Top 8 Best Essays Analyzing the Poem 'The Myna Bird' by Mai Van Phan

Mai Van Phan is a poet known for his diverse themes and innovative approaches to both content and art. This is evident in his poem 'The Myna Bird'.

The poem opens with a vivid depiction of the myna bird in its natural setting:

'The myna with white spots and a red cap

Sings on a tall tree

triu... uýt... huýt... tu hìu…'

The myna appears perched high on a tree, its brilliant colors of 'white spots and red cap' highlighting its vibrant beauty. The familiar sound of its song, 'triu... uýt... huýt... tu hìu…', brings the scene to life. The poet’s realistic depiction paints a vivid picture of nature filled with both color and sound.

The image of the myna also appears in the thoughts of the 'I' character, the lyrical persona in the poem:

'I hurriedly sketch a cage in my mind

Afraid the bird will fly away

Just as I finished, it took flight

I hold the frame of sunlight and breeze

The green branches rush to follow'

The 'I' character sketches a cage to trap the myna, fearing it will fly away. The cage, however, exists only in the imagination. The character wishes to capture the beauty of nature, to possess it. Yet, as soon as the cage is 'finished,' the bird takes flight. The actions 'I hold the frame of sunlight, frame of wind, and branch' reflect a deep yearning to embrace the vastness of nature. The verb 'hold,' combined with the nouns 'sunlight,' 'wind,' and 'branch,' expresses a longing to expand the 'cage' into infinity, allowing the soul to encompass all of nature. The lively and joyful tone of the poem reveals the character’s desire to open up and merge with the natural world.

The poem concludes with the image of the myna in the thoughts of the 'I' character:

'In the depths of my thoughts, I imagine

Later, the myna will peck at worms

Red ripe fruits

Each drop of water

My pure and clean water

triu... uýt... huýt... tu hìu…

It doesn't need to return

The sound of its song I now hear so clearly.'

The 'I' character carries the entire space of sunlight, trees, and wind, wishing to hold onto both the bird and its song. Yet, the phrase 'in the depths of my thoughts' signals the eternal, boundless nature of the universe. The 'I' character imagines the bird's actions: pecking at worms, eating red fruit, drinking drops of water. The poet's imagination seems to take flight with the bird’s song. This lively movement is captured in the phrase 'my pure and clean water,' showing the poet's deep devotion to nurturing the small bird. The final two lines indicate that while the bird may have flown far away, in the poet's mind, it remains: 'It doesn't need to return / The sound of its song I now hear so clearly.' The 'I' character still feels the presence of the myna. This bond reflects a love for nature, no longer possessive but filled with respect. This love allows the character to feel nature’s beauty everywhere.

Mai Van Phan’s 'The Myna Bird' not only illustrates the beauty of the myna but also conveys the poet's love for nature and his longing for freedom.

When mentioning Mai Văn Phấn, we think of a poet deeply connected with nature, harmonizing with it, and immersed in its essence. He is also regarded as an ecological poet, rich in cosmic colors. His poem “The Myna Bird” is one of his most representative works that fully embodies this spirit. With a free verse form, an unusual poetic structure, and the portrayal of the myna bird as the central figure, the poem allows readers to feel the purity, spaciousness, and tranquility of nature through the bird's beauty and its melodious call. In doing so, the poem presents a refreshing perspective on the love of nature, defined by a respectful attitude in how humans engage with the natural world.

The poem begins with the vivid portrayal of the myna bird in a detailed, close-up manner:

The myna with white spots and a red crown
Sings on the tall tree
triu... uýt... huýt... tu hìu...

With just a few strokes, the image of the myna bird becomes incredibly realistic, as if the reader is observing it from the closest distance. Before the reader's eyes is a myna with white-spotted feathers and a bright red crown, joyfully chirping on the high branch. The poet also places the bird atop a “tall tree.” These two lines create a peaceful scene, possibly depicting a bright morning or a serene golden sunset, evoking a sense of calm and purity in the natural world.

The third line of this stanza resounds like a musical score of the bird’s chirps: “triu… uýt… huýt… tu hìu...”. Each time the line is read, one can almost hear the actual melody of the bird’s song. The poet captures every note, arranging them perfectly to recreate the sound of the bird. These “musical notes” produce a distinct resonance: “triu… uýt… huýt… tu hìu...” This is not merely the myna's enchanting song but also the echo of nature within a vast, mysterious space. The reverberation of this third line comes from the images of the “white spots and red crown” and the “tall tree” mentioned above. The first three lines create a vibrant painting full of sound and light. With realistic, vivid imagery and concise, suggestive language (a realist style), the poet illustrates the myna bird as a symbol of pure, dynamic nature.

