Top 10 Best Analytical Essays on Vũ Đình Liên's Poem 'Ông đồ'

The true brilliance of an artist is not measured by the quantity of their works, but by the lasting echoes of their most cherished creation. Some poets may not have written extensively, yet their words leave an indelible mark on our hearts. Vu Dinh Lien is one such poet. He appeared in the literary world as someone who deeply loved language and committed himself to the beauty of words. Through his poem 'The Scholar,' he painted a vivid, glorious image of a past that we long for and take pride in.

The poem begins by introducing us to the natural order, or perhaps the order of human existence:

Each year when the peach blossoms bloom

We see the old scholar again

Setting out Chinese ink and red paper

Along the bustling street

The blooming peach blossoms evoke the festive atmosphere of the Lunar New Year, a time that follows the timeless rhythm of nature. In this cyclical dance of nature, the appearance of the scholar seems almost like a ritual, a familiar sight, symbolized by the word 'again.' The image of the scholar with his Chinese ink and red paper is a representation of ancient Confucian traditions, and the custom of writing auspicious words during Tet with the hope of a peaceful year ahead. In the following verses, the scholar is depicted as skillful and radiant:

Many hire him to write

And they praise his talent:

"With graceful hands, he writes strokes

Like dragons soaring and phoenixes dancing"

The phrase 'graceful hands' refers to the scholar's skill in calligraphy. We can almost visualize an elderly scholar, dressed in traditional robes and headgear, delicately writing beautiful Chinese characters on the bright red paper, his hands moving in rhythmic, fluid motions, light yet bold, creating smooth and confident lines, as if dragons and phoenixes were dancing across the page.

At that moment, those around him are in awe, expressing their deep admiration for both the scholar and the splendid Chinese calligraphy that represents their cultural heritage. Yet, it doesn't take long for us to realize the decline of a once-glorious past when we read:

But each year, fewer come

To hire him to write

The red paper fades, no longer bright

The ink stagnates in the inkwell...

This rhetorical question digs deep into the reader's soul. The poet's inquiry is not merely about the absence of clients. The bustling crowd that once sought the scholar's writing is a reflection of an era when Confucianism was revered. Now, this practice is fading, and the question echoes the sorrowful loss of cultural values. The line 'each year, fewer come' emphasizes the diminishing presence of long-held traditions. The use of personification—'the red paper is sad' and 'the ink is sorrowful'—brings the sorrow of the people into the very objects they used. These are tangible images: when no one comes to hire him, the red paper fades, and the ink, unused, stagnates in the inkwell. But with the words 'sad' and 'sorrowful,' the poet suggests that because society has neglected the scholar, even the paper becomes sad and loses its vibrancy, while the ink lingers in sorrow. Is this the sorrow of the scholar, or the poet's own, transferred to the world around him? The scholar's image becomes increasingly lonely and isolated:

The scholar still sits there

Unnoticed as people pass by

Yellow leaves fall on the paper

As the fine misty rain falls from the sky

Once revered and admired, the scholar now seems abandoned by society. He remains seated, faithfully holding onto his brush, but the world around him has changed. No one takes notice of him anymore; they hurry by, oblivious to his presence. The image of the scholar is marked by solitude and melancholy, as even the yellow leaves fall on his paper without anyone noticing. Perhaps these yellow leaves are symbols of the fading autumn of Confucianism, a tradition being swept away in the storm of modernity. In a time when new winds of change are howling across the land, people seem numb, indifferent to the rich cultural heritage of their ancestors, allowing it to wither away, as if caught in an endless drizzle of sorrow.

As time passes, many only then realize the absence of the scholar:

This year, the peach blossoms bloom again

But the old scholar is nowhere to be found

Where have the people of old gone?

Where is their spirit now?

In the previous verse, the image of the scholar lingers, even though 'no one notices.' But in this part, the scholar has vanished entirely. The peach blossoms still bloom, and the universe continues to follow its cycles, yet the figure of the elderly scholar is no longer present. His disappearance represents the vanishing of traditional cultural values. The poet's final question, 'Where have the people of old gone? Where is their spirit now?' is a call to awaken the spirit of the homeland, a lament that echoes, hoping to find the fading soul of the nation.

This poem is the heartfelt expression of a person deeply concerned for his homeland and its ancient cultural traditions. Through it, Vu Dinh Lien not only conveys his own yearning for the values of Confucianism but also impresses upon the reader the importance of cherishing the timeless cultural heritage of the nation.

