Top 8 Essays Analyzing the Scene of Crossing the Rapids in 'The Boatman of the Da River' by Nguyen Tuan

When evaluating Nguyen Tuan, the writer Nguyen Minh Chau rightly remarked, 'Nguyen Tuan is a definition of an artist.' Nguyen Tuan constantly sought out and uncovered new and unique aspects 'never seen before' in his creative journey. The essay 'The Ferryman of the Da River' is the product of his persistent and creative exploration of the marvelous beauty of nature and the people of the Northwest. With his artistic brilliance and profound knowledge, Nguyen Tuan left an indelible mark on the Da River, portraying it as both fierce and poetic. Above the raging rapids stood the image of a river warrior with 'floral hands' who had navigated through the treacherous rapids as if an artist mastering his craft on the river. This powerful and intense scene was vividly depicted in the one-of-a-kind rapids crossing in 'The Ferryman of the Da River.'

The crossing of the Da River's rapids is a scene where the ferryman must face three layers of dangerous rapids, each more challenging than the last. This rare, unprecedented spectacle is not just about the ferryman’s skill in navigating the rapids but also about Nguyen Tuan’s exceptional artistic talent.

With his masterful pen and an idealized vision of beauty, Nguyen Tuan successfully crafted the figure of the Da River ferryman—a unique and captivating artistic symbol. The ferryman, a man over seventy, had a physique as solid as a marble statue: his chest was marked with the 'superb labor medals' from his battles on the Da River, his hands were long like poles, and his legs spread out like an ancient warrior. His piercing gaze and deep, resonant voice echoed like the roar of the rapids. Through this vivid description, Nguyen Tuan conveyed the beauty of a laboring man intertwined with the harsh realities of the river battlefield.

The image of the laborer is not only depicted through his physical appearance but also through his character and intelligence. He sees the Da River as an epic, knowing it inside and out, understanding the strategies of the river’s guardian spirits. This deep understanding is why, despite fierce opposition from nature, the victory belongs to the man of Wisdom, Courage, and Skill.

Nguyen Tuan portrayed the ferryman’s intellect and bravery with great clarity, especially through the three dangerous rapids. This water battle is a rare, almost impossible-to-replicate spectacle.

In the first passage, Nguyen Tuan devotes all his narrative power to describing the first layer of rapids. In this layer, the Da River has already set its traps with four deadly channels and one escape route. The rocks, majestic and imposing, seem to challenge the boat: 'The rocks look like they are daring the boat to approach.' The vivid use of words such as 'roaring,' 'majestic,' and 'challenging' creates a tense, dramatic atmosphere that draws readers into the battle. This is the linguistic artistry of Nguyen Tuan.

The Da River’s rapids are personified as cunning and dangerous. They don’t just fight physically but use psychological tactics. They taunt the boat with 'mocking' sounds and attack with rocks acting as 'spear tips.' The river strikes first with relentless violence, trying to break the boat apart by 'snapping oars' and 'pushing violently into the boat’s side.' These powerful verbs evoke the aggression of nature, causing readers to feel the river’s brutal force.

Despite the surprise attack, the ferryman remains calm. Using a defensive strategy, he keeps the oars steady to avoid being thrown off balance. The river shifts its tactics, trying to 'throw the ferryman off the boat.' However, the ferryman continues to demonstrate his resilience, unaffected by the pain, commanding his remaining oarsmen to navigate through the perilous waters.

In the second passage, Nguyen Tuan shifts his focus to the ferryman’s intelligence, adaptability, and masterful techniques. The ferryman changes from a defensive stance to an aggressive one, tackling the second set of rapids with speed and precision. This layer is more challenging than the first, but the ferryman faces it with the wisdom gained from his many years of experience on the river.

Like a seasoned athlete, the ferryman maneuvers the boat with quickness, using sharp turns and swift strokes to evade the river’s deadly traps. His skillful navigation allows him to break free from the rocks' grip, leaving them defeated and disappointed. Through this, Nguyen Tuan highlights the ferryman’s wisdom, courage, and remarkable skill.

In the final layer of rapids, the ferryman faces his greatest challenge. The river’s attack is coordinated, forcing the ferryman into a position where retreat seems impossible. Yet, using his quick thinking and skill, he transforms the boat into a swift arrow, piercing through the heart of the river’s defenses. The boat flies through the narrowest opening, leaving the river’s violent forces behind.

