Top 8 Essays Analyzing the Character of the Guest in 'Phú sông Bạch Đằng' by Trương Hán Siêu

In his literary career, Trương Hán Siêu did not write many works, but his 'Phú sông Bạch Đằng' alone is enough to immortalize his name. Upon reading this epic, most readers agree that the character of the 'guest' represents a reflection of the author himself, and the guest's presence is of significant importance. The guest begins his journey by indulging in leisure and immersing in the beauty of nature, exploring the landscapes of the country to enrich his knowledge. The guest's posture reflects the character of a person with a free spirit and grand ambitions: 'Wherever a person goes, who can say where?' 'In Vân Mộng, a lake filled with hundreds of stories.' 'With vast aspirations, the guest still longs for the four corners of the world.' The guest's ambitions are, in fact, those of Trương Hán Siêu himself. These aspirations are triggered by the locations the guest travels through, some in reality, others in his imagination: 'At dawn, I row my boat past Nguyên, Tương,' 'In the afternoon, I visit Vũ Huyệt.' The guest travels through vast, open spaces like the great seas (sailing through the waves, gazing at the moon) and famous regions such as Tam Ngô, Bách Việt, and Vân Mộng. These imagined adventures symbolize the grand dreams of the guest. Yet, despite his far-flung journeys, the guest never forgets to appreciate the scenic beauty of his homeland, which leads him to the Bạch Đằng River: 'Passing Đại Than gate, heading towards Đông Triều,' 'Until I reach Bạch Đằng River, my boat floats gently on the river.' As the boat drifts along the river, the guest is filled with natural and sincere emotions. Sometimes, his grand spirit soars alongside the majestic nature: 'Vast waves stretch endlessly, a thousand miles long,' 'Graceful, the tail of a crane blends in with the sky.' At other times, the guest feels solemn, contemplating the desolate beauty: 'Reeds along the shore are clustered, the wharf is lonely.' 'Under the river, broken spears and bones scattered all over the hills.' The character of the guest, as depicted in 'Bạch Đằng giang phú', is deeply connected with the natural world, reflecting a romantic soul and a deep love for the homeland. As the poem progresses, the guest engages in a dialogue with the elders about the victory of the Trần army over the Mongol invaders at Bạch Đằng River. The elders recount the great victory, including the capture of Ô Mã, followed by reflections on the triumph on the Bạch Đằng River. In this conversation, the guest takes on the role of a listener but also delivers the final words that conclude the elder's stories: 'You are wise, both of you, our great kings,' 'Here, on this river, we’ve washed away the enemy.' 'Our enemies' defeat will echo through eternity,' 'It is because of the land’s strength, and our virtues are high.' Trương Hán Siêu's humanistic thought is vividly expressed in these lines, with the guest acting as the spokesperson for the author. The guest's words affirm the decisive role of humanity in the resurgence of the nation. According to Trương Hán Siêu, victory is not only due to geographical advantages but primarily the strength of the people. Without the people, no natural or strategic advantage would bring success. The guest's verse also shows a deep respect for the two Trần kings, Trần Nhân Tông and Trần Thánh Tông, and honors the lasting contributions of humanity. This is Trương Hán Siêu’s way of expressing his humanistic values and profound philosophical insights through the voice of the guest. In conclusion, the character of the 'guest' plays a crucial role in the poem, symbolizing both the author's poetic persona and his deep affection for his country and people. The guest embodies national pride, a profound love for the homeland, and a strong humanistic spirit. Through this character, we gain a clearer understanding of the philosophical content and Trương Hán Siêu’s patriotic fervor.