During the bustling days of Tết, when spring arrives, poetry lovers pause to reflect on the simple yet profound verses of poet Vu Dinh Lien in his poem "The Scholar". This poem emerged at a time when the scholar had become a relic of a bygone era. Confucianism had fallen out of favor, and people were rushing to embrace Western culture and the French language.

The first two stanzas of the poem describe the scholar's glory days:

Many would hire him to write

And praise his talent greatly

His graceful handwriting like flowers

As dragons soar and phoenixes dance.

Such praise, though generous, is actually the admiration of those outside the scholarly world. The act of writing custom couplets for hire was already a sign of a scholar's decline, a step down for someone who had once aspired to pass exams and achieve high office. For those who failed, they returned to their villages to teach, practice medicine, or even take up fortune-telling in the city, as poet Tan Da once did.

During the New Year, selling calligraphy on the street was probably a necessity for scholars. To sell one's art was to suffer the fate of a scholar throughout history. The townspeople, though admiring the art of calligraphy, often did not fully understand it. Their praise did not bring glory to the scholar, and perhaps even made him feel embarrassed, yet it was a comfort in his final days, a gesture of goodwill towards him.

Each year, along with the blooming peach blossoms, there were only a few opportunities for the scholar to display his red paper and ink for hire on the sidewalk. But don’t think about exams or fame—just consider the perspective of the one selling the art. These two stanzas reflect the fleeting nature of success, showing that the scholar was still able to survive, albeit modestly, in a changing society.

But life did not remain as it was. People’s tastes changed with the times. The younger generation had no attachment to the old Chinese characters, and the scholar’s skill in calligraphy became irrelevant:

But every year, fewer and fewer

Those who hired him to write, where are they?

The red paper is no longer vibrant

The ink has dried in the inkstone...

The scholar still sits there

But no one notices him

Yellow leaves fall on his paper

The rain falls in a fine mist outside

The scholar becomes like an artist who has lost his public, like a woman who has lost her beauty. As long as there was demand, he had his purpose, but when the demand faded, his presence was ignored. The stark reality is the failure of his trade. However, in poetry, the reality intertwines with the poet’s emotions, where the red paper fades and the ink becomes a symbol of sorrow. The finest touch is the addition of the misty rain and wind to deepen this feeling of melancholy.

In poetry, the reality reflects the poet’s inner sorrow. During the scholar’s peak, when he was busy, he did not feel the wind or the rain. Now, the autumn leaves fall onto the paper, unmoved, symbolizing both the scholar’s stillness and the general apathy towards his existence. The motionless leaves on the unused paper convey the quiet despair of the scholar, observing the rain in silence.

The minimalistic verse evokes a vivid image of not just the scholar, but also the desolation of society through his eyes. The poet uses poignant details: the scholar’s writing tools, the external weather, and society’s indifference. The five-character verse form, often used to convey deep emotions and nostalgia, works perfectly to express this gentle, yet profound, sadness.

The misty rain at the end of the stanza paints a scene that is cold, lonely, and sorrowful. In just eight lines and forty words, the poet captures the final moments of an era. The contrast between the earlier and later stanzas—ink and ink, paper and paper, people and people—impresses upon us the shocking reality of change. Time has passed, leaving a void between the earlier and final verses:

This year the peach blossoms bloom again

But the old scholar is nowhere to be found

The people of the old days

Where are their spirits now?

Returning to the first verse of the poem, "Every year, the peach blossoms bloom", we realize that the old rhythm of life no longer holds true. The scholar has patiently waited, but this year he is no longer there: "No sign of the old scholar." He tried to adapt to the modern world, and though we saw his struggle, we did nothing to help, until now, when we look back, we realize that he had been abandoned long ago.

The scholar’s disappearance is not just the loss of an individual, but the loss of an entire era, the fading of a collective memory embedded within us. Now, we realize our regret, but it is too late. We ask ourselves, or perhaps we pray, to remember what has been lost. These two most poignant lines reveal the fate of the scholar and, more importantly, the attitude of a generation towards the cultural heritage of the nation. The strange phrasing of "the people of the old days" refers not just to a few years ago, but to an era that has long since passed, blending into the distant past.

The phrase "the people of the old days" echoes against the present, evoking a deep sense of nostalgia. The verse does not convey a loud cry of grief, but rather a quiet sigh of sorrow, a regret that will never fade.

During each Tet holiday, the Vietnamese people used to have the tradition of requesting calligraphy to express their wishes and hopes for the new year. This was often in the form of Chinese characters, a symbolic script full of meaning. Learning and understanding Chinese characters was difficult, and writing them beautifully was even harder. Those with skilled hands could make the script look as though it were painting a picture.

