Top 10 Best Analytical Essays on the Second Stanza of Xuân Diệu's Poem 'Vội vàng' (Literature 11)

Xuan Dieu's poetry is both intricate and emotional, with a distinct style in both its imagery and its poetic technique. When we think of him, it's impossible not to mention his famous poem 'Vội vàng.' This piece is not just an overflow of emotions; it also serves as the poet's declaration of his zest for life. Particularly in the first part of the poem, Xuan Dieu boldly expresses his desire to seize the unique beauty of spring. In the second part, however, he introduces a novel perspective on time and youth.

In classical literature, time was seen as cyclical — a never-ending loop, where it always returns to its origin. This view is rooted in a 'static' understanding of the universe, where time is measured by the life cycle of the cosmos. In contrast, Xuan Dieu holds a revolutionary view of time:

Spring is coming, meaning spring is fading,

Spring is young, meaning it will grow old,

When spring ends, it means I will also be lost.

While past generations were content with the flowing of time, believing in its cyclical nature, Xuan Dieu perceives time, spring, and youth as fleeting — once gone, they never return. This fear of time slipping away rapidly fills him with anxiety. What he dreads most is the passing of youth, for time flows like a river, and every moment that passes is forever lost. The contrasting pairings of words such as 'coming - passing,' 'young - old' highlight his delicate perception of time's inevitable march. Through repetitive definitions and the phrase 'it means,' Xuan Dieu makes an undeniable statement: Even if spring is coming, it will eventually fade, and youth will be gone.

Faced with this undeniable truth, Xuan Dieu cannot help but express his sorrow. His use of commas creates a melancholic rhythm, almost choking with emotion:

My heart is vast, but the heavens are cramped,

Not allowing the youth of humankind to last,

What’s the use of saying spring is cyclical,

If it returns, it will not be the same again.

There is the earth and sky, but there is no me forever,

Thus, I feel sorrow for both the earth and sky.

'My heart' and 'the heavens' represent the contrasting extremes of finitude and infinity. Yet from Xuan Dieu's perspective, the finite human life is stretched to the infinite: 'My heart is vast,' while what should be infinite, time, becomes 'cramped.' The poem is full of sharp contrasts: 'vast' - 'cramped,' 'cyclical spring' - 'youth is irreplaceable,' 'exists' - 'does not exist.' These contrasts amplify the poet’s deep regret about the fleeting nature of time and life.

The limitations of human life, in relation to time, are most poignantly captured in the line: 'The earth and sky will remain, but I will not.' In the vastness of the universe, the infinity of time, human life and youth seem incredibly short. But Xuan Dieu is not mourning for himself or his lost youth; rather, it is the earth and sky that he mourns.

In contemplating this, Xuan Dieu becomes acutely aware of the subtle decay occurring in the universe, both in time and space:

The fragrance of the months always hints at separation,

Across mountains and rivers, whispers of farewell echo,

The gentle wind sighs through the leaves,

Is it angry because it must depart?

The birds’ songs abruptly stop,

Perhaps in fear of the fading of time.

Time, once invisible, formless, odorless, and tasteless, becomes tangible in Xuan Dieu’s poetry. Everywhere, one senses the lingering sadness, the quiet sorrow of farewells, the inevitable parting. The word 'rớm' (to become moist or teary) captures the delicate mix of melancholy, frustration, and regret.

The wind playing in the leaves is no longer a joyous natural melody, but a quiet lament at the passage of time. The birds that once sang cheerfully now stop abruptly, not because of any danger, but because they fear decay and wilting. Everything flows according to nature’s inevitable laws, without resistance.

The poem ends with a line full of emotion:

Never again, oh! Never again...

At this point, the poet realizes that no matter how hard he tries, he cannot halt the passage of time, nor can he keep youth and spring from slipping away. The repeated phrase 'Never again' emphasizes his deep sense of loss and helplessness. The burning desire, the bold dreams, have dissipated like smoke. All that remains is a poignant sense of regret, deepened by the lingering punctuation at the end. In his helplessness, Xuan Dieu seems to find a solution.

'Hurry, for the day has not yet turned to dusk.'

His words are a call to action, urging people to stand up and live fully in the present, to forget about the inevitable partings, and to embrace the joys that the present moment offers. 'Hurry, for the day has not yet turned to dusk,' is an urging to cherish every fleeting moment of life, to savor the lively feast that nature’s spring season offers before it slips away.

With just sixteen lines of verse, Xuan Dieu imparts a profound philosophy on time, spring, and youth. Though his words reveal a sense of regret about time and life, they also convey a powerful, passionate love for life itself.

Xuan Dieu, a renowned poet of the New Poetry movement, expresses a profound desire to fully embrace the fleeting beauty of youth and the precious time of life that only comes once. In his poem 'Vội vàng' ('Hurry'), he vividly conveys his passionate love for nature, coupled with a desire to live quickly, yet meaningfully.