When observing the myna bird, what feelings and thoughts arise within the poet? From the second stanza, we move into the poet's thoughts:

I quickly sketch a cage in my mind
Afraid the bird will fly away
Just as I finished, it took flight
I hold the frame of sunlight, the frame of wind
The green branch rushes to follow

Suddenly, upon seeing the bird, the poet experiences ordinary yet poetic thoughts: “I quickly sketch a cage in my mind / Afraid the bird will fly away.” The poet felt the need to quickly sketch a cage for the myna. Some may ask if the “cage” is imagined to trap the bird. No, the poet's cage symbolizes a desire to possess nature, to showcase its beauty as his own. The “fear of the bird flying away” is the anxiety that beauty might slip away or be lost. This line reveals the poet’s yearning to expand his “cage” into an endless space, wishing for his soul to encompass the vastness of nature, allowing the bird to freely display its beauty and sing.

And in the moment “Just as I finished, it took flight,” the poet and the bird seem to merge. “I hold the frame of sunlight, the frame of wind / The green branch rushes to follow.” This captivating chase highlights the beauty of the bird and the poet’s mental state. The “frame of sunlight, the frame of wind,” and the “green branch” represent the “cage” the poet sketched in his mind earlier. The act of “chasing” the bird shows the poet's soul soaring, flourishing.

In the absence of the bird, the poet imagines the myna performing daily life tasks:

In the silent void, I think
Soon the myna will peck the worms
The ripe red fruits
The pure drops of water
my own

When the myna bird is no longer visible, the “I” character envisions the bird pecking at “worms, ripe fruits, pure water.” This stanza captures the lively life of the myna bird, which often eats worms, ripe fruits, and drinks water. It symbolizes a kind of “atonement” when humans realize that the myna bird, which they cherish, will only thrive in the freedom of nature... This illustrates the poet's true and complete love for nature.

triu… uýt… huýt… tu hìu…

The line “triu… uýt… huýt… tu hìu...” is repeated twice in the poem. The poet emphasizes the chorus of nature’s sounds, the clear chirp of the myna, which echoes again at the end of the poem. The series of sounds is repeated in full, as if it were sung for the first time, but readers feel the myna has gone through a journey, evolving from solitary to harmonious, from sharp, piercing notes to a resonant harmony.

No need for the bird to return
I now hear its song very clearly.

The closing two lines affirm a transformation in the poet's thoughts, emotions, and love for nature. No longer does the poet need the bird to return; its melodic song still resonates in his soul. This shows that the “I” character has learned to respect and love nature, no longer seeking to possess it selfishly and narrowly. True love for nature allows the soul to open, enrich, and overflow with joy and vitality.

In conclusion, “The Myna Bird” is a remarkable poem. Artistically, the poem succeeds with its free verse form, the repetition of sound evoking the melody of nature with various resonating tones, vivid and suggestive imagery, and a unique structure with an open ending that leaves lasting echoes in the reader's mind. Through this work, Mai Văn Phấn helps the reader feel the pure, spacious, and peaceful landscape of nature through the beauty of the myna bird and its clear song. The poet’s love for nature is reflected in his respectful attitude and how humans interact with the natural world. The poem nurtures a love for nature, prompting us to reflect on our own relationship with the environment.

(Source: Thu's Literature Class - http://lopvancothu.com/)

In the poem “The Myna Bird,” Mai Văn Phấn not only paints the image of the myna bird as it appears in reality but also explores the delicate interaction between humans and nature through both realism and imagination.

The poet provides a detailed description of the myna bird as a part of the tangible world. The bird is vividly depicted with its “white spots and red crown,” and its unique song. These colors and sounds not only highlight the bird's beauty but also create a sense of familiarity and closeness for the reader.

“The myna with white spots and a red crown
Sings on the tall tree
triu... uýt... huýt... tu hìu...”

The poet expresses the feelings of a character (possibly the poet himself or another person) toward the myna. This character “quickly draws a cage” to keep the bird, fearing it will “fly away.” This act illustrates a desire to possess the beauty of nature, but it also reveals the vulnerability of not being able to hold onto it.

