Top 10 Essays Analyzing Thuy Kieu's Emotions in the Excerpt 'Kieu at the Nguing Bich Pavilion' by Nguyen Du

In Nguyen Du's 'The Tale of Kieu', the passage depicting Thuy Kieu's emotions at the Nguong Bich Tower has long been regarded by readers as one of the most beautiful verses in the art of painting scenes and emotions. Yet, the essence of the poem, its greatest beauty, seems to crystallize in its final lines, particularly the four vivid images:

“Sorrowful gazing at the evening sea gate,

A distant boat's sail flickers far away?”

“Sorrowful gazing at the stream's new fall,

Flowers drift aimlessly, unsure of their destination?”

“Sorrowful gazing at the grass, pale and weak,

The sky and earth merge in a lonely, muted green.”

“Sorrowful gazing at the wind sweeping the waves,

The thunderous sound of crashing waves around the seat.”

These eight lines seem to describe the scene, yet they are truly an expression of emotion; Nguyen Du is not just painting a picture, but delving deep into the heart's sorrow. The phrase “sorrowful gazing” appears in all four images, signifying that the sadness was already within Kieu before she gazed upon the scenes; it’s a sorrow that accompanies her gaze and deepens with every passing moment. Such a depiction is perfectly suited to Kieu’s state of mind, as her sorrow is no fleeting emotion, but a burden she must carry for life.

Indeed, throughout the earlier parts of 'The Tale of Kieu', we never encounter such profound sorrow in Kieu. Before, she had no time to reflect on her own sadness. Separated from Kim Trong, selling herself to save her father, Kieu only had time to feel pain; but the family’s hardships—her father’s suffering, her mother’s, her siblings’—demanded that she stand strong, momentarily setting aside her own grief to care for her family. Even when she was with Ma Giam Sinh, Kieu’s heartache over her separation from Kim Trong was tempered by the knowledge that she had saved her family. Yet upon arriving at Lam Tri and entering the house of the cruel brothel keeper, her pain escalated, though it was still not yet the time to truly feel sorrow.

Now, however, her sorrow is truly overwhelming. We can imagine Kieu sitting alone at the Nguong Bich Tower, which is in fact a brothel tower of the cruel madam. She is surrounded by desolate emptiness. This solitude compels her to reflect on her fate, and her sadness deepens with each passing moment. She is saddened by memories of Kim Trong, the man with whom she once vowed eternal love, now forever apart. She grieves for the loss of her parents, growing old without her to care for them. The sadness is overwhelming, and now it is no longer just the scene that brings sadness; the sadness wells up from within her own heart. The genius of Nguyen Du is in how he captures this internal sadness so deeply! What does Kieu see? Here is the first image:

“Sorrowful gazing at the evening sea gate,

A distant boat's sail flickers far away?”

The 'sea gate' refers to the vast horizon where the sun is setting, leaving only faint rays over the water. Looking at the gate of the sea means seeing the endless stretch of the ocean fading away, with nothing but a void of emptiness, as the sky darkens. Yet against this emptiness, the figure of a solitary boat appears. It’s not a bustling scene of many boats returning from the sea, a joyful sight, but a single boat, its sail barely visible, vanishing at the horizon. The sail flickers, appearing and disappearing on the waves, just like an elusive dream. Kieu wonders: ‘Whose boat is it?’ Is it heading towards a distant, beloved homeland? Or is it, like her, drifting aimlessly, lost in the vast sea of life? Such a melancholic reflection, combined with the sorrow she already feels, amplifies her sadness. Seeking some distraction, Kieu turns her gaze elsewhere. And then she sees:

“Sorrowful gazing at the stream's new fall,

Flowers drift aimlessly, unsure of their destination?”

Before her eyes, a stream cascades from a high cliff. The water, once pure and calm, is now tumbling down, filled with turbulence and chaos. It is the beginning of destruction, the violent flow that disrupts the peaceful serenity. The poet uses the image of flowers drifting along the stream, aimlessly floating and unsure of their fate. The falling stream, like Kieu’s own life, symbolizes a loss of peace, swept away by the cruel currents of fate. Kieu too is like a fragile flower, drifting aimlessly in a vast, unpredictable world. The sorrow she feels is mirrored in the turbulent water. But still, she turns her eyes elsewhere.

“Sorrowful gazing at the grass, pale and weak,

The sky and earth merge in a lonely, muted green.”

