The excerpt 'Kiều at the Pavilion of Silence' is both a vivid depiction of nature and a reflection of inner turmoil, skillfully structured to mirror the emotional journey of the protagonist. The shifting landscape aligns with the progression of Kiều’s emotional state. The first part introduces Kiều’s confinement at the Pavilion of Silence; the second explores her deep loneliness, longing for Kim Trọng and her parents; the third delves into her sorrow and the ominous anticipation of the storms to come in her life. The verses encapsulate the poignant rhythm of a heart torn by love. Kiều's longing is intense and heartfelt, imagining Kim's desperate wait for her, knowing their love was left unfulfilled. Just days before, they had promised eternal love, but now, they are separated, betraying their vow. The wine of their oath is still fresh, the moon above them bearing witness, yet they are now on different paths. In a moment of introspection, Kiều mourns her lost innocence, reflecting on her isolation and the permanence of her devotion to Kim. Nature mirrors her internal turmoil, with each imagined scene representing a different layer of Kiều's suffering. Nguyễn Du masterfully captures the essence of Kiều's character, emphasizing the pain of love, the depth of her sorrow, and the beauty of her loyalty amidst tragic fate.
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IllustrationIt has been said, "With the Tale of Kiều, Nguyễn Du elevated the Vietnamese language to a true national tongue." Indeed, the more we reflect, the deeper we appreciate this: a national poet of great creativity has made the already beautiful Vietnamese language even more exquisite. The art of using nature to express inner feelings is a hallmark of Nguyễn Du's genius, and it's beautifully displayed in the excerpt from Kiều at the Pavilion of Silence. The first six lines reveal Kiều’s loneliness, sorrow, and despair: "feelings within scenes, scenes within feelings." The verses unfold as:
Before the Pavilion of Silence, the spring is locked,
The distant mountains, the nearby moon, together.
Endless horizons stretching far and wide,
Golden sands and dusty roads beside.
Dismay at the morning clouds and the night lamp,
Half love, half sorrow, like a heart torn apart...
These six lines capture a deep, sorrowful mood—a depiction of the Pavilion’s surroundings seen through Kiều’s eyes. Kiều is isolated in an immense, desolate space. The line "Endless horizons stretching far and wide” evokes a sense of space that feels both vast and suffocating, with nothing but water and clouds, real yet surreal. The natural setting—"distant mountains, nearby moon, golden sands, dusty roads"—lacks joy, life, or vitality. Kiều’s youth is locked away, confined to this isolated, empty place. She stands alone in the vastness of sky and sea, imprisoned in the towering pavilion. This lonely tower contains a lonely soul. The feeling of separation is mirrored in the phrase, "Half love, half sorrow, like a heart torn apart." A grand and expansive scene, yet saturated with Kiều’s sorrow. As Nguyễn Du wrote: "The sorrowful heart never finds joy in the scenery." In this oppressive space and endless time, the "morning clouds and night lamp" create a cyclical passage of time, further locking Kiều in solitude. Her sadness is deepened by the feeling that her own heart, torn between love and fate, is being ripped apart. Nguyễn Du’s portrayal of the physical and emotional desolation at the Pavilion is a poignant expression of Kiều’s tragic fate, showcasing both the beauty of nature and the sorrow of unfulfilled love.
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IllustrationThe first six lines capture Kiều's feelings of loneliness, misfortune, and sorrow as she faces nature at the Pavilion of Silence. The opening line, "Before the Pavilion of Silence, spring is locked," immediately highlights Kiều’s tragic fate. "Locked spring" refers to her youthful years being confined, and in this context, it symbolizes her imprisonment. Kiều’s youth is thus imprisoned, trapped in isolation, cut off from the outside world. The Pavilion of Silence becomes a prison for her life, reflecting the sadness and helplessness Kiều endures. The following verses describe the vast surroundings of the Pavilion, seen through Kiều’s emotional lens:
The distant mountains, the nearby moon, together.
Endless horizons stretching far and wide,
Golden sands and dusty roads beside.
Dismay at the morning clouds and the night lamp,
Half love, half sorrow, like a heart torn apart...