In the history of Vietnam's resistance against foreign invaders, our ancestors recorded remarkable naval victories that have become legendary. Among the many rivers and coastal areas that bear historical significance, the Bạch Đằng River stands out as the most renowned and majestic. Celebrating this legendary river, Nguyễn Trãi wrote 'Bạch Đằng hải khẩu,' Nguyễn Sưởng composed 'Bạch Đằng giang,' and perhaps the most distinguished of all, Trương Hán Siêu created the masterpiece 'Bạch Đằng giang phú.' Within this work, the character of the guest is portrayed in a powerful and lasting manner. The poet Trinh Đường described Bạch Đằng as the 'shining glory of heroic Vietnam' because it witnessed the triumphs of battles that echo through history. In 938, Ngô Quyền decisively defeated the Southern Han forces, and in 1288, King Trần led his army to crush the Mongol-Yuan forces. To immortalize these victories and express pride in a brilliant and courageous nation, Trương Hán Siêu composed 'Bạch Đằng giang phú,' which was likely written about 50 years after the Mongol-Yuan defeat by a guest of Trần Hưng Đạo. Notably, the characters of the guest and the elderly figures are central to the work. While the elderly lead the narrative, the guest plays a crucial role in highlighting the importance of individuals in battle and conveying the emotional tone of the poem. The author's brilliant use of the guest character significantly contributes to the work's success. At the beginning of the 'Bạch Đằng giang phú,' the guest character is introduced with a love for nature, vast knowledge, and a grand ambition: 'The guest ventures to:' 'Hoisting the sail, riding the winds, drifting aimlessly,' 'Riding the waves, chasing the moon tirelessly.' This introduction reflects the guest's romantic, poetic soul. As a lover of travel, the guest 'visits' many renowned places through books, including Nguyên and Tương rivers, and Vân Mộng Lake, but still feels the longing for greater exploration, expressing an unquenchable thirst for knowledge. Trương Hán Siêu's character embarks on journeys to explore nature, deepen historical understanding, enrich his learning, and express his emotions. At this point, readers are reminded of Nguyễn Bỉnh Khiêm's work in 'Autumn eats bamboo shoots, winter eats radish,' and Cao Bá Quát's verse 'To the north, the northern mountain, layers upon layers,' 'To the south, the southern mountain, endless waves.' Unlike Trạng Trình's lofty philosophical teachings or Cao Tử's poignant reflections, Trương Hán Siêu approaches nature with the desire to understand more about the country's landscape, as well as pride in the glorious achievements of his ancestors. No longer lost in imaginary travels, the Bạch Đằng River, a real location, stands before the guest: 'Through Đại Than's gate, against the East Triều bank,' 'To Bạch Đằng River, the boat sails through one afternoon.' As the guest stands before the historical monument, their mood shifts from pride and joy to somber reflection: 'Vast waves stretching for thousands of miles,' 'The graceful tail of a pheasant in a single color.' The Bạch Đằng River is described in the third month of autumn, immersed in the green hue of the sky. As the guest gazes at the magnificent, poetic river, they are overwhelmed with praise, joy, and pride for the peaceful era they live in. In contrast to the grandeur of the present-day landscape, there is the tragic image of the battlefield from the past: 'The banks covered with reeds, the riverbank desolate.' These evocative descriptions give the Bạch Đằng River a melancholy tone, where the ravages of time have diminished the once glorious battlefield. Not only is the guest saddened, but they also feel deep sorrow and compassion for the devastating consequences of war on this historic river: 'The river drowned in broken spears, the banks covered with dry bones.' The Bạch Đằng River has swallowed countless lives, taking the lives of those lost in unjust wars. The guest can only mourn: 'Sad from the tragic scene,' 'Standing still for a long time,' 'Pitying the missing heroes,' 'Regretting that the marks have faded.' The mood of the guest mirrors that of the poets who visited before them. Nguyễn Trãi lamented: 'The past is gone, oh, it is gone, to the river, reflecting, I am full of sadness.' After hearing the vivid and truthful stories of the elderly about the two naval battles on the Bạch Đằng River, the guest praises: 'Oh, the two great kings,' 'Here, this river has washed away many battles,' 'The enemy's defeat shall last for generations,' 'For why? It is not the land's danger, but the virtue of the people.' The final commentary of the poem asserts the immutable truth about the role and importance of humanity in battle. In contrast to Nguyễn Sưởng's view in 'Bạch Đằng giang': 'The success of the revival is hard to know,' 'Half depends on the mountains and rivers, half depends on the people,' Trương Hán Siêu affirms that the decisive factor in the victory on the Bạch Đằng River was the strategy, wisdom, and bravery of the two kings Trần Thánh Tông and Trần Nhân Tông, as well as the heroism of the soldiers, especially General Trần Quốc Tuấn. When the enemy arrived, the king asked Trần Hưng Đạo for advice, and he replied, 'This year's enemy is weak.' The 'weakness' was the result of accumulated experience from two previous wars, the unity of the nation, and the ability to show mercy to the people. Through this, we see that the leader of a country not only applies tactical skills to deploy troops on the battlefield but also governs with virtue: 'For why? It is not the land's danger, but the virtue of the people.' The king's virtue is not only shown in the palace but also on the battlefield, as Quốc Tộ wrote: 'Non-action in the palace, but every place is filled with warfare.' Throughout the poem, Trương Hán Siêu skillfully employs various literary techniques. In the opening, he combines enumeration with a symbolic style when mentioning the places the guest 'visits' in their imagination: 'Cửu Giang, Ngũ Hồ, Tam Ngô, Bách Việt,' 'Wherever people go, it is known.' Moreover, when describing the legendary river in both the past and present, Trương Hán Siêu uses both realistic depiction and hyperbole, along with evocative terms like 'vast,' 'graceful,' 'dense,' and 'desolate.' Through each line, Bạch Đằng is portrayed as a proud, tragic figure. Furthermore, the poem's success is due to how the guest's emotions shift with the changing scenery, from joy and pride to sorrow, lament, and regret. The author also uses flexible sentence structures and rhythmic pauses, with the unique phrase 'chừ,' a characteristic of the poem, to make the language more flowing and harmonious. Through the character of the guest in 'Bạch Đằng giang phú,' Trương Hán Siêu reveals aspects of himself: a thirst for knowledge, an ambition for exploration, and a deep love for nature. Additionally, the author conveys his feelings, as well as those of the Vietnamese people, about the heroic victories on the Bạch Đằng River. It reflects pride in the ancestors, national pride, deep patriotism, and sorrow over the devastating impacts of war. Not only that, the author also affirms the role of humans in warfare, praising the wisdom and virtue of the two kings.

Bạch Đằng River has long been a well-known landmark, a historical witness to numerous glorious milestones in the proud history of the nation. As a result, it has inspired many poets and writers, leading to the creation of several famous works. Examples include 'Bạch Đằng Giang' by Trần Minh Tông, 'Bạch Đằng Giang Phú' by Nguyễn Mộng Tuân, and 'Bạch Đằng Giang' by Nguyễn Xưởng. Among these, one of the most notable works is the famous 'Phú Sông Bạch Đằng' by Trương Hán Siêu, a masterpiece in Vietnamese medieval literature. The beginning of the work introduces the figure of the 'guest' and the emotions he experiences, marking the start of a dialogue between the 'host' and 'guest' that shapes the entire piece.

