Top 7 Essays Comparing the Characters 'The Ferryman of the Da River' and 'The Character Huấn Cao' in Two Works by Nguyễn Tuân

Nguyễn Tuân (1910-1987) was a writer who spent his life in search of beauty. Before the revolution, he believed that beauty existed only in the past, as reflected in "Vang bóng một thời," with artistic talents attributed to exceptional individuals from earlier times. However, after the revolution, he no longer opposed the past and present, seeing beauty in both eras, especially in the talents of the common people. This is clearly seen through his analysis of the characters Huấn Cao in "Chữ người tử tù" and the ferryman in "Người lái đò sông Đà".

"Chữ người tử tù" is Nguyễn Tuân's most outstanding short story written before the revolution (1940), part of the collection "Vang bóng một thời". This story is not only rich in philosophical ideas but also a great success in terms of artistic execution. Its intellectual and artistic value is most evident in the portrayal of the character Huấn Cao.

Like the characters in "Vang bóng một thời," Huấn Cao's beauty is primarily that of a gifted and artistic person. This artistic talent is most notably displayed in his ability to write beautiful calligraphy. In the past, scholars would write in Chinese characters, a form of writing rich in artistic expression. Ancient scholars wrote calligraphy as a way to express their minds and ambitions, and this became a form of art known as calligraphy. Huấn Cao is an extraordinarily talented artist in this field. His calligraphy is so famous that even the warden of a small, unnamed district knows: "His writing is beautiful and square... having Huấn Cao's calligraphy displayed in your home is like owning a precious treasure." The warden's wish was to someday have a couplet written by Huấn Cao hanging in his own house. To obtain Huấn Cao's writing, the warden not only had to work hard and show patience but also risk his life. Treating Huấn Cao, a condemned prisoner, with special care was a dangerous act that could cost him his life.

Huấn Cao is also a person with pure, noble qualities. He possesses a noble heart, showing respect for those who appreciate beauty and talent. He only gives his calligraphy to those who truly value it, not for gold or power. Throughout his life, Huấn Cao wrote only two sets of four-character couplets and one central panel for three of his close friends. He showed disdain for the warden, suspecting him of some ulterior motive. However, upon realizing that the warden sincerely wished for his writing, Huấn Cao decided to honor that request and agreed to write in the prison. This moment is described as "a scene never before witnessed" in the story.

Furthermore, Huấn Cao is remarkable for his indomitable and heroic spirit. His beauty is not just in his artistic talent and noble heart but also in his unyielding, courageous character. Huấn Cao dared to oppose the imperial government, which he despised. Though his grand ambitions were not realized, his stance was always dignified and unbroken. When brought to the provincial prison, he was unfazed by the people controlling his fate. He walked proudly, accompanied by six fellow prisoners, into the jail. In the face of death, Huấn Cao remained calm, enjoying wine and food brought by the scribe, as though this were a routine part of his life. He responded to the warden's requests with a haughty attitude, knowing he might face severe punishment. As a condemned man, awaiting execution, Huấn Cao still presented himself with the dignity of a hero, "Defying heaven and stirring the waters"; "No one knows what’s above their head." Nevertheless, he was a fallen hero, a man facing death.

The character of Huấn Cao reflects Nguyễn Tuân's aesthetic ideals: the unity of talent, heart, and heroic spirit. Through this character, Nguyễn Tuân expresses his unwavering belief in the noble values of humanity and the magical power of beauty, as well as his hidden patriotism. Thus, Huấn Cao becomes a symbol of the victory of light over darkness, beauty and nobility over the mundane and filthy, and courage over the habit of submission to slavery.

Huấn Cao is a character created using romanticism, a style that highlights the triumph of talent, beauty, heart, and heroism. Nguyễn Tuân places Huấn Cao in a unique situation: the meeting between a condemned prisoner and the warden. This is a meeting not only between a prisoner and a jailer but also a strange reunion between two people who are "kindred spirits." To emphasize Huấn Cao's victory in talent, beauty, heart, and spirit, Nguyễn Tuân makes full use of the "contrast principle" in romanticism. The writer also showcases his talent for creating vivid scenes and characters using formal, elegant, and refined language.