With swift and decisive actions, the ferryman emerges victorious. The final image of the boat cutting through the water with speed and precision perfectly encapsulates the idea of a hero who has triumphed through intellect and skill. This passage leaves a lasting impression of freedom and mastery, showcasing Nguyen Tuan’s exceptional talent in portraying the laborer’s artistic soul. Indeed, the ferryman has reached the level of an artist in his profession.

The evaluation that the ferryman is both a worker and an artist is accurate. The description of his skillful journey through the rapids underlines the balance between physical labor and artistic creativity. Nguyen Tuan’s portrayal of the ferryman exemplifies the ideal of Wisdom and Courage in the search for beauty. Nguyen Tuan’s brilliance in celebrating the working people, who face danger but also experience glory, shines through in this vivid portrayal of the Da River ferryman.

Nguyen Tuan is truly a masterful artist, recognizing the extraordinary beauty in laborers who, despite facing danger, carry out their work with artistry and skill. The ferryman’s crossing is an extraordinary spectacle, deserving of being called 'a scene never seen before.'

"The scene of crossing the rapids" depicts the moment when the boatman navigates through a complex, stone-laden terrain, filled with formidable and terrifying obstacles. With a unique concept of beauty and a brilliant pen, Nguyen Tuan successfully created the image of the boatman on the Da River – an iconic and captivating artistic figure.

The image of the boatman embodies the strength and skill of a laborer. Despite being over 70 years old, his body remains firm, a true child of the vast riverine landscape. His chest, marked with battle scars from the Da River's battlefield, is described by Nguyen Tuan as "a medal of exceptional labor". His arms resemble oars, his legs strong and steady; his eyes are sharp, and his voice booms like the roar of the rapids. This all showcases the beauty of a dedicated laborer deeply connected to the expansive waters.

Not only does the boatman possess the physical beauty of someone weathered by time, but he also shines through his intelligence and resilience. For him, the Da River is like a heroic epic, one that he knows inside out, understanding its channels and the tactics of the river and stone spirits. Thus, even in a fierce battle with the river, victory belongs to this wise and talented man.

With just three layers of obstacles, the boatman is like an artist, performing with all his strength and skill. The battle with the Da River is a magnificent contest of wits between humanity and nature.

In the first layer of obstacles, the Da River prepares its battlefield with four deadly gates and one path of survival. The rocks roar with the help of the river’s waters, creating an imposing and majestic setting. One rock seems to challenge the boat, daring it to approach and prove its worth. Through words like "roar", "majestic", "challenge", and "defy", the reader feels the intense and dramatic atmosphere of the confrontation.

The cunning of the Da River’s rapids astonishes the reader: it does not only strike head-on but also employs psychological warfare. The river taunts with a mocking tone, using its roar to provoke. Now, it uses its waters to support the rocks, launching an aggressive assault against the boat. The river attacks with savage force, attempting to "break the oar" or "push the boat sideways", even "lifting the boat off the ground". A series of powerful verbs paints the aggression of nature, leaving the reader in awe of its brutality. Despite the sudden onslaught, the boatman remains calm, further emphasizing his courage and professionalism. Using a defensive strategy to conserve strength for the coming challenges, he grips his oars tightly to keep them from being swept away. The river then shifts to a new tactic, attempting to flip the boat. Yet, the boatman remains unshaken, using all his experience to counter the river's moves and guiding the boat through the perils ahead.

If the first paragraph focused on describing the river’s attack, the following one shifts to portraying the boatman’s intelligence, agility, and extraordinary skills in overcoming these obstacles. Moving from defense to offense, the boatman approaches the second layer of obstacles with a proactive strategy. The Da River intensifies its efforts with a "group of deadly gates" positioned to the right bank. This layer proves more challenging than the first, yet the boatman shows no hesitation. With ten years of experience navigating the river, he knows its tactics and strategies. He philosophizes to himself, "Crossing the Da River is like riding a tiger", and with this mindset, he continues undeterred, relentlessly pushing forward and shifting tactics as needed. In this battle, the boatman strikes quickly and decisively, using his expertise to steer the boat with precision and speed. He avoids some obstacles while forcing others aside to clear the path, demonstrating his strategic thinking. With his intellect and swift action, the boatman successfully navigates through the obstacles, defeating the stones that seem to retreat in defeat, their faces now "sullen and disappointed".

