Top 8 Bài văn phân tích tâm trạng của nhân vật trữ tình trong "Đây thôn Vĩ Dạ" của Hàn Mặc Tử hay nhất

Hàn Mặc Tử is one of the most unique and dominant figures in Vietnamese poetry, particularly known for his works in the 'mad poetry' genre. Chế Lan Viên once declared, 'I promise you that in the future, the ordinary and restrained works will fade away, and what will remain from this era is Hàn Mặc Tử.' In addition to his poems of madness, Hàn Mặc Tử also wrote delicate and charming lyrical verses, such as his famous piece 'Đây thôn Vĩ Dạ'. The opening line of the poem evokes deep emotions, inviting readers into a world of nostalgia and longing:

'Why don't you return to visit Vĩ Dạ?'

This rhetorical question sparks a myriad of associations. It feels as if a woman is asking, 'Why haven't you come back to visit me in Vĩ Dạ?' The question is filled with both anger and deep affection, as if the speaker is expressing longing: 'Why haven't you come to see me?' However, upon further reflection, it could be that the poet is asking himself, 'Why haven't I returned to Vĩ Dạ?' The question serves as a means for the poet to express his own feelings and nostalgic longing. Vĩ Dạ was once the place where the poet's footsteps left a mark, a place filled with memories of a loved one. Returning to Vĩ Dạ is like returning to familiar images and emotional landscapes, where old memories of love come alive through beautiful poetry, bound to the lush scenery and the people of dreamy Huế:

'The sunlight through the areca palms, the new morning dawns,

Whose garden is so lush, green as jade?

The bamboo leaves shade a square face?'

Is this scene of the past or the present imagined by the poet? All we know is that the beauty of nature and the people of Vĩ Dạ come alive in these verses. The 'sunlight through the areca palms' refers to the pure sunlight of dawn as the areca palms stand tall and reach toward the rising sun. Writing about areca palms, Hàn Mặc Tử was not the first; other poets have done so:

'The afternoon sun pierces through the areca palms' (Hồng Nguyên)

'Thôn Đoài remembers the areca palms of Thôn Đông, Thôn Đoài remembers betel nuts, which village does not?' (Nguyễn Bính).

But it is Hàn Mặc Tử who offers us the unique image of areca palms in the morning. His gaze is filled with fascination, and the next line expresses the joy and admiration of someone who loves nature deeply: 'Whose garden is so lush, green as jade?' The lush garden makes one feel lighter in spirit. The verse is a celebration of nature's beauty and the poet's deep affection for Vĩ Dạ. Beyond nature, the people of Vĩ Dạ are depicted with specific images: 'the bamboo leaves shade a square face.' A square face could symbolize the face of an upright, kind woman, or perhaps it represents the face of Vĩ Dạ itself, embodying the people of Huế. Hàn Mặc Tử skillfully uses bamboo leaves to subtly conceal the square face, capturing its beauty in an intimate manner. This opening stanza is heavy with the poet's memories. Although the initial question seems tinged with sorrow and regret, it quickly fades as the poet's soul is swept up in the beauty of the scenery. Through this, we can empathize with the poet, a person burdened by illness, yet still filled with love and longing for Vĩ Dạ.

The mood of the lyric character in 'Đây thôn Vĩ Dạ' shifts in line with the poet's thoughts, emotions, and unending longing for Vĩ Dạ. The next stanza follows the same poetic thread, but the tone becomes fragmented and filled with a sense of separation:

'The wind follows the wind, the clouds follow the clouds,

The water flows sadly, the corn flowers sway.

Whose boat is docked by the moonlit river,

Is it bringing the moon back tonight?'

Normally, wind and clouds are closely connected, but here they are separated, symbolizing the emotional distance of the poet in the face of separation. The wind and clouds are not just natural elements; they represent the poet’s inner turmoil. The longing for Vĩ Dạ remains, but the poet cannot return, and this sorrow is reflected in the landscape: 'The water flows sadly, the corn flowers sway.' The water seems to absorb the melancholy of the surroundings or perhaps it mirrors the poet's own inner sadness. While the natural world is beautiful, it also feels cold and lonely, echoing the poet's feelings of isolation and abandonment by life. Yet, despite this sorrow, the poet's love for the place and its people persists: 'Whose boat is docked by the moonlit river, is it bringing the moon back tonight?' The moon has often appeared in Hàn Mặc Tử's poetry in various forms and states:

