Top 10 Analytical Essays on Essential Works for the National High School Graduation Exam

The work 'The Boatman of the Da River' is a highly creative essay, emblematic of Nguyen Tuan's unique style after the August Revolution: profound, artistic, and fearless in enduring hardships to capture vivid essays brimming with authenticity and rich imagery, evoking a deep sense of connection to the developing rhythm of the country and life itself.

This work stems from Nguyen Tuan's journey through the remote Northwestern region between 1958 and 1960, published for the first time in the collection 'Da River' (1960). The Da River, winding and flowing fiercely down mountainsides, is a force of nature, creating a wild, majestic beauty. The violent yet lyrical image of the river serves as a backdrop for the artistry of the boatman, a figure who navigates this dangerous river.

Nguyen Tuan is a towering figure in modern Vietnamese literature. His achievements were significant both before and after 1945. Before 1945, he published 'Echoes of the Past,' a collection of eleven highly distinct and invaluable stories. During the national resistance against France and the United States, Nguyen Tuan maintained his creative, unique style. He was a writer who sought beauty throughout his life, continually exploring the world through a cultural and aesthetic lens. His works portray humans in the glory of their artistic talents. Nature, too, is depicted in his writing as magnificent, awe-inspiring art. 'The Boatman of the Da River' is an excerpt from the 1960 essay collection 'Da River,' written during an arduous yet inspiring journey through the treacherous Northwestern region. This journey fulfilled the writer's craving for movement, during which he also captured the 'golden essence' of the landscape—a dangerous yet breathtakingly beautiful place. The local people are portrayed as 'pure gold,' having been forged by hardship, intelligent, courageous, and capable of controlling nature.

The two dominant motifs throughout the essay are the Da River and the boatman who bravely navigates the river, which presents a constant, fierce challenge to human endeavor. Using his skillful pen, Nguyen Tuan created an image of the river that blends two contrasting aspects: both majestic and violent, as well as poetic and dreamlike.

Nguyen Tuan invites readers to feel both fear and fascination, using his boundless imagination and sharp, unique writing style. The Da River, in its fierceness, captivates readers with a thrilling sense of awe. The violence is introduced through the metaphor of 'the river's rocky banks'—boulders that resemble fortresses, solid, challenging, and filled with danger. The river's surface, 'at noon,' when the sun shines, reveals rocks that create narrow passages that deer and antelope could leap across. These seemingly random associations contain deep artistic meaning. The imagery of the noon sun highlights the contrast between the steepness of the river and the narrowness of its flow. Even in summer's heat, passing through this area, the overwhelming scene evokes a sense of fear and insignificance in the face of nature.

The river's violence is further demonstrated at the 'Hát Loóng' rapids, where the water crashes against the rocks, creating an intense, rising storm. The repetition of the word 'push' amplifies the power of nature, as the river seems to challenge and threaten all who dare to cross it.

The 'suction holes' along the river's Tà Mường Vát section—'like giant concrete wells'—add another layer of danger. The river's water 'breathes and screams like a clogged drain.' Nguyen Tuan's use of personification and simile brings life to these descriptions, making them both engaging and dynamic. These dangerous whirlpools deter any boat from approaching, threatening to suck them under and disappear forever.

The violent, overwhelming image of the Da River culminates at the Da River waterfall, where the sound of the water 'roars, growing louder,' like the cries of a thousand bulls in a forest fire. The stone formations of the river, numerous and wild, come together to create a 'stone horizon.' Each stone has a unique, rebellious form, described in human terms—'disobedient,' 'wrinkled,' 'distorted'—evoking the fierce, unrelenting force of the river and its connection to the natural world.

The river's 'battlefield'—its shifting rapids, stones, and narrow passages—is a series of calculated obstacles designed to challenge the boatman. Nguyen Tuan's vivid descriptions create a sense of the Da River as a powerful, monstrous entity—both hostile and dangerous, a formidable adversary to human efforts.

Yet, there are moments when the Da River transforms into a softer, more lyrical figure. Seen from above, the river curves gently, resembling the beautiful, flowing hair of a Northwestern woman. The river's appearance changes with the seasons, each bringing its own distinct beauty: in spring, the river gleams with an emerald hue, while in autumn, it deepens into a rich red. The river reflects the changing moods of a young woman—beautiful, enigmatic, and full of life.

The river's softer side emerges as 'a dear old friend,' as the author reflects on its gentle beauty after a long journey. The riverbanks, filled with dragonflies and butterflies, convey a peaceful, timeless atmosphere. The landscape evokes memories of ancient folklore, of a land that remains untouched by time. The river, like the people of the region, is both ancient and ever-changing, bearing the imprint of the past while continuing to flow toward the future.

Nguyen Tuan’s portrayal of the Da River is rich with artistic techniques, including similes, metaphors, personification, and powerful verbs. His writing breathes life into the river, transforming it from an inanimate force of nature into a living, thinking entity. In Nguyen Tuan's work, the natural world and human labor are intricately connected, and the river is both a symbol of human struggle and a backdrop to the wisdom, bravery, and artistry of the boatman.

'The Boatman of the Da River' is a masterpiece that captures the beauty and peril of the Da River and its people. Through vivid descriptions and imaginative storytelling, Nguyen Tuan celebrates the resilience, creativity, and strength of the human spirit in the face of nature's relentless challenges.

Lưu Quang Vũ, a celebrated poet and playwright, is known for his works rich in realism, sharp criticism, and profound humanistic values. One of his most famous plays is 'The Soul of Trương Ba, The Butcher's Body,' which centers around Trương Ba, a man forced to live in another's body after his sudden death.

