sun' and 'tying the wind.' But these actions are not the final wish of the poet, as the even-numbered lines of the stanza begin with 'so,' like:
'So the colors don't fade,'
'So the fragrance doesn't fly away.'
This wild yearning comes from the desire to preserve the beauty of life. These verses evoke a sense of anxiety that beauty will lose its vibrancy, the sunlight will dim, and the fragrance will lessen if the wind blows on. The yearning becomes more intense with the use of 'don't,' a fervent wish. Each word in these four lines speaks of an infinite, obsessive love for life, a greedy desire to keep the beauty and the vitality in nature.
The fifth verse shifts from the rapid rhythm of five-syllable lines to the spaciousness of eight-syllable lines. This beautiful transition unveils a magnificent spring scene. The repetition of 'here' in four lines gives the verses a rich, rhythmic quality. These lines conjure the image of someone enchanted, captivated, overwhelmed by the spring unfolding in life. It is not just a picture of spring, its beauty and love, but also a reflection of the author's own deep, youthful passion for love and youth. That's why no other creature appears except 'bees and butterflies, nightingales,' symbolizing tenderness and romanticism. The 'song of love' evokes the intoxication of love. Moreover, the repetitive 'of' and 'here' reinforce the inseparable unity of nature. Everything is tied together, beautiful in its youth and vitality. The 'flowers' bloom amidst the 'green' fields, the 'leaves' on the 'tender branches' are full of life. The sense of freshness is further heightened by the rhyming words 'tenderly swaying.' Thus, life is depicted as an Eden, a joyful, earthly sensation. The poem's humanistic value lies in this imagery.
If the previous four lines seem balanced, the ninth verse introduces 'and here,' suggesting that the poet is still not satisfied, still eager to express all the joy of life. But this is no longer about concrete images like 'leaves, flowers, bees, butterflies,' but more abstract concepts like light, joy, and time—things that aren't tangible. This shift represents the poet's evolving aesthetic views. Nature is no longer seen as the standard of beauty for Xuân Diệu. Nature's beauty is only considered beautiful when it carries the human touch. The light is beautiful because it evokes the image of 'eyelashes' of a beautiful eye. Joy is beautiful because it calls to mind a deity, representing humanity. The aesthetic emotion is raised with the line about the first month of the year, evoking the beauty of boldness and passion, making readers stop in their tracks.
'January tastes like a pair of close lips.'
Spring now appears in a strange, seductive way, as if waiting to give itself to humanity, ready to offer happiness. This represents another dimension of the poem's humanism. Here, the most valuable, beautiful thing is humanity itself. Therefore, humans are the highest entity, not nature, religion, or any moral standard. In this verse, humanity is elevated as the aesthetic benchmark, causing the reader to be stunned. The poet introduces the idea of the youngest month of the year: 'January.' Yet, the surprise comes from the third word, 'tasty,' an unexpected comparison to 'close lips.' This comparison makes abstract time feel more relatable, and so spring is experienced through the desire of a soul longing to indulge. The beauty of spring feels as if it has been completely claimed.
This comparison is like someone waiting to give themselves to love. Surely, only a person with deep affection for life can create such an unusual image.
'I am overjoyed.'
These words are inevitable after everything written above. But after those three words comes a period, breaking the joy, leaving it incomplete, suggesting a new feeling, an entirely different one. The poet's obsession with haste reappears in the second half. The poet seems unable to fully enjoy spring, because the feeling of time passing too quickly is already here, even before spring has ended. This emotion leads to a contrast:
'But haste, half of it.'
Anyone who has heard the first two lines of this contrast would be deeply impressed:
'Spring is coming, meaning spring is passing,'
'Spring is still young, meaning spring will age.'
The freshness and boldness of these two lines lies in the phrase 'meaning,' which turns these lines into an artistic equation. The poet audaciously places an equal sign between two seemingly opposing elements: 'coming' and 'passing,' 'young' and 'old.' This striking way of speaking highlights the fleeting nature of time. This is especially meaningful for a person whose life is synonymous with youth, as illustrated by the third equation:
'And when spring ends, it means I am lost.'
Here, spring also represents youth and love. This feeling sparks a series of subsequent verses. The poet seems to want to overturn conventional beliefs:
'My heart is vast, but heaven is cramped.'
Now, the object of 'vast' is not heaven or earth, but the personal 'I,' and the 'small' no longer refers to humans, but to 'heaven and earth.' What stands out here is the poet's lament that what has passed will never return. The poet looks at life from the perspective of the 'I,' lamenting nature and creation.
'Not for the length of human youth,'
'What does it matter that spring is cyclical,'
'If youth does not return twice.'
'There is heaven and earth, but I will not remain.'
'Thus, I am filled with regret for both heaven and earth.'
What does heaven and earth mean when my youth does not last? What does the cyclical spring matter when my youth is not cyclical? The poet has infused the poem with an immense yearning for youth, creating a sense of novelty.
'The scent of May carries the taste of parting,'
'Across the mountains, the whispers of farewell echo.'
'A gentle breeze softly whispers through the green leaves.'
'Could it be that it resents the need to fly away?'