The title itself captures the essence of the poem: the urgency to act before time slips away. The poet speaks of rushing through life, trying to capture the beauty of nature, even attempting the impossible—like stopping the sun or holding the wind—just to preserve nature’s fleeting beauty. Time flows endlessly, and the saying 'You can’t bathe in the same river twice' emphasizes the inevitability of change. The first stanza expresses a powerful longing to live urgently, to savor the beauty of nature to its fullest.

'Here are the bees and butterflies in the honeymoon period,

Here are the flowers in the green meadow,

Here are the young branches swaying gently,

Here is the melodious song of the birds.'

In the second stanza, the poet portrays nature at its most vibrant, as bees and butterflies represent the blissful honeymoon phase, and the birds symbolize the harmony of love. The imagery of the beautiful, thriving natural world reflects the poet’s perception of the world brimming with life and energy.

While in the first stanza the poet expresses a desire to fully embrace the beauty of nature by living quickly, in the second stanza, he justifies why he feels this urgency.

'Spring is coming, which means spring is already fading,

If spring is still young, it means it will soon age,

When spring ends, I too will be lost.'

In nature, spring is cyclical, but human life is short. Thus, the poet laments that human life cannot last long enough to fully enjoy spring. This understanding leads to his anxiety over time’s inevitable passage, and throughout the poem, everything begins to show signs of decay.

'The gentle wind whispers in the green leaves,

Could it be upset because it must fly away?

The birds, once chirping merrily, suddenly fall silent,

Could it be that they fear the coming decay?'

As time passes, everything in nature seems to wilt. The wind, once playful, now seems resentful of its departure, and the birds, once singing joyfully, cease their songs in fear of the inevitable decline. These vivid depictions illustrate the poet’s delicate and fresh perception of time’s passage and the inevitable fading of all things.

Upon realizing that one cannot stop the sun or bind the wind to hold nature still, the poet urges everyone to live with urgency, to seize every moment:

'Hurry! The day has not yet turned to dusk.'

These words call people to embrace life with passion, to live fully in the present, and to appreciate every moment before it slips away. Time moves on silently, and humans are bound within the endless cycle of life. The poet’s message is clear: live urgently, passionately, and meaningfully, savoring every fleeting moment of life.

The New Poetry period marked the liberation of the self, breaking free from the rigid and constrained view of literature in the feudal era. During this time, artists were like birds soaring freely, shedding their restrictive cages. Among them, Xuân Diệu, with his avant-garde style, became the most representative and modern poet of the New Poetry movement. His poem 'Vội Vàng' (Hurry Up) is one of the finest examples of his artistic approach, showcasing a passionate soul, as described by Hoài Thanh. Particularly, the second stanza, with its imagery of 'bees and butterflies' and 'endless spring,' reveals Xuân Diệu's fresh perspective on aesthetics and life.

In the first stanza, Xuân Diệu yearns to capture nature’s beauty, desiring to stop the sun and command the wind, wishing to seize the ultimate power of creation. However, in the second stanza, he offers an explanation for this longing: why he feels regret at the fleeting nature of time, why he wishes to control the forces of nature:

'Here are the bees and butterflies in their honeymoon,
Here are the flowers of the green fields,
Here are the leaves fluttering in the wind,
Here are the sweet notes of the bird's song.'

And here, the sunlight flickers on my eyelash tips,
Every morning, Joy knocks on my door,
The first month of the year tastes as sweet as a pair of lips,
I am overjoyed. But half of me is in a rush.
I do not wait for the sunset before the spring departs.'

The picture of spring in nature is vividly portrayed, filled with the beauty and energy of the season. Xuân Diệu brings to life a scene that is vibrant, full of vitality, and suffused with the light of joy. The image of the 'green fields,' the 'fluttering branches,' and the 'joyful birds' creates a harmonious and energetic springtime atmosphere. The sweet honey of 'bees and butterflies' and the intoxicating fragrance of flowers permeate the scene. Through these images, Xuân Diệu paints a picture of youth, vitality, and first love, much like a young man experiencing the world for the first time.

Here, we see Xuân Diệu's unique self—one that is passionate, fervently in love with life, and brimming with youthful longing. Only Xuân Diệu could compare the sweetness of spring to the sensual closeness of a kiss or the fluttering of eyelashes. If, in the past, classical poets used nature as a standard of beauty for humans, Xuân Diệu reverses this, comparing nature itself to human beauty, linking the beauty of nature to the human experience—whether it be the flutter of eyelashes or the intimacy of lips. Xuân Diệu’s spring is not only fragrant and colorful but also filled with the longing and passion of youth, the thirst for love, and the beauty of life.

This poem shows Xuân Diệu's modern view of beauty, which is no longer just about nature but about how deeply nature is intertwined with human emotions and experiences. It expresses a new concept of beauty: beauty must be fragrant, colorful, sweet, and full of life. This is the distinctive feature of his modern 'I.' Reflecting on the past, classical poets often viewed life as a turbulent sea or a fleeting dream, full of sorrow and despair. In contrast, Xuân Diệu, the poet of spring and love, seeks beauty in the present, in the vibrant and dynamic world around him. His new vision of beauty is firmly rooted in the here and now, a beauty that is alive with spring, passion, and desire.

