Top 10 Best Essays Analyzing the Nature Scene in the Excerpt "Lao xao" by Duy Khan

The natural scene of the Vietnamese countryside is vividly portrayed in the excerpt "Lao Xao" by Duy Khanh, making it feel incredibly close to our hearts. As we read, we are drawn into the world of birds and folk songs, deepening our love for the rural landscapes of Vietnam.

The excerpt begins with the early summer atmosphere, where the lively and energetic essence of the season fills the air: lush, vibrant trees, and "the whole village smells" with the fragrance of "white blooming orchid flowers, clusters of delicate flowers, dragon nails... their fragrance resembles the sweet scent of ripe jackfruit…" These familiar, simple, and natural smells evoke affection in everyone. But it's not just the fragrance—the scene becomes even more lively with the arrival of bees and butterflies. The golden bees, hornets, and honeybees fight for nectar, while the gentle butterflies quietly leave. Every beautiful, peaceful image of this tranquil countryside becomes unforgettable.

The scene shifts to the innocent, carefree children gathered in the corner of the yard, chatting and laughing. It's also at this moment that the world of birds—diverse and abundant—appears. Duy Khanh's keen observation and deep knowledge of the avian world is evident as he details the distinct traits of each bird. The first to be introduced are the loud, yet endearing storks, their calls almost as if they were being chased. As Sister Diep narrates, other birds—such as sparrows, black-capped starlings, and so on—follow suit. They share a common trait: they are "gentle." When the starlings sing, it signals a bountiful harvest; and when the cuckoo sings, it signifies ripe fruits, an omen of plentiful crops.

Amidst the cheerful bird songs, the voice of the bittern emerges. Duy Khanh cleverly weaves in a folk tale about the bittern’s call, adding a layer of charm and vividness to the story. Every time the bittern calls, the more menacing birds appear. The transition from the gentle birds to the more ferocious ones, marked by the bittern's cry, is subtle and poignant, leading to the appearance of the fierce hawk.

The hawk is depicted with sharp details: soaring high, with a hooked beak, and an acute sense of smell. Alongside it, we also encounter the crows, notorious for stealing eggs. Then comes the swift, sharp-winged kestrel, likened to a dark shadow that strikes suddenly and disappears just as quickly. However, even these predators must respect the unity of the boat-tailed grackle. These vivid, dynamic comparisons help readers picture the unique traits of each bird.

The avian world in this scene is rich in sounds and colors, full of variety. Duy Khanh masterfully incorporates idioms, folk songs, and folk tales into the narrative, making the story more engaging and captivating. His seamless blending of description, storytelling, and commentary shows his profound knowledge and deep affection for birds—the closest companions of childhood. With his meticulous observation and simple, rustic language, all these elements come together to create a powerful, compelling narrative.

Through this portrayal of the rural natural scene, we can clearly see Duy Khanh's keen observational skills, his understanding of the bird world, and his profound love for nature and his homeland.

After reading the excerpt from "Lao Xao" (Excerpt from "Silent Childhood" - Duy Khanh), as I close the book, a vivid image of a beloved Vietnamese countryside filled with warmth and affection still lingers before me.

Through Duy Khanh's heartfelt writing, the Vietnamese countryside comes to life as simple and peaceful. This serene life in the countryside becomes an attraction for the birds that gather here, living in harmony and affection with humans. The opening of the essay presents a rural scene just at the start of summer, a time that entices butterflies and bees to gather for nectar. The buzzing sounds of the bees, the clashes among them fighting for nectar, evoke a subtle yet poignant emotion, leaving a lingering sensation that is hard to forget.

Prominent in the beautiful summer scenery is the image of various birds. It’s hard to count how many birds there are, as though this sky belongs entirely to them. Among them are familiar birds from the countryside, closely connected with the daily life of humans: the sparrow, the dove. They come in many species: from the stork to the warbler, the blackbird, the cuckoo, the magpie, the swallow, the swan... Together, they form a lovely world with lively, cheerful sounds.

We are startled by the loud call of the stork: "các... các... các...", but also amused by its hurried flight and the sound of it calling out as if it’s being chased. We feel light-hearted listening to the joyful singing of the blackbird, and are delighted by the "tọc, tọc" sounds mimicking human speech from the sparrow in Mr. Vui’s house. Then, the bustling and longing calls of the cuckoo seem to beckon, evoking nostalgia and stirring memories that make our hearts flutter. The cuckoo’s cry in the essay reminds the reader of the sweet ripening mulberry season, as well as the cuckoo’s song in Bằng Việt's poem.