“I quickly draw a cage in my mind
Afraid the bird will fly away
Just as I finished, it took flight
I hold the frame of sunlight, the frame of wind
The green branch rushes to follow”

Mai Văn Phấn then transitions into the realm of imagination, where the myna becomes a symbol of freedom and harmony with nature. The undefined, distant space of the bird underscores its freedom and the sense of adventure. Actions like eating fruit and drinking water represent a life lived naturally and happily.

The poet uses a series of images to illustrate the complex relationship between humans and nature in this poem. In the second stanza, the poet creates the image of a birdcage, where the myna could be confined. This represents a desire to control and claim the beauty of nature. The character “I” quickly draws this cage in an attempt to possess and control the beauty of nature, but when the bird “just as I finished, took flight,” the character realizes the bird’s escape and freedom. The act of “holding the frame of sunlight, the frame of wind, the green branch” represents a yearning to expand the “cage” of the soul, to embrace the wider beauty and freedom of nature. The word “hold” expresses the intimate connection between the poet and the natural world.

Mai Văn Phấn continues using imagination to express his profound connection with nature. Here, the space becomes undefined and ambiguous, with the myna imagined eating ripe fruits, pecking at worms, and drinking pure water. These images symbolize freedom and unity with nature.

Finally, the poet concludes that the myna does not need to return, but its song remains clearly in the mind of “I.” This illustrates respect and a longing to retain a sacred relationship with nature, without the need to possess or control it. Love and understanding replace the desire to dominate, and the character is able to feel the beauty of nature at all times, anywhere.

“In the silent void, I think
Soon the myna will peck the worms
The ripe red fruits
The pure drops of water
My own

triu... uýt... huýt... tu hìu...

No need for the bird to return
I now hear its song very clearly.”

The character “I” draws a cage to trap the myna. This represents the desire to control and possess nature's beauty. However, when the bird flies away, the character realizes that its freedom is more important. The later act of “holding the frame of sunlight, the frame of wind, the green branch” shows the character’s yearning to expand the “cage” of the soul, to embrace and respect nature without trying to control it. This poem portrays the complex relationship between humans and nature. Initially, the character “I” attempts to possess nature, but over time, learns to respect and empathize with it. The experience of hearing the bird's song in the mind, even when it is not physically present, signifies a deep love and understanding of nature.

This poem conveys the message of the value of freedom and respect. The myna bird is imagined freely in an undefined space, experiencing the beauty of nature without being confined. The character “I” realizes that to truly love nature, we must respect and preserve its freedom.

In conclusion, “The Myna Bird” is not just a depiction of the bird itself, but a message about the evolution of the way humans relate to nature, and the value of freedom and respect.

The poem "The White-breasted Starling" by Mai Van Phan, found in the Grade 6 Vietnamese Literature textbook (Knowledge Connection series), evokes deep emotions, opening up a dialogue between nature and the human soul, enriching the meaning of existence.

After many decades of creative exploration, Mai Van Phan has experimented with various writing styles. However, after much experimentation, he realized that surrealism no longer felt innovative. In his poetry collection "The Sky Without a Roof," he embraced a new style called "leisurely." The poet himself shared: "After crossing deserts like Surrealism, Symbolism, Expressionism, Language Poetry, New Formalism, Postmodernism, and Neo-Classicism... I wondered why we need to follow foreign trends when we can create our own direction? These styles have long been shelved in museums abroad, yet we remain confused, still debating. ‘Leisurely’ is my way of returning to the roots of poetry, letting emotions flow naturally, and expressing them in the simplest, purest form."

Mai Van Phan is often regarded as a poet deeply connected to nature, blending harmoniously with its rhythms. He is considered a poet of ecology, rich in cosmic hues. The poem begins gently, leading to intriguing associations:

"The white-breasted starling with a red crown

Sings atop the tall, towering tree

Trill…weet…whistle…hiss…"

The starling makes its first appearance immediately, taking center stage in the poem. In just three lines, the poem paints a vivid, colorful picture: the "white spots with a red crown" (bright), the position of the "tall, towering tree" (expanding the spatial range), and the sound/action "trill...weet...whistle...hiss..." (a long, clear chirp). The lines mimic the bird's song, which I also perceive as a whistle.

Perhaps it’s not just the magical sound of the starling's song, but the echo of nature in the vast, mysterious space. The scene is peaceful and serene, evoking a sense of tranquility with a lush, pure, green nature. The poet keenly observes and captures the intricate senses: sight and hearing, evoking a beautiful natural landscape, while inviting us to open our hearts to it. The first stanza begins and ends with a realistic technique, using few words, creating a minimalist painting full of light, with sound and color blending together.

