Top 5 Remarkable Argumentative Essays by National Excellent Students

Andersen's poems, echoing from the valleys of Odense, where misty mountain passes and purple heathers paint a poetic landscape, inspired the writer Paustovsky with a deep sense of emotion: 'Andersen picked the seeds of poetry from the earth of the common people, nurtured them in his heart, and sowed them into humble homes, where they blossomed into beautiful bouquets of poems that comforted the hearts of the suffering.' Poetry, that magical term, still lacks a complete, definitive definition. What is poetry? Where does it originate? What power does poetry hold, causing the hearts of millions around the world to tremble, stir, and ache? Could it be that, as Russian writer V. Belinsky noted in the 19th century, poetry is simply 'life itself'? Since the dawn of poetry, it has given warmth to our planet, with its vast oceans and the endless stretches of our green forests. Perhaps there will never be a final definition of poetry. Some consider it 'fanciful,' others view it as the spontaneous outpouring of intense emotions, or even something too ineffable to define. Is this why poetry belongs to the mystical, the intangible, and the distant? No, according to Belinsky's view, poetry is a very familiar concept: 'Poetry is, above all, life.' In this statement, the word 'life' shines brightly, lifted by the subtle lever of 'above all,' creating a glowing light. Poetry is born from life, and life is always the infinite wellspring of inspiration for artists. Like all art forms, poetry, if disconnected from life, would remain a fragile sapling with no solid branches or lush green leaves basking in sunlight. To be a poet, one must first touch the ink of life; only then will poetry flourish in the hearts of readers. As the scholar Le Qui Don once said, 'Without three thousand books in the mind, without seeing the strange landscapes of the world, one cannot write poetry.' Life is the nourishing milk flowing from generation to generation, feeding poetry. When we think of Che Lan Vien, the 'philosopher poet,' we remember how, once lost in the abyss of despair, life—filled with the warmth of revolution—melted the ice in his heart. He embraced the people and joyfully received poetic inspiration from life: 'I meet the people like a deer returning to an old stream, grass welcomes the first rain, birds meet the season, like a hungry child finding milk, a cradle stops when a hand lifts it.' Life is vast and miraculous! Life is the source of poetry. Therefore, poetry always reflects the image of life, the image of humanity. Poetry is where people pour their feelings, dreams, desires, doubts, and yearnings. Poetry is inseparable from life. Life bestows the vital force upon poetry, and poetry, in turn, beautifies life and offers moments of reflection and emotion. When we read poetry, we first encounter the poet's heart, then we meet our own, because poetry is 'the voice of agreement, of sympathy, of comradeship.' Along with literature, poetry becomes an invisible bridge connecting souls, leading hearts to share joy, sorrow, dreams, and hope. Life, immense and endless, is like a painting with three-dimensional space stretching infinitely. The poet, like a diligent bee, flits through the garden of life: 'The poet is like a bee, turning a hundred flowers into one nectar, and one sweet nectar into countless flights of life.' Poetry is 'life,' but it is not merely the direct reflection of life. The artist must dive into life to extract the sweetest nectar, creating poems that truly move the reader. The poet must know how to filter the materials provided by life, to craft the poems that resonate deeply. Poetry is connected to emotion. The poet does not portray life through situations or events as a novelist would. Instead, the poet expresses through emotion, through poetic language, and even through 'the white space between words.' Poetry's value cannot be separated from transcendence, from detachment from life's rigid forms. If reading a poem fails to stir the poet's soul, it is not true poetry. Without a genius like Nguyen Du, we would not have 'The Tale of Kieu.' But without the suffering, the anguish, the burning dreams of the people in the feudal society, we would not have the deeply humane verses of Kieu. Without a peaceful, simple Kinh Bac countryside, with its diligent and kind people, we could never understand the deep yearning of