Before his untimely passing, Trương Ba was a kind and virtuous man, a role model for his family. He was loved by his wife and children and highly respected by his grandchildren. Not only was he elegant and intelligent, but he was also wise and refined, with actions that reflected his cultured and noble character. He was a man of dignity, whose wisdom only a deity like Đế Thích could fully understand and resolve.

However, due to an error made by the deities Nam Tào and Bắc Đẩu, Trương Ba was unjustly taken from the world. His death was so abrupt and senseless that even his wife, when appealing to Đế Thích for justice, left the god perplexed. The resolution was to have Trương Ba’s soul placed into the body of a butcher, which led to the onset of his tragic fate.

Over time, Trương Ba began to change. His actions became more coarse and vulgar, unlike the dignified man he once was. He became obsessed with food and indulgence, using crude language, and his behavior became absurd. He did things he had never imagined: slapping his son, destroying a young plant, stepping on a delicate medicinal plant, and breaking his grandson's cherished kite. Furthermore, when the butcher's wife demanded he stay with her, Trương Ba almost gave in. His transformation became so stark that even his family could no longer accept him. His wife chose to leave him for the butcher’s wife, his granddaughter refused to acknowledge him, and even his once understanding daughter-in-law scolded him. Trương Ba was devastated. He was aware of the changes but felt powerless to change his situation. His predicament became a painful illustration of how he was trapped in a body that did not reflect his true self, unable to control the forces overtaking him. Even though his soul desired to break free, his body refused to cooperate, and the prolonged exposure to the butcher’s body only led him to become more base and coarse.

In his agony, Trương Ba sought out Đế Thích to express his inner turmoil. His confrontation revealed his deep sense of integrity and self-respect. He bluntly told Đế Thích that the god was only concerned with survival, not with the quality of life. Trương Ba’s criticism was harsh but true, and his decision was equally profound. He chose death over living in a borrowed body, a decision that reflected his unyielding moral character. He could not accept deceit and duality, and he knew that even if he were placed in another body, it would still not be his own, bringing endless problems. His final choice allowed him to reclaim his true self, even if it meant being separated from his family forever.

The tragedy of Trương Ba emphasizes the importance of living authentically. A person must be true to themselves, with harmony between soul and body. The idea of one’s soul inhabiting another’s body serves as a metaphor for the struggle for self-realization. Trương Ba’s choice to embrace death rather than continue living in falsehood illustrates his noble character. His act of choosing selfhood over survival ultimately allowed him to return to being the loving husband, father, and grandfather he once was, respected and adored by his family.

Xuan Quynh is a poet of everyday happiness. Her poetry reflects the deep yearning of a soul always in pursuit of love, connecting intimately with daily life, cherishing, nurturing, and caring for the ordinary happiness of life. Among the female poets in Vietnam, Xuan Quynh truly deserves to be called the poet of love. She wrote extensively and beautifully about love, but perhaps her poem 'Waves' stands out as the most remarkable. It conveys the soul’s passionate yearning for love, a love both innocent and sincere, as well as intense and vibrant, all from the heart of a woman.

Love is an eternal theme in poetry. Many famous poets have written about love with the youthful fervor of their hearts. We encounter Xuan Dieu, immersed in passion and the longing to give herself to love; Nguyen Binh, wistfully searching for love in rural landscapes; and Anh Thu, tender and shy with the charm of a girl. But it is Xuan Quynh who, more than any other, has expressed the common human yearning for love in a way that feels both sincere and reflective of the poet’s life: a love that is as vast and complex as it is ardent and vibrant.

The poem 'Waves,' which shares its title with the poet's work, uses the wave imagery as a metaphor. It embodies the poet’s dreamy, emotional self. The waves and the poet’s ‘I’ are two yet one, at times reflecting each other to emphasize their similarities, and at other times merging to create a resonating harmony. Through the metaphor of waves, Xuan Quynh conveys a love that is deep, boundless, and a timeless yearning for the eternal nature of romantic love.

The poem begins with an expression of an exceptional state of mind—a soul longing for a love that is greater, deeper. Xuan Quynh describes in vivid detail the multifaceted, complex nature of a heart deeply yearning for love. Like the waves, the heart of a woman in love experiences contrasting emotions: 'Fierce and gentle, Noisy and quiet...' Like the waves, the heart of a woman in love rejects the mundane and small, always striving for something greater, something that resonates deeply within. 'The river does not understand me, but the waves reach the sea.' Even in this first stanza, we see a new perspective on love. The woman in love is no longer passive or resigned. If 'the river does not understand me,' she will seek the vast ocean, a place where she will find acceptance. It is clear, and it is decisive!

The desire for love, with all its restlessness and longing, is portrayed by Xuan Quynh as a universal yearning for humankind, one most intense in youth. Like the waves, this desire for love is eternal, enduring through time. Since the beginning of humanity, people have sought love and will continue to do so forever. For humanity, love is always a longing that stirs the heart:

Oh, the wave of the past

And today it remains the same

The yearning for love

It beats in the chest of youth

When love arrives, as a natural and common response, people often feel the need to explore and analyze it. However, love is a phenomenon that is beyond the ordinary, full of mystery and cannot be explained with logic alone. How could one possibly understand the origin of love or when it first begins? What Xuan Dieu once questioned—'How can we grasp the meaning of love?'—is now expressed once more by Xuan Quynh, but in an innocent and endearing way. Love, like the waves or the wind, is something we cannot fully comprehend. It is as natural and innocent as nature itself, yet as mysterious and full of surprises:

The wave begins from the wind

The wind begins from where

I do not know either

When did we fall in love

Love is often accompanied by a sense of longing when two lovers are apart. Xuan Quynh depicts this longing powerfully, a longing that persists whether awake or asleep, overwhelming the entire space. This longing is restless, intense, and impossible to quell. It surges like the endless waves of the sea, never ceasing, ever-expanding. The rhythm of the poem mirrors the rhythm of the waves, but most vividly, it is at this part that the longing comes through the most:

