Phân tích một đoạn văn trong tác phẩm Người lái đò Sông Đà của Nguyễn Tuân hay nhất


Topic: Comment on the following passage in Nguyen Tuan’s essay “Song Da Ferryman”: “My boat drifts on the Da River… it completely carves the classic swallowtail boats on the upper line” .

Lecture: River boat driver – Ms. Nguyen Ngoc Anh ( teacher)

From “Golden Ball of a Time” (1940) to “Song Da” (1960), Nguyen Tuan’s literary creative path has undergone 20 full years. The essay “Song Da” makes Nguyen Tuan’s literary portrait more bright and radiant. With 15 essays and a sketch poem, “Song Da” has affirmed Nguyen Tuan’s glorious position in the history of modern Vietnamese literature, highlighting a unique and talented artistic style for us to enjoy. more proud love.


“Song Da ferryman” drawn in the journal “Song Da” shows Nguyen Tuan’s creative personality on a new level of development. As a writer of extraordinary personalities, Nguyen Tuan discovered and described the Northwestern people with many beautiful qualities that he called the “ten gold substance” of the soul. As an earnest nature lover, he talked about the scenery of the Da River with very subtle and unique discoveries about mountains and rivers, about plants and trees on a vast, majestic and poetic country.

Nguyen Tuan’s style is very variable. At times, he described the Da River as “violent and lyrical” through the eyes of a brave and talented ferryman. At times, he mentioned the Da River as an “old man” after long days in the forest going to the mountains, “craving for a place to go”, and when meeting the river again, “as happy as seeing the crisp sunshine after the heavy rain, as happy as resuming the dream.” broken bag”. There was a time when Nguyen Tuan looked down from the plane and looked down at Da Giang wistfully following its shape “running like a lyrical hair …”. Sometimes he drifted along the smooth boat down the river to visit and enjoy the wild and amazing beauty that many of us crave. The writer is describing or contemplating. Here is a beautiful essay, describing the wild and poetic beauty of the middle region of Song Da, a rare prose lyric poem:


“My boat is drifting on the Da River. The riverside scene here is calm… and the river is floating, the boats are sailing, it’s different from the classic swallowtail dress on the upper line.”

If in the waterfall scene, Nguyen Tuan unleashes a rich, accurate, and novel vocabulary to describe the battle between the boatman and the river god, the stone god who has a large army, a fierce general, in a strong voice. , the writing rhythm is as fast as a roaring waterfall, the waves rumble, then at this passage, the tone and rhythm changes completely: gentle, lightheaded, dreamy. The poetic and peaceful beauty of Da Giang in the middle is described poetically. It’s the river from Tieu waterfall down, as a Thai proverb said: “Through Tieu waterfall, you can lie down on mats” – that seems peaceful and poetic. The sentence is full of sound by describing the boat smoothly, gently drifting down: “My boat is floating on the Da River…”. A “quiet” art space like lulling “Song Da guest” into a dream of adventure. The idea of ​​”quiet sheet” is pressed over and over like a scent of forest, wind and mountain into people’s souls, listening, feeling, and enjoying: “The riverside scene here is quiet. This river is so quiet.” Back in time a millennium ago, two hours “quietly” the reader returns to “several hundred years of peaceful dreams” (Hoang Cam). There was already the “flatness” of the river in ancient poetry: “White cleared the river and the river was flat” so there was the lullaby “quiet” of the Da River that Nguyen Tuan loved.

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Dreaming of the river, listening to the water flowing “quietly”, the guest of the Da river looked wistfully from afar, looking at the riverside scene close by. Covering the landscape is a wild, innocent blue. I also saw the corn field “sprinkling up some young corn leaves at the beginning of the season”, there were human imprints on that fat green, but it was very surprising “without a shadow”. There are only hills after hills that overlap with delicious “buds”. The image of deer appearing on the vast green hills is a talented drawing that makes the natural picture of the Da River full of “wild” and “fairy” colors. It is not a golden deer that is bewildered in the rustling of autumn leaves, but here there is only: “The grass of the hills and mountains is producing buds. A herd of deer bows down to eat the buds of the grass covered with night dew”. Only Nguyen Tuan has that “young green” look, has that unique way of saying and describing; he dropped his soul into the landscape, which he loved and cherished. His sentence seems to be the two sides of a double-quantitative sentence in the poem Phu Luu Thuy:

“The riverbank is as wild as a prehistoric bank;

The riverbank is as innocent as an old fairy tale.