poet Hoang Cam in 'Bên Kia Sông Đuống': 'My dear, why so sad? I will take you to the other side of the Duong River, where the white sand was smooth, where the green fields of sugar cane and mulberry trees, and the corn and sweet potato patches are...' Poetry is always first and foremost about 'life.' Life not only gives the poet inspiration, but it is also where the poet mines the 'ore' from which poetry is made: 'The poet's sleeve cannot hold all the silver and gold that life spills; pick up life's words and weave them into poems.' Poetry is the flower of life. If it were only built from the imagination and the poet's 'self,' poetry would be like flowers made of 'shavings' (Pauxtovsky). The poet must gather the precious 'dust' from the endless expanse of life to create the valuable 'golden roses' that bring joy and beauty to the soul of the reader. Returning to Belinsky's words, we realize that he was not presenting a simplistic view. 'Poetry is life' is true, but life is not everything. Belinsky adds the crucial element: 'Poetry is life, but it is also art.' Thus, he acknowledges the importance of the artistic component in creating poetry. Without art, poetry would remain a raw gem, unpolished, unable to stir deep emotions in the human heart. Poetry is like a kite; life provides the shape and form, but art is the wind that lifts it, carrying emotions to heights of transcendence. We love 'The Tale of Kieu' not only for its heartbreaking 'new lament' that echoes from the fifteen years of Thuy Kieu's life, but because of its 'richly expressive language' and its gentle, lingering rhythms of folk songs. The shimmering autumn scenery, rich in beauty and poetry, will live on in the hearts of the Vietnamese people for centuries to come. Poetry rises from the sea of life, soaring on the wings of art. Art makes poetry beautiful, embedding wonderful emotional experiences in the reader's heart. A talented poet must be a skilled diver, diving deep into the ocean of life—not to pick up the mundane, but to find the shining pearls, the 'love blocks' formed from the perseverance and patience of shellfish (a concept by Nguyen Tuan in 'The Boatman on the Red River'). The poet must not only be moved by life's waves; they must have the talent to earn the title of 'poet.' To write poems that truly move us and transcend time, the poet must possess both talent and passion, immersing themselves in life while constantly seeking, exploring, and 'opening new sources.' One foreign poet once deeply understood the value of poetic labor: 'A thousand pounds of ore for a single word, that word makes millions of hearts beat in unison for thousands of years.' The poet must 'pay the price' for their words if they want their poems to become immortal. Artistic labor is both an intellectual and emotional effort. Only through intense emotional responses to life and unique discoveries and creations can true poetry emerge. When writing about autumn, poets from all ages have used beautiful images, from 'the falling leaves of the catalpa tree' to 'the yellow chrysanthemums behind the fence,' from 'the golden light of the mountains' to 'the moon shining like a mirror.' Yet, young poet Tran Dang Khoa captures autumn in his own way through the simple image of the betel flower: 'At midnight, I hear the frogs learning their lessons, a few raindrops fall outside the trees, the wind shifts, and in the morning, the water jar is filled with betel flowers.' These delicate white betel flowers falling into the village water jar are perhaps the 'flowers of life' transformed into 'flowers of art' in the poet's rich, imaginative world. The betel flower's fragrance lingers forever on the path of poetry, curling softly in the hearts of those who love poetry. 'Poetry is first and foremost life, then art.' Belinsky's view on poetry is profound and valuable. Poetry is not some far-off balloon beyond our reach. Poetry always bears the warm breath of life, stamped with the artist's creative signature. Poetry is the river that reflects life, flowing into the soul, carrying waves of emotional currents that never cease. A poet must 'love life' and cherish 'art' in order to craft poetry that blooms and enhances both life and humanity. In the past, I loved Andersen's stories for the radiant white roses blooming beside beautiful princesses. Now, I love his words even more because I can feel the essence of life, the 'human element' hidden within.