Here, Kieu gazes at an endless, desolate meadow. There are no trees, no rivers, no hills, no homes—only grass stretching to the horizon, blank and lifeless. The grass is not vibrant and full of life, but weak and withered, much like Kieu’s heart. It is a barren, lifeless scene, and the green of the earth and sky merge into one dull, monotonous color. Had Nguyen Du described this as ‘a fresh green’, perhaps Kieu might have found some solace, but the color is faint and dismal, echoing the sadness she feels. In this vast emptiness, Kieu sees only a reflection of her own despair. She looks around for any hope, but all that remains is sorrow.

And finally, she gazes at the most sorrowful scene:

“Sorrowful gazing at the wind sweeping the waves,

The thunderous sound of crashing waves around the seat.”

This image is the culmination of Kieu’s sorrow. The earlier scenes were just preparatory; now, she faces the true depth of her sadness. The wind howls and the waves crash violently against the shore, louder and more relentless than before. The crashing waves roar and rumble, a sound so fierce it seems to echo through Kieu’s soul. The waves are relentless, one after another, never ceasing, drowning everything in their wake. The sound is deafening, consuming Kieu’s very being. At this moment, she feels as though she is no longer sitting in the tower, but at the heart of the storm, surrounded by waves of sorrow. The scene and her heart have merged, and her sorrow has reached its peak.

If the previous images presented a separation between Kieu and her surroundings, now she has become one with them. The external world has swallowed her whole, and her sorrow has reached its most intense point. At this moment, Kieu is ready to dissolve into the waves of sorrow, willing to do anything to escape or perhaps even end her suffering altogether. This deep despair sets the stage for her meeting with So Khanh and her subsequent betrayal.

Nguyen Du’s four images are not particularly extraordinary in themselves, but the way he intricately weaves them into Kieu’s emotional journey and the surrounding environment is masterful. His keen eye for both the external world and the human heart, coupled with his skillful use of language, make these scenes unforgettable.

The Tale of Kiều by Nguyễn Du is a masterpiece that has left a profound mark on Vietnamese literature. The excerpt "Kieu at the Tower of Lầu Ngưng Bích" occurs after Thuy Kiều sacrifices herself to save her father and younger brother, only to be trapped by Mã Giám Sinh and Tú Bà, who push her into a life of shame at the brothel.

In despair, Thuy Kiều attempts suicide, but Tú Bà intervenes, fearing she would lose money if Kiều dies. Instead, Tú Bà manipulates Kiều into entertaining clients. Kiều is locked away in the Tower of Lầu Ngưng Bích, receiving daily meals but no hope of escape. Her emotional state during this time is one of deep humiliation and desolation. She yearns for death yet is denied it, while simultaneously desiring life, but finds no peace. Her longing for home, her lover, and her family adds to the sorrow, making her feel even more wretched and ashamed of her circumstances.

Before the tower, spring is locked away

The distant mountains and the near moon reside together

Endless surroundings, far and wide

Golden sands on one shore, dust scattered on the other.

The phrase "locked spring" reflects Thuy Kiều’s physical and emotional imprisonment at this place. She is in the prime of youth, blessed with extraordinary beauty and talent, yet she is deprived of the happiness and love she deserves. Instead, she is forced to live in a filthy place, reduced to an object of entertainment for others.

At the Tower of Lầu Ngưng Bích, through Nguyễn Du’s descriptive words, we see the vast, boundless nature surrounding Thuy Kiều. This overwhelming expanse only heightens her feelings of smallness, loneliness, and isolation amidst the endless sky and sea. The surrounding area is filled with thorny rose bushes and small sand dunes, with dust swirling in the air. These images reflect the bleakness of Kiều’s future, as she looks ahead in despair. Her sorrow deepens as she observes the scene around her.

Deeply disheartened by the morning clouds and evening lanterns

Half emotion, half scenery, sharing the same heart

The word "disheartened" captures Kiều’s sense of shame and humiliation. She feels that her body is now tainted, unworthy of happiness or love. The vast and empty landscape mirrors her own emotions, leading her to remember her lost love, Kim Trọng, and their promises to each other.

Imagining him beneath the moon with a cup of wine

Waiting in vain, day after day

Far off at the horizon, lost in the distance

Her untainted heart, when could it ever be cleansed?

In these verses, Thuy Kiều recalls the vows she made with Kim Trọng, the moments they shared. Yet, as she imagines him searching for her, she is overwhelmed by the guilt of her own tainted existence. The purity she once held has been lost, and she wonders if she will ever be able to return to her former, innocent self. These verses reveal the depth of her sadness and despair, as well as her self-pity for her current state.

The lines also show Thuy Kiều’s deep loyalty and devotion to her love and family. Despite her tragic circumstances, she still worries about Kim Trọng and her family, highlighting her unwavering faithfulness and care for those she loves.

Sad for the one waiting by the door

Who will fan the flames and warm the night now?