The image of the wind and the birds return, but no longer representing the vibrant beauty of life as in the first part. These images now carry the sense of regret, parting. The wind is still beautiful, whispering through the leaves, but it still flies away. The birds still sing with 'intense passion,' but their songs now hint at decay. These refrains rise to form an obsession:
'Never again, oh never again...'
But the man who loves life in Xuân Diệu's poetry does not easily succumb to the forces of creation. Thus, the 'I' finds a solution to this seemingly unsolvable problem: live in a 'hurry.' If one cannot extend the duration of life, the poet suggests increasing the speed and intensity of living. Hence, the poem begins with a command to hurry:
'Hurry, let's go! The day has not yet turned to evening.'
'I want to embrace,'
'All of life, newly blooming,'
'I want to rush with the clouds and winds,'
'I want to kiss the butterflies with love,'
'I want to absorb in one kiss everything,
And the mountains, the clouds, the dawn grass;
For the fragrant intoxication, for the full light.'
'For the full, vibrant colors of the fresh sky;
-O spring, I want to bite into you.'
The 'wants' in the beginning of the poem return, but now they are more numerous, urgent, frantic. The 'I' is no longer just 'I,' but 'we.' The sense of haste pushes the self to expand, to embrace life completely. This 'we' is depicted as a body full of youth, vitality, and warmth, as the poet writes 'the fresh grass, the strong spring.' The poet seems to want to savor all of life with the most intense and passionate gestures, escalating: 'hug - rush - kiss everything.'
This represents Xuân Diệu's desire to consume life as a feast, to become 'drunk,' fully satisfied, and content. The final verse is considered one of the most audacious of all:
'O spring, I want to bite into you.'
This line expresses the highest state of love for spring and life itself. Xuân Diệu's poetry may have been influenced by the French poet Anna de Nowai, as the poet seems to want to leave a mark on time's apple with his teeth.
Illustration image (Source: internet)
4. An essay analyzing Xuân Diệu's perspective on living life to the fullest, version 7
Xuân Diệu's poetic soul is a boundless source of life, unlike anything seen in this quiet land of water and mountains. He is intoxicated by love, enraptured by the sky, living hurriedly and eagerly. Whether in joy or sadness, he remains passionate and devoted. These insightful words by Hoài Thanh about Xuân Diệu perhaps capture what makes him the most modern of modern poets — a soul that is always 'devoted, fervent, restless'. Xuân Diệu was a prolific writer with boundless creativity in Vietnam’s literature. He brought a new vitality to contemporary poetry, filled with fresh emotions and inventive artistic methods. Among his works that made him a key figure in modern poetry, 'Vội vàng' stands out as a representative poem reflecting his personal identity and his fresh perspective on life.
The poem is an intense, flowing stream of emotions, yet it maintains a tightly structured logic and form. In each stanza, the poet reveals his powerful desire to live and his unique view of time and youth. From the very first stanza, Xuân Diệu expresses a passionate and deep love for life:
'I'm trying to stop the sun,
To keep its colors from fading away,
I'm trying to bind the wind,
So that the fragrance won't fly away.'
The repetition of 'I want' combined with strong verbs reveals the poet's intense desire to control nature. These bold, unrealistic wishes — to stop the sun and bind the wind — are impossible, as no one can stop the flow of time or nature’s course. However, Xuân Diệu courageously expresses these desires, for he understands that beauty fades and youth cannot last forever. His deep love for nature and life drives him to yearn to hold onto time. In the second stanza, the poet creates a picture of an earthly paradise:
'Here are the bees and butterflies in their honeymoon,
Here are the flowers of the green fields,
Here is the gentle, swaying branch,
Here are the birds singing love songs,
And here is the sunlight shining in the eyelashes,
Every morning, the God of Joy knocks on the door,
January is as sweet as a close pair of lips.
I am happy, but I am also hasty,
I won't wait for the summer sun to regret the spring.'
The familiar images of nature appear with a fresh, unique perspective from the poet, making them feel both new and captivating. The repeated phrase 'Here is' does not make the words redundant but emphasizes the space and time of the poem. Xuân Diệu affirms that the most beautiful place is not far away, but right here in the world we live in — a place with buzzing bees, butterflies fluttering, singing birds, and the lush green fields. It’s a world filled with the sounds of love songs and the fresh light of dawn.
The images of nature and life painted by Xuân Diệu are both familiar and alluring, full of passion and intimacy. Through his youthful lens, Xuân Diệu discovered the miraculous beauty of nature, infusing it with a deep, fiery love. It can be said that Xuân Diệu views nature through the eyes of youth and love, making everything appear bathed in sweet springtime.
'January is as sweet as a pair of lips close together.'
This metaphor is wonderfully unique because traditionally, poets have used nature as a standard of beauty. Only Xuân Diệu, with his fresh perspective, sees humans as the measure of beauty, the standard for all things in the universe. For him, the most beautiful thing is not far away, it is the earth and the living creatures around us, made beautiful by the presence of people.
'I am happy, but I am also hasty,
I won’t wait for the summer sun to regret the spring.'