The essay "Người lái đò sông Đà" is one of Nguyễn Tuân's most remarkable works written after the revolution, published in the collection "Sông Đà" (1960). In this essay, the ferryman of the Da River is a unique and captivating figure, clearly influenced by Nguyễn Tuân's distinctive artistic style. The ferryman is portrayed as highly skilled and brave, especially during the perilous task of navigating the dangerous rapids. To emphasize this, Nguyễn Tuân places the ferryman in an extremely challenging and brutal situation, describing it as "a battle in the river's wartime". The narrative vividly depicts the ferryman's heroic struggle against the fierce waves and rapids, making it a powerful and emotional account. The description of the dangerous rapids, filled with hidden rocks and dangerous whirlpools, creates an atmosphere of tension and awe. Nguyễn Tuân utilizes his vast vocabulary and knowledge of military strategy, martial arts, sports, and cinema to portray this epic battle between the ferryman and the river. The ferryman's calmness and courage as he commands the boat through the treacherous rapids demonstrate his mastery of his craft, with every move being executed with precision and skill.

The ferryman is not only a heroic figure but also an artist with remarkable grace. The river's rapids are fierce and unforgiving, but the ferryman's artistry and talent make him capable of navigating them effortlessly. Through his profound understanding of the river's currents and tides, the ferryman becomes a free man, a conqueror of nature. His ability to control the boat, steering it through the dangerous waters like an arrow through the air, highlights his exceptional skill and expertise. Nguyễn Tuân calls him a "master of the rudder" for his unmatched ability to handle the boat, likening him to an artist or hero triumphing over nature.

In the past, Nguyễn Tuân was seen as a writer with an idealized view of beauty. Today, he focuses his writing on ordinary laborers who silently contribute to the country. He discovers the artistry of their work, even in the dangerous yet noble tasks they perform. Nguyễn Tuân refers to this as "the gold that resides in the hearts of the people of the Northwest." Through this, Nguyễn Tuân emphasizes that true heroes are not only found in battles but also in the everyday struggles of life.

In conclusion, Huấn Cao is a character representing Nguyễn Tuân's romantic style before the August Revolution, while the ferryman is a character embodying his style after the revolution. This demonstrates that Nguyễn Tuân was a writer who spent his life in search of beauty, praising it, and constantly creating, with an unmatched and captivating style.

Nguyễn Tuân is known as 'a great artist, a great cultural figure' with a strong and rebellious personality. He is a writer with a unique artistic style, a lifelong seeker of beauty. It is through this distinctive view of human nature that he has created his characters, embodying the artistry and talent of an artist, with two key figures: Huấn Cao (from 'Chữ người tử tù') and the boatman (from 'Người lái đò sông Đà'). These two characters were portrayed during two different stages of Nguyễn Tuân's creative journey (before and after the August Revolution). Both characters, while similar, show the unity and differences in Nguyễn Tuân's approach to humanity.

Firstly, the shared characteristic of Huấn Cao and the boatman is that they are both viewed through the lens of cultural and artistic values, according to the standard of talented artists. Both are heroic figures, resilient and unyielding, and their spirits are pure and noble. Huấn Cao represents an idealistic beauty, rebellious not for personal gain but for the sake of the people and the nation, aiming to establish fairness and eliminate all injustices and oppression in life. He does not write for wealth or power, only for those who truly appreciate the art of calligraphy, including the prison warden. When Huấn Cao sees the pure-hearted warden, he is willing to forgive and offer a calligraphy piece, 'just a little more, and I would have betrayed a noble heart.' Huấn Cao's personal philosophy is that one must live up to the nobility of others, and betraying someone else's heart is unforgivable. He truly represents a noble character, combining both spirit and talent. Like Huấn Cao, the boatman is also portrayed with a golden soul, but his gold is that of a humble hero working on the river. After overcoming three dangerous rapids, the boatman says nothing but talks about fish, representing the ordinary, yet profound beauty of an artist's soul. This reflects the beauty of a person in the Hồ Chí Minh era, in the process of building a new society and a new man.

However, even in depicting their talents and erudition, Nguyễn Tuân highlights the differences between them. First, in how these two characters are introduced: Nguyễn Tuân introduces Huấn Cao indirectly, standing outside the narrative, without offering any commentary. Readers learn of Huấn Cao through conversations with the prison warden and the prison clerk, a man renowned for his exceptional calligraphy. In contrast, the boatman is introduced with a more detailed background: 'Lai Châu, my friend, has been working as a boatman on the Đà River for ten years, and has now stopped for over twenty years.' While Huấn Cao has a specific name, the boatman does not. Before the Revolution, Nguyễn Tuân found rare 'lost flowers' from the past, while after the Revolution, he found the 'flowers' in the real lives of the majority of the people, symbolized by the boatman.

