Top 12 Best Analytical Essays on Nguyen Khuyen's Poem "Thu Dieu"

The autumn sky arrives with a melancholy hue, accompanied by a cold, biting breeze and golden leaves gently falling, leaving the bare tree trunks forlorn and desolate. Autumn seems to evoke a deep sense of nostalgia and longing, making it an endless well of inspiration for artists.

If we rewind the wheel of history, we find beautiful autumns captured within the poetry of many generations. When we speak of autumn, one cannot forget Nguyen Khuyen's "Autumn Fishing" – a quintessential autumn scene that Xuân Diệu once described as "the most typical depiction of the autumn landscape of Vietnam's countryside."

Upon reading this poem, the first impression is the frequent use of the “eo” rhyme throughout. Let’s count them: there are seven instances of this rhyme. If we delve deeper into Vietnamese language, we’ll notice something intriguing: the “eo” rhyme often creates a sense of contraction or compression, tightening the space and elements into their smallest, most concentrated form.

The autumn sky inherently carries a chill, further accentuated by the word “lạnh lẽo” (cold and desolate). The autumn pond, already clear, becomes even clearer with the phrase “trong veo” (crystal clear). The vast, open space seems to make the tiny fishing boat even smaller, as the poet observes, “bé tẻo teo” (tiny and insignificant). The line “Yellow leaves fluttering in the wind” evokes a similar feeling of delicate motion, reminiscent of Trần Đăng Khoa's two lines:

Outside the doorstep, a banyan leaf falls

The sound of its fall is soft, as though it were tilting.

Returning to Nguyen Khuyen’s verse, the word “vèo” (whirling) conjures the image of leaves tilting in their descent. The phrase “Khẽ đưa vèo” (gently carried by the wind) has an unusual verb structure, making us feel as though the sound of the leaf’s fall is not a tangible reality but something unfolding in the poet’s mind. The leaf of the poet from Yên Đỗ and Trần Đăng Khoa's leaf exist in a surreal realm, where both the reader and the poet are uncertain whether it is real or just a fleeting illusion.

This autumn scene gently stirs with the poet's delicate brushstrokes. Unlike the vastness of “Thu Vịnh” (Autumn Reflections), where the scene expands across wide open spaces, here the scene is confined within the small bounds of the “autumn pond” – two words that feel particularly unique. The image of the “autumn pond” emphasizes the unusual smallness of this scene, like a miniature picture that can fit within the palm of your hand.

This compact yet charming scene captures the stillness of Vietnam's countryside, quiet and serene, yet brimming with untold vitality. As the poet shifts perspective, the small pond gives way to the expansive sky: “The clouds hang lightly in the sky, a deep blue.”

The verb “lơ lửng” (hovering) suggests a motion so slow and slight that it almost appears still. The autumn clouds drift imperceptibly, floating gently across the vast blue sky. This subtle movement mirrors the gentle sway of the fishing boat, which seems to rock lightly in the autumn waves. Returning to the line: “The ripples form a faint movement.”

The use of the word “làn” (line) creates a sense of hazy, elusive scenery. “Hơi gợn tí” (slightly rippling) evokes an image of waves, not the violent crashing of sea waves but soft, gentle ripples across the surface of the pond. The autumn scene seems to immerse itself in this quiet, tranquil stillness. As the saying goes, no extraordinary beauty is without its eccentricity. Thus, the line: “The winding bamboo path, deserted,”

Although it creates a slight chill in the spine, the autumn scene here retains a gentle, poetic, and peaceful beauty. The poet's presence is felt more directly in the lines:

"Leaning on my knee, waiting endlessly without success"

"No fish stir beneath the water."

The phrase “Leaning on my knee” seems peculiar. It feels like the poet is wrestling with a profound inner turmoil, as though something is intensely troubling him. Could it be the sorrow of the times, a grief that remained with the poet even into his final years?

The poem concludes with the once still autumn scene appearing to be awakened by the sharp burst of energy from the phrase “No fish stir beneath the water.” This creates a contrast in the poem: the earlier description of a silent, desolate landscape gives way to a sudden surge of life. Yet, even with this surge, the poem remains hauntingly quiet.

The three words “No fish stir” stand out briefly, only to be subdued by the overpowering “eo” rhyme, creating an artistic effect. The use of motion to describe stillness intensifies the quiet, making the sorrowful mood envelop the entire scene. The poem carries within it the green hue of the sky, the leaves, and the autumn waters.

All these elements blend seamlessly together, creating a harmonious and balanced picture with a distinctly Vietnamese color. The golden leaf that cuts through the scene adds a fresh layer of beauty to the autumn tableau. Reading “Autumn Fishing” deepens our love for the country, for the pure and beautiful Vietnamese language.

This autumn scene is rich with the beauty of nature, resilient through life's turbulent upheavals. Perhaps there are times when we should pause and reflect, allowing “Autumn Fishing” to cleanse our spirits, to nurture our love for the homeland, for the beautiful and rich Vietnamese language.

Fishing is a refined hobby for intellectuals. Some wise men take up fishing as a way to pass time, waiting for the right moment. Sitting by the shore, one forgets about the distant lands and worldly affairs, immersing in the serenity of the moment. Some, like the legendary Khuong Tu Nha, use fishing as a tool for contemplation.

For Nguyen Khuyen, fishing was a way to relax and connect with nature, allowing him to fully immerse in the beauty of autumn. Much like the children in his village, he fished with great focus, excitement, and passion. The outcome of this pastime was his creation of the iconic poem "Thu Dieu", one of the masterpieces of Vietnamese literature.

The poem paints a vivid picture of autumn in the small village of the poet, centered around a tiny pond with a lone fishing boat floating gently:

The autumn pond, cold and still, the water crystal clear,

A tiny fishing boat, small and alone.

The poet's emotional presence is subtly embedded in the lines, with sharp and delicate sensations evoked. The autumn season has arrived in its full depth, as reflected in the cold pond with its clear surface, which seems like a mirror of the village. The poet's village, Bui, is known for its many small ponds.