But a great poem is not just about the content—it is also about the form. With his modern style, Xuân Diệu captivates readers with his free verse and long, expressive lines, mirroring his deep love for life and the intense emotions he experiences. The repeated structure 'Here is... of...' emphasizes the poet’s fervent celebration of spring’s beauty and nature’s vitality. It reflects the freedom and individualism of the New Poetry movement, where the self is liberated. Xuân Diệu's language is rich in imagery and emotion, using expressive words and vibrant descriptions that enhance the vividness of his spring imagery, such as 'bees and butterflies,' 'honeymoon,' 'green fields,' and 'fluttering branches.'

With his intense love for life, Xuân Diệu has painted a beautiful, sweet, and alluring picture of spring. His youthful perspective, seen through 'green eyes,' captures the essence of youth and love. Moreover, his innovative and modern style allows him to make readers fall in love with the color of spring and the feeling of love, transforming these emotions into something universal.

Có thể đưa ra nhận xét đó chính là thơ Mới là thời kì giải phóng cái tôi, để quan niệm phi ngã ở trong văn chương trung đại không còn là chiếc cũi giam bó hẹp người nghệ sĩ. Trong văn học thời kỳ này thì có rất nhiều nghệ sĩ đã dang đôi cánh thể hiện trí tưởng tượng của mình. Một trong số nhà thơ đó thì Xuân Diệu với bộ ý phục tối tân của mình dường như cũng đã lại trở thành đại biểu tiêu biểu nhất và ông được mệnh danh là nhà thơ Mới nhất trong các nhà thơ Mới. Trong các sáng tác của ông không thể thiếu được cái tên Vội Vàng. Trong bài thơ thì đặc sắc nhất chính là khổ thơ thứ 2 vì thông qua khổ thơ này cũng đã thể hiện được quan niệm nhân sinh quan mới mẻ của Xuân Diệu.

Nếu như người đọc nhận thấy được ở khổ thơ thứ nhất, Xuân Diệu ước ao thâu nhận, tắt nắng, buộc gió và có những ước muốn đoạt quyền năng tối thượng của tạo họa. Cho đến khổ thơ thứ 2 này thì nhà thơ Xuân Diệu cũng đã lí giải cho người đọc lí do vì sao ông cứ mãi tiếc nuối khi muốn tắt nắng, buộc gió lại:

Của ong bướm này đây tuần tháng mật

Này đây hoa của đồng nội xanh rì

Này đây lá của cành tơ phơ phất

Của yến anh này đây khúc tình si

Và này đây ánh sáng chớp hàng mi,

Mỗi buổi sớm thần Vui hằng gõ cửa

Tháng Giêng ngon như một cặp môi gần

Tôi sung sướng. Nhưng vội vàng một nửa

Tôi không chờ nắng hạ mới ngoài xuân.

Thông qua đoạn thơ ta nhận thấy được bức tranh thiên nhiên, cảnh vật mùa xuân thật tươi đẹp, ngọt ngào xuân sắc, rạo rực xuân tình. Hình ảnh của bức tranh mùa xuân hiện lên trong sáng, tràn đầy sức sống luôn luôn trẻ trung, ngập tràn ánh sáng niềm vui. Một bức tranh không chỉ có sắc màu sức sống mơn mởn, non tơ thanh khiết mà còn có ánh sáng và âm thanh rộn tiếng ca vang của chim chóc. Trong chính cái vị ngọt ngào trong vị ngọt của ong bướm thì tất cả dường như cũng vô cùng ngào ngạt hương của mây trời, cỏ cây hoa lá. Chúng ta có thể nhận thấy được có cả những nét vẽ của Xuân Diệu dường như cũng đã tạo nên vườn xuân đắm say, để như quyến rũ được nhìn bằng cặp mắt xanh non và rờn biếc của chàng trai trẻ đnag lạc bước vì lần đầu tiên đến thế giới này. Thông qua đây ta nhận thấy được đây cũng mới chính là cái tôi Xuân Diệu. Cái tôi Xuân Diều cũng là một cái tôi tha thiết, rạo rực ái ân, tất cả dường như thật rạo rực những yêu thương mãnh liệt. Thêm vào đó là mật ngọt của tình yêu tuổi trẻ, cũng vì thế mà chỉ có Xuân Diệu mới có những so sánh đặc sắc và đầy tính nhục thể như vậy mà thôi. Hình ảnh được so sánh vô cùng hấp dẫn:

Tháng Giêng ngon như một cặp môi gần.