The wave beneath the deep

The wave on the surface

Oh, the wave that misses the shore

Cannot sleep day or night

As previously mentioned, the metaphor of the waves and the poet's 'I' complement each other, together depicting a love, longing, and endless loyalty from a heart that burns with passion. The yearning is expressed first through the image of the wave longing for the shore—'Cannot sleep day or night'—and then once more through the poet’s own longing: 'My heart longs for you, Even in dreams, I am awake.' The longing fills the poet’s heart, extending through both waking and sleeping moments, not just existing in consciousness but infiltrating the very dreams. The desires and yearnings of a woman in love are expressed powerfully, yet simply: the wave yearns only for the shore, just as I yearn only for you! This love is both passionate and sincere, clear and faithful. Through the metaphor of waves and I, Xuan Quynh bravely and honestly reveals the fiery and powerful longing for love, something seldom seen in Vietnamese literature. Xuan Quynh wrote 'Waves' in 1967, at a time when she had already tasted the bitterness of love’s heartbreak. Yet, this poet, full of innocence and love for life, still harbors so many hopes, still holds on to a belief in future happiness. While reassuring herself, she also believes in the ultimate fulfillment of love, much like the waves inevitably reaching the shore, 'despite the distance.' The future of happiness seems to lie ahead, and therefore, the poet is not troubled by the passing of time but instead becomes more confident in her belief:

Life is long

The years still pass

Like the vast sea

The clouds still fly back

Xuan Quynh speaks directly from the heart, using the waves as a symbol to reflect on and express thoughts about love. These thoughts may seem free-spirited and disjointed, yet they remain consistent within the profound depth of the poem's meaning. The journey begins with rejecting the small and narrow, seeking a vast, boundless love, and ultimately, the desire to live fully within love, aspiring to merge into eternal love:

How can I become

A hundred small waves

In the vast sea of love

To echo forever

The woman yearns to merge with the boundless sea of life, to free herself from the burdens of worldly concerns, and to immerse fully in the great ocean of love. To desire such a love requires an extraordinary kind of love. The longing for love is also a longing for a life lived intensely and completely. As long as there is love, life is bright and worth living, and to live in love is the truest happiness. Xuan Quynh wishes to live forever in love, immortalized by love. 'Waves' is a quintessential love poem that reflects both the thoughts and style of Xuan Quynh during her early years. It is a poem that is both graceful and powerful, both vibrant and innocent, and both deep and thoughtful. Later, after experiencing many heartaches in love, the tone of Xuan Quynh’s poetry lost its youthful exuberance, but the deep yearning for love remained ever-present in her heart.

The natural beauty of the poetic and picturesque mountains and forests of the Northwest is undeniable, yet hidden behind this beauty lies a raw wilderness, full of lurking dangers. In the face of the majestic landscapes, the image of the soldiers of the Tây Tiến regiment, as portrayed by Quang Dũng, stands as an immortal monument, showcasing the courage and artistry of these sons of Hanoi.

The poem Tây Tiến realistically depicts the brutal realities of war, the hardships faced by soldiers on their journey of resistance. Yet, despite the difficulties, these heroic soldiers never wavered. They remained optimistic, full of life, and fought with unmatched courage and perseverance.

Quang Dũng (1921 – 1988), whose real name was Bùi Đình Diệm, hailed from Hà Tây (now Hanoi). He was a talented artist, skilled in writing, painting, and composing music. However, when mentioning Quang Dũng, one must first recognize him as a gifted poet, whose work was both innocent and refined, yet romantic and charismatic, especially when writing about his comrades in the Sơn Tây battalion.

His major works include: Mây đầu ô (1986), Thơ văn Quang Dũng (1988). In 1948, Quang Dũng transferred to another unit, and while stationed in Phù Lưu Chanh, he wrote the poem Nhớ Tây Tiến, which was later renamed Tây Tiến and included in the poetry collection Mây đầu ô.

The opening of the poem vividly illustrates the breathtaking yet rugged nature of the Western mountains, along with the soldiers’ arduous march. These young soldiers, undeterred by danger, press forward with the innocent optimism of youth:

“Sông Mã xa rồi Tây Tiến ơi!

Nhớ về rừng núi, nhớ chơi vơi

Sài Khao sương lấp đoàn quân mỏi

Mường Lát hoa về trong đêm hơi

Dốc lên khúc khuỷu dốc thăm thẳm

Heo hút cồn mây, súng ngửi trời

Ngàn thước lên cao, ngàn thước xuống

Nhà ai Pha Luông mưa xa khơi

Anh bạn dãi dầu không bước nữa

Gục lên súng mũ bỏ quên đời!

Chiều chiều oai linh thác gầm thét

Đêm đêm Mường Hịch cọp trêu người

Nhớ ôi Tây Tiến cơm lên khói

Mai Châu mùa em thơm nếp xôi ”

The predominant emotion throughout the poem is the poet’s deep, nostalgic longing for past memories at his former unit. “Sông Mã xa rồi Tây Tiến ơi” expresses the poet’s heartfelt yearning, filled with regret and nostalgia for the glorious past. The poet’s longing for Tây Tiến is a deep, expansive, and poignant emotion. This sense of longing persists, enveloping both the space and the hearts of the soldiers.

The natural landscape is vividly portrayed through references to places like “Sông Mã,” “Sài Khao,” “Mường Lát,” “Pha Luông,” “Mường Hịch,” and “Mai Châu,” which are connected to the Tây Tiến battalion’s military journey. These places are associated with the battalion’s route and the soldier’s experiences.