Trương Hán Siêu (?-1354), born in Yên Ninh (now Ninh Bình city), was an outstanding cultural figure of the medieval period and a distinguished politician during the Trần Dynasty. He was a disciple of Trần Hưng Đạo and served under four Trần kings, holding important positions and contributing to the resistance against the Mongol invasions during the second and third wars. As for his literary career, 17 poems and two prose works are attributed to him, with 'Phú Sông Bạch Đằng' being considered his most remarkable and revered masterpiece. Trương Hán Siêu was highly respected by the Trần kings, who referred to him as 'teacher' rather than by his personal name. Upon his death, he was posthumously honored as Thái Bảo, Thái Phó and enshrined at the Temple of Literature.

'Phú Sông Bạch Đằng' stands as the pinnacle of Trương Hán Siêu's literary career and is considered a prime example of patriotic literature from the Lý-Trần period. It is recognized as a masterpiece of the medieval phú genre and is hailed as a monumental piece in Vietnamese literary history. While the exact date of its composition remains uncertain, some research suggests it was written about 50 years after the victory over the Mongols, during a time when the Trần Dynasty was beginning to show signs of decline.

The work opens with the 'guest' figure embarking on two types of travels: first, visiting famous places in Chinese classical literature, such as Nguyên, Tương, Vũ Huyệt, Cửu Giang, Ngũ Hồ, Tam Ngô, and Bách Việt, all of which are vast and beautiful landscapes of China that the author has explored through books and imagination. The second journey takes place within Vietnam, where the author visits landmarks like Đại Thanh Gate, Đông Triều port, and Bạch Đằng River. These places, like their Chinese counterparts, are expansive, beautiful, and historically significant. To Trương Hán Siêu's eyes, the Bạch Đằng River stands out with two key characteristics: its majestic vastness and its poetic beauty. The waves of the river seem to stretch endlessly into the distance, while the phrase 'bát ngát' evokes the grandeur of the river's endless stretch.

'Softly the boats glide, like a trailing feather,' evokes the image of boats gently moving along the river, their graceful, elegant, and delicate movement. This description underscores the serene beauty of Bạch Đằng, which, while grand and immense, also exudes a sense of poetic charm. In addition to this imagery, the 'guest' also senses a haunting loneliness, represented by 'The reed banks are close together, the port is eerily quiet,' with no one in sight. Further, the line 'The river sinks, the spear breaks, the mound is filled with dry bones,' adds a melancholic tone, evoking the poignant feeling of time and history passing.

Through these journeys, it becomes clear that the 'guest' is someone with vast aspirations and a free-spirited nature, enjoying the act of travel to broaden his horizons. The 'guest' is deeply immersed in the landscapes, seeking to expand his knowledge, much like the famous historian Sima Qian of China. It can be seen that the 'guest' figure is, in fact, a reflection of the author himself, and in this figure, we can sense the presence of Trương Hán Siêu.

As the 'guest' stands before the landmarks of Vietnam, he experiences a wide range of emotions. First, there is a sense of joy and pride at the sight of the river's beauty, which not only represents nature's grandeur but also carries the historic pride of past victories. However, this is also tinged with sorrow and regret, as the once glorious battlefield has now become desolate and quiet, with the heroes of the past long gone, leaving only fading remnants of their legacy.

'Sadness lingers as I stand still for a long while'

'I grieve for the heroes who are absent.'

'Regretting that their traces remain but are fading.'

The 'guest' stands still for a long time, unable to hide his melancholy and sense of loss. The change in his emotional state reflects a shift from outward excitement and vigor, inspired by the beautiful scenery, to inward sorrow and nostalgia as he reflects on the passage of time and the fading history. The battlefield, once full of heroic deeds, is now a deserted place, where 'the river sinks, the spear breaks, the mound is filled with dry bones.' The heroes who once made history have now passed, leaving only traces that are slowly disappearing. This sense of loss also reflects the concerns of a patriotic scholar in the declining years of the Trần Dynasty.

The 'guest' is also a manifestation of Trương Hán Siêu himself. In the face of the country's impending decline, the return to Bạch Đằng River stirs deep emotions in him, largely driven by his love for the nation and his concern for the people's fate. Externally, he appears calm and at ease, observing the magnificent scenery of Đại Việt, but internally, he is filled with nostalgia for the peaceful and prosperous days of the past, when the country was strong and its military was victorious. Now, the landscape remains, but the people have passed, leaving Trương Hán Siêu in a state of quiet reflection. This emotional flow of the 'guest' sets the stage for the continuing narrative of the poem.

The character of the 'guest' serves as a representation of the author. This character enjoys traveling, not only to appreciate nature's beauty but also to immerse in it and study the history of the country. The opening lines express a passion for the pleasures of nature, with a free and expansive soul. The mentioned Chinese landmarks indicate that the author has traveled abroad through books and imagination, enriching their mind and knowledge. Yet, this has not fully satisfied them; they still yearn to dive deeper into the sea of knowledge to fulfill their ambitions: "But the desire to travel far and wide remains strong."