Và này đây ánh sáng chớp hàng mi

Nếu như chúng ta nhận thấy được trước đây trong thơ ca trung đại lấy thiên nhiên làm chuẩn mực cho vẻ đẹp của con người thì đến bài thơ Mới Xuân Diệu một lần nữa minh chứng cho chúng ta nhận thấy điều ngược lại, thiên nhiên hay cảnh vật cũng được so sánh với con người. Điều này cũng lại được thể hiện có những dáng vẻ và những nét đẹp của con người đó là “hàng mi”. Bên cạnh đó còn có những so sánh rất gợi tính nhục thể mà Xuân Diệu sử dụng đó là “cặp môi gần” tất cả dường như cũng rất gợi cảm giác của tình yêu. Có lẽ chính vì thế mà bức tranh xuân không chỉ có hương thơm và mang được màu sắc mà còn chất đầy bầu máu yêu thương khát khao của Xuân Diệu. Tất cả như cũng lại ngập tràn xuân sắc, rạo rực xuân tình, có thể nhận thấy được chính cái đẹp của cuộc đời được hình tượng qua tuổi trẻ và tình yêu.

Với khổ thơ thứ hai này thì nhà thơ bộc lộ những quan niệm mới mẻ của về cái đẹp: cái đẹp phải thấm hương đượm sắc, mang được biết bao những ngọt trong vị, đậm trong hương. Qủa thực chính với các nét mới của cái tôi thơ Mới chính là ở đó. Khi ta quay trở lại một chặng đường dài thơ ca về trước, thì ta nhận thấy được rằng các nhà thơ trung đại thường quan niệm về cuộc đời như một cuộc bể dâu, đó là một giấc mộng. Qủa thực đó cũng chính cuộc đời là cuộc bể dâu. Và còn cũng cùng là trong thời kì thơ Mới, nếu như tác giả Thế Lư tìm cái đẹp ở trên thiên thai với thi phẩm nổi tiếng Tiếng sáo thiên thai, nếu như Huy Cận tìm đến với cái đẹp ở xa trong không gian tìm đến cái đẹp của cổ điển. Còn với nhà thơ Chế Lan Viên tìm cái đẹp ở xưa trong thời gian mà giờ chỉ còn là một đống điêu tàn đổ nát thì Xuân Diệu – được biết đến là một chàng thi sĩ của xuân và tình của chúng ta, tất cả dường như cũng lại tìm cái đẹp ở ngay mảnh đất hiện tại này, cái đẹp ở chính ngay trần gian tươi đẹp, ngập tràn xuân sắc luôn mang được một sự rạo rực xuân tình, cái đẹp thắm hương sắc. Với Xuân Diệu thì lại “đốt cảnh bồng lai và xua ai nấy về hạ giới” bởi vì hạ giới là nơi đẹp chẳng khác gì chốn bồng lai.

Nhưng để đánh giá một khổ thơ hay hay không thì luôn phải được kết tinh từ nội dung, nghệ thuật. Thực sự với khổ thơ thứ 2 trong bài thơ Vội Vàng này cũng đã làm mãn nhãn người đọc bằng những câu từ có hình, có vần điệu độc đáo. Sử dụng thơ tự do đan xen những câu văn dài hơi đem lại một sự sung sức như chính tấm lòng nồng nàn yêu đời mãnh liệt của Xuân Diệu. Tiếp theo đó chính là các cách điệp cấu trúc được dùng như: Này đây…của… thì ta nhận thấy được đó cũng là sự khẳng định vô cùng nồng nhiệt và hăng say vẻ đẹp của mùa xuân trên mảnh đất thực tại nơi hạ giới. Về mặt ngôn ngữ giàu sức gợi, những từ láy đầy sức biểu cảm đã góp phần làm nên thành công của đoạn thơ. Ta như nhận thấy được hình ảnh thơ trẻ trung, tươi mới, táo bạo “ong bướm, tuần tháng mật, hay đó là hình ảnh hoa đồng nội xanh rì, cành tơ phơ phất, khúc tình si, thần Vui,… tất cả cũng như đã góp phần cho thấy lòng yêu đời và ham sống bồng bột của Xuân Diệu.

Thông qua bài thơ Vội Vàng và đặc biệt là khổ thơ thứ 2 ta nhận thấy được cũng chính với tấm lòng yêu đời, yêu sống mãnh liệt Xuân Diệu lúc này đây như đã vẽ nên một bức tranh mùa xuân tươi đẹp, một mùa xuân vô cùng ngọt ngào, quyến rũ và thanh tân trẻ trung bởi cặp mắt xanh non. Không chỉ vậy mà thông qua tác phẩm cũng mới thấy được tài năng của nhà thơ với bộ y phục vô cùng tối tân của mình đã làm say đắm tâm hồn bao trái tim độc giả về mùa xuân vầ tuổi trẻ và về tình yêu.