The cuckoo’s call is so affectionate...

Cuckoo, why don’t you stay with grandmother?

Why call so persistently over distant fields?

Amid the sounds of lively chatter on the trees and rice fields, the faint flapping of swallows’ wings pass by, along with the chirping of swans soaring up into the sky. Suddenly, the "bìm bịp" sound of the bird from the bush can be heard. These calls are filled with sorrow, perhaps carrying all the unjust grievances that humans attribute to it, turning them into poignant cries. It’s pitiful for the bìm bịp, a gentle bird that spends its days hiding in the bushes, too timid to join the others in their cheerful gatherings.

Intimately connected with human life, these birds are viewed by the author with much affection, and this feeling is quickly passed on to the readers, making them feel a bond with the birds, nature, and the countryside. To further enrich the vivid depiction of the countryside, the writer includes the image of the hawk, hated for only preying on chickens, and the ugly crow with its crafty, squinting eyes, eyeing the pigsty. There are also the vicious shrikes, who have killed many gentle pigeons.

They are the bad birds, but they are still part of the bird world, a part of life. Although they are depicted with disdain by the author, one cannot imagine the world without them. Without them, how could we witness the entertaining scenes of the battle between the Chèo Bẻo birds and the bad birds? These scenes add life and excitement to the image of the bird world.

The bird world brings an added flavor to life, warming it. "Lao Xao" is a vivid portrait of the colorful rural nature, a part of rural life that is felt by a sensitive soul, and skillfully depicted with a refined and talented artistic style.

To be so deeply connected with the countryside, to love and cherish the nature and life of the rural world to such an extent, Duy Khanh must have experienced this with great devotion to write such remarkable pieces. "Lao Xao" will forever resonate in the hearts of readers!

The landscape painting of the rural countryside in Duy Khan's "Lao xao" evokes a peaceful, serene Vietnam. This life attracts various birds to settle and coexist with humans.

The early summer morning in the countryside is depicted with vivid and diverse details. From the allure of butterflies and bees searching for nectar, the imagery brings a sense of relaxation and enchantment to the reader. The painting becomes even more striking with the presence of birds, from the familiar and approachable to the strange, both gentle and harsh: sparrows, starlings, crows, cuckoos, swallows, and more. The calls and songs of these birds create a lively sound that breaks the quietness of rural life, transporting us back to childhood memories of the countryside.

The starling perches on a buffalo's back, chirping and learning to speak, then flies off to feed, returning only in the afternoon. The cuckoo stands atop a tree, heralding the arrival of the cuckoo season. The call is filled with longing, evoking the ripening of fruit. The birds of summer are also highlighted, with onomatopoeic sounds like "các các," "chéc chéc," and "bịp bịp." The personification of the cuckoo brings a lively image of these gentle birds. The author also includes a familiar nursery rhyme and mentions how the bìm bịp despises deception, illustrating the gentle nature of this bird.

Somewhere, the cries of the swallows are heard, fluttering high up in the sky. On the treetops and in the rice fields, the wings of the swallows flutter. The mournful calls of the bìm bịp, hiding in the bushes, seem reluctant to join the birds' cheerful chorus. The author’s empathetic perspective helps the audience better appreciate nature, the village life, and understand the hardships of the birds. However, every story has its contrasts, which makes the narrative more captivating, avoiding monotony. Thus, the author also describes some malicious birds.

The hawk, with its menacing nature, lurks to steal chickens. The author paints its appearance to highlight its cruelty: its hooked beak, sensing prey, swoops down to snatch a chick before flying off, eating it mid-air. The ugly, despicable crow, with its shifty eyes, sneaks around pigpens, stealing eggs and chicks. The hawks are portrayed as swift and sharp, their wings like curved knives, slicing through the air as they engage in their predatory attacks.

From their physical traits to their aggressive behavior, these birds are menacing and harmful. Despite the dislike they provoke, they are an essential part of the ecosystem. Without them, there would be no birds to control the harmful ones. The brave chèo bẻo birds fiercely combat the hawks, causing them to abandon their prey. They gang up on the crows, and the entire flock drives the kestrels away.