The final layer offers one last challenge for the boatman. With fewer gates, but more treacherous paths on either side, the river presents a "rock and a hard place" scenario, forcing the boatman into a dilemma. Yet, in this moment of danger, his genius emerges. The boatman turns the boat into an arrow, using his skill to propel the vessel through the narrow passage between the rocks. The boat glides swiftly through, evading danger with an almost supernatural speed. The battle is over. A series of verbs like "shoot", "pierce", "swoosh", and "swirl" illustrate the rapid and deft moves of the boatman as he conquers the river's final challenge. This final act leaves the reader in awe of the boatman's mastery, cementing his status as a true artist of his craft. Indeed, the boatman has elevated his skill to the level of an artist, embodying the spirit of Vietnamese laborers who face immense danger with grace and determination.

In the art of navigating the rapids, the boatman is a figure of extraordinary talent. An artist with a calm, humble demeanor, he represents the beauty and resilience of Vietnamese workers. Nguyen Tuan truly shines as a master artist, celebrating these laborers who work tirelessly in the face of peril and glory.

The essay "The Boatman of the Da River" is one of the remarkable works by Nguyen Tuan, featured in the collection 'Da River' (1960). In writing this essay, Nguyen Tuan saw himself as someone searching for the golden essence of the colors of the Northwest mountains and rivers, especially the golden essence that resides within the hearts of those who are passionately committed to the development of this region. The golden essence of these people is embodied in the boatman of the Da River. This is vividly depicted through the intense scene of navigating a unique waterfall.

The boatman was born and raised by the Da River, at its confluence, making the river an inseparable part of his homeland. His deep bond with the river allowed him to intimately understand and love it.

When Nguyen Tuan met the boatman, the man was already 70 years old, an age marking the twilight years of life. He had been a boatman on the Da River for ten years and had been retired for two decades. Despite his age, his physical appearance was striking: "His body was as strong as ivory or ebony, youthful and robust." His features were shaped by his many years of work—his hands were strong like paddles, his legs perpetually spread as if holding an imagined oar. His voice roared like the sound of the river, and his gaze was intense, always seeming to look toward a distant shore shrouded in mist. The marks on his shoulders were evidence of the years spent maneuvering his boat through the rough waters. These scars were praised by Nguyen Tuan as a prestigious medal of honor.

The boatman had spent many years navigating the treacherous rapids of the Da River, learning the tactics of the river's rocks and understanding the ambushes they set. His wisdom and bravery allowed him to conquer the harsh natural world, ensuring his survival and labor. He appeared as a mythical figure, like the water god in Vietnamese folklore, but without magical powers, merely an ordinary man embodying the virtues of hard work and dedication to building the socialist future of Northern Vietnam.

Experience alone wasn’t enough to master the Da River; it required courage, intelligence, and quick decision-making. Nguyen Tuan placed his character in a perilous situation where all these traits were tested, or else death would be the consequence. This was described as a fierce battle, a fight for survival against the river’s deadly obstacles.

The boatman's skill and talent were most apparent during his battle with the river's rocks, which formed a natural obstacle course. The rapids would foam violently, with rocks lurking in the water, seemingly lying in wait for any boat that dared to approach. These rocks, described as cunning and vicious, appeared to be enemies lying in ambush, ready to strike without warning. Each rock had a different, malevolent expression, contributing to the terrifying atmosphere of the river.

It was as if the rocks were strategically placed in a battle formation, each serving a particular role in the deadly game. The river assigned each rock its position, and the boat was at the mercy of this rocky battlefield. Some rocks acted as guards, others as ambushers. Waves and water acted in coordination with the rocks, creating a sense of relentless and violent assault. The river was portrayed as a savage force, determined to destroy anything in its path. The rocks, like soldiers, were arranged with precision, blocking the boat’s way and launching sudden attacks. The battle felt inevitable and deadly, each moment could be the last.

Nguyen Tuan used vivid and powerful verbs to describe the aggressive and dangerous nature of the Da River. But the more violent the river became, the more the boatman’s courage and grace stood out. The river seemed to provide a backdrop for the boatman’s heroic struggle for life, akin to an artist creating beauty from adversity. This was a true artistic representation of strength and skill in the face of nature’s fury.

In this battle, the boatman held onto his oars as if they were his only weapon against the crashing waves. The water attacked him relentlessly, but he remained calm and strategic, like a military commander guiding his boat through the rapids. Even when wounded, he persisted, navigating the boat with determination and clear-headedness. His courage and intelligence were evident in his calm leadership as he led the boat safely through the dangerous waters.