'Hurry!' is one of the most remarkable poems in the collection 'Poetry' (1938). Even though more than 60 years have passed, its fresh thoughts about time, youth, and the love of life continue to captivate us in a strangely compelling way. The following passage is an excerpt from the second part of 'Hurry!' in which poet Xuan Dieu reflects on his perception of time:

'Spring is coming, which means spring is leaving'

'Spring is still young, meaning spring will age'

'And when spring ends, it means I will also vanish'

'My heart is wide, but the heavens are narrow,

Not allowing the youth of mankind to last long'

Why speak of spring’s eternal cycle

If youth will not return a second time!

While the earth and sky endure, yet I will not remain'

'So I grieve, mourning the earth and the heavens'

The first two lines in this passage, with a rhythmic break of 3/5, convey the lively and playful nature of spring and time:

'Spring is coming / which means spring is leaving'

'Spring is still young / meaning spring will age.'

The contrast between the words 'coming' and 'leaving,' 'young' and 'aging' illustrates the continuous movement of spring and time. The flow of time is relentless, infinite. In the present, the 'coming' already carries a trace of departure, as 'coming' turns into 'leaving'—a poetic expression. Even in the 'young' spring today, one can already foresee its inevitable aging. The poet’s unique perception of time and spring is deeply refined and expressive. This is a progressive idea. The words 'young' and 'aging' are used to show the passage of time through a soul full of longing and fresh perceptions of life.

'Love comes, love goes, who knows

In every encounter, there’s a seed of parting…'

'Hurry! Hurry, come with me!'

'You, my dear! Spring will soon age…'

('Urging')

He also sees the ceaseless change of everything. Spring, time, and life are all so wondrous:

'A few days ago, the flowers were in bloom'

The fragrance still lingers in the air

But like a fleeting doubt

The fruit is already real.'

('The young soursop fruit high above')

The next seven lines speak of the paradox between youth, life, and time in the universe. This is the tragedy of mankind and life itself. When 'spring ends,' youth passes, and 'it means I will also vanish.' The meaning of life is lost. Youth is so precious! Each person only has one period of youthful years, just as time slips away without return:

'When spring ends, it means I will also vanish.'

'The heavens are narrow,' yet 'my heart is wide,' desiring eternal life, wishing to remain young forever. The harsh reality of life is that 'the heavens will not grant mankind a long youth.' 'Beauty does not last for a hundred days - Life does not last for a hundred years' (Nguyen Du). 'Every year, one age comes, chasing spring away' (Proverb). Once again, the poet places words in contrast between 'wide' and 'narrow' to highlight the paradox of human life. This is also a practical perception of time.

'My heart is wide, but the heavens are narrow,'

Not allowing the youth of mankind to last long

Spring cycles endlessly (spring past, spring comes, spring never ends), but a person only has one youthful period. Youth cannot return a second time. The universe and nature are eternal, boundless. On the contrary, human life is finite. Human existence is full of tragedy. Everyone wishes to remain young forever, to live in their youth. The poem’s voice rises like a lament:

'Why speak of spring’s eternal cycle'

If youth will not return a second time!

While the earth and sky endure, yet I will not remain'

'So I grieve, mourning the earth and the heavens'

'Grieving the earth and sky because we cannot be young forever to fully enjoy all the beauty of nature and life. This is the deep love for life, the desire to live fully, embracing youth:

'Nineteen years old, oh those girls with jade-like skin'

Chirping birds, that is the age of dreams and flowers!

Beware, beautiful boys, forever singing with joy.'

'Nineteen years old! Flowers never bloom twice!'

('Beauty' - Xuan Dieu)

'Youth will not return a second time' is like 'Nineteen years old! Flowers never bloom twice,' and that is the tragedy of humanity, both in the past and now. Only those who love life and cherish youth can deeply feel this tragedy. Therefore, one must not waste time and youth.

The last two lines overflow with emotion. The poet listens closely to the ticking of time, to the 'soft sighs of parting' from rivers and mountains, and from nature. Xuan Dieu is incredibly sensitive to the passing of time, expressing it through the 'smell,' 'taste' of the months, and the inevitable flow of time. This is a very poetic, very refined perception of time:

'The smell of May fills the air, a taste of farewell.'

Across the rivers and mountains, the soft sighs of parting.'

This passage reveals the beauty of Xuan Dieu’s poetry: the careful crafting of words, the delicate expression of emotions, and a progressive view on time, spring, and youth. The personal 'I' is affirmed. The love of life, living to the fullest, living in love—these are very beautiful ideas.

Xuân Diệu stands as one of the most prominent figures in the Vietnamese New Poetry movement. His poetry is filled with profound emotions, winning the praise of readers and critics alike. He has left an invaluable legacy in Vietnamese literature, with one of his most celebrated works being the poem "Hurry!" from the collection "Poetry Poems". This piece reflects the beauty of human life and the poet’s positive outlook on life. We can clearly see this in the second stanza of the poem.

In the first stanza of "Hurry!", Xuân Diệu introduces readers to a stunning picture of spring, full of flowers, buzzing bees, fields, and birds, alongside a fiery passion. However, in the second stanza, the reader senses the poet's deep anxiety as time seems to fly by swiftly.