The author’s description is incredibly detailed, capturing the essence of summer birds in the Vietnamese countryside. It highlights the courage of the chèo bẻo birds. With the sensitivity and insight of childhood experiences, the author brings us closer to nature, showcasing the diversity of birds in Vietnam. The work paints a vivid and colorful picture of the homeland, infused with a deep sense of folk tradition. This illustrates the author's deep understanding of Vietnam's rural nature.

The peaceful nature of rural Vietnam is vividly captured in Duy Khán's "Lao xao," showcasing a serene and gentle country. This tranquil environment attracts various species of animals, such as fish, birds, and rare mammals, who come to settle and build nests.

In the early summer morning, the author beautifully describes a rural landscape bathed in clarity. The butterflies, with their dazzlingly colorful wings, flutter gracefully. Meanwhile, bees and worker ants roam, searching for flowers to gather nectar, bringing life to the world around them.

The natural scene continues with flocks of birds—sparrows, warblers, swallows, and sparrows—gathering together, creating a unique and captivating depiction of nature in this peaceful village. The author's descriptions invite readers to feel as if they are immersed in the beauty of this environment, living in harmony with the picturesque world he presents. For many readers, Duy Khán's portrayal evokes nostalgic memories of their own childhoods, particularly those raised in rural areas, where the days were filled with activities such as bird hunting, kite flying, and catching butterflies—simple yet innocent joys of youth.

Through these vivid descriptions, Duy Khán offers readers a deep and sensitive connection to nature. His intimate understanding of nature and rural life in Vietnam allows him to craft such detailed and nuanced depictions. His portrayal contrasts the forces of good and evil, creating a narrative that is not only intriguing and dramatic but also captivating, keeping the reader engaged and never dull.

The hawks are notorious for stealing chickens, and Duy Khán paints them with a striking clarity, highlighting their viciousness. With hooked beaks, they swoop down swiftly when they sense food, snatching a chicken and soaring into the sky. This showcases both their agility and their cunning, evil nature. Meanwhile, the ugly crows, known for scavenging on decaying matter, lurk near the pigsty, eyeing eggs to steal. The quick and ruthless falcons often bully the gentle doves. Through these depictions, Duy Khán illustrates a rural world filled with beauty, but also grounded in realism—where forces of good and evil coexist. The evil constantly seeks to suppress the good.

The author's descriptions are subtle and skillful, delving into the world of birds in the fields of Vietnam during the sweltering summer. These vivid memories convey the author's treasured experiences of nature, offering young readers who have never encountered rural life a chance to expand their horizons through the pages of his writing.

The serene homeland and the beautiful childhood memories have always been a fertile ground for every writer and poet, giving rise to numerous unique and remarkable works. One of these works that leaves a profound impression on readers is the memoir "Silent Childhood" by author Duy Khan. This memoir vividly portrays the peaceful rural life, despite its hardships and poverty, yet full of vitality, and possessing a unique cultural identity. The passage "Lao xao" from this memoir helps us experience the vibrant, colorful village landscape, closely connected to nature.

First of all, the passage "Lao xao" presents a picture of the Vietnamese countryside at the early summer morning. The change of seasons, the beginning of a new season, always brings changes as nature adorns itself with fresh new colors. The countryside scene in Vietnam at this time of year is described by Duy Khan with remarkable detail, vividness, and impressiveness. The garden seems to be eagerly preparing to welcome the new season, with all its sensory richness – colors, sounds, and scents.

The garden is alive with the fresh green of "lush trees", the soul-stirring white of blooming orchids, the yellow of wild flowers, and the bees and butterflies. There’s also the fragrance filling the air, "the entire village smells", with the intoxicating aroma of various flowers. The garden is further filled with the buzz of bees "battling each other", the butterflies "flitting about", and the laughter of children playing and chatting. All of these colors, sounds, and scents together form a unique morning landscape, full of life and warmth. Duy Khan, with his simple structure, short sentences, and literary techniques like simile and personification, transports the reader into the peaceful, pure, and beautiful rural world.

Beyond describing the countryside scene, Duy Khan introduces us to a fascinating and unique world of birds. Through his perspective, every bird has a story to tell, each one special in its own way. First, there’s the story of the gentle birds. It begins with the distinctive call of the crow "các...các...các...". Then, Ms. Điệp eagerly recites a nursery rhyme about the different birds. Through this rhyme, Duy Khan has the opportunity to introduce these birds: the crow, sparrows, black-capped finches, black birds, and the cuckoo, all related to one another. These birds are all gentle, harmless, and beneficial to humans, bringing joy into their lives – such as the finch and the black bird "singing for a bountiful harvest", and the cuckoo calling to signal "the cuckoo season".