In the early 20th century, the streets of Hanoi still featured scenes of calligraphers carefully painting each ‘round and square’ stroke (as described by Nguyen Tuan) on red paper to sell to the people of Hanoi during Tet. This image left a lasting impression on Vu Dinh Lien, inspiring his simple yet vivid poetic depiction:

Each year, the peach blossoms bloom,

And once again, the old scholar appears,

Displaying ink and red paper,

On the bustling street as people pass by.

The phrase ‘each…again’ shows the repetition of a familiar routine. The peach blossoms, long a symbol of spring, signal the sacred moment when the old year transitions to the new. With each bloom, the old scholar reappears with his ink and red paper, waiting in the lively street for the New Year’s rush. His gentle verse conveys a deep sense of love.

Although he occupies only a small corner of the street, the scholar becomes the focal point in this poem. Quiet and reserved, he blends into the hustle and bustle of life, offering his most cherished skill. The twenty-word stanza perfectly sets the stage for the unfolding story in the subsequent lines:

Many people hire him to write,

Admiring his talent,

His elegant strokes,

Like phoenixes dancing and dragons soaring.

From the busy street, the focus narrows to the scholar’s writing spot. The verse teems with life, captured in the indefinite quantity of ‘many’ and the admiring ‘tapping’ that reflects respect and appreciation. The old Vietnamese believed that Chinese calligraphy was a noble art, not for livelihood but for cultivating virtue and serving the nation.

In the early 20th century, Vietnam underwent significant social changes. The era marked the decline of classical Confucianism, and the last imperial exams ended the hopes of many Confucian scholars. To survive, they had no choice but to sell their calligraphy, much like the scholar in the poem. While selling his noble art for a meager living was not a joyful or honorable choice, the admiration he received from others was a small comfort for those who lived through such difficult times.

People crowd around to hire him, marveling at his skill, which also reflects society’s appreciation for talent and beauty. The poet vividly captures the scholar’s elegant brushstrokes:

His skilled hand paints strokes,

Like phoenixes dancing and dragons soaring.

This verse reminds us of a similar scene described by Doan Van Cu in a Tet market:

A scholar hunches over his desk,

His hand grinding ink, carefully writing spring poems.

The image evokes the delicate, slender fingers of the scholar guiding the brush, each stroke flowing gracefully like a phoenix in flight. It is as if his calligraphy conveys all his dreams, hopes, and ideals.

His soul and dedication bring the characters to life. Vu Dinh Lien’s verse seems to want to soar with the joy of the scholar’s golden age. However, life has its unexpected turns. The third stanza begins with ‘but,’ signaling inevitable changes:

But each year, fewer come,

Where have the clients gone?

The repetition of ‘each’ in this line speaks to the passage of time. What once brought crowds of people to hire the scholar now brings silence. Time marches on, bringing decay and decline. The sharp tone of ‘gone’ reflects the emptiness left behind by these changes.

And naturally, the second line becomes a question: Where have the people who once hired the scholar gone? The question hangs unanswered, lingering in the air, as people no longer appreciate the scholar’s work. Without clients, the ink and red paper go unused, leaving:

The red paper is no longer bright,

The ink stagnates in the inkstone.

The sadness of humanity even seeps into inanimate objects. The ink remains still in the stone, and the paper fades, unwilling to retain its bright color. The personification emphasizes the scholar’s mood, as ink and paper were once his closest companions. Indeed:

Every scene bears its sorrow,

When people are sad, the scene cannot be joyful.

(Nguyen Du - The Tale of Kieu)

In the past, the scholar’s presence brought life and joy to the space and the people. They welcomed him with respect and admiration. But now:

The scholar still sits there,

But no one notices him.

‘Still sitting there’ means he comes according to the signal of the peach blossoms, still laying out ink and red paper on the busy street where people go to buy Tet goods. He waits for the same admiration, but all he receives is cold indifference. The reversed order and the negative ‘no one’ clearly depict the frightening apathy and disregard of society.

People continue on their way, laughing and talking, completely oblivious to the scholar’s existence. He has been forgotten, pushed to the margins of life. His situation is similar to the disillusioned scholars in Tu Xuong’s poem:

What value does the Chinese script have?

The scholar and the official both lie abandoned.

Having suffered the bitter end of their dreams, they now sell their noble art just to survive, only to be forgotten as they continue to exist. The verse expresses the poignant tragedy of the scholar’s life, marked by twofold sorrow. Readers feel a sharp pang in their hearts when imagining the scholar sitting like a statue in the rain, with yellow leaves falling onto his paper:

Yellow leaves fall on the paper,

Outside, the spring rain drifts.