The next difference lies in their specific talents. While both characters are viewed through the artistic lens, Huấn Cao's artistic talent is extraordinary in calligraphy. His fame as a calligrapher spreads far and wide. His handwriting is fast and beautiful. His characters are 'square and perfect,' and possessing his calligraphy is considered a great treasure. If the prison warden fails to get a calligraphy piece, it becomes a lifelong regret. The warden treats Huấn Cao with respect, having his cell cleaned and enduring the harsh rejection, just to obtain Huấn Cao's writing. Huấn Cao's calligraphy is not only beautiful in form, but also reflects his bold ambitions and ideals. It can be said that Huấn Cao's writing is a work of art, meant for those with refined taste and an appreciation for beauty. Beyond his calligraphy, Huấn Cao is also a heroic figure, steadfast and unyielding. He dares to stand up against the corrupt feudal regime. Even when his great escape plan fails, he does not flee, but remains calm and composed until his final moments. This shows his disregard for death, as he scorns the evil forces around him. Even as death approaches, Huấn Cao remains undisturbed and ready to face his fate, creating beauty amidst the evil that reigns. This is truly the spirit of a courageous, unyielding hero.

Unlike Huấn Cao, the boatman’s talent lies in his exceptional skill and wisdom in his craft. Having worked as a boatman for over a decade, he knows the Đà River like the back of his hand. To emphasize his expertise, Nguyễn Tuân depicts three stages of his journey through the rapids. In the first stage, the Đà River's waves attack fiercely, trying to overpower the boatman. But the boatman stands resilient, enduring the pain and successfully defending against the river's attacks, overcoming the treacherous situation. In the second stage, the river becomes more cunning and dangerous, like a beast trying to consume the boat. However, the boatman, using his knowledge of the river and his experience, remains calm and finds the safest route. In the final stage, the boatman triumphs over the rapids, completing his heroic journey. This represents the heroic, hardworking spirit of an ordinary person in everyday life. The boatman exemplifies talent and courage, qualities that Nguyễn Tuân describes as 'golden, refined through fire.'

In comparing the characters of Huấn Cao and the boatman, Nguyễn Tuân demonstrates his focus on extraordinary, unique individuals—those who are talented artists, with a cultural perspective that is a hallmark of his approach. However, we can also see differences in how he approached his characters: before the Revolution, beauty appeared in nostalgia and contrast to harsh reality, while after the Revolution, beauty was found in the everyday life of real people, in their true talents, and in their integration into the wider society. Despite these differences, both Huấn Cao and the boatman are depicted with skill and erudition—masterful in constructing characters and settings, employing bold and surprising metaphors and comparisons, and erudite in drawing on diverse fields to enrich the narrative and enhance the expressive power of the language.

In conclusion, through the portrayal of Huấn Cao and the boatman, Nguyễn Tuân’s consistent approach to human characters is evident, along with the evolution of his style before and after the August Revolution. From this, we see the talent of an artist deeply devoted to his craft—a Nguyễn Tuân full of personality, skill, knowledge, and a deep love for beauty.

Nguyễn Tuân is a major figure in modern Vietnamese literature, known for his remarkable achievements before and after 1945. His works reflect a distinctive style marked by profound skill and elegance. "The Boatman of Đà River" is an outstanding essay by Nguyễn Tuân, published in the 1960 collection "Sông Đà". The passage, "The boatman holds the paddle with both hands... They think that when they stop paddling", fully expresses the beauty of the boatman. When comparing this character to Huấn Cao in Nguyễn Tuân's pre-revolution short story "The Calligraphy of the Prisoner", one can see the stability and development in the author's approach to human nature.

To highlight the beauty of the boatman, Nguyễn Tuân places him in an extraordinary context. The Đà River’s treacherous landscape is formed by two forces: stone and water. The stone, having been silently awaiting for thousands of years, has turned into hardened formations, some cruel and jagged, exuding a rebellious attitude. The water, roaring in unison, supports the stone, delivering devastating attacks. This creates a grand scenery, where the boatman appears as a heroic figure, a skilled artist wielding his paddle like a weapon.

