Top 18 Essays Analyzing the Last 8 Lines of the Excerpt 'Kiều in the Pavilion of Cloudy Bích' (Grade 9)

'Kiều in the Pavilion of Cloudy Bích' is one of the most moving passages in 'The Tale of Kiều,' the masterpiece of national poet Nguyễn Du. The inner tragedy of Kiều during her early days of wandering is vividly portrayed through the poet's genius, using the unique artistic language of nature and metaphor:

Suddenly, Lady Kiều is like the fate of the nation,

Her unwavering spirit defies the waves of time.

Young Kim arrived, wiping away her tears,

And the incense burned in the night, filling the air with fragrance...

(From 'Reading Kiều,' by Chế Lan Viên)

The verses above by Chế Lan Viên evoke deep sorrow and longing in our hearts for the ill-fated life of the talented and beautiful Thúy Kiều. We are moved by Nguyễn Du’s immense humanitarian compassion. The eight-line passage, saturated with tears, captures our hearts: 'I pity Kiều as I do the fate of the nation—her beauty and talent seem doomed to endless hardships.'

'Kiều in the Pavilion of Cloudy Bích' is one of the most poignant excerpts in 'The Tale of Kiều,' Nguyễn Du’s masterpiece. The poet's genius captures Kiều’s internal struggles during her early days of wandering, using nature’s imagery to reflect her emotions. The mournful verses plunge the reader into deep sorrow, reminding us of the 'ill-fated' lives of women in the past...

After being deceived, losing her honor to Mã Giám Sinh, and further humiliated by Tú Bà, Kiều attempts to end her life. However, she is saved. Tú Bà then plots to lure Kiều into staying at the Pavilion of Cloudy Bích. Alone in a foreign land, Kiều feels lost and vulnerable, haunted by uncertainty. The past storms have passed, but the future remains unclear and full of dangers. She is bitter and in intense pain, living alone in the pavilion, with only despair and frustration for company. Who can she turn to? Whom can she confide in? Her longing overwhelms her, as she remembers her elderly parents, unable to help, and the absent Kim, 'alone in the vastness of sky and sea...'

Her longing is followed by intense sorrow, fear, and endless anxiety. The sadness tears at her heart, tightening its grip on her soul. The eight-line passage is filled with these emotions. Nguyễn Du uses the surrounding natural landscape as a backdrop for Kiều’s inner turmoil. Gone are the familiar sights of Thúy’s garden. Everything seems distant and desolate: 'the evening’s sea gate,' the boat with its faint sail, 'the newly fallen water,' the drifting flower, 'the withered grass,' the greenish sky and earth, the wind, and the thundering waves... These images and sounds express Kiều’s emotional state, showing the intense inner conflict that tortures her day and night.

Each image and word evokes a bittersweet connection in the reader’s soul, symbolizing the pain and 'ill-fated' destiny of the first daughter of the Vương family. Every metaphor speaks to Kiều’s constant fear and anxiety. The faint 'distant sail' on the 'sea gate at evening' suggests a vague, uncertain journey of exile:

Gazing sadly at the sea gate at evening,

A boat with a distant sail drifts far away...

The 'drifting flower' rises and falls between the 'newly fallen water,' mirroring Kiều’s fear for her fragile existence, drifting aimlessly through an uncertain life:

Gazing sadly at the newly fallen water,

The flower drifts, uncertain of its destination...

The 'withering grass' amidst the greenish sky and earth, in this vast, unknown place, represents Kiều’s own fading life: 'Gazing sadly at the withered grass, the sky and earth are both greenish.'

And the fierce sea and sky, with their 'thundering waves,' symbolize Kiều’s overwhelming fear, anxiety, and terror:

Gazing sadly at the wind sweeping across the waves,

The thundering waves crash around the seat...

Every verse, every image, and the depiction of nature’s external world carry symbolic meaning, reflecting Kiều’s suffering and the bleak fate of a person trapped in the cycles of sorrow. The repeated use of onomatopoeia like 'distant,' 'faint,' 'drifting,' 'withering,' 'green,' 'thundering' creates a mournful, haunting rhythm, heightening the sense of dread. The repeated phrase 'Gazing sadly' four times sounds like a lament, deeply resonating with the reader’s emotions, evoking the central mood that dominates Kiều’s state of mind, stirring the reader's heart:

Gazing sadly at the sea gate at evening...

Gazing sadly at the newly fallen water...

Gazing sadly at the withered grass...

Gazing sadly at the wind sweeping across the waves...

In conclusion, 'Kiều in the Pavilion of Cloudy Bích' is a poignant depiction of 'endless sorrow.' A rich, varied scene of nature and emotion captures the deep sadness and fear Kiều experiences, foreshadowing the trials and tribulations she will endure over ten years of wandering, 'with two separate journeys, with laughter and tears, with joy and sorrow…'

Nguyễn Du’s masterful use of nature to mirror emotions is extraordinary, as the landscape becomes imbued with the poet’s soul. Nature and emotion merge, creating vivid, expressive imagery. He uses the natural world to convey inner feelings, revealing that 'the sorrowful person can never be happy in a joyful scene.' Each image of nature symbolizes the sorrow, fear, and loneliness of a lost soul.

This passage carries deep humanistic values. It stirs in us the sorrow for a beautiful soul cursed by fate. The poet’s compassionate attitude toward Kiều’s suffering leaves a lasting impression on the reader’s heart through the centuries: 'Oh Tố Như! Tears flow around Kiều’s body.' (Tố Hữu)

'The Tale of Kiều' has, for centuries, become an indispensable spiritual treasure of our nation. From any perspective, it remains a precious gem in our literary heritage. To create such a masterpiece, Nguyễn Du's most essential achievement lies in his profound humanitarian spirit and masterful artistic skill. One of the clearest aspects of his artistry is his use of nature to reflect emotions, particularly evident in the excerpt 'Kiều in the Pavilion of Cloudy Bích,' especially in the final eight lines that begin with 'sorrowfully gazing.'

Refusing to heed Tú Bà’s advice to stay in the brothel, Kiều is confined in the high, distant Pavilion of Cloudy Bích, beautiful yet desolate on all sides. Every day, she suffers, longing for her family and her beloved. In her constant sorrow, she gazes toward the distant sea gate at sunset, seeing a faint sail in the distance. The twilight waves evoke a sense of melancholy and longing, and the sight of the sail is uncertain—perhaps it is real, or perhaps it is just a dream of escape. She wishes for a ship from afar to take her back to her family, but the more she hopes, the more she feels abandoned. Even if the ship were real, its arrival would only deepen her sorrow, as she would remain lost. She remembers her home, and then the sadness deepens. From the vast, lonely sea, her gaze moves to the turbulent waters, muddy from waterfalls crashing down, turning the water foam-white.

Amidst the waters, delicate flowers drift aimlessly, their fate unclear—much like Kiều's own, adrift in the endless waves of life. These drifting flowers might be a metaphor for Kiều's own fragile existence, helplessly tossed about by the cruel waves of fate. Where will they go? Where will her destiny lead her? The rhetorical question highlights Kiều’s anxiety about an uncertain and shapeless future. From this worry, Kiều's state of mind deepens into an even more uncertain, unfocused despair. It seems that everything before her eyes has blurred, drowned in a sea of tears. Even the grass appears desolate, reflecting her inner turmoil.

The once vast landscape now feels even more immense, as if there is no distinction between the sky and the earth. The green here is not the vibrant spring green, but a dull, lifeless hue, a reflection of Kiều’s own existence at this moment. Yet, even in this state of sorrow, the mood shifts with the final couplet. The sadness and worry evolve into fear, as the wind and the waves outside the pavilion roar like a storm, instilling terror. The onomatopoeia 'roaring' placed at the start of the line emphasizes Kiều's shock and fear as the waves crash against the pavilion, creating a sense of dread.

This may be a foreshadowing of the stormy future awaiting Kiều, as the tempest will soon engulf her life, causing her pain, fear, and turmoil. The four pairs of six-eight lines, beginning with 'sorrowfully gazing,' create a repetitive chorus that gradually intensifies. The scene shifts from distant and hazy to close and clear, and Kiều’s emotions progress from sadness to anxiety to sheer terror. Nguyễn Du has skillfully portrayed the profound sadness of Thúy Kiều during her imprisonment in the Pavilion of Cloudy Bích, the beginning of her fifteen-year wandering journey. The more Kiều longs, the more she suffers; the more she gazes, the deeper her sorrow. Nguyễn Du’s empathy for this inner conflict is palpable through his writing.

The four pairs of six-eight lines are brief yet encapsulate the vast humanitarian spirit and genius of the great poet Nguyễn Du. Upon reading these lines, the reader cannot help but feel deep pity for Thúy Kiều’s fate while also admiring the poet’s immense talent and compassion.

Researcher Pham Quynh once stated: 'As long as The Tale of Kiều exists, our language will endure; as long as our language endures, so will our nation.' The poet Che Lan Vien profoundly and delicately expressed: 'Nguyễn Du's Kiều has turned the country’s soul into literature.' For centuries, The Tale of Kiều has been an inseparable spiritual treasure for the Vietnamese people. These verses possess an enchanting power that lingers in our hearts, evoking deep compassion for the tragic 'mirror of sorrow,' Thúy Kiều, and providing us with unique aesthetic pleasure through lines that are as beautiful as flowers, as delicate as brocade:

Gazing sadly at the evening bay,

Whose boat is that, with sails so far away?

Gazing sadly at the waters now fallen,

Flowers drift aimlessly, where do they belong?

Gazing sadly at the grass, dull and dreary,

The horizon and the earth share the same green hue.

Gazing sadly as the wind sweeps the surface,

The roaring waves cry around the seat where I sit.

