Top 7 Best Essays Analyzing the Image of the Grandmother in Nguyễn Duy's "Đò Lèn" (Grade 12)

Nguyễn Duy successfully depicts the image of the grandmother in his work, creating a literary symbol that has become a beautiful model in Vietnamese literature. The portrayal of the grandmother reflects a recurring motif in Vietnamese literature—a symbol of love, sacrifice, and devotion that every poet explores in their own unique way. In his poem "Đò Lèn", Nguyễn Duy uses his personal experiences with his own grandmother to craft a poignant narrative.

The grandmother in this work is a tireless figure, embodying sacrifice and selflessness as she strives to provide her grandchild with a better life. The author vividly describes her laborious daily routine:

I never knew how hard my grandmother worked

She fished for crabs and gathered shrimp in Quan fields

She carried baskets of green tea from Ba Trại

She sold porridge in the cold nights of Đồng Giao

Through these verses, the grandmother is portrayed as someone who works relentlessly, whether selling goods, gathering crabs, or preparing tea, all for the well-being of her grandchild. These sacrifices stir the poet's emotions, making him reflect on his youthful ignorance of her hardships. As he matures, he realizes the immense effort and love his grandmother devoted to him, leading him to cherish her memory even more.

The grandmother not only worked in various jobs to support her family but also endured hardships that seemed to multiply with each passing day. The grandchild, now an adult, comes to understand the depth of her sacrifices, feeling an overwhelming sense of love, empathy, and gratitude. The image of the grandmother in the poem stands as a tribute to the resilience and devotion of Vietnamese women, who continually give of themselves for their families.

The poet skillfully evokes memories of shared moments with his grandmother—shopping at the market, visiting the temple, stealing longan fruits—all of which highlight her role as a symbol of maternal love and care. The image of the hardworking grandmother becomes a metaphor for the selfless devotion found in Vietnamese culture. The grandmother's sacrifices are a testament to the beauty of familial love, an idealized figure that the poet captures with deep emotion.

The portrayal of this grandmother is not only an artistic achievement but also a reflection of the poet's own understanding of sacrifice. As he expresses regret over the passage of time, he also laments the loss of his grandmother, whose grave now stands as the only reminder of her once-vibrant presence. This poignant reflection elevates the poem, making the grandmother's image a powerful and enduring symbol of love, sacrifice, and the passage of time.

"Đò Lèn" is a poem written by Nguyễn Duy in 1983, inspired by his return to his homeland. The poet reflects on his childhood memories, particularly those shared with his beloved grandmother. The portrayal of the grandmother in this work is tender and heartfelt, evoking sincere emotions. These simple yet profound memories transport readers back to their own childhoods, reminding them of their own precious moments with loved ones.

The poem begins with the poet reminiscing about his childhood games, and in these early recollections, the image of the grandmother naturally appears, filled with love and warmth:

“As a child, I went fishing at Na Canal

Holding my grandmother's skirt to the market at Bình Lâm

Chasing sparrows around the Buddha's statue

And sometimes stealing longans from Trần Pagoda”

From a very young age, Nguyễn Duy would hold his grandmother's skirt as they visited the local markets. He recalls playful moments like chasing sparrows and mischievously stealing longans from the pagoda. The poet and his grandmother also visited temples, seeking blessings, and the fragrant scent of white lilies and incense became a part of his childhood consciousness.

“As a child, I went to the Cây Thị Temple

Walking barefoot to watch the Sòng Festival lights at night

The scent of white lilies blended with the fragrant incense

The singing of the ceremonial performers swaying in the dim light”

The poet's childhood, though modest, reflects the simple joys of rural life—lacking in material wealth but rich in spiritual fulfillment. The image of his beloved grandmother also emerges through the hardworking efforts she made to care for her grandchild. She worked tirelessly, gathering crabs and shrimp in the fields, and carrying tea from Ba Trại.