'The moon lies lazily on the willow branch,

Waiting for the autumn breeze to caress it'

However, here, the moon appears as a mysterious, otherworldly presence, filling the space with moonlight and poetry. Is the boat mentioned here from the people of Vĩ Dạ, or is it the poet’s own boat? What matters is that the boat carries the moon, and the moon’s light transforms the river into a cosmic scene. Will the boat return with the moon tonight, or will it be a different night? This question reflects the poet’s deeper existential musings about whether he will ever reach the shores of time before his life fades away. Perhaps only the moon understands the poet’s heart, serving as a silent companion to ease his loneliness and feelings of illness.

Through a series of rhetorical questions, such as 'Whose garden is it? Whose boat is it?' the poem concludes with a final, poignant question about love:

'I dream of a distant traveler, a distant traveler,

Your white dress is so bright, I can’t see you,

Here, mist and smoke blur the figure,

Who knows if their love is sincere?'

Hàn Mặc Tử is deeply immersed in the beauty of the landscape, yet he is still restless, haunted by uncertainty. The people of Vĩ Dạ are gentle and kind, but they too seem distant, a vague presence that only the poet can grasp. The return to memories becomes increasingly uncertain, and in the end, the poet finds himself estranged from his own memories. Who is the 'distant traveler'? Who is dreaming of the 'distant traveler'? Is it the figure in the 'boat', the 'garden', or perhaps the poet himself as a distant traveler returning to his dreams? 'Your white dress is so bright, I can't see you'—the poet's longing intensifies as he questions the sincerity of love. This rhetorical question at the end of the poem deepens the poet’s sorrow, amplifying his loneliness and desire for connection. It is a question without an answer, an endless ache that haunts both the poet and the reader.

'Đây thôn Vĩ Dạ' is a beautiful painting of the landscape and people of a rural Vietnamese village, captured through the dreamy, imaginative, and compassionate soul of a poet who was deeply sensitive. Using artistic techniques such as association and rhetorical questions, Hàn Mặc Tử presents us with a picturesque and lively scene, while also revealing his own inner sorrow: the pain of loneliness, the frustration of earthly existence, and the tragic brevity of life. 'Đây thôn Vĩ Dạ' will forever be the voice of a soul that loves humanity and nature, yet is marked by misfortune.

In "Vietnamese Poets", Hoài Thanh and Hoài Chân classify Hàn Mặc Tử's poetry as "strange" alongside Chế Lan Viên. Many of his poems are indeed peculiar. He has created for himself "a chaotic, eerie, and surreal artistic world, distant from the real world".

However, alongside his more disordered poems, the poet often creates stunningly beautiful and innocent images, surprisingly pure and fresh. His poem "Here, Vĩ Village" is one such example. Reading this poem, one can glimpse a very beautiful side of the poet's soul.

Some sources suggest that the inspiration for the poem came from a photograph of the landscape of Huế and some greetings from Hoàng Cúc, a girl from Vĩ Dạ village in Huế, who was also the object of Hàn Mặc Tử's secret affection in the past. Thus, the poem not only revives the memories of dreamy Huế and poetry but also expresses a sense of hopeless sorrow, a flickering and ethereal feeling like mist, like smoke.

Why don't you come visit Vĩ Village?

This opening line is both a question and an invitation, carrying both surprise and regret. How can one resist the beauty of Vĩ Dạ? The beautiful natural landscape of Vĩ Dạ is presented in fleeting strokes, yet it leaves a lasting impression. The impression is deeply embedded in the poet’s soul regarding the land of Huế. The scene here seems filtered through the poet's mind, retaining only the most characteristic elements. A morning in Vĩ Village, where the sunlight sparkles on the areca palms still damp with dew, captures a particular moment linked to the pure, fresh morning light that is both vivid and sensuous.

The scene of the lush, vibrant garden is highlighted by Hàn Mặc Tử focusing on the lush green of the leaves: "Whose garden is so lush, green as jade?" The image of the garden comes to life, especially when a faint figure, a gentle, kind face, is seen in the distance:

The bamboo leaves obscure a face with a square jaw.