Someone once said: When man withdraws, nature takes over. No longer needed, the scholar’s waiting turns silent, and yellow leaves are free to settle on his paper. The spring rain here doesn’t ‘soar’ as it does in the romantic poet Nguyen Binh’s work. The scholar seems to fade into the mist, disappearing in the rain. And by the last stanza, the scholar is entirely gone:

This year, the peach blossoms bloom,

But the old scholar is nowhere to be found.

This final verse resonates with a sense of loss and absence. The peach blossoms still bloom, signaling the arrival of a new year, but everything feels incomplete, lost. The poet subtly shifts the phrase from ‘old scholar’ to ‘the old scholar of the past,’ turning the character into a sad relic of a bygone era, one abandoned by civilization and modernization. The scholar can no longer keep pace with the changing world. The poem closes with the poet’s heart-wrenching call:

Where are the people of the past,

Their souls in pain now?

‘The people of the past’—who are they? Are they the scholar, the clients who once hired him, or a time long gone? No matter who they refer to, the line expresses profound regret for the fading of traditional cultural values. The poet’s call seeks to awaken a collective conscience to preserve the rich cultural heritage that our ancestors so carefully nurtured. The mournful call is reminiscent of the lament of the poet Tu Thanh Nam on the Lap River in the past.

By using the five-character verse form and vivid, evocative language, Vu Dinh Lien creates a story about the life of a scholar, from being revered and admired to being forgotten. Through the image of the scholar, the poet eloquently conveys his deep ‘compassion for people’ and ‘nostalgia for the past.’

The scholar, a once familiar figure in ancient Vietnamese society, symbolized those intellectuals who, unable to pass the imperial exams, became teachers. After the abolishment of the Confucian examination system, these scholars were marginalized and resorted to selling their calligraphy during Tet.

As time passed, the old traditions faded, and the scholar gradually became a relic, a pitiable reminder of a bygone era. With his skillful pen, Vu Dinh Lien conveyed his deep sympathy for the decline of Confucian culture in his poem 'The Old Scholar.' The poem begins with the familiar image of the scholar.

Each year when peach blossoms bloom,

The old scholar is seen again,

Setting out ink and red paper,

By the busy street, people passing by.

In the lively atmosphere of Tet, the elderly scholar, with ink and red paper, would sit by the street corner, waiting for someone to hire him to write poetry or couplets. In the past, people gave away calligraphy, but now the scholar had to sell it. The solemn tone of the poem evokes a sense of melancholy that stirs the reader's heart. Yet, the scholar still found solace as people still admired his calligraphy for decorating their homes during Tet. Thus, there were:

Many people hired him to write,

Admiring his skill,

With his graceful hand crafting strokes,

Like phoenixes dancing, dragons soaring.

Through the clever use of metaphor, the poet captures the delicate, artistic flair of the scholar's writing. His strokes were like the elegant movements of a phoenix and dragon. They were beautiful both in color and form, and everyone praised his talent. At that time, everyone wanted to have red couplets in their homes to beautify their Tet celebrations.

But as Western culture infiltrated, people's tastes began to change. Fewer and fewer people appreciated the scholar's writing, and he was gradually forgotten.

But each year it grew emptier,

Where are the people who hire him now?

The red paper no longer gleams,

The ink dries in the sad inkstone.

The scholar, now like an artist whose work no longer pleases the public, becomes akin to a forgotten maiden:

While young, people sought her,

When old, she is left alone, wandering.

The question of 'Where are the people who hire him?' is not only posed to the scholar but to the poet and the reader, evoking a sense of longing and melancholy. The sadness of the scholar begins to permeate the inanimate objects around him. The poet cleverly personifies the red paper and inkstone.

The red paper remains exposed, unnoticed, as the brush leaves ink that solidifies into sadness. In that inkstone, the sorrow of the scholar and the poet remain. The sadness and humiliation are palpable, but the scholar continues to sit, clinging to life as if trying to turn back time. How pitiful, yet no one seems to notice.

The scholar sits there,

Unnoticed by passersby,

The yellow leaves fall on the paper,

Outside, the misty rain falls.

It is a cruel indifference. Once, the scholar was the center of attention, admired by all. Now, he sits alone, lost in the bustling crowd. Among the many passing by, who would stop and feel sympathy for the old scholar? He remains, waiting in vain for someone to come.

However, not everyone has forgotten; there is still someone who remembers, who turns back and offers a poetic tribute:

The yellow leaves fall on the paper,

Outside, the misty rain falls.