"Who says that getting involved with the pen and ink Is a lifetime burden, filled with misfortune?"

Nguyễn Bính once lamented in such a way. Many people carry the pain of literature's coldness, the bitterness of the written word. Why is this so? Could it be that art demands so much from the artist, as León Leónov once asserted: "Each work is an invention of form and a discovery of content."

As Xuân Diệu and Nguyễn Tuân, the Russian writer, wanted to emphasize, artists must cultivate their creative personalities. Each work must represent the artist's presence in the world. Therefore, the newness and uniqueness in the style of the creator should reflect the exploration of new art forms as well as content. Art is the subjective image of the objective world. Life’s reality is an endless treasure trove of subjects for artists to explore and discover, but for each writer, it is viewed through their unique lens. An artist is one who knows how to tap into their own subjective impressions and transform them into a unique and distinctive form. Indeed, the dull repetition of ideas is the death of art.

Life presents many circumstances and fates before us. What distinguishes the artist from ordinary people is their ability to find exceptional phenomena that clearly convey the essence of reality. Readers turn to works first to nurture their souls and enrich their knowledge. Thus, creators must offer them a fresh perspective, imprinted with their own subjective mark.

Life is boundless, but the knowledge and interest of a writer are limited. Therefore, aside from seeking new realms of reality to plant seeds of thought, artists must also draw on their personal impressions to discover something new in familiar themes. Only then can the writer avoid senseless repetition of ideas already expressed by others. In other words, each artist must carve out their own path to connect with life and the hearts of readers. Lev Tolstoy once challenged young writers with a question: "So, do you bring us something new, something different from those who came before you?" When discussing poetry, Nguyễn Tuân also affirmed: "Poetry reveals something that, before the poem, before the poet, was closed off."

Each work is an aesthetic message the artist sends to the reader. Therefore, at its core, each work is a "discovery of content." To achieve this, the writer is not simply a "skilled worker following some pre-given models," but must "dig deeper, search, uncover what no one has discovered before, and create something no one else has." (Nam Cao). The writer must deeply understand life, comprehend the human soul, and uncover new issues, speaking their own voice to the world. In art, content and form are tightly intertwined. Content is the substance of the form, and form is the expression of the content. A new content will seek its own new form. Changes in the expression of form can often lead to changes in content. Sometimes a writer addresses timeless issues but speaks with their own distinct voice, their personal resonance, which makes the work valuable to the reader.

The uniqueness and creativity in both content and form give the artist their own style. This is not merely a matter of rhetoric but primarily about perspective. A perspective that could never exist without the artist’s contribution. Innovation does not belong solely to content or form in an extreme sense. It is not just about finding new forms, but primarily about finding newness in content. When a work embodies its distinct essence and new, fresh style, it powerfully impacts its audience. The artist delves into their subjective, personal experience but must also remain connected to life to avoid turning innovation into mere individualism.

Each era, each author contributes a new way of perception, a different struggle, and a new form of expression to the literary stream. This creates continuity and the development of literary richness. Each literary phase, each artist, has its own identity and appearance. It is through innovations in form that world literature evolves from one mode of creation to another.

Within the national literary context, a broader view reveals that each era leaves behind its own unique character and inspiration. Literature from the Lí, Trần, and Lê dynasties is driven by a central theme of patriotism and national pride. Moving into the late 18th to early 19th century, artists became more consumed with the issue of human fate. They did not praise a peaceful and prosperous society like the literature of the Lê period but focused on the tragedies of human existence. Each major work of this period is a cry of love for the individual. By the late 19th and early 20th centuries, the dominant inspiration in genuine literature was a passionate desire for national independence. In the early years of the 20th century, poets of the new poetry movement voiced their yearning to liberate their individual "self"... Every era has its own distinctive tone, which resonates in the works, each with its own flavor. How fascinating it is to listen to the unique voices of each artist’s soul! The greatest challenge for the writer’s talent lies in whether they can say something new with a familiar topic. The unique identity and spirit of each soul give each work its own face.

Although many have written about courtesans, Bạch Cư Dị, Nguyễn Du, Xuân Diệu, and Tố Hữu each has their own perspective and voice. Through the poem "Tì Bà Hàng," the poet Bạch cất lên a voice full of empathy and sympathy for the beautiful yet tragic woman, a reflection of his own sorrow for the turbulence of fate. The courtesan’s song on a lonely moonlit night awakens many emotions in the man, Tư mã áo xanh. That sorrow, that pain, is present in classical literature. Subtle yet profound, the sorrow seems to radiate into the surrounding scenery:

"Bến Tầm Dương đêm khuya đưa khách

Quạnh hơi thu, lau lách đìu hiu"

The phrase "canh khuya" resonates deeply within the Vietnamese soul, not only evoking the lateness of time but also carrying a sense of uncertainty, of fear. The sorrow spreads with the strands of the sky, making the atmosphere silent as it sinks into the poet’s soul, overflowing into tears. This sorrow is the harmonization of two sources of love: sympathy for the other and self-pity, creating a mutual understanding of the shared suffering of those caught in the same fate. With a heart full of love, Nguyễn Du sees the tragic fate of the singer from Long Thành as a reflection of the rise and fall of the times, the turmoil of a life that has been tossed by countless waves. The sense of transience and the tumult of life permeates each word, giving rise to the poet’s deep empathy for both humanity and the world.