The two contrasting moods expressed here — intense love and simultaneous fear of losing — are united. The poet expresses that the most valuable time in a person’s life is youth and love. Therefore, Xuân Diệu longs for love and happiness, living passionately, eagerly, and energetically. But his deep love for life also brings feelings of anxiety and fear:
'Spring is coming, meaning spring is going away,
The spring is still young, but it will age,
And when spring ends, I too will be lost,
My heart is wide, but heaven's will is narrow,
It doesn't allow the youth of mankind to last,
What use is it to say that spring is cyclical,
If youth will never bloom again,
The world will not have me forever,
I feel lost, I regret the earth and sky;
The scent of months and years drips with parting,
The rivers and mountains still whisper goodbyes...
A gentle breeze whispers in the leaves,
Perhaps it’s angry about having to fly away?
The birds, once lively, now fall silent,
Perhaps they fear the fading of beauty that’s near?
Never again, oh, never again...
Hurry up! The season hasn't even reached the evening yet.'
The tone shifts from the passionate and eager mood in the second stanza to one of surprise and concern in the third. Xuân Diệu becomes disillusioned, discouraged, and anxious as time moves rapidly.
'Spring is coming, meaning spring is going away,
The spring is still young, but it will age.'
Spring, full of life and beauty, is also a harbinger of the inevitable passage of time. As spring fades, so too do youth and love, the most precious things in life. Xuân Diệu’s view of time is not cyclical but linear, flowing forward and never returning. Human life is finite, lasting only a century. For Xuân Diệu, life itself is the measure of time, which makes him feel helpless, anxious, and regretful. His view of time stems from his awareness of the value of individual life. Every moment is precious, and it is crucial to cherish each second we have.
The poet’s sorrow and despair seem to be mirrored in the natural world, where the once carefree surroundings are now filled with sadness, fear, and hesitation.
'The scent of months and years drips with parting,
The rivers and mountains still whisper goodbyes...
A gentle breeze whispers in the leaves,
Perhaps it’s angry about having to fly away?
The birds, once lively, now fall silent,
Perhaps they fear the fading of beauty that’s near?
Never again, oh, never again...
Hurry up! The season hasn't even reached the evening yet.'
Everything in nature carries the sorrow of separation and departure: mountains and rivers sigh farewell, the wind and birds bear the burden of leaving... The poet feels this deeply, expressing regret with a cry, 'Never again, oh, never again…', only to urge in the next line, 'Hurry up! The season hasn't even reached the evening yet.' The last line shifts suddenly, becoming urgent, signaling the poet’s intense desire to live, to seize every moment in life.
'I want to embrace
All the life just beginning to bloom;
I want to feel the clouds and wind move,
I want to be intoxicated by the wings of love,
I want to capture everything in a kiss,
The mountains, rivers, trees, and fragrant grasses,
I want to drown in the scent, be full of light,
I want to feast on the vitality of the moment;
Oh, red spring, I want to bite into you!'
In the final stanza, the poet’s mood shifts from doubt and despair to an urgent desire to live fully and passionately. The repeated verbs 'embrace', 'feel', 'savor', 'capture', and the phrase 'I want' show his longing to live, to love, and to experience every beautiful moment of life. It is as if the poet wants to embrace everything — to drink deeply from life, to feel intoxicated by every sensation, to experience the fullness of living.
'Oh, red spring, I want to bite into you!' is an incredibly bold and passionate image. It represents the peak of the poet's desire, his intense passion for life. How much love for life must one have to utter such a bold, fervent line?
In conclusion, 'Vội vàng' conveys a meaningful message from a poet who loves life fiercely: live intensely, embrace every moment, cherish the precious years of youth. Through unique poetic images and language, as well as a passionate, dynamic tone, the poet communicates his deep love for life, his desire to live fully, and his fear of the fleeting nature of time. This desire to live quickly, to be consumed by life, is not mindless but a conscious, deliberate choice to live fully in every moment, so that no moment is wasted and every second counts.'
Illustration image (Source: internet)
5. Analytical essay on Xuân Diệu's view of living hastily - Version 8
The novel worldview in Xuân Diệu's poem 'Vội vàng' presents a fresh and progressive take on life. Xuân Diệu is one of the great poets of modern Vietnamese literature, and when we mention his name, we cannot overlook his poem 'Vội vàng.' This work represents a remarkable achievement of both artistic and thematic significance. In reading the poem, one encounters a perspective on life that is bold and innovative, something never seen before in traditional Vietnamese literature.
The poem begins with four powerful five-character lines that encapsulate the poet's intense and daring desires:
'I want to turn off the sunlight,
So its color doesn't fade away.'
'I want to force the wind to stop,
So the fragrance doesn't blow away.'
These first lines are likely the most unique in the entire poem, as they alone stand out with their five-character format. This is a form of poetry well-suited to express Xuân Diệu’s intense emotions, with short lines full of rhythm. The repetition of the phrase 'I want' emphasizes the poet's passionate yearning, reinforced by the strong verbs 'turn off' and 'force.' The poet expresses a desire to control nature itself, to keep flowers vibrant and fragrances lingering. More daring still, the poet wishes for the universe to cease, and for time to stop, so he can savor his fleeting youth. The poet fears that 'youth does not return twice,' and worries that 'life flows by, but our hearts are not eternal.' In the end, Xuân Diệu's wish may seem irrational, yet it feels entirely logical. To possess such a desire reflects the poet's recognition of how beautiful and precious life truly is!