Nature and people are harmoniously intertwined, evoking the spirit, the soul of Vĩ Dạ, a place that is poetic because of "her" presence, making the gardens even more poetic. In the second stanza, the poet's mood shifts dramatically. While the first stanza captures the pure, vibrant beauty of Vĩ Dạ, the second stanza is veiled in sadness. Such a sudden transition from joy to sorrow is common in New Poetry and romantic literature:

The wind follows the wind, clouds follow the clouds
The water is sadly still, corn flowers tremble
Whose boat is moored by the moonlit river?
Will it bring the moon back in time tonight?

Perhaps the Huế in the first stanza represents the poet's idealized memory, while the Huế in the second stanza mirrors the poet's current, melancholic reality. Vĩ Dạ still appears poetic with its wind, moon, clouds, water, boat, and corn flowers, yet everything carries a sense of sorrow. The melancholic observer sees separation and sadness everywhere:

The wind follows the wind, clouds follow the clouds

The wind and clouds are separated, as if having no connection; even the water, which is indifferent to joy and sorrow, now feels dull. The image of the corn flowers trembling evokes a quiet sorrow. A sadness spreads from the sky to the earth, from the wind and clouds to the river and the corn flowers by the shore. Behind these scenes lies a human heart burdened with separation, an impossible love. Now everything exists only in a dream – the scenery and the people. A world filled with moonlight, a moonlit river, a moonlit dock, a moonlit boat... The scene is beautiful, yet profoundly sad:

Whose boat is moored by the moonlit river?
Will it bring the moon back in time tonight?

The poet no longer engages with the external world but sinks deep into his own inner world. The river, with its dreamlike scenery and people, serves as a dialogue with an illusory figure:

Dreams of a distant traveler, a distant traveler
Your white dress is so bright, I cannot recognize you
Here, the mist blurs all figures
Who knows if anyone's love is sincere?

The image of the girl from Vĩ Dạ lingers in the poet's dreams, evoking a sense of uncertainty and bewilderment. Her white dress blends too perfectly into the mist. Is it the mist of Huế's skies, or the mist of time and space that shrouds a love long lost?

The poem opens with a question and closes with a response that is also a question. Who can know if the love is sincere enough to return to visit Vĩ Village?

Hàn Mặc Tử is no longer with us, but the poem about Vĩ Village remains. It has transcended the mist of time, immortalizing a hopeless yet deeply passionate and pure love.

Chế Lan Viên once remarked: “Before, no one existed; after, no one remained. Hàn Mặc Tử, like a comet, streaked across the Vietnamese sky with his dazzling, radiant tail.” Hàn Mặc Tử possessed an extraordinarily unique poetic style, shining through as a voice that is both complex and enigmatic. Through this distinctive voice, readers sense a painful love directed towards the mortal world, profoundly expressed in the emotional landscape within the poem 'Here, Vĩ Village.'

The postcard and well-wishes from Hoàng Thị Kim Cúc inspired the poet to write 'Here, Vĩ Village,' channeling his hidden love and the emotional turmoil within him in an unfortunate situation. These became the circumstances through which the poet expressed his profound affection for nature, life, and humanity. The poem opens with a depiction of the Vĩ Village landscape at dawn, illustrating the poet’s deep affection for both nature and life.

'Why don't you come back to visit Vĩ Village?'

This rhetorical question, paired with a string of even tones, feels like both a reproach and a heartfelt invitation from the girl of Vĩ Village. It may also reflect a self-questioning from the poet about why he hasn’t returned. This is a silent wish, a yearning to revisit the old village and reconnect with the familiar places and people of his past.

'Look at the sunlight on the areca palms, the new sunlight rising
The garden, lush and green like jade.'

The repetition of 'sunlight' and the image of 'new sunlight rising' evoke a warm, pure, and pristine glow. The phrase 'lush green' is a sensuous, smooth descriptor, shimmering with the vitality of spring. The use of the indefinite pronoun 'someone' makes the poem feel like a personal lament, praising the ultimate beauty. The poet compares the green of the garden to jade, expressing its clarity, radiance, and sheen. The Vĩ Village garden here appears as a vibrant green jewel, emitting light in the morning sun. At this moment, a beautiful figure emerges:

'The bamboo leaves cover the square face.'