These eight lines from the excerpt 'Kiều in the Pavilion of Cloudy Bích' are the most haunting verses of the passage, perfectly capturing Kiều’s 'aching heart' during her first days of suffering. The two words 'buồn trông' (gazing sadly) are repeated four times throughout, encapsulating Kiều’s emotional state 'before the Pavilion of Cloudy Bích,' while also creating a rhythmic, sorrowful cadence for the verses. In the 'locked spring' of the Pavilion, Kiều can only find solace in nature, which becomes her reflection on her fate. Her gaze is first drawn to the distance, towards her home, where her loved ones are:

Gazing sadly at the evening bay,

Whose boat is that, with sails so far away?

The vast, lonely space of the bay emphasizes Kiều’s small, solitary existence. This space, combined with the 'evening' time—an hour of nostalgia and sadness—deepens her sorrow in this foreign land. In the midst of this, her lonely heart, empty soul craves warmth and presence: 'Whose boat is that, with sails so far away?' The boat here symbolizes human life, yet it is faint, almost ghostly, described with 'faintly visible' and 'far away.' The boat’s ephemeral appearance only amplifies the solitude and sorrow, failing to make the scene feel intimate or warm. Unable to find companionship in the distant bay, Kiều’s gaze shifts towards the 'fallen waters' closer to her:

Gazing sadly at the waters now fallen,

Flowers drift aimlessly, where do they belong?

In the flowing water, the drifting flowers evoke the image of a fragile, drifting fate. The rhetorical question digs deep into the reader’s soul. Is the flower’s fate a reflection of Kiều’s own struggles, her fragile and drifting destiny? The phrase 'where do they belong' heightens the sense of emptiness and uncertainty, mirroring Kiều’s current state. Turning to nature for solace, her mind grows more tangled as she gazes further. The water, cold and uncertain, flows on, so Kiều turns to the green grass, to the earth: 'Gazing sadly at the grass, dull and dreary.' But even the grass seems to mirror her sadness: 'dull and dreary.' Gone is the vibrant, fresh grass of spring when Kiều enjoyed peaceful, sheltered days under a curtain. The landscape seems to empathize with her, now tinged with the melancholy of a wandering soul. This sadness permeates all around her:

The horizon and the earth share the same green hue.

From the distant 'horizon' to the familiar 'earth,' everything is covered by the same 'green hue.' This is far from the lively, vibrant green of spring, and different from the bright green of Kim’s clothes when they first met:

Snow prints the horse’s image, crisp and clear.

The grass mingles with the green of the young man's clothes, dyed sky blue.

The green of the space at the Pavilion of Cloudy Bích is a sorrowful shade. Kiều’s grief merges with the landscape, carrying with it a profound sadness. The silent, empty space amplifies her inner turmoil. Kiều longs for a human voice, but only the powerful sounds of nature respond:

Gazing sadly as the wind sweeps the surface,

The roaring waves cry around the seat where I sit.

The wind blows, the waters flow... everything evokes a sense of drifting, like Kiều's own fate, 'lost at the ends of the earth.' The sound of the roaring waves seems like a cry from Kiều’s broken heart, adding to the overwhelming sense of helplessness. Her vision shifts from the far-off to the near, from high to low, seeking a response. Yet, the only sound she hears is the crashing waves, which do nothing to break the silence but deepen the pain and foreboding about her future. How heart-wrenching, how painful! Only nature is by her side, sharing her sorrow. This is the moment Kiều feels her deepest self-pity.

Poetry only finds its resting place in the heart of the reader when it expresses a heartfelt longing, created by true artistic mastery. Nguyễn Du’s verses achieve this beautifully. Not only do they capture Kiều’s profound sorrow and despair, but they also demonstrate his unparalleled skill in blending nature with emotion. The echoes of these verses will forever resonate in the hearts of readers.

Nguyễn Du is a national literary giant and a world-renowned cultural figure. When his name is mentioned, people think of "The Tale of Kiều" – a work that elevated the Vietnamese language to a national treasure. Through the story, one can feel the poet's compassionate and sensitive heart towards humanity. As Mông Liên Tưởng, the editor of the preface to the tale, wrote: "The words seem to carry blood at the tip of the pen, tears soaked on the page, making anyone who reads them feel moved, wistful, and heartbroken." And by reading the last eight lines of the excerpt from "Kiều in the Pavilion of Cloudy Bích", one can truly appreciate the subtlety and the beauty of Nguyễn Du's masterful technique, especially his use of nature to express emotions.

These last eight lines can be considered a perfect example of the classical literary technique of using nature to convey human emotions. To portray Kiều's feelings of loneliness, sorrow, and despair, Nguyễn Du employed a brilliant technique of blending the external world with the internal world – nature mirrors her emotions. Each scene evokes a different kind of sadness, and in turn, the sadness deepens the sorrow of the landscape, creating an intense and overwhelming atmosphere. As Nguyễn Du once wrote:

"What scene doesn’t bear sadness,

When a person is sad, can the scene ever be happy?"

These vivid lines, coupled with the poet's exceptional ability to depict a character's inner world, create a picture that not only describes the natural world but also reflects Kiều's emotional turmoil. Alone and isolated in the vast space, Kiều's longing for her homeland suddenly awakens.

Looking at the distant sea in the evening,

A faint ship with a distant sail appears.

The "sea gate" is a vast and overwhelming space, set in the time of dusk, evoking a deep sense of loneliness. Nguyễn Du's verse reminds one of the image of a girl, far from home, looking back towards her homeland in the evening as in the folk song:

"In the evening, I stand at the back gate,

Looking back at my homeland, my heart aches with longing."

In the poem, the evening scene in this vast space features a lone, drifting sail, faintly visible, which suggests the feeling of being far from home with an aching heart. The sail appears only occasionally, evoking the feeling of being a wanderer, separated from everything familiar. The image of the ship symbolizes the longing, but it also reflects Kiều’s solitude and fear as she faces life's tempests. The fate of Kiều seems uncertain, and her anxiety grows as she wonders where her life will drift.

Looking at the falling water,

A flower floats aimlessly, not knowing where it’s going.

The image of the "falling water" holds a force of nature capable of drowning and destroying everything in its path. Now, the space is no longer just vast and overwhelming, but also powerful and fierce. The image of a flower drifting away from its branch, floating helplessly on the waves, mirrors Kiều’s own drifting life, with no control over her fate. In this moment, she is like a lost bird, flying in a storm. The next two lines further deepen Kiều’s despair, as she sees a wilting patch of grass:

Looking at the withered grass,

The land and sky are a uniform green.

The scene is striking not because of the "fresh green grass" of spring, but because of the "withered grass", which adds to Kiều's sense of frustration and hopelessness. The color "green" here no longer signifies life and vitality, but a color that symbolizes decay and despair, much like the grass on Đạm Tiên's grave:

"A little mushroom by the road,

The withered grass is half yellow, half green."

The last two lines exemplify the pinnacle of the poetic technique of using nature to express emotions. The violent sounds of the wind and waves symbolize the powerful forces surrounding Kiều’s life:

Looking at the wind, swirling waves,

The crashing waves echo around the seat.

The evening is late, the scene is fading, and the sounds become louder. Kiều sees the wind sweeping up the waves, hears the crashing waves, and feels terrified, as if falling into an abyss, helpless and weak. It is at this moment that Kiều is at her most vulnerable, as she becomes entangled in the deceit of Sở Khanh, leading her into a life of sorrow.

Moreover, the four lines of alternating couplets, connected by the repetition of "looking sadly", evoke a feeling of lingering, ever-present sadness, creating a rhythmic pattern like a mournful song. "Looking sadly" here expresses the sadness of yearning for something that will never come, increasing the sense of hopelessness. The repetition of "looking sadly" combined with words like "faint", "far", "aimlessly", "withered", "green", and "crashing" creates a melancholy rhythm that deeply conveys Kiều’s sorrowful state. Through metaphorical images, the scene is described from a distance to close, with colors shifting from light to dark, sounds transitioning from stillness to movement, and emotions from deep despair to restless anxiety.

In conclusion, "Kiều in the Pavilion of Cloudy Bích" is not only a portrayal of nature but also a reflection of the soul. This excerpt showcases Nguyễn Du’s masterful ability to express emotions through nature, with the last eight lines deeply resonating with the reader, evoking empathy for Kiều’s sorrow and a profound understanding of the poet’s compassion for the fate of women.

Nguyễn Du once stated:

"In a hundred years of human life,

Talent and fate often conflict."

This truly applies to the life of Kiều, where her talents and fate are at odds. Kiều is not only beautiful in appearance but also in character, yet she endures countless tragedies and misfortunes. Perhaps the most painful part is her solitude in the Pavilion of Cloudy Bích, locked away and imagining the stormy future ahead. The last eight lines of the excerpt "Kiều in the Pavilion of Cloudy Bích" are the clearest testament to this.

The final eight lines showcase Nguyễn Du's masterful talent for analyzing emotions and his unparalleled skill in using nature to mirror human feelings. He transforms a simple landscape into a vivid portrayal of Kiều's inner turmoil. The natural world is not just scenery but a powerful reflection of the character's state of mind. The eight lines perfectly embody the technique of using nature to express feelings. Kiều's inner conflict is vividly illustrated through the rich imagery of nature as she stands in the Pavilion of Cloudy Bích.

The poem is divided into four couplets, each beginning with the repeated phrase "looking sadly," setting the tone for the looming storms and struggles ahead. Each couplet corresponds to a different aspect of Kiều's emotional state. The first scene introduces the vastness of the sea:

Looking sadly at the evening sea gate,

A ship faintly visible, a distant sail.

