Top 6 Best Essays Analyzing the Image of the Scholar in the Poem 'Ông đồ' by Vũ Đình Liên

Poet Vũ Đình Liên is one of the pioneers of the New Poetry movement. His works carry profound artistic value and have left a lasting impact up to the present day. The poem 'Ông đồ' is a prime example of his success.

The poem expresses the author's nostalgic feelings for a beautiful tradition of Vietnamese culture that has gradually faded away.

'Ông đồ' was written during a time when Confucianism was being forgotten, and the legacy of the scholars and their teachings was nearly gone. The first two stanzas of the poem recall the golden age of Confucianism, when the calligraphy of the scholars was highly respected:

'Every year, when the peach blossoms bloom,

We see the old scholar again,

With his red paper and ink,

By the bustling street, where people pass by.'

The first two stanzas reflect the time and place where the scholar worked—during spring, when peach blossoms bloomed. The scholar would write calligraphy for people, wishing them a prosperous and healthy New Year.

The vivid imagery of the peach blossoms, the red paper, and ink make the depiction of the scholar during his golden age lively and full of vitality. The phrase 'every year' emphasizes the ritualistic, familiar nature of this event.

The calligraphy work of the scholar is compared to a dragon flying and a phoenix dancing, a unique metaphor that elevates the act of writing as a respected art form, symbolizing the elegance and cultural richness of the past. The admiration from passersby reflects the value and respect for this traditional art.

The next two stanzas depict the scholar in his decline, as Confucianism loses its place in society and calligraphy becomes a forgotten relic:

'But every year, fewer people come,

Who now asks for his writing?

The red paper loses its brightness,

The ink remains stagnant in the inkstone.'

The verse reflects a time of decline, with fewer people appreciating Confucianism. The once-bright red paper and ink, symbols of life and vitality, have lost their vibrancy, showing the indifference of modern society. The human-like personification of paper and ink evokes a sense of abandonment and sorrow.

The final stanza of the poem expresses the poet's deep respect and longing for the lost cultural tradition:

'This year, the peach blossoms bloom,

But the old scholar is no longer here,

Where have the old souls gone now?'

The repetitive mention of the blooming peach blossoms signifies the passage of time, but the absence of the scholar signals the loss of an essential cultural value. The rhetorical question in the last line expresses the poet's sorrow for the disappearance of this important tradition.

Through 'Ông đồ,' Vũ Đình Liên portrays the scholar with delicate artistry, capturing the poignant sorrow of losing a cultural treasure of the nation.

Starting from the early 20th century, when Western intellectual culture began to make its way into Vietnam, Confucian scholarship and the Chinese script gradually lost their significant role in the nation's cultural life. Scholars, once the central figures of cultural society, revered and celebrated by all, became increasingly isolated and forgotten in the modern era. Acknowledging this shift, Vũ Đình Liên wrote the poem "Ông đồ", expressing his sorrow and heartfelt sympathy for the scholars of that time, while reflecting on the loss of a beautiful cultural tradition.

In a way, the poem can be seen as a narrative of a life, a fate that is pushed into adversity. This is the story of an old scholar who makes a living by writing calligraphy during each Lunar New Year season. His life unfolds in two distinct phases, corresponding to the prosperous and declining periods of Confucian culture.

Firstly, there is the period of success, the golden age of the scholar:

Every year when the peach blossoms bloom,
We see the old scholar again,
Setting out ink, red paper,
On the busy street as people pass by.

The phrase "Every year... we see" signifies that it is a constant, a tradition—every spring, marked by the blooming peach blossoms, the scholar with his ink and red paper would appear. Thus, the scholar, along with the peach blossom, became an inseparable part of the Lunar New Year celebrations. At that time, people eagerly filled the streets, waiting to see the scholar write his calligraphy:

Many would hire him to write,
Praising his skills,
"With deft hands, his strokes fly,
Like dragons and phoenixes in flight."

The scholar is portrayed as a talented artist in the craft of calligraphy. His vibrant strokes printed on red paper are likened to masterpieces, "dragons and phoenixes in flight." Although no longer holding the prestigious position of the past, reduced to selling his writing, the scholar finds some comfort knowing that, in his own way, he brings beauty to the world and spreads joy during the New Year.

However, the scholar's golden age slowly fades, and he finds himself in a situation where clients no longer come:

But every year, fewer come,
Where have the people gone?
The red paper fades, no longer bright,
The ink stagnates in the sad well.