"Spring is coming, which means spring is leaving

Spring is young, meaning spring will grow old"

Readers become immersed in Xuân Diệu's delicate verses, realizing that time passes quickly, leaving behind feelings of regret and fear. The poet uses pairs of words such as "coming" and "leaving", "young" and "old" to depict the opposing states of time. While the poet enjoys the breathtaking spring—immersed in the vibrant flowers, buzzing bees, and intoxicating scents—there is still an underlying fear. The fear that time will take it all away. Spring, youth, and life cannot be retained. They slip away, never to return. Therefore, humanity must cherish every second, every moment, and live urgently, or risk losing the beauty of youth.

"And when spring ends, I too will be gone

My heart is vast, but the sky is narrow

It does not allow the youth of humanity to last."

Each passing day, each passing month shortens our lives. When spring fades, it marks the end of life itself, forever lost. Although the human heart is vast, filled with dreams and desires, what can one do when time is limited? The poet recognizes that youth is fleeting, and we cannot prolong it. The realization of time's speed brings even greater unease and worry, as Xuân Diệu expresses:

"Why even say that spring is cyclical

If youth never returns
As long as heaven and earth remain, I won't last forever

So I am wistful, I mourn both heaven and earth"

The universe is vast, the earth wide, but human life is small and finite. Time cannot be reversed. The poet acknowledges that while spring might be cyclical, youth is not. Youth cannot return, and we can never regain that boundless energy and vitality we once had. The feeling of melancholy and regret over time is overwhelming, as if the entire sky and earth are suffused with this longing.

"The scent of May carries the bittersweet taste of farewell

Across mountains and rivers, there is a subtle sound of departure

The gentle wind whispers through the green leaves

Could it be anger at having to fly away?

The birds' joyful songs suddenly fall silent

Could it be fear of fading away soon?"

This is the immutable law of nature that everyone must inevitably regret. The taste of time is tinged with the sorrow of parting, and across the mountains and rivers, the world mourns in silence. Even the light spring breeze, so soft and full of life, whispers in a hushed tone, while the once jubilant song of the birds fades away. Perhaps all of nature fears time—the tears, the separation, the inevitable decay with the passing years.

"Never again, oh! Never again...

Hurry, for the day has not yet faded"

In the end, if we keep waiting and hoping, we will never achieve our dreams. The gentle but urgent cry of "oh!" expresses both regret and a call to action. It urges us to race against time, to live fully before the day wanes. "Hurry up!" is a wake-up call for those who are sluggish or unaware. Live quickly, live with urgency, and live responsibly to seize those precious, vibrant years of youth.

Though this stanza is not long, through Xuân Diệu’s poetic skill, we are reminded of a beautiful way of life. It encourages us, especially the youth, to think positively, to give our best every day, to keep learning and working meaningfully, so that we can live a fulfilling life, without regrets.

Xuân Diệu, known as the poet of love and youth, earned the title 'the king of love poetry'. Before the revolution, with his two collections 'Thơ Thơ' and 'Gửi hương cho gió', Xuân Diệu was firmly established as 'the most modern poet of the new generation' (according to Hoài Thanh). His poem 'Vội Vàng', from the collection 'Thơ Thơ', exemplifies Xuân Diệu's signature style, celebrating the fleeting nature of youth and time. The passage we're about to analyze conveys Xuân Diệu's philosophical views on time, youth, and his intense desire to live meaningfully and fully in the moment. In this poem, the poet urges us to live passionately, as if each moment were fleeting.

Xuan Dieu is an outstanding New Poetry poet who made significant contributions to Vietnamese literature. One of his best-known poems is "Hurry" from the collection "Poetry Poetry." This work presents a fresh depiction of spring and explores deep human existential themes. The second part of the poem reflects profoundly on the philosophy of time and life.

"Spring is coming, which means spring is passing"

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

"When spring ends, it means I will also pass"

"My heart is wide, but the sky is still narrow"

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

In the first stanza, the poet creates a beautiful image of spring with bees, flowers, fields, and birds, accompanied by the passionate love of the poet. But in the second stanza, Xuan Dieu expresses a deep anxiety about the inevitable passage of time. It seems that the poet is deeply aware of the relentless flow of time. While enjoying the beautiful spring, he fears that time is slipping away, and that spring will not last. Each passing moment shortens human life. Time, youth, and spring cannot be reclaimed. Thus, every moment must be cherished and lived to the fullest. The use of opposites like "coming"-"passing" and "young"-"old" reflects the poet's sensitive perception of time. With each passing day and year, life becomes shorter, and when spring is no longer felt, it signifies the end of life itself. Despite the vastness of the world, human life is finite, and one must accept that youth will not return. The poet feels increasingly restless and anxious:

"Why speak of the fact that spring still returns"

"If youth does not return twice"

"The earth and sky still exist, but I will not remain"

"So I sigh, I regret both the earth and the sky"

The vastness of the universe, and the smallness of human life, highlights the inevitability of aging and loss. Even though spring may return, youth never will, and so the poet is filled with sorrow and regret. The feeling of separation is further emphasized by the imagery of time and nature's cycles:

"The scent of May carries the taste of separation"

The gentle wind whispers through the green leaves"

"Could it be angry, for it must fly away?"

