Top 8 Analytical Essays on Ma Văn Kháng's "Mùa lá rụng trong vườn"

Ma Văn Kháng's "Mùa lá rụng trong vườn" offers readers a gentle, deeply traditional, and reflective experience.

The story revolves around the life of Mr. Bằng's family—a well-established, disciplined household in Hanoi, comprising three generations living together in the post-war era under a centralized political system. Mr. Bằng has five children, the eldest of whom, Tường, died in the war. Hoài, Tường's widow, is a virtuous and gentle daughter-in-law. After a long period of mourning, Hoài is permitted by her in-laws to remarry. Yet, her soul remains deeply loyal to Mr. Bằng's family.

Hoài, the wife of a martyr, accepts life's impermanence by remarrying but maintains her constancy: her pure loyalty to her late husband's family (Mr. Bằng's household). After the season of falling leaves, she returns to her roots, visiting her former family during the New Year's Eve ceremony. Hoài (a name that subtly suggests stability, constancy, and loyalty) appears in the work and the excerpt at an unexpected moment in life, also marking the end of a year's journey.

She brings a peaceful rhythm to her in-laws' garden—compensating for what that tranquil world has lost, is losing, and will lose, while also adapting to the fast-paced life of a market economy. Her concise yet profound message in Chapter XX—the final chapter of the story—after another season of falling leaves, completes the portrait of a martyr's wife who has serenely chosen to live for others (primarily her family, even if it is now an old family she is no longer obligated to share responsibilities with): "When Cần gets married, Phượng gives birth, and Lí returns, remember to call me."

As Đông, Lí, and Luận reflect: "Her relationship with this family belongs to the past. Her memories here are beautiful but sad. She has the right to forget, and no one can blame her." Yet, the excerpt introduces readers to a present-day Hoài, not one of the past. In this year's Tet celebration, her thoughtfulness, care, and unwavering loyalty as the eldest daughter-in-law remain evident.

This deeply moves everyone in Mr. Bằng's family. Through Ma Văn Kháng's portrayal, readers are also stirred by the kind-hearted, selfless, and loyal nature of this woman who was once the eldest daughter-in-law.

Ma Văn Kháng generously introduces this special character through both direct descriptions (her simple yet bright appearance: "a rural woman around fifty, slender in a pomegranate-patterned padded jacket. A brown knitted scarf frames her broad face with double-lidded, warm eyes and a fresh smile"; her "deeply nostalgic" eyes; her rustic yet refined language: "Is that you, Phượng?") and indirect references (through others' memories: "Hoài, the wife of the late martyr Tường. Hoài, the eldest daughter-in-law, virtuous and gentle"; through Phượng's present-day perception: "The woman who seemed to have severed all ties with this family still communicates, shares joys and sorrows, and participates in its life").

After nine years apart from her beloved father-in-law, Hoài "almost loses control, rushing toward Mr. Bằng, forgetting her slippers...". Ma Văn Kháng subtly captures her restraint, stopping her "two rows of patterned tiles away"—symbolizing both propriety and the distance of remarriage. She utters "Father" like a sob. Yet, during the ancestral worship ceremony, Hoài truly returns to her pure faith. She naively believes she remains an inseparable part of the old family. Thus, as Mr. Bằng finishes his prayer, she immediately "steps into his place, raising her hands to her chest" to offer her own prayer.

Through this imagery, Ma Văn Kháng seems to convey an unspoken truth: one can embrace the new while preserving the timeless essence of the old.

Reading Ma Văn Kháng's works, one is always haunted by a world that is no longer intact (though not yet undergoing drastic changes). The stories he tells are not grand or dramatic, yet they encapsulate an era, a time when many were teetering between the old and the new. *Mùa lá rụng trong vườn* is such a work.

Readers are particularly struck by the changes in the garden during the season of falling leaves and the people who are no longer as they once were. This evokes a "profound concern for traditional values in the face of changing times."

In the excerpt from the 12th-grade Literature textbook (taken from Chapter 2 of the novel), the author focuses on a brief moment—New Year's Eve—and a confined space—Mr. Bằng's family home. From this, he opens up deep emotions and reflections on what has gradually been lost in society and an entire era. The New Year's Eve of Mr. Bằng's family, like that of many Vietnamese families, is bustling, eager, and hurried.

The family prepares a New Year's Eve feast to place on the ancestral altar. In this scene, we still see undeniable traditional beauty. It is an atmosphere filled with both the noise of preparations and the desire to hold onto the last moments of the old year while rushing to welcome the new, hoping for better days ahead.