The lone yellow leaf, blown from the tree by the wind, rests on the paper, marking the end of growth. It stays there, symbolizing the end of the scholar's life. The scholar, lost in his thoughts, doesn't bother to pick it up. Accompanying his sorrow is the misty rain from the sky. The imagery is real but heavy with emotion. The rain outside, the rain inside the scholar's heart. Does the poem describe the scene or the feeling? The final days of a fading life are filled with deep sadness.

The gentle verses, paired with the somber tone, create an inexpressible sadness in the reader. As time passes, winter fades, spring arrives, and the peach blossoms bloom again. But while the flowers remain, the people of the past are gone. This year, the peach blossoms bloom, but the old scholar is nowhere to be seen. The image of the scholar has faded from memory, a casualty of time.

During Tet, though the streets are bustling, the old scholar with his red paper and ink is gone. The image of the scholar has become a thing of the past. In the harsh march of time, as everything changes, the scholar tries to cling to life with his frail hands.

But just as a single swallow cannot bring spring, an old scholar cannot change the course of life. He can no longer endure the harshness of life. He leaves behind the glory of a past era. The poem ends with the poet's poignant question, filled with longing and sorrow.

The people of the past,

Where are their souls now?

These lines serve as a tribute to a golden age of Confucianism, once the cornerstone of the nation's culture. While the people of that time are gone, where are their spirits and the values they contributed to the nation's intellectual life? This question lingers in the poet's heart, and in the reader's as well.

The scholar represents a figure, a pitiable relic of a lost era. He was once a bright light, enhancing the world, only to fade away. The beauty of the poem lies in its concise five stanzas that encapsulate a life, a generation, and an entire cultural tradition. The poem awakens many to the solemn, sad rhythms of life, and the emotional resonance of its simple, clear language, rich in imagery.

It paints the fading life of an intellectual class while blending the poet's own feelings of nostalgia and regret. Who can help but reflect on their own indifference to the scholars of the past, only to regret it later when reading this poem again?

The poem 'The Old Scholar' is Vu Dinh Lien's finest work. It marks a significant shift in Vietnamese poetry and is one of the earliest examples of a new wave of poetic expression. One of the poem's strengths is its honest expression of the poet's inner emotions. As a result, it has left a lasting impression on the hearts of readers. Though time may pass, and Confucianism may fade, the image of the scholar in Vu Dinh Lien's poem will live on forever.

During the New Poetry Movement (1932 - 1945), amidst passionate, fervent love poems and the influx of new, modern ideas, there remained a poignant sense of nostalgia, a longing for the past. Readers can find such sentiments in the poem "The Old Scholar" by Vu Dinh Lien. Upon reading this poem, Vu Quan Phuong commented: "The writing is sparse, yet the scene is vividly drawn, revealing not only the shadow of the scholar but also the decay of society through his eyes."

Who were the "old scholars"? They were once respected and erudite teachers of the old regime. At the height of their influence, they were revered by the people. During festivals, people visited them not only to express their sincere wishes but also to respectfully request beautifully crafted calligraphy of words such as "Heart", "Virtue", "Longevity", and "Prosperity"—symbols of both their skill and spirit.

But times changed. As Western culture flooded into Vietnam and gradually took a dominant place in education, the old scholars began to fade. Their talents and spirits were reduced to mere calligraphy sold along the street. Moved by the sadness and sense of loss for this "dying class", Vu Dinh Lien wrote "The Old Scholar", a poem that deeply resonates with readers.

The poem stands as a great success for Vu Dinh Lien and for New Poetry in general. Written in the five-character line form, just five stanzas and twenty lines long, the poem revives the image of the old scholar from the early twentieth century and the decaying era at that time.

Therefore, Vu Quan Phuong’s reflection on the poem is profound: "The writing is brief, yet the scene appears as if painted, revealing not only the scholar’s silhouette but also the deterioration of society through his eyes." In the first two stanzas, the scholar is depicted amidst lively, vibrant images:

"Every year, the peach blossoms bloom

And we see the old scholar again

Setting up ink and red paper

On the crowded streets."

The phrase "Every year... again" emphasizes the scholar’s presence as a familiar part of the spring scene, alongside the bright peach blossoms, the red paper, the black ink, and the bustling street life. In the next stanza, the scholar becomes the center of admiration:

"So many people hire him to write

And praise his talent

His skillful hands write with flair

Like a phoenix dancing, a dragon flying."

The word "so many" shows that the scholar is highly respected, sought after for his expertise. The phrase "Phoenix dancing, dragon flying" praises the scholar’s exceptional talent, and his calligraphy is seen as a symbol of cultural pride. His craft becomes a gift for the new year, enhancing the warmth and joy of family gatherings.