A remote and treacherous land, which seemed like it would extinguish the soldiers’ will to fight, is described: “sương lấp đoàn quân mỏi.” The difficult terrain, with its towering mountains and thick fog, challenged the weary soldiers who now had to face the bone-chilling cold of the Northwest. The perilous mountainous paths, “dốc lên khúc khuỷu, dốc thăm thẳm,” were not smooth, some parts steep and winding, while others were deep and dangerous, where even a moment’s distraction could cost a soldier his life.

The thick mist obscures vision, and the narrow, slippery paths make the soldiers’ march even harder. Despite the hardships, the soldiers continue their journey, enduring the cold and light rain. Quang Dũng uses the contrast between the serene and the violent to powerfully describe the ferocity of the Northwest’s wilderness: “Ngàn thước lên cao, ngàn thước xuống,” depicting the grand, desolate, and mysterious landscape, filled with hidden dangers like “oai linh thác gầm thét” and “cọp trêu người” at night.

Indeed, it is a place of “sacred forests and deadly waters,” yet these hardships do not stop the soldiers. They march with indomitable courage, and in their eyes, the Northwest is a land of poetic beauty, full of human warmth. The images of “hoa về trong đêm hơi” and “mưa xa khơi” create a mystical atmosphere, offering a sense of calm and tenderness to the reader. The people of the Northwest are depicted as simple, compassionate, and dedicated to the revolution, protecting and caring for the Tây Tiến soldiers.

By depicting the vast, perilous mountains and forests, Quang Dũng highlights the image of the soldier on their grueling and self-sacrificing journey. After days of exhausting marches, the soldiers, now weary, need rest to regain their strength and spirit. The line “anh bạn dãi dầu không bước nữa” is a euphemism, as some soldiers have sacrificed their lives on the battlefield, unable to continue with their comrades.

The poet indirectly references death to avoid causing too much sorrow, yet still emphasizes the soldiers’ resolve to fight for their country. These soldiers are admirable; they are ready to give their lives for the homeland, filled with youthful vigor, free-spirited, and full of love for life: “gục lên súng mũ bỏ quên đời.” Death cannot intimidate them; their souls remain high-spirited and romantic.

The next verses recall the beautiful, cherished memories of the bond between soldiers and civilians during festive nights:

“Doanh trại bừng lên hội đuốc hoa”

“Kìa em xiêm áo tự bao giờ”

“Khèn lên man điệu nàng e ấp”

“Nhạc về Viên Chăn xây hồn thơ”

“Người đi Châu Mộc chiều sương ấy”

“Có thấy hồn lau nẻo bến bờ”

“Có nhớ dáng người trên độc mộc”

“Trôi dòng nước lũ hoa đong đưa”

The Tây Tiến battalion spent many years in battle, accumulating countless memories. After days of hard fighting, “Doanh trại bừng lên hội đuốc hoa,” where young men and women held hands and danced to the traditional music of the highland people.

The beauty of the people here is enchanting, wild, and captivating, seducing the hearts of many young soldiers from Hanoi. Along with this is the romantic yet melancholic image of the Northwest’s waterways, evoking the poet’s deep concerns about the fate of the nation as the war grows more intense.

The soldiers continue their march, portrayed by the poet as statues of unwavering strength, representing a blend of tragic heroism and artistic grace:

“Tây Tiến đoàn binh không mọc tóc”

“Quân xanh màu lá dữ oai hùm”

“Mắt trừng gửi mộng qua biên giới”

“Đêm mơ Hà Nội dáng kiều thơm”

“Rải rác biên cương mồ viễn xứ”

“Chiến trường đi chẳng tiếc đời xanh”

“Áo bào thay chiếu, anh về đất”

“Sông Mã gầm lên khúc độc hành”

The poem expresses the heroic, intense spirit of the soldiers: “Tây Tiến đoàn binh không mọc tóc.” This phrase vividly illustrates the harsh conditions they faced, such as malaria that caused their hair to fall out and their skin to turn pale, but their determination never faltered. They remained strong, determined to fight.

The soldiers’ green uniforms symbolize their hopes for a bright future, free of enemy occupation. “Mắt trừng” and “dữ oai hùm” represent their fierce determination, striking fear into their enemies. Yet tragically, some soldiers died on the battlefield, their names lost, their bodies scattered across the frontier: “rải rác biên cương mồ viễn xứ.” They gave up their young lives, leaving behind their futures and families who awaited their return.

The soldiers’ sacrifices are deeply honorable; they gave their all for the homeland without hesitation. The death of a soldier moves the earth and sky, and the poet uses the image of the Sông Mã river to bid a final, respectful farewell to the fallen heroes who rest in the battlefield’s harsh terrain.

The poet further highlights the soldiers’ romantic, youthful spirit. They were once young men from the cities, now far from home, driven by a noble cause. They were full of youthful dreams and desires, “gửi mộng qua biên giới,” dreaming of the beautiful women of Hanoi. These lines portray the soldiers as youthful, full of life, and determined to seize happiness.

The final verses affirm the soldiers’ unwavering resolve to fight for their country and independence:

“Tây Tiến người đi không hẹn ước”

“Đường lên thăm thẳm một chia phôi”

“Ai lên Tây Tiến mùa xuân ấy”

“Hồn về Sầm Nứa chẳng về xuôi.”

The Tây Tiến soldiers were determined and confident, demonstrating their deep passion for the fight: “người đi không hẹn ước.” They left without promises of return, prepared to sacrifice their lives for the independence of the nation. Despite the separation, they vowed to remain true to their country: “Hồn về Sầm Nứa chẳng về xuôi.” They set aside personal desires, embracing the heavy responsibility of defending their homeland.