Without pause, the boatman continued to battle through the second round of the river's attacks. He had mastered the tactics of the water and the rocks. The second round brought new threats—more dangerous rapids and rocks hidden in the water, but the boatman faced them with confidence. Nguyen Tuan’s unique descriptive style made it seem as though the boatman was not merely navigating the river, but riding the waves as if he were taming a wild tiger. The river's dangers were not just obstacles but challenges to be overcome with skill and precision. The boatman’s quick reflexes and tactical awareness helped him maneuver the boat through these treacherous conditions.

By the third and final stage, the boatman had truly become an artist in his craft. With fewer obstacles to face, he took a more aggressive approach, guiding the boat with the precision of an expert. The rapids and rocks that had once posed a threat now seemed like part of a grand performance, with the boatman at the center. The waves seemed to part for him, as though he were a supernatural figure commanding the elements. The boatman’s artistry in navigating the river had reached its peak, demonstrating the mastery he had over his environment.

In Nguyen Tuan’s writing, the boatman was not just a laborer but a heroic figure, a symbol of human resilience and artistry. While his life may have been anonymous, his story was a grand epic, a work of art in itself. Through the depiction of the Da River’s natural beauty and danger, Nguyen Tuan celebrated the human spirit, elevating ordinary life to the realm of the extraordinary.

The boatman appears first and foremost as an experienced worker, having spent many years navigating the river. He is courageous, quick-witted, agile, decisive, and sharp-minded. Nguyễn Tuân places his character in a perilous situation where all these traits are revealed, with the stakes being nothing less than his life. The author refers to this as the intense battle of the boatman on the Đà River battlefield, a waterway where he faces a series of deadly rapids, each wave more dangerous than the last, like an ongoing battle with a formidable enemy.

"The rocks here have been lying in wait for centuries, ready to ambush any boat that dares to pass. It’s as if every time a boat enters this turbulent and desolate stretch, every rock rises to strike, each one twisted and menacing, more distorted than the water here. The Đà River has assigned a role to each stone, arranging them in a defensive formation like an army. The rocks form three rows, blocking the boat's path, determined to destroy it. The boat has nowhere to turn, facing a deadly ambush…"

In this rocky battlefield, the boatman firmly grips his paddle, preventing it from being thrown into the waves. When the Đà River unleashes its most treacherous attack, water envelops the boat like a wrestler trying to flip it over, but the boatman remains unshaken, calm, and strategic, guiding the boat through the rapids. Even when injured, he fights on, his legs gripping the helm as his face twists in pain, like the waves attacking from every side. "After breaking through the first stone formation," the boatman charges forward, breaking the second barrier. He has mastered the tactics of the river and its rocks. By the third formation, fewer escape routes remain, yet the boatman takes the offensive: he charges straight through the narrowest gap. The boat shoots through the rock gates, like an arrow slicing through the mist, swiftly and precisely steering itself. In this uneven battle, the boatman has only a single paddle, while the river seems to have the supernatural power of a sea monster. Yet, in the end, the boatman emerges victorious, forcing the rocks to retreat in defeat, their faces darkened by the triumph of the small boat.

The boatman in this story is an anonymous laborer, working quietly and humbly, but through his labor, he conquers the fierce river, becoming a monumental figure, a symbol of HUMANITY. It is his unyielding will, persistence, and determination that enable him to overcome the divine forces of nature. This is what makes the people of the Northwest so extraordinary.

What stands out most about the boatman is his artistic skill. In Nguyễn Tuân's works, the concept of artistry is broad. It isn't just about poets and writers, but anyone whose craft reaches a level of finesse and mastery, even if it’s not traditionally considered art. The boatman is depicted as an artist, a masterful helmsman, whom the author respects as a "flawless navigator." Artistry here means understanding the inevitable laws of the Đà River, and mastering them to gain freedom.

The laws of the Đà River are harsh. A moment of inattention, a slip, or an overstep can cost a life. Even in stretches without rapids, one could easily make a mistake or grow drowsy. Ultimately, danger is ever-present. The boatman knows the river and the perilous rocks, and he also understands the strategies of the river and stone gods. Therefore, when he faces these challenges, he is as clever and composed as a skilled general. Every sense of his is in sync, working together with precision.

After the battle, he remains composed, peaceful, as if he has never faced the rapids: the turbulent waves fade into memory. The river returns to calm. That night, the boatman lights a fire in his cave, roasts rice, and talks about fishing, discussing the catches and stories of fish traps exploding like mines during the dry season. No one mentions the victory over the rapids. Like true artists, after giving their all to create something great, they do not seek praise for their efforts.

