Top 10 Best Essays Analyzing the Excerpt 'Spring Day Scene' by Nguyễn Du

Nguyễn Du, born in 1820, was a native of Tiên Điền village, Hà Tĩnh. As the child of a family with a long-standing literary tradition, Nguyễn Du inherited a deep literary talent and a heartfelt compassion for people, which brought a distinctive humanistic tone to his poetry. Living during a tumultuous period in Vietnamese history, Nguyễn Du traveled widely and closely experienced the hardships of the common folk, which shaped his deep empathy and affection for the suffering of others. This compassion for the downtrodden is reflected throughout his work, where his heart continually reaches out to the marginalized, offering them sympathy and love. 'Truyện Kiều' is Nguyễn Du's masterpiece, a poetic narrative about the life and tragic fate of the beautiful and talented Thúy Kiều. The work is renowned not only for its profound portrayal of Kiều's character and destiny but also for Nguyễn Du's exquisite depiction of nature, a skillfully executed feature which is most evident in the excerpt 'Cảnh ngày xuân'. Not only does Nguyễn Du masterfully craft vivid characters, but he also imbues his poetry with a deep sensitivity to the natural world. The excerpt 'Cảnh ngày xuân' is one of the most beautifully rendered depictions of nature in the work, presenting a seamless, gentle portrayal of spring. The excerpt begins with four lines that introduce the spring scene: 'Ngày xuân con én đưa thoi Thiều quang chín chục đã ngoài sáu mươi Cỏ non xanh tận chân trời Cành lê trắng điểm một vài bông hoa' As summer brings the vibrant red of phoenix flowers and the sound of cicadas, and winter brings falling snow and bare trees, spring heralds the graceful flight of the swallows. The swallow symbolizes the season itself, representing the heavens and the earth on a spring day. At this moment, the sky is filled with clouds, the light is bright and warm, and swallows fly freely in the air. 'Cỏ non xanh tận chân trời Cành lê trắng điểm một vài bông hoa' The lush green grass stretches endlessly to the horizon, creating a vast space full of vibrant life and hope. Below the sky, the earth is covered in a wide expanse of fresh, green grass. There is also the white, delicate blossoms of the pear tree, naturally accentuating the green background, exuding a captivating, harmonious beauty. In classical Chinese poetry, similar descriptions of the spring in March are also found: 'Phương thảo niên bích Lê chỉ số điểm hoa'. Nguyễn Du's creative expression captures the essence of Vietnamese spring, a spring filled with the soul of the Vietnamese landscape. While the ancient Chinese poetry evokes the essence of spring with scent and shape, Nguyễn Du's poetry not only conveys the color and form but also the gentle, yet profound rhythm of the pear blossoms, created through the inversion of words, pushing 'trắng' (white) in front of 'điểm' (point), making the pear blossoms seem to bloom in the spring air. In just these four lines, Nguyễn Du paints a vast, tranquil, and lively picture, and one can almost feel the joy and serenity of the scene, as if the reader's heart is light and happy, embracing the beauty of nature. Spring is a time for joy, reunions, outings, and festivals. In Vietnam, the third month of the lunar calendar is the time for the traditional 'Đạp Thanh' festival and the 'Tảo Mộ' (tomb sweeping) ceremony. Nguyễn Du beautifully depicts these spring festivities through the following verses: 'Thanh minh trong tiết tháng ba Lễ là tảo mộ, hội là đạp thanh' The 'Đạp Thanh' festival is a time for people, especially the young men and women, to go on spring outings, the most eagerly awaited days of the year. The 'Tảo Mộ' ceremony is when families return together to clean the tombs of their ancestors, offer incense, and express gratitude and reverence for those who have passed. Nguyễn Du, with his keen sensitivity, captures the essence of these ceremonies in the following verses: 'Gần xa nô nức yến anh Chị em sắm sửa bộ hành chơi xuân Dập dìu tài tử giai nhân Ngựa xe như nước, áo quần như nêm' The poet masterfully uses a combination of compound adjectives and nouns to paint a picture of the bustling and joyful atmosphere of the festival. 'Chị em' (sisters) prepare to dress beautifully for the event, while people from near and far gather in excitement, with 'giai nhân' (beautiful women) and 'tài tử' (handsome men) hand in hand, moving through a lively crowd. The streets are filled with horses and carriages, and people are dressed in magnificent attire, their laughter and chatter resembling the flight of birds heading toward the gathering. In this scene, we also catch a glimpse of Thúy Kiều and her sister, who join in the celebration, enjoying the youthful vigor and beauty of the spring season. After the festival, the solemn 'Tảo Mộ' ceremony takes place: 'Ngổn ngang gò đống kéo lên Thoi vàng vó rắc tro tiền giấy bay' Before the spirits of the deceased, one cannot help but feel sorrow and longing. The gentle, slow rhythm of the verse reflects a somber and thoughtful mood, expressing the deep connection between the living and their ancestors, sending wishes of peace and well-being. All joys must eventually come to an end, and all meetings must be followed by farewells. As the morning revelry fades and the shadows grow long, people begin to leave, reluctant to part: 'Tà tà bóng ngả về tây, Chị em thơ thẩn dắt tay ra về Bước dần theo ngọn tiểu khê Lần xem phong cảnh có bề thanh thanh Nao nao dòng nước uốn quanh Dịp cầu nho nhỏ cuối ghềnh bắc ngang' As the sun sets, a wave of melancholy and yearning fills the air. If the spring scene at the beginning was vast and open, here, the atmosphere feels more intimate and quiet, imbued with a gentle sadness. Thúy Kiều and her sister walk slowly, filled with quiet longing as they leave the festivities behind. The soft, evocative adjectives 'nhỏ nhỏ', 'thanh thanh', and 'nao nao' create a sense of wistful nostalgia. In this final part, Nguyễn Du uses the technique of 'tả cảnh ngụ tình' (depicting scenery to reflect emotions) to create a landscape that mirrors the feelings of the characters at this moment. Great poetry is not only beautiful but also carries emotions and meaning. The verses of Nguyễn Du convey not just the dreams and thoughts of the poet but also the hopes and desires of those who appreciate his work. Through 'Cảnh ngày xuân', Nguyễn Du reveals his delicate, sensitive soul and his exceptional talent as one of Vietnam's greatest literary figures.'