Tây Tiến is one of the most remarkable poems, elevating Quang Dũng’s reputation in the art world. With his talented, romantic style, Quang Dũng successfully created the image of a soldier who is both tragic and artistic. The natural backdrop, both majestic and awe-inspiring, enhances the soldier’s image, full of optimism and love for life.

The theme of "country" is a timeless subject in Vietnamese literature. We encounter depictions of the country immersed in sorrow and loss in Hoàng Cầm's poetry, and we see it evolving daily in Nguyễn Đình Thi's work. However, perhaps the most complete and profound portrayal of the country is found in Nguyễn Khoa Điềm's poem "Đất nước". The image of the country, from its birth to its turbulent journey through wars, is vividly brought to life through Nguyễn Khoa Điềm's sensitive and expansive poetic voice.

The author presents the country from multiple perspectives, traversing the many ups and downs of history. The country is a sacred and simple name that encapsulates the deep emotions of its people. The poem begins with gentle and delicate verses that bring the reader back to the early days of the country's creation:

When we grew up, the country was already there

The country exists in those old days

Back then, my mother would tell stories

The country began with the betel nut that grandmother chews today

The country grew when our people knew how to plant bamboo to fight invaders.

The country is depicted in simple, familiar phrases. It is not an abstract concept, but a tangible, daily presence in the lives of all of us. The author uses the word "when" to mark the birth of the concept of "country". From the moment we are born, the country has already existed. After this verse, the author begins to explain the origins of the country, something each person wishes to fully understand.

The poem's gentle, sweet tone leads the reader into the "old days", like a musical note from the past, evoking human thoughts. The words "once upon a time" indicate something long ago, an undetermined time, but we know it has existed for ages. The country formed as our people began to fight invaders. It is those very people who created the country...

The country is also deeply connected with the simple, familiar lives of Vietnamese farmers. The author does not stop here; the country is also explained as the result of labor efforts to build and develop:

The beams and columns form names

The rice grains are sun-dried and ground under the harsh sun

The country has existed since that time

Even tools created for daily life, such as beams and columns, are tied to the history of the country's birth. Simple and real, yet this explanation feels both honest and accurate. Nguyễn Khoa Điềm guides the reader through different emotional layers of the country, including the tender and passionate love between couples:

The land is where you go to school

The water is where you bathe

The country is where we meet

The country is where you lost your scarf in secret longing

The country is not only present in cultural practices and customs, but also in the deep, passionate love between individuals. The author cleverly separates "the land" and "the water" to clarify the meaning of each term, showcasing Nguyễn Khoa Điềm's sensitivity and poetic beauty. Yet, even when separated, "country" remains a complete and meaningful concept.

The country also unfolds through the length of history and the space of culture, with people still tirelessly searching for the image of their homeland. The country is shaped by ancient stories, by myths that are passed down through generations:

Images like the "phoenix bird", "Ba Den mountain", "Lạc Long Quân and Âu Cơ" symbolize the country’s proud, fluctuating development. Remembering the roots and the struggles of the past is a core value in our tradition—"drinking water, remembering its source." In Nguyễn Khoa Điềm's vision, the country is a continuation of this tradition:

Those who have passed

Those who are still here

Love each other and have children

Carry the legacy left by those before

And pass down wisdom to the next generation

Through the process of formation and growth, the country's cultural and historical depth is increasingly affirmed. Those who have fallen for the country, and those who will come after, must strive to preserve and develop these noble traditions. Nguyễn Khoa Điềm offers a multifaceted perspective on the country, from everyday life, history, space, and time, providing the reader with the most accurate understanding of the land we live in and contribute to.

Above all, the author emphasizes

In you and me today

We each carry a part of the country

Indeed, the country has become ingrained in every individual, reminding us of our responsibility and duty in building and protecting its strength. Nguyễn Khoa Điềm also accumulates a profound understanding of the country:

And wherever we go, across fields and hills

We carry a form, a hope, a way of life from our ancestors

Oh, the country after four thousand years, wherever we go, we see

Lives transformed into our mountains and rivers

This perspective, rich in humanistic value, leaves no doubt about the existence of the country as a tangible reality. The country also symbolizes deep respect and gratitude for those who gave their lives for today’s peace and freedom:

They lived and died

Simply and calmly

No one remembers their faces or names

But they created our country

Once again, this verse offers a rightful definition of "country"—those who have passed are never forgotten; their hearts continue to live on in the lives of those left behind. But in the final two verses, Nguyễn Khoa Điềm presents the most accurate and profound definition of the country:

This country is the country of the people

The country of the people, the country of folk songs and legends.

Indeed, the people are the true owners of the country. Therefore, this country belongs to the people. The author's ideas are progressive, grounded in everyday life, and deeply insightful.

Thus, Nguyễn Khoa Điềm, with persuasive logic and compelling evidence, affirms the immense significance of the country in each individual's life. Closing the book, the images of the country remain forever in the hearts of readers.

Nguyen Minh Chau is considered one of the most prominent authors in Vietnam's modern literary scene. He is known as a pioneer who skillfully blends creativity with sharp intellect. Before 1975, he was a romantic epic writer, often focusing on the theme of soldiers.

However, after 1980, his writing shifted towards exploring personal experiences and moral questions, delving into human nature and the quest for happiness. One of his most famous works that embodies these themes is the short story "The Boat in the Far Distance," which was published in 1987.

Published in August 1983, this story was included in his short story collection of the same name. Set after the national war for independence, when the country entered a new period of peace and reunification, it reflects the changing dynamics of civilian life in peacetime, raising questions about the realities of human existence that had not been fully examined during the war.