Nguyễn Tuân offers an insight: their life is a constant struggle against the fierce Đà River, always fighting to survive the rapids, so there's nothing particularly thrilling or memorable about it. They think this way when they stop paddling. Perhaps the heroic boatman is easy to recognize, but the true artist among them, the skilled helmsman, is only seen by Nguyễn Tuân.

Northwest? What is so special about the Northwest?

When our hearts transform into the vessels of the river

(Song of the Boatman – Che Lan Vien)

The Northwest has long been regarded as a promised land for literature and the arts. Its mountains not only evoke strong feelings but also inspire countless writers and poets. If Nguyễn Huy Tưởng gave us the novel "Four Years Later," Tô Hoài made his mark with VCAP, Nguyễn Khải wrote "The Season of Lost Harvests," then Nguyễn Tuân blossomed in this land with the collection "Sông Đà Essays," with the essence being the essay "The Boatman of Sông Đà." Readers are struck by the beauty of a river warrior who has braved perilous rapids like an artist on the front lines, overcoming waterfalls and rocks. Nguyễn Tuân's artistic pen vividly and realistically captures this unique scene.

"If Xuân Diệu views love as a religion, Nguyễn Tuân regards beauty as his religion" (Professor Trần Đình Sử). Indeed, Nguyễn Tuân was a gifted artist, spending his life in search of beauty. He wrote in many forms, but his greatest success came with the genre of the essay. "The Boatman of Sông Đà," from his essay collection "Sông Đà," published in 1960, was inspired by his 1958 trip to the Northwest. It celebrates the natural beauty and people of the region.

Through his superb writing and his aesthetic understanding of beauty, Nguyễn Tuân masterfully created the iconic image of the boatman, a unique and captivating artistic representation. The image of the boatman is built around his daily labor. Nguyễn Tuân doesn't give his character a specific name but instead refers to him by his occupation, suggesting the author is not only talking about this boatman but also about all laborers in the Northwest and across Vietnam. These individuals, quiet and simple, dedicate themselves each day to the country. The boatman is depicted with the scent of the river, connected to his profession: "his arms like a pole, his feet spread wide as if gripping an imagined rudder, his voice roaring like the rapids of Sông Đà, his gaze distant, as if looking toward a faraway port..." Particularly, his chest bears the scars of his battles with Sông Đà, which Nguyễn Tuân humorously calls "superior labor medals."

The boatman is no passive character; on the contrary, he embraces danger, difficulty, and action. He relishes navigating the challenging rapids of Sông Đà. Despite his old age, he retains a youthful spirit, bravery, and strong will, his love for life intertwined with his devotion to his work and the majestic Sông Đà. His work is no mere task but a lifelong passion, a joy amidst the hardships of daily labor. To him, Sông Đà is a heroic anthem that he knows by heart, mastering "the strategies of the river and mountain gods," like a skilled general applying Sun Tzu's "Know your enemy and yourself, and you will win every battle." He is also like a professional artist, well-versed in the harsh artistic battlefield he has followed for most of his life. Through these descriptions, Nguyễn Tuân’s boatman leaves an indelible mark on readers.

The passage about navigating the rapids sharply illustrates the boatman’s blend of intellect and bravery, mastering the river’s challenges. The first obstacle, a deadly trap set by the river, includes four perilous openings, with only one path leading safely through the rocks. The boatman boldly confronts the challenge. The river's roar and the stones’ menacing forms evoke a dramatic, tense atmosphere. This is Nguyễn Tuân's linguistic genius at work, conveying the suspense and drama of the scene.

The rapids of Sông Đà are cunning. They not only attack head-on but also employ psychological warfare. The river taunts the boatman with mocking sounds, sometimes roaring like a thousand buffaloes. Now, with the rocks as allies, it launches a relentless assault on the boat. Sông Đà strikes swiftly, aiming to overpower the boat and damage the oars, its assault filled with violence and prepared with strategic precision. Nguyễn Tuân uses a series of strong verbs to describe the river’s savage assault, making the reader shudder at the river’s ferocity.

Despite the unexpected onslaught, the boatman remains unfazed. He calmly battles the river’s traps, using defensive strategies to preserve his strength for future waves of danger. "The boatman grips the oars tightly to prevent them from being swept away by the waves," an invaluable skill in navigating this fierce battlefield. As the river changes its attack, using every means to pull the boat under, the boatman withstands it all. He uses his experience to remain calm and resolute, with a sharp, steady command, leading the crew through the danger. Nguyễn Tuân's description of his command shows admiration and respect for the boatman’s strength, courage, and resilience.