“I never knew how hard my grandmother worked

She gathered crabs and shrimp in the Quan fields

She carried tea from Ba Trại

She sold porridge in the cold nights at Đồng Giao”

Having grown up with his grandmother, the poet saw her not only as a grandmother but as a surrogate parent, shouldering the responsibilities of both mother and father. The heavy burdens of family life rested on her frail shoulders. In his innocent youth, the poet did not understand the sacrifices she made, but over time, he came to see her as a compassionate, almost divine figure.

“I stood between two worlds, the real and the unreal

Between my grandmother and deities and spirits

That year, when we were hungry, we boiled wild taro root

I could only smell the scent of white lilies and incense”

Not only was the grandmother loving and selfless, but she was also an incredibly strong woman, able to withstand the ravages of war. During the bombing raids, she remained a pillar of strength, providing for her grandchild:

“The American bombs fell, and my grandmother's house was destroyed

The Sòng Temple and the pagodas were swept away by the bombs

The deities and spirits fled, but my grandmother

Sold eggs at the Lèn train station”

Despite the destruction caused by the war, the grandmother remained resilient, selling eggs at the train station to make a living. The devastation of war could obliterate spiritual life, but it could not destroy the indomitable spirit of the grandmother. She continued to work for the well-being of her grandchild.

When the grandchild grew older and became a soldier, he came to understand the immense sacrifices his grandmother had made, but it was too late—she was gone, and now all that remained was her grave. Though he felt sorrow and regret, the love and reverence he held for her remained, serving as a guiding light for him to continue his duty of protecting the country.

While in Bằng Việt's poetry, the grandmother is closely associated with the image of the kitchen fire, in Nguyễn Duy's work, the grandmother is more connected to the struggles and hardships of everyday life. This imagery evokes the sacred bond of love between a grandmother and her grandchild. In "Đò Lèn," written in 1983 after Nguyễn Duy's return to his homeland, the poet recalls the mixed emotions of his childhood. The image of the grandmother stands out as a loving figure, always devoted to her grandchild. From a young age, the poet would hold his grandmother's skirt as they went to the market or visited temples, seeking good fortune. The grandmother is portrayed as a person with a virtuous heart. No wonder the poet became so familiar with the following scenes:

“As a child, I went fishing at Na Canal

Held my grandmother’s skirt to go to Bình Lâm market

Chased sparrows around the Buddha's ear

And sometimes stole longans from Trần Pagoda”

“As a child, I went to the Cây Thị Temple

Walked barefoot to attend the Sòng Festival at night

The scent of white lilies mixed with incense was so fragrant

The chanting of the ritual dance swayed the shadow of the spirit medium”

Thanks to his grandmother, the poet not only learned about the temples and the scent of lilies and incense but also became familiar with the ritual dance of the spirit medium. These are memories of a childhood that, though difficult and lacking in material comforts, was rich in spiritual experiences.

The grandmother’s image also emerges through her hardworking life, as she gathered crabs and shrimp in the fields, carried tea, or sold eggs at the train station. She took on the roles of both mother and father for the grandchild, bearing the burdens of hardship and poverty. The poet, absorbed in his childhood play, failed to recognize the immense sacrifices she made for him. The grandmother seemed like a deity—benevolent and selfless in her love for her grandchild. Moreover, she was a strong, heroic woman:

“When American bombs fell, my grandmother's house was destroyed

The Sòng Temple and the pagodas were blown away

The deities and spirits vanished

But my grandmother was selling eggs at the Lèn train station”

During the war, American bombs ravaged the country. They destroyed the poet's grandmother’s house, and even the temples and deities were swept away. Yet, the grandmother’s spirit remained unbroken. She kept selling eggs at the train station to survive, persevering through the harsh realities of war while caring for her grandchild.

At the end of the poem, the grandmother is remembered with sorrow and regret. The poet, who only came to understand her struggles as he grew older, now faces the painful truth: by then, she had passed away, and all that remained of her was a grave. It is a profound sorrow to realize we did not fully appreciate or understand the sacrifices of those we love until it is too late.