However, behind the applause lies an undeniable sorrow. Classical Chinese characters, once regarded as sacred, now lie discarded in the street, rented out for temporary use. Just one character feels full of melancholy and regret.

It is a great sadness that a beautiful tradition of the nation has faded, and a once vibrant image of spring has been lost as Western culture entered the country. Over time, people began to forget the tradition of writing spring couplets, and the familiar figures of the old scholar slowly disappeared:

"But every year, it becomes more deserted

Where have the people who hired him gone?

The red paper is no longer as bright

The ink is still, stagnant in the inkstone."

Despite the repetition of "every year", the added word "more" and the word "but" disrupts the familiar order. Vu Dinh Lien paints a picture of loss and abandonment. The scholar, still amidst the peach blossoms, sits sorrowfully, surrounded by fewer and fewer passersby. The people’s interest in calligraphy has waned.

Perhaps only pity remains for the scholar. The continuous use of personification in "red paper is sad", "ink stagnates", and "inkstone mourns" intensifies the scholar’s disappointment. His beloved tools now seem as despondent as he is, reflecting the decline of the art itself.

Perhaps the paper and inkstone have no true emotions, but the poet, Vu Dinh Lien, can deeply understand the sadness and regret of the scholar and his generation. This sorrow permeates not only the tools of the trade but also the surrounding natural environment, which becomes desolate and lonely.

"The old scholar still sits there

No one notices as they pass by

Yellow leaves fall on the paper

Outside, fine rain blows."

Though the scholar still sits, he has been forgotten. He is now just a sad relic of "a bygone era". Perhaps only the poet can truly empathize with his sorrow. However, this empathy cannot fully share the magnitude of the scholar’s pain. The divide between generations, and especially between two different cultures, means the poet can only observe from a distance and feel sympathy for the scholar. And strangely, it is symbolized by a single yellow leaf:

The yellow leaf falls on the paper

Outside, fine rain blows

The fine rain is clear, as it is spring. But why a solitary yellow leaf? This cannot be the mark of autumn but rather a message that the poet interprets: in a tropical climate, where trees are green all year, yellow leaves can fall at any time. When one is joyful, one may not notice a leaf quietly falling from its branch. But when one is sad, one is more attuned to sorrow, and the leaf becomes a poignant symbol.

The leaf is a metaphor for the scholar’s life. After all these years of nurturing his craft, when the yellow leaf falls, it conveys a message of sorrow for the scholar, and for an art that is fading into oblivion.

The yellow leaf, which does not choose a place to rest, falls directly onto the paper now rendered useless, a clear symbol of the scholar’s deep sadness. Now, even the smallest joys seem irrelevant, as no one cares about them anymore. This fifth image starkly contrasts with the first:

This year, the peach blossoms bloom

But the old scholar is nowhere to be seen...

The message of spring has arrived. The poet, as usual, goes to the street to reminisce about the old times. There is no surprise; based on last year’s scene, the scholar cannot return. The hope for the past is gone.

Yet in the poet’s mind, the image of the scholar remains an essential part of the spring scene. Thus, there is a sense of emptiness. The poet is struck by the deep impression that the scholar has been gone for a long time, that he has become "the old scholar", a figure of the past, prompting the poet’s cry:

"The people of the past

Where are their souls now?"

Though brief, the poem is profound, condensed, and filled with empathy and sorrow for the fading lives of people in society. The poem indeed captures "the silhouette of the scholar" and "the decay of society through his eyes".

Vu Dinh Lien offers profound emotions for the fate of the old scholars, driven by deep and sincere empathy. It is not only sympathy for a forgotten generation but also a deep sadness for a beautiful art form from the past that will never return.

If Xuân Diệu's poetry has a passionate, fervent tone, Hàn Mặc Tử's works carry a hint of madness, and Huy Cận's verse is imbued with a melancholy sorrow, then Vũ Đình Liên's poetry carries a nostalgic, wistful rhythm. Every poet has a unique style, and this individuality allows them to stand apart from others, leaving a distinct impression on readers. Although Vũ Đình Liên's body of work is limited, he has left behind valuable contributions to Vietnamese literature, the most notable being the poem "The Old Scholar".

Written in 1936 and published in the magazine "Tinh Hoa", the poem emerged during a time when Confucianism was losing its grip due to the influence of Western culture. It was also a time when the old scholars were no longer revered as they once had been. The title of the poem evokes the image of a beauty long faded, evoking profound nostalgia. The mention of the "old scholar" refers to the teachers of classical Chinese characters who, every Tet season, would appear on the streets to write red couplets:

"Every year the peach blossoms bloom

We see the old scholar again

Setting up his ink and red paper

On the busy street corner."