The tiny boat corresponds to the small pond—"tiny and alone"—with a harmonious rhythm that flows naturally, without any trace of artificiality. The boat appears, yet the fisherman is barely visible, immersed in the autumn's quiet beauty:

The emerald waves ripple faintly,

The yellow leaves flutter gently before the wind.

The pond is no longer still; the waves emerge, as described by the two sharp tones at the beginning of the line (emerald waves) and the gentle end (faint ripples). The gentle waves reflect the small size of the pond and its secluded nature. The soft autumn breeze stirs the leaves, painting the scene with vivid colors, with the poet’s keen eye for detail.

The pairing of "emerald waves" with "yellow leaves" creates a beautiful, complementary contrast of autumn colors. The slight movement of the waves and the gentle fluttering of the leaves correspond to each other, both vertically and horizontally, with exquisite precision. The poet releases his spirit, allowing it to float with the yellow autumn leaf over the clear pond.

The yellow leaves of autumn have been celebrated by many poets:

The golden deer, lost in thought,

Steps upon the dry yellow leaves.

(Luu Trong Lu)

Golden leaves fall! Golden leaves fall!

Autumn, vast and endless.

(Bich Khe)

Nguyen Khuyen’s golden leaf in "Thu Dieu" is, as Xuân Diệu describes it, a unique depiction of autumn’s colors: “The beauty of 'Thu Dieu' lies in the many shades of green—the pond, the shore, the waves, the bamboo, the sky, the water lilies, all in various shades of green, interrupted only by the yellow of a falling leaf...” Xuân Diệu’s interpretation is truly insightful.

The poet expands the scene, adding depth to the image and creating a sense of vastness: "The clouds hover in the deep blue sky, the winding bamboo path, empty of visitors." The sky’s vivid blue is complemented by the soft, lingering clouds, creating a serene and peaceful atmosphere.

The poet then returns to the more intimate landscape of the village. The bamboo path, winding and familiar, is bathed in the shade of bamboo trees. However, Nguyen Khuyen often refers to the bamboo as "truc" in his poetry: “The bamboo, bent and swaying in the wind” (Autumn Reflection), “The winding bamboo path, empty of visitors.”

Nguyen Khuyen has a deep fondness for this resilient, upright plant—"Bamboo, even when burned, stands tall". The contrast between the straightness of the bamboo and the winding path creates a vivid, evocative image. As the cold settles in and the village becomes quieter, the poem takes on a melancholic tone. After Nguyen Khuyen, romantic poet Xuân Diệu also expressed a similar sense of autumn’s solitude:

Feeling the chill creeping in the wind,

The absence of people on the ferry.

(Autumn is Here)

The poem ends with the image of the fisherman, a self-portrait of the poet:

Leaning against a cushion, holding the fishing rod for a long time,

No fish stir beneath the water lilies.

The poet retreats into himself, "leaning against the cushion, holding the fishing rod", almost merging with the small pond and the tiny boat. Lost in thought, a small movement snaps him back to reality: "No fish stir beneath the water lilies."

The use of the letter "d" (where, bite, stir) captures a slight disturbance in the still water, reflecting the turmoil within the poet's heart. Some critics have compared Nguyen Khuyen’s fishing stance to that of Khuong Tu Nha, a revered Chinese figure, but this comparison misses the essence of Nguyen Khuyen’s fishing philosophy.

Nguyen Khuyen’s fishing was not about waiting for fate to turn; it was about blending into nature, dissolving into the landscape. His poem, "Thu Dieu", presents a narrow, intimate setting with the small pond and tiny boat, and the poet himself blends into this quiet scene, harmonizing with nature.

"Thu Dieu" remains a masterpiece of classical Vietnamese poetry. The depiction of autumn is filled with delicate hues and sensual lines, with a melody that is uniquely its own—its intricate, yet natural rhyme scheme. As Xuân Diệu remarked, the poem is flawless, every word carefully chosen. The poet’s emotions toward his homeland and the country flow through each line, deeply moving every Vietnamese soul.

The mention of autumn often evokes thoughts of gentle beauty, a calm serenity tinged with a lingering melancholy and a wistful longing. It is for this reason that autumn has inspired poets to capture both the beauty of nature and the depth of emotions. In the treasure trove of classical Vietnamese poetry, no discussion of autumn would be complete without mentioning the autumn poems of 'the autumn king' – Nguyen Khuyen. Through his poem 'Thu Dieu' (Autumn Fishing), we enter into Nguyen's soul, which overflows with emotions, where every corner reflects poetry and every thought becomes verse.

In 'Thu Dieu', through simple strokes and delicate colors, Nguyen Khuyen’s autumn fishing scene is infused with the poet's deep emotions. Perhaps foremost, the emotion here is the deep connection to and the harmonious relationship with nature. Reading 'Thu Dieu', we are immersed in a unique autumn scene of the rural countryside in Northern Vietnam.

If in 'Thu Hung', Du Fu depicts a stark and rugged autumn of Northern China, filled with harshness and chaos, and in 'Thu Vinh', Nguyen Khuyen approaches autumn from an expansive and lofty perspective, gradually exploring the layers of space, then in 'Thu Dieu', autumn is crafted with poetic elements that are rich in the essence of the season, maintaining classical elegance.

The image of 'thu thuy' – the autumn water – pairs with 'thu thien' – the autumn sky, combining with 'thu diep' – autumn leaves, and the figure of 'ngu ong' – the fisherman. The pond, a familiar sight in the countryside of Northern Vietnam, serves as the central feature of this autumn scene, where a small fishing boat drifts gently on its surface. From this tiny boat, the poet's gaze expands outward, capturing the stillness and transparency of the autumn water.

Autumn then unfolds with the gentle ripples of the green waves and the sight of yellow leaves fluttering softly in the breeze. Higher above, the vastness of the sky appears 'deep blue', while the winding path of the pond is bordered by a twisting bamboo path. In the end, the poet’s attention returns to the small boat, stirred by the sound of a fish breaking the surface of the water beneath the lotus stems. The scene is heavenly in its beauty, yet rooted in the simple, familiar landscape of the homeland.