Nguyễn Du places Kiều in a unique situation—alone and isolated in an expansive, boundless space: "Endless horizons stretching far and wide." Standing on the pavilion and looking up at the sky, all Kiều can see is "distant mountains" and "nearby moon". When she looks down, she only sees vast emptiness, the waves gently undulating in the distance, long stretches of flat sandy shores, and in the evening light, the sands glisten like pink dust. The scene is beautiful, poetic, and romantic, yet it is deeply melancholic. There is no sign of human life anywhere. The phrase "endless horizons" conveys Kiều’s longing for life beyond the barren space around her. Despite her efforts to look for signs of life, all she finds is desolation and stillness. This emptiness evokes the same loneliness and longing that Huy Cận later expressed in his poem "Tràng Giang":
Endless, no ferry crosses,
No bridge to offer a sense of connection,
Silently, the green shore meets the golden shore.
Thus, hidden behind Kiều’s gaze is a longing, a yearning for happiness and hope, but the overwhelming emptiness of the surroundings only deepens her sense of despair. The line "Dismay at the morning clouds and the night lamp" represents the endless cycle of time, encapsulating Kiều’s isolation in both space and time, with nothing but clouds and light to accompany her. The phrase "Half love, half sorrow, like a heart torn apart" poignantly reveals Kiều’s conflicted emotions as she feels both sorrow for her fate and guilt for her broken promise to Kim Trọng. Nguyễn Du skillfully uses the art of nature to express inner turmoil, creating a vivid portrayal of Kiều’s tragic loneliness and her heartbreak.
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IllustrationUsing the remarkable technique of depicting nature to convey emotions, Nguyễn Du effectively captures the tragic mood of Thúy Kiều as she navigates the early hardships of her chaotic life. The verses linger in our minds, haunting us with a profound sympathy for her fate as a "beautiful woman with an ill-starred destiny." In the opening lines, the poet does not immediately delve into Thúy Kiều’s emotions but instead paints a picture of the surrounding natural world:
Before the Pavilion of Silence, spring is locked,
The distant mountains and the nearby moon share the sky.
Vast horizons stretch as far as the eye can see,
Golden sands and pink dust on distant shores.
The first four lines feature no human figures; only nature is described, or more precisely, nature as seen through human eyes, with the human character of Thúy Kiều retreating behind the words. Only her spirit is free, reaching out to nature in search of solace, attempting to ease the deep sorrow in her heart, hoping to find liberation for her troubled, confined soul. In this state of mind, Thúy Kiều looks outward, stunned by the breathtaking scene she encounters:
Before the Pavilion of Silence, spring is locked,
The distant mountains and the nearby moon share the sky.
The scene feels both real and dreamlike. The "distant mountains" seem like a remote and misty realm, while the "nearby moon" appears so close that it could be touched. This moon has long been familiar to Kiều. Not so long ago, she turned to the moon as a silent witness to her eternal love:
The moon shines brightly in the sky,
Steadfast in its promise, both sides of the same word.
Now, in this isolated corner of the world, the moon unexpectedly appears to accompany her in her solitude. The moon, though devoid of consciousness, remains unwaveringly loyal. In her moment of despair, the moon becomes a spiritual support for Kiều. From this vantage point, Thúy Kiều looks toward nature, reflecting deeply on her isolation and fate:
Vast horizons stretch as far as the eye can see,
Golden sands and pink dust on distant shores.
The rhythm of the poetry is steady, never monotonous, creating a sense of longing and sadness. This feeling is encapsulated in the word "dismay": Dismay at the morning clouds, the evening lamp. "Dismay" describes the feeling of shame in facing a dire situation. Kiều feels shame for breaking her vows to Kim Trọng, for being trapped in a brothel, and for the twisted turns of her destiny. In this state, nature seems to empathize with her plight, gently coming alongside her as a mental anchor, blending with her sorrow: Half love, half sorrow, as if dividing her heart.
Though the "love" and "scene" in the line seem divided by the word "divide," they are in perfect harmony: the scene contains the love, and the love pours its sorrow into the scene. Thus, when looking at the scene, Kiều’s many layers of sorrow are revealed.
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IllustrationThe first six lines reveal Kiều's deep feelings of isolation, misfortune, and sorrow as she faces nature from her confinement in the Pavilion of Silence. The opening line, "Before the Pavilion of Silence, spring is locked," immediately emphasizes Kiều's tragic condition. "Locked spring" symbolizes the confinement of her youth, imprisoned and cut off from the outside world. Kiều's youth is trapped within this forbidden realm, where no communication with the outside world is allowed. Hence, the Pavilion of Silence serves as a prison, a place where Kiều's life is held captive, underscoring her sorrow and suffering. The following lines describe the vast, desolate scenery around the Pavilion, seen through Kiều’s melancholic perspective:
"Distant mountains, the moon close in shared space,"
"Boundless horizons stretching far and wide,"
"Golden sands, pink dust scattered afar,"
"Shameful clouds in the morning, lamps in the evening,"
"Half love, half scenery, dividing the heart."
