Top 6 Best Analytical Essays on Nguyễn Bính's Poem 'Spring is Coming' (Literature 11)

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Ngày cập nhật gần nhất: 15/4/2026

Content

1. Sample Essay #4

2. Reference Paper 5

3. What is Nguyễn Bính's poetic style?

4. Reference poem 1

5. Reference poem 2

6. Reference Poem #3

1. Sample Essay #4

I have been away from my hometown for nearly three decades, living in the city. Every time I return, a flood of tasks follows me. The scenes of rural life, especially the fields of young rice and the fruit-laden trees by the pond where fish are released, are now only memories. As I sit in the car, my heart feels a wave of nostalgia. I remember my hometown and the poem 'Spring is Coming' by poet Nguyễn Bính. Strangely, the only line that comes to mind is: 'The rice fields, like young girls, are as smooth as silk.' I keep muttering it, but can't remember the rest, even though I normally know the entire poem by heart. Upon arriving home, I opened the book and read it aloud, then I naturally felt the urge to write. After some contemplation, I finally wrote the following after reading: 'Spring is here with the east wind, With the blush on the cheeks of unmarried girls...' The poet Nguyễn Bính is often referred to as the 'Poet of the Simple Heart,' because his poetry is filled with honest, rustic words, yet his poetic spirit, themes, and emotions soar and leave a lasting impression on readers. 'Spring is Coming' is a vivid depiction of rural life in the northern villages of Vietnam in the early 1930s. As you immerse yourself in the poet’s painting of the countryside, you’ll encounter: 'Spring is here with the east wind, With the blush on the cheeks of unmarried girls.' On the porch of the neighbor’s house, a girl looks up to the sky with clear eyes. Spring is here on every blade of grass, every tree branch, and on the cheeks of the girls of spring: 'With the blush on the cheeks of unmarried girls.' The 'unmarried girl' here refers to the 'neighbor girl' on the 'neighbor’s porch.' Did she notice the poet watching her and perceiving Spring? Why does she 'look up to the sky' with such clear eyes? Could it be that her 'clear eyes,' along with her rosy cheeks from the spring breeze, are what make the poet feel that 'Spring is here'? The poet takes us deeper into his painting of the spring with the following lively scene: A group of children running around, The rain has stopped, the sky is clear, and the sun is just starting to shine. The young leaves, the fresh branches, who gilds them? The wind comes in gusts, and the wind flies away... As spring and the Lunar New Year arrive in the northern villages, you can easily spot children’s bright faces as they accompany their mothers or sisters to the New Year market or to the village festival. To enhance the spring atmosphere, the poet describes 'the rain stops, the sky clears, and the sun shines.' The 'sunshine' here refers to the warm early spring sun after a drizzle, clearing the sky. At this moment, the focus of the spring picture becomes clear: The young leaves and fresh branches. The real sign of spring lies here. The 'young leaves' refer to the tender new leaves, and the 'fresh branches' are the newly sprouted branches that are still fragile. The poet, upon seeing the 'young leaves and fresh branches' after the rain, exclaims: 'Who gilds them?' There is no one gilding them. Perhaps it’s the sparkle of the new sprouts stirring beneath the 'sunshine' and the remaining raindrops, making the poet feel as if they are gilded. The final scene in this spring painting is alive with the following words: 'In leisurely fashion, the villagers stop their work in the fields, The rice, like young girls, is as smooth as silk.' In spring, the agricultural tasks of the villagers are momentarily set aside, and they celebrate the New Year. 'The rice, like young girls, is as smooth as silk' is when the rice plants are preparing to sprout, their green color calming the hearts of those who return home. Not only the rice plants, but also the 'orchard full of fallen pomelo and orange flowers' still releases its sweet fragrance. Even though the flowers have fallen, the fragrance remains, carried by the wind, inviting butterflies to dance around. This imagery hints at the cycle of life in nature: after flowers fade, the fruit grows and ripens. Another vivid part of this painting shows: On the fine sandy road, a young couple, Wearing red aprons and black scarves, go to the temple fair. A bamboo stick leads the elderly woman with silver hair, Her hands clutching prayer beads, murmuring prayers. As the Lunar New Year and spring arrive, on every village path, young women and elderly people walk, dressed in traditional clothing, to attend the temple or the village fair. The red apron and black scarf were common traditional outfits for young village girls in the early 1930s. The poet also highlights an elderly woman with a 'bamboo stick' guiding her along, as her hands are occupied with prayer beads. It’s a serene and poetic image. The bamboo stick leads her along, and we may not notice this detail right away. With these four distinct elements, the poet Nguyễn Bính perfectly captures the essence of spring in his painting. Spring is seen in the rosy cheeks of unmarried girls, in the children running around the village, in the young rice fields, in the orchard with fallen flowers, and in the temple goers. 'Spring is Coming' was written nearly 80 years ago, but its vivid images of rural landscapes still feel fresh, as if written today. We still encounter the rosy cheeks of village girls, the children chattering as they go to the New Year market, the new leaves and fresh branches, the bamboo sticks guiding the elderly, and even the red aprons and black scarves are now replaced by flowing áo dài and flower-patterned dresses of today’s young girls in the rural paths, whether they are 'fine sand,' 'paved roads,' or 'cemented paths.' The poem 'Spring is Coming' will live on for years to come, as it captures the vibrant and sincere beauty of rural Vietnam, making it deeply cherished by every generation of Vietnamese poetry lovers.'