"The Boat in the Far Distance" explores these complexities, becoming one of Nguyen Minh Chau's finest works and a hallmark of the introspective, personal writing style that marked the literature of the Vietnamese Doi Moi era.

The short story is divided into three parts. Part one: from the beginning to "the fishing nets vanish." In this section, the author focuses on two discoveries made by the photographer character Phung. Part two: continuing to "middle of the bay" is the story of the woman from the fishing village at the district court. The final part explores the photograph chosen for that year's calendar.

The story opens with a stunning scene captured by the artist Phung during a foggy morning on a Central Vietnam bay. Phung, a photographer assigned by his superiors to take a picture of a boat and the sea for a calendar, arrives at a region he had once fought in and where he had a friend. There, he encounters a breathtaking image of a boat and the sea in the mist. This is the unique narrative situation in the story, revealing profound insights into life. But after this discovery, Phung makes another revelation.

The short story is built upon a unique and pivotal situation, a crucial element in any narrative. The writer's ability to create such a situation captures the reader's attention. This situation, when the character finds themselves in it, reveals their true nature, character, and qualities. It can also be a turning point that changes one's destiny or awareness, uncovering deeper meanings within the story.

The narrative of "The Boat in the Far Distance" revolves around the theme of awareness and discovery. It is a surprising and paradoxical situation, expressed through Phung's two discoveries. This situation helps Phung realize many truths about life, people, and art. Life is full of contradictions, surprises, and paradoxes. To understand its truths, one must look closely, understanding the depth of each individual’s fate and soul.

Art must always be intertwined with life to have meaning. Phung's first discovery is of nature's perfect beauty—a picturesque scene of a boat moving towards the shore at dawn. The image feels like an exquisite painting by a classical artist, with the boat's silhouette softly fading into the morning light. This scenery, with its balanced elements of line, color, and light, forms a harmonious whole, creating an unparalleled beauty—a rare sight in life.

Phung feels lucky to witness such a stunning scene. This moment reflects a pure beauty that connects to the moral core of existence. The artist believes that beauty and morality are inseparable. Before the sight of this breathtaking scene, Phung experiences a stirring emotion, a sense of purity within him. Through Phung’s emotions, the writer conveys the belief that beauty must purify the soul and guide humanity towards truth, goodness, and beauty—moral virtues embodied by art.

However, the more beautiful the scene, the darker the reality behind it. This is Phung's second discovery, made as he witnesses the grim reality of life, particularly the tragic fate of the woman from the fishing village. Emerging from the dreamlike scene of the boat is the ugly reality of an abusive relationship. The woman, with her weary and rugged appearance, and her aggressive husband, represent the harsh lives of fishermen, struggling with poverty and hardship.

Their faces convey the burden of their difficult lives. The woman, described as over forty, with a rough appearance, appears physically worn out, bearing the marks of exhaustion from fishing. Her husband, also marked by hardship, is portrayed as having a large, imposing frame and a harsh demeanor. Together, they embody the struggles of the fishing community.

Phung is shocked to witness this brutal scene, where the beautiful image of the boat transforms into something grotesque. The man lashes out at the woman with a belt, striking her with fury. In this story, the stark contrast between the idyllic beauty of the boat and the harshness of reality challenges the perception of art and life.

After witnessing this shocking violence, Phung realizes that life is not simply one-dimensional but full of contradictions. The truth of life is multifaceted, and the external appearance often hides a deeper, more complex reality. The artist must have a deep, multi-faceted understanding to grasp the true essence of life and human nature.

If the story ended here, it might not have had the same profound impact. Therefore, the narrative extends to include the woman’s testimony at the district court, where Phung, having witnessed the abuse, urges the judge, his former comrade, to help. Together, they offer the woman an opportunity for divorce, despite her initial reluctance to leave her husband. She explains that despite the violence, she remains with him out of gratitude for saving her when she was young and penniless.

The woman’s revelations touch the hearts of both Phung and the judge. Despite her rough exterior, the woman embodies the deep compassion and self-sacrifice of a true Vietnamese woman, dedicated to her children and family. Her story demonstrates that beauty lies not in physical appearance but in the depths of the heart. Through her, Phung and the judge learn to view life with greater empathy and understanding.

The story ends with the photograph, a symbol of art’s value, being chosen for the calendar. Phung’s memory of the photograph becomes intertwined with his understanding of the woman’s life, showing the inseparable relationship between art and life. Art must reflect life to have true meaning, and only through this connection can art reach its full potential.

Through the skillful narrative structure and profound philosophical insights, "The Boat in the Far Distance" remains a masterpiece that captures the complexity of human existence. Nguyen Minh Chau, as one of the first writers of the Doi Moi period, courageously explores the deeper truths of life, even within the constraints of a seemingly ideal society. His works remain timeless, offering valuable lessons for both the present and future generations.

The short story presents a powerful lesson about how we perceive life and people. It calls for a nuanced, multi-dimensional approach, recognizing the contradictions inherent in human existence. The work firmly establishes Nguyen Minh Chau’s narrative style, characterized by philosophical depth and profound storytelling.

Kim Lân, a writer renowned for his short stories, had a unique talent for depicting the lives of farmers. Despite the poverty they faced, the characters in his works embody virtues like optimism, sincerity, simplicity, humor, and talent. "The Picked Wife" stands out as one of his most notable works focused on rural life.

This story is part of the short story collection "The Ugly Dog" (1962) and is considered one of his finest pieces. Originally, it was conceived as a novel titled "The Settlement" written after the August Revolution. However, the manuscript was lost, and it wasn’t until 1954, after peace was restored, that Kim Lân revived the old plot and transformed it into a short story. From its release, the story was widely acclaimed.