If the first stanza captures the real space, the second transforms into a metaphorical space with symbolic techniques. The poet imagines: "I hurriedly draw a cage in my mind / Afraid the bird might fly away." Fearing the bird’s departure, the poet quickly draws a cage for the starling. Could the "cage" be woven from imagination, with the purpose of containing, trapping the bird, trying to "possess" the beauty of nature?

The fear of "the bird flying away" represents a fear of beauty disappearing, of loss. Although the poet "draws in his mind," the vastness and the bird’s song are confined within limits. The desire to own or immortalize nature’s beauty is a natural yearning, something everyone feels. The poet Xuan Dieu once wrote: "I want to stop the sunlight / So the color doesn’t fade / I want to tie the wind / So the scent won’t escape" (Haste). As we continue reading, we realize Mai Van Phan is not as "selfish" as he seems. Despite the vocabulary in the poem implying containment, the deeper meaning opens up, expanding into freedom. The poet desires to enlarge the "cage" of nature, turning it into an endless space, where his soul can embrace nature, allowing the starling to sing freely and proudly.

"As soon as I finished drawing, it took off

I embraced the frame of sunlight, the frame of wind

The green branches rushed to chase after."

"I embraced the frame of sunlight, the frame of wind / The green branches rushed to chase after." The poet and the starling both begin moving through the space. As the "branches rush after," the "I" character brings with them the space filled with sunlight, wind, and green leaves, trying to hold onto the bird and its song. The rhetorical device of listing emphasizes this urgency. This chase reveals both the bird’s beauty and the poet’s mindset.

The expansive natural space of "sunlight, wind, and green branches" mirrors the poet's elevated, soaring spirit. We can see a similar feeling in another of his poems: "The shrike just flew / In perfect harmony of colors / Its grey body / White streaks on its cheeks / Its chest and chin darkened // I carefully painted its shape / Patiently adding colors // But it’s not the same / It will never be the same!" (Stillness).

"In the vast void, I think

Later, the starling will peck at the worms

The ripe, red fruits

Each drop of water

Pure, belonging to me."

The magic of this passage lies in the two phrases "in the vast void" and "belonging to me." The phrase "vast void" here refers to the timelessness of nature and the universe. What is strange is that the poet "thinks," but in reality, he has observed, lived with, felt, and followed the "void" through his own cosmic perspective.

Once again, the poet invites the reader to see the blending of the poet’s soul and nature, evident in the various facets of the starling’s life. But when the "void" no longer exists, the narrator envisions the starling pecking at "worms, ripe fruits, and my pure water"—the gifts of "redemption" when humans realize that the starling, which they cherish, can only be happy in the freedom and naturalness of the world. Like the poet To Huu once longed for: "Why not return it to the clouds and wind / So it can drink the light of the sun?" (My Bird).

All these vibrant and endless movements are affirmed by the poet in the lines "Pure, belonging to me." The concept of "belonging to me" in this case suggests that the poet’s essence has been distilled, capturing only the finest and most beautiful things to nourish his little starling (a metaphor). In other words, the beauty of both the poet and the bird has merged, elevating each other (receiving and giving). It’s a world of mutual connection and harmony.

The recurring line in the poem is: "trill…weet…whistle…hiss…" The repetitive sound of the starling’s call, placed in a line on its own, with no capital letters and followed by ellipses, creates an impression, emphasizing the refrain. The sound sequence is repeated in full as though it is sung for the first time, but readers will feel that the starling has traveled through a journey, from solitary to integrated, from a sharp, piercing tone to a harmonious, resonating melody. The bird’s call doesn’t only come from the tall tree; it reverberates in the poet’s soul as well.

"I don’t need the bird to return / That song now I hear very clearly." The final two lines show that the starling has flown away, returning to the vast nature, to its world of freedom and innocence. The assertion of the "I" character in these lines reflects the transformation, the flow of thoughts and emotions, and the love for nature.

The image has blurred, but the melody still resonates in the mind. This is because the "I" character has fully embraced the perfect nature in their soul; they know how to interact with nature through respect and love, not by attempting to "possess" it selfishly. This love expands the human soul, filling it with joy and vitality. There is no longer a separation between "I" and the starling, "the song": "I" have become the starling, the space, and the song. Everything merges together.

The poem is written in free verse, with stanzas that shift and blend harmoniously between color adjectives (White, Red, Green) and verbs denoting the bird’s actions (sing, take off, peck, fly) and the poet’s actions (draw, embrace, chase, think, listen). The journey of the bird and the poet is one of mutual resonance, expanding space, and opening the soul to receive and integrate.