The author admires the journey of Tzu Chang (Sima Qian), which symbolizes a deep appreciation for nature's beauty and a commitment to understanding the nation's history. They want to preserve the glorious achievements and victories of past generations, which might not have been fully recognized by the government. The historical consciousness and patriotism of the scholar are commendable. Returning to their homeland's famous landmarks, the author feels immense joy and pride:

Through the Đại Than Gate, upstream to Đông Triều Wharf,

To the Bạch Đằng River, where boats glide along the shores.

The vast waves stretch for miles,

Graceful as the tail of a pheasant, gliding in harmony.

This is a destination the author had eagerly awaited, and now, seeing it with their own eyes, they are excited to witness its grandeur and the bustling atmosphere of the river, filled with merchant ships. If comparing these landmarks to China's, the author takes pride in the fact that their homeland also boasts such majestic places. However, the author is not merely sightseeing but also delving into the history of the land, viewing the river through the lens of time, seeing remnants of the battlefield and the memories of past heroes:

The reed-covered banks stand closely together, the wharf is desolate.

The river sinks, spears broken, and hills are filled with dry bones,

Sad at the sight, standing still for a long time.

We mourn the missing heroes who once stood here,

Regretting that their traces are slowly fading away!

The solemn tone of the verses reveals a vast, serene, yet gloomy landscape, filled with nostalgia. The poem evokes a sense of sadness for the transience of life: once-vibrant battlefields and heroic warriors are now lost to the passage of time. This expression of sorrow for the past illustrates the author's deep respect for their ancestors. The 'guest' character in the opening is depicted as having a beautiful soul and a strong sense of national identity.

The Battle of Bạch Đằng is vividly brought to life through the stories of the elders (from the line: "By the river, the elders speak..." to "For a thousand years, only the heroes' names remain."). These elders, as representatives of the local people, may also embody the author. Their attitude towards the 'guest' is both respectful and eager to share historical tales. They take pride in their historic homeland, recounting its glorious past in verses that tell of the nation's fight for independence:

This is the battlefield where the two saints of the Trùng Hưng era battled,

Ô Mã, the site where the Ngô generals defeated Hoằng Thao.

They capture the essence of the battle through vivid strokes:

Countless ships sailed, flags waving in the wind,

Six armies clashed, swords and spears shining brightly.

The battle's outcome was still undecided,

The northern and southern lines of defense held strong.

The sunlight and moonlight were obscured,

The sky was about to change.

The storytelling technique is skillful and concise, capturing the essence of the battlefield, its developments, and its intense atmosphere. The naval clash was fierce and spectacular, with intense battles that seemed to shake the heavens and earth, shrouded in smoke and fire. The exaggerated style emphasizes the grandeur of the conflict, ultimately highlighting the triumph of the Vietnamese forces, marking the glorious era of the Đông A dynasty.

The invaders, driven by greed and injustice, suffered defeat. Their disgrace is indelible, serving as a lesson for history: "Though the river flows eternally, the shame of the enemy can never be washed away!" The victory was due to the strategic terrain and the talents of the Vietnamese leaders. The commentary is both proud and respectful, celebrating the nation's heroic history:

Indeed: Heaven and earth granted us a formidable land,

With great talents who ensured our peaceful reign.

By comparing the Bạch Đằng battle to famous Chinese conflicts like Red Cliffs and Hefei, the author emphasizes the Vietnamese victory's equal fame and grandeur, affirming the eternal brilliance of General Ngô Quyền and the Trần Dynasty. This comparison also reflects national pride. The epic tone of the narrative conveys heroism and historical pride in a majestic and serious manner. The elders' final words:

The mighty river will flow forever.

The heroes' righteousness will echo for generations to come.

This is a timeless truth. The joyful and proud song will resonate with the river and the image of the elders slowly fading as their boat drifts away from the high reeds.

The song of the 'guest' continues: (remaining verses)

The two great saints are celebrated here,

This river cleansed the battlefield twice.

The invaders were defeated, bringing eternal peace.

For it is the land's defense, upheld by noble virtues.

The author also praises the contributions and wisdom of the two Trần kings, Trần Thánh Tông and Trần Nhân Tông. However, unlike the elders, Trương Hán Siêu emphasizes the importance of human strength over the terrain, highlighting the moral principles of the Vietnamese people. This is the truth that led to victory.

The closing verses of the poem reflect national pride and high humanistic values. The content's value lies in depicting the majestic historical victory at Bạch Đằng and its commentary, celebrating the heroes and the national pride. This piece is a representative work of patriotic literature during the Lý - Trần period. The artistic value lies in the simple yet captivating structure, tight composition, formal and expressive language, vivid imagery (the 'guest', the elders, the battlefield), and rich tone.

"Khách có kẻ" in "Bạch Đằng Giang Phú" refers to a lyrical character who is none other than Trương Hán Siêu. In classical essays, the figure of "Khách" is not uncommon. "Ngọc Tỉnh Liên Phú" (The Lotus Pond in the Jade Palace) by Mạc Đĩnh Chi (?-1346) also features a "Khách"... "Khách có kẻ: at the high house near a chair, on a summer noon with intense heat. Gazing at the clear pond, listening to the music of the Phủ Dung." Here, "Khách" is Mạc Đĩnh Chi expressing his pure heart, noble spirit, talent, and ambition as a scholar in life.