Through the rain and sunshine, distant yet near

Perhaps the root of the old tree will be embraced once more.

Thuy Kiều’s concern for her parents reveals her deep filial piety. She worries that they have no one to care for them as they grow old, a reflection of her constant desire to be close to them and take care of them in their later years. This shows her selflessness and the noble love she has for her parents.

Sad to look at the evening sea

A faint boat, the distant sail barely visible….

The thunderous sound of waves crashing around her seat

The repeated phrase "sad to look at" expresses Thuy Kiều’s despair and frustration. Her sorrow causes her to perceive everything around her as bleak, much like her own inner turmoil.

In this excerpt, Nguyễn Du succeeds magnificently in using the technique of describing nature to mirror the emotions of the character. The desolate loneliness of Thuy Kiều is heightened in the silence of the vast, endless space, with no human presence to break the solitude. This emptiness amplifies her feelings of isolation and hopelessness.

The excerpt "Kieu at the Tower of Lầu Ngưng Bích" is from The Tale of Kiều by the national poet Nguyễn Du, a work of profound cultural value with deep humanistic meaning. This excerpt is one of the most vivid and full representations of Nguyễn Du’s masterful art of using nature to reflect emotions. The main focus of this passage is on Thuy Kiều's emotional turmoil while imprisoned in the Tower of Lầu Ngưng Bích.

The passage begins with the author setting the scene—describing the vast, tranquil space of the tower, emphasizing the solitude and tragic fate of Kiều:

"Before the tower, spring is locked away…

The distant sand dunes, the distant rose bushes"

The term "locked spring" symbolizes Thuy Kiều’s physical and emotional confinement within the tower. The imagery of "distant mountains" and "vast surroundings" creates an overwhelming sense of isolation and helplessness. The scene is empty of people and life, amplifying the feeling of abandonment, desolation, and coldness. It is from this environment that Thuy Kiều contemplates her tragic fate:

"Deeply disheartened by the morning clouds and evening lanterns

Half emotion, half scenery, sharing the same heart"

When analyzing Thuy Kiều’s emotional state through this excerpt, the word "disheartened" captures her profound sense of confusion and sorrow over her fate. The reference to "morning clouds and evening lanterns" signifies an endless cycle of time, much like the unrelenting pain Kiều experiences. The following eight lines reveal Kiều's deep longing for her lover and her family, beginning with her thoughts of Kim Trọng:

"Imagining him beneath the moon with a cup of wine…

Her untainted heart, when could it ever be cleansed?"

This is a subtle, hidden longing Kiều has for Kim Trọng, as she regrets and feels ashamed for not keeping their vow of eternal love. After thinking of Kim Trọng, her thoughts shift to her family:

"Sad for the one waiting by the door…

Perhaps the root of the old tree will be embraced once more"

Thinking of her parents, Kiều feels immense sorrow and regret for not fulfilling her filial duty and for not being there to care for them. Her first thoughts are of Kim Trọng and then of her parents. This is understandable, as she feels guilty for breaking her vow to him, while she has at least partially repaid her filial duties, knowing her brother and Thúy Vân are there to care for them. In the final eight lines, Thuy Kiều’s sorrow is expressed through varying emotional tones:

"Sad to look at the flowing water…

The crashing waves surround her seat"

The repetition of the phrase "sad to look at" in the paired couplets vividly captures Kiều's deepening sorrow, making the landscape a reflection of her emotional state. The sorrow grows increasingly intense as she feels a deep sense of foreboding about a future filled with struggles and pain.

This excerpt from "Kieu at the Tower of Lầu Ngưng Bích" is a poignant portrayal of Thuy Kiều’s emotional journey, brought to life by Nguyễn Du’s vivid and truthful depiction of her feelings. Through Kiều’s emotional turmoil, readers can grasp the tragic nature of her situation and the fragile existence of women in traditional society in general.

The Tale of Kieu is Nguyễn Du's most iconic work and stands as the pinnacle of the Nôm narrative genre in classical Vietnamese literature. When writing The Tale of Kieu, Nguyễn Du drew inspiration from the Chinese work Kim Van Kieu by Thanh Tam Tai Nhan. The piece holds immense value both in content and artistic expression.

This excerpt comes from the second part of the story: 'Family Crisis and Exile.' After discovering she had been deceived into entering a brothel, Kieu, overcome with grief, contemplates suicide. However, Tú Bà pretends to offer her a future marriage and a better life, but traps Kieu in the Tower of Lầu Ngưng Bích to carry out even more sinister plans. This section showcases Kieu's solitude, despair, and her unwavering loyalty and filial piety.