As the battle progresses, Nguyễn Tuân shifts focus, detailing the boatman’s intelligence, skill, and bravery as he faces yet another wave of danger. The river, enraged by his success, intensifies its efforts, placing numerous traps along the path. The boatman, however, with his vast experience, outsmarts the river. He takes swift, decisive action, guiding the boat through these traps with agility and strength. Like a skilled athlete, he expertly maneuvers the boat, using the right strategies to overcome each obstacle. The river’s challenge grows more intense, but the boatman’s resolve and expertise carry him through, overcoming each trap with mastery and determination.

The final challenge represents the ultimate test of the boatman’s skill. The river uses all its power in a last attempt to defeat the boatman. With fewer paths, the boatman faces a situation where he must advance or retreat through perilous waters. But with the wisdom of experience, the boatman finds his way through, using a swift and daring technique. The boatman surges forward, his vessel cutting through the water like an arrow, navigating the tightest openings with precise control. This final victory is a testament to the boatman’s expertise, and he emerges victorious, having mastered the rapids with exceptional skill.

This scene is reminiscent of a high-action movie, with the boatman as the main hero. Nguyễn Tuân’s vivid descriptions and use of powerful imagery highlight the boatman’s strength, intelligence, and bravery as he triumphs over the dangerous rapids of Sông Đà. The battle between the boatman and the river symbolizes the larger struggle between man and nature. The language is dynamic and vibrant, filled with action and vivid imagery, capturing the heroism of the boatman and the natural power of Sông Đà. This passage beautifully portrays the beauty of the laboring people of the Northwest, and through this character, we are reminded of the many brave souls who, like the boatman, silently face nature’s challenges and contribute to the greater good of the country.

Victor Hugo once said, "The ordinary is the death of art." This is something Nguyễn Tuân feared most. He sought to elevate his art, never wanting to conform to the ordinary. Through his essay "The Boatman of Sông Đà," Nguyễn Tuân surpasses the cruel rules of creative writing, taking the extraordinary and immortalizing it in the image of the boatman and the majestic river. Nguyễn Tuân is a great talent, a towering figure in literature, a true definition of an artist, as Nguyễn Minh Châu once praised him: "Nguyễn Tuân is a definition of the true artist."

There is a perspective that says: 'Nguyễn Tuân embodies the definition of an artist.' When reading the essay 'The Boatman of the Đà River,' readers will surely be impressed by the scene of the waterfall, which the writer calls 'an unprecedented sight.'

'The Boatman of the Đà River' is the result of a persistent and creative journey exploring the magical beauty of nature and the people of the Northwest. Nguyễn Tuân traveled to various regions, living with soldiers, workers, and ethnic groups. The reality of building a new life in the highlands inspired the author. The work was published in the essay collection 'Đà River' (1960). The story consists of three main parts: The first part (from the beginning to the iron rod) describes the fierce and violent nature of the Đà River. The second part (until the Đà River's current) is about the life of the people on the river, focusing on the image of the boatman. The final part portrays the calm and lyrical beauty of the Đà River.

With his talent and profound understanding, Nguyễn Tuân has created an unforgettable impression of the Đà River, both ferocious and poetic. Above the violent waterfalls, the beauty of a river warrior with 'flower-like rowing hands' emerges, overcoming the treacherous rock formations as an artist performs on the frontlines of the waterfall. The scene of the boatman navigating the rapids is in the second part of 'The Boatman of the Đà River.' The scene depicts the boatman overcoming three deadly traps, vividly and creatively described by Nguyễn Tuân.

With his superb writing skills and aesthetic view of beauty, Nguyễn Tuân successfully built the image of the Đà River boatman - a unique and captivating artistic figure. The boatman, now in his seventies, is as strong as a marble statue: his chest is covered with scars from many dangerous rapids, which Nguyễn Tuân calls 'extraordinary labor medals.' His hands are thin like paddles, his legs wide apart; his eyes are sharp and intense, and his voice echoes like the roar of a waterfall. The boatman is not only depicted through his appearance but also through his talents and personality. He sees the Đà River as a heroic epic, knowing all its channels and mastering the strategies of the river and the stone gods.