Nguyễn Du, a great poet of the Vietnamese nation, has left a profound impact on Vietnamese literature with his vast body of work. Among his masterpieces, the poem *Truyện Kiều* is considered a monumental narrative that tells the tragic life of Thúy Kiều, a beautiful woman with a sorrowful fate. The excerpt depicting the spring day stands out as one of the most notable, vividly portraying the beauty of nature while also introducing important moments in Thúy Kiều’s life. This passage, located at the beginning of the work, introduces the background of Thúy Kiều’s family and describes the beauty of her and her sister Thúy Vân. Nguyễn Du paints a lively picture of a spring festival, where the two sisters go out to enjoy the vibrant, festive atmosphere. The first four lines evoke the picturesque spring setting: Ngày xuân con én đưa thoi Thiều quang chín chục đã ngoài sáu mươi Cỏ non xanh tận chân trời Cành lê trắng điểm một vài bông hoa. The first two lines describe both the time and space of spring. The imagery of 'the swallow carrying the shuttle' is not only symbolic of the warm spring with migrating birds but also represents the swift passage of time, like the shuttle in weaving. With three months of spring, by the end of March, the swallows are still flying freely in the wide sky. The following two lines depict a stunning spring scene with harmonious imagery. The grass stretches out to the horizon, creating a vibrant and endless landscape. The backdrop of lush green grass is gently dotted with delicate, pure white blossoms. The poet uses the artistic technique of inversion, placing the word 'trắng' (white) before the verb 'điểm' (point) to highlight the pristine whiteness of the spring flowers. This subtle touch gives life to the flowers, turning them from mere inanimate objects into something with soul and purpose. The next eight lines describe the lively atmosphere of the festival during the Thanh Minh holiday. Thanh Minh trong tiết tháng ba Lễ là tảo mộ, hội là đạp thanh Gần xa nô nức yến anh Chị em sắm sửa bộ hành chơi xuân Dập dìu tài tử giai nhân Ngựa xe như nước, áo quần như nêm Ngổn ngang, gò đống kéo lên Thoi vàng vó rắc, tro tiền giấy bay On the day of Thanh Minh, during the early days of March, the spring air is refreshing, and people go to visit the graves of the departed to honor them as a mark of respect. Spring also brings the opportunity for social gatherings, a festival to celebrate the New Year. It is a tradition in Vietnamese culture to meet and reconnect after a year of work. After the solemn ceremony of ancestor worship, the joyful celebration begins, known as the *đạp thanh* festival, where friends and family come together. Nguyễn Du’s verses capture the lively festival atmosphere with a series of words emphasizing the bustling, joyful nature of the event. Terms like 'yến anh, chị em, tài tử giai nhân' and adjectives such as 'nô nức, sắm sửa, gần xa, dập dìu' illustrate the vibrant energy of the gathering. The image of elegant young men and women, dressed in fine clothes, is likened to a chorus of birds chirping joyfully together. Phrases like 'nô nức yến anh' and 'ngựa xe như nước, áo quần như nêm' help the reader visualize a scene where people move like an endless river of humanity, all wearing their finest attire. During the ancestor worship, people scatter gold ingots and paper money to honor the deceased, symbolized by 'thoi vàng vó rắc, tro tiền giấy bay.' The next eight lines portray the lively, bustling festival, reflecting both the traditional cultural practices of the past and the dynamic, joyful spirit of the event. The final six lines focus on Thúy Kiều and her sister as they wander through the spring landscape: Tà tà, bóng ngả về tây Chị em thơ thẩn, dắt tay ra về Bước dần theo ngọn tiểu khê, Lần xem phong cảnh có bề thanh thanh Nao nao dòng nước uốn quanh Dịp cầu nho nhỏ cuối ghềnh bắc ngang In the evening, as the sun sets slowly in the west, the festival comes to an end. The two sisters, hand in hand, begin to make their way home. The evening spring landscape is described with tenderness and purity: the sunset gradually dims, and the little bridge across the stream completes the peaceful picture. The day’s activities have slowed, like the setting sun and the leisurely steps of the sisters. The scene remains beautiful but now carries an emotional tint, a sense of wistfulness that often follows a day of joy. Words like 'tà tà' and 'thanh thanh' not only add depth to the scene but also express the emotional state of the characters. The term 'nao nao' evokes a gentle sadness, a feeling that only humans can experience. This mood may hint at the future events, including Thúy Kiều’s meeting with Kim Trọng and the forthcoming trials she will face in her life. The poet, too, seems to mourn the fate of this beautiful and tragic character. With his masterful use of language and vivid descriptions, Nguyễn Du brings the spring scene to life, capturing the harmony between people and nature, allowing readers to feel the bright, refreshing beauty of the season.

In Vietnamese literature, *Truyện Kiều* by the great poet Nguyễn Du stands as a poignant song of sorrow about the tragic fate of women in the feudal society. This is vividly depicted through the fifteen years of wandering and suffering endured by Thúy Kiều. However, before stepping into this life full of hardships, she once lived a peaceful and happy life surrounded by her family.

The excerpt *Cảnh ngày xuân* from the beginning of *Truyện Kiều* depicts the scene of Thúy Kiều and her sister going to celebrate the spring festival during the Thanh Minh holiday, serving as a testament to this. Nature has always been a familiar subject for artists to explore, and each poet has their own unique way of portraying it. For Nguyễn Du, the spring landscape is intricately tied to the festive atmosphere. First, the author vividly recreates the time and space:

"Ngày xuân con én đưa thoi"
"Thiều quang chín chục đã ngoài sáu mươi"

At this point in the year, it’s already March, and the swallows fluttering in the sky symbolize not only the typical scenery of spring but also serve as a metaphor for the fleeting nature of time: "Thời gian thấm thoắt thoi đưa". Time moves silently yet swiftly, and before one realizes, March has arrived, with the "thiều quang"—the radiant spring sunlight—shining brightly, illuminating everything around. In this setting, two colors emerge:

"Cỏ non xanh tận chân trời"
"Cành lê trắng điểm một vài bông hoa"

The vast, lively expanse of spring is successfully depicted through the fresh, green grass. The poet also cleverly uses a light touch of imagery, adding a few white apricot blossoms to contrast with the greenery, creating a harmonious blend of green and white, giving the scene a pure, gentle, and peaceful aura. In these four lines, Nguyễn Du paints a spring landscape full of life, yet refined, pristine, and utterly captivating.