This is also the journey of searching for truth: beauty. The poet’s use of language, rhetorical devices such as repetition and metaphor, and a unique writing style, blending reality and mysticism, allows us to explore a multidimensional world. It begins with the real space "on the tall tree," transitions to the imagined space "in the vast void," and ends in the space of consciousness and imagination "flying away." From tangible, sensory actions like drawing, embracing, and chasing to abstract consciousness: hearing; negating "I don’t need" to affirm that I have "heard" (from within, already understanding, in communion, resonating with both space and time).

The poem ends with a single period, allowing the "I" character’s emotional flow to move naturally, immersing in a spiritual world of mutual connection. At the beginning, the tone of the poem is hurried, quick—"hastily draw, finished drawing, rushing to chase"—but by the end, it becomes "leisurely, innocent, and pure." The poet, at peace with the world, has transcended the "I – I don’t need"—the beauty isn’t to possess it but to embody it, to achieve the realm of "BEAUTY": a beautiful soul, expansive, integrated, sharing, and free with all things. Losing but gaining, wanting to grasp but letting go, from the limited to the infinite, merging private self with all.

Our childhood world was once filled with intense days. Many afternoons were spent on the hot fields chasing crabs and fish, looking up to the sky with dreams of soaring like a kite. Then there were days spent skipping school to catch baby birds from the palm trees or coconut palms... The saddest part was when our bird was eaten by a cat or escaped from its cage...

The natural spaces of forests and fields are shrinking every day, and wildlife, including birds, is becoming increasingly rare. The bustling industrial life has silenced the natural world, leaving it alien. Humans, too, are strange. It’s unclear whether this is a hobby, an attempt to preserve beauty, or something else entirely... Birds now only hop and sing within the confines of small cages.

Occasionally, when passing through streets lined with birdcages for sale, the image of the "White-breasted Starling" by Mai Van Phan floods my mind, bringing back fond memories of childhood. Even though the bird has flown from the cage back into nature’s endless expanse, as the poet says: "I feel as though I am looking at life through the eyes of a child, trembling and amazed by everything in existence," because, "I don’t need the bird to return / That song now I hear very clearly."

The poem "The White-crowned Myna" by Mai Van Phan has left a deep impression on readers.

To begin with, the poet has vividly depicted the image of the myna bird:

"The myna with white spots and a red crown

Sings from a towering tree

triu... uýt... huýt... tu hìu…"

The beauty of the myna is described with "white spots, red crown," showcasing its brilliance. Accompanied by the familiar song "triu… uýt… huýt… tu hìu…," the natural world in the poem comes alive with vibrant colors and sounds.

The poem doesn’t stop there, as the following lines reveal deeper meanings:

"I quickly sketch a cage in my mind

Afraid the bird might fly away

Just as I finish, it spreads its wings

I embrace the frame of sunlight, the frame of wind

The green branches hurry to follow"

The poet’s character, "I," draws a cage to imprison the myna out of fear that it will escape. This act reflects the poet's longing and desire to control nature. The "cage" symbolizes ownership of nature, showing off its beauty as something personal. But just as the character finishes drawing, the myna takes flight. As a result, "I" embrace the frame of sunlight, wind, and green branches. The poet wishes to hold the vastness of nature within, with the verb "embrace" paired with nouns like "sunlight," "wind," and "branches" symbolizing a desire to expand the "cage" into eternity, allowing the soul to encompass all of nature.

In the character’s imagination, the myna appears once again:

"In the endless void, I think

Soon the myna will peck at worms

The ripe red fruits

Each drop of water

Pure and clean, my own"

triu... uýt... huýt... tu hìu…

I no longer need the bird to return

That song now rings clear to me."

The character "I" wishes to keep the bird’s song. However, it seems that the "endless void" has made this impossible. The activities of the myna – "pecking at worms, eating ripe fruits, drinking each drop of water" – symbolize the poet’s realization that the bird, which they loved, will only find happiness in the freedom of nature. In these lines, readers can see that the poet has come to love nature through respect, no longer selfishly trying to control it. This love enables the poet to perceive the beauty of nature everywhere, no matter where they are.

In "The White-crowned Myna," we can see the poet's immense love for nature.

Mai Van Phan is a poet known for his distinctive works. One of his poems, "The White-crowned Myna," has made a lasting impression on readers.