The first six lines describe Kieu's tragic isolation, her inner turmoil, and the vast, desolate landscape surrounding the Tower of Lầu Ngưng Bích. In just fourteen words, Nguyễn Du conveys the boundless, empty time and space Kieu faces: 'All around, a vast and distant view, / Golden sands, distant mounds, pink dust in the air.' These phrases evoke an overwhelming, alienating emptiness, mirroring Kieu's own feelings of loneliness and abandonment. The image of the distant mountains and swirling dust portrays the emotional desolation Kieu endures.

In her isolation, Kieu is left to face the world alone, with no human interaction. The repetitive cycle of 'morning clouds and evening lamps' symbolizes the cyclical passage of time and her never-ending suffering. Whether day or night, she remains alone in her sorrow, a stark contrast to the happier memories she once shared with her family. Kieu's heart is heavy with the regret of her past, marked by the separation from her beloved Kim Trọng, as well as the sacrifice of her family.

While trapped at Lầu Ngưng Bích, Kieu's thoughts are consumed by memories of Kim Trọng and her parents. First, she yearns for her lost love, Kim Trọng, with a longing that is both sweet and sorrowful:

'I imagine the man beneath the moonlit cup, / Hoping in vain for a letter of news, / Gazing at the distant skies and shores, / Wondering when my purity will be restored.'

Her memories of Kim Trọng are tinged with regret and sorrow, for their love, once pure and eternal, has been tainted by the actions of those who trafficked her. The promises of eternal devotion made beneath the moon now seem like distant dreams, forever lost.

Kieu also reflects on her parents, imagining them waiting anxiously for news of her, and feeling guilt over her failure to repay their sacrifices:

'I pity those who wait at the door, / Who fan the heat and shield against the cold.'

These lines evoke the image of Kieu's parents, who are growing older and frailer, unable to care for themselves. The phrase 'fanning the heat and shielding from the cold' highlights Kieu's deep concern for her aging parents and the realization that she is unable to fulfill her filial duty.

Through just eight lines, Nguyễn Du vividly captures Kieu's deep sorrow and longing for both her love and her family, drawing a poignant picture of her loneliness and regret.

The landscape of Lầu Ngưng Bích is seen through Kieu's eyes: the surroundings, viewed from afar, grow more intimate as the scene unfolds. The colors shift from light to dark, and the sounds move from stillness to turbulence. The sense of sadness gradually intensifies, evolving into a feeling of unease and impending disaster. The 'winds sweeping across the river' and the 'roaring waves crashing near the chair' foreshadow the turmoil that will soon disrupt Kieu's life. Indeed, shortly after this, Kieu is deceived by Sở Khanh, leading her into a life of continuous hardship.

In two rhetorical questions, 'Whose boat is that on the distant horizon? / Where is the wandering ship heading?' the author emphasizes Kieu's profound sense of isolation and fear. She contemplates her uncertain future, the bleakness of her fate.

Thus, although the passage describes the surroundings, the focus is on how the scenery reflects Kieu's inner state. With the repeated phrase 'I long to see,' Kieu’s loneliness and sorrow are amplified, as she faces her exile at Lầu Ngưng Bích. The vast, endless horizon at dusk intensifies her sense of despair and isolation, and the distant sails only serve to remind her of her uncertain future.

This excerpt from 'Kieu at the Tower of Lầu Ngưng Bích' is one of the most powerful in The Tale of Kieu. Through this passage, readers deeply feel Kieu's solitude, sorrow, loyalty, and filial piety. Moreover, Nguyễn Du's remarkable ability to convey the inner emotions of the character through monologue and his vivid descriptions of the landscape demonstrates the profound emotional depth of the work.

Through this excerpt, we also see Nguyễn Du's humanitarian spirit. He sympathizes with Kieu, a talented yet ill-fated woman, and his empathy extends to all women suffering in the oppressive society of his time.

The Tale of Kieu contains many verses that express Kieu's solitude and homesickness. However, no passage illustrates her despair, entrapment, and deep isolation like the one set at the Tower of Lầu Ngưng Bích.

First, Nguyễn Du portrays Kieu's lonely situation by describing the surroundings through Kieu's perspective:

'Before the tower of Lầu Ngưng Bích, spring is locked...'

The phrase 'locked spring' signifies Kieu's captivity. The mention of distant mountains and the nearby moon further emphasizes Kieu's isolation. The towering Lầu Ngưng Bích stands as a cold and solitary structure, with Kieu reduced to sharing her existence with only the distant mountains and the close moon. This evokes an overwhelming sense of loneliness and helplessness, underscored by the vast emptiness she faces: distant mountains, golden sands, and swirling dust, all devoid of trees, homes, or any human presence. In terms of time, Kieu spends her mornings with the clouds and her nights with the solitary lamp, endlessly alone, reflecting on her sorrow. Her melancholy stems from both her circumstances and the overwhelming emotional burden of her situation.

