Top 4 Best Essays Analyzing the Poetic Essence in the Essay 'Who Named the River' by Hoàng Phủ Ngọc Tường

H.P.N.T is one of the prominent essayists in modern Vietnamese literature. Through the essay genre, H.P.N.T demonstrates profound knowledge and artistic writing. 'Who Named the River?' is a representative work showcasing H.P.N.T's unique style. The work praises the beauty of the Huong River, nature, and the people of Hue, with prose that is both intellectually rich and poetic, filled with detailed historical and cultural information. 'Who Named the River?' is part of a collection with the same title, published in 1984. The collection contains eight essays on various topics. Some of them focus on epic themes, praising the nation and its people, while others delve into the description of nature, reflecting the writer's deep connection to the homeland and pride in the traditions, culture, and history of the Vietnamese people. Among these essays, 'Who Named the River?' stands out as a distinctive piece about the Huong River, seen from various perspectives, especially the spiritual one, embodying the unique 'Phu Xuan culture.' Intellectual depth is embodied in the writer's perspective: When writing about the Huong River, H.P.N.T exhibits vast knowledge in areas such as culture, history, geography, and the arts. The author provides readers with a wealth of information to gain a deeper understanding of the river and the people and nature of Hue. The journey of the river: Through the provoking question 'Who Named the River?', H.P.N.T embarks on a journey to trace the origins and course of the Huong River. In its upper reaches, the river is powerful and majestic, flowing 'roaring through the dense forest, swirling like a whirlwind into mysterious deep abysses…' It is 'wild and untamed.' As it leaves the forest, the river changes course, hiding its arduous journey through the Trường Sơn range, 'throwing keys into caves beneath Kim Phụng Mountain'—depicting the river's wild and awe-inspiring beauty in the little-known wilderness. Flowing through the hills, the Huong River becomes gentler, 'curling gracefully around soft curves.' 'The river is as soft as a silk sheet,' it flows peacefully between two towering hills like fortresses, passing majestic tombs and the Thiên Mụ Pagoda, as well as 'villages with the sound of roosters echoing in the air'—the river transforms into 'a mother of fertile soil,' with 'gentle and intellectual beauty.' In the heart of Hue City, the river becomes still, flowing slowly, its reflection in the Tràng Tiền Bridge appearing small and delicate like 'new crescent moons.' Downstream, at Cồn Hến, 'it is dreamily shrouded in mist,' blending with the green of the Vĩ Dạ village. The river takes on a mystical, ethereal beauty. And unexpectedly, just before leaving the imperial city of Hue, the river 'suddenly changes course… to meet the city once more.' The author uses personification to internalize the shape of the river: 'It is a feeling of longing, with a hint of secretive affection'—personification breathes life into the river, and more importantly, it connects the Huong River to the people and culture of ancient Châu Hóa and present-day Hue. The Huong River and the nature of Hue: Following the river's flow, one encounters stunning depictions of nature. The writer presents the diverse beauty of Hue's nature, changing with time and space. The Huong River reflects the ever-shifting beauty of Hue, 'green in the morning, golden at noon, and purple in the afternoon.' Associated with the river are familiar landmarks like Hòn Chén, Nguyệt Biều, Vọng Cảnh, Thiên Thai, which seem more vivid: 'The Huong River still flows in the echoes of the Trường Sơn,' 'its waters become deep green'—the river enhances the landscape of Hue, and conversely, the river absorbs the hues of the sky and the culture of the ancient capital. Nature and the river are always intertwined with the people. Through the river's current, the author perceives the character of the people of Hue: soft, sincere, 'forever loyal to their homeland.' The colors of the Hue sky and the mist on the river evoke the delicate, graceful attire of the women of Hue in the past: 'the wedding