Everyone's childhood is filled with memories of their grandmother. It's hard to forget those cold nights when she would hold you close, telling fairy tales. Writing about grandmothers has thus become a popular theme for many poets, such as Bằng Việt in his poem "Bếp Lửa" (The Firewood) and Nguyễn Duy in "Đò Lèn" (The Lèn Ferry).

"Đò Lèn" was written by Nguyễn Duy in 1983, during his return to his hometown, where he reflected on a mix of joyful and sorrowful childhood memories. In these reflections, the image of his grandmother stands out as both comforting and heart-wrenching. Having lived with his grandmother since childhood, her figure was a constant and familiar presence for the poet. At first, the grandmother is depicted as enduring hardship and toil:

“I never knew my grandmother’s life was so hard

She fished crabs and shrimp in Quan field

Carried tea from Ba Trại

Selling porridge at Đồng Giao on chilly nights.”

Before realizing how hard his grandmother worked to provide for their life, the poet recalls his carefree childhood:

“As a child, I fished by Na Canal

Held my grandmother’s skirt to the Bình Lâm market

Chased sparrows near the Buddha’s ear

And sometimes stole longans from Trần Pagoda”

“As a child, I visited Cây Thị Temple

Walked barefoot to watch the Sòng Festival at night”

The poet recalls these memories with a sense of innocence—playful and sometimes mischievous. Only later does he realize the immense sacrifices his grandmother made. The phrase "thập thững" conveys the heaviness of her burdens, evoking the image of her struggling under the weight of her responsibilities. In comparison, Hoàng Cầm's "Bên kia sông Đuông" mentions the line:

“My old mother carries a basket of goods

Steps uneven along the endless bamboo path”

While "Bên kia sông Đuông" evokes an uneven road, Nguyễn Duy’s use of “thập thững” captures not just the rough road and the freezing night, but also the weight of the load on his grandmother’s shoulders. Despite these struggles, the poet sees his grandmother as a figure of purity and beauty, almost divine:

“I am caught between the real and the unreal

Between my grandmother and deities, gods, and saints”

The image of the grandmother in the poem also reflects an optimistic spirit that rises above the hardships brought by the war:

“The American bombs fell, and my grandmother’s house was destroyed

The Sòng Temple collapsed, the pagodas vanished

The gods and deities went away

But my grandmother kept selling eggs at Lèn station”

Even though the American bombs destroyed everything, including her shelter, the grandmother did not give up. Instead, she continued to work tirelessly, showing her resilience in the face of hardship. Her love for her grandchild was quiet but constant, always wishing for the best for him:

“I went to war, didn’t return to visit my grandmother

The river still flows with its twists and turns

When I finally realized how much I loved her, it was too late

She was already just a patch of grass”

The poem ends with the poet’s deep regret. By the time he truly understood his grandmother’s sacrifices, she had passed away, leaving only her grave. "Đò Lèn" is not just a nostalgic poem about childhood but also a tribute to the grandmother’s love and devotion.

The image of the grandmother is a timeless theme in Vietnamese literature. While Bằng Việt’s depiction of a grandmother is associated with the warmth of the hearth, Nguyễn Duy’s portrayal focuses on the struggles and hard work of a grandmother who tirelessly works to make ends meet. This is the grandmother’s image in Nguyễn Duy’s poem, "Đò Lèn" (The Lèn Ferry).

The poem opens with the poet describing his mischievous childhood, full of playful moments typical of any young child:

“As a child, I went to Na Canal to fish

Held my grandmother’s skirt as we went to Bình Lâm market

Chased sparrows near the Buddha’s ear

And sometimes stole longans from Trần Pagoda”

This boy is the young poet Nguyễn Duy, and the image of his childhood is filled with innocent mischief. He was unaware of the sanctity of the Buddhist temple, engaging in playful acts like chasing sparrows and stealing longans from the pagoda. This innocent mischief shows that, for a country boy, such acts were not seen as malicious but were simply part of the playful nature of childhood.