'Here are the bees and butterflies, circling around,
Here are the flowers of the meadow, fresh and green,
Here are the leaves of the tender branches, fluttering in the wind,
Here is the nightingale singing its passionate love song.'
The natural world is portrayed as a feast of earthly delights, brimming with tempting offerings: bees and butterflies fly in the air, and the sweet scent of flowers fills the fields. Flowers are more vibrant than ever, 'in the meadow, green and lush.' Trees grow new branches that sprout tender leaves, swaying in the breeze like flirtations of love. A nightingale's song adds to this romantic scene, a 'love song' that intoxicates the heart. Finally, Xuân Diệu concludes his depiction of spring with the evocative line 'January is as sweet as a lover's lips.' This comparison is full of sensuality, embodying the freshness, brightness, colors, sounds, and fragrances of the spring season. Spring is the most beautiful time of the year, just as youth is the most radiant period of life. The most delightful part of youth is certainly the sweet, ripe lips of a lover. And thus, the poet exclaims:
'I am happy. But in a rush, a little too hurried,
I don't wait for summer's sunlight to warm my spring.'
In this line, the poet exhibits two conflicting moods: 'I am happy' and 'But in a rush, a little too hurried.' The period in the middle divides the poet into two parts: one content and happy, and the other anxious and rushed. The 'happiness' is a state of optimism, a joyful embrace of life, filled with affection and passion. In contrast, 'in a rush' is a mood of regret, as the poet fears that youth will pass quickly, and old age will come soon. Therefore, despite living in the springtime of youth, the poet already feels the urgency of its passing: 'I don’t wait for summer’s sunlight to warm my spring.' This sentiment comes from a novel perception of time.
'Spring is coming, which means spring is leaving.
Spring is young, which means spring will age.
When spring ends, I too will be gone.'
The repetition of the word 'Spring' in these lines forms a poignant refrain, representing both the natural spring and the spring of life, of youth. Each mention of spring brings forth the poet's deep melancholy. The spring of nature may last forever, but when the spring of human life is over, 'I too will be gone.' No matter how wide the poet’s heart is, 'the heavens' are still narrow, and thus, 'human youth' cannot last forever. The universe may be eternal, and spring may return, but human youth only comes once. Once it is gone, it is gone forever. This is why Xuân Diệu vehemently denies:
'Why say that spring always returns,
When youth does not return again!'
The poet’s measure of time is youth. Youth, once it is gone, will never return. In the vastness of the universe, the existence of humanity is fleeting. Reflecting on the limited nature of human life, Xuân Diệu conveys a sense of longing:
'There is heaven and earth, but I will not last forever.
Thus, I feel melancholy and regret both the earth and heaven.'
In these two lines, we can clearly hear the poet’s helpless sigh. We can feel the deep regret Xuân Diệu has for the passage of time, as if he is sighing into the earth and sky. It seems as if the entire world is filled with the poet’s regret. This feeling of loss is also found in his poem 'Giục giã':
'Life flows, but my heart is not eternal,
As the golden dream fades away.'
Perhaps because of his deep love for youth, the poet, from this sense of regret, awakens his senses, living fully, wholeheartedly, and passionately, savoring every moment of youth. The poet writes:
'I want to embrace!
The life that is just beginning to bloom.
I want to seize the drifting clouds and the roaming winds.
I want to get drunk with the butterfly’s wings and love.'
The repetition of the phrase 'I want' reveals the poet’s intense passion for life. The imagery of 'embracing life' and 'drifting clouds' suggests a deep yearning to capture the essence of existence. Xuân Diệu’s words are bold and sensual, reflecting a desire to live fully, to absorb everything around him, and to drink deeply from the cup of life. His poetry invites us to live vividly, passionately, and wholeheartedly, enjoying all the beauty the world offers.
With its bold and innovative language, striking images, and skillful use of repetition, Xuân Diệu's poem promotes a positive philosophy of living: to embrace life’s beauty, to live fiercely, to live passionately, and to savor every moment. To understand this worldview is to understand the importance of living fully today, with enthusiasm, sincerity, and an unwavering love for life. The beauty of humanity itself makes life immortal.'
Illustrative image (Source: Internet)
6. Analytical Essay on Xuân Diệu's View on the Rush of Life - Version 1
Xuan Dieu, a poet of love in Vietnamese poetry, fills his works with passion, not only about romantic love but also a deep affection for life itself. He lived hurriedly, grasping every fleeting moment of existence. His philosophy of a rushed, hurried life is fully expressed in his poem 'Voi Vang,' which was part of his first poetry collection 'Tho Tho.'
In his poem 'Giuc Da,' Xuan Dieu once wrote:
Hurry up, rush with me
Oh, my love, youth will soon fade.
The philosophy of rushing, of living urgently, became Xuan Dieu’s worldview, consistently reflected in his creative journey.
Even the title of the poem embodies this sense of urgency. 'Voi Vang' means haste, urgency, acting swiftly without hesitation. This reflects Xuan Dieu’s approach to every moment of life. But why did he live so quickly and urgently? Because he realized that human life is short and finite, while the universe’s time is eternal and cyclical.