The narrative is set during the devastating famine of 1945, which claimed the lives of over two million people. The widespread hunger and despair are vividly depicted in the story, with Kim Lân masterfully capturing the dire conditions of the time.

The imagery in the story uses stark colors, such as the grayish hue of human skin and the dark silhouettes of crows flying above. These images evoke a sense of death, decay, and desolation. The scene is accompanied by the putrid smells of waste and decaying bodies, the stench of burning refuse, and the mournful cries of families grieving their losses. Kim Lân paints a grim picture, with dead bodies scattered along the roads each morning, showing the cruelty of the 1945 famine. Yet, amid the darkness of hunger and death, the story highlights the resilience and beauty of the human spirit.

As the backdrop of the famine is established, the protagonist, Tràng, is introduced. Tràng is a migrant, living on the outskirts of the village, and like many in his position, he is ostracized from the community. His family is extremely poor, and without land to farm, he does odd jobs to survive, including pulling carts for others.

Tràng’s life seems especially tragic—he is not only poor but also unattractive. With squinty eyes and a large jaw, his physical appearance adds to his sense of isolation. He is a towering figure, but with no charm to attract the women of the village. Despite this, Tràng’s personality is endearing to children, though no girl would find him appealing due to his appearance and circumstances.

However, in an unexpected turn, Tràng wins a wife during an ordinary day of work. While humming a song to pass the time, he jokingly invites a woman to join him in his work: “Come here and push the cart with me if you want rice and meat.” To his surprise, the woman agrees to marry him.

Before bringing her home, Tràng shows a rare sensitivity—he buys his new wife a small basket, treats her to a hearty meal, and even buys oil to light the house. Tràng, once a solitary, awkward man, now shows a newfound tenderness and attention to detail. As he walks home with his bride, he is filled with joy, a stark contrast to his usual downcast demeanor. The hardships of his daily life are forgotten as he relishes the happiness of his new marriage. When they arrive at his home, Tràng feels a mixture of awkwardness and joy, anticipating his mother’s reaction to the new daughter-in-law.

The following morning, Tràng wakes up feeling a sense of contentment and calm, as if emerging from a dream. He notices how different the house feels now—clean and organized, with his wife and mother working together to maintain the household. He is deeply moved, realizing his newfound responsibilities and the love he has for his family. This awareness propels him to act—he decides to repair the house, eager to embrace a brighter future. At the same time, Tràng’s desire to improve his life ignites a greater awareness of the world around him, including the plight of the starving masses and the hope of a better future, symbolized by the red flag he envisions waving in the distance. Tràng’s transformation reflects his commitment to the future and the revolution.

Kim Lân’s portrayal of Tràng reflects the harsh realities of the 1945 famine, but it also expresses deep compassion for the struggles of the people. The story celebrates the resilience, love, and optimism of the Vietnamese people, even in the face of immense suffering.

Alongside Tràng, the character of his wife is equally significant. She remains nameless and without a clear background, but in the context of the famine, such details are rendered insignificant. When she first meets Tràng, she is impoverished and malnourished, her clothes torn and her appearance battered by hunger. Her language is blunt, and she seems completely devoid of decorum. Yet, beneath this exterior, there is a profound desire to live and survive, a testament to the human will to endure. As she walks to her new home, she adopts a more modest, feminine demeanor, and upon meeting her new mother-in-law, she is respectful and humble. The wife’s character embodies the theme of human dignity even in the direst circumstances.

The final key figure in the story is Tràng’s mother, who, though only briefly featured, plays an important role. A poor woman who has lost both her husband and daughter, she lives a life of hardship. Her greatest wish is to see her son married, but due to their poverty, this seems impossible. When Tràng unexpectedly brings home a wife, she is initially silent, unsure of how to react. However, her joy and pride in her son’s new family shine through as she offers words of encouragement and optimism for their future. As a mother, she is deeply caring, showing her unconditional love for her son.

"The Picked Wife" is one of the most outstanding works of modern Vietnamese literature, reflecting both the harsh realities of life and the profound human values of love, dignity, and hope. It showcases Kim Lân’s exceptional skill in analyzing human psychology and his masterful depiction of characters.

To Hoai once recounted: “The greatest and first result of that eight-month journey was the deep affection and unforgettable memories of the people and land of the West, which I could never forget. I will never forget when A Phu and his wife saw me off from the village of Ta Sua, waving and shouting: Chéo lù! Chéo lù!” Perhaps this was the reason for him to write the work “A Phu and His Wife” as a tribute to the people in the far northwestern highlands.

This short story was published in the collection “Stories of the Northwest” (1952) and won the First Prize - Vietnam Writers’ Association Award 1954 - 1955. “A Phu and His Wife” portrays the unique customs and practices of the Northwestern region. In the first part of the work, To Hoai primarily depicts the life of the characters Mi and A Phu when they lived in Hong Ngai, enduring a life of slavery under the landlord Pa Tra.

Before becoming a daughter-in-law to pay the debt for the landlord, Mi was a beautiful, lively girl, full of life and freedom. She was skilled at playing the flute, and “her flute was as sweet as the sound of leaves,” making “many people fall in love with her, following her wherever she went.” Although born into poverty, Mi was aware of her own life. She once told her father: “Now I know how to cultivate the fields, I will plant corn to pay off the debts for you. Don’t sell me to the rich,” when the landlord wanted to take Mi as his wife to pay the debt.

This was a voice of resistance against the custom of using people as collateral for money debts among the mountain peoples. This old tradition robbed countless people of their freedom. At the same time, it showed Mi’s belief in her own strength. Mi believed she could cultivate corn to repay her father’s debts.