As we know, Trương Hán Siêu was a famous scholar in the Trần Dynasty, with a straightforward character and a free-spirited soul. The first nine lines show that "Khách" is a poet who carries a pouch of wine and a scroll of poems, journeying through various regions, befriending the wind and moon along the way. He lives fully with nature, constantly traveling to explore all the beautiful landscapes, both far and near. At night, he "plays with the moon endlessly", and by day:

"Early rowing at Nguyên Tương,

Late visiting Vũ Huyệt",…

The "Khách" has traveled extensively and learned much. The famous landmarks like Nguyên Tương, Cửu Giang, Ngũ Hồ, Tam Ngô, Bách Việt... are all located in vast China, but here, they symbolize a personality, a soul: one who loves nature dearly, finds joy in wandering the world, and takes pride in his "wandering" lifestyle:

"Wherever there are people,

Everyone knows me."

These faraway places are not just beautiful scenery but represent a boundless space, only those with great ambitions and "tráng chí bốn phương" (the grand will of the four directions) can "raise their sails... and glide across the seas" to reach them. Vân Mộng Lake is an exemplary scenic spot, yet the "Khách" has "held hundreds of them in his heart", having visited it many times and enjoyed many similar landscapes. Still, his heart yearns for more, still longing for the vastness of the world.

"Vân Mộng Lake has held hundreds of them in my heart,

But my grand ambition for the four directions still remains."

The beginning of the poem conveys the scholar's nature: harmonizing with nature, placing the value of "leisure" at the forefront, indirectly rejecting the pursuit of trivial fame and wealth. "Through Đại Than Gate... to Bạch Đằng River" – this next part reveals the poet's joy in visiting Bạch Đằng River. Trương Hán Siêu follows the ancient advice of "learning from Tư Mã Tử Trường" to head northeast, "letting go of the oar" to fulfill his desire for a carefree life. The ancients said: "To learn Tư Mã Tử Trường's writing, one must first learn his way of leisure." Tư Mã Tử Trường was the renowned historian Sima Qian of the Han Dynasty, who is often considered an unparalleled traveler of his time. Trương Hán Siêu, with his poetic sails, follows the rivers and mountains:

"Through Đại Than Gate, upstream to Đông Triều,

To Bạch Đằng River, paddling gently"

"Vast waves rolling for thousands of miles"

Bạch Đằng River, the majestic river of Đại Việt, is wide and long, with waves surging, a sky of endless blue in late autumn.

"Vast waves rolling for thousands of miles"

-Graceful as the tail of a pheasant's plume.

- The sky’s color: all one hue.

- The scene of late autumn."

The sentence here borrows an image from the poet Vương Bột in his "Đằng Vương Các" (The Pavilion of the Lord of the River) "The river in autumn blends with the distant sky." The portrayal of Bạch Đằng River is vivid, with the poet Trần Minh Tông (1288-1356) writing, "The serpent swallows the tide, waves of silver rolling... The view of the river reflecting the sunset—one could mistake it for the blood of fallen warriors still fresh" (Bạch Đằng Giang – Translation). The description of the river’s banks recalls the historical battlefield:

"The shore is filled with dense reeds,

With lonesome docks and narrow passages,

The river hides broken spears,

The hills are piled with dry bones."

The thick reeds and deserted docks evoke a sense of desolation. The hills and riverbanks, shaped like swords and spears, are piled with the bones of the northern invaders. The grandeur of the scene mirrors what the poet Ức Trai wrote a century later: "The dragon’s body is split into jagged rocks – Spears are submerged, swords broken along the shore."

Trương Hán Siêu describes Bạch Đằng River with sharp imagery and colors. His metaphors and new associations reveal the grandeur of this historic river, beautifully illustrated through parallel couplets and four-character verses. Decades after the great victory on Bạch Đằng River (1288), the poet returns to the river, feeling moved and nostalgic:

"Saddened by the tragic scene,

Standing in silence for a long time,

Pitying the absent heroes,

Regretting the marks of battle that still remain."

This mood of "sorrow, pity", the emotion of "standing in silence for a long time", expresses deep grief, admiration, and endless gratitude for the heroic martyrs who sacrificed their lives to defend the river and the nation's survival. This is the timeless sentiment of "drinking water, remembering the source" – and the eternal disgrace of the enemy: "The shame of the invaders cannot be washed away."

The elderly villagers – the second key figures in this poem – appear next. From descriptions and lyricism, the poet shifts to narrative, with the language becoming dynamic and alive. The historical inspiration swells with heroic tones, much like the waves on Bạch Đằng River. Both the "Khách" and the elderly villagers gaze at the river, seeing the ripples rise, as if the heroic past of their ancestors is being revived.