The next eight lines describe the festive atmosphere of the Thanh Minh holiday. First, the poet gives a brief outline of the holiday’s activities, marking it as "in the month of March" with two main parts: "The ritual is ancestor worship, the festival is for the spring outing". Then, the lively, traditional spirit of the festival is vividly portrayed:

"Gần xa nô nức yến anh"
"Chị em sắm sửa bộ hành chơi xuân"
"Dập dìu tài tử giai nhân"
"Ngựa xe như nước áo quần như nêm"

The festival includes *yến anh*, *chị em*, *tài tử*, *giai nhân*—participants dressed in colorful clothes, bustling and joyously preparing for the festivities. The poet uses rich and varied activities like "sắm sửa" and "dập dìu" to highlight the bustling atmosphere and the eagerness of the people. Nguyễn Du expertly uses literary devices to depict this vibrant scene.

There is a metaphor in "nô nức yến anh", evoking the image of couples or groups walking together. The comparison in "Ngựa xe như nước áo quần như nêm" vividly describes the procession of people moving towards the festival in a stream-like, lively manner. The poet also portrays the more tranquil aspect of the holiday rituals:

"Ngổn ngang gò đống kéo lên"
"Thoi vàng vó rắc tro tiền giấy bay"

The sacredness of the ritual slows the passage of time. The act of honoring the deceased is beautifully portrayed, expressing gratitude for the past and reflecting the traditional value of *uống nước nhớ nguồn*—remembering those who have passed before. Finally, Nguyễn Du describes the moment when Thúy Kiều and her sister return home after the festival:

"Tà tà bóng ngả về tây"
"Chị em thơ thẩn dang tay ra về"
"Bước dần theo ngọn tiểu khê"
"Lần xem phong cảnh có bề thanh thanh"
"Nao nao dòng nước uốn quanh"
"Dịp cầu nho nhỏ cuối ghềnh bắc ngang"

The festival ends as the sky turns to dusk, with the setting sun casting a golden glow on the landscape. The familiar spring scenery is still present, but now tinged with the soft hues of evening: the sun dims, the small stream and the little bridge remain, and time and rhythm slow down. The poet’s use of words like "tà tà", "thanh thanh", "nho nhỏ", and "nao nao" adds a subtle melancholy to the scene, using the technique of *tả cảnh ngụ tình*—using the environment to convey emotions. The peacefulness of the landscape conveys a feeling of longing, loss, and wistfulness, especially through the image of the "flowing water" and its "nao nao" motion, which carries the bittersweet mood of the moment.

Thus, through the excerpt *Cảnh ngày xuân*, Nguyễn Du masterfully presents a spring landscape full of vitality and a bustling, joyous festival, while also showcasing the deep, traditional cultural values of the Vietnamese people. This is achieved through the seamless blending of traditional poetic techniques, such as *chấm phá* (sketching), *tả cảnh ngụ tình* (describing scenes to reflect emotions), and others, which are characteristic of classical Vietnamese literature.

Not only was Nguyễn Du a brilliant writer in the art of character portrayal, but he also demonstrated exceptional skill in depicting nature. Each of his paintings comes to life under his pen, carrying the emotions of the characters within. The scene of spring is one such painting, which is not only visually beautiful and harmoniously colorful but also reflects the various emotional tones of Thúy Kiều and her sister.

The opening verse introduces a magnificent spring scene:

Ngày xuân con én đưa thoi

Thiều quang chín chục đã ngoài sáu mươi.

The swallows glide and flutter, soaring through the sky as if they were shuttlecocks, and Nguyễn Du’s choice of imagery is both symbolic and exceptional. At this moment, it is late March, the height of spring, at its most complete, radiant, and beautiful. The space is filled with light, brilliant and resplendent.

But hidden behind the joy is also the subtle sense of regret felt by Thúy Kiều and her sister, as the spring, the day, and the season are slipping away too quickly. These two lines not only mark the passage of time but also evoke the warmth and sweetness of spring, leaving one with a feeling of wistfulness as time flows by. In the following verses, Nguyễn Du, with just a few strokes, paints a masterpiece of spring:

Cỏ non xanh tận chân trời

Cành lê trắng điểm một vài bông hoa

The painting is filled with the lush, vibrant green of fresh grass, spreading out across the sky to the horizon, illustrating the boundless vitality and fullness of spring. To highlight this scene, Nguyễn Du ‘dots’ a few pear blossoms into the picture.

The pear flowers, pure white, though their fragrance isn’t directly described, can likely be imagined as delicate and subtle, embodying the pristine nature of the flowers themselves. Nguyễn Du’s brilliance lies in bringing the scene to life, as the verb “dot” makes the painting not static, as in traditional Chinese poetry, but dynamic and full of life.

The beauty of this scene is a delicate harmony of two colors: green and white, giving the space a sense of both vitality and purity. In the heart of this beautiful spring, the image of a group of people walking together to a spring festival emerges: “Thanh minh trong tiết tháng ba/ Lễ là tảo mộ, hội là đạp thanh.”

The poet employs parallelism, separating “lễ” (ritual) and “hội” (festival) to depict the two activities of the spring festival: tomb-sweeping rites and the spring walk. This line reflects a beautiful cultural tradition of our people, honoring the deceased. It embodies the cherished custom of remembering the roots, living with gratitude and respect for ancestors: “Ngổn ngang gò đống kéo lên/ Thoi vào vó rắc, tro tiền giấy bay.”

Moreover, this verse also summarizes another cultural aspect, that of the spring excursion. It is a time for young people to meet and enjoy the beauty of the season together. The festival atmosphere is lively and joyful. The poet uses several two-syllable words like “gần xa” (near and far), “yến anh” (swallows), “chị em” (sisters), as well as reduplicative words like “nô nức” (excited), “dập dìu” (hustling) to express the cheerful and eager mood of the people at the spring festival.

To further intensify this lively atmosphere, Nguyễn Du uses the metaphor “nô nức yến anh,” evoking an image of a bustling crowd at the festival and at the same time, suggesting the sounds of conversations and the first encounters of young couples.

The scene is not only vibrant but also crowded: “Ngựa xe như nước, áo quần như nêm.” Through these eight lines, the poet captures not only the beauty of our national culture but also creates a space for the fateful encounter between the stunning Thúy Kiều and the refined, charming Kim.