'Spring is coming, meaning spring is fading away,
Spring is young, meaning spring will grow old,
And when spring ends, I too will be lost,
My time cannot stretch forever,
What’s the point in saying that spring is always returning?
The sky and earth remain, but not me,
Thus, I sigh, regretful of both heaven and earth.'
Xuan Dieu was deeply haunted by the passage of time, always acutely aware of its flow. Spring’s arrival also marks its departure, spring 'young' will eventually become 'old,' and when spring ends, so too will life’s fleeting nature. His extremism in this view is completely rational. Life, beautiful and joyous as it is, is like a river flowing away, never to return. Beautiful moments, romantic flashes of time, only come to us once. Nature may endure forever, but 'I' only have this one life to fully savor all the flavors and wonders of existence. Thus, one must live urgently, with intense desires:
I want to stop the sun’s rays,
So the colors won’t fade away,
I want to tie the wind,
So the scent won’t blow away.
His longing is extraordinary, yet incredibly intense. Stop the sun, bind the wind — who in this world has done this? Xuan Dieu wants to stop the sun to preserve the vibrancy of life’s colors and bind the wind to keep the scents of nature from drifting away. His wish is beautiful; he wants to capture the most stunning aspects of nature for human life. Moreover, his desire is well-founded — such a beautiful life, if not fully lived, would surely be wasted:
These bees and butterflies have their honeymoon,
Here are the flowers in the green field…
The first month of the year is as sweet as a lover’s kiss.
This passage is a joyful exclamation, a hymn to nature’s beauty. The world appears in its fullest, most beautiful form: the honeymoon period, the flowers in the green fields, the soft leaves, the chirping birds, and the dazzling light… A breathtaking picture painted by Xuan Dieu, filled with harmony between colors (green), sounds (love songs), and an abundance of light. This is indeed a paradise. And this beauty is not somewhere far away, but right here, in this very life. This is what Xuan Dieu aims to show the reader — a utopia exists not only in imagination but right here, on earth. Yet, even while rejoicing in life, there is a shift in Xuan Dieu’s voice in the next lines: 'I am happy. But I am hurried, half-hearted/ I don’t wait for the summer sun to regret spring.' The verse splits, as the poet realizes the unstoppable flow of time, and humans become anxious, fearful of the passing of time. It doesn’t wait for anyone, for any thing: 'The gentle breeze whispers through the blue leaves/ Is it angry at having to fly away?/ The birds suddenly stop their cheerful song/ Perhaps in fear of fading away.' Facing the relentless passage of time, he no longer merely longs to stop the sun or bind the wind, but his urge to live hurriedly has become an action:
'Hurry up, let's go! The evening hasn’t fallen yet…
- Oh, red spring, I want to bite into you!'
This passage is the most passionate, the most intense, expressing Xuan Dieu’s strongest longing to live quickly, to live fully. The poem’s pace is fast, urgent, reflecting his overflowing emotions. He wants to embrace all of life, using a series of strong verbs in increasing intensity: to hug, to grip, to immerse in, to savor. From a tender embrace, to a forceful grip, to immersion — these verbs express a deeper, more passionate connection to spring, youth, and love. He opens all his senses to fully experience the joys and beauty of life, and the final line captures his emotions perfectly: 'Oh, red spring, I want to bite into you.'
The poem 'Voi Vang' completely and fully encapsulates Xuan Dieu’s philosophy of 'living urgently.' He lived hurriedly to experience all the beauty of life, to dedicate his youth to this world. It is a worldview and a healthy way of living. 'Xuan Dieu’s poetry is a stream of life that has never been seen before in this quiet land.'
Illustrative image (Source: Internet)
7. Essay analyzing Xuân Diệu's viewpoint on living life to the fullest - Version 2
Xuân Diệu từng được mệnh danh là “ông hoàng của thơ tình”. Đúng vậy, ông viết nhiều thơ và nổi tiếng nhiều với những bài thơ tình. Nhưng có lẽ đến với Vội vàng, bài thơ viết vào năm 1938, in trong tập Thơ Thơ, chúng ta có thể nhận thấy vì sao chẳng cần đến những bài thơ tình thì ông vẫn là một nhà thơ nổi tiếng, một nhà thơ lớn của dân tộc. Bởi tiếng thơ trong Vội vàng là tiếng đời, bộc lộ nhiều rung cảm và những triết lí sâu sắc. Trong đó thi phẩm cũng đã mang đến một quan niệm sống vô cùng ý nghĩa – sống vội vàng.
Nhan đề của bài thơ đã bộc lộ ngay quan niệm sống vội vàng của Xuân Diệu. Đó là một tính từ chỉ sự nhanh chóng, gấp gáp trong một hành động nào đó. Ở đây Xuân Diệu lại đề cao sự vội vàng trong cách sống, thái độ sống. Chẳng lẽ sống vội vàng là phải sống nhanh, sống gấp gáp vậy ư? Không những thế, cả bài thơ tác giả còn giục giã mọi người hãy sống không chờ đợi, sống hết mình, sống căng tràn từng phút, từng giây, sống đến trọn vẹn của “sống” để chống lại quy luật trôi chảy khắc nghiệt của thời gian.