"Birds that sing suddenly stop their joyful sound"

"Could it be that they fear the inevitable fading of time?"

This is the immutable law of nature: everything, from time to life, cannot escape the cycle of change. The scent of time lingers with the bitterness of parting, the mountains and rivers whisper goodbye, and even the spring breeze softens as if it too is afraid of leaving. Even the birds' joyful songs fall silent in fear of the fading of time.

"Never again, oh! Never again..."

"Quickly, let us go before the evening sets"

Finally, the poem reminds us that we must act now, as time slips away and opportunities are fleeting. The poet's gentle yet urgent plea—"Quickly, let us go before the evening sets"—is a call to live with purpose, not to waste time, and to live fully before the season of youth fades away.

The poem may not be long, but it conveys deep feelings and lessons about life, especially for the younger generation. Xuan Dieu, known as the poet of spring and love, writes with an intense passion for life and a heightened sensitivity to the passage of time. His works inspire us to make the most of our youth, to live meaningfully, and to cherish every moment.

Vietnamese literature, with its hallmark of New Poetry, has left a lasting impression through many remarkable works. Among the poets, Xuan Dieu stands out as a towering figure with numerous collections of poems on love that captivate and enchant readers. 'Hurry' is a quintessential piece that explores human beauty and the poet's positive life philosophy. This is especially evident in the second stanza of the poem.

In the first stanza, the poet, in love with nature's beauty, wishes to seize the power of creation, 'stop the sun,' 'bind the wind.' However, in the second stanza, the poet offers a deep and positive reflection on the transient nature of life. The opening lines of this stanza are striking, revealing how quickly time passes, with the use of a 3/5 rhythm break.

'Spring is coming, which means spring is passing'

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

Readers are drawn into the poem by Xuan Dieu's delicate and bold description of time's swift passage, evoking a sense of regret and fear. The contrasts between 'coming' and 'passing,' 'young' and 'old' mark the poet's confrontation with the passage of time. In older poetry, time was often seen as fleeting, but with no direct sorrow. However, in New Poetry, the brevity of human life is more sharply acknowledged, with an urgent awareness of its finite nature. A similar sentiment is found in the lines of Man Giac Thien from 'Cao Tat Thi Chung':

'Spring leaves, flowers fall'

'Spring peaches, flowers bloom'

In the vastness of space, humans shrink before the relentless passage of time, realizing their own insignificance. Though spring today is beautiful, it too will fade with time, an inevitable process no one can stop.

'Time slips through fingers'

'Drying the leaves'

'Memories within me'

Falling like pebbles in the well'

When spring fades, so does youth, and the poet feels helpless, unable to hold onto anything as time erases all, even youth itself:

'When spring ends, it means I too am lost...'

'Never again, oh! Never again...'

Here, the poet emphasizes the importance of spring and youth, symbolized by the recurring reference to 'spring' throughout the poem. As youth passes, 'I' becomes insignificant, hollow, because love has faded. The contrast between 'my heart' and 'the sky's limits' symbolizes the finite nature of human life against the infinite expanse of the universe. This highlights the unending cycle of time, the inevitable progression from birth to death. The poet's lament over time's linear, irreversible flow is clear in these lines. The passing of spring is also the passing of life, and everything is overshadowed by anxiety, prompting the poet to long for youth. In Xuan Dieu's poetry, there's a subtle yet profound sense of regret, not for the passage of youth itself, but for not being able to experience the full richness of the world while it lasts.

A few short lines, yet deeply philosophical, reveal Xuan Dieu's romantic soul and unique personality. 'Hurry' remains an enduring masterpiece, timeless and relevant.

In the book “Vietnamese Poets”, the literary critic Hoai Thanh once stated: “Xuân Diệu’s poetry is a vibrant source of life never before seen in this quiet land.” When we mention Xuân Diệu, we cannot overlook one of his most iconic poems, ‘Vội vàng.’ Taken from the collection ‘Poetry of the Young,’ ‘Vội vàng’ reflects the poet’s obsession with time and his passionate longing for life. The first part of the poem conveys a bold desire to embrace the beauty of spring, while in the second part, the poet explains why he must live urgently.

Why is Xuân Diệu in such a hurry, lamenting the fleeting nature of spring while it is still blooming? Perhaps it is because the poet has a very novel view of time:

Spring is coming, which means spring is leaving

Spring still young means spring will grow old

And when spring is over, it means I am also lost

My heart is wide, but the sky is always narrow

It doesn't allow the youth of mankind to last long.