Is the 'square face' that of a young man? Or is it the face of a young woman? Regardless, we sense that it represents a symbol of wholesome, gentle beauty. The 'bamboo leaves' covering the face suggest an image of modesty, the delicate beauty of a person from Hue. The verse is rich in visual imagery, balancing the natural scene of Vĩ Village (areca palms, bamboo leaves...) with the figure of a person (the square face), creating a harmonious, gentle beauty. The morning sunlight brings life to the garden, evoking an image that is both simple and refined, close to the real world. Through this nature scene, the poet's emotional landscape is revealed: a longing for connection and harmony with beauty.

The second stanza takes us to the river landscape of Vĩ Village under the moonlight, allowing us to perceive the poet's yearning to connect with the mortal world.

'The wind follows the wind’s path, the clouds follow the clouds' path
The water, dull and still, the corn flowers sway.'

The perspective shifts from morning to night, from the village garden to the moonlit river, moving from reality to an ethereal, mystical atmosphere. We sense the sense of separation through both the imagery and rhythm. The phrase 'The wind follows the wind, the clouds follow the clouds' conveys an unnatural separation, where wind and clouds should be inseparable. This irrational and contradictory split signifies the poet’s inner fragmentation. The poet personifies the 'dull water' to emphasize sadness. 'Swaying corn flowers' suggest wistfulness, a futile departure. From these images, we sense the poet’s awareness of being abandoned, but the separation is also expressed in an unusual rhythm. While a typical seven-syllable verse follows a 2/2/3 pattern, this one uses a 4/3 pattern. Perhaps each element is isolated in its own rhythmic compartment, underscoring the sense of distance. The combination of imagery and rhythm makes the separation of wind and clouds more distinct, evoking deep sorrow.

'Whose boat is moored at the moonlit riverbank
Will it bring the moon back tonight?'

The question 'Will it bring the moon back tonight?' expresses a sense of urgency, as though the poet is desperately hoping to hold on to fleeting moments. The sense of separation permeates everything, a cry for a forgotten existence under the heavens. But through this separation, a longing to hold on clearly emerges. Only the moon defies the flow of time, unlike the drifting clouds and wind. The word 'will' conveys anticipation, anxiety, and a desperate longing to be embraced, creating a poignant, intense desire that is ultimately hopeless. This stanza reveals the poet's melancholic, hopeful state, and his yearning to merge with nature and humanity.

The third stanza clearly illustrates the poet’s emotional state: a sense of wistfulness, sorrow, and a soul yearning for love, seeking resonance and empathy:

'Dreaming of distant travelers, distant travelers
The word 'dream' signals a state of unconsciousness; the poet is lost in a dream. The repetition of 'distant travelers' emphasizes the poet’s longing, a beautiful yet distant figure that can never be met.

'Your white dress is so bright, I can’t see it.'

Why is the dress so bright that it cannot be seen? The poet has exaggerated the whiteness, making it almost surreal. The use of metonymy transforms the color from a literal hue to the color of the poet’s imagination.

'Here, mist and smoke blur the figure.'

'Here' represents reality, a leprosy camp where the poet is isolated from the outside world. The words 'mist,' 'blur,' emphasize the vagueness, the surreal, because this is the poet’s dream, wishing to connect with life but being unable to. This paints a tragic image, as if the poet is exiled and distant from the world.

'Who knows if anyone’s love is truly deep?'

The repetition of the indefinite pronoun 'who' twice emphasizes a heartfelt cry full of longing, but the 'distant traveler' fades away, lost. The rhetorical question reflects the poet’s sorrow and doubt, his pain of isolation. The emotional portrait here is one of wistfulness and sorrow, a soul longing for love, for unity and understanding.

It can be said that 'Here, Vĩ Village' is a perfect painting of the landscape and people of Vĩ Village. Hidden behind this nature scene is a deep yearning to connect with the mortal world through a love that is almost painful. This poem transcends mere romantic poetry to express longings for love, life, and humanity. With such qualities, 'Here, Vĩ Village' will undoubtedly remain in the hearts of those who love the poetry of Hàn Mặc Tử.

"Poetry is the music of the soul, especially those souls that are noble and sensitive," and Hàn Mặc Tử's poetry embodies such music. A gifted and distinguished poet of the New Poetry movement, Hàn Mặc Tử wrote with not only words but with his heart, with a deep love for poetry, nature, and his homeland. His poem "Đây thôn Vĩ Dạ," from the collection "Thơ điên" (Poetry of Madness), is a quintessential example of his poetic soul. Closing the page of his poetry, we are left with a lasting impression of the lyric subject's emotional state.