Everyone feels as though everything is just beginning. The character Lí embodies the Tet spirit in her busy demeanor, constantly scolding her husband affectionately, complaining about the messy house, arranging tasks, discussing prices, marveling at goods, praising this, criticizing that, commenting here, and observing there. In her, we see the image of many Vietnamese women (especially urban women) during the year-end rush: managing everything, overseeing everything, and caring about everything.

They become more beautiful in their busy, caring state. Readers also see the distinctive beauty of the Vietnamese people in this excerpt: the longing for reunion and togetherness. During Tet, every Vietnamese person wishes to return to their family home, where parents, siblings, and roots reside, a place filled with memories of joy and sorrow (and perhaps even pain, misfortune, and separation).

For each person, family is a peaceful haven to rest after days of exhausting labor. The members of Mr. Bằng's family are no exception to this custom. Đông, Lí, Luận, Phượng, and Mr. Bằng all share a common feeling: reunion. They all wish to meet, to feel their hearts stir when holding a hand or seeing a familiar figure; to laugh, to talk, and to reflect on what has passed and what is yet to come.

The appearance of Mrs. Hoài fulfills these desires. "The event unfolds so suddenly that Đông, Lí, and Luận rush out from the living room, across the cement path through the garden to the gate, seeing Mrs. Hoài in the flesh yet still half-believing, half-doubting." Mrs. Hoài appears in person, and the whole family is unusually happy and surprised, not only because she is virtuous and gentle but also for deeper reasons.

Mrs. Hoài is the keeper of the old soul, pure and unblemished, never distant, never obscured, no matter how life changes, no matter the worries or struggles. She is a sacred, beautiful fragment of the past that Lí, Đông, Luận, and Mr. Bằng once built, nurtured, and revered. But in each of them, this fragment seems to have been shaken, cracked, or chipped away. Only Mrs. Hoài remains a sacred, infinitely pure, unbreakable treasure. It is a precious heirloom that everyone in Mr. Bằng's family believes is safely hidden away, untouchable by anyone.

The conversations among Mr. Bằng's children during the reunion are as ordinary as those in any Vietnamese family: asking about health, work, who is still here, who is gone... Yet, they are characteristic of year-end gatherings, filled with mixed emotions of joy and sorrow, as countless memories flood back, and everyone wants to speak, to share, to express themselves, wishing their hands were warm enough to comfort their loved ones. The power of blood ties gives the members of Mr. Bằng's family a special feeling during this New Year's Eve.

They all strive for the best, turning toward the altar. This sacred place bears the faces of ancestors, the presence of lineage and blood ties, a testament to all that is most precious and beyond words, felt only through the spirituality of each individual. "Mr. Bằng adjusts his buttons, straightens his tie, clears his throat, and steps closer to the altar." This respectful and solemn attitude shows reverence for all who have passed and the preservation of all that the family lineage has maintained.

Mr. Bằng's sacred prayer is a conversation with those who have gone far away, a confession to all who are recorded in the family lineage. "Dear parents, though separated by thousands of miles, you still live with your descendants. I remain steadfast in remembering the gratitude of your nurturing, the family, ancestors, and forebears. I feel in my soul and blood the flourishing, prosperity, and peace of our descendants, generation after generation, in the loving community of our nation."

These words of gratitude come from the depths of his heart, from a sincere and unwavering belief in the eternal presence of ancestors. And in this moment of family reunion, everyone feels the sacred presence of their ancestors. They still "live, rejoice, grieve, share, and guide" their descendants.

The meaning of the reunion expands far beyond a simple gathering of the living; it is a spiritual communion between the living and the dead: "The past is not severed from the present. Ancestors are not separated from descendants. All are linked in an unbroken, loyal chain." And the New Year's Eve feast, with its abundance of dishes, is a joyful and unusually cheerful gathering.

It is a sacred moment when each member of Mr. Bằng's family feels their presence, their existence, as part of a family, a lineage, and the blood flowing in their veins is that of their ancestors. In just a few pages, readers can sense the traditional beauty of Mr. Bằng's family. A family that still preserves the customs, order, and beautiful routines of Vietnamese households.

Readers can see the image of many Vietnamese families in this. However, Ma Văn Kháng's pen does not stop there. More importantly, he portrays the fragility of traditional beauty in the face of societal changes. Indeed, the Tet reunion of Mr. Bằng's family transcends its ordinary, specific meaning and becomes a symbol of "family traditions," of customs, of family values, and of all the traditional beauty of Vietnamese families.

Observing the reunion of Mr. Bằng's family closely, readers cannot help but fear for what they thought would last forever. Mrs. Hoài's appearance—beyond the usual purpose of a visit—carries another intention. "You wrote to me, telling me everything. Even about Cừ. That's why I was so anxious and had to come immediately. I was afraid you'd be sad? Only now do Lí, Đông, Luận, and Phượng realize that Mrs. Hoài's visit on the afternoon of the 30th had its reasons.