In this context, the poet amplifies Kieu's longing and sorrow, especially towards her loved ones. The first person she remembers in her solitude is Kim Trọng, the one with whom she once shared a solemn vow:

'I imagine him beneath the moonlit cup, / Hoping in vain for news, waiting day by day.'

In Kieu’s mind, she still vividly recalls the image of the two of them sharing a drink and making a pledge beneath the moon, 'in agreement, one voice, side by side.' Kieu's most painful thought is that Kim Trọng is unaware that she has been taken by another and continues to wait for her in vain. After grieving for Kim Trọng, Kieu turns her sorrow inward, lamenting her own fate:

'By the sky, by the distant shore, I am lost, / When will my heart, like the red seal, ever fade away?'

The 'red seal' represents Kieu’s unbroken loyalty to Kim Trọng. The idea of it ever fading away suggests that her love and devotion are eternal. Then, Kieu’s thoughts turn to her elderly parents:

'I pity the ones who lean at the door, waiting for me... / Perhaps the family tree has already embraced them.'

The 'leaning at the door' symbolizes her parents' anxious waiting for her return. She imagines them, older and frailer, waiting day after day. The phrase 'the family tree may have already embraced them' suggests that her parents are growing old, and perhaps the time for reunion has passed. She wonders who is taking care of them now.

Finally, Kieu turns her attention to the desolate scene around her and reflects on her own uncertain fate. These lines are some of the most poignant in expressing her feelings of wandering, loneliness, and despair:

'I gaze sadly at the distant shore...'

'The roar of the waves echoes as I sit alone.'

Each couplet in these eight lines evokes a profound, unrelenting sadness. Seeing a sail faintly in the distance stirs a deep longing for home. The image of a drifting flower reminds her of her own uncertain fate, while the endless green grass reflects her feelings of futility in her lonely existence at Lầu Ngưng Bích. Finally, the roaring waves evoke a sense of impending disaster, amplifying Kieu's anxiety about what lies ahead. The repetition of 'I gaze sadly' layers her sorrow, which seems to grow deeper with each passing moment.

In these eight verses, each line intertwines reality and illusion. The poet blends real sights with emotional states, portraying hopelessness, displacement, and confusion. This is the moment when Kieu’s emotions become fragile and vulnerable, a moment when she is most susceptible to falling into traps, like the one set by Sở Khanh later in the story.

Reading this passage not only allows us to understand Kieu’s emotions, but it also reveals her admirable qualities, such as her compassion and selflessness. Additionally, we see the deep empathy Nguyễn Du has for Kieu, and we witness the exquisite art of using scenery to reflect the character’s emotions, a hallmark of his storytelling.

The Tale of Kieu is a literary masterpiece, akin to an explosive force in the world of literature, bringing honor to any culture that possesses it. The work has reached a level of perfection both in content and in its unique artistic style. One of the key elements that makes 'The Tale of Kieu' captivating and successful is its portrayal of character and the evolution of their emotional states. The excerpt 'Kieu at the Tower of Ngung Bich' is a prime example, showcasing this art form. Through this passage, we see Kieu's complex emotions as she finds herself isolated in a foreign land, without any support or place to turn to.

This excerpt is part of the second section, 'Family Disruptions and Exile,' in 'The Tale of Kieu.' After selling herself to Ma Giam Sinh in exchange for money to ransom her father and brother, Kieu is defiled by him and sold into a brothel. Realizing she has been deceived and forced into such a degrading occupation, Kieu is overcome with distress and attempts to take her own life. Tú Ba, terrified, realizes that her investment is at risk, and quickly promises to marry Kieu off to a respectable man once she has recovered. However, in reality, Kieu is imprisoned in the Tower of Ngung Bich, while Tú Ba waits for the opportunity to implement her new plan to force Kieu into further submission. This passage, 'Kieu at the Tower of Ngung Bich,' marks the turning point in Kieu's life during her fifteen years of wandering. The excerpt paints a picture of Kieu’s loneliness, sadness, and her unwavering loyalty to her lover and her filial piety despite her dire circumstances in a foreign land.