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2. Reference Paper 5

Nguyen Binh is a poet who emerged from the New Poetry movement. His works, although aligned with the movement's trends, still carry his own distinct style, characterized by a rustic simplicity. A poem like 'Spring Returns' clearly reflects his personality and unique artistic approach. Some poems feel incredibly familiar, evoking memories of early school days. Few may know that 'Spring Returns' is one of the poems by poet Nguyen Binh. He is no stranger to readers, known for his down-to-earth and straightforward style in his works. 'Spring Returns' is a poem filled with the poet's deep love for his homeland, vividly describing the changing landscape and the people of Nam Dinh's countryside as spring arrives... We also hear spring's arrival in the late works of Thanh Hai: “Amidst the green river, A violet flower blooms, Oh, the bird singing, Why does it sound so loud? Each drop of dew falls, I raise my hand to catch it.” This represents the arrival of spring in the dreamy landscape of Hue, where the Perfume River flows through the heart of the city, capturing the joy and liveliness of that place. Now, spring arrives in each region with its unique character. In Nguyen Binh's poetry, it carries a sense of sadness and solemnity: “Spring has arrived with the cold wind, On the cheeks of an unmarried girl, Beside the neighbor’s house, the girl Looks up to the sky, her eyes clear.” Spring follows the cold wind back to the peaceful countryside, with the delicate scent of herbs and early-blooming flowers greeting the chilly air. The cheeks of the young girl blush, and her clear eyes seem to carry thoughts of something new. Nguyen Binh experiences spring through the people and things around him, symbolized by the innocent neighbor girl. Her purity embodies the youthful vitality that spring brings, full of energy, as if spring is right beside us. This intimate portrayal of spring heightens the sense of anticipation for its return, creating an atmosphere of joy and excitement. A similar descriptive technique appears in Anh Tho's 'Afternoon Spring': “Soft rain falls gently on the deserted dock, The boat lies lazily, drifting with the river, The straw hut stands still in silence, Under the falling purple flowers.” Nature feels still, as spring quietly makes its way through each branch and blade of grass. Nguyen Binh skillfully creates a vivid spring scene in just a few lines. The young girl eagerly awaits the return of spring, her cheeks and eyes brimming with youth, much like the arrival of the season. In the second stanza, the poet delves deeper into his experience of spring, sensing it more clearly. Spring has woven itself into the corners of every village and breeze, enveloping the quiet countryside. Further, he writes: “Children run around playfully, The rain stops, the sky clears, the sun shines, The leaves sprout, and the branches stretch out, The wind blows, then fades away.” Goodbye to the cold, harsh winter winds, which now make way for spring's return. The sky is clearer, brighter, and higher, with gentle sunlight piercing through the earth, warming everything. This is an invitation for flowers, plants, and trees to awaken from their winter slumber. Trees blossom, buds sprout, racing to greet the new sun—a sun everyone wishes to bask in. The