The letters Mr. Bằng wrote to Mrs. Hoài do not explicitly state it, but readers can infer that they contain sad stories. Stories of a family no longer as warm and complete as before. Cừ—Mr. Bằng's son, a talented young man who joined the army but then fled abroad, disappearing without a trace. His absence does not create a void or a lack in the family but, more painfully, his wrongdoings deeply offend the family's traditions and values.

Mr. Bằng, Lí, Đông... all family members feel hurt and pained. It is like a stain on the family, a sign of peace being shattered forever, irreparable. This is why Mr. Bằng completely excludes Cừ from the family when reading his sons' names before the ancestral altar.

The confirmation of Cừ's death and disappearance in Mr. Bằng's heart reflects the immense pain and torment of someone unable to bear the shocks of change and corruption. It also shows Mr. Bằng's fear of the unexpected and the unforeseen. Mrs. Hoài shares this feeling. And thus, she is the one who empathizes most with Mr. Bằng in the family.

The wave of change has crept into this once-orderly and disciplined family. It begins to alter its members. The only one quick to adapt to the times is Lí. Lí is no longer as she once was. She has changed and is chasing the dizzying pace of societal change. Her words now carry the breath of money, influenced by power and social status.

Lí no longer accepts sacrifices as she once did; she now demands and desires to achieve all she wants. She likes to show off, to excel, to stand out, and thus, in every word and action, she calculates and weighs carefully. Therefore, the year-end feast she prepares is both skillful and meticulous, yet also a display of her ability to earn money: the table is laden with many expensive dishes, "too lavish for a time of great difficulty."

Đông—Lí's husband, a retired soldier, has become a faint figure, a shadow in the house, spending his days eating, sleeping, and playing cards at night, as if life has nothing left for him to do, nothing worth thinking about... Clearly, the changes of the times have caused significant tremors in Mr. Bằng's small family. The relationships between members are gradually drifting apart, disintegrating, lacking the close, intimate bonds of the past.

Particularly, the changes of the times have impacted their psychology, their life philosophies, and ideals that once seemed solid, reliable, and trustworthy. No matter how hard Mr. Bằng tries, the walls of the house have begun to crack. His efforts to mend them are futile against the cold, brutal nature of the market economy, of survival needs, of making a living. Ma Văn Kháng has succeeded in portraying "a world no longer intact."

Through the changes in one small family, the author generalizes an entire society where the struggle between the old and the new is unfolding on many fronts, where the fluctuations of the times spare no one. From the changes in the New Year's Eve feast, from the psychological tremors of Mr. Bằng's family members, we sense the heart-wrenching sighs of fear for traditional values being shaken and irreversibly altered. This is the profound humanistic value that emerges from the excerpt and the entire novel *Mùa lá rụng trong vườn*.

The excerpt revolves around the touching reunion between Mrs. Hoài—Mr. Bằng's eldest daughter-in-law—and her former family after nearly nine years apart on New Year's Eve. Her husband, Tường, died in the war. Mrs. Hoài remarried and has her own life.

The family no longer has emotional ties binding them, but the image of the capable and gentle eldest daughter-in-law remains intact in their hearts. During the sacred moment of New Year's Eve, when ancestors are welcomed home, the family suddenly remembers their beloved sister-in-law. If she were here, the Tet celebration would be livelier, but she has her own family now, so it remains just a wish.

Yet, surprisingly, as if answering their prayers, Mrs. Hoài suddenly appears, leaving everyone stunned. Opening the gate, after a moment of disbelief, Phượng exclaims to inform everyone in the house. The whole family rushes out to greet her, half-believing, half-doubting. Everyone chatters excitedly, Phượng grabs her bag, and Lí hugs her tightly.

As they enter the house, the lively conversation continues. The warm details are naturally recounted, evoking an atmosphere of joy, emotion, and overflowing love among the family members. The cozy space of the house is suddenly filled with unexpected happiness, just as Vietnamese people wish for during Tet.

The meeting between the father-in-law and the virtuous daughter-in-law is also deeply moving. Hearing that Mrs. Hoài has arrived, Mr. Bằng, who was upstairs, comes down to greet her. Seeing her, his eyes blink rapidly, as if he is about to cry, while Mrs. Hoài rushes toward him, forgetting to take off her shoes. She speaks as if sobbing, and his voice is hoarse: "Is that you, my child?" The scene is so emotional that Phượng has to turn away to hide her tears.

Mrs. Hoài meeting Mr. Bằng is like reuniting with a beloved father after years apart. Mr. Bằng meeting her is like welcoming a daughter who has returned from afar. Though not her biological father, their bond of love and morality ensures that their affection remains unblemished by time or distance. The tearful, joyful reunion highlights the beauty of traditional family relationships and values.