All of this expresses the emotions of the feudal era—love tinged with helplessness, helplessness but still quietly enduring pain. Moving into modern poetry, the individual "self" awakens with a fierce awareness of its own identity. In the passionate poetry of Xuân Diệu, the image of the courtesan is not a quiet sorrow, but a woman trembling from the pain and coldness:

"Em sợ lắm. Giá băng tràn mọi nẻo

Trời đầy trăng lạnh lẽo buốt xương da"

She is like a lonely soul surrounded by an all-encompassing chill. The cold penetrates to the core. The moonlight is not "clear" in its stillness, but the light of the moon carries a coldness and a sense of isolation.

While Bạch Cư Dị, Nguyễn Du, and Xuân Diệu express their sympathy and helplessness, still voicing despair toward fate or jealousy toward the red-faced guest, Tố Hữu brings forth a sense of optimism, trust, and hope. From the current pain and humiliation, the poet looks toward a brighter future, one where the courtesan’s suffering will come to an end:

"Ngày mai bao lớp đời dơ

Sẽ tan như đám mây mờ hôm nay"

Thus, while they all write about the courtesan, these artists share a common empathy and sorrow. However, each work possesses its own soul and vitality. While Bạch Cư Dị and Nguyễn Du write in regulated verse, Xuân Diệu employs free verse, breaking away from the constraints of rhyme.

Nature is also an eternal subject of literature that never grows old, for each era and each artist views nature through their own distinct lens. In classical poetry, nature is often portrayed as cosmic, depicted in serene, still scenes. Nature is painted with strokes that capture its soul. Even though it is the same wind and the same sky, nature appears differently in each work. Let us enjoy nature through Nguyễn Trãi’s poem:

"Nước biếc, non xanh thuyền gối bãi

Đêm thanh, nguyệt bạc khách lên lầu."

The scene emerges like a picturesque landscape painting, where the blue of the water blends with the green of the mountains, creating a peaceful beauty. The boat "rests on the shore" leisurely, as the night appears still, untouched. The atmosphere feels so pure and poetic. Although it is a night scene, the image still sparkles with light. Is the waterway a river of poetry? There is no trace of worldly dust to spoil this scenery. The human subject is not facing the reader with a personal ego but might be speaking of someone else, perhaps a literary guest. The human figure is in motion, rising high, yet still remains tranquil, as if unaffected by the passage of time. Ức Trai blends with the surroundings but does not stir them, leaving everything frozen in stillness.

In Nguyễn Khuyến’s time, nature retains this simplicity and calmness:

"Trời thu xanh ngắt mấy tầng cao

Câu trúc lơ phơ gió hắt hiu."

The intense green of the sky not only suggests its depth but also evokes its infinite height. The space is so pure, stretching endlessly. There is movement in the scene, but it is subtle. The drifting leaves on the bamboo evoke gentle swaying, almost as if the breeze only wishes to signal its passing.

In Xuân Diệu’s poetry, the same season and breeze appear completely transformed:

"Những luồng run rẩy rung ring lá

Đã nghe rét mướt luồn trong gió"

The wind in Xuân Diệu’s work is not simply a breeze, but a shuddering tremor, heralding the arrival of autumn. The chill seems like a living being lurking in the wind. Even the leaves shiver with the cold.

Picasso was once an unknown artist. He used the last 15 coins in his pocket to hire a student to walk around the art galleries and ask: "Do you sell Picasso's paintings here?". Less than a month later, his name spread throughout Paris and he became famous. This story of Picasso is now widely shared as a prime example of personal brand promotion and media strategy, but does it contradict the ancient proverb "Good things naturally spread"?

Just as the scent of a rare incense naturally spreads, a person who possesses unique value and qualities will naturally gain recognition, without force.

Nikola Tesla never had to call himself the "father of modern technology", but the world universally recognizes him as such because of his groundbreaking inventions. William Shakespeare might have remained a mere understudy or an unknown actor in a theatre if he hadn't skillfully written plays that captured the crisis of his time, establishing him as a renowned playwright. In any field, when we fulfill our responsibilities and duties, we create something invaluable. At that moment, we've naturally built a certain value, and that value will shine without needing a stage light.