leaves are fresh, like spring itself, bringing a sense of vibrancy to the season. The neighborhood children rush to the streets, inhaling the crisp, fresh air, playing joyfully on the dusty village road. Together, they create a tranquil spring scene in the rural countryside of Nam Dinh, evoking memories of childhood, filled with nostalgia. Nguyen Binh’s descriptive artistry is incredibly relatable, not exaggerated or artificial but deeply unique. “Spring night, a dreamy sleep, Spring fills the air like a gentle breeze. Afternoon spring makes one shy, Who can resist spring’s allure?” Spring, that overwhelming atmosphere, is irresistible. As one immerses in Nguyen Binh's verses, spring is no longer just words on paper—it is vivid and alive, making the reader feel as though spring is right before their eyes. The poet broadens the perspective in the final stanzas, offering a more comprehensive view of spring: “Leisurely, the villagers stop working, The rice fields resemble velvet, The garden is full of falling grapefruit and orange flowers, Their fragrance fills the air, while butterflies dance around.” From the young girl to the playful children, the poet now adopts a higher viewpoint to depict the full spectrum of spring's vibrancy. Farmers have finished their work, preparing to welcome the richness of the season. The rice fields stand lush and green, like young women, tender and full of life, basking in the early sunlight. “In the green, moist rice fields, The storks fly out from time to time.” Poet Anh Tho also observes this phenomenon, but Nguyen Binh makes a unique comparison between rice plants and people, imbuing them with human-like emotions. The flowers of grapefruit and orange trees bloom, their fragrant scent spreading with the new winds, offering a sense of serenity. In the final verse, the poet guides the reader into the human activities celebrating spring: “On the smooth sand road, a couple, Red tunics and black scarves, walking to the temple, A bamboo cane guides the elderly woman, Her lips murmur prayers.” The temple festival scene is a distinct Vietnamese tradition, and Nguyen Binh captures this perfectly in his poetry. Women and elders, dressed in red and black, head to the temple to celebrate the new year. The joy and harmony of the scene resonate with everyone familiar with these customs, evoking a sense of nostalgia and warmth. Nguyen Binh’s artistic mastery in nature description is extraordinary, bringing the rural world alive in readers’ minds. His portrayal of plants, people, and animals seems almost magical, capturing the soul of the countryside, infused with love for his homeland. His poetry is pure and simple, resonating deeply in every line, showcasing the brilliance of a true artist. Hoai Thanh commented on Nguyen Binh's poetic voice: “The poet has awakened the melancholic spirit of East Asia, rekindling a sadness that has lingered for millennia in this land.” His voice, in two words, 'rustic soul,' touches readers in a profound way, elevating the simplicity of his descriptions into timeless beauty. 'Spring Returns' is a masterpiece in Nguyen Binh’s poetry collection, not only highlighting his literary talent but also revealing his unique essence throughout his lifelong contribution to art.

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3. What is Nguyễn Bính's poetic style?