Xuân Diệu once remarked, 'Thu Dieu (Autumn Fishing) epitomizes the autumn of rural Vietnam.' The autumn in Nguyen Khuyen's poem is not only marked by colors, but also by distinct sounds. The autumn pond is described with the words 'cold' and 'clear' – a pond where the water is still and transparent down to the bottom. Here, clarity aligns with stillness: the more clear, the more still; the more still, the more clear.

The sky, in Nguyen’s depiction, is 'deep blue' – a hue that unites the three autumn poems of his, and becomes a defining color of his autumn poetry. 'Deep blue' signifies an absolute, unblemished blue, without a trace of disturbance. Nguyen Khuyen embraces this serene sky with an open heart, capturing its essence.

As for the 'autumn wind', the poet does not describe it directly, but rather uses the classic technique of 'drawing clouds to reveal the moon.' By describing the tiny ripples in the water and the leaves 'fluttering lightly', the poet conjures the breeze. With the 'winding bamboo path – deserted', no one passes by, evoking an autumnal quiet so peaceful and still. The final line of the poem subtly employs the classical poetic device of 'using motion to emphasize stillness'.

Only in a perfectly still space can both nature and human consciousness be startled by a subtle sound – the 'fish breaking the water'. The sound of the fish’s movement contrasts with the overall stillness of the scene. The autumn picture emerges with a tranquil, desolate beauty, where the only presence is the poet, who, as a fisherman, faces nature but seems absorbed in deep reflection. The stillness of the space, the absence of people and sound, condenses the landscape into the small confines of a village pond.

Nguyen Khuyen’s autumn scene is also a delicate blending of countless shades of 'green' (as Xuân Diệu described it): green pond, green waves, green water lilies, green shore, green sky, and green bamboo. Amidst these greens, the yellow of the leaves stands out, adding a gentle contrast to the entire scene. 'Yellow leaves' often symbolize decay, desolation, and are a typical symbol of autumn in the North.

Nguyen Khuyen suggests, rather than directly describing, with just the three words 'fluttering lightly', he evokes the fragile movement of a yellow leaf on the green background of the sky. This is a subtle yet poetic moment of nature that shows the artist’s active perception. The poet seems to tilt his heart, listening to the quiet passage of time reflected in the gentle movement of the scene.

The entire autumn scene is a harmonious dance of delicate, light, and precise movements, conveyed through a series of verbs: 'slightly rippling', 'floating', 'fluttering lightly'... The small pond requires a tiny fishing boat, the deep blue sky makes the water clearer, the deserted road makes the fisherman sit in meditative silence. The natural scene, harmonized with color and shape, becomes an unexpectedly charming and fitting whole.

To breathe life into the scene on paper, Nguyen Khuyen used a truly masterful system of language – a language rich in emotion, musicality, and full of unexpected variations. He employed repeated, onomatopoeic words that both painted images and evoked sensations, such as 'cold', 'clear', 'tiny', 'slightly rippling', 'fluttering', 'floating', 'deep blue', 'winding', and 'deserted'.

The choice of the 'eo' rhyme – typically considered a 'dead rhyme' in poetry – under the poet’s skillful hand, unexpectedly evokes a feeling of the space gradually shrinking, making the scene feel delicate and compact, in perfect harmony with traditional Vietnamese aesthetics. The scene is simple, unadorned, yet deeply evocative; beautiful, yet tinged with sadness.

As Nguyen Du once noted, 'Every scene is filled with sorrow.' Nguyen Khuyen's autumn picture is no different, as it carries the poet's profound sorrow for the changing times. The poem is a product of the interplay between the melancholy present in the scene and the loneliness hidden deep within the poet’s heart.

Despite the title 'Autumn Fishing', the poet does not seem particularly concerned with catching fish. 'Fishing' here is a way to embrace the autumn scenery and express the poet’s inner turmoil. The stillness of the autumn scene is, in fact, a reflection of the poet’s own inner quietude. Is the chill of autumn seeping into the poet's soul, or is it the poet's sadness that spreads into the world around him?

In Nguyen Khuyen’s work, we find a deep, reflective sorrow of a scholar who retreats from the world, but whose heart remains filled with the woes of the nation. Much like Nguyen Trai’s retreat to Con Son, Nguyen Khuyen seeks solitude, but his mind is never at peace. At the height of his career, the nation was entering a period of great sorrow.

The feudal system of the time had become a burden in history, incapable of protecting the country from foreign invasion or slavery. The Confucian ideology the poet had once revered had become outdated. Nguyen Khuyen was acutely aware of his own impotence, and he felt constant unrest because he could not do more for his country or its people.

The only thing he could do was to refuse cooperation with the enemy, retreat to the countryside, preserve his integrity, and forget the torments of the world, though forgetting was never truly possible. In the simplicity of the village, Nguyen Khuyen’s mind remained preoccupied with the fate of his country. The final lines of the poem encapsulate the poet’s feelings, evoking the tranquil image of a fisherman 'retreating from the noisy world to seek stillness'.

'Sitting with my knee on my fishing rod, waiting long without success,

Where are the fish that rise beneath the lotus?'

The poet focuses on the autumn scenery until the sound of a fish breaking the surface of the water shakes him back to reality. The poet returns to the present, but he has entered a state of limbo. The word 'where' is ambiguous, leaving the reader wondering whether the fish’s movement is real or merely a figment of the poet’s imagination. The poet remains still, as if frozen in time and space, his fishing activity becoming less about the fish and more about his inner reflection.

Every poet must first infuse their soul into their poetry, transforming rigid words into something full of emotional depth. 'Reading a good poem is like meeting a human soul' (Antonio Ferreira). Through 'Thu Dieu', we can see in Nguyen Khuyen a soul deeply connected to nature, a sincere and hidden patriotism.

This delicate, skillful vision of a master of Nôm poetry created a picture of extraordinary beauty. The sorrow in the scene is not overemphasized but spreads softly around, creating a quiet space in the soul. It is this subtle melancholy that lingers in the mind of the reader, creating a deep, lasting impression and contributing to the timeless value of the work.