Nguyen Tuan compares not to concretize things, but to abstract and poeticize scenes. “Prehistoric shore”, “ancient fairy’s feelings” are the words of the master writer of this language. Nguyen Tuan does not rely on intuition to compare, he uses imagination to create associations, poetic and very interesting comparisons, sowing in the hearts of readers many emotions, to enjoy with him. the “wild” and “innocent” beauty of Da Giang.

Then from that “wild” space of the banks of the Da River, Nguyen Tuan yearned to live, longed to “crave” an echo of the times. From the dream of the “prehistoric shore” to the dream of a glorious future through a magical train whistle,… In the dream there are many passions: “Wow, I want to startle a siren. of the first train of the Phu Tho – Yen Bai – Lai Chau railway”. He loved the Da River with its “innocent”, “wild”, “seeing the Da River as an old man”, he also “craved” the light of the times illuminating the banks of Da Giang, bringing readers along. he flew with “tomorrow’s wind blows again…”. The romantic substance in Nguyen Tuan’s literature softens in the floral scent of “the orchid jelly party” in the past, just enough for us to dream of a vision… That’s the aftertaste, that we feel through the whistle. – pear dreamy. The dialogue between the guest of the Da River and the truly enlightened deer is a wonderful love poem, a dream that drifts away in the silence of the riverside. The silence of the moment of fairy sympathy between the guest of the Da River and the herd of mountain deer has reached its climax. On the green background of dew grass, deer gazed at people as if questioningly. The hearts of people and creatures vibrate together: poets and poets raise their velvet hides from the misty grass, gazing at me drifting on a probe.” Deer looked at people and was bewildered… People looked at the herd of deer and drifted off into the water. Dreaming, not a small sound. The whole art space becomes quiet, sacred, magical. Deer ask people or people wonder? An assumption that is both real and fantasy, surreal and romantic. Dreamland but returned to reality with many worries: Deer cocked his ears, looked at me without blinking, but asked himself in the voice of a good animal: “O guest of Song Da, did you also see a sound? The dew whistle?” It can be said that Nguyen Tuan’s drawings of the mountain deer are talented and unique drawings that depict the wild beauty of the banks of the Da River, creating poetry. , dreamlike quality, abundant in the hearts of people and nature, the words are very charming to evoke the soul of the scene: “The deer is enlightened”, “raise the velvet head”, “the dew grass”, “caring for the dew” watch”, “good animal” , “fog whistle…”. Nguyen Tuan looked at nature with a look he discovered in the details and appearance of a talented aesthetic.

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The scene changed, so Nguyen Tuan’s sentence also stretched and changed. A small sound of the blue girdle fish seemed to make the Da River guest suddenly wake up from his dream. Borrowing the dynamic to describe the static is applied creatively, creating a new artistic space. The fish squirmed, the herd of deer disappeared, the fish jumped to the river’s edge, “belly as white as silver falling”. Like a movie that transitions from stillness to motion to quieter. Mountain deer suddenly disappeared, white-bellied fish rose and fell, diving down; In front of visitors is only a blue color of water, green of grass and hills. The sentence “Flock of blue-beamed fish squirm up to the river’s surface as white as falling silver” is a beautiful sentence, with sound, color, something heard, something seen, and something felt. The image comparing “the school of fish… the belly is as white as silver falling” is poetic, both evoking the white color (like silver) and clearly showing the elongated shape (like a diamond) of the blue girdle fish.

