Phân tích tâm trạng Thuý Kiều khi ở lầu Ngưng Bích


Sample papers for grade 9

Analysis of Thuy Kieu’s mood when on the floor of Ngung Bich

Analysis of Thuy Kieu’s mood when on the floor of Ngung Bich

Guide


In Nguyen Du’s Truyen Kieu, the passage about Thuy Kieu’s mood at Ngung Bich floor is still considered by readers to be one of the great poems about the art of depicting scenes and depicting love. But the beauty of the whole poem seems to be condensed in the last verses, in four pictures:

Sad looking at the pool door in the afternoon,

Whose boat looms in the distance ‘Sadly looking at the new water,

Where is the flowers drifted?

Sad to look at the oil grass,

The ground barefoot a greenish-blue color.

Sad to see the wind blow your face,

The sound of waves crashing around the seats.

The eight verses above are descriptions of scenes but really love, Nguyen Du describes scenes but really describes love.

The four paintings are all started by the poet with two words “sad look”, meaning that the sadness is already in your heart before looking at the scene and enjoying the scenery with that sadness, watching and sad at the same time, the more you look at it, the sadder you become. sad to see. It’s reasonable to say that, it’s true to Thuy Kieu’s mood at the moment. Why? Because Kieu’s sadness is a great sadness, not a fleeting sadness for a moment’s cause, but a sadness that persists throughout a person’s life. Indeed, during the first part of “The Tale of Kieu”, Kieu has never been as sad as now, because Kieu has never had time to look at her sad story, think carefully and deeply about it. Away from Kim Trong, had to sell himself to redeem his father, Kieu only had time to suffer, ‘but the family is heavy, the pain of the father, the pain of the mother, the sadness of the children, but it requires Kieu to stand firm and forget herself. go to solve the problem 26

home for the whole religion a child, a sister. Having to leave the family, with Ma Giam Sinh, in the sadness of not being with Kim Trong, Kieu had solace and saved the family. As soon as she arrived in Lam Tri, entered the house of Tu Ba’s mother, did not have time to recover after a long journey “The hooves were lame, the wheels were bumpy”, Kieu was shocked by the scene of the mother’s house, Kieu immediately met a match ” tam penh” of that evil human flesh-trafficker. Perhaps Kieu was hurt, humiliated, hated, but not yet sad. Now it’s really sad. We imagine Kieu sitting alone on the floor of Ngung Bich (actually the guest house of Mrs. Tu) surrounded by a vast and empty space, that scene reverberated in Kieu’s heart, prompting her to think about her identity. Sadness is a spoonful every now and then. She is sad because she remembers Kim Trong, the new person she swore so earnestly but now is forever far away. She is sad because of the separation from her parents, from now on she is getting old and weak every day without her to help and take care of her early in the morning. The sadness was so great and immense, now it has become a beauty in Kieu’s heart. If at first the sadness was from the scene that poured into her heart, now the sadness comes from her heart. She “sad” but “looks” so she looks sad. With two words “sad look”, how does Nguyen Du understand people’s hearts so deeply?

What does Kieu look like?

Here is the first picture:

Sad to look at the hot tub in the afternoon Whose boat looms in the distance?

Looking at the pool door but “afternoon pool door”. By that time the sun had gone out, leaving only the last flickering light on the water. Looking at the mouth of the tank means seeing a whole strip of pools disappearing at the end of the horizon. There was nothing but vast emptiness, a sky that was slowly fading away. However, on the empty background, the image of “ai boat” emerges, meaning there is only one boat, not the scene of crowded boats returning to evoke a joyful thing. The boat almost disappeared at the end of the day, because Kieu could only see its sails, but the sails were only “flicker”. “Flickering”, the two rhymes “th” evoke a feeling of repetition, with two rhymes “ham” and “oang”, one closed, the other opened, expressing the image of a translucent sail, revealing a clear image. , suddenly appearing and then suddenly hidden, undulating on the sea waves, as vague as a mirage at the far end of the sea. “Whose boat…” Whose boat, whose boat? Is the boat going to my dear home? Or is the boat going to an unknown place, also lonely, wandering around like myself? This confession was sad, looking at that scene, how could I not feel more sad.