Through 'Thu Dieu', Nguyen Khuyen has earned his place in the annals of classical Vietnamese poetry, especially in works that explore the theme of autumn. In every line, one can feel the poet’s deep emotion. Nguyen Khuyen, more than a painter, is a poet whose words capture not only the scene but the soul of the poet.

Nguyễn Khuyến được biết đến nhiều nhất với chùm thơ thu gồm ba bài thơ bằng tiếng Nôm một trong số đó chính là “ Câu cá mùa thu” . Xuyên suốt bài thơ là một nét thu đẹp tĩnh lặng nơi làng quê thời xa xưa, biểu lộ một nét cô đơn trong tâm hồn một nhà Nho yêu quê hương yêu đất nước thời bấy giờ. Sau khoảng thời gian ông từ quan về quê nhà, một loạt những tác phẩm ra đời như “Thu điếu”, “Thu ẩm”, “Thu vịnh”.

Mở đầu bài thơ là hai câu thơ

“Ao thu lạnh lẽo nước trong veo

Một chiếc thuyền câu bé tẻo teo”

Chỉ cần đọc hai câu thơ ta có thể tưởng tượng ra cảnh sắc mùa thu, một không gian nghệ thuật đang bao trùm xung quanh chúng ta. Nước trong veo của ao có thể giúp ta nhìn xuyên thấu được qua lòng ao, một không khí lạnh lẽo đang lan tỏa ra khắp không gian. Không còn cái se lạnh đầu thu nữa mà là đã thu phân, thu mạt rồi nên mới lạnh lẽo như vậy.

Không biết từ bao giờ mà trên lòng ao đã xuất hiện một chiếc thuyền câu giữa không gian bao la rộng lớn dường như sự cô đơn của chiếc thuyền đang lan tỏa rộng ra khắp không gian. Bé tẻo teo nghĩa là rất bé nhỏ; âm điệu của vần thơ cũng gợi ra sự hun hút của cảnh vật (trong veo - bé tẻo teo). Đó là một nét thu đẹp và êm đềm. Tiếp đó cùng bước vào thế giới nghệ thuật của hai câu thơ tiếp theo:

“Sóng nước theo làn hơi gợn tí

Lá vàng trước gió khẽ đưa vèo”

Hai câu thơ đang gợi tả cảnh vật xung quanh theo không gian hai chiều có thể nhìn bằng mắt là sóng đang gợn và tai có thể nghe thấy tiếng lá được gió đưa vèo. Vô cùng mộc mạc giản gị nhưng cũng có thể cho người ta thấy được sự hài hòa của màu sắc được tác giả miêu tả có sóng biếc có lá vàng. Gió thổi nhẹ cũng đủ làm cho chiếc lá thu màu vàng khẽ đưa vèo, làm cho sóng biếc lăn tăn từng làn từng làn hơi gợn tí.

Ngoài ra bên cạnh đó tác giả còn kết hợp sử dụng phép đối một cách vô cùng tài tình giúp cho nét thu được nhấn mạnh giúp người đọc có thể hình dung ra không gian mà tác giả đang miêu tả như đang ở trước mặt mình một cách vô cùng chân thực và rõ nét. Phải công nhận một điều là ngòi bút của tác giả Nguyễn Khuyến vô cùng tinh tế trong dùng từ và cảm nhận, lấy cái lăn tăn của sóng hơi gợn tí phối cảnh với độ bay xoay xoay khẽ đưa vèo của chiếc lá thu.

Chữ vèo là một nhân tự mà sau này thi sĩ Tản Đà vừa khâm phục, vừa tâm đắc. Ông thổ lộ một đời thơ mới có được một câu vừa ý: vèo trông lá rụng đầy sân (cảm thu, tiễn thu). Chưa dừng lại ở đấy Nguyễn Khuyến còn giúp chúng ta mở rộng tầm mắt hơn ở hai câu thơ tiếp theo:

“Tầng mây lơ lửng trời xanh ngắt

Ngõ trúc quanh co khách vắng teo”

Một bầu trời xanh ngắt và thăm thẳm bao la và rộng lớn đang bao trùm lấy không gian nơi đây. Những áng mây đang lẳn lặng trôi trên bầu trời rộng lớn như đang nhấn mạnh sự rộng lớn của không gian nơi đây. Thoáng đãng, êm đềm, tĩnh lặng và nhẹ nhàng.

Không một bóng người lại qua trên con đường làng đi về các ngõ xóm: Ngõ trúc quanh co khách vắng teo. Vắng teo nghĩa là vô cùng vắng lặng không một tiếng động nhỏ nào, cũng gợi tả sự cô đơn, trống vắng. Ngõ trúc trong thơ Tam nguyên Yên Đổ lúc nào cũng gợi tả một tình quê nhiều bâng khuâng, man mác:

Dặm thế, ngõ đâu từng trúc ấy

Thuyền ai khách đợi bến đâu đây?

(Nhớ núi Đọi)

Có lẽ một trong những sự vật quen thuộc với hình ảnh làng quê đó là ngõ trúc và tầng mây. Hai sự vật này đã từng xuất hiện rất nhiều trong các tác phẩm nghệ thuật. Có vẻ như tác giả đang tự hòa mình và đắm chìm vào trong cảnh sắc nơi đây nên mới có thể miêu tả một cách vô cùng chân thực như vậy được. Đến hai câu kết thì bức tranh thu mới xuất hiện một đối tượng khác:

“Tựa gối ôm cần lâu chẳng được

Cá đâu đớp động dưới chân bèo”

Thu điếu nghĩa là mùa thu câu cá. Sáu câu đầu mới chỉ có cảnh vật: ao thu, chiếc thuyền câu, sóng biếc, lá vàng, tầng mây, ngõ trúc.. Hình ảnh người câu cá đến tận phần cuối cùng mới thấy xuất hiện với một tư thế tựa gối ôm cần vô cùng nhàn nhã. Trong tâm thế đợi chờ lâu chẳng được bỗng nhiên tác giả bỗng nhiên chợt tỉnh vì nghe thấy tiếng cá đớp động dưới chân bèo.