dress in the reddish-brown color—still worn by young brides during the winter solstice.' From a historical perspective, the Huong River is no longer the 'wild gypsy girl,' nor the 'beautiful maiden dreaming in the Châu Hóa fields,' but rather a witness to the ebb and flow of history. The writer compares the river to 'an epic written between the green grass and leaves'—a blend of grandeur and lyricism. The Huong River is both an heroic anthem and, in everyday life, a love song: 'As long as there are mountains, water, and life—there will be remembrance and return.' H.P.N.T perceives the river as a repository of historical traces; every branch, every ancient tree beside the river hides a part of history: The writer traces back to the past, affirming the Huong River's role in national history. From the time of the Hung Kings, the river was a 'distant frontier river.' In the Middle Ages, known as Linh Giang, it 'valiantly protected the southern border of Đại Việt.' The Huong River is associated with the heroic victories of Nguyễn Huệ. It witnessed the bloodshed of uprisings in the 19th century. The river was part of the August Revolution and the significant victories that shook the nation. It also saw Hue's cultural heritage suffer under American bombings—the lyrical quality of the essay yields to journalistic elements, reporting specific historical events. Looking back at distant history, the author's pen glows with pride for a river that bears a soft, gentle name yet remains strong and proud through the trials of history. In the writer's delicate perception, the Huong River contains an intangible cultural heritage within itself. The sounds of the river (the bell of Thiên Mụ Pagoda ringing, the sound of oars stirring the waves in the quiet night, the water lapping against the boat...) have given birth to traditional folk songs and the classical music of Hue. And it is on this very river that the songs of Hue rise, resonating with emotion... When writing about the Huong River, the author often compares it to the work 'The Tale of Kiều' by Nguyễn Du. The great poet, who spent time in Hue, saw the creation of Kiều’s verses, rooted in the land of court music. This connection allows H.P.N.T to transform into an elderly artisan, listening to the words describing Kiều's music, and suddenly recognizing the echo of court music, exclaiming: 'This is indeed the Four Great Scenes'—the presence of Nguyễn Du and the verses of Kiều repeatedly appear in the essay, revealing the writer's rich imagination, deep cultural knowledge, and connection to traditions, as well as a harmonious soul. H.P.N.T revives the blue poetry of Tản Đà about Hue: 'The river is white - the trees are green.' This poetic image, along with the author’s phrase 'the blue-green grass,' is proof of the artistic souls’ sensitivity to Hue’s lush, verdant nature. The writer also brings to life a majestic and immortal Huong River, 'like a sword raised to the sky,' in the poetry of Cao Bá Quát, and a river that 'has been sorrowful for eternity' in the poetry of Bà Huyện Thanh Quan... With a wealth of knowledge, H.P.N.T stirs the soul of the river whose name has entered the world of literature and art, and as the author states, 'This river never repeats itself in the inspiration of artists.' The poetic quality shines through beautiful imagery, in the soft, blurred forms of artistic symbols: 'villages in the hills with the sound of roosters' or 'the shimmering light of fishing boats in the misty night, like the souls of ancient legends...'; through the author’s comparisons and emotional associations: 'The white bridge of the city reflected in the sky, delicate like the first crescent moon.' The poetic quality also emerges through the way H.P.N.T interweaves folk songs and the poetry of Tản Đà, Cao Bá Quát, and Bà Huyện Thanh Quan. The poetic quality also radiates from the title of the essay, echoing the soft, lingering tones of the river: 'Who Named the River?' The harmonious blend of intellect and poetry in H.P.N.T's work creates the distinct style of 'Who Named the River?'—not only one of the finest works about the Huong River but also one of the most outstanding essays in modern Vietnamese literature.