While people in the past were always at peace with the flow of time, believing that time was cyclical, Xuân Diệu believed that time, spring, and youth were irreversible. Therefore, Xuân Diệu often expressed anxiety and distress as time rushed by. The poet does not merely regret the passing of months and days but mourns every fleeting moment. In another poem, he also wrote:

I am from that moment, passing into this moment

Xuân Diệu feared that youth would pass, and old age would come quickly because time is like a flowing river, with each moment that passes being lost forever. The use of contrasting pairs like “coming – passing,” “young – old” demonstrates the poet’s delicate sensitivity to the march of time. Along with a series of prose-like lines and the repetitive phrase “means that,” Xuân Diệu firmly asserts an undeniable truth: although spring is coming, it will eventually pass, grow old, fade, and so too will youth. Faced with this undeniable reality, Xuân Diệu cannot help but exclaim. The continuous commas create a sorrowful, choking rhythm.

To strengthen the argument and make people believe in the reality that spring and youth are linear, Xuân Diệu actively engages in dialogue, debating and rejecting the old belief that spring is cyclical:

Why say that spring is still cyclical

If youth never returns twice?

For Xuân Diệu, youth does not return, and therefore spring cannot be cyclical. So, the poet laments spring, but in fact, he laments youth. And this is the deeper reason that drives him to live urgently, even when spring has just begun:

The sky and earth remain, but I will not stay forever

So, I feel restless, mourning both heaven and earth

Indeed, in the vastness of the universe, in the endless flow of time, human life, youth, and existence seem fleeting, fragile, like a shadow crossing a window or a blink of an eye. Reflecting on this, filled with sorrow over it, Xuân Diệu brings a fresh, poignant sorrow to Vietnamese poetry. “With the belief that life does not return, and with a very sensitive soul, one can even hear the whisper of the universe” (Thê Lữ), Xuân Diệu feels deeply the silent fading that is unfolding within the universe, across both space and time.

Every month’s scent is tinged with the scent of separation

Across mountains and rivers, a quiet farewell lingers

The gentle wind whispers through the leaves

Perhaps it is angry because it has to fly away?

The birds chirping suddenly stop their joyful calls

Perhaps they fear the inevitable withering soon to come.

Time has the scent of separation, and everywhere in space, there is the sound of quiet farewells, the hushed whispers of parting. The wind playing in the leaves does not bring cheerful, lively sounds of nature but is instead a lament, bitter at the flow of time. Birds’ joyful songs suddenly cease, not due to any danger, but because they fear the inevitable fading and withering. Thus, nothing can resist the cruel law of decay in creation. Influenced by the theory of interrelationship in symbols of decay, Xuân Diệu not only brings a delicate, fresh perception of time but also an entirely Western and modern approach to it:

Every month’s scent is tinged with the scent of separation.

Time, which is normally formless, invisible, and without smell or taste, suddenly takes on the scent of separation in Xuân Diệu’s poetry. In traditional and modern poetry alike, it is rare to find such a perception.

Closing the first part of the poem – the explanation of why one must live urgently – the poet’s verse floods with emotion:

Never again, oh! Never again...

Hurry up, for spring has not yet set the evening sun

At this point, the poet has realized that there is no way to stop the sun or hold back the wind to preserve the eternal spring, eternal youth. The burning desire, the bold wish has dissolved into smoke. Only bewilderment and an urgent exclamation remain, as evident in the punctuation marks between the verses. One cannot stop the wind or the sun to keep spring’s beauty forever. Xuân Diệu urges himself and everyone to live urgently, to race with time: ‘Hurry up! Spring has not yet set the evening sun.’ This imperative tone carries a strong sense of urgency and resolution, made even clearer by the use of an exclamation mark. The line ‘Hurry up! Spring has not yet set the evening sun’ perfectly exemplifies Xuân Diệu’s restless spirit before the August Revolution. Not only in ‘Vội vàng,’ Xuân Diệu constantly urges everyone to live quickly, to live urgently:

Hurry up! Time will not wait

– Hurry up, my love, I fear tomorrow

Life flows, and our hearts are not eternal

– Hurry up! Live urgently, hurry with me

My dear, our young love will soon fade away!

The phrase ‘Spring has not yet set the evening sun’ is a new and intriguing combination. Xuân Diệu uses the term for the end of the day to signify the end of the season. ‘Spring has not yet set the evening sun’ means spring has not yet faded, has not yet withered, so hurry up and enjoy it while it lasts.

It is clear that Xuân Diệu’s unique perception of time stems from his deep “awareness of the individual’s existence.” This fresh perspective has led us to cherish every moment of life, to embrace a full, meaningful existence. In his poems, we witness the poet’s fierce desire to live, his passionate yearning for life. From that, we are reminded to value a positive, progressive outlook on life. As Professor Nguyễn Đăng Mạnh once said: “This is the voice of a soul that loves life, loves living passionately. But behind these feelings, there is a new view of life that has not been seen in traditional poetry.”