Nguyễn Du skillfully uses the expressions "faintly visible" and "distant" along with the indefinite pronoun "someone" to convey Kiều’s hopeless waiting and longing. Moreover, the poet selects the late afternoon as the backdrop to evoke feelings of nostalgia and the warmth of home. At that moment, the image of a tiny sail on the vast sea only amplifies the sense of emptiness and desolation. The sail becomes a metaphor for Kiều’s lonely and small existence. As the view narrows, the scene of fragmentation and separation emerges:

Looking sadly at the falling waters,

A flower drifts aimlessly, not knowing where it’s going.

Kiều compares herself to the fragile, delicate flower, drifting aimlessly on the water. The rhetorical question "where is it going?" emphasizes the precariousness and uncertainty of her life. She floats aimlessly through the currents of life, unaware of where she will end up.

The image of grass, frequently found in Nguyễn Du’s poetry, is usually associated with the vibrant green of spring, full of life: "Fresh grass stretches to the horizon." But here, that vibrant green is replaced by the dull color of decay: "Looking sadly at the wilting grass, / The sky and earth are the same dull green." In Kiều's eyes, the once vibrant grass has withered, echoing her own inner sadness. The green stretches endlessly, but it is dull, fading, and blended together in monotony. Could it be that the solitude and sorrow in her heart have made everything around her feel as dreary and lifeless as the fading grass? Kiều listens to the world around her, but all she hears are terrible sounds:

Looking sadly at the wind sweeping the waves,

The crashing waves echo around her seat.

The stormy sea comes crashing towards Kiều, encircling her in turmoil. This represents her premonition of the tragic fate ahead and the storms awaiting her. She is overwhelmed with fear and anxiety. The way the scene is described — from distant to near, from soft to intense, from melancholy to deep despair — mirrors Kiều's own emotional progression. At this point, Kiều has reached the peak of her despair and vulnerability, making her an easy target for Sở Khanh’s sweet words, leading her to fall into the pit of life’s corruption: "Two times with the courtesan, two times in the brothel."

Through his brilliant use of nature to reflect emotions, Nguyễn Du presents some of the most powerful lines of poetry, capturing Kiều’s deep loneliness and suffering. At the same time, we see Nguyễn Du's profound empathy and compassion for the fate of the beautiful yet unfortunate woman.

Nguyễn Du was not only brilliant in his portrayal of character portraits but also possessed an exceptional talent for depicting nature, using it to reflect the emotions and inner struggles of individuals. Every painting crafted by Nguyễn Du serves two essential purposes: to depict the external world and to express the internal state of mind. The last eight lines of the excerpt from "Kiều in the Pavilion of Cloudy Bích" clearly demonstrate this mastery of his.

After being deceived and sold into a brothel, Kiều lives in immense pain and humiliation. Her dignity as a human being makes her contemplate suicide as an escape, but to no avail. Trapped by Tú Bà in the Pavilion of Cloudy Bích, Kiều awaits the day when the plan to ruin her will unfold. During her time in this isolated pavilion, she endures profound sorrow, shame, loneliness, and ultimate despair.

In moments of solitude, everyone yearns for family. In folk verses, the daughter may be married, yet when evening falls, her heart longs for her mother’s home:

As dusk approaches, I stand at the back gate,

Longing for my mother’s home, my heart aching with every step.

How much more must Kiều, whose life has been torn apart to save her family, feel the wrenching pain of separation? Her longing is even more intense:

Looking sadly at the sea gate at evening,

A ship faintly visible, a distant sail.

The vastness of the sea gate, combined with the distant image of a faintly visible ship, conjures a sense of overwhelming emptiness and desolation. The sail becomes a tiny, insignificant figure in the enormous space, much like Kiều's own existence—adrift, fragile, and uncertain. Nguyễn Du wisely chooses the late afternoon for this moment of longing, as evening often evokes a sense of melancholy. For Kiều, this sorrow is tied to a desperate desire to reunite with her family and return home.

After this sorrow of being far from home, Kiều contemplates her fate, and the pain becomes even more unbearable: “Looking sadly at the falling water, / The drifting flower, I wonder where it’s headed?” The metaphor of the drifting flower symbolizes Kiều’s fate. The falling water, powerful and destructive, represents the storms and hardships that have ravaged her life. The flower, fragile and aimless, mirrors Kiều's helpless, drifting existence. She floats through life, unaware of where she will end up. The rhetorical question “where is it going?” is a lament, a sorrowful cry for her tragic fate, emphasizing her uncertain and drifting existence.

In Nguyễn Du’s work, the color green appears repeatedly, each time carrying a different meaning. In the excerpt "A Spring Day Scene," green symbolizes life and vitality, yet here it takes on a different tone: "Looking sadly at the wilted grass, / The sky and earth both a dull green." The grass is withered and lifeless, and the green that stretches from horizon to horizon is faded, monotonous. This color scheme further deepens Kiều's feelings of weariness and despair. She looks around, hoping to find solace or companionship, yet every scene around her deepens her sorrow and sense of futility. Indeed, as the saying goes, "When one is sad, the world offers no joy." Through Kiều’s desperate eyes, every landscape is colored by feelings of hopelessness and despair, pushing her further into the abyss of sorrow and desolation.

The final two lines of the poem can be considered the peak of Nguyễn Du’s technique of using nature to mirror emotions. Kiều’s panic and dread are most vividly captured in these lines:

Looking sadly at the wind sweeping across the waves,

The roaring waves echoing around her seat.

The final scene of nature appears violently, no longer just an external setting, but a reflection of Kiều’s inner turmoil. She feels as though she is no longer seated in the Pavilion of Cloudy Bích but rather lost in the vast ocean, surrounded by waves crashing around her, threatening to drown her. The word “roaring” perfectly describes the terrifying scene, and it also reflects Kiều’s emotional state—filled with anxiety and panic. She senses the coming storms of fate that will soon rise and overwhelm her life.

The poem skillfully uses the technique of portraying nature to reflect emotions, with each scene representing a different emotional state and a different pain that Kiều must endure. Nguyễn Du also uses a logical sequence in the descriptions: from distant to near, from light to dark, vividly portraying Kiều’s profound sorrow. Through metaphorical imagery and rich descriptive language, the poet captures Kiều’s inner turmoil. All these elements contribute to the success of the excerpt.

The last eight lines are a masterpiece of the art of portraying emotions through nature. With vivid imagery, Nguyễn Du captures Kiều’s feelings of loneliness, anxiety, and fear of the stormy future ahead. Through these images, Nguyễn Du also expresses his deep sympathy for Kiều’s tragic fate, as well as the fate of all women under the feudal system.

When talking about classical Vietnamese poetry, alongside well-known works from the 18th-19th centuries such as "Nhị độ mai", "Sơ kính tân trang", and "Lục Vân Tiên", we must also mention Nguyễn Du's "Truyện Kiều". With "Truyện Kiều", Nguyễn Du elevated the genre of Nôm classical poetry to new heights, mastering the art form and enriching the Vietnamese language. The excerpt "Kiều in the Pavilion of Cloudy Bích" is a prime example of the poet’s unique technique of 'depicting scenery to express emotions'.

This passage marks the beginning of Kiều's fifteen-year journey of hardship and wandering. Mộng Liên Đường, the compiler of "Truyện Kiều", noted: "The words seem to have blood flowing from the pen, and tears soaking the paper, making readers feel deeply and sorrowfully, as though their hearts are torn." The last eight lines of this excerpt, with Kiều's sorrow and anxiety reflected through her view of the surrounding scenery, evoke a deep sense of sadness in the reader's heart:

Buồn trông cửa bể chiều hôm

Thuyền ai thấp thoáng cánh buồm xa xa?

Buồn trông ngọn nước mới sa

Hoa trôi man mác biết là về đâu?

Buồn trông nội cỏ rầu rầu

Chân mây mặt đất một màu xanh xanh

Buồn trông gió cuốn mặt duềnh

Ầm ầm tiếng sóng kêu quanh ghế ngồi.

The repetition of 'buồn trông' (looking in sorrow) four times forms a continuous refrain, mirroring Kiều's emotional state. Her sorrow drives her to gaze at the world around her, and as she looks, her sadness only deepens. This persistent sorrow grows like rising waves in Kiều's heart, becoming a heavy burden on her soul:

Buồn trông cửa bể chiều hôm

Thuyền ai thấp thoáng cánh buồm xa xa?

Buồn trông ngọn nước mới sa

Hoa trôi man mác biết là về đâu?

'Chiều hôm' (the late afternoon) refers to the time of sunset when the sun is sinking in the west, and the evening darkness begins to fall. 'Xa xa' describes the image of a tiny, lonely boat barely visible in the vast sea, while a solitary flower drifts aimlessly on the water, uncertain of its destination. These images contrast sharply with the infinite expanse of the universe, emphasizing their smallness, loneliness, and sorrow. This metaphor reflects Kiều's fate—adrift in life, uncertain of where it will take her. And in the face of the vastness of the world and the impending twilight, her longing for home and loved ones becomes an inevitable part of her emotions. Yet, in her situation of isolation and helplessness, she wonders when she will ever be reunited with her family or lover. Thus, the rhetorical question echoes painfully in Kiều's heart, expressing her yearning to return home:

Buồn trông nội cỏ rầu rầu

Chân mây mặt đất một màu xanh xanh

Looking up toward the distant horizon, Kiều only feels emptiness, loneliness, and sorrow. When she looks down at the ground, seeking life in the surroundings, she finds only withered, dying grass. The phrase 'nội cỏ rầu rầu' (withering grass) is personified, reflecting the mood of the human heart. In her sorrow, Kiều sees the world around her through the same lens of despair. While the color green typically symbolizes life and vitality, here it represents the tragic separation and melancholy of Kiều. In classical literature, such as the poem "Chinh phụ ngâm" by Đặng Trần Côn, the color green has been used to convey longing and loss:

Cùng trông lại mà cùng chẳng thấy

Thấy xanh xanh những mấy ngàn dâu

Ngàn dâu xanh ngắt một màu

Lòng chàng ý thiết ai sầu hơn ai?