As if to find a bit of oblivion, Kieu turned her face to look in another direction. So here it is:

Sad to see the new water.


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Where is the flowers drifted?

In front of Kieu’s eyes is a mountain of water pouring down from a high waterfall. Just from the stream bed, it flows past the top of the waterfall, oh well, that’s the end of the clear and calm life of the water. Now is the beginning of the crushing, the swirling, the boiling, the pounding, the muddled. Terrified the minute from the high cliff and far down to the waterfall! The scene of the water is sad, but looking at the foot of the water: The flowers are floating… If only the poet wrote “disappeared”, he would have to go one way, let it break, sink, those fragile petals ! But no, the flowers fall into the water and float away, being pushed back and forth, then drifting away again, quietly, sadly, to some unknowable place. That new water, that drifting petal, is different than Kieu’s life! Kieu herself is also a water that has just passed through the peaceful stream and has just fallen into the middle of a battering vortex. Kieu herself is also the flower that is drifting away, alone and fragile on a long and wide stream with many threats that cannot be imagined.

The heart was sad, the scene was so sad. Well, let’s look elsewhere.

Sad to look at the oil grass,

Foot blue clouds green earth.

Again a vast and desolate scene: a flat meadow stretching to the end of the view, no trees, no river, no mound, no roof to break the boring monotony. . Just grass, grass and grass. And the grass is not so good! The word “sad” not only conjures up the idea of ​​”sad”, sad, but also shows us the sparse, brooding grass as it is gradually withering away. This is not a spring meadow full of vitality and joy when Kieu goes to Thanh Minh festival.

The green grass shivers the horizon.

This is the end-of-season grassland, as sad as the heart of the viewer. But that grassland, that dreary grass color stretched endlessly, matching the whole sky, becoming a single color: “green green” if Nguyen Du wrote:

If the ground is a “fresh” green color, Kieu must have found there a consolation, a little forgetfulness. But “blue green” is not quite green, only green, a pale, distant blue that evokes a sense of dread.

So Thuy Kieu looked around in all three directions. She had only one last direction left. Maybe a little change?

Sad to see the wind blow my face

The sound of waves crashing around the seats.

See more: Analysis of the character Phuong Dinh in the short story Distant Stars

It turns out that the sadness of the previous three scenes is sad but not really sad. The above three scenes are so sad that it is too light. This scene is really sad. The three pictures above are just preparations for this final sad scene. A sea ingrained inland, beyond is the great sea. The sea breeze sucked running into the river, the wind rushed to make the sea surface full of big waves, white and white. Waves crashing “roaring: not just “rumbling” like on less windy days, the waves roared furiously, pounding on the shore, crashing against each other, one layer of waves that has not dissipated has rushed into another, continuously, regardless of the weather. end. The sound of the waves is very loud, not only resounding on the sea but echoing far away, echoing all over the place. Kieu thought that she was no longer sitting on the floor of Ngung Bich, but sitting in the middle of that immense sea, beside her was the crashing waves. The words “crack the waves” sounded like intense, but the words “Cry around the seats” sounded even more intense. The sound of the waves not only roared on the sea, but roared fiercely in her ears, rising and screaming in her soul, surrounding her.

If in the three paintings, between people and the outside are still two distinct objects, where is the owner, where is the guest, then in this picture, people have entered the external environment; The external environment covers people, real sadness has reached the climax of the climax. At this time, people are ready to melt away with the outside world, ready to do anything reckless to get rid of that terrible sadness, or maybe die without needing. It was this mood that paved the way for Kieu to meet Chu Khanh, recklessly follow him and then be deceived by him.

The four paintings of Nguyen Du are actually not strange. But it is strange how Nguyen Du describes these paintings in harmony with Thuy Kieu’s situation and mood. Because Nguyen Du is very delicate when looking at the scene, very profound about humanity, but also because of this: Nguyen Du is very talented in language.

Source: Vietvanhoctro.com

See more: Humanitarian inspiration in the story Kieu by Nguyen Du



Tags:
#people #Nguyen Du #describe the scene #Truyen Kieu

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