In the joyful tears, there is also sorrow. Sorrow that Mrs. Hoài is no longer an official member of the family and that she now lives a hard, laborious life with cracked heels. Sorrow that Mr. Bằng is no longer as healthy as before... The artistry in depicting the scene is vivid, and the psychological portrayal of the characters is realistic and subtle.

The feast is ready, and as the incense smoke rises, the house is immersed in a sacred atmosphere. Mr. Bằng's prayer is a heartfelt tribute to his roots and ancestral gratitude, showing that the past is always connected to the present: ANCESTORS are never separated from their descendants.

All are linked in an unbroken, loyal chain. This spiritual value is the foundation for preserving morality and traditional family values. A proper feast, solemn faces, and sincere hearts before the ancestral altar reflect the deep cultural traditions of the Vietnamese people.

Though appearing in just one scene, the characters' personalities are relatively well-defined. Đông is cautious, thoughtful, and quiet. Phượng is enthusiastic, lively, and innocent. Lí is straightforward and showy. Mrs. Hoài is calm and composed.

The excerpt succeeds in building a touching, unexpected reunion filled with joy and excitement. Through this, the writer shows the warm, happy bonds of family ties, and the beauty of family culture as a spiritual value, a foundation for success and support for its members if they stumble in life.

If you are someone who longs to reconnect with old traditions and wishes to experience the ancient, exemplary beauty of Vietnamese culture, you should not miss the timeless novels of Ma Văn Kháng, such as *Đồng bạc trắng hoa xòe*, *Vùng biên ải*, and *Mùa lá rụng trong vườn*.

While Ma Văn Kháng's novels are not cultural studies, the author dedicates significant effort and space to meticulously depict the beauty of life during different periods of the country's development. A prime example of his refined and profound writing style is the novel *Mùa lá rụng trong vườn*, which focuses on a well-mannered family living during the country's renovation period. This family, spanning multiple generations, is deeply and powerfully affected by the market economy, which alters their way of life and thinking. The ones most heavily impacted by this new system are likely the elderly, like Mr. Bằng.

People of the older generation, like Mr. Bằng, always strive to live by traditional standards and teach their family members to do the same, ensuring they do not bring shame to themselves or others. However, as the market economy changes, traditional values gradually fade. What was once revered now seems outdated. Elderly individuals like Mr. Bằng no longer have the time to adapt to the new ways and remain nostalgic for the golden days of the past.

The excerpt in the 12th-grade Literature textbook, taken from Chapter 2 of *Mùa lá rụng trong vườn*, captures the atmosphere of a family where old and new traditions intertwine, creating a warm and emotional scene on a deeply moving year-end day.

The traditional value of Tet, the Lunar New Year, has remained largely unchanged over time. Tet is still the most precious time of the year for family reunions. In Mr. Bằng's family, daughters and daughters-in-law gather to prepare the New Year's Eve feast to welcome their ancestors home. Tet also serves as a deeply human occasion for someone like Mrs. Hiền, who has been apart from the family for ten years, to return to her former husband's household. Although she is no longer the wife of the eldest son, Tường, her respect for Mr. Bằng and her care for the younger family members are no longer her obligations.

Yet, the family still remembers her, loves her, and wishes to see her again as if she were their own child. It is Mrs. Hiền's kind heart, cheerful and gentle nature, diligence, and skill that transform her from an outsider into a beloved family member. Meanwhile, someone who was once flesh and blood, but failed to uphold traditions and chased after the changes of the new society, seems to have lost their place in the family. Mr. Bằng has indeed abandoned his own son, Cừ.

The reunion of Mrs. Hiền with Mr. Bằng's family evokes a genuine and intimate feeling among relatives. Readers can sense the joy radiating through every word. From the way the siblings hug her and lead her into the house—some walking ahead, some linking arms, others shyly walking beside her—it feels as though she has never left. People who are apart for a year feel the distance keenly. Family members separated for too long may even grow distant. Yet, Mrs. Hiền, who left the house over ten years ago, is welcomed as if she had always lived there. Perhaps it is because Mrs. Hiền is an exceptional daughter-in-law that the family loves her so dearly. Or perhaps it is because she returned on the day when everyone longed for completeness and reunion, making her return so heartwarming.

Reunion is not just about hugs; Mrs. Hiền also cleverly distributes hometown gifts to each family member. Despite being apart for ten years, she remembers everyone's habits and preferences as if she had never left. She knows her father-in-law loves pork rolls. Simple, rustic gifts like sticky rice and fragrant gourd seeds... Her endless questions about each family member, her advice on planting gourds—where, when, and how—make it seem as though she never left this house.