One of the fundamental qualities of an artist is mastery over their craft, their field, and their creative process. If the boatman is seen as an artist, he is undoubtedly a maestro. "He has mastered the strategy of the river and the stone" and is fully attuned to the "rules" of the river and its rocks. Through words like "strategy" and "rules of ambush", Nguyễn Tuân transforms the lifeless river, stone, and water into mythical creatures, into powerful generals commanding fierce armies. The phrase "the river god and the stone god" elevates these forces into a supernatural, otherworldly power. The boatman, through phrases like "has mastered" and "is familiar with", becomes a heroic commander leading an army of formidable strength.

The boatman also stands out with his skill and bravery in his battle against the torrents of the Đà River. In the first stage of the struggle, the river opens four death traps, with a single life-saving channel to the left bank... The boatman grips the paddle tightly with both hands, his legs firmly locked around the rudder, his face contorted with the intense pain of the waves. His commands are concise and composed. The boatman remains calm and resolute, maintaining control over the boat and providing unwavering support to his companions through defense, subjugation, and careful maneuvering. In the second stage, the river’s dangers intensify, as additional death traps are set. The river’s waves and rocks charge like ferocious beasts. The boatman, fully aware of the risks, remains vigilant and skillfully navigates his boat. With precision, he steers into the safest channel. During the confrontation with the water forces, the boatman shows both offensive and defensive strategies. In the final stage, the river's treacherous nature is depicted through metaphors like "the stone gate opening and closing", with both sides presenting perilous routes. The boatman’s task is to steer the boat through a narrow opening, a maneuver requiring expert skill and strength, as demonstrated in the swift movement through the gaps.

Returning to everyday life, the boatman once again appears with a serene, simple beauty. After conquering the violent forces of nature, the boatmen light a fire in their caves, roast their meals, and casually chat about fish, without mentioning the fierce battle they just faced. This calm demeanor underscores the monumental stature of these heroes, who view their struggle and triumph over the Đà River’s dangers as just another part of daily life.

Looking back at Nguyễn Tuân’s pre-revolutionary works, one can see the influence of Huấn Cao from the short story "The Calligraphy of the Prisoner". He is a man of remarkable talent, spirit, and pure integrity. His calligraphy is renowned, and his work is highly esteemed by the prison warden. Huấn Cao leads a rebellion and maintains his indomitable spirit, even in prison. His words with the prison clerk and warden reveal his deep integrity and resilience.

Through the characters of the boatman and Huấn Cao, Nguyễn Tuân’s approach to human nature remains consistent, focusing on the brilliance and artistry of exceptional individuals. However, before the revolution, the author celebrated the elite class, while after the revolution, his works embraced the common people, reflecting their struggles and virtues in everyday life.

Nguyễn Tuân (1910 - 1987), a renowned writer, spent his life searching for the beauty of life and crafting beautiful works for posterity. Before the August Revolution of 1945, Nguyễn Tuân's concept of beauty was found only in the past, in the figures of highly talented individuals. However, after the revolution, with the changing times, his understanding of beauty evolved, becoming closely tied to the everyday life, reflecting even the simplest things. Through the characters Huấn Cao in "The Prisoner’s Calligraphy" and the boatman in "The Boatman of Đà River", we can clearly observe this shift in Nguyễn Tuân's creative inspiration.

It can be said that "The Prisoner’s Calligraphy" is Nguyễn Tuân's most outstanding short story from the pre-revolutionary period. This story is part of the collection "Echoes of a Glorious Time", which explores the lives of gifted individuals whose talents have faded with time. The protagonist, Huấn Cao, embodies the beauty of an artist with extraordinary calligraphy skills, known far and wide. Even the warden of a small, obscure district is aware: "His calligraphy is beautiful, perfect... to have Huấn Cao's calligraphy displayed in one's home is like possessing a priceless treasure." Therefore, the warden's greatest wish is for his house to one day display a pair of couplets written by Huấn Cao himself.

Huấn Cao is not only gifted with beautiful handwriting but also possesses a pure, noble heart. He never compromises his art for money or power. He only shares his calligraphy with those who truly appreciate beauty and talent. Hence, throughout his life, Huấn Cao only wrote two sets of couplets and one central panel for three close friends. Initially, he showed disdain for the warden, suspecting that the warden had some hidden agenda in treating him so specially while in prison. Over time, Huấn Cao came to realize the warden's genuine admiration for beauty, as well as his heartfelt request for Huấn Cao's calligraphy. To honor the warden's sincere intentions, Huấn Cao agreed to write for him inside the prison. Nguyễn Tuân depicts this act of writing as a scene never before seen in literature.