Not only does the author mention these gentle birds, but he also describes intermediary birds like the swallow and the swallows. Moving forward, the focus shifts to the predatory birds. Duy Khan especially draws attention to how these birds hunt and fight for survival, revealing their unique traits. The hawk flies high and swiftly, with an excellent sense of smell. The black crow and the magpie "hiss, scurry" to catch chicks or steal eggs. The kestrel, with its sharp wings like a curved blade, uses them to fight. According to Duy Khan, these birds are deemed evil because they often steal, harm, and kill other creatures.

However, there’s one predatory bird that the author holds in affection: the kite, because although it’s a predatory bird, it has changed. The kite often seeks to punish other evil birds. Under Duy Khan’s perspective, the kite is courageous and united – it "attacks the hawk furiously", "surrounds and fights the magpie", standing together to take on the kestrel. This unique, heartfelt viewpoint makes the passage truly captivating and gives readers an intriguing glimpse into the world of birds.

In conclusion, through his childhood memories and love for his homeland, Duy Khan brings us beautiful memories of the Vietnamese countryside and helps us better understand the colorful and diverse world of birds, full of life and vibrancy.

The vivid picture of the countryside appears in Duy Khan's excerpt from "Lao Xao", offering a scene that feels close to us all. As we read the passage, we are transported into a world of birds, folk songs, and the earthy, rustic beauty of rural Vietnam, making us cherish the natural landscape even more.

The excerpt opens with the early signs of summer, capturing the bustling, energetic atmosphere of the season: lush trees and flourishing plants, with the air filled with the scent of "white orchid blossoms," "clusters of delicate wildflowers," and "dragon's claw flowers... sweet as ripe jackfruit…." These familiar, simple, and natural scents evoke a sense of affection and nostalgia. But it's not just the fragrance that makes the picture come to life; the buzzing presence of bees and butterflies enhances the scene. Yellow bees, hornets, and honeybees are seen fighting for nectar, while gentle butterflies quietly fly away. These peaceful, beautiful images of a tranquil countryside are unforgettable.

The scene shifts to children playing innocently in a corner of the yard, chatting and laughing. At that moment, the world of birds, both gentle and fierce, comes into focus. Duy Khan skillfully divides the birds into categories, from the mild to the aggressive, and shows their unique characteristics through keen observation. First, we hear the powerful cry of a mynah bird, followed by the chirping of various other birds like the reed warbler, the pied myna, and the black myna, all of which are part of the same family and share a "gentle" nature. When the pied myna or black myna sings, it signals a good harvest year, and the call of the koel marks the ripening of fruit on trees.

Amid the cheerful sounds, the call of the cuckoo emerges. To explain this, Duy Khan recounts a brief folk tale about the cuckoo, weaving together folk traditions and the narrative to make the story more compelling. Each time the cuckoo calls, the arrival of ominous birds is foreshadowed. Duy Khan transitions subtly from describing gentle birds to depicting the presence of darker, more threatening creatures, using the cuckoo's cry as a sign of the evil hawk's appearance.

The hawk is portrayed with detailed descriptions: soaring high, with a sharp beak and keen sense of smell. Alongside it are images of crows and kestrels, known for their egg-thieving habits, and the sharp-winged falcon, which is likened to a dark ghost that swiftly swoops in and out. Despite their fearsome nature, these birds are no match for the unity of the friendly cattle egret. These vivid comparisons make the birds come to life, allowing the reader to clearly imagine their features and behaviors.

The picture of birds is both rich and colorful, in sound and appearance. Duy Khan demonstrates his remarkable skill in blending idioms, folk songs, and legends into his work, making it more engaging. Furthermore, his integration of descriptions, storytelling, and commentary reveals his deep understanding of the bird world, as well as his affection for birds – the companions of childhood. With his keen observation and simple, folksy language, all these elements come together to create the allure of the piece.

Through this depiction of the rural landscape, we can clearly see Duy Khan's astute observation and thorough understanding of the bird world. It also reveals his profound love for nature and his homeland.