Ngay mở đầu bài thơ, ông đã vội vàng qua hai ước muốn đầy táo bạo: tắt nắng, buộc gió. Đây là sự phi lí, hoang đường. Nào ai can thiệp được vào quy luật của tạo hóa, nhưng quan niệm sống vội vàng của Xuân Diệu lại khẳng định điều đó là có lí. Bởi nếu không ngưng đọng thời gian thì mọi thứ màu sắc, hương vị của cuộc sống sẽ theo nắng, theo gió mà phai nhạt, mà bay đi mất. Con người chẳng thể níu giữ, khóa chặt bên mình. Vậy chỉ còn cách phải sống vội vàng thì mới thỏa được lòng khao khát, mới đắm mình mà tận hưởng, mới không bỏ lỡ một chút nào hương sắc của cuộc đời. Quan niệm sống vội vàng thể hiện ngay qua khát vọng ngạo nghễ, khác thường mà yêu đời mãnh liệt như thế.
Thế nhưng nhà thơ cũng chẳng nói suông, ước muốn của ông hoàn toàn có căn cứ, vì cuộc đời này tươi đẹp và vô cùng đáng sống, nên càng phải vội vàng:
Của ong bướm này đây tuần tháng mật…
Tôi không chờ nắng hạ mới hoài xuân.
Đoạn thơ vang lên với những niềm reo vui, thích thú. Ông như một một “hướng dẫn viên” đưa người đọc đi khám thính vẻ đẹp của trần thế này. Thi sĩ sung sướng lắm vì đắm chìm trong cảnh sắc tươi non, viên mãn của mùa xuân: ong bướm tuần tháng mật, hoa đồng nội xanh rì, lá cành tơ phơ phất, yến anh khúc tình si, ánh sáng chớp hàng mi, mỗi buổi sớm thần vui hằng gõ cửa, tháng giêng ngon như một cặp môi gần. Cái hay và ý nghĩa của nhà thơ là để mọi người thưởng thức vẻ đẹp ấy không phải ở chốn bồng lai tiên cảnh, mà ở ngay xung quanh mình. Bởi vậy, Xuân Diệu quan niệm sống vội vàng là yêu thiên nhiên, cuộc sống, nhưng là những gì gần gũi nhất, thân thuộc nhất và trong những khoảnh khắc căng tràn sức sống, tràn ngập xuân tình nhất. Nhưng ông chợt nhận ra, dù là ngay quanh mình đi nữa thì chúng chẳng ở mãi bên mình, nhà thơ dẫu yêu, dẫu ham đến đâu thì rồi nó cũng vụt mất. Bởi vậy, lời thơ say mê, tha thiết nhưng bỗng chùng xuống, vì phải vội vàng một nửa. Vừa tận hưởng vừa vội vàng chính là những gì Xuân Diệu quan niệm. Đó cũng chính là cuộc chạy đua với thời gian để hưởng trọn hương sắc cuộc đời.
Cách sống của Xuân Diệu đúng là không chờ đợi. Ông vội vàng đến mức mà ở ngay mùa xuân ông đã thấy nhớ nó, chứ không chờ tới mùa hạ mới nhớ mùa xuân. Yêu thương, nhớ nhung tất thảy những gì đang tồn tại trở thành phương châm sống của thi sĩ. Với ông điều này có căn cứ.
Xuân đương tới nghĩa là xuân đương qua…
Chẳng bao giờ! Ôi chẳng bao giờ nữa!
Xuân Diệu chẳng những quá ám ảnh về thời gian mà ông còn nhạy cảm đến lạ lùng về sự trôi chảy của nó. Hầu hết chúng ta cho rằng, mọi thứ đang đến là đến, chứ ít suy nghĩ rằng nó đang dần trôi qua. Nhưng Xuân Diệu thì khác, ông cảm nhận thấy rõ từng bước đi của thời gian. Nên xuân tới là xuân đang qua, non tức là sẽ già, thậm chí còn đến mức sẽ hết… Tại sao nhà thơ lại quá nhạy cảm như vậy? Sự nghiệt ngã ấy bấy lâu nay ai cũng biết, nhưng nhận ra nó để biết rằng nó đang lấy hết đi những gì của cuộc sống này chỉ có Xuân Diệu. Đoạn thơ mang giọng điệu tranh biện rất say sưa. Ông đang minh chứng rằng cuộc sống này đẹp nhưng không bao giờ ở lại, mỗi phút giây trôi qua là sẽ mất đi. Những thứ nhìn thấy tưởng chừng như sẽ tồn tại lâu, nhưng thực chất đang mất mát, hao mòn dần. Cho nên nếu không sống vội vàng thì chỉ còn lại là những gì tiếc nuối, xót xa.