The first six lines express Kieu's feelings of isolation, misfortune, and pity as she faces nature from within the confines of the Tower of Ngung Bich. The opening line, 'Before the tower of Ngung Bich, spring is locked away,' highlights Kieu’s tragic situation. 'Locked away in spring' metaphorically refers to Kieu being confined, her youth sealed away in captivity, unable to interact with the outside world. Thus, the tower becomes a prison for Kieu, symbolizing the sorrowful and pitiful state she endures. The following lines describe the expansive, desolate landscape around the tower as seen through Kieu's emotional lens:

Far mountains, a nearby moon; Four sides are vast and empty.

Golden sand dunes, distant pink dust; The early morning clouds, the late evening light.

The scene reflects Kieu's profound loneliness and yearning. Standing at the tower, her gaze searches for meaning in a distant mountain or the moon's light, while the ground offers no comfort. The vast emptiness only deepens her sense of isolation. The distant waves and endless sand dunes seem to echo her emotional emptiness. The beauty of the scene contrasts sharply with the absence of life, underscoring Kieu's profound solitude. Later, in the poem 'The River of Lang,' Huy Can wrote:

Endless, no boat crossing in sight; No bridges to evoke a sense of connection.

The empty landscape symbolizes Kieu’s own sense of abandonment and longing for the life and love she has lost.

The phrase 'The early morning clouds, the late evening light' conveys Kieu's shame and embarrassment at her fallen state, as she recalls how she was deceived by Ma Giam Sinh and now feels unworthy of Kim Trong's love. The phrase 'clouds in the morning, light at dusk' also suggests a cycle of time, emphasizing Kieu's monotonous existence, alone in her confinement, with no one to share her days with. Kieu’s heart is torn between the reality of her situation and her memories of love, with the sorrowful scene reflecting her emotional turmoil.

In summary, through his masterful use of imagery and emotion, Nguyen Du portrays the vast, empty setting of the Tower of Ngung Bich, which mirrors Kieu’s inner solitude. The poet’s use of 'scenery reflecting emotion' elevates the depiction of Kieu's emotional state, highlighting her profound loneliness and heartache as she faces her new life in captivity.

Amid this isolation, Kieu's longing for her family and her lover becomes almost inevitable, fitting the psychological pattern of someone far from home. The following eight lines express Kieu’s longing for Kim Trong and her parents. The poet uses the verb 'Tưởng' (to imagine) to convey the depth of Kieu's yearning for Kim Trong. She recalls the night of their vow to each other, promising eternal love, yet now she is lost in a foreign land, hoping that Kim Trong is waiting for her, unaware of her situation:

Imagining him below the moon, with the wine cup in hand,

Hoping for good news, waiting for me in silence.

Then, she wonders:

When will my loyalty be cleansed of its stain?

These lines reaffirm Kieu’s unwavering devotion to Kim Trong, even though she feels her heart has been tainted by her encounter with Ma Giam Sinh. Her pain is not only emotional but also deeply moral, as she questions when or if her honor can ever be restored. Through these lines, Kieu’s love for Kim Trong is both fervent and tragic, highlighting her internal conflict.

Next, Kieu reflects on her longing for her parents:

Feeling sorrow as I picture them at the door,

Will anyone care for them, now that I am gone?

The path back seems so distant, the distance beyond measure.

Perhaps the old trees can still embrace me one last time.

In contrast to her longing for Kim Trong, Kieu's desire to honor her parents is expressed through the word 'Xót' (to feel sorrow). She imagines her aging parents waiting for her return, filled with concern for her well-being. Her worry is compounded by the physical distance separating them, and the passage of time that has changed her once close-knit family.

The poem concludes with the final eight lines, in which Kieu’s sorrow deepens as she looks at the world around her:

Sadly, I watch the shore at evening,

Is that a boat I see, drifting in the distance?

The new tides bring the flowers adrift,

Where will they end up?

Looking around, I see the grass withered,

And the earth below, all green.

The wind stirs up the sea,

And the waves crash, calling to me.

The repeated phrase 'sadly watching' conveys Kieu’s growing sense of despair. As she looks outward, her sadness only deepens, with the bleak, empty scene mirroring her emotional state. The boat, the flowers, and the waves all symbolize Kieu’s own journey—lost, uncertain, and adrift in a vast, indifferent world. In these final lines, Nguyen Du masterfully intertwines the natural world with Kieu's internal anguish, encapsulating her helplessness and hopelessness in vivid imagery.

In conclusion, through his skillful use of 'scenery reflecting emotion,' Nguyen Du paints a picture of Kieu’s deep despair as she faces a life of captivity and uncertainty. Each line, each image, reflects her inner turmoil, encapsulating the pain, loneliness, and longing that define her experience in this pivotal moment of her life.