Nguyễn Du places Kiều in an extraordinary situation: alone, isolated, in the midst of an enormous, uninhabited space, as depicted by the phrase "boundless horizons." Standing on the pavilion, Kiều can only see "distant mountains" and the "nearby moon." Below her, the landscape is a vast emptiness, with distant waves and endless stretches of flat sand, shimmering in the evening light. The scene is both beautiful and melancholic, for there is no trace of human life around her. The phrase "looking far" suggests Kiều is yearning for some sign of life, but all she encounters is an empty, still world. Later, in the poem "Tràng Giang," Huy Cận writes:
"Vast, without a single boat crossing,"
"No bridge to evoke any sense of connection,"
"Silent green banks meeting golden shores."
Thus, Kiều’s "far gaze" hides a deep longing for a better future, but the overwhelming emptiness only deepens her despair and loneliness.
"Shameful clouds in the morning, lamps in the evening,"
"Half love, half scenery, dividing the heart."
The term "shameful" reflects Kiều's feelings of guilt and humiliation over her fate. Perhaps she feels ashamed because Mã Giám Sinh deceived her into the brothel, and she feels unworthy of the love Kim Trọng once had for her. The phrase "morning clouds, evening lamps" evokes the cyclical passage of time, symbolizing the monotonous, solitary existence Kiều faces. During the day, she is alone with the clouds, and at night, only the lamp’s flickering light accompanies her. Kiều’s emotions are torn between "half love" and "half scenery," as no matter how beautiful her surroundings, they cannot erase her inner sorrow.
In conclusion, through vivid imagery and expressive language, Nguyễn Du paints a picture of the Pavilion of Silence as a vast, empty space devoid of human presence, while also capturing Kiều’s profound loneliness, guilt, and emotional fragmentation as she endures her confinement there.
Illustration
IllustrationNguyễn Du, a renowned national poet, is also the person who introduced Vietnamese literature to the world through his masterpiece, The Tale of Kiều. This work serves as a profound commentary on the harsh realities of feudal society, revealing the cruelty of the ruling class and giving voice to the suffering of the oppressed. Through this, we can also see the author’s deep compassion and love for humanity. The excerpt "Kiều in the Pavilion of Silence" is one of the most poignant passages in this work.
This passage appears in the second part, "Family Tragedy and Wandering." After discovering she had been tricked into the brothel, Kiều, devastated, considered taking her own life. Fearing the loss of her investment, Tú Bà soothed her, arranged for medicine, and promised that once Kiều recovered, she would be married to a good man. However, the truth was that Kiều was locked away in the Pavilion of Silence, waiting for the right moment for Tú Bà to carry out her further plans. This passage reveals Kiều’s personal lament, her feelings of isolation and sorrow as she reflects on her lost love and the painful fate of her life.
The first six lines describe the natural surroundings of the Pavilion of Silence in terms of both space and time:
"Before the Pavilion of Silence, spring is locked,"
"Distant mountains, the moon close in shared space,"
"Boundless horizons stretching far and wide,"
"Golden sands, pink dust scattered afar,"
"Shameful clouds in the morning, lamps in the evening,"
"Half love, half scenery, dividing the heart."
The scene is viewed through Kiều’s eyes. The Pavilion of Silence, where she is confined, symbolizes the trapping of her youth. The phrase "locked spring" that Nguyễn Du uses for Kiều conveys deep sorrow. Alone in this vast Pavilion, Kiều’s only companions are the clouds and the lamp. The contrast between "distant mountains" and "near moon" evokes a sense of an overwhelming, desolate space with no human presence, just Kiều and her profound loneliness. The golden dunes, the distant pink dust, seem to acknowledge Kiều’s isolation but can never approach her to offer companionship. Amid the melancholic evening, Kiều feels as though her heart is split, caught in the cyclical, unchanging routine of "shameful clouds in the morning, lamps in the evening." Each day repeats with the same unaltered scenery, while Kiều’s sadness only deepens.