As evening falls, the festival and rituals gradually subside. Thúy Kiều and her sister meander home, and the atmosphere becomes somewhat desolate, evoking a sense of melancholy in those leaving the celebration, especially in the sensitive heart of Kiều:

Bước dần theo ngọn tiểu khê

Lần xem phong cảnh có bề thanh thanh

Nao nao dòng nước uốn quanh

Dịp cầu nho nhỏ cuối ghềnh bắc ngang

The images of “tiểu khê” (small stream) and “nho nhỏ” (small) reflect a confined space that seems to grow smaller and more distant, imbued with a sense of sadness and regret as the day fades. In this passage, the poet uses the reduplicative words “thanh thanh,” “nao nao,” and “nho nhỏ,” which are both visually descriptive and emotionally expressive.

In particular, the word “nao nao” not only describes the flowing water but also conveys the character’s emotional turmoil, a feeling of nostalgia and longing. These words fill the scene with an emotional tint—melancholy, wistfulness, and a quiet sadness. Through the technique of portraying nature to reflect emotions, Nguyễn Du not only describes the spring scene but also reveals the delicate and pure hearts of the young women.

To achieve the success of this spring painting, Nguyễn Du skillfully employs the technique of using nature to reflect the characters' emotions. He not only portrays a beautiful spring and a lively festival but also expresses the subtle, deep feelings of the characters. The rich and varied language, including reduplicative and compound words, enhances the visual and emotional depth of the poem. The flexible rhythm mirrors the characters' changing emotions.

The excerpt “Cảnh ngày xuân” showcases Nguyễn Du’s literary genius. Through delicate brushstrokes, he presents a vivid picture of nature and the spring festival, while also revealing the sensitive and refined spirit of the young characters, especially Thúy Kiều.

When we mention the national poet Nguyễn Du, we can never forget his masterpiece *Truyện Kiều* – a brilliant work of Vietnamese classical literature and of the author himself. The work was written with a masterful pen, using a conventional style and a profound humanitarian inspiration. Among his works, the excerpt 'Cảnh ngày xuân' clearly demonstrates his artistic talent.

The opening of the excerpt presents the readers with a vivid picture of the spring landscape:

'Ngày xuân con én đưa thoi

Thiều quang chín chục đã ngoài sáu mươi'

The image of the swallows fluttering, flitting like shuttlecocks creates a lively picture of nature. Nguyễn Du, with his rich descriptive style, opens up both the space and time of the spring season in the first two lines. At this point, spring is in the last days of March, 'beyond sixty,' which is the fullest, most radiant time of the year with the brilliant light of 'Thiều quang' illuminating the sky.

'Thiều quang' describes the soft, rosy light of spring, evoking a warm, gentle feeling. Facing such beauty, one cannot help but feel a sense of nostalgia and regret for the passage of time. The next two lines provide a unique artistic touch from the poet:

'Cỏ non xanh tận chân trời

Cành lê trắng điểm một vài bông hoa'

Spring, the first season of the year, promises a fresh start, full of brightness and success. Hence, spring is a season full of life, with flourishing plants, blossoming flowers, and abundant growth. At this moment, the nature scene is filled with vibrant green, stretching endlessly to the horizon.

Against this beautiful backdrop, a few white plum blossoms are delicately placed, the word 'điểm' shows the poet’s subtlety in describing nature. In summary, through these first four lines, Nguyễn Du unveils a broad, expansive, and serene spring landscape, accompanied by the wistful, reflective emotions of humans before the beauty of nature in the springtime. From this lively natural scene, the poet then begins to describe the activities of people:

'Thanh minh trong tiết tháng ba

Lễ là tảo mộ, hội là đạp thanh'

During the Thanh Minh period in early March, people gather to visit and honor their ancestors by cleaning their graves and offering incense. The verse reflects the custom and the beautiful tradition of our nation: 'Uống nước nhớ nguồn'. No matter where one goes, on the ancestor's death anniversary, descendants from near and far gather to honor their ancestors. Alongside this tradition is the spring festival. People of all ages eagerly participate in the spring festivities:

'Gần xa nô nức yến anh'

'Chị em sắm sửa bộ hành chơi xuân'

'Dập dìu tài tử giai nhân'

'Ngựa xe như nước, áo quần như nêm'

In these four lines, the poet uses a series of adjectives such as 'gần xa, yến anh, chị em, tài tử, giai nhân, nô nức...' to depict the bustling, lively atmosphere of the festival. People, young and old, gather for the spring festival, creating a scene as busy as swarming swallows, with the phrase 'nô nức yến anh' demonstrating Nguyễn Du's vivid descriptive talent. The use of reduplications like 'sắm sửa, dập dìu' illustrates the joyous, animated activities of the people.

The scene is so crowded that the poet compares the carriages and horses to the water and the clothing to the piles of goods. Young men and women, like Thúy Kiều and Thúy Vân, become the focus of the celebration. They walk hand in hand, eagerly enjoying the beauty of spring, which symbolizes the excitement of the youthful season of their lives. In the midst of this joy, people still remember the departed with their rituals, reflecting the customs and traditions of the Vietnamese people:

'Ngổn ngang gò đống kéo lên'

'Thoi vàng vó rắc tro tiền giấy bay'

They burn gold paper to send to the deceased, wishing that the departed will also experience fullness and happiness in the afterlife. The last two lines express the feelings of Thúy Kiều and her sisters as the festival comes to an end:

'Tà tà bóng ngả về tây'

'Chị em thơ thẩn dan tay ra về'

Every celebration must eventually come to an end, and this marks the return to normal life. Thúy Kiều and her sisters, too, walk away, with the shadows lengthening towards the west and the sky turning dark, signaling the end of the day. The description of the sunset is beautiful yet melancholic. The image of Thúy Kiều and her sisters walking away 'thơ thẩn' conveys a sense of regret, a lingering sadness at the conclusion of the spring festival. Particularly, in Kiều’s sensitive and emotional soul, this twilight scene is even more sorrowful:

'Bước dần theo ngọn tiểu khê'

'Lần xem phong cảnh có bề thanh thanh'

'Nao nao dòng nước uốn quanh'

'Dịp cầu nho nhỏ cuối ghềnh bắc ngang'

As the objects become smaller and the space more narrow, it signifies the conclusion of the beautiful spring scene, like the fading beauty of nature. In the final four lines, three reduplicative expressions—'thanh thanh', 'nao nao', 'nhỏ nhỏ'—evoke a serene, tranquil scene in nature, no longer full of vitality like the earlier parts of the poem.