At the outset, the poet vividly captures the image of the myna bird as seen in real life:

"The myna with white spots and a red crown

Sings from a towering tree

triu... uýt... huýt... tu hìu…"

The opening lines establish the myna’s position "on a towering tree". Along with this, the distinctive features of the bird – "white spots, red crown" and the call "triu… uýt… huýt… tu hìu…" – come to life through realistic description, painting a picture of nature brimming with color and sound.

Next, Mai Van Phan crafts the image of the myna in the mind of the lyrical character, "I":

"I hurriedly sketch a cage in my mind

Afraid the bird will fly away

Just as I finish, it takes flight

I embrace the frame of sunlight, the frame of wind

The green branches rush to follow"

The character "I" draws a cage to trap the myna out of fear that it might fly away. This image of the "cage" is woven with imagination, symbolizing the desire to possess the beauty of nature. Just as the character finishes drawing it, the myna spreads its wings and flies away. In response, "I" embrace the frame of sunlight, wind, and green branches. The verb "embrace," paired with the nouns "sunlight," "wind," and "branches," conveys the yearning to expand the "cage" into infinity, so the soul can encompass all of nature. The poem, with its innocent and joyful tone, reveals the poet’s optimistic love for life.

Finally, the character "I" imagines once more:

"In the endless void, I think

Soon the myna will peck at worms

The ripe red fruits

Each drop of water

Pure and clean, my own"

triu... uýt... huýt... tu hìu…

I no longer need the bird to return

That song now rings clear to me."

The space, filled with "sunlight, trees, and wind," reflects the desire to hold onto the bird and its song. However, the "endless void" – a phrase that suggests the infinite and eternal nature of the universe – leads "I" to imagine the myna pecking at worms, eating ripe fruits, and drinking drops of water. In the final lines, the myna has flown far away, but in the poet’s mind, it remains. The character "I" still feels the bird’s presence. Through this, the poet conveys that a love for nature endures no matter where one may be.

"The White-crowned Myna" offers readers a profound exploration of the poet’s love for nature and their yearning for freedom.

Mai Van Phan is a poet and essayist. One of his notable poems is "The White-crowned Myna."

Initially, the poet vividly portrays the image of the myna bird in reality:

"The myna with white spots and a red crown

Sings from a towering tree

triu... uýt... huýt... tu hìu…"

The myna is described as perched "on a towering tree" – with the term "towering" emphasizing its high position, expanding the spatial scope. The bird is depicted with "white spots, a red crown," showcasing its vibrant beauty, while the familiar sound of its call "triu… uýt… huýt… tu hìu…" adds to the auditory landscape. Through realistic description, the poet creates a picture of nature filled with color and sound.

However, the image of the myna transcends its mere physical characteristics:

"I hurriedly draw a cage in my mind

Afraid the bird will fly away

Just as I finish, it takes flight

I embrace the frame of sunlight, the frame of wind

The green branches rush to follow"

In the second stanza, the poet presents the character "I" drawing a cage to trap the myna, fearing it will fly away – a desire to possess the beauty of nature. The cage symbolizes ownership of nature, a display of its personal beauty. But just as "I" finishes the drawing, the myna flies away. As a result, "I" embrace the frame of sunlight, wind, and green branches – a longing to encompass the vastness of nature. The verb "embrace," combined with the nouns "sunlight," "wind," and "branches," conveys a yearning to expand the "cage" infinitely, so the soul can embrace all of nature. The poem, with its joyful tone, reveals the poet’s optimistic view of life and love for nature.

Finally, the myna appears once again in the imagination of "I":

"In the endless void, I think

Soon the myna will peck at worms

The ripe red fruits

Each drop of water

Pure and clean, my own"

triu... uýt... huýt... tu hìu…

I no longer need the bird to return

That song now rings clear to me."

As "I" "hastily follows" the myna, "I" carry with me the space filled with "sunlight, trees, wind" in an attempt to hold on to the bird and its song. But the bird disappears into the "endless void" – a phrase that suggests the boundless and eternal nature of the universe. The activities of the myna – "pecking at worms, eating ripe fruits, drinking drops of water" – are portrayed as acts of redemption, as "I" realize that the beloved bird can only find happiness in the freedom of nature. However, in the poet’s mind, the bird remains. Even though it does not return, "I" still hear its song clearly in my mind. The character "I" has learned to love nature with respect, no longer seeking to possess it selfishly. This love for nature makes it possible to experience its beauty, no matter where one is.

Thus, "The White-crowned Myna" reveals the beauty of the bird. Yet, the poet’s deeper message is about his love for nature and the yearning for freedom.