The poetic style of Nguyễn Bính can be analyzed through the following key characteristics, along with examples that illustrate each style:

Simplicity and authenticity:
- Example: The poem "Lỡ bước sang ngang"
  - Birds, I’ve only stepped aside,
  - Isn’t that right? I’m still here, don’t rush,
  - The fragrance of the past lingers in the streets,
  - Memories of life still hold a piece of my soul.
- In this poem, Nguyễn Bính uses simple language to express feelings of regret and the inner emotions of the character.
Connection with nature and rural life:
- Example: The poem "Cô hàng xóm"
  - I come back, dreaming, waiting,
  - Dreaming of the hat, dreaming of the scarf,
  - I listen to my heart, hear the vastness,
  - I live in poetry, I live in dreams.
- This poem reflects the closeness to rural life and the familiar images of everyday living.
Romanticism and emotion:
- Example: The poem "Cảnh ngày xuân"
  - In the peach garden, white flowers,
  - Sweet and vibrant colors,
  - The girl of old, lost in thought,
  - Dreaming of love, memories.
- This poem expresses romance and the emotions of love through the imagery of spring and peach blossoms.
Use of characteristic imagery and sound:
- Example: The poem "Mẹ"
  - Mother returns, mother returns, I dream,
  - Mother returns, filling the air with fragrance,
  - I love you, I miss you,
  - Mother returns in the quiet night, the sound of a sigh.
In this poem, Nguyễn Bính uses imagery and sound to evoke deep feelings in the relationship between mother and child.

These examples show how Nguyễn Bính captures the connection to life, emotions, and nature with simple yet deeply emotional language.

4. Reference poem 1

Poet Nguyễn Bính emerged in the "New Poetry" movement before 1945. The rural landscapes, images of village girls, ferry crossings, and New Year markets are all portrayed in a simple, intimate, and endearing manner by Nguyễn Bính. His poems like "Tương tư", "Chợ Tết", "Mưa xuân", and "Xuân về" are beloved by many.

The poem "Xuân về" is a vivid spring painting with four charming and intimate scenes from the countryside of Vietnam over 60 years ago. The poet romanticizes the people and the rural landscape through his brilliant, poetic soul.

The first spring scene depicts a village girl as the eastern wind (spring wind) arrives. The spring breeze brings warmth and freshness, making her cheeks flush with the bloom of youth. The neighboring girl gazes at the sky with "clear eyes", seemingly waiting for someone, adding a tender and youthful touch to the scene.

"The spring has arrived with the eastern wind,

With the blush of an unmarried girl's cheeks,

Beside the neighbor's porch, the girl gazes

Up at the sky with clear eyes."

The second scene is lively and vibrant, filled with innocence and freshness. The spring wind blows in bursts, and then "the wind fades", creating a sense of renewal. After the days of spring rains, the sky is now clear, the sun shines gently: "clear sky, a hint of new sunshine". The new sunlight is the soft pink light of spring that makes everything bloom:

"The young leaves, the fresh branches, who has polished them?"

"Young leaves" are the tender, smooth green shoots, and "fresh branches" are the newly sprouted branches with leaves, full of life. The poet marvels at the beauty of these fresh leaves and branches and questions, "who polished them?"

The spring scene becomes even livelier as "groups of children run about". The children play, bask in the new sunshine, and go to spring festivals with their mothers and sisters. This adds a joyful, spirited, and rich atmosphere to the scene.

The third image in Nguyễn Bính’s spring landscape introduces a vast artistic space, evoking the soul of the countryside in spring. The second month of the lunar calendar is a time of rest for the farmers, who take a break from their fields and immerse themselves in spring festivals. The expansive fields are lush with rice crops, "as soft as velvet"—a beautiful and evocative metaphor that conjures up the vibrant, tranquil fields. The gardens and villages are filled with the sweet scent of orange blossom and grapefruit flowers, creating a fragrant, delicate atmosphere where "butterflies swirl around". The image of butterflies and flowers in the spring garden is truly poetic and picturesque:

"The garden is full of grapefruit and orange blossoms,

Filling the air with fragrance, butterflies flutter by."

Words like "full" and "intense fragrance" vividly evoke the essence and spirit of the spring garden. Nguyễn Bính channels his love for spring and rural life into exquisite verses about the flowers’ fragrance and the butterflies' dance in the spring breeze.