Sự chờ đợi đã từ rất lâu mãi đến bây giờ đã có một chút kết quả. Người câu cá như đang không quan tâm đến mọi thứ tạp niệm chỉ tập trung hòa mình vào trong không gian bây giờ, trong cảnh sắc vô cùng tuyệt đẹp, và trong giấc mộng mùa thu. Người đọc nghĩ về một Lã Vọng câu cá chờ thời bên bờ sông Vị hơn mấy nghìn năm về trước.

Chỉ có một tiếng cá đớp động sau tiếng lá thu đưa vèo, đó là tiếng thu của làng quê xưa. Âm thanh ấy hòa quyện với một tiếng trên không ngỗng nước nào, như đưa hồn ta về với mùa thu quê hương. Người câu cá đang sống trong một tâm trạng cô đơn và lặng lẽ buồn. Một cuộc đời thanh bạch, một tâm hồn thanh cao đáng trọng.

Thu điếu là một trong những tác phẩm quá tuyệt vời của tác giả Nguyễn Khuyến. Xuân Diệu đã từng bộc bạch rằng trong Thu điếu có một nét diệu xanh mà người tả không tài nào hiểu hết vẻ đẹp, vẻ tinh túy của nó được. Có xanh ao, xanh sóng, xanh trời, xanh tre, xanh bèo… và chỉ có một màu vàng của chiếc lá thu đưa vèo.

Tuy nhiên ẩn sâu trong cái tĩnh lặng này lại có một nỗ buồn man mác của tác giả. Một tâm thế an nhàn và thanh cao gắn bó với mùa thu quê hương, với tình yêu tha thiết. Mỗi nét thu là một sắc thu, tiếng thu gợi tả cái hồn thu đồng quê thân thiết, vần thơ: veo - teo - vèo - teo - bèo, phép đối tạo nên sự hài hòa cân xứng, điệu thơ nhẹ nhàng bâng khuâng... cho thấy một bút pháp nghệ thuật vô cùng điêu luyện, hồn nhiên - đúng là xuất khẩu thành chương. Thu điếu xứng đáng là một tác phẩm tả cảnh ngụ tình xuất sắc.

Nguyen Khuyen was a man of noble character and a deep love for his country. He firmly refused to cooperate with the enemy. He was renowned as 'the poet of the people, of Vietnamese villages.' He left behind numerous outstanding works, especially a series of three autumn poems that depict rural Vietnam and its landscapes, among which 'Fishing in Autumn' stands out the most.

While in his poem 'Autumn Reflection', the autumn scene is first viewed from afar before coming closer, in 'Fishing in Autumn', the scene is experienced differently: from the immediate surroundings to the far horizon, and then back again. The landscape unfolds in multiple, dynamic perspectives, starting with an exceptionally clear autumn atmosphere:

The autumn pond, cold and still, the water crystal clear

A tiny fishing boat, so small it barely seems to exist

The atmosphere of autumn is evoked through the purest, gentlest elements of nature, with the clear, unruffled water. The heavy rains and muddy waters of summer have passed, leaving behind the tranquility and clarity of the autumn waters. Within this small space, the image of the fishing boat is not lost but rather harmoniously balanced with the surrounding nature.

The poet creates a scene that seems to contrast the autumn pond and the fishing boat, yet they blend together in a remarkable way. The poet specifically chose a pond, rather than a large lake, to avoid a sense of vastness or overwhelming scale. The pond, when paired with the fishing boat, creates a sense of harmony, balance, and authenticity that reflects the rural landscape of northern Vietnam. The rhyme scheme of the first two lines doesn't convey a sense of constriction, but instead emphasizes the delicacy and grace of the scene.

The autumn picture continues to be painted with the next couplet:

The blue waves gently ripple

Golden leaves flutter softly in the breeze

The scene's lines are equally delicate, with barely rippling waves and leaves gently fluttering in the breeze. Every motion is soft, graceful, and serene. By using the technique of depicting movement to highlight stillness, Nguyen Khuyen emphasizes the profound tranquility of the space and the surroundings. Only in an environment of absolute calm could one perceive such subtle sounds and movements, whether it is the slight ripple of the water or the quiet flutter of the leaf. With his sensitive perception, Nguyen Khuyen captures every moment of nature.

The color yellow, often associated with autumn in other poems, serves here as one of many hues in the landscape: the blue of the sky, the transparency of the water, and so on. It does not evoke sadness or decay, but simply contributes to the harmony of the overall scene. Additionally, the rural beauty of northern Vietnam is brought to life through images of winding bamboo paths:

The clouds hover in the deep blue sky

The bamboo paths twist, and the place is empty of visitors

The poet widens the view upwards, looking at the sky to appreciate the 'deep blue' of the autumn sky, before naturally drawing the gaze down to the winding bamboo paths. The autumn space is still and serene. All movements are so light and soft that they make no sound; the only sound is the faint ripple of fish nibbling at the bait: 'The fish gently stir beneath the water.'

But even this movement, combined with the word 'gently,' only serves to accentuate the silence and stillness of the surroundings. Through the art of using motion to describe stillness, Nguyen Khuyen reveals the absolute serenity of Vietnam’s rural landscape in autumn, calm and gentle.

Though the poem is titled 'Fishing in Autumn,' it is not merely about fishing. It uses the act of fishing to fully immerse in the autumn sky and the autumn scene, capturing its essence in the poet’s heart. Nguyen Khuyen must have had an extraordinarily calm soul to fully perceive the beauty of autumn: the clear waters, the slight ripples, the delicate falling of the leaves.

What stands out most is the profound stillness in the poet's soul, echoed by the one and only sound in the poem—the gentle stirring of fish nibbling at the bait. The silence in nature evokes a sense of loneliness and melancholy in the poet's heart.

The poem features many cool tones: clarity, deep blue, etc., as if the chill of autumn seeps into the poet's soul, or the poet's lonely heart extends itself into the landscape. When placed in the historical context of a country undergoing turmoil, the poem reflects Nguyen Khuyen's sorrowful mood over the painful state of the nation.