The poem begins with a tender, evocative rhetorical question:

"Why don't you come to visit Vĩ village?"

It sounds both like an invitation and a gentle reproach, as if to say the poet's love has been waiting patiently for the beloved. In just a few short lines, Hàn Mặc Tử brings the reader back to the picturesque landscapes of Huế:

"Looking at the sunlight filtering through the betel nut trees, as the sun rises,

......

Leaves of bamboo shielding the face with a square shape?"

Through Hàn Mặc Tử's lens, the natural landscape appears vibrant and sparkling. From afar, we see the rows of betel nut trees stretching high, greeting the sunlight. The repetition of "sunlight" and the comparison to "emerald green" evoke an image of lush, radiant vegetation, with each tree and blade of grass shimmering brightly. The key moment is the fourth line, painting a delicate portrait of a young woman, with "leaves of bamboo shielding the square face." The poet skillfully highlights the grace of the Huế girl, her gentleness, modesty, and enchanting allure amidst the joyful and vibrant forest setting. This vivid scene shows how only a sensitive soul, deeply in love with beauty, could paint such a picture filled with fresh sunlight. Yet, as the verses progress, a tone of sadness emerges, with references to the wind, clouds, the river, and the cornflowers:

"The wind goes one way, the clouds go another,

The river flows listlessly, and the cornflowers sway."

In poetry, wind and clouds are often depicted together, but here they go in opposite directions. Could this symbolize the lyric subject's inner turmoil in the face of separation? The Hương River, too, feels the sadness of its surroundings, flowing languidly in "sorrowful stillness." Standing before nature with a melancholic mood, the poet asks:

"Whose boat is moored at the moonlit riverbank,

Will it bring the moon back tonight?"

Though filled with sadness, the poet does not forget to describe the beauty of the "moonlit river" of his homeland. It becomes a symbol of the earthly beauty and life the poet longs to immerse himself in. Fully aware of his own harsh fate, and the fleeting nature of time, the poet's question "Will it bring the moon back tonight?" resonates with a deep sense of longing and anxiety. This question encapsulates the romantic essence of Hàn Mặc Tử's soul, which carries a discreet, poetic, and slightly sorrowful love for his homeland. The fresh sunlight fades, the moonlight dims, and the figure of the poet becomes blurred in the mist of time:

"Dreams of a distant traveler, a distant traveler,

Your white dress is so bright, I can't even see you,

Here, the mist dims all figures,

Who knows if the love is deep enough?"

The harsh reality suddenly surges forward. In classical poetry, "mist" often symbolizes homesickness, but here, amidst the hazy mist, stands the image of a pure and reserved Huế girl. The word "so" evokes a sense of sorrowful regret. Now, Hàn Mặc Tử lives with fragile, fading memories of the past, and the poet himself becomes a stranger in his own recollections. The rhetorical question at the end of the poem deepens the poet's private sorrow, intensifying the loneliness of a person who passionately loves life and others.

Reading "Đây thôn Vĩ Dạ," we can sense the lyric subject's emotions—restlessness, longing, and intense yearning. It is through these emotions that we can truly appreciate the beauty of Huế's landscapes and people, and see a poet with a heart full of love for nature and his country, revealing his inner thoughts and feelings.

Hàn Mặc Tử shines like a brilliant star in the radiant sky, surrounded by many strange and sparkling constellations. His poetry reveals an immense love for the mundane life, while also reaching towards God with a sense of ethereal spirituality. Many interpretations of the masterpiece 'Đây thôn Vĩ Dạ' exist, yet all acknowledge that the poem speaks of love – a one-sided, dreamy, pure, and mystical love. It is hard to deny, however, that Hàn Mặc Tử has beautifully captured the essence of Huế, both in its dreams and poetry. This poem, composed of only three stanzas and twelve lines, encapsulates the essence of his connection with Huế.

The poem may be seen as a subtle reprimand, but also as a gentle message from the lyrical character, who is filled with longing:

'Why don't you come visit Vi village?'

'Look at the sunlight on the areca palms as it rises,

Whose garden is lush and green like jade?