Another striking image in the poem "Xuân về" is the scene of a spring festival procession. A young couple, charming and bright, dressed in traditional clothes—"red yếm, dark scarf"—head to the temple festival. Elderly people, with gray hair and stooped backs, walk with walking sticks, mumbling prayers. The lively festival is filled with the joyful enthusiasm of youth and the peaceful serenity of the elderly. The spring festival scene is both exuberant and rustic, evoking the spirit of a rural village festival from over a hundred years ago:

"On the smooth sandy road, a couple,

Red yếm, dark scarf, heading to the temple festival.

The elderly woman, with gray hair and a cane,

Hands clasping prayer beads, chanting nam mô."

"Xuân về" is a beautiful spring poem, leaving a lasting impression. The depictions of "young leaves, fresh branches...", "the rice as soft as velvet", the grapefruit and orange blossoms scattered across the garden, with their "intense fragrance", and the butterflies "dancing in circles", all conjure up a vivid and fragrant spring scene that feels warm and familiar. The spring also includes the image of the young girl with rosy cheeks and clear eyes, elegantly heading to the village temple festival in her traditional attire, alongside the elderly, walking with their prayer beads. Nguyễn Bính captures the essence of spring and love for the rural village in this poem, creating a sense of nostalgia and fondness that resonates deeply with the reader.

The love for the countryside and the soul of rural life are key elements in Nguyễn Bính’s "Xuân về". His poetry, tender and simple, is filled with the warmth and vibrancy of spring in the countryside, evoking deep emotions. Nguyễn Bính's poetry is as gentle and beautiful as folk songs.

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5. Reference poem 2

Nguyễn Bính, whose real name was Nguyễn Bính Thuyết, was born in 1919 in Thiệu Vịnh village, Vụ Bản district, Nam Định province, into a poor Confucian family. Orphaned by his mother when he was still an infant, at the age of 10, he moved to Hanoi with his brother Nguyễn Mạnh Phác (pen name Trúc Đường), a writer, to make a living. Nguyễn Bính traveled south three times to escape difficulties caused by the French colonial authorities. He changed his name in official documents to Nguyễn Bính Thuyết. Nguyễn Bính began writing poetry at a young age, with his first published work being the poem "Cô hái mơ". In 1937, he won the Tự lực Văn đoàn award for his poetry collection "Tâm hồn tôi". From then on, Nguyễn Bính became beloved by readers for developing a unique poetic style, characterized by the traditional folk form of lục bát. His poem "Xuân về" introduced a fresh approach to the New Poetry movement, using the seven-syllable verse format.

Few writers or poets fail to express their impressions of spring on paper. Each person brings a unique perspective and distinct poetic style, but most celebrate the vitality of the earth, the sky, and the people of spring. For Nguyễn Bính, spring envelops everything. In the four stanzas of his seven-syllable verses, the poet observes and describes spring through clear, gentle lines. The first sign of spring he perceives is intimately tied to his surroundings:

"Xuân về" appears first as a feeling sensed through other agents—through the "east wind", no longer cold to the touch, signaling that spring is approaching. The poet also observes a young neighbor with a glowing complexion and clear eyes, symbols of the vibrant life of the new year. Spring is found in the breeze and in the neighbor's innocent gaze under the eaves.

The scene then expands:

Children run about, laughing

The rain stops, the sky clears, and the sun begins to shine

New leaves grow, young branches turn silver

The wind blows in gentle gusts.

The landscape is bright and fresh. The sky is no longer overcast, and the gentle winds bring a sense of calm. The imagery of "new leaves" and "young branches" resonates with the renewed vitality of spring, enriching the scene of children playing joyfully. This vivid spring picture widens to include:

Farmers relax after the harvest

The rice fields are as smooth as velvet

The garden is full of fallen orange and pomelo flowers

Fragrant and sweet, butterflies trace circles in the air.