Thus, the 'deep green' or 'greenish' grass in Nguyễn Du’s poem symbolizes the fading hope, despair, and hopelessness Kiều feels, as the landscape mirrors her inner turmoil:

Buồn trông gió cuốn mặt duềnh

Ầm ầm tiếng sóng kêu quanh ghế ngồi.

While the natural imagery earlier in the poem is still, at the conclusion, the scene shifts to a more dynamic portrayal of nature. The powerful wind stirs the sea, creating loud crashing waves. These waves, however, are not merely a reflection of the sea but also represent the emotional turbulence within Kiều's heart. The repeated refrain of 'buồn trông' intensifies, building toward the final verse, where the sorrow feels even more overwhelming, like a massive wave crashing over Kiều. The roaring waves symbolize the storms in her life, threatening to overwhelm her fragile self. In this moment, Kiều is not only sad but also fearful, as she feels herself falling into a hopeless abyss.

In conclusion, Nguyễn Du skillfully uses the literary technique of 'depicting scenery to convey emotion' in these final eight lines, portraying Kiều's deep sorrow and helplessness as she is trapped in the Pavilion of Cloudy Bích. Each line serves as a vivid picture of both the external world and Kiều's inner emotional landscape. The sorrow, anxiety, and uncertainty of her fate are masterfully conveyed, and her plight resonates with the reader's heart. Though Kiều is 'naturally intelligent', she finds herself facing the helplessness of her situation, tricked by Sở Khanh, and thrust into a life of hardship and turmoil—"Two visits to the brothel, two times in the robes of the night."

The excerpt 'Kiều at the Pavilion of Cloudy Bích' vividly illustrates Thúy Kiều's emotions as she faces the overwhelming despair of her situation. This is most apparent in the last eight lines of the passage:

Her eyes are drawn to the distant shore at dusk

A boat with a faint sail appears far away.

Her gaze shifts to the receding water

As flowers float aimlessly, unsure of their direction.

Her attention is caught by the withered grass

Where the sky and earth blend into a monotonous green.

She watches the wind stir the waves

With the thunderous sound of the sea echoing around her.

The eight final lines are split into four pairs, each beginning with the repeated phrase 'Her eyes are drawn' — a rhetorical device that emphasizes Kiều's deep sorrow. The literary technique of using nature to reflect emotion is evident, with each natural image mirroring Kiều's inner feelings. In the first pair:

Her eyes are drawn to the distant shore at dusk

A boat with a faint sail appears far away

The expansive view before the Pavilion of Cloudy Bích evokes Kiều’s longing for her homeland. 'Dusk' represents the time when the sun sets, a moment of reunions and reflection after a long day. Yet, Kiều is alone at the pavilion. As she gazes at the 'distant sail,' she thinks of her family, wondering how her parents and siblings are. The more she recalls her loved ones, the more heartbroken she becomes over her own fate:

Her gaze shifts to the receding water

As flowers float aimlessly, unsure of their direction.

The image of 'floating flowers' symbolizes Kiều’s life. Since being sold to the brothel, her life has been in a constant state of turmoil. Like the fragile flower, Kiều drifts without knowing where she is headed. The phrase 'unsure of their direction' expresses Kiều's sorrow and self-reflection. She looks around, but all she sees is emptiness. She then looks down at the earth, searching for signs of life, but finds only:

Her attention is caught by the withered grass

Where the sky and earth blend into a monotonous green.

Green is often a symbol of life and hope, but here it represents decay. The entire landscape is filled with a dull, faded green, from the 'foot of the clouds' to the 'earth below.' This green no longer symbolizes hope, but despair, as Kiều’s sense of direction fades. Indeed, the environment reflects her mood: 'When the person is sorrowful, no joy can be found in the scenery.' The most striking image is in the final pair:

She watches the wind stir the waves

With the thunderous sound of the sea echoing around her.

The scene is intensely vivid. As we read, we can imagine Thúy Kiều sitting amidst the vast, stormy sea. The sound of the waves crashing around her, as though trying to drag her under, is overwhelming. The word 'thunderous' adds to the vividness, making the scene feel almost real. Kiều seems to sense the dark future ahead of her.

Thus, through the technique of using nature to reflect emotions, the last eight lines of the excerpt 'Kiều at the Pavilion of Cloudy Bích' powerfully depict Kiều’s emotional state in a truly authentic and dynamic way.

'Kiều at the Pavilion of Cloudy Bích' is one of the finest excerpts from Nguyễn Du's 'The Tale of Kiều'. In particular, the last eight lines stand out as a brilliant use of nature to reflect Thúy Kiều’s emotional turmoil.

After discovering that she had been tricked into the brothel, Kiều, overwhelmed with despair, considers taking her own life. Tú Bà pretends to promise that once Kiều recovers, she will arrange a respectable marriage for her, then confines Kiều at the Pavilion of Cloudy Bích to devise further plans. This passage portrays Kiều’s loneliness and mental struggle while confined there. The final eight lines are divided into four couplets, each beginning with the phrase 'Her eyes are drawn' — a repetitive refrain that emphasizes her sorrow. In the first couplet, Nguyễn Du captures the scene:

'Her eyes are drawn to the distant shore at dusk

A boat with a faint sail appears far away.'

From the vast expanse of the Pavilion of Cloudy Bích, Kiều recalls her homeland. The phrase 'dusk' refers to the time when the sun sets, symbolizing a moment for people to reunite with their loved ones. But Kiều is alone, gazing far away at the 'distant sail' and wondering about the wellbeing of her family. The image of the 'boat' evokes memories of her homeland and her yearning to return, though uncertain of when that might be. In the second couplet, Kiều feels further despair about her own fate:

'Her eyes are drawn to the receding water

As flowers float aimlessly, unsure of their direction.'

The fragile flower floating aimlessly in the stream symbolizes Kiều’s own life. She has lost her purity and is now helpless, drifting without direction. The imagery of the boat and the flower, set against the boundless universe, emphasizes Kiều's smallness and isolation. The more she mourns her fate, the deeper her sadness becomes. Despite the vastness around the Pavilion of Cloudy Bích, the landscape cannot contain her overwhelming feelings:

'Her eyes are drawn to the withered grass

Where the sky and earth merge into a dull green.'

Under Kiều’s sorrowful gaze, nature seems bleak. The ground and the sky, from horizon to earth, are all the same dull green. But this is not the vibrant green of life seen in the excerpt 'Spring Scenes':

'The grass is green to the horizon

While the pear tree branches bear a few white blossoms.'

Here, the green symbolizes despair. The phrase 'dull' perfectly captures Kiều’s mood. Finally, her sorrow deepens further:

'Her eyes are drawn to the wind stirring the waves

With the thunderous sound of the sea crashing around her.'

One can imagine Kiều sitting in the vast, endless ocean. The overwhelming sound of the waves crashing around her seems terrifying. These ominous sounds represent Kiều’s fear of the misfortunes awaiting her, and the more she feels this, the more pain she endures.

In conclusion, the final eight lines of 'Kiều at the Pavilion of Cloudy Bích' showcase Nguyễn Du's literary genius. Each couplet paints a vivid picture that conveys Kiều’s emotional state in a truly poignant way.

'The Tale of Kiều' is Nguyễn Du’s most successful work, and one of its most remarkable excerpts is 'Kiều at the Pavilion of Cloudy Bích.' This section delves deep into the inner world of Thúy Kiều, expressing her loneliness, sorrow, and devotion, especially through the last eight lines:

'Her eyes are drawn to the distant shore at dusk,

A boat with a faint sail appears far away.'

'Her eyes are drawn to the receding water,

As flowers float aimlessly, unsure of their direction.'

'Her eyes are drawn to the withered grass,

Where the sky and earth merge into a dull green.'

'Her eyes are drawn to the wind stirring the waves,

With the thunderous sound of the sea crashing around her.'

The eight lines are divided into four couplets, each beginning with the phrase 'Her eyes are drawn to,' emphasizing the overwhelming feeling of sadness and grief that pervades the whole passage. This reflects Kiều’s emotional state as she faces her imprisonment at the Pavilion of Cloudy Bích.

First, Kiều gazes at the vast natural landscape before the pavilion, her heart yearning for her homeland. The phrase 'dusk' symbolizes the time when the sun sets — a moment when people return to their families after a long day’s work. Yet, Kiều finds herself alone in this immense, silent space, amplifying her sense of isolation. Looking far into the distance, she sees a 'sail' and wonders about her family’s well-being, questioning how her parents and siblings are faring.

In the second couplet, Kiều watches flowers drifting on the water and feels sorrow for her own fate. The drifting flowers mirror her life, helplessly carried along by the current, unable to control their destiny. This reflects the situation of women in the past, and Thúy Kiều, too, finds herself in a similar plight. She has lost her innocence, and her life has been cruelly ravaged, leading her to ask herself 'where will I go?' The images of the boat and the flower, set against the vastness of the universe, emphasize Kiều’s smallness, solitude, and suffering.

The third couplet highlights Kiều’s sadness even further. The wide open space around the Pavilion of Cloudy Bích fails to contain her overwhelming emotions. To her sorrowful gaze, nature appears bleak. From the horizon to the earth, the landscape is all a monotonous green. But unlike the vibrant green seen in 'Spring Scenes' when Kiều lived peacefully with her family:

'The grass is green to the horizon,

While the pear tree branches bear a few white blossoms.'

Here, the green symbolizes despair. The use of the onomatopoeic 'dull' creates a powerful image of Kiều’s mood.