But Mi was taken by A Su and brought back to the landlord’s house for the “spiritual offering” ceremony. Mi’s life became intertwined with the fate of a daughter-in-law working to pay off a debt for the landlord Pa Tra. She felt indignation and pain for her own fate. For months, she cried every night. Mi even considered suicide using the poison leaf, but she “could not bear to die” because of her love for her father. Perhaps death was the only way to free Mi from her life of slavery, where she wouldn’t feel sorrow or hatred anymore.

From her initial resistance, Mi became resigned to her fate. She grew accustomed to hardship, “Mi thought she was a buffalo, a horse,” working day and night without rest. Tasks such as picking opium, washing hemp, spinning thread, weaving fabric, and collecting firewood kept pushing her to work. It seemed that “every day Mi became more silent, retreating like a turtle in a corner.” Over time, Mi grew mute, accepting her fate without a word of complaint.

Her face, regardless of the circumstances, remained “deeply sorrowful.” The woman had become numb to emotions, losing all sense of time and space because her room had a small window with only a hand-sized hole, and “whenever she looked out, it was just white, not knowing whether it was fog or sunlight.” Though it seemed Mi had become indifferent to the world outside, the spring atmosphere of Northwestern nature, along with the sound of the flute, stirred Mi’s spirit, awakening the life within her.

Mi felt the heartfelt, inviting tone of the flute calling her to play. The Tết (Lunar New Year) atmosphere made Mi “live in memories of the past.” Mi drank alcohol, “drinking deeply, one bowl after another,” as if swallowing all her frustration. Her spirit “became lively again.” What was remarkable was that Mi had become aware of herself; she realized she was still young and wanted to go out and enjoy Tết. Her desire turned into action: “Mi took the fat, sliced a piece, and added it to the lamp’s dish for more light,” then she tidied her hair and “took the flower-patterned dress from the wall” to prepare for going out.

The sound of the flute lingered, inviting Mi to play, and she could not resist. She had truly come alive and transformed, breaking free from the oppressive forces of power, religion, and patriarchal control. However, before Mi could carry out her plans, A Su bound her to a pillar with a hemp rope. It seemed Mi had forgotten her physical pain as her soul followed the call of freedom. The sound of horse hooves hitting the ground brought Mi back to reality, “Mi sighed, thinking she wasn’t even as good as the horse.” Her fate as a daughter-in-law working off debt was no different from, or even worse than, the life of animals like the buffalo or the horse.

Hidden beneath her resignation was a fierce will to live. This was demonstrated when Mi cut the ropes tying A Phu and ran away with him from Hong Ngai. This act of liberation was her self-rescue. It came from her deep compassion, “loving others as she loved herself.” Mi freed herself from the oppression of power, religion, and patriarchy. Though this action was spontaneous, it was entirely reasonable.

Not only does To Hoai depict the fate of women, but he also illustrates the condition of the mountain man enslaved by life. That person is A Phu, who lost his parents at a young age and had no relatives. He became a commodity to be exchanged for rice, but “A Phu was stubborn and did not want to stay in the lowlands, so he fled to the mountains, eventually arriving in Hong Ngai.”

Though poor, A Phu worked hard to support himself. He knew “how to make a plow, how to carve a hoe, was a skilled farmer, and was brave in hunting wild oxen.” Because of this, many girls considered A Phu “just as valuable as a good buffalo at home; soon enough, you’d be wealthy.” A Phu was courageous, able to overcome hardships and dangers. He lived freely, close to nature, but due to his actions against the landlord’s son, he was forced into slavery.

A Phu’s violence against A Su was not out of a combative nature but because he refused to accept the rule of evil. The oppressive power turned a free-spirited man into one resigned to his fate. A Phu endured cruel beatings but “remained silent like a stone statue.” He had accepted his life working off the landlord’s debt. After a hunting trip, A Phu lost a cow, and he was tied to a pillar with “ropes wrapped from his feet to his shoulders.”

This situation moved Mi’s compassion. She thought: “In this state, he will likely die tomorrow, die painfully, die from hunger or cold, and must die,” so Mi cut the ropes to save A Phu. The act of “struggling to break free and run” showed his desire for life, his longing to escape his debt slave status. He had awakened to join the guerrilla movement in Phieng Sa, participating in the revolution.

The story “A Phu and His Wife” holds both profound realism and humanitarian values. Through the work, To Hoai condemns the feudal system and the ruling class that exploited people through usury. Mi was offered as collateral due to her parents’ debts. The author also criticizes outdated superstitions like the “spiritual offerings,” which trapped people in superstition and prevented them from saving themselves.

Additionally, the author expresses sorrow and empathy for the mountain laborers who had to endure oppression from corrupt and malicious ruling classes. To Hoai praises the latent, fierce vitality within these people. This vitality helped them break free from their slave lives and join the revolution for freedom.

Through individualized writing, the author created two characters that represent people with noble qualities but forced to endure tragic, painful fates. Mi embodies a character of internal struggle, while A Phu represents a character of action. The backdrop for their emergence is the stunning landscape of Northwestern nature: “the wind blows through the golden fields,” and “in the Mèo Đỏ villages, flower-patterned skirts were spread out on the rocky hills like colorful butterflies.” These details are rich in imagery.

Along with this, the story features unique customs and practices such as wife-buying rituals, penalty scenes, and legal cases. The story is told from the third-person perspective, and the narrative viewpoint shifts from an outsider’s to an insider’s, balancing both objectivity and empathy for the characters. Moreover, To Hoai adds meaningful, evocative details like the flute and the sound of hooves, and the prose is deeply poetic, adding to the appeal of the work.

In “A Phu and His Wife,” To Hoai provides readers with a comprehensive view of life in the Northwestern region. The pages may close, but its resonance lingers. Even though To Hoai has passed, his works remain timeless in the hearts of readers, now and in the future.