The bamboo leaves cover the face like a square,'

If every love is tied to a specific place and time, then the images of the lyrical character in this poem are inextricably linked to the garden and people of Vi Dạ, evoking unforgettable memories. If you have the chance, I invite you to visit Vi village one early morning. Vi Dạ lies serenely on the banks of the Perfume River, just an hour's stroll from the heart of the ancient city of Huế. Since ancient times, Vi Dạ has been renowned for its lush greenery and charming little villas, nestled within the abundant greenery. Vi Dạ is as famous as the Perfume River, Ngự Mountain, and the Thiên Mụ Pagoda. Therefore, it is no surprise that many famous artists, such as Nguyễn Bính, Bích Khuê, and Nguyễn Tuân, have been inspired by the beauty of Vi Dạ.

In the early morning, fresh sunlight sparkles on the areca palms still wet with dew. Visitors from afar are greeted first by these palms, as they stand taller than the other lush vegetation below. The fertile soil of Vi Dạ, tended with care by its people, truly allows the plants to thrive, appearing as though they have been polished and refined, like branches of gold and jade. The line:

'The bamboo leaves cover the face like a square,'

is a truly unique creation. 'Square face' evokes the image of a person with a strong, masculine, square face. Yet, when this image is placed within the context of the poem, 'The bamboo leaves cover the face like a square,' the prominent impression is one of harmony and a deep connection between the person and the garden of their homeland. Thus, the poem successfully captures a memorable and endearing feature of Vi Dạ: a beautiful, fertile landscape, and kind-hearted people full of vitality.

Following the emotional flow of the first stanza, it seems that in the second stanza, the poet delicately paints the landscape of Huế and expresses a wistful longing:

'The wind follows the path of the wind, the clouds follow the path of the clouds,

The water flows sadly, and the cornflowers drift;

Whose boat is moored by the moonlit river,

Carrying the moon back in time for tonight?'

The gentle, unhurried rhythm of Huế is effectively captured: the wind and clouds drift lazily, and the Perfume River flows quietly. The cornflowers gently sway with the wind. In contrast to the first stanza, the second stanza presents a dreamlike scene, bathed in moonlight. The poet not only depicts what is seen but also what is felt in the spiritual realm. Thus, the boundaries between the real and the dream world blur, and as the poem progresses, the dreamlike world seems to overshadow reality. Since it is a dream, there is a lingering sense of longing:

'Whose boat is moored by the moonlit river,

Carrying the moon back in time for tonight?'

Many poets have referenced the moonlit boat, but 'the moonlit river' seems to be an invention of Hàn Mặc Tử. In these lines, we sense both the poet's hope, longing, and melancholy. There is not only a distinctive brushstroke capturing the essence of a place but also a deep, tender, and expansive love conveyed to the reader. The poet emphasizes this through the final stanza:

'I dream of travelers from afar, travelers from afar,

Your dress is so white, I cannot see you clearly.

Here, mist and smoke blur the figure,

Who knows how deep my love is?'

Indeed, Huế is known for its frequent rain and mist. Is it then that this stanza has a touch of realism, like the areca palms, bamboo leaves, and cornflowers from previous stanzas? The white mist, like the white dress, causes the poet to see only a shadow (the figure). Yet, as noted, Hàn Mặc Tử is a true romantic poet, and his words speak to the heart, evoking a fleeting feeling of longing: The Huế girl is so beautiful, so modest, and so ethereal. Who can say whether her love is enduring, or as elusive as the mist of Huế? Here, the poet seems to feel lost, grasping for a one-sided love that is as radiant and mystical as the mist. If we recognize that Hàn Mặc Tử was a man of great talent, always longing for love, we understand that the fatal illness he suffered from deprived him of a complete love.

The poet lived in solitude, sometimes afloat on a small boat without a shore, sometimes restless by the hills near the city, and finally lying hopeless in the Tuy Hòa hospital awaiting death. We sympathize with the fleeting moments of frustration and subtle reproach in his talented but unfortunate hand. To truly love the people of Vi Dạ, or more broadly, to love the people of Huế; to understand Huế and be deeply connected with it, is what allows the poet to speak so beautifully and profoundly about love and the land of Huế!