The poem showcases Nguyen Khuyen’s masterful use of language. The Vietnamese language is simple and clear, yet it conveys the most subtle, beautiful aspects of nature, as well as the poet's emotions and inner thoughts. The clever rhyme of 'eo' helps describe both the smallness of the space and the poet's complex, sorrowful mood. The technique of using motion to describe stillness highlights the absolute tranquility of nature.

'Fishing in Autumn' is not only a display of Nguyen Khuyen's linguistic prowess but also a reflection of his deep connection to nature, his country, and his quiet, yet profound, patriotism.

If we consider autumn as a theme in literature, while Chinese literature is epitomized by Du Fu's 'Autumn Sentiments,' Vietnamese literature cannot overlook the autumn poetry of Tam Nguyen Yen Do - Nguyen Khuyen. His autumn poems, including 'Thu Vinh,' 'Thu Dieu,' and 'Thu Am,' present autumn through the poet's sensitive perspective. Among them, 'Thu Dieu' ('Fishing in Autumn') stands out, capturing the essence of Vietnam's rural landscape and the poet's inner reflections on the season.

Nguyen Khuyen, a learned scholar who passed the Confucian exams three times and served as a government official during the reign of King Tu Duc, witnessed the gradual decline of the corrupt feudal regime. He chose not to cooperate with the enemy, striving to maintain his purity, and retired to his homeland after over a decade in government service. His autumn poems were composed after his retreat to rural life.

'Thu Dieu,' like the other two poems in the autumn series, follows the traditional seven-character quatrain form using Nom characters. The entire autumn scene and its accompanying emotions are vividly captured in the eight lines of the poem. It begins with the depiction of time and space in the autumn of the northern countryside:

“The autumn pond is cold, the water clear”

“A tiny fishing boat floats, small and still”

The setting here is the autumn pond, a feature of the author's lowland homeland. The time is not the hot, lingering days of early autumn, but rather a crisp autumn moment, with a slight chill in the air. The adjective 'clear' beautifully describes the transparency of the water, almost as if one could see to the bottom, evoking purity and stillness. The term 'cold' heightens the sense of quietness.

Furthermore, the 'tiny fishing boat' mentioned emphasizes the boat's smallness, its size almost lost against the vastness of the pond. The poet uses a minimalist technique, drawing attention to the boat's almost invisible presence. These first two lines introduce a rustic and serene autumn landscape typical of northern Vietnamese villages.

If the first two lines emphasize stillness, the next two lines introduce movement that serves to highlight the tranquility. Through gentle motion, the poet conveys the stillness of autumn in the countryside:

“The blue waves ripple gently”

“The yellow leaves flutter in the breeze”

Here, the images of 'blue waves' and 'yellow leaves' seem unrelated at first but are intricately connected: the wind stirs the waves and makes the leaves fall. The movement is not rushed but subtle—waves barely ripple, and leaves float gracefully in the breeze.

The careful use of adjectives and adverbs such as 'blue,' 'slight,' 'yellow,' and 'gentle' enhances the richness of the autumn scene, lending it both color and life. The word 'flutter' in particular captivated poet Tan Da, who expressed admiration for Nguyen Khuyen’s depiction of the moment: 'I have written many poems, but none so satisfying as this line.' Nguyen Khuyen’s sensitivity to the subtle movements of nature reveals his refined and delicate nature, making his art of using movement to describe stillness extraordinarily effective.

The scope of the landscape extends beyond the pond to encompass both height and distance, offering a broader, panoramic view of the sky and its many hues:

“The clouds hover, the sky deep and clear”

“The bamboo path twists, and the place is empty”

The blue sky remains a beautiful symbol of autumn, as seen in works by poets like Nguyen Du, who wrote: 'The sparkling water reflects the sky / The smoke rises from the city, and the mountains cast golden shadows.' The sky in 'Thu Dieu' is consistent with this imagery, as it is described as deep and clear, akin to the sky in 'Thu Vinh,' which is 'high and pure.' The clouds, however, do not move—they hover, evoking the calm stillness of autumn, frozen in time within the vastness of the sky.

The image of the bamboo path appears often in Nguyen Khuyen’s poetry, embodying solitude and melancholy. He once wrote:

“A thousand miles of bamboo paths, unchanged”

“Bamboo stands tall, its wind sighing softly.”

The green of the sky and bamboo dominate the scene, imparting an air of quiet, desolate beauty. The adjective 'empty' suggests not only the absence of people but also the freshness and openness of the space.

The external surroundings stir a sense of loneliness in the poet, much like the introspective solitude Nguyen Khuyen once lamented: 'In a world in turmoil, I am like a solitary crane / In my later years, I resemble a lone cloud.' The first six lines depict the natural world—the sky, the clouds, and the autumn landscape. It is only in the last two lines that a human presence is introduced. The poem's most poignant lines come at the end:

“I lean on my knees, waiting for a bite”

“The fish don’t bite, stirring beneath the reeds”

The image of the poet sitting by the pond, holding his fishing rod, contrasts with the stillness of the autumn scene. He seems absent-minded, his attention lost in his surroundings until he is startled by the sound of fish nibbling under the reeds.

Once again, the poet masterfully uses movement to underscore stillness. The fish's subtle movement jolts the poet, disrupting his calm like a fleeting dream. The question 'Where are the fish?' adds to the sense of mystery and confusion, heightening the sense of stillness in the space and the poet’s inner turmoil. This moment recalls Nguyen Binh Khiem's famous line, 'When the wine comes to the tree, I will drink / To see that wealth is like a fleeting dream.'

In reality, fishing serves as a metaphor for the poet's exploration of autumn. Through this imagery, Nguyen Khuyen reveals his personal feelings and state of mind. The image of the fisherman can be likened to the poet or the scholar of the time, reflecting the political turmoil in Vietnam during that era. According to folk wisdom, there are no fish in clear water, but the sound of fish nibbling by the reeds suggests that the fisherman continues his task, undeterred. Similarly, during a period of political unrest and foreign invasion, Nguyen Khuyen chose to retreat and preserve his integrity, following the example of his predecessors such as Nguyen Trai, Nguyen Binh Khiem, and Dao Tien, who chose to live as hermits to maintain their purity.