Huấn Cao's beauty lies not only in his talent but also in his integrity and unyielding will. He embodies the spirit of a true hero, a quality not everyone possesses. Through the character of Huấn Cao, Nguyễn Tuân conveys his unwavering belief in the eternal value of beauty, which shines even in the darkest, dirtiest places.

While Huấn Cao is depicted as an exceptional figure placed in a unique context, the character of the boatman is portrayed in a simpler manner. In Nguyễn Tuân's essay "The Boatman of Đà River", the character of the boatman is presented in a very authentic way through his occupation. The boatman has a very distinct appearance, with "spindly arms", "splayed legs", a voice that is "roaring like the sound of water crashing before the rapids", and eyes that are "wide and distant, as though always longing for some faraway shore"... These physical traits fit perfectly with his environment of working on the river.

The boatman is described by Nguyễn Tuân as an intelligent man with a calm and somewhat artistic demeanor. He is deeply knowledgeable about his craft, understanding every twist and turn of the river and its temperament. He has memorized the river’s currents and all the dangerous rapids. He has mastered the strategies of the river god and the stone god, and is familiar with the ambush patterns of rocks in the treacherous waters. He is particularly skilled at leading his boat through the rapids, understanding each narrow escape, each life-and-death moment.

Nguyễn Tuân portrays the boatman as a heroic figure, "fighting valiantly through the waves" amidst the turbulent waters of the Đà River. He is courageous, enduring the physical pain from battling the immense waves and winds, and triumphing over the treacherous rapids with bold and precise movements. The boatman is portrayed as a true artist, not just a common boatman.

Both characters, Huấn Cao and the boatman, are idealized, created through Nguyễn Tuân's unique artistic lens. He views people as artists capable of highlighting extraordinary beauty in their talent and character. The writer places both characters in challenging situations to allow them to demonstrate their valuable qualities.

In constructing Huấn Cao, Nguyễn Tuân employs artistic knowledge, while in creating the boatman, he applies a wealth of life experience. This blend allows Nguyễn Tuân's works to resonate with a broad range of readers. His literary creations are not only beautiful in language but also possess profound artistic value that future generations will recognize and admire.

Nguyen Tuan is a talented artist, renowned for his expertise in essays. 'Song Da' is his finest collection of essays, written about the landscapes and people of the Northwest, a product of his trip to the region in 1958. During his time in the Northwest, he lived with soldiers, youth volunteers, road workers, and ethnic minorities. The practical experiences of building a new life in the highlands provided Nguyen Tuan with a rich source of creative inspiration. Under his pen, the scenery of the Northwest appeared both majestic and awe-inspiring, yet also captivating and poetic. In the essay 'The Boatman on the Da River,' excerpted from the collection 'Song Da,' the writer not only praises the beauty of nature but also extols the beauty of the people of the Northwest, especially the boatmen navigating the turbulent yet poetic river.

The beauty of the boatman character is depicted from various perspectives in this essay. The Da River is portrayed as violent: 'At this moment, the water of the Da River roars as if boiling at one hundred degrees, trying to toss away a boat which has to play the role of the lid of a giant teapot. The boat's sides are lower than the water level outside, and the bow of the boat is submerged in the boiling water. The river’s surface even has potholes, much like a dry road, and if a boat hits a pothole, it jerks, then lifts and falls. A waterfall, by definition, is a turbulent section of the river with many currents. If you enter the wrong current, you die immediately; if you enter the right one but not in the heart of the current, you are still in peril, just as dangerous as ever...'.

Yet, the Da River is also presented as lyrical and romantic: 'I have flown over the Da River a few times, and it gave me another perspective, a view of the fierce and poetic Northwest...'; 'The Da River flows long like a poetic lock of hair, with its head and tail hidden in the clouds of the Northwest, blooming with the flowers of ban and gao trees in February, with thick smoke rising from the Mèo mountain burning spring fields. I’ve gazed deeply at the spring clouds drifting over the Da River, and I’ve crossed through autumn clouds to look down at the river below. In spring, the river is a jade green, not the pale green of the Gam River or the Lo River. In autumn, the Da River’s water is dark red, like a person’s face bruised by alcohol, a red color full of anger, reflecting the frustration of someone upset as autumn arrives. Never have I seen the Da River as dark as when the French colonists turned our river upside down and poured in their ink, calling it by a misleading French name, then spread it across their maps...'.