The nation's literature has immortalized countless beautiful figures. There is the great General Hưng Đạo Đại Vương Trần Quốc Tuấn, whose deep concerns for the warrior spirit are captured in his famous speech. There is King Lí Công Uẩn, full of defiance and hope for the future of the country in the royal edict about relocating the capital. There is the founding hero Nguyễn Trãi, bold and spirited in his famous proclamation on the victory over the Ngô. And some 50 years after the triumph on the Bạch Đằng River, there is Trương Hán Siêu, filled with nostalgia for the historic battles in his ode to the Bạch Đằng River. Yet, to express and reveal these emotions, the Confucian scholars of the Trần dynasty relied on the figure of a 'guest', a brilliant artistic creation that elevated the work of 'Phú sông Bạch Đằng' to one of the finest pieces of medieval poetry. In accordance with the ancient style of 'phú', the 'guest' is a fictional character, imagined and constructed by the author in dialogue with other figures (in this case, the elders). In 'Phú sông Bạch Đằng', the 'guest' takes center stage. The poem follows the conventional structure of four parts (introduction, explanation, commentary, and conclusion), but it is also possible to experience the poem through the emotional flow of the guest's perspective. The guest speaks of a grand vision of the world, filled with a longing for the past glory of the nation on the Bạch Đằng River. Perhaps this is why many believe the 'guest' represents the author’s voice, a masterful embodiment of a poet, a wanderer, and a hero, expressing deep feelings for the land. And in the opening lines of the poem, the guest appears as an aloof, artistic, romantic figure, bringing with him the grandeur of the world. The guest says: 'Raising the sail to catch the wind, floating aimlessly' '…' 'Learning from Tử Trường, living a carefree life' Through these metaphorical and exaggerated images of raising sails, sailing across seas, visiting distant lands, and wandering from place to place, the 'guest' is depicted as a free spirit, eager to explore and experience life. His spirit is described as being carried by the wind and the moon, traveling through the days. The use of the words 'floating aimlessly' emphasizes the deep immersion in a dream-like world, constantly moving without a fixed direction. The enumerative style takes the guest to the beautiful landscapes of China, and then back to the Bạch Đằng River, reflecting his broad knowledge as a Confucian scholar and his worldly ambition. His desire for adventure, knowledge, and self-expression is clear. As such, the allusion to Tử Trường is not to learn historical records, but to seek the pleasures of wandering and exploring. This pursuit of knowledge is not just intellectual but is also about harmonizing with nature, studying history, and sharing personal reflections. And then, the scene unfolds: 'Passing Đại Than gate, heading towards Đông Triều dock' '…The sky is one color, the landscape three autumns' With the gentle movement of the sail, the guest slowly approaches the Bạch Đằng River, and a stunning scene unfolds before him: a breathtaking picture of autumn. The writing style is deeply romantic, painting a picture of the river with elegant strokes. The poem describes the vast, unbroken waves of Bạch Đằng, which never rest, alongside the graceful boats that glide like bird tails, creating a scene where sky and water merge into a harmonious whole, evoking a peaceful yet poetic Bạch Đằng. Such beauty could only be captured by a soul in love with nature, with the eyes of an artist and the perceptive qualities of a painter. Therefore, the guest’s emotional response is one of joy and delight, reflecting his admiration for the landscape. Early in the poem, the guest establishes a grand vision, representing the expansive, artistic, free-spirited nature of a scholar, a poet, and a lover of knowledge. The feeling of awe before the beautiful landscape, shared by a scholar and poet with a great sense of patriotism, evokes memories of Nguyễn Bỉnh Khiêm's lines 'Autumn eats bamboo shoots, winter eats bean sprouts/ Spring bathes in lotus ponds, summer in pond water' (Nhàn). However, Trương Hán Siêu does not express the same lofty philosophy as Trạng Trình; he does not express the sorrowful resignation of Cao Bá Quát in 'Northern mountains are vast, southern mountains endless' (Short song on the beach). Instead, Trương Hán Siêu comes to nature both to satisfy his wanderlust and to indulge his curiosity about his country's landscapes, while also sharing a sense of pride in his nation’s heroic past. Thus, the guest becomes a symbol of a patriotic intellectual, deeply connected to the land. But in this moment, faced with the Bạch Đằng River, the joy he once felt fades, as the scene of past triumphs is now: 'Banks of reeds are thick, the docks are desolate' '…Alas, the traces of the past are barely visible!' The realistic style of writing portrays a starkly contrasting scene. The guest gazes at the battlefield of the past, now dreary and forlorn. The reeds and desolate docks evoke sadness. The once roaring river now appears quiet and lifeless. The guest’s soul darkens, and there is a quiet mourning, a sense of sorrow, as he laments the fading traces of past glory. The rapid shift in emotion is filled with compassion, as the passage of time has eroded the once-vibrant signs of national greatness. Even poet Nguyễn Trãi could not escape this fate when visiting: 'Looking back, the past is gone' 'Gazing at the river, my heart is heavy' (Sea gate Bạch Đằng) All the suppressed feelings of sorrow burst forth in the poet’s heart, giving rise to a deep desire to relive the glorious moments of the past. This is why the elders, the living witnesses of the past, are brought into the narrative – they recall and reconstruct the former glory to instill pride in the guest for the victories on the historic river. Singing the praises of the Bạch Đằng River as the legendary river is not wrong, for the battles led by Trùng Hưng and the Ngô lord wiped out the enemy without glory, shaking both heaven and earth along this river. The historical inspiration surges through the narrative, even though the guest does not actively participate in the elders' recounting, his emotional presence is still palpable. The allegorical, exaggerated storytelling combined with a cosmic inspiration vividly recreates the grandeur and heroism of those ancient battles. From the beginning of the struggle, when victory and defeat were unclear, to the moment the enemy is scattered, reduced to ashes, never to be remembered – the pride and excitement of the guest is evident. All the previous sadness dissipates, replaced by a sense of triumph, fulfillment, and admiration for a past filled with heroic victories, and an indomitable patriotism that never fades. The guest wholeheartedly agrees with the elders' explanation of the reasons behind these victories. As a scholar who deeply understands life and history, the guest recognizes that success is made possible not just by timing or place, but by harmony and virtue. He praises the heroes of the past, especially those great rulers whose wisdom and moral authority won the hearts of the people and ensured peace. The final lines of the guest echo like the rhythm of the Bạch Đằng River: 'Your Majesties, the two wise rulers' 'Here, the river cleanses the battlefield' 'Forever the enemy is defeated and peace reigns' 'For this, the land’s strength lies in virtue' Is it not true that the Bạch Đằng River, with its endless waves flowing to the East Sea, mirrors the poet's emotions? There is the unyielding flow of ancient memories, as well as the emotional waves reflecting the circumstances of the present. The guest thus evokes the deeply sacred historical values of the nation, highlighting the role of humans in shaping history, while subtly conveying the melancholy of the times that the poet cannot fully express. Through the unique poetic techniques of medieval literature, the character of the guest is vividly depicted in this ode, becoming a distinctive artistic symbol of the era. It can be said that the guest embodies the qualities of the poet himself, reaffirming the artistic identity of Trương Hán Siêu, and transmitting the historical and patriotic ideals of the nation through this masterpiece.