Nhà thơ đưa cả thêm những hình ảnh nhân hóa về sự mất mát, chia lìa bởi thời gian: tháng năm rớm vị chia phôi, núi sông than thầm tiễn biệt, gió xinh hơn dỗi vì phải bay đi, chim đứt tiếng reo thi vì độ phai tàn sắp sửa… để minh chứng cho điều ấy. Đó mới là vạn vật, trời đất, còn nếu là con người thì hỡi ôi, chắc hẳn phải nhiều ngậm ngùi, chua chát lắm. Nên nhà thơ muốn chúng ta hãy sống vội vàng đi để chạy đua với thời gian, để về sau chúng ta không còn phải thốt lên những lời đầy tiếc nuối: Chẳng bao giờ! Ôi chẳng bao giờ nữa! Và rồi có phải chứng kiến những gì chia lìa, đứt gãy ấy cũng không còn là điều tiếc nuối, xót xa. Quan niệm sống vội vàng trong cái nhìn về thời gian như thế của Xuân Diệu chính là thông điệp sống phải biết trân trọng từng phút, từng giây để không bao giờ phải hối tiếc.
Không những chỉ ra cuộc sống này tươi đẹp rất đáng sống vội vàng, thời gian trôi chảy rất nghiệt ngã, vô tình nên càng phải sống vội vàng, nhà thơ còn giục giã và mách chúng ta cách để sống vội vàng.
Mau đi thôi mùa chưa ngả chiều hôm…
- Hỡi xuân hồng ta muốn cắn vào ngươi
Lời giục giã đầy hối hả, khẩn thiết. Trong bài thơ có tên Giục giã ông cũng viết:
Mau với chứ! Vội vàng lên với chứ
Em em ơi, tình non sắp già rồi.
Chẳng phải đây là lần đầu tiên Xuân Diệu khiến người ta cuống quýt thế, mà sống vội vàng là phải vậy. Hãy sống nhanh lên, gấp gáp lên khi mùa chưa ngả chiều hôm, khi cuộc đời chưa vào lúc bóng xế, lúc mình còn tuổi trẻ. Bởi vậy đừng ngại ngần, hãy ôm, hãy riết, hãy say, hãy thâu, hãy cắn để những khoảnh khắc tuyệt diệu của sự sống mới bắt đầu mơn mởn, mây đưa và gió lượn, cánh bướm với tình yêu, cái hôn nhiều, non nước, cỏ cây và xuân hồng được ta hưởng trọn. Thậm chí phải được ngây ngất, chếnh choáng, đã đầy, no nê mới thực sự vội vàng. Bao nhiêu bút lực của sự nhiệt huyết, sôi trào, Xuân Diệu dồn hết vào đoạn thơ cuối. Lời thơ căng tràn cảm xúc, khiến ai đọc cũng như mở lòng ra, cũng chẳng thể ngồi yên mà sống một cách vô nghĩa. Ý nghĩa nhân sinh cao đẹp trong cách sống vội vàng là sống đúng thời điểm. Khi còn tuổi trẻ, khi trong những khoảnh khắc đẹp đẽ của cuộc sống, đó là lúc ta nên sống hết mình. Không phải cứ nhanh, cứ gấp là vội vàng được mà phải sống sao cho đáng trong từng khoảnh khắc mình bỏ ra.
Xuân Diệu viết bài thơ này khi ông mới 22 tuổi nhưng những lời tranh biện và giàu tính triết lý trong bài thơ không hề non nớt. Để có được một quan niệm sống vội vàng giàu ý nghĩa tích cực như thế phải được bắt nguồn từ một thái độ sống nghiêm túc, một tình yêu với cuộc sống mãnh liệt. Bài thơ Vội vàng và quan niệm sống của nhà thơ thực sự đã trở thành một bài học giá trị với nhiều thế hệ trẻ sau này.
Illustration (Source: Internet)
8. Analysis Essay on Xuân Diệu's Viewpoint of Living in the Moment, Version 3
One of Xuân Diệu's most representative poems is "Vội vàng" (Haste), which was published in his poetry collection "Thơ thơ" written during his early twenties. "Vội vàng" expresses Xuân Diệu's passionate love for the beautiful life that he feels must be embraced hastily. The poem begins with four short and powerful lines, which serve as a declaration of the poet's longing:
I want to stop the sunlight,
So the colors won't fade.
I want to bind the wind,
So the scent won't fly away.
Stopping the sunlight and binding the wind are impossible feats—illogical desires. Yet, these illogical desires make perfect sense to the poet's heart, filled with an intense longing to fully experience life, to preserve the beauty and scent of the world. To Xuân Diệu, life is incredibly beautiful and precious, with every aspect of it exuding a miraculous quality, where even the smallest things contribute to life's most exquisite beauty:
The bees and butterflies share this honeymoon phase,
Here are the flowers of the green meadow,
Here are the leaves of the tender branches,
And here is the song of the yến anh bird,
And here is the light flashing on the eyelashes.
The butterflies enjoy the sweetness of their honeymoon phase, the meadow is filled with the vibrant green and blossoms, the tender branches sway with leaves, and the morning light shines like a beauty's fluttering eyelashes... These lines flow with a quick and urgent rhythm, employing enumeration, repetition, abundant adjectives, and bold, passionate imagery. Life on Earth appears lively, beautiful, and worth living, full of bright colors and sounds, revealing a paradise existing in this very world. For Xuân Diệu, life is always full of joy, and every new day brings happiness knocking on the door:
Every morning, the god of Joy knocks on the door
Joy, like a benevolent deity, grants happiness to everyone. It's safe to say that in Vietnamese poetry, no one perceives life or spring as vividly as Xuân Diệu:
January is as delightful as a pair of lips close together.