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IllustrationNguyễn Du, a great national poet, left behind a monumental body of work, with one of his most famous creations being *The Tale of Kiều*. Born into a wealthy and prestigious family, he faced tragedy when he lost both parents early in life. These difficult years of struggle and exile gave him a profound understanding of society, particularly the plight of women in the past. *The Tale of Kiều* is based on the Chinese story *Kim Vân Kiều Truyện* by Thanh Tâm Tài Nhân, which Nguyễn Du adapted into Vietnamese verse, using the eloquent *Lục Bát* form. His version, written in Nôm script, became one of the most influential literary works in Vietnamese history. Among the many parts of *The Tale of Kiều*, the passage *Kiều in the Pavilion of the Closed Spring* stands out for its brilliant use of landscape to mirror Kiều's emotions and circumstances.
"In front of the Pavilion of the Closed Spring, spring is locked away.
The distant mountains, the nearby moon, both share the same sky."
These two lines subtly allude to Kiều's lost youth, trapped in the Pavilion of the Closed Spring. The phrase 'locked spring' suggests both the end of her youthful days and her forced confinement in the brothel, where her once-vibrant life is now stifled. There is a deep sense of regret in these lines, as Kiều laments the loss of her youth while being confined in this lonely place.
The following line, "The distant mountains, the nearby moon, both share the same sky," highlights Kiều's isolation. In the vastness of the night, she has only the moon as a companion, and the distant mountains seem far beyond her reach. It paints a picture of solitude, with only nature's elements as her company. The lonely scene at night, with just the moon and the mountains, adds to Kiều's feeling of despair and separation.
The high position of the Pavilion of the Closed Spring allows Kiều to gaze at the distant landscape, yet the view only emphasizes her isolation. She looks out, but everything is far and unreachable.
"All around, an endless expanse, far and wide,
Golden sands on one side, pink dust on the other."
Kiều, lost in thought from her high vantage point, sees only endless expanses of golden sand and pink dust. During this time, she has no choice but to observe the nature around her, but it feels distant and unreachable. The golden sandbanks, towering like mountains, appear far away, while the pink dust is a vague sight, perhaps from a bustling road or just the wind blowing. This imagery shows that Kiều is trapped in a place so remote that she can only imagine the world beyond.
The golden sandbanks rise like mountains near the shore, their yellow hue either from aged sand or from the separation of the sand dunes. The pink dust, whether from a crowded path or just the wind blowing, symbolizes her disconnectedness from the world.
Through these lines, we see Kiều's growing sense of loneliness. The space around her is vast, and nature seems distant and indifferent to her plight. The farther the landscape, the more isolated she feels, emphasizing her deep sense of loneliness.
At night, the Pavilion offers only the moon and mountains as companions. During the day, it's the sandbanks and the dust. A person in despair, like Kiều, confined in such a place, would naturally reflect on her life, which seems as fleeting and insignificant as the dust and sand around her. This is Nguyễn Du's masterful use of nature as a metaphor for Kiều's emotional state. As the saying goes, "One who is sad finds no joy in nature." The natural world in these four lines is filled with loneliness and emptiness, mirroring Kiều's own isolation and suffering. The vastness of the world around her only serves to highlight her smallness and the absence of life.
The natural surroundings force Kiều to reflect on her situation:
"Shameful morning clouds, evening lamp light,
Half emotion, half scenery, torn between heart and mind."
In this context, 'shameful' refers not to a sense of embarrassment, but to her deep frustration and despair. Some interpret it as a sense of shame, but Kiều has nothing to feel ashamed of. She is confined to the Pavilion without having to entertain clients, so the 'shame' is better understood as her weariness and disillusionment with the repetitive life of staring at the clouds in the morning and the lamp at night. This life feels monotonous and draining.
The phrase 'half emotion, half scenery, torn between heart and mind' shows Kiều's internal conflict. She is caught between her feelings of love and her emotional response to the surrounding environment. This phrase beautifully captures Kiều's divided heart, reflecting her inner turmoil. The poet's brilliance lies in crafting a line that allows readers to interpret it in many ways. However, it is important to understand it within Kiều's context to grasp its true meaning.
With his flexible style of using nature to convey emotion, Nguyễn Du has created a vivid picture of both the outer landscape and Kiều's inner world. Her deep sorrow and despair are clear in this passage, as she is trapped in a lonely place with no human interaction, only the moon, mountains, and the unchanging passage of time. If Nguyễn Du hadn't fully empathized with Kiều, he would not have been able to express her emotional state so well. These six lines give readers a clear understanding of Kiều's difficult situation and her deep sorrow in this desolate, lonely place.