The image of young Duy, carefree and mischievous while accompanying his grandmother to the temple, reflects the playful spirit of a child who does not yet understand the seriousness of the sacred space:

“As a child, I visited Cây Thị Temple

Walked barefoot to the Sòng Festival at night

The smell of white lilies and incense filled the air

The faltering voice of the medium singing a ritual”

These are the fond memories of the poet with his grandmother. His childhood was calmer with her by his side, always accompanying him wherever she went. The poet’s childhood was tied to the image of his grandmother, unlike Bằng Việt’s childhood which was closely associated with the warmth of the hearth. Nguyễn Duy’s childhood, though full of innocence and mischief, was enriched by these shared moments with his grandmother, such as going to the temple barefoot or attending ceremonies. It wasn’t filled with idyllic fields or flying kites but with memories of play in sacred spaces and the smell of incense. Even the medium’s performance left a lasting impression on the young poet.

This innocence also led the poet to be unaware of the hardships his grandmother endured. He did not understand the sacrifices she made, just as he didn’t comprehend the solemnity of the temple. Children’s hearts are like blank slates—pure and innocent, but sometimes indifferent to the struggles of those around them. It’s only later, when they grow older, that they begin to understand and feel the weight of those sacrifices:

“I never knew my grandmother’s life was so hard

She fished crabs and shrimp in Quan field

Carried tea from Ba Trại

Selling porridge at Đồng Giao on cold nights”

The poet expresses regret with the line "I never knew..." as a realization of the struggles his grandmother faced. At the time, he couldn’t comprehend the exhaustion she experienced. She had to fish for crabs and shrimp, and even carried tea to sell. Despite her old age, she endured hardships for the sake of her beloved grandchild. The poet now recognizes these efforts and feels the weight of his past indifference. The specific places mentioned serve as witnesses to her sacrifices, reminding the poet of the difficult work his grandmother did for him, even through cold nights at the porridge shop in Đồng Giao. The phrase “thập thững” vividly describes the difficulty of her labor and her aging body’s struggle with the weight of the work.

Nguyễn Duy’s childhood was not just marked by innocent play but also by the hardships of war. The poet experienced the poverty and suffering brought by the war, symbolized by the image of boiled roots and rice. Yet, his grandmother was not just a grandmother but also a mother and father figure, always working hard to support him:

“I am caught between the real and the unreal

Between my grandmother and deities, gods, and saints

The year of famine, the boiled roots were tasteless

Yet, I still smelled the fragrance of white lilies and incense”

Even amidst the hardships of war and hunger, the image of his grandmother is intertwined with the divine, as though she were a saint, a goddess, always present with love and care.

The poet also endured the harsh years of war, experiencing not only the poverty but also the destruction caused by the bombs:

“The American bombs fell, and my grandmother’s house was destroyed

The Sòng Temple collapsed, the pagodas vanished

The gods and deities went away

But my grandmother kept selling eggs at Lèn station”

The war’s brutality is reflected in the destruction of both his grandmother’s house and sacred sites. Despite this, his grandmother continued her work, selling eggs at Lèn station, showing her resilience and determination. The war took so much, but it could not break her spirit.

Now, when the poet has grown and understands the struggles of his grandmother, it is too late. She has passed away, leaving only a grave. But even in death, she remains forever alive in his memory and heart:

“I went to war, didn’t return to visit my grandmother

The river still flows with its twists and turns

When I finally realized how much I loved her, it was too late

She was already just a patch of grass”

The poem ends with the poet’s deep regret and sorrow. Despite his service in the war, time passes, and the river still flows, but his grandmother has left him. Now, she is just a memory—a patch of grass on the earth, yet her love continues to live on in his heart.