Focusing on personal growth, the "I" of today will naturally be different from the "I" of yesterday—perhaps wiser, with more experience. Like climbing a new rung of a ladder, you'll reach new heights without needing to announce it. However, when we focus on questions like "How can I get more people to notice me?", "How can I become famous?", only to trade short-lived fame for lasting scandal, where does the value we’ve built go? Before complaining about life’s unfairness and the lack of recognition, ask yourself what you’ve done to deserve that credit.

Yet, in an era of information overload and fierce competition, where everything requires extensive advertisement and media coverage to enhance its value, can "good things naturally spread" still apply? Many would answer no! Gone are the days of "good news travels fast"; now, one must act proactively, rather than waiting for fortune to come. People are no longer surprised by global brands that constantly advertise across all media platforms—from television to social media...

Indeed, change is inevitable. But the times should never be an excuse to fabricate a false personal image, then comfort oneself by claiming it’s necessary to keep up with the times.

In truth, life is about seizing opportunities, but being proactive doesn't justify rushing to success and burning through stages with shortcuts and deceit.

Don’t use Picasso’s story as an excuse to justify self-promotion, claiming that if you don’t advertise yourself, no one will notice. Before thinking about publicizing yourself, Picasso first had to create his art, immerse himself in the creative process, and bring unique value to others. All recognition and admiration are based on the intrinsic value we possess, not on "fanfare" or promoting a pale imitation or superficial difference.

Building your personal brand in today’s world is necessary. But the essence of that brand is the internal substance, the value we hold, not an empty shell. The principle of "good things naturally spread" still holds, for the core message behind this ancient belief is to encourage each person to grow and improve, to elevate their own worth through their actions and behaviors. And "natural spreading" is like the sweet fruit of the process of finding the best version of ourselves—it is also a choice. We can choose to "naturally spread", or we can choose to proactively build our personal brand, as long as the essential element of "good things" remains, then every path is valuable.

Reflecting on Einstein’s comment about Charlie Chaplin: "You only perform in silence, yet people worldwide understand you. You are certainly destined to be a great figure." Perhaps, it’s in this way we can be confident that: as long as we are truly the light, we will surely shine…"

"Literature always elevates Han Yu, while poetry only venerates Du Fu; it's akin to climbing a mountain and reaching Mount Tai, or sailing a boat and heading to the East Sea. If one clings only to Mount Tai and the East Sea, without exploring the beauty of Tian Tai, Wu Di, or the elegance of Xiao Xiang and Jing Hu, that person is nothing more than a woodcutter on Mount Tai or a boatman on the East Sea."

In "Tui Yuan Shi Huai", Yuan Mai believed that an artist's legacy lies in their originality, vision, and the ability to observe the entire world. Could it be that every writer must also create "their own world", a world for themselves, but not just for themselves?

From three primary colors—blue, red, and yellow—come countless varied and intricate paintings; from seven musical notes emerge many scales, sometimes deep, sometimes light, at times overflowing, at other times calm; and with the same alphabet, numerous literary masterpieces are born, full of color and emotion. With these simple, limited resources, the artist's skilled hand selects and creates "their own world"—a world of emotions, a world of lives with diverse situations, a world shaped by the artist's perspective and philosophy.

Creating "one’s own world" is the first voice, the initial expression of the soul. But is it only writers and poets who can create such a world? From the window of his hospital room, in the despair of illness and the yearning for beauty, Van Gogh captured his own world filled with turbulent emotions through his painting "Starry Night". During a moonlit night burdened with unrequited love, Beethoven composed his own world through the "Moonlight Sonata", ranging from powerful surges like waves to vastness like the Danube River, and moments of stillness, soft as the mystic moon. Not only in literature, but in art forms like painting, sculpture, and music, every artist has the potential to create a unique world. I wonder, however, is there something distinct about the "private world" in literature? Could it lie in its accessibility? Not everyone can paint a picture or compose a symphony to express their emotions, but anyone can write a story, a poem, and convey their feelings through words. Everyone can create a "personal world" through language!