The spring scene expands into a complete picture: from the eaves of the neighbor's house, the fresh green leaves and branches stretch out to the garden filled with fragrant orange and pomelo flowers, where butterflies hover. This rich imagery is set against the backdrop of the lush rice fields, as the farmers take a break and think about celebrating the Lunar New Year at home.

The final part of the poem paints the image:

On the smooth sand road, a pair of women

In red aprons and dark scarves, go to the temple festival

With bamboo walking sticks, they lead an elderly woman with silver hair

Her hands clasping prayer beads, chanting "Nam Mô".

In the first three stanzas, Nguyễn Bính depicts spring through nature and the landscape. In the final stanza, he focuses on people celebrating the arrival of spring, especially the young women and elderly women. This scene is a vivid representation of rural life in northern Vietnam before the August Revolution, where women, usually in worn clothes, don red aprons and dark scarves to visit the temple and pray for blessings in the new year.

As discussed, "Xuân về" carries a different flavor in Nguyễn Bính's poetic repertoire. The landscape is filled with vibrant life, depicting the fresh, bright spring of the Vietnamese countryside. Yet, these lines also represent the dawn of a new poetic movement, blending the traditional with the new, marking a significant moment in the early 20th century Vietnamese poetry.

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6. Reference Poem #3

Spring becomes an endless source of inspiration for poets and writers. Every page written about spring is a tribute to the vitality of the earth, the sky, and the people of spring. For Nguyễn Bính, spring holds a special place, naturally blending into his poems about the season.

The poem begins with gentle verses:

Spring arrives with the eastern wind

With the blush on a maiden’s cheek

By the neighbor’s porch, the young girl

Gazes up at the sky with clear eyes.

In the first instance of “spring arriving” that Nguyễn Bính “sees,” it’s a perception filtered through other elements, through images. These elements include the “eastern wind,” no longer chilling the skin, signaling the arrival of spring, and the “young neighbor” whose “blush and clear eyes” embody the vibrant, youthful energy of the new year. Spring is in the wind, in the neighbor gazing at the sky under the porch...

Then, further on:

Groups of children running in circles

The rain has stopped, the sky is clear, the sun shines bright

Fresh leaves, young branches, no one turns them silver

Wind blows in gusts, and then it fades.

The scene is bright and fresh. The sky is clear, with no rain. “Wind blows in gusts and fades,” the verse creates a cool, gentle atmosphere without any strong winds. “Fresh leaves, young branches, no one turns them silver” is both a beautiful image and a fine comparison. It enriches the vibrant, youthful colors of spring, creating the perfect backdrop for the joy of the “children running.” The spring picture widens:

Leisurely, villagers take a break from their work

The rice fields, like silk, smooth as velvet

The garden is full of fallen citrus and grapefruit flowers

The air is fragrant, butterflies trace circles.

The spring landscape expands into a larger picture. From the neighbor’s porch, to the fresh leaves and young branches, now the garden with fragrant citrus and grapefruit flowers, with butterflies fluttering. All this lies within the frame of the rice field where the crops are growing, soft and green, ready for harvest. The farmers take a moment to rest, thinking of celebrating the Lunar New Year at home.

On the smooth sandy road, a pair of girls

Red scarves, dark headscarves, heading to the temple festival

With bamboo canes, guiding elderly women with silver hair

Hands on rosary beads, chanting Nam Mo.

If in the previous stanzas the poet described nature—trees, fields—now, in this stanza, the focus shifts to people welcoming spring, especially the girls and elderly women.

In the first three stanzas, the poet describes spring arriving with people, and in this stanza, spring has truly arrived, and the people are embracing it. One of the ways they celebrate is by attending the temple festival. This scene reflects the rural villages in Northern Vietnam, before the August Revolution, where the elderly and young women would head to the temple to pray for blessings.

The spring is truly depicted here, with the fresh and lively scenes of the rural Vietnamese countryside...

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