Lastly, the final couplet makes the reader feel as though Kiều is surrounded by a vast, endless ocean. The terrifying sound of crashing waves seems to envelop her, a forewarning of the misfortunes yet to come. With no way out, Kiều feels trapped, and the more she senses this, the more deeply she suffers.

This passage masterfully uses nature as a metaphor to express Kiều’s inner turmoil, making her emotional state at the Pavilion of Cloudy Bích come to life in a deeply authentic way.

The excerpt 'Kiều at the Pavilion of Cloudy Bích' from 'The Tale of Kiều' by Nguyễn Du, part of the 'Family Tragedy and Wandering' section, is regarded as one of the greatest works in Vietnamese classical literature. Through this passage, readers gain insight into Thúy Kiều’s loneliness, sorrow, and her unwavering devotion, most profoundly expressed in the last eight lines.

When Thúy Kiều realized she had been deceived into the brothel, she contemplated suicide. However, Tú Bà feigned a promise to marry her off to a good family once she recovered, before confining her at the Pavilion of Cloudy Bích to come up with new plans. In the vastness of the Pavilion of Cloudy Bích, she gazes at the natural surroundings, reflecting her emotional turmoil:

'Her eyes are drawn to the distant shore at dusk,

A boat with a faint sail appears far away.'

Initially, she reminisces about her homeland. The phrase 'dusk' refers to the time when the sun sets, a time when families reunite after a long day. But for Kiều, she finds herself alone. She sees a 'sail' in the distance and longs for her family, but is unsure when she will ever return to them.

'Her eyes are drawn to the receding water,

As flowers float aimlessly, unsure of their direction.'

Next, Kiều watches a fragile flower drifting on the water. She feels that her life mirrors the flower’s fate. Thúy Kiều, now no longer innocent, reflects on her life being cruelly shattered, unsure of where it is heading. This deepens her sorrow and humiliation. Despite the vastness of the surroundings at the Pavilion of Cloudy Bích, it cannot contain the depth of Kiều’s emotions:

'Her eyes are drawn to the withered grass,

Where the sky and earth merge into a dull green.'

In contrast to the green representing life and hope in the excerpt 'Spring Scenes,' here the green symbolizes grief and despair. Nguyễn Du skillfully uses the word 'dull' to convey Kiều’s despondent mood. The two final lines, in particular, intensify Kiều’s sorrow to its peak:

'Her eyes are drawn to the wind stirring the waves,

With the thunderous sound of the sea crashing around her.'

Thúy Kiều seems to be sitting in the middle of an endless ocean, surrounded by the deafening sound of waves. The onomatopoeic 'thunderous' evokes the immense, violent sound, symbolizing the premonitions of future misfortunes closing in on Kiều, with no escape in sight. The more she senses this, the more intense her pain becomes. The eight lines, starting with 'Her eyes are drawn to' and paired with vivid nature imagery, convey Kiều’s emotional state. As Nguyễn Du wrote:

'What scene doesn’t carry sorrow?

A sorrowful person can never find joy in their surroundings.'

Through these final eight lines of the excerpt from 'Kiều at the Pavilion of Cloudy Bích,' Nguyễn Du allows the reader to deeply experience Thúy Kiều’s emotions in this poignant moment.

In "The Tale of Kiều" by Nguyễn Du, the passage depicting Thúy Kiều's emotions at the Pavilion of Cloudy Bích remains one of the most celebrated examples of both scene and emotional portrayal in Vietnamese poetry. The beauty of the entire excerpt culminates in the final lines, forming four distinct images:

"Sadly gazing at the sea gate at dusk,

A distant ship's sail flickers far away."

"Sadly gazing at the water's flow,

The drifting flower aimlessly floating, unaware of its destination."

"Sadly gazing at the desolate grassland,

Where the sky meets the earth in a single shade of green."

"Sadly gazing at the wind sweeping the waves,

The crashing waves roaring around the seat."

The eight lines above depict nature, but they truly express deep emotion. Nguyễn Du presents the scenery, but ultimately it conveys the feelings of Thúy Kiều. Each of the four scenes begins with the phrase "sadly gazing", indicating that the sorrow already resides within Kiều before she even sees the scenery, and as she observes, the sadness only deepens. This perfectly reflects Kiều's inner turmoil. Why? Because her sorrow is not a passing sadness but a profound, lifelong sorrow.

Indeed, throughout the beginning of "The Tale of Kiều", Kiều had never been as sorrowful as she is now, for she had never had the time to truly reflect on her sorrow. Being apart from Kim Trọng, having to sell herself to ransom her father, Kiều only had time to grieve. But with the heavy family tragedy—her father's pain, her mother's suffering, and the sorrow of her siblings—Kiều had to be strong, setting aside her own pain to fulfill her duties as a daughter and sister. She had to leave her family and accompany Mã Giám Sinh, carrying the sorrow of an unfulfilled love with Kim Trọng, but she found solace in knowing she saved her family. Upon reaching Lâm Tri, just after her exhausting journey, Kiều was confronted with the cruelty of the brothel's owner, Tú Bà, and endured further humiliation. Kiều may have felt pain, shame, and hatred, but she did not yet have time to mourn.

Now, however, she is truly sorrowful. Picture Kiều alone on the Pavilion of Cloudy Bích (in truth, a guest hall of Tú Bà), surrounded by emptiness. The scenery overwhelms Kiều, making her contemplate her own fate. Her sorrow becomes increasingly intense.

She is sorrowful thinking of Kim Trọng, the man she once swore eternal love to, now separated from her forever. She is sorrowful for being away from her aging parents, who will grow old without her care. Her sorrow is vast and boundless, now a heavy burden in her heart. Initially, her sorrow stemmed from the scenery, but now it comes from deep within her own heart. With the words "sadly gazing", Nguyễn Du captures the essence of human emotion so profoundly! What is Kiều gazing at?

This is the first image:

"Sadly gazing at the sea gate at dusk,

A distant ship's sail flickers far away."

Looking towards the "sea gate" at "dusk"—the sun is setting, leaving behind the final, faint rays on the water's surface. Looking at the sea gate means gazing at the vast, fading sea that stretches to the horizon. Beyond, there is nothing but emptiness and a darkening sky. Yet, amidst this emptiness, there is the image of a "distant ship". This is not a bustling fleet returning from the sea, bringing joy, but a single boat, barely visible at the horizon, with its sail "flickering". The word "flickering" conveys an image of the sail appearing and disappearing, drifting in the waves like a faint dream or illusion. This fleeting image of the sail raises questions in Kiều's mind: Is it a ship returning home, or is it also adrift in solitude, like herself? The sorrow is already deep, and the scene only amplifies it. Hoping for some distraction, Kiều turns her gaze elsewhere, and thus, we see:

"Sadly gazing at the water's flow,

The drifting flower aimlessly floating, unaware of its destination."

Before her, a stream flows from a high waterfall. This moment marks the beginning of chaos after the peacefulness of the stream. The water flows away from the calm, but it is now being swept away, swirling, churning, and turning muddy. The image of the flower floating aimlessly down the stream mirrors Kiều's own life—like the delicate flower, she is alone, adrift, vulnerable, and uncertain about where life will take her. The image is striking, as the flower drifts in silence, just as Kiều's life is being swept away without knowing its end.

The next image shows:

"Sadly gazing at the desolate grassland,

Where the sky meets the earth in a single shade of green."

Another vast, empty scene: a flat meadow stretches endlessly to the horizon, with no trees, no rivers, no hills, and no houses to break the monotony. There is only grass, and the grass is not even thriving. The word "wilted" suggests grass that is withering and losing its vitality. This is not the lively, fresh grass of spring, as in Kiều's earlier memories; this is the dull, lifeless grass that mirrors her own sorrow. The image of the field stretches on endlessly, blending with the sky into a single, pale green hue. Had Nguyễn Du written "a bright green", Kiều might have found some comfort, but instead, this "pale green" conveys a sense of weariness and sadness, as if the world is fading away in despair.

The final image is the most sorrowful:

"Sadly gazing at the wind sweeping the waves,

The crashing waves roaring around the seat."

It turns out that the previous three scenes, though sorrowful, were nothing compared to this one. The previous images were merely preparations for the overwhelming sorrow here. A deep inlet of the sea stretches into the land, with the vast ocean beyond. The wind howls, whipping the waves into a frenzy. The waves crash violently, with a deafening roar, their force relentless and endless. Kiều seems to no longer be sitting on the Pavilion of Cloudy Bích, but amidst the vast sea, surrounded by the crashing waves. The words "roaring waves" resonate in her ears and soul, surrounding her with their intensity. The waves' roar is not just loud in the physical sense but also reverberates deeply within Kiều's heart, as if the very ocean were reflecting her sorrow.

In the previous three images, there was still a distinction between Kiều and the scenery; she was an observer. But in this final scene, she and the environment merge, and her sorrow reaches its peak. At this point, Kiều is ready to be consumed by the overwhelming grief, even to the point of death. This emotional state foreshadows her meeting with Sở Khanh, where she will act recklessly, only to be deceived.

Nguyễn Du's four images are not extraordinary in themselves, but his skillful portrayal of them, in harmony with Kiều's circumstances and emotions, is remarkable. Nguyễn Du's profound understanding of human nature and his mastery of language are truly exceptional.

One of the key elements contributing to the success of the masterpiece "The Tale of Kiều" by Nguyễn Du is the unique writing technique of using nature to express emotions. The great poet encapsulated this artistic method with two beautiful lines:

"Every scene carries a sorrow

When a person is sad, the scene cannot be joyful."