The word "but" marks the shift between the two contrasting eras—prosperity and decline. The peach blossoms still bloom, the street remains busy, but the scholar sits alone, with no one to hire him. The rhetorical question "Where have the people gone?" expresses a deep, sorrowful sense of loss. The scholar appears pitiful, his paper dull and lifeless, the ink stagnant and sorrowful, as he watches the "yellow leaves fall" and the "dusty rain" fill the air, symbolizing his decline. The anthropomorphism of the paper and ink, now imbued with human emotions, echoes the scholar's feelings of abandonment and fading relevance. The poem's vivid imagery reflects the scholar's heartbreaking situation.

The poem concludes with a heartfelt reflection, filled with the poet's deep contemplation and regret:

This year, the peach blossoms bloom again,
But the old scholar is nowhere to be found.
Where have the people of the past gone?
Where are their spirits now?

The opening and closing verses correspond, contrasting the blooming peach blossoms with the absence of the scholar. While the blossoms bloom every year, the scholar and his clients have disappeared. The final rhetorical question evokes a sense of emptiness, regret, and longing in the poet's heart, symbolizing the fading of a cultural tradition into the past. The poem’s significance lies not only in its humanitarian message but also in its cultural and national spirit, which is deeply respectful.

From an artistic perspective, the poem is written in a five-character meter, with alternating rhymes creating a steady, melancholic rhythm that aligns with the poem's tone. The poet skillfully uses the technique of portraying the scenery to reflect the scholar's changing fortunes. When the scholar is in his prime, the scene is lively, bright, and full of joy (verses 1 and 2). But as he fades into obscurity, the sorrow in his heart is reflected in the desolate scenery (verses 3 and 4). Additionally, the poet employs literary devices such as personification, rhetorical questions, and contrast, all contributing to the poem's artistic value. The poem's rhythm shifts in harmony with the scholar's emotional state: lively and eager (verses 1 and 2), slow and heavy (verse 3), and finally, reflective and introspective (the final verse). All of these elements come together to form a masterpiece.

In conclusion, Vũ Đình Liên's poem "Ông đồ" is a poignant and unique work that deeply resonates with readers about the cultural values of Vietnam through the ages. Beyond the literal meaning of the words, the final rhetorical question serves as a subtle reminder from the poet about the importance of preserving and promoting our cultural traditions, not only today but for future generations as well.

Vũ Đình Liên is a gifted poet with a deep sense of nostalgia for the past and the timeless values it holds. His heart is filled with longing and regret for the beauty of the old days. His poem 'The Scholar' is a brilliant example of his poetic soul, using the simple five-line form to vividly depict the image of the scholar and leave a lasting impression on readers.

'Each year the peach blossoms bloom We see the old scholar again With ink and red paper spread On the bustling streets, he writes.'

In the past, when people valued the art of writing and Confucianism was flourishing, people would seek out the scholar for his calligraphy as a cherished tradition. Requesting a written verse was not just for good fortune, but also to show respect for beauty and the magnificent art of calligraphy. The scholar was not only a learned person, but also a professional calligrapher, and during Tet, as the peach blossoms heralded the new year, his presence on the streets was a familiar sight. The ink, the red paper, and the bustling streets made the act of calligraphy a common, revered practice. As people admired the elegant, flowing characters like dragons soaring and phoenixes dancing, they were captivated by the skill of the old scholar. It’s as if the poet himself revered and admired the scholar’s craft, capturing it in his delicate, evocative verse. The imagery of the scholar’s graceful strokes comes to life in the reader’s mind:

'So many people hire him to write Admiring his skill, they praise his art With his delicate hands, he creates characters Like phoenixes dancing, dragons soaring.'

But as time passed, and the art of calligraphy fell out of favor, the scholar's presence became less and less acknowledged. With the passage of seasons, the scholar remained, but those who once appreciated his work were no longer there.

'But every year, fewer and fewer Those who hired him are no longer found The red paper is no longer bright The ink rests in the sorrowful inkstone.'

The scholar still sits there, but no one notices him anymore.

'He still sits there Crossing the street, no one knows Yellow leaves fall on the paper Outside, the rain mist flies.'