Xuân Diệu does not compare nature's beauty with that of humans as in classical poetry; instead, he uses humans as a standard for comparing with nature's beauty. While Nguyễn Du compares the beauty of Thúy Vân and Thúy Kiều—"The clouds lose to the hair, snow yields to the skin tone"—Xuân Diệu boldly states, "January is as delightful as a pair of lips close together." This comparison is unique, daring, and filled with passionate love for life, true to Xuân Diệu's character. He sees spring, with all its vibrant beauty, as similar to the plump, close lips of a maiden. This metaphor conveys deep emotions, a yearning that is both sacred and earthly. The poet loves life with such intensity! When there is such a beautiful life to live, with such marvelous fragrances and colors to enjoy, how fortunate would one be? But just as a musical note ascends, it suddenly dips down:
I am happy, but hurried, only halfway.
The line is broken, leaving happiness incomplete. Xuân Diệu realizes how fleeting that happiness is:
Spring is coming, which means spring is leaving,
Spring is still young, meaning spring will age.
Typically, people regret memories only when they have become the past, regretting spring when it is no longer present. Here, with his extraordinary sensitivity, Xuân Diệu regrets spring while it is still flourishing. He understands that time passes quickly, and with precious things, especially beauty, time moves even faster—mercilessly, terrifyingly so. The youth that is fresh and full of life will soon wither. This realization deeply affects Xuân Diệu:
When spring ends, it means I will be lost too.
This line expresses a sense of sorrow. The poet discovers a tragic truth for himself: as spring fades, so does youth. And when youth fades, life loses its meaning. The most precious thing in life, as in nature, is spring, and for humans, youth is the most valuable. People long for eternal beauty, but life follows strict, harsh laws:
My heart is wide, but the sky is tight,
It won't allow humanity's youth to last.
Time is endless, but human life is limited. Within this finite existence, humans become small, fragile, and vulnerable. Many argue that spring comes and goes, but Xuân Diệu cannot console himself with that thought; instead, he is even more sorrowful:
What use is it to say that spring always returns,
If youth cannot return twice?
The sky and earth will persist, but not me forever,
So I feel wistful, lamenting both heaven and earth.
The spring of the earth is beautiful and precious, but it only holds value when humans can experience its beauty. If a person is no longer young enough to enjoy spring, its beauty is lost. Xuân Diệu’s verses transition to a melancholic tone:
The scent of May is already filled with the taste of separation,
The mountains and rivers still murmur farewell.
Is it anger at having to fly away?
The bird stops singing abruptly,
Is it fear of fading and withering soon?
Everything is sorrowful, everything loses its meaning. There is only "the taste of separation," only "the murmured farewell," only "anger at having to fly away," and only "fear of fading away." In Vietnamese poetry, few poets capture the sorrow of time and the preciousness of life as Xuân Diệu does. The earlier lines were full of excitement, but now the tone shifts to sadness, filled with loss and regret. The poet cries out in despair:
Never again! Oh, never again!
The depth of Xuân Diệu’s pain must be profound, cutting, and piercing, for such a desperate cry to emerge. Time stretches endlessly, but spring and youth are so brief. Humans cannot do anything to make the finite human life eternal with the universe. The only option is to rush, to be consumed with passion, to seize every beauty of life, youth, and spring with urgency. Xuân Diệu urges:
Hurry up! The day has not yet declined...
And the mountains, and the trees, and the radiant grass.
These bold, hurried, and urgent lines rush forward like a river in full flow, as though the words are pushing and colliding with each other to capture the poet’s boiling emotions. The repeated phrase "I want" emphasizes Xuân Diệu's burning desire to live life to the fullest. A series of repeated verbs intensify the longing: to embrace, to hold, to be intoxicated, to capture, to bite, all expressing an overwhelming passion for life. With three instances of the word "and" in one line, Xuân Diệu seems desperate to embrace the entire universe, the world, and spring into his arms. To live like this is to truly live, to reach the highest form of happiness.
To be dizzy with fragrance, to be filled with light,
To be content with the freshness of time.
The happiness of life lies in fragrance, light, and color. To truly enjoy life is to experience these sensations to their fullest. Xuân Diệu yearns to experience life until he is "satisfied," "dizzy," and "full". In his peak inspiration, Xuân Diệu sees life, spring, as the most precious thing, like a ripe, fragrant fruit to savor with all his heart:
Oh, red spring, I want to bite into you.
This line is the pinnacle of Xuân Diệu’s passion for life, a fervent desire to live that burns in his heart. "Vội vàng" reflects the impulsive, intense passion of a heart that craves life. The poem embodies the poet's philosophy of living hurriedly to fully enjoy earthly happiness, a healthy and positive perspective for its time. It is a representative work of Xuân Diệu's youthful, fresh poetic style, characterized by freedom, vivid imagery, musicality, and modern associations. His passionate love for life in this poem expresses the poet’s humanistic beliefs. To this day, the poem's message of living meaningfully remains relevant to the younger generations.
Through "Vội vàng", we not only understand Xuân Diệu’s passionate worldview but also gain insight into his profound philosophy of life.
Illustration image (Source: internet)
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