The poem concludes with a sense of melancholy and longing. The image of the hardworking grandmother, with her tireless labor and unconditional love, will forever be etched in the poet’s memory. Though she is gone, her spirit remains in his heart, forever watching over him.

Family love is the most sacred bond, for only family remains by our side through both hardships and joy. Countless relationships, such as friendship, love, and camaraderie, pass through one’s life, but only family love endures. In this grand love, we not only acknowledge the sacrifices of our parents but also the care and affection of our grandmothers. The grandmother has been a frequent subject in literature, and one such portrayal can be found in Nguyễn Duy's poem 'Đò Lèn'. Through this work, we see the clear and profound image of the grandmother, symbolizing the selfless devotion of those who lived through the resistance against American forces during the war.

First, the grandmother emerges as a figure full of deep love for her grandchild. She participates in religious rituals and visits sacred places, such as Trần Pagoda and the Buddha statue, a tradition the poet Nguyễn Duy grew up with:

"As a child, I fished at Na Canal
Clung to my grandmother’s skirt as we went to Bình Lâm market
Chased sparrows by the Buddha’s ear
And sometimes stole longans from Trần Pagoda"

This is an example of the spiritual devotion that characterized the Vietnamese people. Through Nguyễn Duy's childhood memories, we observe how his grandmother's serene heart and moral compass guided her frequent visits to the temple. These sacred visits became ingrained in the poet's life, shaping his understanding of the quiet, fragrant atmosphere of incense and the sacred rites of the temple. Furthermore, the grandmother’s love for her grandchild was evident, as she always took him along, wherever she went:

"As a child, I went to Cây Thị Temple
Walked barefoot to the Sòng Festival at night
The scent of white lilies blended with the fragrant incense
The faltering voice of the medium singing"

The poet not only grew accustomed to the smell of incense and white lilies but also to the image of the medium performing ritualistic chants. The simplicity of these moments, walking barefoot to the temple, reflects a life of humble devotion with a rich spiritual life.

The image of the grandmother becomes even more vivid when we consider her hard work and sacrifices. During the fierce years of the resistance against American forces, she took on numerous jobs, from early morning until night. Her exhausting routine is a testament to her resilience and unwavering love for her family. Each task highlights the struggle of the grandmother:

"I never knew how hard my grandmother's life was
She fished crabs and shrimp in Quan field
Carried tea from Ba Trại
And at night, she went to sell porridge at Đồng Giao"

The poet, in his youthful innocence, had no understanding of her hardship. He only experienced the love and care she gave him. But now, as an adult, he can truly appreciate her sacrifices. The specific places mentioned reflect the grandmother's dedication, as she worked tirelessly to provide for her family, even in the most difficult times. In the poet's eyes, the grandmother appears as a divine figure—gracious, benevolent, and selflessly giving, much like the revered Buddha:

"I am suspended between the real and the unreal
Between my grandmother and deities, gods, and saints
In that year of famine, the boiled roots were tasteless
But I still smelled the fragrance of white lilies and incense"

Through the poet's eyes, the grandmother embodies the virtues of a saint, always present to bring comfort and happiness to the life of her grandchild. She is like a heroic Vietnamese mother—steadfast, enduring even the worst of circumstances:

"American bombs fell, and my grandmother’s house was destroyed
The Sòng Temple collapsed, and the pagodas disappeared
The gods and saints seemed to vanish
But my grandmother continued selling eggs at Lèn station"

Despite the devastation of war, with bombs destroying her home and sacred places, the grandmother remained resilient. She adapted to the changing circumstances by selling eggs to support herself and her grandchild. Her spirit never wavered, and she continued to fight through every hardship. Even after her death, her memory remained alive in the heart of Nguyễn Duy, the child who once innocently followed her everywhere.

In the end, the grandmother’s image in this poem represents the beauty and strength of the Vietnamese mother figure. These mothers, though elderly, were unyielding in the face of bombings and the cruelty of war. They endured unimaginable suffering to ensure a future for their children, so that the next generation could rise up, protect the nation, and preserve the peace of a land scarred by war.