This image became familiar, as the old scholar would appear every Tet with his ink and red paper. It was his golden age, the peak of his time, marking the transition between years as the vibrant peach blossoms bloomed. The scholar’s workspace was the street, where the scene was lively with the hustle and bustle of passersby. The words "every" and "again" reflect the rhythmic, cyclical nature of this event.

The peach blossoms and the old scholar worked in tandem, adding to the beauty of Tet. The pink of the flowers, the black ink, and the red paper painted a vivid picture. The scholar's calligraphy was praised and admired by many:

"So many people hired him

And praised his skill

His graceful hand wrote strokes

Like phoenixes dancing, dragons flying."

Many hired him, not only valuing his writing but also showing respect for him. His skill was displayed through the red couplets, through calligraphy that seemed to fly like dragons and dance like phoenixes. Only someone well-versed in Confucian learning could write such elegant characters. The simile "like phoenixes dancing, dragons flying" expresses the admiration and respect of the poet, as well as that of the people, for the old scholar.

This also reflects the respect for the traditional cultural values of the nation. The art of calligraphy was seen as a refined pursuit, and those who engaged in it were regarded as true artists, with their strokes revealing the heart and mind of the creator. Not only was his writing beautiful, but it was also fast, which was impressive. The scholar’s strokes were skillfully curved, and his education made him a desirable choice for writing the red couplets. During his prime, he was always in high demand, admired by those who shared a deep appreciation for the art of calligraphy. Both the calligrapher and his patrons had a mutual understanding of beauty. But as time passed and the world changed, the scholar's respect began to fade:

"But each year fewer came

Where have the clients gone?

The red paper has faded

The ink remains still in the inkstone..."

Where once many hired him, now they were nowhere to be found. Though they remained, the invasion of Western culture had caused the traditional cultural values to fade. The poet paints a picture of desolation, the scene marked by a deep sense of sorrow. Time had swept away the beauty of the past, leaving only longing and regret. The rhetorical question, "Where have the clients gone?" echoes with pain. The art of calligraphy is no longer popular, and those who once cherished it have disappeared over time. The sadness is reflected even in the lifeless objects around him. The red paper, no longer vibrant, has faded, and the ink remains unused, trapped in the inkstone.

Personification here reflects the melancholy of the old scholar and the sorrow felt by the poet. While Confucian studies have faded, the scholar still remains seated by the street, hoping to preserve the cultural values:

"The old scholar still sits there

Unnoticed by anyone passing by

Yellow leaves fall on the paper

Outside, the dust rain blows."

But now his presence goes unnoticed, and his figure is forgotten as people pass by. His image has become a relic, a symbol of a lost era. The image of the yellow leaves, combined with the cold dust rain, envelops the entire scene, casting a shadow over the atmosphere and coloring it with sorrow. People have erased the scholar from their memories, treating him as invisible in the society of the present. Through the final stanza, Vũ Đình Liên conveys his deep sorrow and nostalgia for the old scholar:

"This year the peach blossoms bloom

But the old scholar is gone

Where are those from the old days?

Where is their soul now?"

The old scholar has truly disappeared, and though the peach blossoms continue to bloom and the world moves in its natural cycle, the scholar is no longer there. His absence brings a sense of loss for the spiritual values that have been forgotten. The people who once admired him have changed, now adapting to Western culture, leaving no place for the refined essence of traditional culture. The rhetorical question at the end lingers, filled with deep sorrow for what has been lost.

Through the use of imagery of the peach blossoms and the old scholar at the beginning and end of the poem, the poet successfully portrays the contrast between the scholar's golden age and his fall from grace. The five-line verse form allows the poet to express his emotions freely. "The Old Scholar" is a poignant reflection on the past, revealing the poet's deep sense of loss for the fading values of yesteryear.

Vu Dinh Lien is one of the poets who initiated the New Poetry movement. Although his works are few, each of them is an artwork with deep artistic and humanistic values. Among his remaining works, 'The Calligrapher' stands out as the most notable. The poem reflects the author's nostalgia for the traditional beauty of the past, which is slowly fading away.