Essays are a form of literary non-fiction that record events, people, and scenes the author has personally observed or experienced. However, unlike mere reports, essays also include the author’s reflections, thoughts, associations, and emotions, thus carrying a poetic quality. Depending on the author's style, this poetic element can either be dominant or subtly interwoven with informative, narrative, or argumentative aspects.

Hoàng Phủ Ngọc Tường is a renowned writer specializing in essays. A hallmark of his work is the seamless blend of lyrical beauty and political discourse, as well as his ability to weave historical events into a narrative that explores the deep cultural significance of his subjects. The poetic nature of his essays permeates every word, transforming the language into a lyrical flow.

Poetry, in his essays, is not a single isolated trait but a fusion of emotional depth, beauty, imagination, life’s essence, and the rhythm of language. These elements are inseparable, interwoven in each image, word, sentence, and paragraph.

'Who Named the River?' is an essay where Hoàng Phủ Ngọc Tường pours his love for the gentle and beautiful Huong River and the ancient, poetic city of Hue. The opening scene, with its old gardens and memories of Nguyễn Du, evokes the feelings of a land filled with tranquil beauty, as if introducing a melodious prelude to a symphony or a poetic ballad.

Each section of the essay distills the essence of the journey, the river’s form, and its beauty, using expressive language that conveys the author’s passionate love for the Huong River, which has lived half of its life like a wild, untamed young girl. As it flows through the plains, the river softens, becoming the gentle, wise stream that nourishes the region’s culture.

Through fascinating metaphors, the author likens the river to a beautiful young girl, awakened by her lover’s call. The vivid imagery is striking and poetic: 'The Huong River still flows with the echoes of the Trường Sơn Mountains,' 'Its waters turn a deep green,' and 'It flows between two towering hills like ancient city walls.' The river, like a silk fabric, is complemented by small boats that seem to glide across the water like shuttles weaving threads, with hills creating colorful reflections. 'The morning is green, noon is golden, and evening turns purple.'

As the river approaches Hue, it assumes a more serene and somber appearance, reminiscent of the quiet, majestic pine forests and the tombs that silently express a proud, melancholic pride.

When describing the river entering the city, the author creates striking images, such as the bridge arching gracefully against the sky, its shape resembling a light bow. The author employs poetic devices like similes, personification, and metaphor: 'The river softens like the unspoken murmur of love, the bend before the river meets the sea, like a love’s lingering touch.' The descriptions of customs and festivals turn into imagery and music, becoming poetry: 'Hundreds of flowers float on the water during the full moon festival from the Hòn Chén temple, hesitating as if they wish to stay or leave, fluttering like the unspoken longings of a heart.'

The music within is the music of the soul, and in Hoàng Phủ Ngọc Tường’s writing, this music resonates. The slow flow of the river reminds one of a loving, tender melody unique to Hue. The long, smooth, and natural rhythm of the prose is akin to the river, to a flowing melody, reminiscent of a 'green Danube' in literature.

His imaginative comparisons and vivid recollections conjure images like 'The Neva River, with ice floating like boats carried by seagulls' (Seagulls standing on ice - NBS).

The beauty of the passage builds with every detail, and in the final moments, it reaches a sublime height. The author connects the river’s name with a poetic legend, making the name of the river even more poetic: Fragrant, like the flowers, the water infused with hundreds of flowers, making the earth itself fragrant.

What captivates readers about this essay is not only the new and intellectual content, but also the way in which it immerses the reader in a rich cultural experience, especially about Hue. What makes it endure, however, is its poetic essence. This poetry stems from many sources, but the greatest and most abundant source is the deep, heartfelt love the author holds for the river, for Hue, and for his homeland.