This also mirrors Kiều’s emotional state. After the joys of the festival, she is uncertain of what awaits her in the future. These four lines symbolize Kiều’s premonition of the impending struggles and challenges in her life. Perhaps, the 'dịp cầu nho nhỏ' is a metaphor foretelling that Kiều’s life will take a different path? This demonstrates Nguyễn Du’s masterful skill in depicting not only nature but also the emotions of his characters through nature’s imagery.

The excerpt 'Cảnh ngày xuân'—though brief—fully conveys the poet’s talent in both describing nature and capturing the characters' emotions. Through this, we are presented with a beautiful spring landscape, which piques the reader’s curiosity about Thúy Kiều’s life ahead.

The Tale of Kiều is a masterpiece in Vietnamese literature and is widely recognized. In middle and high school curriculums, many excerpts from The Tale of Kiều are included for teaching and introduction to students, with one of the most notable being the excerpt titled "Cảnh ngày xuân".

This excerpt appears at the beginning of the work and is primarily focused on describing the scenery. "Cảnh ngày xuân" consists of eighteen lines, from line 39 to line 56 in The Tale of Kiều. The poem portrays the scene of young men and women joyously celebrating the arrival of spring, with the central image being Thúy Kiều and her sisters. The excerpt opens with the following lines:

“Ngày xuân con én đưa thoi”

“Thiều quang chín chục đã ngoài sáu mươi”

“Cỏ non xanh tận chân trời”

“Cành lê trắng điểm một vài bông hoa”

Using a vivid, sketch-like brushstroke, Nguyễn Du has captured a vast and colorful spring landscape. Spring is symbolized by the swallows returning after a long winter, while the warm spring sunlight dispels the gloom of the cold season.

On the ground, a blanket of fresh green grass stretches out, dotted with the white blossoms of the pear trees. We can easily imagine the beauty and grace of this scene, where the blend of sunlight, swallows, and flowers creates a harmonious and captivating landscape. Nature appears vibrant under the spring sunlight, in the peak of its freshness.

After describing the spring landscape, the next eight lines of the poem shift to the scene of the festival during the Thanh Minh period:

“Thanh minh trong tiết tháng ba”

“Lễ là tảo mộ, hội là đạp thanh”

“Gần xa nô nức yến anh”

“Chị em sắm sửa bộ hành chơi xuân”

“Dập dìu tài tử giai nhân”

“Ngựa xe như nước, áo quần như nêm”

“Ngổn ngang gò đống kéo lên”

“Thỏi vàng vó rắc tro tiền giấy bay”

Through this verse, we can clearly see that the spring festival involves two main activities happening simultaneously: tomb sweeping and walking on the green fields. Tomb sweeping is a long-standing tradition in our culture. During the Thanh Minh period, people visit the graves of ancestors and loved ones, cleaning them and offering “golden ingots” or “burning paper money” in remembrance and prayer for good fortune.

At the same time, spring festivals and recreational gatherings also take place, providing an opportunity for young unmarried men and women to meet, converse, and enjoy the season in the hopes of finding a life partner.

The poet employs a series of descriptive terms to vividly depict the bustling atmosphere of the Thanh Minh festival. Among the crowd, there are ladies, scholars, and beautiful women, all with their horses, carriages, and carefully prepared clothing. It is amidst this crowd that Nguyễn Du especially focuses on the three sisters Thúy Kiều, who are subtly referenced in the lines: "Chị em sắm sửa bộ hành chơi xuân".

As the day progresses, the following lines describe the return journey of Thúy Kiều and her sisters:

“Tà tà bóng ngả về tây”

“Chị em thơ thẩn dan tay ra về”

“Bước dần theo ngọn tiểu khê”

“Lần xem phong cảnh có bề thanh thanh”

“Nao nao dòng nước uốn quanh”

“Nhịp cầu nho nhỏ cuối ghềnh bắc ngang”

The scene of spring is truly captured as a landscape poem. While the names of Thúy Kiều and her sisters are not explicitly mentioned, readers can still imagine their spring outing. This moment marks the beginning of Kiều's journey in the narrative. The closing lines of the scene describe the peaceful return journey, signaling the end of the vibrant day.

The sisters' mood is described as “thơ thẩn,” as they reflect on the inevitable end of their outing. As they make their way home, the atmosphere becomes calmer, and the surroundings are no longer filled with the earlier bustle. The natural world is quiet, serene, and bathed in the gentle light of the setting sun. Yet, it is at this point that Thúy Kiều encounters the misfortune of meeting the “Đạm Tiên” grave and the unexpected meeting with the scholar Kim Trọng—two fateful events that will continue to influence her life.

Through the skillful use of descriptive imagery and vivid language, Nguyễn Du creates a beautiful and compelling spring scene, which remains one of the most remarkable moments in The Tale of Kiều.

After introducing the background of the Vương family and the beauty of Thúy Kiều and her sisters, Nguyễn Du goes on to describe the spring landscape during the Thanh Minh period, where the three sisters take a spring stroll. The structure of the poem follows a timeline. The first four lines describe the spring scenery, followed by eight lines about the Thanh Minh period. The final six lines focus on the sisters' return journey.

The spring landscape is depicted through a series of carefully selected images and words, demonstrating Nguyễn Du's mastery in using detailed, evocative language to create a vivid and appealing portrayal of the season. The poem conveys the beauty and vitality of spring, both in nature and in the lives of the people it touches.

In the first four lines, Nguyễn Du describes the vivid colors of the spring scenery, with the swallows returning, the sunlight warming the earth, the grass spreading out to the horizon, and the white pear blossoms gently blooming. These images combine to present the spring season as fresh, lively, and full of promise.

The next eight lines describe the festival atmosphere, with the hustle and bustle of people celebrating the arrival of spring. The traditional practices of tomb sweeping and spring walking are depicted in detail, along with the lively gathering of people, all wearing their finest clothes and traveling by horse-drawn carts.

The final six lines describe the peaceful return journey of Thúy Kiều and her sisters. The quiet scene of the sun setting and the gentle stream flowing along with the small bridge adds a sense of tranquility and contemplation. As the sisters slowly make their way home, the once-joyous festival atmosphere fades, leaving behind a sense of calm before the inevitable meeting with destiny.