The story 'Lao xao' is excerpted from the memoir 'Tuổi thơ im lặng' by Duy Khán, one of the highly regarded works in the field of children's literature since 1975. Through the memories of his youth in a rural village in Bắc Ninh province, the author reconstructs a vivid picture of nature and rural life from earlier times. Despite the simplicity and poverty, the narrative still radiates the refreshing beauty and warmth of human connections.

With sharp observation, profound knowledge, and a deep love for his homeland, the author paints a vivid, rich portrayal of the world of birds. After a brief introduction describing the rural landscape at the beginning of summer, the author proceeds to describe and narrate about several familiar bird species. These birds are categorized into two groups: the benign ones that are close to humans, such as doves, starlings, and cuckoos, and the harmful ones like hawks, crows, and kestrels. Notably, the swallow dares to fight against the evil birds. The author highlights key characteristics of each bird, such as their calls, colors, shapes, and behaviors.

The scene of the rural village at the onset of summer is filled with vibrant colors and fragrances from familiar flowers, alongside the busy activity of butterflies and bees: The early summer sky. The trees are lush. The whole village smells sweet. The orchid tree blooms with pure white flowers. The jasmine flowers in delicate clusters. The dragon's claw flower, plump and fragrant like ripe jackfruit in Mr. Tuyên's garden. Golden bees, hornets, and honeybees fight to collect nectar from the flowers. They chase away the butterflies. The peaceful butterflies fly off to quieter places in groups.

This is a beautiful natural landscape, reflecting the author's rich experiences and knowledge. Nature is described through a clear and imaginative lens of childhood. Each bird is portrayed in its relationship with humans, based on popular folk perceptions, and often symbolizes different types of people in society: The cuckoo, the largest among them, calls 'tu hú,' signaling the harvest season for the cuckoo fruits; and it is never wrong. The only cuckoo tree in the village is in Mr. Tấn's garden. The cuckoo perches at the top of the cuckoo tree and calls. The fruit is ripe and red, abundant like a basket of rambutan. The rare cuckoo's call; once the fruit is gone, it flies away somewhere. (The 'cuckoo fruit' refers to lychee.)

The sky is vast, with birds soaring freely: A flock of swallows flies past, then hurriedly heads toward the setting sun. Swallows are free to flutter in the sky... The dangerous birds, like hawks, crows, and kestrels, are mainly described by their activities, such as hawks attacking chicks, swallows fighting with hawks and kestrels... The author also tells the story of the starlings at Mr. Vui's house learning to speak, the legend of the bìm bíp bird, and the fierce battles between birds: These are the swallows. They dive to attack the hawk fiercely. The hawk's feathers fly everywhere, and it screeches, 'chéc, chéc,' and the prey slips from the hawk's beak, falling to the ground like a fallen fruit. The hawk disappears. The hawk narrowly escapes, and the next time it comes, it is a different one!

The skillful combination of description, storytelling, and commentary shows the author's deep knowledge and affection for birds – the closest companions of childhood: It is said that the swallow is a thief. The thief meets the old lady today. But from then on, I grew fond of the swallow. During the harvest season, it stays up all night. As soon as the day breaks, it calls out to the people: 'Chè cheo chét'... They punish the evil ones. It turns out, people who were bad but become good are truly admirable.

This is how the author views the relationship between birds and humans, with reference to agricultural work, and the fondness or aversion towards each bird according to long-standing folk beliefs, often attributing human-like traits or qualities to them. Through these childhood memories, author Duy Khán has recreated the vivid picture of nature and rural life. The reality of life has become the artistic material under the masterful pen of the writer. It can be said that Duy Khán has poured his soul into these simple, innocent, and poetic pages.

The hustle and bustle of village life from times gone by forms a vivid slice of nature and rural life in the past. Despite the simplicity and poverty, it still shines with the refreshing beauty and the warmth of human connection. With keen observation, vast knowledge, and deep love for the homeland, the author has painted a dynamic and rich picture of the world of birds.

After the opening lines describing the village scene at the start of summer, the author moves on to describe some familiar bird species. These birds are divided into two groups: the friendly ones like sparrows, starlings, and cuckoos, and the dangerous ones like hawks, crows, and kestrels. Notably, the common bird, the kingfisher, bravely defends itself from the dangerous ones. The author selects a few distinctive characteristics of each bird, such as its call, color, shape, or behavior, to describe them.