The poem was written during the decline of Confucianism, when the once-prominent Confucian ideals became mere remnants, and both the calligrapher and Chinese characters turned into relics, as people abandoned the brush and embraced pencils. In the first two stanzas, Vu Dinh Lien evokes the glorious past of the calligrapher:

Every year the peach blossoms bloom

We see the old calligrapher again

Displaying his ink and red paper

By the busy street where people pass by

So many hire him to write

Admiring his skill with praise

His elegant hand creates strokes

Like phoenixes dancing, dragons flying

The first stanza brings to life the time and place where the calligrapher worked. The time is spring, the most beautiful season of the year, symbolized by the blooming peach blossoms, signaling that the calligrapher worked during this peak of the year. The vibrant peach blossoms and the imagery of 'ink and red paper' vividly enhance the scene, making it lively, bright, and full of life.

The repetition of 'again' emphasizes the long-lasting bond between the calligrapher and spring, suggesting that his work takes place year after year, during every spring season. The place of work is 'by the busy street,' where the bustling crowds during spring are not only aware of the calligrapher but also appreciate his skill, 'admiring his skill with praise.'

The poet describes the calligrapher's strokes, 'his elegant hand creates strokes / like phoenixes dancing, dragons flying.' This comparison showcases the beauty, freedom, and nobility in his writing, with the poet conveying respect and admiration for the traditional cultural beauty of the nation.

In these first two stanzas, the poet reveres the calligrapher in his prime. Through this image, Vu Dinh Lien expresses his deep affection for the valuable traditions of the nation. The next two stanzas depict the calligrapher in the present day, a scholar lost in time, no longer relevant in a world where Confucianism is now a relic:

But every year, fewer come

Where have the customers gone?

The red paper is no longer vibrant

The ink stagnates in the sorrowful inkstone

The calligrapher still sits there

No one notices as they pass by

Yellow leaves fall on the paper

Outside, the drizzle falls

'This year the peach blossoms bloom again,' yet the scene has changed. 'Where have the customers gone?' This rhetorical question captures the poet’s sorrow and concern over the shift in people's values. While spring remains as beautiful as ever, people no longer appreciate the traditional beauty of Chinese calligraphy. This line paints the decline of Confucian culture. 'The red paper is no longer vibrant / The ink stagnates in the sorrowful inkstone.'

In response to people's indifference, even the objects seem melancholic. The personification of the red paper and inkstone, which now seem to reflect human emotions of neglect, highlights their faded beauty and sorrow. The inkstone 'stagnates in sorrow,' a truly tragic image.

The calligrapher’s present has also changed: 'The calligrapher still sits there / No one notices as they pass by.' Whereas before, 'So many hire him to write / Admiring his skill with praise,' now he silently fades into obscurity, forgotten by the crowd. The profession of the calligrapher was once that of scholars who could not achieve academic success and resorted to teaching, practicing medicine, or selling calligraphy. It was a humble task for a scholar, whose writing was a precious gift, not a commodity for sale, like the noble 'Huân Cao' who would only give his writing three times in his life.

Now, the calligrapher must sell his writing to survive, symbolizing the unfortunate fate of the scholar. In the past, he was respected, at least earning a living from his craft. But now, Confucianism has fallen out of favor, and no one cares for the calligrapher or his writing, leaving him unable to sustain himself through his own talents.

This is not just the misfortune of a lost talent but also the hardship of survival. The surroundings of the calligrapher also reflect his sorrow: 'Yellow leaves fall on the paper / Outside, the drizzle falls.' The scene, which mirrors the sorrow of the people, is reminiscent of Nguyen Du's famous line, 'When the heart is sad, the scene will reflect that sadness.'

The final stanza expresses the poet’s compassion for the calligrapher and for the fading cultural beauty of the nation:

This year the peach blossoms bloom

But we do not see the old calligrapher

Where are the old masters now?

Where is their spirit now?

The poem begins with 'Every year the peach blossoms bloom / We see the old calligrapher again' and ends with 'This year the peach blossoms bloom / But we do not see the old calligrapher.' This mirrored structure strengthens the unity of the poem, while deeply embedding the poet’s sorrow over the increasingly obvious disappearance of this cultural tradition.

Though nature remains beautiful, with the peach blossoms still blooming, the calligrapher has vanished from the spring scene, fading from memory. Time and nature have forgotten him, or perhaps it is the disappearance of this traditional beauty itself? The rhetorical question, 'Where are the old masters now? / Where is their spirit now?' expresses the poet’s lament for the calligrapher and for the loss of the valuable cultural heritage.

Through the five-line verse and simple, yet poignant language, the poem tells the story of a fading traditional beauty. The consistent structure of beginning and ending adds to the poem's cohesion, and its rich artistic elements demonstrate the poet’s deep sorrow for the loss of cultural heritage.