The Tale of Kiều is the most outstanding work in Nguyễn Du's poetic career. He has gifted both Vietnamese and world literature an immortal masterpiece. The excerpt 'Kiều at the Ngưng Bích Tower' demonstrates his exquisite and skillful portrayal of the character's psychology. Through these verses, the reader can deeply feel the loneliness, yearning, and despair of Thúy Kiều.

After selling herself to save her father, Thúy Kiều faces humiliation at the hands of Mã Giám Sinh, and is then sold into a brothel. She attempts to end her life but fails. Tú Bà confines her at the Ngưng Bích Tower, promising that once she recovers, she will arrange for her to marry into a good family. At the tower, Kiều lives in solitude, sadness, longing for her past, and anxiety for her uncertain future. Her emotional state is vividly depicted.

At first, in the Ngưng Bích Tower, Thúy Kiều carries within her an overwhelming sense of loneliness, dejection, and sorrow for her own fate: 'Before the Ngưng Bích Tower, the spring is locked / The distant mountains and the moon are near, together in one place / Everywhere around her, endless and desolate / Yellow sands on one shore, pink dust on another.' The phrase 'locked spring' rings with sorrow and cruelty. She, a young woman in the prime of her life, is imprisoned, isolated, and her situation feels unbearably lonely and pitiful. This solitude is further emphasized by images of space, time, and surrounding objects: 'yellow sands on one shore, pink dust on another,' 'endless,' 'distant mountains,' 'near moon,' 'early clouds and late lamps.' A series of desolate images amplifies and highlights Kiều's absolute isolation. The phrase 'early clouds and late lamps' suggests the cyclical and imprisoning nature of her life, pushing Kiều further into a deep, hopeless solitude with no escape.

Her mixed emotions—'half love, half scenery, like a divided heart'—express Kiều's longing for Kim Trọng, the man she loves but must abandon, and her memories of her parents at home, waiting for news of their daughter. Nguyễn Du subtly portrays her thoughts by having her first remember Kim Trọng before recalling her parents, a reflection of the natural order of emotions, both sensible and logical. Kiều recalls the night of their vow: 'Thinking of him under the moon, the bronze cup / With dewdrops, I longed for him as I waited for the morning.' The verse resounds like the aching cry of Thúy Kiều, reflecting her emotional pain as she revisits their beautiful memories. Remembering her love, she feels even greater sorrow, thinking of Kim Trọng longing for news of her in vain. Now separated, they do not know when they will meet again. Yet perhaps the most heartbreaking lines are:

'The horizon and the edge of the sea are forlorn'

'When will the mark of my purity ever fade?'

These lines speak to her 'forsaken' condition, a metaphor for her lonely, destitute existence in a foreign land. The metaphor 'mark of purity' illustrates Thúy Kiều's unwavering, loyal love for Kim Trọng.

For her parents, Kiều's longing reflects her deep filial piety. She feels sorrow for their old age, unable to care for themselves, and is troubled by the thought of who will take care of them in the harsh seasons. Nguyễn Du uses idiomatic expressions and allusions to highlight her filial devotion: 'How many storms and rains have passed at home / Perhaps the old tree now can no longer be embraced.' In a situation where she had to sell herself to save her father and was betrayed, Kiều is the most pitiable, yet she rises above her suffering to think of her parents and her love. This shows that she is a devoted, compassionate person, filled with understanding, kindness, and forgiveness.

The last eight lines not only depict Kiều's emotional state of loneliness and sorrow but also foretell a future full of misfortunes and turmoil. The verse rings with terror and fear. Kiều recalls her parents, family, and homeland, deeply feeling the emptiness and loneliness she endures: 'Looking out across the sea at dusk / A distant boat with a faint sail.' The sail in the dim, gray afternoon represents Kiều's yearning to reunite with her family. The space narrows, and the drifting flowers, lost and uncertain, make Kiều think about her fragile, uncertain fate. Since the moment she was sold, Kiều's life has been one of drifting aimlessly, and her future is dark and approaching quickly.

The rhetorical question is a self-reflection on her uncertain future. The next lines widen the scene: 'Looking out over the withered grass / The horizon and earth are a dull green.' The green here is no longer the vibrant color of spring but a withered, fading hue, evoking the monotony and weariness of Kiều's bleak, isolated life. The final verse expresses her anxiety, the foreboding of the disasters and dangers awaiting her: 'The wind blows across the shore / The waves crash and roar around her seat.' The gusting wind and the roaring waves symbolize the impending storms in her life, as if predicting the overwhelming trials and suffering that will soon engulf her.

Through his masterful technique of using nature to reflect inner emotions, Nguyễn Du not only paints the external scenes but also reveals the inner turmoil of his characters. This excerpt successfully portrays Thúy Kiều's emotional landscape during her confinement at the Ngưng Bích Tower, and through it, Nguyễn Du expresses his sympathy for her tragic fate and suffering.