The Da River, both 'fierce and poetic,' serves as the backdrop for the appearance of the boatman. He is portrayed as a heroic figure: in his intense battle with the violent river, he is the commander—wise, brave, and resolute. He overcomes whirlpools, dangerous currents, and treacherous passages to steer the boat to calmer waters. In terms of his posture: 'The boatman grips the oar firmly, holding it steady against the waves that try to throw him off.' His demeanor is described as 'alert, confident, suppressing the pain from the waves,' and his actions are vivid: 'His legs are tightly clutching the rudder,' 'striking deftly,' 'fighting in hidden, critical spots.' After 'breaking through the first stone blockade,' he never stops to rest, immediately tackling the next challenge and changing his tactics. Once he finds the right current, he steers the boat toward safety, leaving behind the deadly currents. Finally, after overcoming the 'third blockade,' he thrusts the boat straight ahead, piercing the river's barriers with swift precision. The violent waves are finally calmed, and the river returns to peace.

Moreover, the boatman is also a skilled artist. In the perilous task of steering the boat through the rapids, he has mastered the tactics of the river and the rocks. He understands the ambushes the stones create in the river's narrow passages. In the first round, the rocks form five barriers: four deadly and one safe. The safe passage lies near the left bank, which the boatman knows by heart. In the second round, the deadly currents increase, attempting to draw the boat into them, but he continues to navigate these dangers intuitively. He has learned how to tame them: mastering the rapids is like riding a tiger. When several rocks near the left bank try to drag the boat into the deadly currents, he deftly avoids them or forces his way through. In the final round, with fewer barriers, the boatman realizes that both the left and right currents are fatal, but the rocks ahead are the real threat. He then makes a decisive 'straight thrust,' and the boat cuts through the rapids like an arrow. The waves finally subside, and the boat sails to safety.

The female boatman is depicted as a Vietnamese woman with a deep love for her country, a hardworking, resourceful person with a soul full of emotions and poetry: 'One afternoon in Quynh Nhai, I came across a female boatman who had previously carried rice for the resistance from Quynh Nhai to the Tà Hè waterfall. She explained to me the significance of the boat’s structure, which resembled a fish, its tail lifted high like a bird’s wings. The boatwoman continued, 'We use the boat's tail as a place to hang a rooster. The rooster, which is bought for ten new coins, becomes the boatman's clock. As we travel from one bank to another, the sound of the rooster's crow reminds us of home. Everyone along the Da River can sing. When we are farming on the banks, we see your boats pass, and we sing a few lines of a song, sometimes an entire song. During the French occupation, the voices of women’s songs were hidden away, far from the banks. Now, with peace restored, the songs return slowly to the shores.'

Overall, Nguyen Tuan’s art of character description is masterful. He omits much about the private lives of the boatman and his female counterpart, instead focusing on their appearances and actions. Comparing the boatman with the character of Huân Cao from 'The Prisoner’s Calligraphy,' we see a similar theme of artistic mastery and courageous personality. In Huân Cao, the beauty of his calligraphy is not just about the craft itself but about the purity of his soul: 'Huân Cao's calligraphy is beautiful, square, and perfect... Having a piece of his calligraphy is like possessing a rare treasure.' In both cases, artistic mastery reveals the inner strength and integrity of the characters. Huân Cao, even in prison, maintains his dignity and artistic prowess, refusing to compromise his principles, which is reflected in the respect he earns from others.

The depiction of Huân Cao writing calligraphy in prison represents a triumph of light over darkness, of purity over corruption, of beauty over ugliness. It is a symbol of how artistic talent endures even in the most oppressive circumstances. The prisoner, though nearing death, has left behind an immortal legacy through his art. Likewise, the characters in Nguyen Tuan’s works—whether they be the boatman or others—embody this same resilience and artistic passion. Through 'The Boatman on the Da River,' Nguyen Tuan praises the bravery, intelligence, and beauty of the Vietnamese people, highlighting the strength and nobility found in their labor and love for their homeland.

Nguyễn Tuân is a talented artist, specializing in essays. Sông Đà is Nguyễn Tuân's finest collection of essays, focusing on the scenery and people of the Northwest. It is the result of the author's trip to the region in 1958. During his time in the Northwest, he lived with the soldiers, youth volunteers, road workers, and the ethnic minorities. The practical experience of building a new life in the highlands gave Nguyễn Tuân abundant creative inspiration. The landscape of the Northwest, under his pen, is both majestic and awe-inspiring, as well as beautiful and poetic. In the essay 'The Boatman of the Da River' from the collection Sông Đà, the author not only praises the beauty of nature but also celebrates the spirit of the people of the Northwest, especially the boatmen navigating the fierce yet poetic river.