Through his skillful use of both descriptive and narrative techniques, Nguyễn Du masterfully blends imagery and emotion, allowing the reader to experience the beauty and complexity of the spring landscape while also foreshadowing the events to come in the lives of the characters.

Nguyễn Du was born and raised in a prestigious family with a long history of serving as officials. A learned scholar, he was a true Confucian and a great poet, renowned in Vietnamese literature. His masterpiece, *Truyện Kiều*, is famous not only in Vietnam but also internationally. The excerpt "Cảnh ngày xuân" from the beginning of *Truyện Kiều* depicts the vivid spring scene and the journey of Thúy Kiều and her sister during the spring festival. "Cảnh ngày xuân" paints a lively and colorful picture of spring, with all the sounds and light of the season, vividly illustrated by Nguyễn Du in *Truyện Kiều*. The spring day fills the air with joy, as conveyed through the portrayal of nature's beauty. "Ngày xuân con én đưa thoi Thiều quang chín chục đã ngoài sáu mươi Cỏ non xanh tận chân trời Cành lê trắng điểm một vài bông hoa" Spring brings life as the birds flutter in the sky, and the swallow, representing the season, flies back and forth like a shuttle. The verse captures both the beauty of the scene and the fleeting nature of spring. Nguyễn Du expertly uses descriptive words like "thiều quang," "cỏ non," and "cành lê trắng" to create a vivid image of the springtime landscape. The use of vivid imagery evokes a sense of longing to witness the beauty of the season: dazzling light, the endless blue sky, and the delicate fluttering of flowers. This image forms a living picture of spring filled with energy and vitality. The natural beauty, combined with the lively spring festival atmosphere during the *Thanh Minh* festival, adds to the festive mood. The scene is bustling with people enjoying the holiday, a contrast to the common image of a quiet and lonely spring. "Thanh minh trong tiết tháng ba Lễ là tảo mộ hội là đạp thanh Gần xa nô nức yến anh Chị em sắm sửa bộ hành chơi xuân" The *Thanh Minh* festival is marked by two main rituals: "tảo mộ" (tomb sweeping) and "đạp thanh" (spring outing). Nguyễn Du uses action verbs and adjectives to describe the lively activities of people participating in these events, emphasizing the lively and crowded atmosphere. He also uses the imagery of "yến anh," referring to swallows and orioles, to depict the busy, cheerful mood of people out celebrating the season. This imagery highlights the festive spirit of the day. "Dập dìu tài tử giai nhân Ngựa xe như nước áo quần như nêm Ngổn ngang gò đống kéo lên Thoi vàng vó rắc tro tiền giấy bay" During the festival, men and women, in love, eagerly await the chance to go out and enjoy the spring together. Everyone prepares their finest clothes, and Nguyễn Du describes this in the phrase "áo quần như nêm" (the clothes are as packed as a pile). People rush through the streets, busy with preparations but also paying respect to the departed with the ritual of "thoi vàng vó rắc tro tiền giấy bay"—an offering of gold and paper money to ancestors. Through Nguyễn Du's sophisticated pen, the *Thanh Minh* festival comes alive with the sounds of celebration, the fresh atmosphere of spring, and the vibrant energy of people in a festive mood. The bright sky and lush nature reflect the exuberance of the day. As all festivals eventually end, the return of Thúy Kiều and her sister from their spring outing brings a feeling of bittersweetness. The final lines of the passage evoke this sense of melancholy. "Tà tà bóng ngã về tây Chị em thơ thẩn dang tay ra về Bước dần theo ngọn tiểu khê Lần xem phong cảnh có bề thanh thanh Nao nao dòng nước uốn quanh Dịp cầu nho nhỏ cuối ghềnh bắc ngang." The phrase "tà tà" captures the subtle melancholy of a late afternoon. It is not a time of joy but rather a moment of quiet reflection. The closing lines feature several "reduplicated words" like "thanh thanh," "nao nao," and "nho nhỏ," which express Thúy Kiều's deep and hidden emotions. As the landscape grows quieter, her heart grows heavy with a sense of foreboding, suggesting her future misfortunes. "Nao nao dòng nước" speaks to the inner turmoil, using nature as a metaphor for human emotions. Though the *Thanh Minh* festival is lively and full of energy, within Thúy Kiều's heart lies a silent, wistful anticipation of the future. Through this excerpt, Nguyễn Du showcases his exceptional talent for describing both the beauty of nature and the inner emotional world of his characters. The vivid imagery and use of evocative language highlight a lively and colorful spring, full of life yet tinged with the quiet sorrow that Thúy Kiều feels as she looks ahead to her uncertain fate.