According to Quách Tấn, a close friend who knew Hàn Mặc Tử intimately, the poem "This Village of Vĩ Dạ" was written in 1939, shortly after the poet received a postcard—a "scenic view"—along with a well-wishing note from Hoàng Cúc, a former lover. Her words of concern sparked an idea in the poet's mind during one of the most difficult and despairing periods of his life.

The poem is divided into three sections, each representing a distinct emotional phase, with each phase influenced by a particular, complex mood.

Why don’t you come visit Vĩ Village?

Look at the sunlight rising behind the areca palms

The garden is so lush, green like jade

The bamboo leaves shield the square face

The rhythm and tone from the very first verses play a crucial role, as they set the dominant mood that flows through the entire emotional journey of the poem. Even as the rhythm and melody evolve in later stanzas, the poetic voice and the lyrical character's thoughts remain profoundly influenced by this initial musical structure. The primary emotion: The past revives in the realm of memory. The emotional core of the lyrical character is nostalgia, longing, and a poignant sense of yearning.

The wind follows the wind’s path, the clouds follow the clouds

The lonely stream sways, the cornflowers tremble

Whose boat is anchored at that moonlit riverbank?

Will it bring the moon back by tonight?

These verses resonate with a deep, inner emotional force, as sadness permeates every word, a sense of separation and the inevitable sorrow of parting shape the poet's identity. This melancholy casts its shadow over the sensory landscape in the poem. The natural world in the poem is altered by human emotions, creating a desolate, drifting reality: the wind blows, the clouds float away, and the river moves slowly, melancholic, towards a distant place—this bleak scene is viewed through a lens of irony and contradiction. The wind and clouds, though bound together, cannot be torn apart (the wind blows, and the clouds drift with it), a paradox that Hàn Mặc Tử could only capture through a soul burdened with emotional turmoil.

The stream, once carefree and innocent, also becomes sorrowful. The water carries an infinite sadness, as if its melancholy has been influenced by the wind and clouds. The movement in the scene does not enliven the landscape but instead imbues it with an air of sadness. Although flowers are present, they are just cornflowers—colorless, scentless, and full of quiet sorrow. The use of a neutral verb here amplifies the somber mood: Hàn Mặc Tử, when looking at the cornflowers, sees only isolation, drifting, and departure. The wind, clouds, and river flow away, but the flowers remain motionless, unable to move. The word "tremble" evokes a futile sense of longing, something intangible and without hope. The cornflowers symbolize the poet’s lonely existence, a life ‘exiled’ from society. The wind, clouds, and stream all wish to leave, but the moon alone returns, seeking out the poet, offering the only companionship for his solitude.

Whose boat is anchored at that moonlit riverbank?

Will it bring the moon back by tonight?

These questions linger without answers, echoing the loneliness of waiting. The boat, the river, and the moon are all imbued with a sense of mysticism, becoming glamorous and romantic. The moon is the poet's only savior, the only comfort for his aching soul. The sorrow conveyed in the earlier verses now becomes a "yearning". The central emotional theme here is one of hopelessness, overwhelming grief, and isolation, trapped without escape.

I dream of a distant traveler

Your white dress is too bright, I can hardly see

Here, the mist dims the figures

Who knows how deep my love for you is…

The first two lines sketch a moment of wistful uncertainty, floating between the dreamlike and the real, following the fleeting image of a phantom on the moonlit boat, a yearning for connection that the poet, lost and lonely, seeks but cannot find. Yet, no matter how beautiful the scene seems, it will fade—reality is harsh, and the fleeting dream will eventually dissipate into the mist. The light from earlier verses fades, the moonlight dims, and the figures blur. The poet is left stranded in the harsh reality of the world, as everything—once so vivid and emotional—becomes just a ghostly presence. The word "too" is filled with regret, as if the brightness of the moment only highlights the overwhelming emptiness of the poet's longing. This further emphasizes the poet’s emotional distance from the idealized world he once dreamed of.

The pursuit of beauty in the real world is met with indifference. The search for empathy in the dream world only leads to confusion. Thus, passion fades into coldness, just as dreams eventually dissipate into reality. This is the emotional logic that guides the psyche of the yearning self in "This Village of Vĩ Dạ". The scene fluctuates between what feels near and distant, between the real and the surreal, becoming more illusory as the poem progresses. The emotional tone shifts from somber to sharp, creating a poignant sense of longing that embodies both the beauty and the pain of Hàn Mặc Tử's internal struggle.