Ma Văn Kháng once said, "No one chooses the era or circumstances in which they are born and live." Known as a trailblazer in modern Vietnamese literature, he is a brilliant representative of Vietnamese literature, contributing tirelessly to the nation's literary cause despite his advanced age. *Mùa lá rụng trong vườn* is one of his remarkable novels, published in 1985.

The story is set in a traditional family during the 1980s, a time when the country was undergoing significant transformations after the war, bringing both positive and negative changes. The novel authentically reflects the societal upheavals of the time and their profound impact on families—the building blocks of society.

Indeed, the excerpt from Chapter II of *Mùa lá rụng trong vườn* recounts the afternoon of the 30th Tet in the Year of the Dog, when Mrs. Hoài—the widow of Tường, the eldest son of Mr. Bằng, who has since remarried—returns to her former family. Although she now has her own family, she has not forgotten her roots. The love and warmth from Mr. Bằng's family, along with the inquiries from her brothers- and sisters-in-law, leave her deeply moved.

As the touching conversation between Mr. Bằng and Hoài unfolds, the ancestral worship feast is prepared. The Tet feast is truly lavish. Through this story, Ma Văn Kháng expresses his respect for the enduring loyalty and beautiful traditions of the people of Hanoi.

First, Hoài—the beloved spiritual daughter of Mr. Bằng—is vividly portrayed by the author. She is the wife of a martyr. Despite remarrying, she remains deeply connected to her former husband's family. She returns to visit them on the 30th of Tet. Ma Văn Kháng describes her in meticulous detail. Hoài is a rural woman around fifty, slender in a pomegranate-patterned padded jacket. She has a broad face with warm eyes and a fresh smile.

With just a few strokes, Hoài emerges as a simple yet radiant figure. Once the eldest daughter-in-law in Mr. Bằng's family, she now has her own family and responsibilities, yet she still holds a special place in her heart for Mr. Bằng's household. In the memories of this warm family, "a beautiful and virtuous Hoài still lives vividly."

Returning to Mr. Bằng's family, Hoài brings gifts from the countryside: sticky rice and a basket made by her current husband. When she sees Mr. Bằng, whom she deeply respects and loves, she "almost loses control, rushing toward him, forgetting her slippers, her large feet... stopping just two rows of patterned tiles away." Her voice chokes with emotion as she calls out, "Father!" She joins her hands in prayer before the ancestral altar immediately after Mr. Bằng steps aside, eagerly asking about everyone in the family.

Through these actions, we see her deep care and affection for others. She lives with unwavering loyalty and steadfastness, treating her former husband's family as her own. This is the beauty of Vietnamese women.

Ma Văn Kháng also skillfully portrays Mr. Bằng, who appears taller and thinner than usual but more dignified and composed, his face reflecting the emotions of someone on the threshold of a new year. When he hears of Hoài's arrival, "he freezes upon seeing her, his face momentarily dazed. Then his eyes blink rapidly, his lips moving soundlessly, as if he is about to burst into tears." His voice becomes hoarse and raspy: "Is that you, my child?" The indescribable joy of reuniting with his beloved eldest daughter-in-law is depicted with striking realism.

As the lavish feast is served, everyone gathers around, and Mr. Bằng stands before the ancestral altar, seemingly forgetting everything around him, drifting back to the past to honor his parents and ancestors, speaking to his late wife and eldest son: "For a moment, immersed in the flow of gratitude toward his ancestors and the departed, Mr. Bằng floats in hazy, otherworldly memories.

But he lingers in that drifting emotion only briefly. The past is not severed from the present. Ancestors are not separated from their descendants. All are linked in an unbroken, loyal chain. Thus, he returns to the living, to those still alive, his eyes suddenly stinging." It is clear that Mr. Bằng serves as the bridge between the past and present of his family in this sacred moment. He embodies the moral backbone of the family.

In summary, through the excerpt from *Mùa lá rụng trong vườn*, Ma Văn Kháng skillfully constructs a coherent narrative that helps readers appreciate the traditional beauty of Vietnamese families, ensuring they do not lose themselves to the influences of the market economy. The story deepens our love for the soulful beauty of Hanoi's people. It is like a short film about a family that values gratitude, loyalty, and unwavering affection.

Ma Văn Kháng was born in 1936 in Kim Liên Village, Đống Đa, Hanoi. His birth name was Lê Trọng Đoàn. He is a passionate and youthful writer, as well as a pioneer in the renewal of Vietnamese prose in 1975. He has a prolific body of work, with notable contributions such as *Mùa lá rụng trong vườn*, an excerpt from Chapter II of the novel of the same name. The work expresses a deep nostalgia for the fading traditional values of the nation amidst the changes brought by modernization.