In the first passage, Nguyễn Tuân pours all his literary energy into describing the first trap. In this trap, the stone waterfall of the Đà River sets up its ambush with 'four gates of death and one gate of life.' Here, the water collaborates with the stones, creating an uproar; the stones stand proudly, as if daring the boat to announce its name before the battle. Through words like: uproar, proud, daring, challenge... the reader feels the intense and dramatic atmosphere of the battle. This is the talent of Nguyễn Tuân, a master of language. The stone waterfall of the Đà River is very clever. It not only attacks directly but also uses psychological warfare. Before, it used the waterfall's sound to taunt with a 'mocking tone.' Now, it uses 'waterfall sounds as allies for the stones.' With the ferocity of a water monster, the Đà River attacks the boatman with incredibly dangerous moves. The river takes advantage of its many forces and powerful commanders, 'rushing in to break the paddle,' 'risking to hit the boat,' 'kicking the side and hull,' sometimes even 'lifting the boat.' A series of dynamic verbs are used to describe the river's fierce assaults, making the reader shudder at the river's violent nature: rushing, breaking, kicking, lifting...

Despite the sudden attack, the boatman remains calm. Using a defensive strategy to conserve energy for future traps, 'he holds the oars firmly to prevent them from being thrown out of the waves.' At this moment, the Đà River changes tactics, grabbing the boat with a deadly move, 'grabbing the boatman’s waist to overturn him.' Not allowing the boatman to recover, the river strikes again with its deadliest move, 'the entire current traps the boatman's lower body.' This attack causes the boatman's vision to blur, as if 'a flood of fireflies descends, setting the waves on fire.' The painful blow causes the boatman to 'twist in agony,' his face turning pale. This twisted expression, caused by the cold of the water, combines with the pain of the blow, making the boatman look as if he's dying. The use of repetitive action verbs like 'strike, hit, and attack' evokes the relentless pain the boatman endures. But he suppresses the pain, his voice remains calm and sharp, ordering the remaining paddlers to break through the gates of death and into the gates of life.

If in the first passage Nguyễn Tuân focuses on describing the one-sided attack of the Đà River, in the next passage, he turns to describe the boatman's strategy and extraordinary skill in navigating the rapids. Shifting from defense to offense, the boatman takes control of the situation. In this second trap, the Đà River strengthens its 'death traps' on the right side, creating a more challenging situation. However, the boatman remains undeterred. With years of experience, he has 'mastered the strategies of the river and the stone gods.' He philosophically tells himself, 'riding the rapids of the Đà River is like riding a tiger,' so 'there is no time to rest, I must break through the second trap and change tactics.' In this battle, the boatman acts quickly, aiming for a swift victory. Like a horse racing athlete, he 'grasps the wave’s mane and steers,' 'rushing forward,' 'driving the boat swiftly.' But the Đà River is no slouch, attempting to pull the boat into its death traps. The boatman, however, skillfully avoids and maneuvers, 'dodging and pushing forward to clear the way.' A series of action verbs like 'grasp, steer, rush, drive, avoid, push' create the sense of a powerful, coordinated force guiding the boatman’s movements. Thanks to his brilliance and skill, the boatman triumphs over the traps, breaking through the surrounding rocks, and making them retreat with their 'disappointed, defeated faces.' This shows the boatman is indeed both wise and courageous.

In the final trap, the Đà River has one last chance to defeat the boatman. This trap has fewer gates, but the left and right sides are deadly, while the gate of life lies between the river’s guardians. It can be said that the river employs a 'hammer and anvil' strategy, putting the boatman in a 'no way out' situation. But, as the saying goes, 'in difficulty lies wisdom,' the boatman transforms the boat into an arrow, and himself into an archer, 'shooting the boat straight through the middle of the gate.' The boat darts through the gates like an arrow, swiftly and automatically steering, weaving through the obstacles. 'The boat speeds through, threading the needle through the rocks, swiftly and skillfully.' A series of dynamic verbs like 'shoot, pierce, weave, steer' convey the speed and brilliance of the boatman’s actions, ultimately overcoming the rapids in an extraordinary feat.

Through this analysis, readers are amazed by Nguyễn Tuân's masterful descriptive skills. The seemingly mundane task of navigating the rapids has become an unparalleled battle scene 'never seen before.'

Nguyễn Đình Thi describes “Nguyễn Tuân as a person who has spent his life in pursuit of both beauty and truth”. Indeed, when reading “The Boatman of the Da River,” readers are captivated by the extraordinary skill of the boatman, particularly in the scene where he navigates the waterfall—a truly unique moment.