In Vietnamese classical literature, the epic "The Tale of Kiều" by the great poet Nguyễn Du is regarded as a timeless masterpiece. The enduring value of the work is not only found in its compelling storyline but also in the remarkable artistic techniques, particularly the vivid portrayal of characters' psychological states. The excerpt 'Kiều at the Ngưng Bích Tower' is one of the most poignant examples of Nguyễn Du's skill in depicting the inner emotions of his characters. In this passage, we are given a deep insight into Thúy Kiều's sorrow, her longing, and her foreboding feelings as she finds herself isolated and abandoned at the Ngưng Bích Tower.

The first six verses emphasize Thúy Kiều's mood of desolation, loneliness, and sorrow, mirrored in the scenery surrounding the tower. The setting is one of isolation between the sky and the water, with mountains in the distance: 'The distant mountains, the moon near by,' and Thúy Kiều sees only 'The golden sands of the distant shore, the rose-colored dust stretching for miles.' These images create a vast, empty landscape that heightens the overwhelming sense of desolation, yet is trapped in the cyclical time of 'early morning clouds, late night lamps,' reinforcing the claustrophobic feeling of being trapped in an endless loop. This landscape becomes a metaphor for Thúy Kiều's inner turmoil, splitting her heart between love and sorrow and stirring memories of the past.

Nguyễn Du's masterful pen delves deeper into Kiều's emotional state as she reflects on her past, first recalling her love for Kim and the vows they exchanged:

'I imagine him beneath the moon, holding the wine cup,'

'The misty night feels like a long wait for the morning.'

Her love for Kim becomes a constant source of anguish, as 'Loyalty cannot divide in two,' and she has chosen to sacrifice love for filial piety. Following this, she remembers her parents:

'My heart aches for the one waiting by the door,

Who will care for them in the scorching heat or cold?'

'The Lai garden, no matter how far the rain or sun,

Perhaps the roots have already grown enough to embrace.'

Despite selling herself to redeem her father, Thúy Kiều is still weighed down by deep sorrow and longing for her parents. Nguyễn Du uses classical references—a hallmark of the period’s literary style—to convey Kiều's filial piety. The notable part of this reflection is that Kiều first remembers Kim before her parents, showing the subtlety with which Nguyễn Du explores her emotions. For Kiều, her parents have already been paid for with her own sacrifice, but Kim remains a vow unfulfilled, a love she sees as her betrayal.

After recalling her past, her love, and family, Kiều's mood shifts to one of deep sadness, isolation, and fear about her present and future. Nguyễn Du’s technique of using nature to reflect inner feelings is brilliantly displayed as he paints the waves of Kiều's emotions:

'Sorrowful, I gaze at the evening shore,

A distant boat with a sail floating far away.'

'Sorrowful, I see the fresh water flowing out,

The flowers drifting aimlessly, where will they go?'

'Sorrowful, I see the withered grass,

The sky and earth in the same sorrowful green.'

'Sorrowful, I see the wind sweeping across the beach,

The waves crashing angrily around the chair.'

These eight verses are the most poignant in the passage, expressing Kiều's melancholy through a nature scene that moves from distant to near, in shades of despair. Each couplet begins with the phrase 'Sorrowful I see,' which carries a deep metaphorical meaning. First, Nguyễn Du evokes Kiều's longing for home and reunion through the imagery of the shore and the boat. She understands the hopelessness of escaping her captivity, symbolized by the drifting flowers. The final question, 'Where will they go?' expresses her doubt and uncertainty about both her present and future. This sense of foreboding is reinforced in the last two lines:

'Sorrowful, I see the wind sweeping across the beach,

The waves crashing angrily around the chair.'

The sound of the waves is emphasized through onomatopoeia, 'raging,' evoking the fierce turmoil like a scream from the faraway sea. In the face of this vast and violent space, Thúy Kiều anticipates the disasters and misfortunes that will soon overwhelm and destroy her life. Through the repeated refrain of 'Sorrowful I see,' Nguyễn Du paints a nature scene that is both vast and wild, underscoring the deep emotional landscape of Kiều's sorrow.

Through the progression of Thúy Kiều’s emotional journey, we gain further insight into her tragic life—the 'mirror of injustice' that symbolizes the fate of women in feudal society. She is a talented yet unfortunate young woman who endures numerous tragedies in love, family, and honor. At the same time, we witness Nguyễn Du's exceptional talent in portraying the inner lives of his characters through the artistic technique of 'using nature to reflect emotion,' along with his use of distinctive literary devices.