Trương Hán Siêu was a man known for his integrity, profound knowledge, and the trust placed in him by the Trần emperors. He was one of the most renowned scholars of the Trần Dynasty, though not many of his works remain. His most famous work is the *Bạch Đằng Giang Phú*, which features the character 'khách'—the guest—whose image has left a lasting impression on readers. The 'khách' is a figure who enjoys wandering the world, with a free-spirited, open heart:

Raising the sail, drifting with the wind

Crossing the seas, chasing the moon endlessly...

Place names like Nguyên Tương, Vũ Huyệt, Cửu Giang, Ngũ Hồ, and Tam Ngô—locations from China, full of beautiful scenery—are listed one after another, representing places that many dream of visiting. The character 'khách' uses these locations to express his love for traveling and exploring faraway lands. His use of opposites—such as morning and night—reveals his deep desire for freedom and discovery. This longing for adventure also carries a desire to learn about history and culture, especially the history of his own people. Despite having traveled extensively, the 'khách' still yearns for more knowledge, much like the ancient scholar Tử Trường, who traveled widely to understand his nation's history.

Through the 'khách's' eyes, Bạch Đằng River appears as a vast and magnificent scene. The endless waves, the beauty of the sky and river, the landscape reflects autumn's hues: The waves stretch for miles/ The gentle boats move like swan's tails/ The water and the sky blend as one. Yet, amidst this breathtaking beauty, the river also holds a tragic history. The landscape reveals the remnants of past battles: The banks are thick with reeds, the docks desolate/ The river is filled with broken spears, the hills covered with bones. These images evoke the sorrow of past battles, reminding the 'khách' of the fallen heroes who once fought there. This is reminiscent of Nguyễn Trãi's *Bạch Đằng Hải Khẩu*, a poem that also underscores the grandeur of the national resistance against the Mongol invaders and the desolation left in the wake of battle.

Breaking the waves and carving through the mountain’s curves

Trudging over the war-torn battlefield...

Both works emphasize the heroic national resistance and the somber aftermath. The 'khách' feels overwhelmed by the majestic beauty of the land, while also contemplating the grief over the lost lives. As he stands before the river, his emotions shift from excitement and wonder to a somber reflection on the scars left by war: The banks are thick with reeds, the docks desolate/ The river is filled with broken spears, the hills covered with bones. These words reflect the 'khách's' deep connection to his land and the tragic events that shaped its history. The transformation in the 'khách's' emotions from joy to sorrow paints a portrait of a person who, despite being a free-spirited traveler, is deeply moved by the history and pain of his homeland.

The character of the 'khách' reappears at the end of the work, when he praises the wisdom of the elders, acknowledging their truth: Those who act dishonorably vanish/ Only the heroes' names endure through the ages. The two heroes mentioned are Trần Thánh Tông and Trần Nhân Tông, whose legacies will be remembered forever. The 'khách' also praises the Bạch Đằng River as a symbol of the country’s heroic history, drawing upon the line from the poet Đỗ Phủ: “Purging the battlefield forever” to express a desire for everlasting peace. This aligns with the purpose of the national resistance—to secure peace and independence. Not only does the 'khách' emphasize the importance of human actions, but he also underscores the role of virtue in securing victory: When the enemy is defeated, peace reigns/ Because the land’s strength comes from its people's virtue. The ultimate triumph was not just in military might, but in the moral righteousness that guided the victory. This final reflection highlights the deep humanistic values that the 'khách' brings to his narration.

Through bold language and shifting tones, the 'khách' emerges as a figure who loves his homeland deeply, one who not only seeks to understand the world but also has a profound respect for the human values that shape history. His reflections at the end reveal a far-reaching vision, with a deep, humane perspective on life and history.