People seem to have forgotten the beautiful values of the past. The once beautiful strokes on red paper no longer appear, as no one hires him anymore. The humanization of 'the red paper is no longer bright' and 'the ink remains stagnant in sorrow' accentuates the deep sadness of the present reality. Even the paper, once bright with calligraphy, now seems melancholy when neglected, and this speaks to the fate of the artist, whose sensitivity and soul are also forgotten. The surroundings seem to share in this sorrow, as if the world itself empathizes with the artist:

'Yellow leaves fall on the paper Outside, the rain mist flies.'

As time goes on, the inevitable changes in people’s hearts and minds follow the passage of years. This year, the peach blossoms still bloom, spring returns to the land, but the figure of the old scholar is no longer seen. The poet’s words echo with deep regret for what is lost:

'We do not see the old scholar anymore Where have the people from the past gone? Where is their spirit now?'

The people who once sought his verses, who admired his writing, where are they now? How can we not feel sorrow and loss? The rhetorical question 'Where is their spirit now?' expresses the poet’s grief and perhaps a reproach for those who have forgotten the 'soul' of the beautiful cultural traditions. At the same time, it deepens the tragic image of the scholar, a talented artist worthy of respect, who has been forgotten by time.

The image of the scholar is delicately portrayed by the poet. Through this, we come to understand and appreciate the beautiful traditional values of the past, and we are reminded to cherish the authentic, timeless essence of these values. The poem serves as a heartfelt message urging us all to value and preserve the past.

They say time is like a fierce wave that can erase everything. It makes us forget things once so familiar. Perhaps that’s why many poets, especially those with a sensitive heart, become obsessed with time. Vũ Đình Liên was no different—haunted by time and by the fading cultural traditions of his people. This led him to create the vivid image of the old calligrapher in his poem 'Ông Đồ' (The Calligrapher).

Every year, when the peach blossoms bloom,

The old calligrapher returns,

Setting out his ink and red paper,

On the busy street, surrounded by people.

Countless people hire him,

Admiring his skilled hand,

'His strokes, as graceful as a phoenix dancing, a dragon soaring.'

From the very start, Vũ Đình Liên paints a picture of a gifted calligrapher loved by all. He is portrayed as an artist, playing with words as though they were a living art form. His writing dances on the page, each stroke seeming to come alive, like a dragon flying or a phoenix in flight. The comparison to these mythical creatures emphasizes his extraordinary talent, and people gather to admire his work. Even as each new year begins, when the peach blossoms bloom, the familiar sight of the old calligrapher with his brush and red paper appears, and customers come in droves to hire him and appreciate his beautiful handwriting. The use of the term 'countless' highlights the busy demand for his writing. The old calligrapher stands as a beloved artist on a familiar street corner, creating masterpieces that everyone admires.

But time is cruel. It erodes everything, slowly fading the image of the calligrapher in the minds of those who once sought his work.

But with each passing year, the crowd thins,

Where have the customers gone?

The red paper is no longer bright,

The ink stagnates in the inkstone.

The calligrapher still sits there,

Unnoticed by passersby,

Yellow leaves fall upon the paper,

Outside, light rain falls softly.

As time passes, the influence of Confucian learning wanes, and the image of the old man with his red paper and ink fades. The rhetorical question 'Where have the customers gone?' serves as a lament from the poet. The people who once admired his beautiful writing are now gone. Why have they stopped coming? Why does the paper remain dull and the ink sorrowful? The personification of the red paper and inkstone amplifies the deep sadness of something once so familiar, now neglected. Year after year, the calligrapher still sits on his familiar corner with his red paper and ink, but the customers have disappeared, leaving him alone with nature’s melancholy. As the saying goes, 'A sorrowful person finds no joy in their surroundings.' The paper mourns, the inkstone laments, and the yellow leaves fall, all sharing in the sorrow of the forgotten calligrapher.

This year, the peach blossoms bloom again,

But the old calligrapher is nowhere to be found.

Where have the people gone,

The ones from long ago?

As time continues to pass, another year arrives. The familiar street is still there, but the image of the forgotten calligrapher has disappeared. The poet’s final rhetorical question, 'Where are the souls of the past?' is a poignant expression of sorrow. The people who once came to admire his work, the souls who cherished the tradition, are no longer around. Where have they gone? Why have they forgotten these beloved customs? In the end, the calligrapher is not only an artist but also a tragic figure—a symbol of the forgotten traditions that time has erased.

Through his modern five-character verse and familiar yet innovative imagery, Vũ Đình Liên has captured the image of a talented yet tragic artist, while also expressing his sorrow and love for the fading cultural heritage of the nation.