The excerpt from Chapter II of *Mùa lá rụng trong vườn* recounts the afternoon of the 30th Tet in the Year of the Dog, when Mrs. Hoài—the widow of Tường, the eldest son of Mr. Bằng, who has since remarried—returns to visit her former family. Although she now has her own family, she has not forgotten her roots. The love and warmth from Mr. Bằng's family, along with the inquiries from her brothers- and sisters-in-law, leave her deeply moved.

The author portrays her in meticulous detail. Hoài is a rural woman around fifty, slender in a pomegranate-patterned padded jacket. She has a broad face with warm eyes and a fresh smile. With just a few strokes, Hoài emerges as a simple yet radiant figure.

Once the eldest daughter-in-law in Mr. Bằng's family, Hoài now has her own family and responsibilities, yet she still holds a special place in her heart for Mr. Bằng's household. In the memories of this warm family, "a beautiful and virtuous Hoài still lives vividly." Returning to Mr. Bằng's family, Hoài brings gifts from the countryside: sticky rice and a basket made by her current husband. When she sees Mr. Bằng, whom she deeply respects and loves, she "almost loses control, rushing toward him, forgetting her slippers, her large feet... stopping just two rows of patterned tiles away." Her voice chokes with emotion as she calls out, "Father!" She joins her hands in prayer before the ancestral altar immediately after Mr. Bằng steps aside, eagerly asking about everyone in the family.

Through these actions, we see her deep care and affection for others. She lives with unwavering loyalty and steadfastness, treating her former husband's family as her own. This is the beauty of Vietnamese women. The reunion between Mr. Bằng and his eldest daughter-in-law, Hoài, is both joyful and bittersweet. To some extent, this reunion alleviates Mr. Bằng's loneliness and renews his faith in the current state of his family.

The New Year's Eve ceremony is filled with solemn yet warm atmosphere, and the prayers are sincere and heartfelt. Standing before the ancestral altar, Mr. Bằng "seems to forget everything around him and his own being." He immerses himself in the incense smoke of Tet, drifting back to the past, expressing deep gratitude to his ancestors, parents, his late wife, and his eldest son who lies in a green grave. From this sacred past, he returns to the chaotic present.

More than anyone in the family, he is deeply aware of the connection between tradition and the present, between ancestors and descendants. The lavish New Year's Eve feast, meticulously prepared by the family—especially Lý—symbolizes the passing of the old year's sorrows, leaving only the joyful, warm, and united atmosphere of a family that seems unbreakable. It is clear that Mr. Bằng serves as the bridge between the past and present of his family in this sacred moment.

Through this excerpt from *Mùa lá rụng trong vườn*, Ma Văn Kháng candidly addresses the pressing issues of society at the time. In the face of the country's economic difficulties and the fragmentation of family relationships due to the influx of new cultures, traditional values seem to erode. In light of this, the writer urges us to preserve the precious cultural traditions of our nation. We must embrace the new while safeguarding traditional values.

The story *Mùa lá rụng trong vườn* is one of Ma Văn Kháng's remarkable works, leaving a beautiful impression on readers during the late 20th-century renovation period.

The reunion between Mrs. Hoài and Mr. Bằng, along with her brothers- and sisters-in-law on the afternoon of the 30th Tet, is deeply moving. Phượng has been a daughter-in-law in Mr. Bằng's family for over nine years. At Luận and Phượng's wedding, Mrs. Hoài came to congratulate them. It had been a long time since Phượng last saw her eldest sister-in-law. The woman Phượng and Lý had longed to see appeared right at the gate, just as the family was bustling with preparations for the New Year's Eve ceremony. This unexpected encounter in that sacred moment became even more touching.

Phượng serves as a "magic mirror" through which the author reflects and illuminates these memorable scenes. Before Phượng's eyes, outside the iron gate, stands a rural woman, "around fifty, slender in a pomegranate-patterned padded jacket." A brown knitted scarf frames her broad face with warm double-lidded eyes and a fresh smile. She carries a heavy bag, her demeanor not entirely unfamiliar but tinged with nostalgia.

Ma Văn Kháng masterfully captures the image of Mrs. Hoài lingering in Phượng's heart; it is a fleeting impression but deeply felt, as if "a wish come true." Midway through a casual greeting, Phượng recognizes her beloved sister-in-law: "Auntie... who are you looking for? Oh, are you... are you Mrs. Hoài?" Mrs. Hoài still remembers her sister-in-law, even after nearly ten years apart. A question, a statement, brimming with affection: "Is that you, Phượng?" The simple word "like" carries a rustic charm, rich with meaning.