(The Tale of Kiều – Nguyễn Du)

The brilliant success of Nguyễn Du's technique is evident in the last eight lines of the excerpt "Kiều at the Ngưng Bích Pavilion" (from The Tale of Kiều, Literature Textbook 9, Volume 1):

"Sadness lingers at the sea gate in the evening

A distant boat sails with a faint sail

The newly fallen water flows sadly

The drifting flower doesn't know where it goes

The desolate grass inside seems withered

The sky and earth merge in a hue of green

The wind sweeps across the water's surface

The roar of waves surrounds the bench I sit on."

The very name of this writing technique suggests the method of "depicting nature" but "expressing emotions" through it. On the surface, the poem describes nature, yet through it, the poet conveys the emotions and thoughts of the protagonist. As in the two lines below:

"Every scene carries a sorrow

When a person is sad, the scene cannot be joyful."

The poet emphasizes the close relationship between emotions and nature: when a person is sad, nature reflects that sadness. Thus, the landscape becomes a reflection of the inner feelings. In the last eight lines of the excerpt "Kiều at the Ngưng Bích Pavilion," Nguyễn Du effectively applies this technique. The landscape is described in a four-part sequence, progressing from distant to near. The first image Kiều sees is of the sea gate at evening:

Sadness lingers at the sea gate in the evening

A distant boat sails with a faint sail

The vast space and the twilight hour always evoke a sense of emptiness and solitude. Amidst this, the faint sail seems like an illusion. The image of the sail can be linked to the boats traveling back and forth to distant shores, symbolizing the homesickness and loneliness of someone far from their homeland.

On the vast waters of the sea, a drifting flower floats aimlessly, evoking in Kiều a sadness about her own uncertain fate, unsure of where her life will take her:

The newly fallen water flows sadly

The drifting flower doesn't know where it goes

This scene makes Kiều lament her own fate, drifting aimlessly like the flower in the water. After the sea gate and the floating flower, the next image is that of desolate grass:

The desolate grass inside seems withered

The sky and earth merge in a hue of green

The endless grass appears vast, but unlike the fresh green of spring, it is withered, symbolizing decay and sadness. The faded green stretches from the earth to the sky, reflecting a sense of hopelessness and weariness, representing Kiều's despair over her monotonous and lonely life.

The next scene is of waves crashing after the wind sweeps across the surface:

The wind sweeps across the water's surface

The roar of waves surrounds the bench I sit on

The crashing waves seem to foreshadow the storms of life or reflect Kiều's own anguish, resonating with the natural world. Kiều feels not just sadness but also fear, as if she is standing on the edge of a violent storm, her life about to be torn apart. The landscape shifts from distant to near, its colors deepen, and sounds go from quiet to loud, reflecting the growing intensity of Kiều's inner turmoil.

The scene becomes clearer, representing the evolution of her sadness, from vague melancholy to intense anxiety, leading up to an overwhelming emotional storm. Nature is both vivid and surreal, captured according to the idea "every scene carries a sorrow, when a person is sad, the scene cannot be joyful." This illustrates the reflection of her painful past, lonely present, and an ominous future. All of these images convey a sense of uncertainty, fragility, and despair.

Alongside the use of vivid, evocative language, the poem's success lies in its repeated use of the phrase "sadly looking." This repetition, borrowed from folk songs:

"Sadly looking at the spider's web..."

"Sadly looking at the tilted morning star..."

The four pairs of six-eight line verses represent four distinct scenes, with each pair connected by the traditional repetition of this phrase:

Sadly looking at the sea gate in the evening

Sadly looking at the water flowing away

Sadly looking at the withered grass

Sadly looking at the wind sweeping across the water

"Sadly looking" evokes a sense of distant longing, an expectation for something vague to change the present, yet always without hope. It conveys anxiety, a strange pull, and the ominous premonition of someone lost in the world for the first time. The repetition of this phrase, combined with vivid imagery and sound, conveys sorrow in all its complex layers, rising like the waves of the heart. The repetition creates rhythmic patterns that evoke a deep, endless sorrow. The phrase "sadly looking" becomes the chorus of the poem, just as it reflects the protagonist's emotional journey. Using a cold, muted color palette, Nguyễn Du masterfully paints a landscape of emotions that is both unique and moving. Through this, Nguyễn Du showcases a perfect blend of "emotion in nature, nature in emotion," creating a poetic masterpiece with the technique of depicting nature to express emotions.

The technique of depicting nature to express emotions is a refined and exceptional artistic method. One must possess deep empathy and an intimate understanding of the protagonist's emotions to achieve the full depth of this technique. By successfully employing this method to portray Thúy Kiều's emotional state at the Ngưng Bích Pavilion, Nguyễn Du reveals his sensitive, complex, and compassionate soul.

The traditional Vietnamese poetic form of 'luc bat' (six-eight verse) not only showcases the skill of the poet but also reflects the essence of the Vietnamese language. When Nguyen Du chose this form to write 'The Tale of Kieu,' he achieved both of these objectives. 'The Tale of Kieu' has become an immortal masterpiece for all time. The final eight lines in the excerpt from 'Thuy Kieu at the Ngung Bich Pavilion' demonstrate Nguyen Du's extraordinary talent in using nature to reflect inner emotions. No one has yet captured this technique as perfectly as he did.

Thuy Kieu is portrayed as a woman of unmatched beauty and rare talent, but her life is marked by sorrow. The peaceful days soon give way to sorrow, beginning with her time at the Ngung Bich Pavilion:

'Sad looking at the ocean at dusk.'

'Whose boat is barely visible, with sails far away.'

'Sad looking at the newly fallen water.'

'A flower drifts aimlessly, unsure of where it will go.'

'Sad looking at the withered grass.'

'The sky meets the earth in a pale green hue.'

'Sad looking at the wind sweeping across the water.'

'The loud crashing of waves surrounds the chair.'

This is likely the most difficult period for Thuy Kieu, as her life undergoes a drastic change. The idyllic days quickly fade into sorrow, and the first days of her tragic life bring her grief for herself, her family, and the love she lost too soon. Her pain is so intense that it even affects the surrounding scenery, which seems to reflect her sorrow. In these final eight lines, the phrase 'sad looking' is repeated four times. It suggests that Kieu now has no one to rely on except herself. She longs for the beauty of nature to bring her some joy, but with her 'sad look,' she cannot see any happiness. Thuy Kieu gazes into the distance, towards her home and the person she loves, but she never had the chance to say goodbye:

'Sad looking at the ocean at dusk.'

'Whose boat is barely visible, with sails far away.'

The evening is a time when the world takes on a melancholic hue. Thuy Kieu’s gaze towards the desolate shoreline only intensifies her feelings of loneliness and smallness. She searches for some presence of life to alleviate her isolation:

'Whose boat is barely visible, with sails far away.'

Where there is a boat, there must be someone aboard. But this distant life is too far to ease Thuy Kieu's loneliness. The words 'barely visible' and 'far away' only heighten her sense of desolation. Unable to cling to the distant sail, Thuy Kieu directs her gaze to the water:

'Sad looking at the newly fallen water.'

'A flower drifts aimlessly, unsure of where it will go.'

The image of a drifting flower evokes the fragile fate of a woman, often compared to a floating petal. Where will the flower go? Where will Thuy Kieu’s life lead her? This question lingers, unanswered. Like the flower adrift in the cold, lonely water, Thuy Kieu too feels adrift, unsure of her future. Her gaze moves to the earth below:

'Sad looking at the withered grass.'

'The sky meets the earth in a pale green hue.'

The grass no longer has the vibrant green of spring but instead appears wilted, mirroring Kieu’s own sorrow. Perhaps even the grass understands her feelings. The melancholy that envelops her heart also blankets the world around her. As she looks out to the distant horizon and then down to the earth, she finds nothing but a dull, lifeless green. This is not the bright green of life but the faded hue of dusk, a color that reflects her own despair. The world around the pavilion is colored by Thuy Kieu’s sadness. In this desolate space, she is alone, yearning for a sign of life but receiving nothing but the sounds of nature:

'Sad looking at the wind sweeping across the water.'

'The loud crashing of waves surrounds the chair.'

Nguyen Du's careful selection of words emphasizes Thuy Kieu’s drifting fate. The crashing waves are the tumultuous waves of Kieu's heart. They reveal the inner turmoil and anguish she feels. The waves do not break the quiet, peaceful setting; instead, they deepen Kieu’s emotional suffering. In this moment, the only comfort she finds is in nature, as there is no one by her side.

The eight lines of this poem express the full depth of Thuy Kieu's sorrow while at the Ngung Bich Pavilion. Additionally, they showcase Nguyen Du’s masterful artistry in using nature to mirror inner emotions. Even as we finish reading, the images and sounds from this passage remain imprinted in the reader's mind.

The poetry that shakes the earth and sky

Sounds as if the mountains and rivers echo with an eternal voice

Even after a thousand years, Nguyen Du will be remembered

Like a mother's lullaby that soothes during hard times

(To Huu – A Tribute to Nguyen Du)

Indeed! The poetry that 'shakes the earth and sky' embodies a sorrow, a pain that will never fade, enduring through the years as time flows relentlessly forward. Mentioning the Tale of Kieu – the masterpiece by the great national poet Nguyen Du – is also a mention of the 'voice of sorrow,' a cry not only for the 'fate of women' but for all unfortunate lives, not just for one life but for 'a thousand years' and for 'all eternity.' When reading the excerpt from Kieu at the Ngung Bich Pavilion, readers cannot help but shed tears for the heartbreaking tragedy of Kieu's life:

Sorrow fills the evening by the sea

A distant sail appears in the fading light

Sorrow fills the water's flow as it falls

The drifting flowers are lost, not knowing where to go

Sorrow fills the withered grass

The sky and earth blend in a green hue

Sorrow fills the gusts of wind

The deafening sound of the waves echoes around the chair.