Hoàng Phủ Ngọc Tường is a prominent writer in modern Vietnamese literature. He has successfully written in various genres, including both poetry and prose, but his greatest achievements lie in the field of memoirs. All of Hoàng Phủ Ngọc Tường's talents and knowledge have been channeled into this genre. He gained fame and made significant contributions to Vietnamese literature post-1975 through his works of memoir. According to Nguyên Ngọc, Hoàng Phủ Ngọc Tường is among the best memoir writers in contemporary Vietnamese literature. His memoirs are often marked by a free, rambling style that leans toward the essay form, showcasing a sharp and profound intellect. The thread that runs through all of his works is a deep love for his homeland and a passion for the nation's cultural heritage. Born in Huế, Hoàng Phủ Ngọc Tường's life has always been intertwined with this city, and his writings about Huế make up a large portion of his literary career. Huế has become a central part of his spiritual existence. As Tô Hoài remarked, "If I were to compare, I would say that Sơn Nam knows every corner, every old story of Saigon, and I remember some names of Hanoi’s cities and villages, but Hoàng Phủ Ngọc Tường, his soul is embedded in the face of life and the nature of Huế." His most notable work, 'Ai Đã Đặt Tên Cho Dòng Sông?' ('Who Named the River?'), is a remarkable memoir written about the Perfume River (Sông Hương). Completed in January 1981 and included in the collection of the same name in 1984, this piece is a cultural essay that blends intellectual depth with poetic beauty, offering rich information on the river and its connection to the land, people, and culture of Huế. Hoàng Phủ Ngọc Tường is a well-traveled man with a wealth of life experience and a deep understanding of the topics he writes about. His work opens up a treasure trove of knowledge across various domains, from culture, philosophy, geography, history, to music, cinema, and literature. In 'Ai Đã Đặt Tên Cho Dòng Sông?', Hoàng Phủ Ngọc Tường uses his vast knowledge to explore and create the image of the Perfume River, offering the reader a deep and diverse perspective on this river and the nature of Huế. At first, the author examines the river from a geographical point of view, taking readers on a journey to its source, where they experience its fierce, wild energy, yet also its moments of gentleness and serenity. The river is depicted powerfully through vivid images of rapids and whirlpools, and Hoàng Phủ Ngọc Tường compares the river to an epic song of the jungle with its thunderous sound as the water rushes over the rocks. The description of the Perfume River's upper reaches is imbued with the spirit of an epic romance. Through the use of metaphors and personification, he creates a vision of the river as a living being with its own soul, character, and emotions. At times, the river is wild and untamed, akin to a free-spirited gypsy girl, and at other times, it becomes gentle and nurturing like a mother who nourishes the land. As the river flows downstream, it softens, leaving behind its wild, ferocious nature. It becomes a serene, delicate beauty, resting gently between the rice fields of Châu Hóa, waiting to be awakened. The image of the river transforms into one of a soft, gentle ribbon of water, flowing smoothly through the city of Huế. Hoàng Phủ Ngọc Tường compares the river to a long-lost lover returning home to find joy in the reunion. The river, now far from its source, is no longer a force of nature but a tranquil, refined waterway gently winding through the landscapes and historical sites of Huế. When the river leaves Huế, it takes on a sense of nostalgia, reflecting the bittersweet emotions of a lover parting from their beloved. In this way, Hoàng Phủ Ngọc Tường uses personification to evoke a profound connection between the river and the city, as if they were lovers saying a final goodbye. The writer also draws upon historical imagery, recalling the Perfume River's role throughout Vietnamese history. From its early days as a boundary river during the reign of the Hung Kings, to its vital role in defending the southern border of Đại Việt, to its association with the hero Nguyễn Huệ, and its link to the revolutionary struggles of the 20th century, the river has been a witness to history. In addition to its historical significance, the Perfume River also embodies the intangible cultural heritage of Huế. Hoàng Phủ Ngọc Tường reflects on the river's role in the musical traditions of the region. The river’s sounds—such as the ringing of the Thiên Mụ Pagoda bell or the rhythmic sound of paddles in the evening—have been woven into Huế's traditional music, both folk and classical. The river’s serene and lyrical presence has inspired numerous poems and songs, including the famous verses of Tản Đà, Cao Bá Quát, and the poetic imagery found in the works of Bà huyện Thanh Quan. The Perfume River, for Hoàng Phủ Ngọc Tường, is not just a natural feature, but a symbol of Huế’s deep cultural soul. The river has inspired countless poets and artists, each interpreting its beauty in their own way. From Tản Đà's blue-tinged verses to Cao Bá Quát’s bold and heroic imagery, the river has captured the hearts and imaginations of many. Hoàng Phủ Ngọc Tường himself has contributed significantly to the poetic legacy of the river, adding his own intricate layers of meaning and emotion to its symbolism. In conclusion, Hoàng Phủ Ngọc Tường's 'Ai Đã Đặt Tên Cho Dòng Sông?' is a remarkable work that blends the factual with the poetic. It offers a comprehensive view of the Perfume River, its natural beauty, its historical importance, and its deep connection to the people and culture of Huế. Through this memoir, Hoàng Phủ Ngọc Tường invites readers to see the Perfume River not just as a geographical feature but as a living, breathing entity that embodies the spirit of Huế. His writing captures the profound significance of the river, both as a physical presence and as a symbol of the heart and soul of Huế, forever intertwined with the city's history, culture, and people.

Although Hoàng Phủ Ngọc Tường hailed from Quảng Trị, he was born in Huế and remained closely tied to the city throughout his life. This deep connection likely gave rise to his profound affection for, and insightful study of, Huế's culture, history, and geography—elements that served as a robust foundation for his exceptional writings about the region. He excelled in the essay genre, known for his vivid, imaginative thinking, eloquent language, and a perfect blend of lyricism and intellect, seamlessly combining sharp analysis with a multi-faceted contemplation.