After Phượng's exclamation, "Mrs. Hoài! Mrs. Hoài is here, Đông, Lý, Luận, come quick!" her brothers- and sisters-in-law rush out to welcome her. Đông, Lý, and Luận are half-believing, half-doubting. It is beyond imagination. Mrs. Hoài is here! On the afternoon of the 30th Tet! Mrs. Hoài, the widow of Tường, the martyr. After a long period of mourning, she was permitted by her in-laws to remarry. Yet, her soul remains deeply connected to Mr. Bằng's family. She shares in their joys and sorrows.

Mrs. Hoài's return to her "former family" on the afternoon of the 30th Tet stirs deep emotions in her brothers- and sisters-in-law. Her image remains vivid in their memories: "Mrs. Hoài, the eldest daughter-in-law, virtuous and gentle. In their subconscious, a beautiful and virtuous Hoài still lives vividly." Ma Văn Kháng's pen is not only adept at analyzing human psychology but also deeply affectionate and sentimental:

"But now Mrs. Hoài has her own family, with her own relationships and responsibilities, so she still remembers, still cherishes, still loves them, yet dares not, cannot hold her back. Her relationship with this family belongs to the past. Her memories here are beautiful but sad. She has the right to forget, and no one can blame her."

Though she now has her own family far away, Mrs. Hoài never forgets Mr. Bằng's family. When her mother-in-law passed away, she returned for the funeral. At Luận and Phượng's wedding, she came to celebrate and share their joy. She still visits to offer incense and flowers at the ancestral altar. She still mourns Tường, who went to war and never returned. Upon hearing about Cừ, her brother-in-law who "defected" abroad, she feared Mr. Bằng would be sad. Despite her busy household and cooperative work, and the approaching Tet, Mrs. Hoài still came, arriving on the afternoon of the 30th Tet.

Reading Chapter II of *Mùa lá rụng trong vườn*, we feel the author's tender pen as he sings of loyalty and steadfastness in life. The bag Mrs. Hoài carries is also a beautiful part of this song of affection. The bag is filled with rustic gifts.

Mrs. Hoài takes them out as she speaks. She is so simple and kind, her husband and children so thoughtful and affectionate. The material value of the subsidy era is precious, but the spiritual value is immeasurable. Mrs. Hoài cheerfully recalls her children urging her: "Mom, go, or Grandpa will be sad, your uncles and aunts are waiting!"

Simple homegrown items, yet priceless: "This is sticky rice from our farm. The pork roll was made by my husband; Grandpa loves pork rolls, Lý. And this package is arrowroot powder. The kids pounded and sifted it." Mrs. Hoài thoughtfully brings a packet of fragrant gourd seeds, "delicious and yielding large fruit"; she reminds Lý to plant them by the pond, tonight...

Mrs. Hoài cares for everyone. She asks after the carpenter. She praises, "Uncle Đông's hair is gray, but he's still strong!" She inquires about little Dư. She compliments Lý (Đông's wife), "You look as young as an eighteen-year-old!" Her heart overflows with joy at returning. Her siblings' hearts also overflow with joy at seeing their eldest sister-in-law again, even though "her relationship with this family belongs to the past"... The detail of the gift-filled bag, described by Ma Văn Kháng, shines with humanity—the beauty of human affection.

The scene of Mr. Bằng reuniting with Mrs. Hoài, his former daughter-in-law after many years of change, is vivid, real, and deeply moving. Mr. Bằng, leaning on his cane, clatters down the stairs. Phượng and Luận run to the foot of the stairs to greet him. Mr. Bằng comes down to perform the ceremony and also hears the news of Mrs. Hoài's arrival.

He has aged, his cheeks sagging with wrinkles, his forehead marked by decline and worry. Mr. Bằng still maintains his dignified and proper demeanor, "though still in his black pinstripe suit, diagonally buttoned." Catching sight of his eldest daughter-in-law visiting, Mr. Bằng is overwhelmed, "freezes," his face "momentarily dazed," his eyes "blinking rapidly," his lips "moving soundlessly," he is "about to burst into tears."

Time seems to stand still, space falls silent. When Mrs. Hoài rushes toward her father-in-law, choking out, "Father!" Mr. Bằng's voice becomes hoarse and raspy: "Is that you, my child?" So much affection and respect. Mr. Bằng cries, and his former daughter-in-law cries too. "The joyful reunion is tinged with sorrow, aching in the heart."

Phượng remains the "magic mirror" reflecting the touching moment between the elderly, benevolent father-in-law and Mrs. Hoài, the beloved daughter-in-law of both. Phượng is moved, "her eyes welling with tears, unable to bear the encounter..." and then her chest "heaves with sobs, her nose tingling."