The fish squirmed… the deer suddenly disappeared… And the guest of the Da River suddenly woke up and returned to reality with the boat drifting down, smoothly, quietly. Originally a talented and erudite writer, but when he was “full of himself” when he was happy, he gave his charm, when he was sad, he recited it. Tan Da and Nguyen Tuan are old friends. There has not been a poet and wrote well about Tan mountain and Da river like Nguyen Khac Hieu. If there is a moon, there must be wine, just as if there is a beautiful scene, there must be poetry. Nguyen Tuan considers the Da River to be an “old man”, so he took the poetic poet Tan Da to recite the bay, while admiring the beautiful scenery of Da Giang, asked if there was any other interesting thing like that? Tan Da has three epic poems with the same tone: “Letter to an unknown lover” (1918), “Letter to blame the unacquainted lover”(1921), “Letter to blame the lover again” unknown person” (1926). Nguyen Tuan criticized the two sentences in the second poem, citing the two best and most appropriate sentences, both in the context and in the love. He wrote:

My boat drifted on the “bubble of the Da River – so many scenes, so many love” of “an unknown lover” (Tan Da). The citation of Tan Da poetry here also carries a “tri-sound” meaning. “Delicious wine has no good friends” to “confront wine” together. Just like there is a beautiful scene without you, the love of flowers and flowers has decreased more or less. Reading your poetry, reciting your poetry at this time, Nguyen Tuan considers you sitting with him on a boat floating on “the Da river with water bubbles …” – dreaming and enjoying. It’s a talent, it’s a talent. It’s tri-yin, tri-trieu.

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As you go downhill, the Da River gets wider and wider, the river becomes wider and softer. Looking at the river flowing “loosely”, the writer feels it “like missing the distant waterfall stones left on the Northwest upstream”. The river still “lodges” smoothly “as if listening to the gentle voices of the people down the river, and the river is drifting with its own sailboats, it is different from the swallowtail boats that tie their ropes on the river. above”. “The boat I bloomed and ran with cloth sails”, “The classic swallowtail boat with a rope”, is a comment, a description, and a very unique way of using words by Nguyen Tuan. Each sentence, each word breathes its soul into the river, the boat, and the landscape. The metaphorical comparisons, the personifications in this passage show a passionate love of the mountains, a passionate gaze, a loving listening. Nguyen Tuan seems to be opening his heart and soul to the river, in order to “listen” with it and remember, the echoes, the warm rhythms of life. I feel that there is a river flowing smoothly, floating in my soul, immense… Van Nguyen Tuan not only brings us many elegant animals but also leaves a lot of aftertaste. !


Nguyen Tuan loves the Da River, loves the Northwest, loves a heaven of flowers, loves a peach color To Hieu, loves a brave and talented boatman, when crossing a waterfall as well as sitting in a stone cave grilling rice tubes, .. Uncle Nguyen loved the river’s sheet, loved the poetic forest deer, loved the sound of blue giraffes, leaping to the river’s surface, “the belly is as white as falling silver”. The author of “Song Da” still loves and is passionate about watching the “classical swallowtail boat with a rope” of the Thai people, “the boat that blooms with canvas sails” of the Kinh, the Muong… Love the Da River, love it. The scenery of the Da River, the love of the Northwest, with Nguyen Tuan, for us, is the love of the mountains and rivers, the love of the Vietnamese people, benevolent, brave, talented…

The above paragraph is just a short paragraph in the essay “Song Da ferryman”, just talking about a beauty – poetic beauty – of Da Giang in the middle range. However, we still feel the beauty and beauty in Nguyen Tuan’s literature. A poetic, wide spread. A pen with many discoveries, creations and creations in shaping, setting scenes, using words, and making sentences. The comparisons, metaphors and associations are very suggestive. This is a good and beautiful passage about the country’s flavor. The talent, the amateur, the unique, sharp and erudite surface of Nguyen Tuan’s art style left its mark on this “flower page”, this “flower sheet”… Readers still feel that they have become one of them. The “Da River guest” is with a light boat floating on Da Giang with Uncle Nguyen passionately watching the beautiful scenery of the mountains, thousands of flowers and listening to the sound of blue girdle fish fluttering on the floating river “Da river strip”. bubbly water …”…

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