Childhood for each of us is not only filled with friends of the same age but also closely tied to beloved family members, especially the grandmother. We often cherish the folk tales she tells, as well as the simple yet meaningful gifts she gives after each market visit. Vietnamese literature has many poems about the grandmother figure, but perhaps the one that evokes the strongest emotions in readers is the poem 'Đò Lèn' by Nguyễn Duy.

In the work, the grandmother is depicted as a loving figure, offering unconditional care for her grandchild:

'When I was young, I went to Cống Na to fish,

holding her skirt as she went to Bình Lâm market,

catching sparrows near the Buddha’s ears,

and sometimes stealing longan from Trần Pagoda.'

The bond between the two was so strong that wherever the grandmother went, the child was always by her side. The playful boy would hold onto her skirt as she walked to the market, and together they visited sacred places like the Pagoda, Temple, and the Sòng Festival, watching the rituals and listening to the spirit medium’s songs. It was at these sites where the child would smell the fragrance of white lilies mixed with incense. The child also fondly remembers mischievous acts like catching sparrows or sneaking longans at the Trần Pagoda. These memories stem from the grandmother’s pure heart, which was drawn to spiritual places of virtue. Perhaps, by bringing her grandchild to these places, she hoped to cultivate in him a soul oriented toward good deeds, contributing to the well-being of the world. Living in a time of war, the grandmother’s hardships multiplied:

'I didn’t know how hard my grandmother’s life was,

she fished for crabs and prawns in Quan fields,

carried green tea from Ba Trại,

walked slowly through Quán Cháo, Đồng Giao on cold nights.'

She did not hesitate to take on hard labor; in fact, she took on various tasks to care for her grandchild, making sure he grew up healthy and strong. From catching crabs and prawns, she moved to carrying green tea, then trudging cold nights through Quán Cháo and Đồng Giao. She never complained about the difficulty but was driven by her love for the child. For her, this was not just a duty but an expression of her deep affection for her grandchild. War brought suffering and hunger. During times of scarcity, the two had to survive on 'boiled dong riềng root' just to stay alive. Because of her toilsome and selfless nature, the author expressed this sentiment:

'I stand suspended between two worlds, between reality and illusion,

between my grandmother and the deities.'

The grandmother’s greatness and wisdom were like that of saints and gods. She was kind and caring, just like the fairies from folk tales. She took on the role of both mother and father for her grandchild, making every effort to ensure his well-being, despite enduring numerous hardships herself. War did not break her spirit; instead, it made her more resilient and courageous:

'The American bombs rained down, and my grandmother’s house was destroyed,

the Sòng Temple was gone, and even the pagodas flew away,

where did the gods and Buddha go?

My grandmother sold eggs at Ga Lèn.'

When the bombs fell, sacred places like the pagodas and temples were destroyed, and traditional rituals and songs vanished. During these times, the grandmother, undaunted, sold eggs at Ga Lèn. Despite all the adversity, the grandmother remained strong, never allowing the bombs or hardship to stop her. She was a hero, representing all Vietnamese women during the war. The image of the grandmother became even more sacred and eternal when the grandchild returned home and regretted not having understood her struggles in his childhood:

'I became a soldier, and didn’t return to my grandmother’s village for a long time,

the old river still meanders,

when I finally understood my grandmother’s love, it was too late,

she had already become a pile of earth.'

The river from the past remained unchanged, but now the grandmother had passed away. Nothing could be more painful than losing the one who had loved and cared for you. It was only now that the child realized how much his grandmother had meant to him. He felt deeply sorrowful, both for her struggles and for his own regret in not recognizing her sacrifices earlier. Nguyễn Duy has written this poem with profound respect and love for his grandmother, capturing the spirit of the eternal, resilient figure of the grandmother, who continues to live on in his heart.