Mr. Bằng is so kind-hearted. As he suppresses his emotions, wiping his tears with a handkerchief, he softly asks Mrs. Hoài: "Is your husband and the children well, my dear?" To Mr. Bằng, Mrs. Hoài's husband and children are still his own. Mrs. Hoài respectfully shares stories about her husband and children, her heart full of deep affection... "He should have arranged his work to visit you this time. And the kids too, all four of them wanted to come. Especially the eldest, he kept saying he's been to Hanoi several times but never had the chance to visit you. This time, he insisted on coming..."

I often wonder why many young readers cannot hold back tears when reading about the reunion between Mr. Bằng and Mrs. Hoài. The heart of the author of *Mùa lá rụng trong vườn* is so kind, overflowing with love. The New Year's Eve ceremony on the afternoon of the 30th Tet reflects a beautiful cultural tradition of families in Thăng Long, showcasing the fine customs of the Vietnamese people.

The ancestral altar in every Vietnamese home speaks volumes about the past, present, and future hopes. The altar in Mr. Bằng's family is no exception. A stable and respectable household. Surely, there are many precious heirlooms. The altar is a sacred space.

Incense smoke drifts hazily. The oil lamp flickers dimly... Four photos are placed against the wall: in the center are the parents, on the left is Mrs. Bằng, "her face like a flower, her skin like powder, her hair wrapped in a velvet scarf," on the right is Tường, "in a soldier's uniform, his beret tilted, his features faded." A five-fruit tray, a pair of green banh chung tied with red strings, and delicate wine cups are neatly arranged before the altar.

Mr. Bằng, his balding head fringed with sparse white hair, clasps his hands in prayer. His mind drifts near and far,... flickering like in a dream." He whispers reverently: "Dear parents, though separated by thousands of miles, you still live with your descendants. I faintly hear the teachings of our ancestors. I remain steadfast in remembering the gratitude of your nurturing, the family, ancestors, and forebears..." Then he prays to his wife and son: "And you, my wife, and our eldest son. You are gone yet still live, still rejoice and grieve, share, support, and guide me, our children, our siblings..."

Mr. Bằng's prayer shows that "the past is not severed from the present; ancestors are not separated from their descendants; all are linked in an unbroken, loyal chain." During the ceremony, Mr. Bằng's soul "floats," his emotions "drift," his eyes "sting," his heart "churns," and his prayers are "reverent and trembling." Mr. Bằng does not mention Cừ, "he has erased Cừ's name." His children listen intently to their father's prayers. Mrs. Hoài "gazes intently at the altar." As her father-in-law finishes his prayer, wipes his tears, and steps aside, she "immediately takes his place, raising her hands to her chest."

We have heard Ông Tám Xẻo Đước pray before the ancestral altar before his fatal encounter with the villain Đởm (in *Đất* by Anh Đức). And on the afternoon of the 30th Tet in the Year of the Dog, we hear and witness Mr. Bằng's ancestral worship.

The soul of the Vietnamese people is so beautiful! The customs of our nation are so beautiful! The essence of Vietnamese culture is truly something to be proud of. Mr. Bằng and his descendants preserve in their hearts the beauty of Hanoi's people, living and passing on the fine and ancient traditions of Tràng An culture.

The Tet feast during the difficult subsidy era in Mr. Bằng's family is still lavish. Lý, the Hanoi girl, is the "head chef" of this feast. The table is "laden with bowls and plates, overflowing with dishes." Surely, there are 18, 24, or even 36... delicacies, just counting them makes one's mouth water: boiled chicken, pork rolls, spring rolls, bamboo shoots stewed with pork trotters, chicken noodle soup, stir-fried cauliflower with beef,... especially dishes like roast chicken marinated with basil, duck stewed with lotus seeds, grilled pork, meatballs, and fish maw... The duck stew, fish maw, and meatballs, especially the meatballs, are prepared by Lý with "meticulous care and utmost precision."

Lý not only showcases her talent as a Hanoi girl in homemaking but also expresses her reverence for her ancestors. Through the New Year's Eve feast in Mr. Bằng's family, Ma Văn Kháng proudly affirms and praises a beautiful cultural aspect of Thăng Long-Hanoi's way of life.

Those who have read Vũ Bằng's *Miếng ngon Hà Nội* will feel more deeply and fully the flavor of the ancestral worship feast in Mr. Bằng's family. Chapter II of *Mùa lá rụng trong vườn* is a beautiful piece of literature. Beautiful in its portrayal of loyalty in morality, in life, in interactions, beautiful in the soul and cultural lifestyle of Hanoi's people. Beautiful in its touching, heartwarming scenes of kind-hearted individuals.

The images of Mr. Bằng, Mrs. Hoài, Phượng, Lý... leave us with beautiful emotions. This chapter, I believe, is a song of loyalty and affection.