In the excerpt "The Sisters Thuy Kieu", readers can see Nguyen Du's artistic talent in portraying the graceful and complete personalities of the two sisters, Van and Kieu. Meanwhile, in the excerpt "Spring Day Scenery", readers once again encounter Nguyen Du's unique talent in depicting the landscape and emotions in a spring scene that resonates deeply with the human soul. The excerpt "Spring Day Scenery" follows the description of the sisters' beauty and talent. Through this poetry, Nguyen Du paints a vibrant and lively picture of nature and the spring festival during the Qingming season. This part of the poem sets the stage for the eventual encounter between Kieu and Kim, who meet and make a promise. First, in the opening four lines, through the innovative art of sketching briefly yet meaningfully, Nguyen Du creates a beautiful and vivid spring landscape: Spring day, the swallow flies The sun's light is bright, just past sixty The green grass stretches to the horizon The pear branches, white, with a few blossoms. The first two lines evoke both time and space. Spring passes quickly, like the swallows flying in a hurry. The entire season of spring lasts ninety days, but by now, January and February have passed, and we are entering March. The spring sunlight is gentle, pure, and spreads everywhere. In the high sky, swallows soar and flutter, while on the earth, endless green grass stretches out as far as the eye can see. The verb 'tận' (endlessly) creates the image of spring expanding and enveloping the space, while the fresh green grass is adorned with white pear blossoms, evoking a sense of purity and newness. The inverted word order emphasizes the whiteness of the pear blossoms against the spring grass. In just four short lines, through his precise and delicate description, Nguyen Du creates a fresh, pure, lively, and invigorating spring scene, filled with the essence of Vietnam's spring spirit. The next eight lines depict the spring festival activities during the Qingming season. In the first two lines, the poet introduces the two main activities of the season: the tomb-sweeping ceremony and the spring outing festival. In Qingming, during the third month The ceremony is tomb-sweeping, the festival is spring outing. Tomb-sweeping is a cultural tradition, symbolizing the respect and remembrance of ancestors by maintaining family graves. After the ceremony, it is also an opportunity for young men and women to meet, chat, and fall in love during the spring outing festival. Nguyen Du describes the lively and bustling atmosphere of the spring festival using vivid, expressive words: From near and far, the swallows are busy The sisters are preparing for a spring stroll The talented young men and women gather The carriages and horses move like water, clothing like piled cakes. The compound words (near and far, swallows, sisters, carriages, clothing) combined with reduplicative words (busy, bustling, preparing) create a lively image of the spring festival, full of excitement. The metaphor "busy swallows" evokes images of groups of people bustling like swallows, fluttering and eagerly socializing. The simile "carriages and horses like water; clothing like piled cakes" portrays the busy spring festival with groups of people crowding together, moving in unison. In conclusion, through the use of metaphors, similes, and a wealth of vivid, expressive words, the poet conjures an atmosphere of spring filled with both joy and bustle, but also elegance and grace, with the presence of talented men and beautiful women. In the spring festival, there is not only joy but also moments of quiet during the tomb-sweeping ceremony, as seen in the following two lines: The tombs are piled up, the graves are dug The gold thread is scattered, paper money floats. While the spring outing festival presents a lively and exciting atmosphere, the tomb-sweeping ceremony evokes a bit of sorrow and reverence for ancestors through the act of scattering gold thread and burning paper money. This represents the tradition of "drinking water, remembering its source" and the culture of gratitude and loyalty in Vietnamese society. Through these eight lines, the poet skillfully portrays the cultural tradition of the spring festival. This is also a literary technique used by the author: to use a grand celebration as a backdrop to describe the special meeting between Thuy Kieu and Kim Trong. In the last six lines, using the technique of "depicting the landscape to convey emotions", Nguyen Du illustrates the end of the spring festival, which leaves the human heart with a bittersweet longing. This is the scene of the sisters Kieu returning from the spring outing: The sun slowly sets towards the west The sisters wander, hand in hand, heading home They slowly walk towards the little stream Looking at the landscape that is gentle and serene The water ripples, winding A small bridge crosses over a stream. The scene still retains the gentle, calm atmosphere of the spring day, but the sun has begun to set. The excitement of the spring festival is over. In the hearts of the people, there are feelings of wistfulness and nostalgia. The landscape has been condensed into the footsteps of the travelers, the flowing water, and the little bridge. The reduplicative words such as "gently, slowly, wandering, serene" not only describe the state of the landscape but also express the emotions of the characters: reluctant, hesitant, nostalgic, completely opposite to the festive atmosphere of the spring morning. At the same time, they foreshadow an impending event, such as the encounter with the tomb of Dam Tien and the meeting of the two characters, Thuy Kieu and Kim Trong. In conclusion, using the technique of depicting the landscape to reflect emotions, combined with a rich vocabulary of reduplicative words and vivid, expressive imagery, the poet successfully portrays the twilight scene at the spring festival, infused with the characters' inner emotions. This also demonstrates Nguyen Du's exceptional ability to depict human emotions. While in Thanh Tam Tai Nhan's "Kim Van Kieu Truyen", the author only briefly introduces the spring festival with one line, "one day during the Qingming season...", Nguyen Du uses that reference to craft a vivid poetic portrait of spring, full of beauty and infused with the essence of Vietnam's nature, sky, and water. Thus, through the excerpt "Spring Day Scenery", we see the remarkable artistic talent of "depicting the landscape to convey emotions" that Nguyen Du uniquely masters. With his creative and subtle penmanship, and his profound artistic sensitivity to spring, Nguyen Du successfully creates a vivid picture of nature and the spring festival, pure and lively, resonating deeply with the human heart.

In ancient poetry, nature was not only a center of beauty but also a place where human emotions were conveyed. In the timeless work 'The Tale of Kieu,' the great poet Nguyen Du dedicated 222 verses to describing nature. Among them, the excerpt 'Spring Day Scenery' stands out as one of the most beautiful depictions.

With just 18 concise lines, Nguyen Du imbues the poem with the vibrant vitality of spring, while demonstrating his refined artistic technique in portraying nature. The verses open up a vivid image of spring during the Qingming season, beginning with the first four lines:

'In spring, the swallow flits about'

'The sun has passed ninety, nearing sixty'

'Young grass stretches to the horizon'

'Pear branches dotted with a few white flowers.'

Nguyen Du paints a breathtaking spring scene, focusing on the typical elements that characterize the season. The first two lines employ a unique method of timekeeping, with symbolic descriptions of spring—'swallow' and 'spring sunlight'—conveying warmth and gentleness, asserting that the season is at its most beautiful, mature, and abundant.

Through this, the second line highlights how quickly spring passes, symbolized by the weaving of the shuttle, moving from the first and second months to the third, when the skies are clear and swallows flutter about like the rhythm of the shuttle. This evokes a sense of wide-open space, the passage of time, and the lively pulse of spring, while also expressing Nguyen Du's nostalgia for time slipping away, enhancing the beauty of nature with the green of the young grass and the white of scattered pear blossoms.

'Young grass stretches to the horizon'

'Pear branches dotted with a few white flowers.'

This is truly a magnificent image. The poet uses a delicate sketching technique to portray a vibrant and lively spring, evoking the sense of vitality and growth. The green grass symbolizes enduring life, while the vast, open, and pure space is complemented by scattered white pear flowers, creating a harmonious and fresh scene.

Nguyen Du's adaptation of the Chinese literary tradition, specifically 'Phuong Thao Nien Bich' and 'Le Chi So Dian Hoa,' is evident. Where the Chinese original evokes scent with 'fragrant grass,' Nguyen Du shifts to the visual, with 'young grass' in light green blending with the fresh yellow of lemon and the blue sky, providing a perfect backdrop for the white of the pear blossoms, forming a harmonious, fresh, and new image.

The word 'white' stands out, placing emphasis on the purity of the pear blossoms, while the verb 'dotted' breathes life into the scene, preventing it from becoming static, much like a painter’s hand carefully embellishing the canvas, enhancing the liveliness of spring.

Nguyen Du’s artistic brilliance is revealed through his skillful use of color and expressive language, reflecting his joyous and sensitive soul as he perceives the natural beauty of spring. The four lyrical lines create a spacious, warm, and pure spring atmosphere, leaving a lasting impression on the reader.