(Nguyen Du – The Tale of Kieu – excerpt from Kieu at Ngung Bich Pavilion)

These eight lines describing the scene and emotions are from verses 1047 to 1054 in The Tale of Kieu. After a great calamity, unable to bear the thought of her family falling apart, Thuy Kieu forced herself to ask Thuy Van to take her place and fulfill her vow to Kim. She sold herself to raise money to rescue her father and brother from the clutches of evil men. Kieu was tricked by Ma Giam Sinh, who 'was already familiar with worldly pleasures,' and who had arranged to marry Kieu but in reality bought her and took her to a brothel in Lam Tri, run by herself and Madame Tu Ba. Deceived and humiliated, knowing she was sent to the brothel, Kieu, during a moment when Madame Tu Ba was about to strike her to assert dominance, took out a dagger to end her life but failed. Fearing that Kieu might end her life, which would cause her business to collapse, Madame Tu Ba reluctantly cared for her and persuaded her to stay at the Ngung Bich Pavilion, waiting for the right moment to carry out new plans. There, Kieu was left to mourn for her lost love, her family, and in her sadness and loneliness, she was small and alone against the vast natural world:

Sorrow fills the evening by the sea

A distant sail appears in the fading light.

In poetry, the evening often stirs the deep sorrow in the human soul, especially in those who are melancholic and sentimental like Thuy Kieu. The scene of 'the evening by the sea' is both beautiful and poetic, but it also reflects Kieu's sorrow, because:

What scene is not filled with sadness?

How can a sorrowful person ever enjoy the beauty of the scene?

Watching the sail, which appears and disappears between the vast and lonely ocean, Kieu feels deep longing for her homeland and family. Surely, at this very moment, her father, mother, and sister Thuy Van are anxiously waiting for news of her. And her lover, Kim, must be grieving and yearning for her. How bitter it is! The wine they once shared in solemn vows, with 'the bright moon shining in the sky' as witness, is now lost, and they are separated, each at a distant place.

The phrases 'faintly appearing' and 'distant' and the rhetorical question in 'Whose boat is that, with sails far away?' have a strong, evocative power. The boat, which is far from the shore, may one day return. But when will Kieu be reunited with her family?

The sail moves further into the unknown, and Kieu quietly watches the 'waterfall of the river's flow.'

Sorrow fills the water's flow as it falls

The drifting flowers are lost, not knowing where to go.

The 'waterfall of the river's flow' is an image that suddenly appears before Kieu's clear eyes like autumn water. The retreating tide signifies the rapid lowering of the tide and the river’s flow towards the endless ocean. Watching the drifting flowers, Kieu feels a melancholy sense of uncertainty. The word 'melancholy' is cleverly used by the poet in the personification of 'the drifting flowers,' combined with the rhetorical question 'Where do the drifting flowers go?' Flowers, as lifeless beings, scatter and lose their fragrance in the wind. When their petals fall and wither, they don't know where they are going. How much more painful is it for Kieu, whose beauty, talent, and virtue were once admired? Thinking back to her youth, full of vibrancy and living in peaceful moments, she now finds herself in a state of despair. Her life, once full of potential, has now drifted aimlessly. Where will she go, and where will she end up? Oh, the misery of her fate!

Kieu gazes towards the shore:

Sorrow fills the withered grass

The sky and earth blend in a green hue.

At first, the meadow seemed to be full of fresh life, eager for the rain to nourish it. But alas, even the grass seems to be dying. Perhaps the grass, like Kieu, is waiting for the rain to wash away the burden of life's hardships. The image of withered grass, described as 'sorrowful,' heightens Kieu's loneliness.

The word 'one' in 'one color' and the fully descriptive phrase 'green-green' not only emphasize the boundless sadness in Kieu’s life, but also evoke the desolate, cold emptiness of the vast and isolated space. As dusk falls, the evening sky darkens over the sea, and it seems that the sunset will soon envelop Kieu's life, burying her beauty and dreams.

Kieu gazes at the sea before her:

Sorrow fills the gusts of wind

The deafening sound of the waves echoes around the chair.

Nguyễn Du, the poet who brought the Nôm literature of our nation to its pinnacle in the 18th century with the masterpiece "The Tale of Kiều", captivates readers not only with his talent but also with the deep humanism he expressed for the talented yet unfortunate woman. The last eight lines of the excerpt from "Kiều at the Pavilion of the Tranquil Breeze" offer a deeply emotional portrayal of Thúy Kiều's state of mind through her perspective of the surrounding landscape.

The excerpt "Kiều at the Pavilion of the Tranquil Breeze" is part of the second section, "Family Misfortunes and Exile." When her family was in crisis, Kiều decided to sell herself to redeem her father. Her life took a new turn, and the first notes of her "tragic fate" began to sound. Kiều was deceived by Mã Giám Sinh and Tú Bà and pushed into a brothel. In pain and shame, she attempted suicide but failed. Later, Tú Bà brought Kiều to the Pavilion of the Tranquil Breeze with a promise to find her a proper husband. In this seemingly calm setting, Kiều's heart was filled with sorrow as she faced her separation from her beloved and her family. Nguyễn Du masterfully used the method of portraying "emotion through setting, and setting through emotion" to reflect Kiều's inner turmoil. Each scene is a reflection of her emotional state:

Looking out at the sea in the evening,

A ship's silhouette, faint and distant, appears.

The verse describes the vast sea at dusk, as the light fades. Evening is a time that naturally evokes sadness and nostalgia, especially for those far from home. The sea is endless, but only a lone ship appears, "faint" and "distant", appearing and disappearing, as if it might vanish altogether. This solitary ship mirrors Kiều's own lonely, forsaken existence at the edge of the world, alone and abandoned. After the vast ocean and the fleeting ship, the scene transitions to the falling flower and the flowing water:

Looking at the stream, now low,

The drifting flower aimlessly, not knowing where to go.

The ship drifts aimlessly, and so does the flower, unsure of its destination. Watching the flower float in the waves, Kiều cannot help but compare it to her own life. Is she not like a delicate flower, beautiful yet fleeting? Just like the flower, she is swept along by the current, her destiny out of her hands. Far from her family, her life is as directionless as the flower adrift in the water. The waves continue to carry her along, while Kiều gazes at the ground, which is also a dull, lifeless yellow:

Looking at the grass, so withered,

The horizon and the earth all in the same dull green.

It is not the "lush green grass" of the spring festival, but the "withered grass", yellowed, faded, and desolate. The "green" color here is pale, adding to the lifelessness of the scene. The vibrant beauty of Kiều's youth, her talents, and grace have also faded, becoming as dull and sorrowful as the withered grass. Her life mirrors that of Đạm Tiên, a person of unmatched beauty and talent, whose life was full of suffering and ends in abandonment: "Living as the wife of many men, / Alas, dying as a spirit with no husband". The final scene brings in loud, violent sounds:

Looking at the wind, tearing through the waves,

The thundering sound of waves crashing around the seat.

The calm sea suddenly erupts in terrifying sounds. The waves crash loudly from all sides, threatening to wash away Kiều's small existence, pushing her towards an abyss. Are these the waves of the sea, or the turbulent storms of life awaiting her? These sounds signify fate's arrival, foreshadowing an unpredictable disaster. After this, Kiều is deceived by Sở Khanh and falls into the trap of "twice in the brothel, twice in a bridal gown".

Nguyễn Du's writing is exceptionally subtle, describing both the setting and emotions. The landscape and Kiều's feelings intertwine perfectly, with each scene a reflection of her emotional state. The settings shift from distant to close, from light to dark, and the sounds transition from quiet to loud, from melancholy to anxiety. The changing scenery forms a quartet of paintings that mirror Kiều's inner turmoil. The repeated phrase "Looking at..." at the start of each line sets a mournful tone and becomes the refrain of the poem, reflecting Kiều's ongoing sorrow. The rhetorical questions and the use of descriptive, evocative words stir Kiều's inner turmoil. This excerpt not only reveals Kiều's emotional state but also allows readers to sense the tragic future awaiting her, showcasing the talent, compassion, and vision of Nguyễn Du.

This excerpt is widely known and cherished, not only for Nguyễn Du's extraordinary talent in depicting the connection between setting and emotion, but also for his deep humanitarian spirit, which resonates with readers, evoking a sense of sorrow and empathy for the tragic lives of the talented and unfortunate.

The excerpt from 'Kiều at the Pavilion of the Tranquil Breeze' is found in the second part, 'Family Troubles and Wandering'. After realizing she was deceived into a brothel, Kiều, overwhelmed with grief, contemplated suicide. Fearing the loss of her prized possession, Tú Bà tried to calm and coax her with false promises, claiming that once she recovered, Kiều would be married to a respectable man. Later, the treacherous woman locked Kiều away in the Pavilion of the Tranquil Breeze, waiting to carry out a new scheme. The final 8 lines of this excerpt reflect the painful, desperate emotions of Thúy Kiều as she begins her tragic journey in life.

This excerpt sits between two heartbreaking events. These incidents help us understand Kiều’s confusion and her growing anxiety about her future. At the Pavilion of the Tranquil Breeze, Kiều is filled with sorrow and longing. She reflects on her fate as a drifting flower, her soul withering. She remembers Kim Trọng, and the bittersweet night they vowed eternal love. She feels pity for him, waiting for her in vain. She also mourns her elderly parents, longing for their presence in their lonely old age. The more she thinks, the greater her pain and despair. She gazes out, hoping for some form of help, but the more she hopes, the further away it seems.