The work “The Boatman of the Da River” is the result of the author's trip to the Northwest during the anti-French resistance, especially during a field trip in 1958. Nguyễn Tuân visited various regions, lived with the soldiers, workers, and ethnic communities. The realities of building a new life in the highlands sparked the writer’s creative inspiration. The piece was published in the collection “Da River Essays” (1960). The textbook version of the work is divided into three parts. The first part (from the beginning to 'the stick that hits the iron') depicts the ferocity and brutality of the Da River. The second part (until the Da River’s stream) focuses on the lives of the people on the river, particularly the figure of the boatman. The final part showcases the river’s gentle and lyrical nature. The waterfall scene is in the second part of the work, where three successive battle-like encounters highlight the boatman’s remarkable skills.

The atmosphere of battle is set from the first line: “The sound of the waterfall is like a complaint, then like a plea, then like a taunt, a sharp, mocking voice. Then it roars like a thousand wild buffaloes rampaging through bamboo and rattan forests, crashing through the flaming woods, roaring alongside the herd of buffaloes blazing with fire...” In the first round, the Da River sets up a stone trap with “four doors to death and one door to life.” Every rock looks “stubborn, and every stone is twisted and deformed.” As soon as the stone trap is set, the boat is approaching. The sentence reflects the boatman’s readiness to face this battle. But the Da River is cunning, attacking not just with brute force but also using psychological tactics. Previously, the waterfall had mocked the boatman with its taunting sound. Now, the river uses “the waterfall’s water to assist the rocks.” With its aggressive nature like a sea monster, the river attacks the boatman with deadly precision. The river, confident in its strength, attempts to “break the oar handle,” “charge close to smash the side,” “drive the boat’s belly and side,” even “lifting the boat entirely.” But the boatman remains calm and unfazed, formulating a defensive strategy for the next round. As a result, “he holds onto the oars, keeping them from being thrown off by the waves.” At this point, the Da River changes tactics, clinging to the boat and attempting to overturn it by “gripping the boatman’s waist.” Not giving the boatman a chance to react, the river moves to the deadliest move yet, “its current seizes the boatman’s lower body.” The boatman feels the pain, his eyes clouded, his face pale. However, he suppresses the pain, his voice steady and cold, as he commands the other six paddles to navigate through the narrow escape route.

In the second round, the Da River sets up even more deadly obstacles, “shifting the safe exit to the right bank,” trying to lure the boat into a trap. Nguyễn Tuân comments on the battle: “Riding the Da River’s waterfall, one must ride until the end, like riding a tiger.” However, the boatman, with his years of experience, doesn’t fall for the trap. “The boatman has mastered the tactics of the river and the rocks. He knows the ambushes laid by the rocks in these dangerous waters.” Like a seasoned coach, the boatman decides to take the offensive, opting for a swift victory. “Having secured the right path, he steers the boat quickly,” propelling it forward at great speed. But the Da River, a worthy adversary, retaliates fiercely. “Four or five river soldiers from the left bank rush to trap the boat, trying to pull it into the deadly current.” The boatman remembers his old enemy and “steers the boat around, pushing through to create a clear path.” In the end, all the deadly currents are left behind, with the sound of the waterfall continuing to mock him.

The climax occurs in the final round, where the Da River, having nothing left to lose, unleashes its deadliest attacks. In this round, there are fewer exits, but both sides are filled with death traps, and the safe path is right in the middle of the rocks. This battle is like facing a “hammer from above and an anvil below,” putting the boatman in a “no way out” situation. However, the boatman cleverly transforms the boat into an arrow, himself like an archer, “shooting the boat straight through the middle of the opening. The boat shoots through the narrow gap, opening and closing, swerving skillfully. “The boat like a bamboo arrow speeds through the mist, swerving and steering itself. And that’s the end of the waterfall.” In the end, the boatman triumphs over the fierce Da River.

The description of the waterfall scene by Nguyễn Tuân is masterfully done, rich in imagery. The author turns the experience of navigating the waterfall into an intense and brutal battle that keeps the reader on the edge of their seat. Especially with the frequent use of powerful verbs to express the river’s fury. The dense array of action verbs conveys a relentless sequence of movements, creating a feeling of suffocation that leaves the reader exhaling in relief when the battle ends.

In conclusion, the waterfall scene is a unique spectacle that draws the reader in with every word. Nguyễn Tuân succeeds in illustrating this remarkable moment to highlight the boatman’s exceptional skills.