Hoàng Phủ Ngọc Tường is celebrated as a master of the essay form. His unique artistic style lies in his ability to weave together lyricism and political discourse, transforming history into an epic while delving into the profound cultural depths of his subjects. His work is suffused with lyrical beauty that elevates his language into the realm of poetry. This poetic quality is shaped by a combination of emotions, beauty, imagination, the essence of life, and the rhythm of language. These elements are so intertwined that they are inseparable, permeating every image, word, sentence, and paragraph.

The poetic essence is also evident in the title of his essay, “Who Named the River?”, which evokes the calm and resonant sound of a river. The title not only honors the subject but also expresses the author’s gratitude to those who have shaped and beautified the land, while displaying his pride in the beauty of the nation. The question “Who Named the River?” hints at the river’s multifaceted beauty, a beauty that cannot be summarized in a few words but requires an entire essay to fully celebrate its beauty and poetic qualities.

The poetry in his writing is further conveyed through the natural beauty of the Perfume River. The true allure of the essay lies in the deep emotions drawn from a wealth of knowledge in history, culture, geography, and literature, expressed through a graceful, inward-looking, and skillful prose style. Tường’s words are rich and evocative, painting vivid pictures and creating a sensory experience through their musicality and poetic rhythm. His use of artistic devices such as metaphor, simile, and personification enhances the depiction of the Perfume River, making it appear even more beautiful through his descriptions than in reality.

The river emerges as a magnificent cultural masterpiece, full of poetic beauty. Through his understanding, attachment, and deep love for both the Perfume River and Huế, the author has discovered and highlighted the river’s beauty. Tường frequently compares the river to a beautiful woman, uncovering the seemingly contradictory aspects of the river’s nature: wild yet gentle, passionate yet reserved, loyal yet flirtatious, mysterious yet bold, both heroic and lyrical. “Who Named the River?” stands as a remarkable piece of literature about the land, the love for one’s homeland, and an exemplary representation of Hoàng Phủ Ngọc Tường’s essay style. The Perfume River, as portrayed in Tường’s writing, evokes a longing in readers to visit the place and immerse themselves in the poetic beauty of Huế.

In this essay, the Perfume River is framed in a holistic and comprehensive view: its history and culture, customs and traditions, literature and daily life, humanity and nature… In all these interconnections, the Perfume River is both a stunning natural wonder and a captivating cultural symbol. It inspires creativity in artists and stands resilient in the face of adversity. Yet, despite everything that has been uncovered, the river still holds mysteries, lingering in the human soul with a sense of longing. The essay reflects Tường’s personal “self”—an intellectual, passionate, and enamored persona.

Poetry emanates from the author’s vivid imagery, colorful descriptions, and the subtle blending of artistic symbols: “The villages echo with the distant sound of roosters,” “In the misty night, the flickering lights of fishing boats glow like the spirit of ancient legends…,” “The Perfume River still carries the echoes of the Trường Sơn mountains,” “The water turns a deep emerald,” “The hills reflect a variety of hues.” “Morning is green, noon is gold, and evening is purple.”

Using a wide range of poetic devices, such as similes combined with personification and metaphor, the author paints an emotional landscape: “The river softens like an unspoken sigh of love, its bend before reaching the sea, like the lingering sweetness of hidden affection.” Details about local customs and festivals are transformed into art, music, and emotion, becoming poetry: “Thousands of petals float during the full moon festival, drifting from the Hòn Chén temple, hesitating like they are unsure whether to stay or leave, gently swaying on the water’s surface like the yearnings of a restless heart.” Throughout the essay, the Perfume River is consistently compared to beautiful women.

Just as poetry has music, Tường’s writing is imbued with a musical quality, reminiscent of the Perfume River’s slow, emotional flow through the city. It is a sentimental rhythm uniquely suited to Huế. His long, flowing sentences are natural and graceful, like the river itself — a beautiful melody, akin to a “green Danube” in literature. This musicality is particularly evident as the author connects the river’s beauty to Huế’s traditional music.

The harmonious blend of intellectual depth and lyrical beauty in Tường’s work defines his distinctive literary style.

What makes his essays so captivating is not only their intellectual insights and fresh perspectives but also the rich cultural material they contain, especially about Huế. More than just intellectual reflection, Tường’s work endures because it resonates with poetic beauty. This beauty originates from many sources, but the most powerful and abundant source is the author’s deep love — his passionate love for the river, for Huế, and for his country.