Spring, the beginning of the year, is a time when plants bud and people feel invigorated, and it is also the season for many festivals. In Nguyen Du’s poetry, this is represented by the spring festival scene during Qingming, depicted in the next eight lines of the poem, which portray the lively and bustling atmosphere of the festival: 'The ceremony is for tomb sweeping, the festival for spring outing.'

The poet takes us back to the Eastern traditions, where tomb sweeping is a way of honoring ancestors, while the 'spring outing festival' represents the celebration of life, where young men and women gather to enjoy the beauty of nature and possibly find future partners.

The following lines vividly describe the festive atmosphere, using words full of expressive emotion such as 'cheerful,' 'flurry,' 'preparations,' and classical terms like 'talented youth,' 'beautiful women,' 'pedestrians,' and 'horses and carriages,' combined with artistic techniques like metaphor and simile, bringing the lively and joyous scene of the festival to life.

'The talented youth and beautiful women are bustling'

'Horses and carriages like flowing water, clothes as tightly packed as cake.'

The Qingming festival in March is a time when couples 'bustle' around, meeting and making arrangements. Among the crowd are Thuy Kieu and her sisters, joining in the youthful beauty and exuberance of the celebration. The comparison 'horses and carriages like flowing water, clothes as tightly packed as cake' brings the vibrant, bustling festival to life, with people in their bright, beautiful attire.

Like swallows and orioles, they flit about, gathering at the festival. The poet also highlights the ancient cultural traditions of Vietnam during the Qingming festival, where the burning of gold paper for the deceased reflects the deep sense of filial piety.

'Piles of mounds, pulling up'

'Golden thread scattered with paper money flying.'

The rhythm of the poem suggests a sense of melancholy, reflecting Nguyen Du’s compassion for the departed. The poet, with his sensitive touch, portrays the merging of ceremony and festival during Qingming, emphasizing the deep respect for cultural traditions.

While the earlier lines depict the lively, bustling festival, the last six lines shift to a more lyrical and melancholic rhythm, portraying the sisters Thuy Kieu returning home, immersed in a tranquil scene that contrasts with the earlier festive atmosphere.

'The shadow tilts towards the west.'

'The sisters wander hand in hand, walking slowly.'

'Following the winding stream.'

'Admiring the landscape, calm and serene.'

'The gentle flow of water winds round.'

'A small bridge at the end of the stream, arching over.'

The festival is over, yet there is no sorrow; instead, the calm, serene landscape of the spring afternoon provides a sense of peaceful introspection. The setting sun, with its fading light, seems to reflect the subtle melancholic mood of the characters. This scene evokes the quiet and soothing atmosphere of the evening, where the lively festival has ended, and the world feels quieter, more reflective.

The use of gentle words such as 'tilting,' 'calm,' 'gentle,' and 'small' reflects both the scenery and the introspective mood of the characters as they slowly make their way home, feeling a sense of longing and nostalgia. The imagery of the scene foreshadows the emotional journey of Thuy Kieu as she encounters the tragic fate that awaits her.

In summary, through his use of vivid and evocative language, Nguyen Du paints a picture of spring that is both beautiful and full of emotion. The 'Spring Day Scenery' excerpt from 'The Tale of Kieu' not only captures the splendor of nature but also mirrors the emotional currents of the characters, drawing the reader into the timeless beauty of the work.

Spring is the season of fragrant flowers, strange grasses, and vibrant cultural festivals. It has appeared in the poetry of Nguyễn Trãi, Trần Nhân Tông, Hàn Mặc Tử, and others... In the beautiful portrayal of spring by Nguyễn Du in "Spring Day Scene," the season of celebration adds a new layer of fragrance and color.

From the top of a hill, the spring unfolds before our eyes as an endless space under the warm sunlight of the earth and sky. It is now March, and though the sky is not yet as clear as the autumn sky, it is still bright enough to mirror the energetic flight of the swallows:

"In the spring, the swallow flies swiftly"

The "swift flight" of the swallow or the swift passage of time during spring evokes the fleeting nature of the season. Against this vast backdrop, a sketch of spring emerges like a beautifully woven tapestry:

"The grass is green to the horizon"

The white branches of the pear tree are dotted with a few flowers"

The green of the grass sets the stage for the white of the pear blossoms, adding clarity and purity to the scene, soft and enchanting. Nguyễn Du has chosen two dominant colors to capture the essence of spring, creating a sophisticated, graceful spring. We have seen the spirit of spring in Nguyễn Trãi's poetry:

"The green grass like smoke, the spring is bright"

"There is spring rain, the water echoes the sky"

Or here is the image of spring on a hillside in Hàn Mặc Tử's poetry: "The green waves of grass stretch to the sky." And here is the scene of a lively and bustling festival:

"From near and far, the people are joyfully gathering"

"The sisters prepare to walk and celebrate spring"

"The lively, graceful people"

"Carriages and horses flow like water, and their clothes are like freshly made cakes"

Countless "graceful men and women," walking side by side, step by step, while the crowd presses forward, carriages and horses follow in a torrent, and the colors of their clothes are vivid and bright. The metaphor "joyfully gathering" conjures images of the spring wanderers, chattering like the swallows and warblers.

But the most beautiful and majestic are the young men and women, the very soul of the spring scene. The poet masterfully describes the festival atmosphere in great detail. This is a long-standing cultural tradition of the East, reflecting the "elegance" of the sisters Thúy Kiều. As evening approaches, the sun sets behind the mountains:

"The shadows stretch, fading toward the west"

The sisters slowly walk, their hands intertwined, heading home"

The rhythm of the poetry slows, like the soft steps of a person, reflecting a melancholic longing after the celebration ends. The scene remains light and tranquil, yet everything moves slowly. The sun sinks lower, and people's steps grow slower. The waters curve gently. But the festive atmosphere is no more.

The "uneasy" flow of the river reflects the same restlessness in the people. Clearly, the spring scene in the late afternoon has taken on a melancholic tone. The great poet seems to be foretelling something about to happen. In just a few moments, Kiều will meet the tomb of Đạm Tiên and the elegant scholar Kim Trọng.

Through his keen observation, the poet, with the sensitivity of a poetic soul, paints a vivid, soulful, and unique picture of spring. His love for nature, the land, and the people has inspired him to create a masterpiece that will forever remain a treasured part of Vietnamese literature.