Her sorrowful thoughts are captured in these lines:

Her gaze falls on the evening sea gate

A distant ship’s sails dimly flicker on the horizon

She observes the newly fallen stream of water

Where the drifting flowers wander, unsure of their direction

The wilted grass, a shadow of its former self

The distant sky and the earth stretch out in monotone hues

She hears the gusts of wind sweeping across the surface

The deafening sound of waves crashing around her seat

This passage is considered one of the most poignant in the entire 'Truyện Kiều'. Nguyễn Du not only effectively evokes the sorrow in Kiều’s heart but also expresses it with great precision. His skill in portraying Kiều’s inner turmoil reaches a level of psychological depth. With just 8 lines of verse, Nguyễn Du has crafted four distinct emotional landscapes, each symbolizing a phase of Kiều’s emotional state as she is confined in the Pavilion.

The repetition of the phrase 'Buồn trông' at the start of each stanza sets the tone, amplifying Kiều’s sorrow. The phrase, repeated four times, becomes a refrain expressing the layers of sadness swelling within Kiều’s heart. The natural world, through Kiều’s eyes, evokes an overwhelming, haunting sadness.

The dimming twilight colors the entire scene with melancholy. The vastness of the space, coupled with the passing of time, allows the reader to feel the escalating sorrow of a girl, lost and adrift in a foreign land:

'Buồn trông cửa bể chiều hôm

Thuyền ai thấp thoáng cánh buồm xa xa'

The distant sail, appearing and disappearing on the horizon, mirrors Kiều’s uncertain journey, a hopeless search for a place to call home. Nguyễn Du masterfully utilizes the technique of repetition to capture both the desolate beauty of the landscape and the fluctuating emotions of the observer. The scene unfolds with a portrayal of the evening sea. The distant sail flickers, now visible, now hidden, evoking a sense of uncertainty, just as Kiều longs to return to her family.

For ages, the image of the boat has been a symbol of connection between distant souls and their homeland. It represents the hope and yearning for reunion with one’s parents and loved ones, a feeling that Kiều cherishes night after night. Yet, the more she yearns, the more unattainable it becomes. Nguyễn Du subtly captures Kiều’s despair and helplessness in the face of her tragic circumstances. In the second image, Nguyễn Du paints a scene of a drifting flower in a flowing stream. The landscape is seen through the lens of deep, soul-crushing sorrow:

Her gaze drifts to the stream, where the fallen flowers float

Uncertain of where they may end up.

In the boundless stream, the flowers drift aimlessly, lost and uncertain of their destination. This river is symbolic of the tumultuous journey of life. The flowers’ fate mirrors Kiều’s, as she, too, floats helplessly in an unpredictable world, unaware of where life will take her. The flower’s journey parallels Kiều’s uncertain future, each thought making her fear grow stronger.

Having fallen into the deceitful trap of life, Kiều finds herself adrift, unsure of where her path will lead. Her fate, once full of promise, now seems like a fleeting blossom, doomed to wither under the harshness of life. The rhetorical questions echo deep into the reader’s heart, revealing Kiều’s growing anxiety about the uncertain future. Through these lines, Nguyễn Du conveys that Kiều is filled with doubt and trepidation about what lies ahead. It’s a future shrouded in fog, a world that grows ever more obscure the more she ponders it. Everything appears blurry and uncertain in her eyes, a reflection of the doubts and secrets surrounding her existence:

'Buồn trông nội cỏ rầu rầu

Chân mây mặt đất một màu xanh xanh'

The withered grass stretches beneath the sky, spreading sorrow and despair. The colors of the landscape seem faded, symbolizing the decay of Kiều’s once bright future. The wilting grass mirrors her deteriorating spirit as she struggles with the harshness of life. Kiều’s emotional state deepens into confusion, feeling trapped and disoriented, as if all hope has vanished. In the final image, the crashing waves represent the overwhelming force of fate. The waves, growing in intensity, seem to want to engulf everything, to drown the helpless girl:

'Buồn trông gió cuốn mặt duềnh

Ầm ầm tiếng sóng kêu quanh ghế ngồi'

The image of the wind sweeping across the surface and the deafening roar of the waves crashing around Kiều conjure a sense of fear and dread. She feels utterly hopeless in the face of her cruel fate, as if these sounds signal the arrival of more suffering. The storm of life is about to erupt, pushing her further into despair. With these images, Nguyễn Du intensifies the sense of confusion and hopelessness in Kiều’s psyche. She is completely overwhelmed by the harshness of life, desperate for a way out but powerless to change her destiny.

What’s even more remarkable is the way Nguyễn Du arranges these emotional landscapes in increasing order of intensity. From the bewilderment of the open sea, to the uncertain future of a drifting girl, to the crushing despair before an insurmountable obstacle, and finally, to the terror and agony of being trapped in a nightmare. Through metaphors, rhetorical questions, and words like 'thấp thoáng', 'xa xa', 'man mác', 'rầu rầu', 'xanh xanh', and 'ầm ầm', Nguyễn Du masterfully highlights the layers of sadness within Kiều’s heart. The external world is used as a mirror for her inner turmoil.

The scene progresses from afar to near, from light to dark, from silence to motion. The sadness escalates from vague melancholy to anxious fear, culminating in the tempestuous storm of Kiều’s heart. Everything is in a state of uncertainty. The world is fragile, drifting, while the soul of the person is tossed and turned by emotions. Ultimately, Kiều finds herself in an inescapable deadlock, her spirit shattered. At this moment, she surrenders to the harsh reality, falling victim to Sở Khanh’s deceit and the humiliation that follows.

The last eight lines of 'Kiều at the Pavilion of the Tranquil Breeze' vividly depict Kiều’s loneliness, sorrow, and suffering. Nguyễn Du succeeds brilliantly in using a highly nuanced, vivid portrayal of Kiều’s inner psychology. Kiều’s emotional state is a reflection of the author’s own feelings of despair in the face of life’s many trials. Like his character, Nguyễn Du also struggled, feeling lost and desperate on the journey of life.

Nguyen Du's successful portrayal of Thuy Kieu's inner turmoil reveals his deep understanding and empathy for the human soul and fate. When speaking of Nguyen Du, one often recalls an artist with a remarkable ability to paint vivid character portraits, particularly through the image of Thuy Kieu, whose story has resonated through generations. Moreover, he is an extraordinary writer who captures the essence of nature with finesse, as demonstrated in his depiction of Thuy Kieu's emotional state at the Ngung Bich Pavilion.

After being deceived, losing her innocence to Ma Gian Sinh, and further humiliated by Tu Ba, Kieu attempts to take her life but is saved. Tu Ba then plots another scheme, convincing Kieu to stay at the Ngung Bich Pavilion. In a foreign land, alone, and filled with anxiety, Kieu faces the aftermath of the stormy days behind her, while an uncertain path full of traps lies ahead. She is bitter, heartbroken, and in profound despair. Living alone at the pavilion, she is overcome with feelings of isolation and sorrow. Her longing for her elderly parents and the unfulfilled love for Kim are like waves that relentlessly rise within her heart.

This longing is followed by a deep sorrow, a perpetual sense of confusion and dread... The pain is so intense that it feels as though it is tearing apart her soul, tightly grasping her spirit. The eight lines of poetry in this excerpt are brimming with inner emotion. The poet uses the surrounding natural landscape to mirror the protagonist's emotional shifts. The familiar scenes of Thuy’s garden are now distant and barren: "the evening at the shore", a boat "with a distant sail", "the water just fell", a "flower drifting aimlessly", "withered grass", the blue-green earth, the distant sky, the wind, and the deafening waves... These images and sounds contribute significantly to conveying Kieu’s inner torment, illustrating the tragedy that haunts her day and night.

Each image, each word, evokes a painful reflection in the reader’s mind, reminding them of the suffering and the unfortunate fate of the eldest daughter of the Vương family. Every metaphor symbolizes Kieu’s anxiety and fear. The "distant sail" glimpsed at "the evening shore" suggests a journey full of uncertainty:

Sorrowful gaze at the evening shore,

A boat, distant, with a sail far away?

The "flower drifting aimlessly" in the vast "fallen water" mirrors Kieu’s anxiety about her fragile life adrift on an uncertain path:

Sorrowful gaze at the fallen water,

A flower drifts aimlessly, not knowing where to go?

The "withered grass" emerges against the backdrop of the green "earth and sky", symbolizing the bleakness of Kieu’s existence:

Sorrowful gaze at the withered grass,

The earth and sky, one endless green.

And the stormy sea, with the "rumbling waves" crashing, speaks of Kieu’s growing anxiety, fear, and dread:

Sorrowful gaze at the wind sweeping the waves,

Deafening waves crash around her seat

Each line of verse, each image, and the descriptions of nature serve as metaphors for the pain and dark fate of a soul trapped in the turmoil of life. The repetition of terms such as "faint", "far away", "aimlessly", "withered", "green", "rumbling" creates a haunting, melancholic rhythm that enhances the sorrow and fear that dominates Kieu's emotions. The repeated phrase "Sorrowful gaze" four times sounds like a lament, a cry of despair, portraying the dominant mood that overwhelms Kieu and deeply moves the reader:

Sorrowful gaze at the evening shore,

Sorrowful gaze at the fallen water,

Sorrowful gaze at the withered grass,

Sorrowful gaze at the wind sweeping the waves...

In conclusion, the excerpt from "Kieu at the Ngung Bich Pavilion" is a remarkable portrayal of "endless suffering." It paints a diverse, rich picture of the natural world and the inner world, illustrating Kieu’s sorrow, fear, and the storms she will face during her 15 years of wandering "two times in the pleasure quarters, two times in a dignified robe", a life full of both passion and bitterness, laughter and tears...

This passage from "Kieu at the Ngung Bich Pavilion" (from "The Tale of Kieu") expresses Kieu's loneliness, longing, and especially the emotional turbulence she endures in the desolate "corner of the sea and sky," abandoned and sorrowful. It affirms Nguyen Du's exceptional ability to depict a character’s inner world through his distinctive technique of using the setting to express emotions.