However, the sound of the fish nibbling is like a call to the poet, urging him to consider the possibility of rising up to defend the nation. The sound is ambiguous, reflecting the poet’s inner conflict—should he stand up for his country, or remain withdrawn, distant from the world’s troubles?

Thus, Nguyen Khuyen's work not only expresses a deep love for nature, his homeland, and his country but also subtly reveals the poet’s profound loneliness and resignation as a hermit, torn between his patriotism and the futility of his actions in the face of overwhelming historical circumstances.

Nguyen Khuyen is one of the most prominent and final representatives of late 19th-century Vietnamese classical literature. His poetry masterfully blends the refined scholarly tradition with folk literature. 'Thu Dieu' stands as one of his finest works, demonstrating his skillful use of artistic techniques such as motion describing stillness, subtle imagery, and masterful rhyme schemes.

The poem adheres strictly to the traditional poetic form while breaking boundaries through innovative expressions, eschewing conventional symbolic images in favor of a more direct and sincere depiction of rural life.

'Thu Dieu,' along with the other poems in Nguyen Khuyen's autumn series, has significantly enriched the Vietnamese literary tradition with its portrayal of the stillness, tranquility, and simplicity of rural life.

'Thu Dieu' is part of a trilogy of famous autumn poems by Nguyen Khuyen, capturing the quiet beauty of autumn in the countryside. The poem expresses the poignant and solitary love for autumn and the homeland felt by a Confucian scholar deeply attached to his country.

Similar to 'Thu Am' and 'Thu Vinh', 'Thu Dieu' was written after Nguyen Khuyen retired and returned to his hometown in 1884. The first two lines—'Ao thu lanh leo nuoc trong veo' (The autumn pond, cold and clear)—set the stage for an autumn landscape in the rural countryside. The crystal-clear water of the autumn pond, where the bottom can be clearly seen, radiates the chilly air of autumn, enveloping the entire scene.

It’s no longer the coolness of early autumn but rather the deep, late autumn chill. The scene of a small fishing boat on the pond adds a touch of loneliness. The phrase 'be teo teo' (tiny) evokes the smallness of the boat and the isolation of the fisherman, reflecting the overall sense of solitude. This is a beautiful, serene autumn scene.

The next two lines—'Song nuoc theo lan hoi gon ti' (Waves ripple gently, barely a stir) and 'La vang truoc gio khe dua veo' (Golden leaves flutter in the breeze)—depict a peaceful, two-dimensional space. The colors of the waves and the leaves blend harmoniously. A gentle breeze makes the golden autumn leaves flutter, while the ripples on the pond are just slight undulations, showing a scene filled with subtle beauty.

The clever contrast between the visual and auditory elements of the scene highlights the delicate, almost imperceptible movements of both the water and the leaves. Nguyen Khuyen's poetic technique is exquisite in its use of imagery and sensitivity, capturing the gentle motion of the waves and the fluttering of the leaves. The word 'veo' (flutter) was highly praised by poet Tan Da, who expressed admiration for the poetic imagery in Nguyen Khuyen’s works, such as his own line 'veo trong la rung day san' (the leaves flutter, covering the entire yard) in 'Cam Thu, Tien Thu'. The autumn scene expands further in the following lines:

Tang may lo lung troi xanh ngat

Ngo truc quanh co khach vang teo.

The deep, vast autumn sky is painted with light, drifting clouds. The stillness of the air is peaceful, serene, and gentle. There is no sign of human presence on the winding country paths, and the village roads are empty: 'Ngo truc quanh co khach vang teo' (The winding bamboo path is completely deserted). The emptiness is striking, evoking a feeling of solitude and stillness. The bamboo path and the layers of clouds are familiar, tender motifs from Vietnamese rural life, carrying a deep sense of nostalgia.

In the concluding lines, a new subject is introduced:

Tua goi om can lau chang duoc

Ca dau dop dong duoi chan beo.

'Thu Dieu' refers to autumn fishing. Up until this point, the poem has described the landscape—autumn pond, small fishing boat, blue waves, yellow leaves, floating clouds, winding bamboo path—but it is only in the final lines that the fisherman himself is introduced. His posture, leaning on his knee with the fishing rod, reflects his leisurely wait, as he patiently waits for a catch. His mind drifts between a dreamlike state and an awareness of the faint sound of fish splashing beneath the lily pads.

The reader may think of the ancient figure of Lao Wang, who fished by the river, waiting for the right moment, in a similar serene, patient state. The sound of a fish’s movement in the water blends with the fluttering of the autumn leaves, representing the quiet, comforting sounds of rural life. These sounds evoke a connection to the autumn of the homeland.

The fisherman’s solitary and contemplative state reflects a pure and noble spirit, one that values simplicity and tranquility. The poet Xuân Diệu lauded the 'green' beauty in 'Thu Dieu', remarking on the green hues of the pond, waves, sky, bamboo, and lily pads—only interrupted by the single yellow leaf fluttering away.

The scene is quiet, serene, and melancholic, yet filled with an elegant calm. The poet’s detached tranquility is closely tied to the autumn of the homeland, a tender and profound love for the beauty of nature. Every element of autumn—the golden leaf, the rippling pond, the deserted path—works together in a harmonious balance. The poetic technique is masterful, capturing the essence of autumn in its purest form, a testament to the poet’s artistic brilliance. 'Thu Dieu' remains an outstanding piece of autumn poetry, blending scenery and emotion in a perfect fusion.

'Thu Dieu' is a masterful autumn poem, offering a poignant reflection on nature and the human soul.

In Vietnamese poetry, many beautiful works celebrate the autumn season. Among them, Nguyen Khuyen stands out with a trio of famous autumn poems: 'Thu Vịnh' (Autumn Lament), 'Thu Ẩm' (Autumn Drinking), and 'Thu Điếu' (Autumn Fishing). Each poem is exquisite and reflects a profound love for the countryside. Particularly, Xuân Diệu praised 'Thu Điếu' as the quintessential representation of the autumn of rural Vietnam.