In the essay, the image of the Da River appears violent: 'At this moment, the waters of the Da River roar as if boiling at a hundred degrees, threatening to toss a boat that is playing the role of a lid on a giant boiling kettle. The water level on the boat's side is lower than that of the river outside, and the bow of the boat is submerged under the white foam of the boiling water. The surface of the river has potholes like a rocky road, and when the boat enters a pothole, it is jolted down and up. A waterfall is a complex section of the river with many currents. Some currents can immediately destroy you, while others might seem safe but are equally perilous.'

Yet the river also has a poetic, lyrical side: 'I have flown over the Da River a few times and it added another perspective to my view of the wild and poetic Northwest. The Da River flows like a romantic strand of hair, the head and tail of the hair hidden in the clouds of the Northwest, blooming with the flowers of the ban and gao trees in February, with swirling smoke from the fields of Meo mountains burning the spring grass. I watched the spring mist drift over the river, and then passed through the autumn clouds to gaze down at the river. In the spring, the river is emerald green, unlike the Gấm or Lô rivers that are murky green. In the fall, the Da River's water turns deep red, like a person’s face bruised from too much wine, a red anger in the air as autumn sets in. I have never seen the Da River black as the French colonists once painted it, slandering it with their foreign names and spreading that lie across their maps.'

The image of the Da River, both 'fierce and poetic,' forms the backdrop for the boatman’s emergence. The boatman is a heroic figure of the river, a brilliant strategist and a brave leader in the battle against the river’s fury. He navigates through dangerous whirlpools, death currents, and life-threatening passages to safely steer the boat. His posture shows determination: 'He grips the paddle, determined not to let it be thrown off by the waves,' his demeanor shows composure and confidence: 'alert, calm, suppressing the pain from the water’s blows,' his actions show mastery: 'his feet press firmly on the boat's rudder,' 'striking at strategic points,' and 'attacking from unexpected angles.' After breaking through the first trap, he wastes no time resting, proceeding immediately to the next phase and changing tactics. Once he grips the right current, he 'holds the rudder firmly, steers quickly through the life passage,' leaving the deadly currents behind. With another battle won, the waves calm once more.

Moreover, the boatman is also a masterful artist. In navigating the river’s rapids, he has mastered the tactics of the river’s gods, knowing the hidden patterns of the rocks and water. In the first phase, the rocks create five traps, four leading to death, one leading to life. The boatman has memorized these traps. In the second phase, the death currents rise to lure his boat in, but he knows the dangers. He discovers the key to overcoming them: to ride the rapids as one would ride a tiger. When the water's guardians attempt to trap the boat, he skillfully avoids them, or with mastery, pushes through, clearing the way. In the final trap, despite fewer openings, the boatman knows all routes lead to danger, but using his knowledge, he succeeds in breaking through. He navigates the rapids as if steering an arrow through the mist, swiftly and skillfully. Thus, the river returns to peace.

Furthermore, the female boatman is a passionate, resourceful, and poetic Vietnamese woman. 'One afternoon in Quỳnh Nhai, I sought out a female boatman who had once ferried supplies for the resistance from Quỳnh Nhai to the Tà Hè rapids. She shared with me the architectural significance of the boat’s design: 'You all say the boat is like a fish, its tail flapping in the river, and that’s okay. But we just know the tail of the boat needs to rise high so we can hang a rooster there. The rooster is our timekeeper on the river, and its crowing reminds us of home, our farms, and villages. Everyone on the banks of the Da River knows how to sing. When we work on the fields, if we see your boats pass by, we often sing a song to you. During the French occupation, the women’s songs were silenced, but now with peace, the songs return.'

Overall, Nguyễn Tuân's portrayal of characters is exquisite. The author omits most details of the boatman’s personal life to focus on their physical traits and actions.