In writing, with the same set of letters and characters, every writer creates their own distinct world. Nguyễn Tuân once said, "Writing is a craft of words," a profession "that stirs conflict using words to create a stir." With the same set of characters, each artist, with their unique perspective, style, circumstances, and character, creates different works. People remember Nguyễn Tuân as a master of language creativity, with a world that reflects the lives of artistic individuals, viewed through an aesthetic cultural lens. According to researcher Nguyễn Đăng Mạnh, the need to avoid repetition in literature forced Nguyễn Tuân to use every synonym in his vocabulary. When describing American pilots, he used terms like "heaven-stealer, sky invader, and sky pirate"; when referring to captured American soldiers, he used phrases such as "a chain of American prisoners, a chain of criminal prisoners, a string of living demons, a bunch of ruffians."

A personal world does not mean the writer isolates themselves from the collective flow of humanity. Throughout history, every artist has strived to create works that record the milestones of life, with each piece a treasure handed down by predecessors for future generations to continue, inherit, and develop. People often misunderstand that artists aim to discard constraints to freely create their own world, but without constraints, there is no art. The reason great masters like Han Can succeeded in painting horses was because he learned from real horses. In the Qing Dynasty, Shi Dao said, "One must gather all the unique peaks before beginning to write." No true artist exists in isolation, nor is there a successful work that does not rely on the wisdom of those who came before.

A personal world must stem from the reality of life. Art is a realm of creativity, and artists are allowed to build their own world, yet this world must not deviate from reality. A writer is immersed in the spirit of the age, witnessing the changes of time, and thus the world they create inevitably mirrors life. Above all, beyond the personal urge for creative expression, each writer and poet carries the noble mission of recording unforgettable historical events, of portraying the "turbulent world" and the struggles of ordinary people. In an era that demands adherence to norms, where the collective values are essential, Du Fu still succeeded in creating his own artistic world. Throughout his life, his simple, honest poetry focused on his love for the people, patriotism, and his fight against tyranny. The world in his poetry stems from his real-life experiences, having suffered greatly through war and witnessing the corruptions of society.

From the artist's personal world, readers can see reflections of themselves, as "A good poem makes you forget it is a poem, and instead feel the emotions as if they were your own, as if they came from your own heart," (Tố Hữu).

In the fast-paced technological world today, the phrase "personal world" is no longer foreign to us. Many people create a personal space on social media, thinking of it as their own world, and when others make mistakes, the crowd mentality causes them to mock and utter harsh words that hurt others, slowly distancing us and severing the connection of hearts. Therefore, this quote applies not only to writers but also to the present era: it’s a world of one's own, but not for selfishness, not just for oneself!

"Writing is not the difficult part; the difficulty lies in having worthwhile stories to tell, significant thoughts to record," (Jérôme and Jean Tharaud).

Albert Einstein once stated, “The self and understanding are inversely proportional. The more you understand, the smaller the self becomes. The less you understand, the larger the self becomes.” Indeed, just as deeper rivers flow more calmly, and taller mountains bow their heads, this reminds me of the saying “Hữu xạ tự nhiên hương.” However, in today’s age of the Fourth Industrial Revolution, we must question whether this concept still holds true for personal branding.

“Hữu xạ tự nhiên hương” is a Vietnamese idiom with distinct meanings for each word. “Hữu” means to exist or be present, and “xạ” refers to the scent of musk, derived from the gland of the musk deer found in southern China. The musk has a very distinctive, uniquely pleasant fragrance. “Tự nhiên hương” refers to a natural fragrance, emanating from the object itself without any external influence. Thus, putting the words together, the phrase suggests that just as musk with its distinct fragrance naturally attracts attention and admiration, a person with unique qualities will naturally draw the attention and affection of others. Deeper still, this idiom conveys a lesson in humility. If we live virtuously, with both character and talent, others will recognize our merits without the need for self-promotion. In any field, if we dedicate ourselves to doing our duties well, eventually, we will “tỏa hương,” spreading our fragrance without any need for loud declarations. The Chinese text “Tam tự kinh” also states, “Nhân chi sơ, tính bản thiện.” Every person is born with an innate goodness, but as we grow and develop, can we nurture and maintain these qualities, or will we be led astray? Thus, “Hữu xạ tự nhiên hương” is also a reminder to cultivate our inner selves, to hone our talents, and stay true to our virtues.