The village landscape in early summer, with its vibrant colors and the fragrance of familiar flowers, is alive with the busy activities of bees and butterflies: The beginning of summer. The trees are lush. The whole village smells sweet. The orchid flowers bloom white in clusters. The jasmine flowers are delicate. The dragon's claw flower has a robust fragrance, reminiscent of ripe jackfruit in the corner of Mr. Tuyen’s garden. Yellow bees, hornets, and honey bees fight over nectar in the flowers. They even chase away the butterflies. The gentle butterflies flee from the commotion. They quietly fly away in groups. This scene represents the beautiful natural world, reflecting the author's deep knowledge and connection with nature.

The natural world is described through the clear eyes and rich imagination of childhood. Each bird species is portrayed in relation to humans, according to folk perceptions and often symbolizing various types of people in society: The cuckoo, the largest bird in its family, calls “cuckoo,” signaling the arrival of the season for ripe fruit; never mistaken. In the whole village, there is only one cuckoo tree in Mr. Tan’s garden. The cuckoo perches at the top of the cuckoo tree and sings. The fruit is bright red and abundant, resembling a plate of gac fruit. The cuckoo’s call is rare; when the fruit runs out, it flies away, its destination unknown (cuckoo fruit refers to lychee fruit).

The vast sky and birds soaring freely: A flock of swallows darts by before quickly flying back toward the sun. Swifts enjoy flying high up in the sky... The dangerous birds, like hawks, crows, and kestrels, are mainly described through their behaviors, such as the hawk catching chicks, the kingfisher fighting with the hawk and kestrels...

The author tells the story of Mr. Vui's pet starling learning to talk, recounts the origin of the night heron, and narrates the battles between birds: These are the kingfishers. They fiercely fight the hawks. The hawk’s feathers fly everywhere as it screeches “chéc, chéc.” The prey falls from the hawk's beak like a fruit. The hawk retreats. The hawk has learned its lesson and does not dare return. If it does, it will be a different hawk! The clever combination of descriptions, storytelling, and reflections demonstrates the author's rich knowledge and affectionate feelings for birds—the best friends of childhood: People say kingfishers are thieves. A thief meets an old woman.

But from this point onward, I have come to respect the kingfisher. During harvest time, they stay awake all night. At the crack of dawn, they call out to people: “Che cheo chet”... They deal with the wicked. It turns out that when someone with a bad reputation becomes good, they become truly good. This view reflects the relationship between humans and farming work, as well as the fondness or dislike of each bird according to popular folk beliefs, sometimes even assigning them traits or qualities like humans.

Through childhood memories, the writer Duy Khan has recreated a picture of nature and rural life. The realities of life have become artistic material through the talented pen of the author. It can be said that Duy Khan poured his soul into these simple, innocent, and poetic writings.

When evaluating a descriptive essay or a literary work in general, two different perspectives come into play. The first perspective is based on what can be seen, while the second comes from what can be felt. Reading the excerpt from Lao xao, many believe it describes animals, but we think: behind the animal world, there lies something else. Could that something else be the peaceful and serene atmosphere inherent in the Vietnamese countryside, along with the folk philosophy and aesthetic views?

A painting of the peaceful and serene atmosphere of the Vietnamese countryside. The Vietnamese countryside has always had this inherent tranquility behind the green bamboo hedges. It is home to an age-old agricultural civilization with little disruption and very few changes, to the point where it feels like the earth and sky have always been this way. The level of production was not high, and human relationships were traditional (within the family, outside the village). This material and spiritual life created a pure atmosphere for the village. This atmosphere has gradually changed with urbanization, and through this process, what has gone is now remembered as a distant nostalgia. In those days, summer was a festival of fragrant flowers and fluttering butterflies. The flowers were diverse: orchids, dragon claw flowers, chestnut flowers. Each flower had its own color and fragrance: white orchids, clustered chestnut flowers, and dragon claw flowers were plump and smelled of ripe jackfruit. These generous flowers filled the village with a thick scent.

They attracted all creatures, but mainly bees and butterflies. The competition for territory among them was natural, and victory always went to the stronger one. Their species' behaviors were seen through a child's eyes: golden bees, hornets, honeybees, all fought fiercely without caring about right or wrong, while the gentle butterflies, who embodied the philosophy 'avoid the elephant to avoid embarrassment,' quietly flew away. But this was just the beginning. The bird world appeared in the sky with the loud call of the dove. Each species had its own unique behavior, both good and bad.