We can compare the boatman to Huân Cao, the character from the short story 'The Prisoner’s Calligraphy' by Nguyễn Tuân. Huân Cao is a gifted man, noble and unyielding, with pure moral integrity. His calligraphy is exquisite: 'Huân Cao's writing is magnificent, square, and perfect (...). To possess his calligraphy is to hold a precious treasure.' In the aesthetic values of ancient scholars, from China to Vietnam, beautiful calligraphy was a high art form, and writing beautifully was considered a refined, noble pastime. Thus, through the struggles, sacrifices, and fears of the prison warden, Huân Cao's rare and brilliant talent is glorified.

Nguyễn Tuân (1910 - 1987) is known as a writer who spent his life searching for the beauty of life and writing remarkable works for future generations. Before the August Revolution in 1945, Nguyễn Tuân’s concept of beauty was rooted in things that only existed in the past, found in the remarkable figures of ancient sages. However, after the revolution and the changing era, his view of beauty shifted towards the everyday life, focusing on the simplest things. Through two characters, Huấn Cao in "The Calligrapher of the Condemned Prisoner" and the boatman in "The Boatman on the Da River," we can clearly observe the shift in Nguyễn Tuân's creative inspiration.

It can be said that "The Calligrapher of the Condemned Prisoner" is Nguyễn Tuân's most outstanding short story from the pre-Revolutionary period. The short story is part of the collection "Echoes of a Bygone Era," which portrays individuals who were once brilliant but have faded into history. The main character, Huấn Cao, is depicted as a talented artist, famous for his calligraphy. Even the warden of an obscure prison knows that: "His calligraphy is beautiful, so perfectly squared...to have Huấn Cao's calligraphy in the house is to possess a rare treasure in this world." Therefore, the warden's desire is to one day have a pair of couplets written by Huấn Cao to hang in his home.

Not only was Huấn Cao known for his beautiful handwriting, but he also possessed a pure and noble spirit. He never allowed himself to write for money or power. He only wrote for those who truly appreciated beauty and talent. As a result, in his lifetime, Huấn Cao had only written two sets of four-line verses and one inscription for three of his dear friends. Initially, he looked down on the warden, suspecting that the man might have some ulterior motives for treating him differently in prison. However, gradually, Huấn Cao recognized the warden’s genuine admiration for beauty and his sincere request for calligraphy. To honor the warden's request, Huấn Cao agreed to write even in the prison cell. Nguyễn Tuân masterfully depicted this calligraphy scene as something unique and unprecedented.

The character of Huấn Cao not only embodies artistic talent but also demonstrates a noble spirit and unyielding will of a true gentleman. His courage is remarkable, and he exudes the heroic spirit that not everyone possesses. Through Huấn Cao, Nguyễn Tuân reveals an unwavering belief in the existence of beauty and nobility, even in the darkest and most filthy places, where it can still shine brightly.

If Huấn Cao is portrayed as an extraordinary individual constructed in an unprecedented environment, the boatman’s character is a little more down-to-earth. In Nguyễn Tuân's essay "The Boatman on the Da River," the boatman is depicted in a very realistic manner through his work. The boatman has a distinctive appearance, with "long, lean arms," "legs wide apart," a voice "roaring like the sound of water crashing against a rapids," and eyes that seem to always be "yearning for some far-off dock." With such physical traits, the boatman is well-suited to the labor-intensive life on the river.

The boatman is portrayed as a highly skilled and composed individual, almost like an artist in his profession. He is deeply knowledgeable about the river, its currents, and its dangerous rapids. He has committed to memory every twist and turn of the river and understands the rules of navigation, including the tactical moves needed to cross dangerous currents. He commands the boat as though he were a general navigating a battlefield, carefully and skillfully guiding it through treacherous waters.

Nguyễn Tuân describes the boatman as a fearless figure, skillfully maneuvering his boat through the raging waters of the Da River. He is a courageous man, enduring the physical pain of battling the waves, using bold and precise movements to conquer the dangerous rapids. The boatman is portrayed as an artist in his own right, not just a simple boatman.

Both Huấn Cao and the boatman are idealized figures, constructed through Nguyễn Tuân’s unique perspective. The author sees them as exceptional individuals who can highlight extraordinary beauty in their talents and characters. Both characters are placed in situations of great challenge that allow them to reveal their true, admirable qualities.

When constructing Huấn Cao's character, Nguyễn Tuân utilized artistic knowledge, while for the boatman, he relied on practical knowledge of life. This blend of artistry and lived experience is what makes Nguyễn Tuân’s writing so persuasive to a wide range of readers. His literary works are not only beautiful in language but also possess distinctive artistic value that future generations will acknowledge.