Humans are born as blank slates, as pure, unmarked zeros. As we grow, we carve out our own paths and achievements. In any field, when we fulfill our duties and responsibilities well, we create value. This value will shine through in its own unique way, without needing any stage lights to highlight it. As we focus on developing and refining our own identity, day by day, the person we are today will be better than the person we were yesterday. Over time, we mature, gaining more experience and wisdom. When we accumulate positive values and virtues, others will naturally come to know who we are. This is the essence of “Hữu xạ tự nhiên hương.”

Looking beyond, we see that the name William Shakespeare exemplifies “Hữu xạ tự nhiên hương.” Had he not created his famous works, uniquely his own, and been known as a renowned playwright, he might have remained a nameless actor in a theater, or a mere stagehand. Similarly, despite his monumental contributions to humanity, Einstein never considered himself particularly remarkable: “I’m just an ordinary person, like anyone else. I live and do what I love, so why call me famous?” Indeed, truly famous individuals are those who create valuable and meaningful contributions to society, yet they never claim to be extraordinary. It is this very humility that attracts attention, and they continue to shine in their own way, just like the stars in the vast sky.

In today’s world, building a personal image is crucial for each individual. This not only serves as a motivating force for personal growth but also brings benefits to the individual. By developing a strong personal image from the start, we can save time on trial and error, reducing mistakes and setbacks. We are likely familiar with Trần Khánh Vy, initially known as the “girl who speaks seven languages.” Although her pronunciation abilities were initially controversial, this very controversy pushed her to grow. Step by step, she has laid the foundation for her personal brand, achieving academic success at the Diplomatic Academy, becoming the host of IELTS Face Off, and anchoring the television program “Đường lên đỉnh Olympia.” She is an inspiration to many young people, demonstrating the power of positive energy and the pursuit of language mastery. She is undoubtedly one of the successful young people who have built a strong personal brand.

Great author Lev Tolstoy once said, “A person is like a fraction, with the numerator representing their true value, and the denominator representing the value they believe they possess. The larger the denominator, the smaller the fraction. When the denominator is infinite, the fraction equals zero.” However, in today’s digital age, is it still true that “Hữu xạ” naturally results in “tự nhiên hương”? In a world where materialism often dictates our consciousness, do people get swept up in the pursuit of wealth and fame, sacrificing their integrity for fleeting recognition that may later turn to scandal? Can a person who lacks “hữu xạ” still become widely known? These are the questions that make us ponder deeply. In the current era of information overload, a significant portion of people fears that the world does not know them, and so they resort to extensive advertising and media manipulation to inflate their value. Over time, people become less surprised by how advertising often diverges from reality, whether for individuals, organizations, or brands. Some, lacking genuine “hữu xạ,” may engage in deceitful practices to make themselves known, living inauthentically, driven by a desire for fame and success.

Today, creating a personal image and brand is necessary, but it should not come at the cost of integrity. Whether we are “hữu xạ tự nhiên hương” or “hữu xạ” achieved through different means, both paths are valuable. The key is to embody “hữu xạ” in its true form, as this will lead to the “tự nhiên hương” – the sweet fruits we truly deserve. Instead of building ourselves on empty achievements, let us create an image based on genuine values and qualities within. Just as light naturally shines, we too will shine if we stay true to our essence. Our task is not to chase after the stars, but to radiate like the sun.

“Hữu xạ tự nhiên hương” is a timeless, correct message. When we believe in ourselves as light, we will certainly shine. Observing the beautiful world around us, I realize there are still areas in which I can improve. But through this idiom, I strive to shine in my own way, and I will certainly create a clear plan to take action, improve, and grow. I believe that, day by day, I will mature and will, in time, embody “Hữu xạ tự nhiên hương.”

In letter 805 of the book “999 Letters to Myself,” written by Miêu Công Tử, there is a passage: “Do not chase after a horse. Spend time planting grass, and when spring comes and flowers bloom, a herd of fine horses will come to you, ready for you to choose at your leisure.” Let us continue to improve ourselves daily, becoming the best version of ourselves, and in time, we will naturally embody “Hữu xạ tự nhiên hương.” Be humble, learn, and many doors will open for you.