Illustration
IllustrationIn the first six lines of the excerpt *Kiều in the Pavilion of the Closed Spring*, Nguyễn Du paints a vivid picture of the natural landscape before the Pavilion of the Closed Spring through Thúy Kiều's emotionally charged perspective. The opening line, with the phrase ‘locked spring,’ brings to mind Kiều’s tragic situation: she is imprisoned by Tú Bà in the Pavilion, completely cut off from the outside world. From her high vantage point, she gazes at the natural world—before her, a hazy mountain range stretches into the distance; above her, a cold, distant moon hangs in the sky. Around her, the expanse is vast, with golden sands on one side and pink dust swirling on the other. The use of the phrase ‘bát ngát’ (endless) evokes a sense of overwhelming vastness, making the Pavilion seem suspended in a boundless, intimidating space. This setting reflects the depth of Kiều’s isolation, as the landscape becomes symbolic of her emotional state, not just a literal description. The ‘locked spring’ suggests not only the end of her youthful days but also her confinement. Time, too, feels imprisoned in the repetitive cycle of ‘morning clouds and evening lamps,’ which speaks to the monotony of Kiều’s life, as she spends her days alone, caught in a circular passage of time, separated from love and hope.
“Shameful morning clouds, evening lamp light,
Half emotion, half scenery, torn between heart and mind.”
In this context, the word ‘shameful’ is used not to suggest embarrassment, but a deep feeling of frustration and sorrow. Kiều feels overwhelmed by the emptiness of her surroundings, the desolate landscape, and the brokenness of her first love. ‘Half emotion, half scenery’ portrays Kiều’s inner turmoil, where the division between her feelings of love and the desolate landscape she inhabits seems to tear her heart in two. Nguyễn Du masterfully uses nature not only to describe the environment but to convey Kiều’s complex emotional state, revealing her deep sense of despair and isolation, as she confronts both the scenery and the memory of her lost love.
Illustration
IllustrationIn the first two lines, Kiều is trapped in a high, isolated pavilion, alone with only the ‘distant mountains’ and the ‘near moon’ for company. From her high vantage point, she can only see ‘the golden sands’ and ‘pink dust’ swirling in the vast, empty nature around her. This lonely, barren landscape in the Pavilion of the Closed Spring accentuates Kiều’s feelings of desolation, loneliness, and sorrow. These lines are an exquisite example of using nature to reflect the emotions of a character.
Regarding time, Kiều spends her days with the ‘morning clouds’ and nights with the ‘lamp light,’ all alone, caught in a continuous cycle of solitude, sadness, and hopelessness. The vastness of both space and time emphasizes her complete isolation, with no interaction or connection to the outside world. Her sorrow is compounded not only by the environment but also by unfulfilled love, creating a deep inner conflict that divides her heart.
The poem transitions smoothly between descriptions of the landscape and Kiều's emotional state, with the expansive space intensifying the feeling of vast emptiness. The imagery of ‘morning clouds’ and ‘lamp light’ extending into the night further reinforces her sense of hopelessness, as time stretches on endlessly. The merging of emotional and physical landscapes portrays Kiều’s internal turmoil, where the boundary between external scenery and internal emotions becomes indistinguishable. Nguyễn Du’s skillful use of nature and time highlights Kiều’s overwhelming sadness, pain, and fear, while also foreshadowing the kindness, filial piety, and loyalty that will emerge in later verses. The first six lines set the stage for the deeper themes of love, devotion, and sacrifice that will follow in Kiều’s journey.
Illustration
IllustrationThe first six lines depict nature as vast and overwhelmingly desolate. From her high perch, Kiều gazes at the endless mountains in the distance, looks up at the moon almost within reach, and below her, the golden sands stretch far, scattered with tiny pink dust clouds. This scenery heightens Kiều's sense of loneliness and isolation:
'Before the Pavilion of the Closed Spring, with spring locked away, The distant mountains and the nearby moon stand together.'
'Surrounding her, vast and endless, Golden sands and distant pink dust scatter far.'
The immense space unfolding before Kiều is clear, intensifying her sorrow and pain:
'Ashamed, with morning clouds and evening lamps, Half love, half landscape, as though dividing my heart.'
The word 'ashamed' captures Kiều's mood vividly: a mixture of despair and embarrassment towards her fate, as well as a deep sense of humiliation in front of the morning clouds and evening lamps. The scenery seems to share her sorrow, as though it empathizes with her: 'half love, half landscape,' representing the fracture within Kiều’s heart. The natural world here is not a mere backdrop; it is alive, reflecting Kiều's inner turmoil during her days of solitude at the Pavilion of the Closed Spring.
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