It is hard to say when exactly, but the Bạch Đằng River has long been a source of endless inspiration in poetry. In his poem 'Bạch Đằng Giang,' Nguyễn Sưởng wrote: 'Veil of vengeance like mountains, trees lush and green, The roaring waves crash, stones rise high.' 'Who can easily understand the Trùng Hưng dynasty’s achievements? Half due to the river’s might, half due to human valor.' Though brief, the poem is powerful and heroic, depicting a river that bears witness to countless historical victories of the Vietnamese people. Similarly, Trương Hán Siêu employed the classical style of poetry in his work 'Phú Sông Bạch Đằng,' a masterpiece of medieval literature that captures the heroic spirit of the Đông A period. Through the character of the 'guest,' we also witness the majestic spirit of the Trần dynasty's warriors, their valor echoing through the ages. As we know, Trương Hán Siêu, also known as Thăng Phủ, was from Phúc Thành village in Yên Ninh county, now part of Ninh Bình. He was a loyal scholar and court official under the Trần dynasty, serving four successive emperors and holding the prestigious position of a royal scholar. In the historical context, during the resistance against the Mongol invasions in 1288, he worked alongside Trần Quốc Tuấn to lead the Vietnamese forces to a resounding victory, driving the invaders away. While his literary output is not large, his most significant work remains 'Phú Sông Bạch Đằng.' The phú is believed to have been written between 1341 and 1269, during the reign of Trần Dụ Tông. At this time, the Trần dynasty was in decline, and the once-glorious victories on the Bạch Đằng River had begun to fade with time. As a social figure, Trương Hán Siêu could not remain indifferent to this situation. Therefore, he wrote 'Phú Sông Bạch Đằng' to express his national pride, highlighting truths that transcend time. Through the character of the guest, Trương Hán Siêu conveys his thoughts and emotions regarding these historical values. The phú consists of three parts, each forming a cohesive dialogue between the host and the guest. The author first introduces the guest and the elderly man before delving into deep reflections, offering a comprehensive view of the history and its lessons. Surprising from the very first lines, the author writes: 'Raise the sail, let the wind carry us on,' 'Glide across the waves, chasing the moonlight in a never-ending pursuit.' The lyrical figure is portrayed as a nobleman with a free spirit, enjoying nature’s beauty. To this leisurely guest, nothing is more delightful than drifting on the water, chasing the golden moonbeam and immersing the soul in nature’s vastness. Yet, for the guest, this wanderlust is not just for enjoyment, but for contemplation and intellectual enrichment. As the old saying goes: 'To gain wisdom, one must experience both imagined and real worlds.' The guest expresses a burning desire to explore many places, absorb wisdom, and nurture his intellect, which echoes Trương Hán Siêu's own aspirations. This is illustrated through two kinds of locations: those visited in books and the imagination, like Cửu Giang, Nguyên Tương, and Vũ Huyệt, and those experienced firsthand, like Đông Triều Bạch Đằng and Đại Than. The guest follows the example of the ancient historian Sima Qian, viewing his travels as a means to expand his knowledge and understanding of both the self and the history of his homeland. The guest visits not only scenic spots but also historical sites to immerse in the past, proving his love for nature and his passion for exploration. Similar to Tản Đà’s words, 'The wanderer is so captivated by his journey that he forgets his homeland.' The places the guest mentions are vast and open, where the feeling of freedom and vastness allows him to sail on the wind and waves, still unsatisfied. In this way, the author accentuates the noble spirit of the scholar: one who values nature, lives freely and harmoniously, and despises worldly wealth and titles. Before the beauty of Bạch Đằng River, the guest stops to admire its grandeur and reflect deeply. The river appears vast and endless, especially during late autumn, when the azure waves ripple and roll. The sky and water merge into an infinite expanse of blue, and boats follow the rolling waves in their wake. Truly, this is a magnificent and poetic scene! Using descriptive language, the author sketches the scenery of Bạch Đằng, with the autumn landscape filled with melancholy, foreshadowing the emotions to come. In the midst of this picturesque setting, the Bạch Đằng River also holds the echoes of its historic battles: 'The reed banks stretch thick, the desolate pier stands still/the river submerged, weapons broken, hills filled with bones.' The memory of past battlefields haunts the poet as he envisions the sunken spears and shattered weapons. On the deserted hills lie the bleached bones of those who perished in the historic battle, reminiscent of Nguyễn Trãi’s verse: 'The spear’s point shatters the rocky hills/the weapons sunk in the fields.' Trương Hán Siêu, like a painter, uses graceful strokes to evoke emotions and metaphors that suggest distant and fresh interpretations. The alliterative phrases, like the rhythmic pounding of horses, create a strong artistic effect. Though proud of the past, the poet cannot help but feel deep sorrow and empathy for the once-vibrant battlefield now left desolate. Time has coated the glorious pages of history with dust: 'Sad for the tragic scene, standing still for so long, we mourn the heroes who are no longer here.' Yet in this emotional current, the guest expresses a deep sense of gratitude toward the fallen heroes who gave their lives for peace. Standing before the flow of history, the guest raises a song of remembrance and loyalty. At the end of the phú, the guest discusses with the elderly men about the Bạch Đằng River, the land, and the people of Đại Việt. The river has become a grave for invaders, a mirror that reflects justice with the timeless truth: the traitors like Lưu Cung perished, while heroes like Ngô Quyền and Trần Hưng Đạo live on in eternal fame. The guest praises the wisdom of the two saintly emperors, Trần Nhân Tông and Trần Thánh Tông, emphasizing the importance of safeguarding the country: 'It is the virtue of the people, not the terrain, that determines victory.' In doing so, the author highlights the crucial factors that led to success: the virtuous leadership, love for the nation, unity, and vigilance against external threats. This elevates the work’s humanistic message to a deeper and more universal level. The guest’s final words close the phú with a celebration of the Đông A spirit, evoking the heroic atmosphere of the historical battle. Through the character of the guest, the author expresses a profound sense of national pride. The flexible, condensed language intertwined with narrative and expressive elements makes this work the pinnacle of the classical phú genre in medieval Vietnamese literature. Moreover, the phú conveys numerous life philosophies and positive outlooks that are essential in human life, making it a timeless masterpiece.