The good birds were close to farmers and humans: the magpies perched on buffaloes, while the magpie at Uncle Vui's house learned to speak like humans. It would go out to find food, but in the evening, it always returned to its owner. The cuckoo, a friend of the lychee season, was like an angel bringing good news, appearing and disappearing unexpectedly. On the other hand, the bad birds were like villains in fairy tales. They were not only unattractive in appearance but also quite dangerous. The kite, with its hooked beak, pretended to soar high as if unconcerned, but when it smelled prey, it would dive down like an arrow. Not as noble as hawks, crows—whether black or speckled—were mere scavengers. They would not hesitate to raid chicken coops or steal eggs, and if they couldn't find that, they would sneak into the pigsty without being picky. But even worse than hawks and crows were the kestrels.

Small in size but quick in flight, they became a terrifying predator with a unique weapon: sharp wings like a sickle cutting through the air. The children in the village were terrified (many of Uncle Chàng's doves had been killed by kestrels), and no bird could match them in strength. This made the bird world a place full of questions and mysteries, seen through curious, explorative eyes. A hero was needed, a knight to fight for justice. But unexpectedly, the knight was small and unjustly accused of being a thief. The villain was blamed, but when faced with injustice, the knight could not remain indifferent.

It was the knight who bravely attacked the kite, causing it to flee. It was the knight who organized a trap, forcing the crow to retreat without escape. And again, this time, against the cunning kestrel, the brave little birds—like the wren—took action. They had long dreamed of this moment, but now, with encouragement from the audience, they fought with all their might. The kestrel was defeated, perhaps for the first time, like a B-52 bomber spiraling down into the Xóc field without knowing why. For the children in the village, the wren's victory was a legendary achievement.

The carefree nature of the scene depicted helps us imagine that Vietnamese rural society is a peaceful, calm, and stable society, one that has been the same for generations and seemed unchangeable. The space given to flowers, butterflies, and birds by the people is one of silence and serenity. These scenes are so familiar that closing your eyes, they immediately come to mind: When the cuckoo calls its flock, the autumn rice is ripening, the fruits grow sweeter, the garden hums with the sound of cicadas, and corn kernels scatter under the golden sun, while the sky gets wider and higher, and the kites soar through the air... (Tố Hữu - When the Cuckoo Calls)

The views on aesthetics and philosophy in folk culture are also present here. The folk aesthetic view is that the animal world mirrors human society, where animals resemble humans. Unlike fables, the animals here appear as specific and lively characters, not just to illustrate moral lessons or philosophical ideas. Each species has its own character, which is why some animals are disliked, and others are pitied. The dislike or pity, however, can be of varying degrees. For instance, with the evil birds, such as the black and speckled crows, stealing chickens or eggs is an immoral act, but when they find themselves cornered, there is something pitiable about them.

As for the gentle birds, especially the brave wren, who has been unjustly tainted with a bad reputation, who will vindicate them? As for the battle between the mother hen and the hawk, the reader cannot help but think of a deep human emotion: maternal love. The folk philosophy here teaches us about the power of unity:

One tree cannot make a mountain

Three trees together form a tall mountain.

One lone wren cannot fight against hawks, crows, and kestrels. But three, united, can prove the strength of the flock (which people call unity). Opposing unity is the isolation of being alone:

Poor people eat corn but gather in joy

Better than the rich, alone and without company

(Proverb)

The bìm bìm bird symbolizes loneliness, avoidance of society. It spends its days and nights hiding in the bushes, perhaps as a spiritual punishment for its antisocial behavior, and for it, this is the deepest regret and torment of conscience. The lesson 'good people receive good fortune,' 'evil begets evil' is vividly demonstrated here. The 'good' are the chicks, the doves, and even the wrens, while the evil are those who bring harm to themselves. 'He who sows the wind reaps the whirlwind.'

In addition to the folk aesthetic and philosophy, there are elements of folk culture embedded in the text. These include nursery rhymes (such as 'Bồ các is Uncle Chim Ri…'), idioms used at appropriate moments (such as 'Dây mơ rễ má,' 'Kẻ cắp gặp bà già…'), and folk tales (like the legends of the bìm bìm bird and the wren). These cultural elements give the text a sense of being both real and magical, blending the old with the new, creating something that is worth remembering, sharing, agreeing upon, and respecting.