'Thu Điếu' is a poem that portrays the beauty of the autumn countryside through a deep connection with nature and the poet's profound love for his homeland. Written in the classical seven-character regulated verse (Thất ngôn bát cú), the poem captures the serene beauty of autumn with precise language and vivid imagery. Through Nguyen Khuyen’s pen, the landscape of rural Vietnam, painted in autumn colors, comes alive with a spiritual depth.

The first two lines describe a tranquil autumn pond with a small fishing boat. The pond’s waters are 'crystal clear,' exuding the 'chilly' essence of autumn. The mist of the season envelops the scenery, with the water appearing even more transparent and the coldness deepening. A tiny fishing boat, 'tiny and insignificant,' floats gently on the water’s surface.

The pond and the fishing boat serve as the central images of the poem, representing the simplicity and intimacy of the poet’s homeland. Xuân Diệu notes that in the Bình Lục region of Hà Nam, where there are countless small ponds, the boats are naturally small, hence the 'tiny and insignificant' boat in the poem:

'The autumn pond, chillingly clear,

A tiny fishing boat, so small and frail.'

Words like 'chilly,' 'crystal clear,' and 'tiny and insignificant' vividly describe the pond’s shape, the water’s autumn hue, and the tranquil soundscape, embodying the essence of autumn. The subsequent lines deepen the depiction of autumn’s spirit:

'The blue waves ripple with the slightest breeze,

Yellow leaves flutter gently in the wind.'

The blue of the waves blends harmoniously with the golden leaves, painting a simple yet stunning autumn countryside scene. The use of parallelism in the description enhances the harmony between the 'yellow leaves' and the 'blue waves.' The motion of the leaves ('fluttering gently') corresponds to the subtle movement of the waves ('slight ripples'). The poet Tản Đà admired the word 'flutter' in Nguyen Khuyen’s poetry for its vivid expression.

He once expressed that in his entire poetic career, perhaps only one line could match the beauty of a verse in 'Cảm Thu, Tiễn Thu' (Farewell to Autumn), 'I saw the leaves fluttering across the yard.' The following couplet broadens the perspective, introducing the vastness of the autumn sky, 'deep blue' with clouds 'floating lazily' in the gentle breeze. In his autumn poems, Nguyen Khuyen often describes the sky as 'deep blue':

- 'The autumn sky is a deep, unclouded blue,

(Thu Vịnh)

- 'Who dyed the sky so deeply blue?'

(Thu Ẩm)

- 'The clouds float gently in the deep blue sky.'

(Thu Điếu)

'Deep blue' evokes a sense of depth, a profound stillness in the autumn sky, devoid of clouds (no gray clouds, only deep blue). It conjures a feeling of spaciousness and distance, echoing the quiet reflection of the poet, who, in his fishing solitude, gazes into the boundless sky. His eyes wander over the empty village paths, seemingly deserted. The streets are desolate, and no one passes by: 'The winding bamboo path, void of guests.'

The scene is peaceful yet imbued with a sense of loneliness and solitude. The fisherman, like the poet, seems to be lost in a dream of autumn. Every element in the scene, from the cold autumn pond to the tiny fishing boat, from the blue waves to the yellow leaves, from the floating clouds to the winding bamboo path, appears vivid in detail—bringing a bittersweet, nostalgic feeling while maintaining an intimate, familiar connection with the Vietnamese countryside. The poem’s emotional depth lies in the final couplet:

'Leaning on my knee, the fishing rod held tight,

Fish scarcely stir beneath the lily pads.'

'Leaning on my knee, holding the fishing rod' suggests the fisherman's relaxed state, a reflection of the poet’s life after retreating from the world of power and politics. The phrase 'where are the fish nibbling?' evokes a sense of vague, distant longing, a moment of sudden awareness. The fisherman is, in fact, the poet—a high-ranking official of the Nguyễn Dynasty, who, out of love for his country, resigned in protest against French colonialism. The poet’s retreat into nature symbolizes his desire for peace and disillusionment with society.

Behind the lines, we find a scholar who, disenchanted with the world, seeks solace in nature. The poet, while holding his fishing rod, is spiritually immersed in the autumn dream. Yet, he is jolted back to reality when 'Fish stir beneath the lily pads.' Thus, the tranquility of the pond, the autumn sky, and the stillness of the boat reflect the poet’s inner solitude—filled with melancholy and emptiness. The sound of fish 'stirring beneath the lily pads' punctuates the silence, highlighting the stillness of the autumn pond.

The natural world seems intimately connected with human emotion. To Nguyen Khuyen, nature is a close companion. He expresses his feelings, seeks comfort, and finds solace in the autumn leaves, the 'deep blue' sky, and the 'blue waves' of the pond.

Indeed, 'Thu Điếu' is a beautifully evocative poem by Nguyen Khuyen that masterfully portrays the autumn countryside. The autumn landscape of the homeland is described in rich, delicate hues and carefully crafted imagery. The sounds of falling leaves 'fluttering' in the autumn breeze and the subtle motion of fish 'stirring' beneath the lily pads are the familiar sounds of rural autumn, evoking deep nostalgia for one’s homeland.

Nguyen Khuyen’s use of rhyme is unique, creating an effortless flow of verses that leave a lasting impression on the reader. The rhythm of the poem, with its words like 'clear,' 'tiny,' 'flutter,' 'silent,' and 'lily pads,' draws the reader into a world of natural beauty. Xuân Diệu once wrote: 'The charm of 'Thu Điếu' lies in its varied shades of green—the green of the pond, the green of the shore, the green of the waves, the green of the bamboo, the green of the sky, and the green of the lily pads, with a single yellow leaf falling.'...

Poetry is the expression of the soul. Nguyen Khuyen loved the autumn nature and the rural landscapes of Vietnam with all his heart. He is the poet of Vietnamese countryside landscapes. Reading 'Thu Điếu,' 'Thu Vịnh,' and 'Thu Ẩm,' we come to appreciate autumn in our homeland even more deeply, cherishing the countryside, the villages, and the nation. To Nguyen Khuyen, describing the autumn season and celebrating its beauty is a way to express his love for his homeland. He is a remarkable poet who has earned a prestigious place in the classical poetry tradition of Vietnam.