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Sample expository essays on literary works
Sample 1: Expository essay about the poem "Mùa xuân chín" by Han Mac Tu
Han Mac Tu is one of the most outstanding poets of the New Poetry movement (1932 - 1945). Despite having a short and tragic life due to a terrible leprosy disease, he still left behind a brilliant poetry career, with a unique style that combines romantic lyricism and intense melancholic emotions. Among Han Mac Tu's representative works, the poem "Mùa xuân chín" is considered one of his clearest and most gentle creations. Composed around 1938, this poem not only depicts a beautiful spring landscape but also contains the poet's fluttering and wistful emotions in the flow of time and life.
The poem "Mùa xuân chín" begins with a vivid and lively spring landscape. The rural space is painted with bright, fresh images:
"In the shimmering sunshine, dreams fade
Two thatched roofs dappled in gold
The rustling wind teases the blue gowns
On the telosma lattice. The shadow of spring arrives."
The colors of spring appear radiant in the golden sunlight, the thatched roofs glow with warm golden hues, and the telosma lattice demure in the sun and breeze. Simple village images suddenly become poetic under the poet's delicate gaze. Particularly, the detail “the rustling wind teases the blue gowns” both suggests imagery and personification, making the spring breeze like a mischievous entity playing with people. The shadow of spring not only spreads in space but also seeps into people's hearts, bringing an indescribable stirring feeling.
Not only nature, but the spring picture also features people. The image of village girls with echoing songs amidst the vast space brings both joy and a hint of something regretful:
"Many village girls sing on the hill
Tomorrow in that green spring crowd
Some will marry and leave the play behind."
Young, energetic girls, they sing and frolic in spring, blending with the beautiful nature. Yet, amidst the joy lingers a vague sadness when some girls will marry, leaving behind their carefree youth. The verse “Some will marry and leave the play behind” not only speaks about the life changes of rural girls but also contains the author's regret for the beautiful things that will gradually pass.
The author's emotions continue to surge in the final stanza. Amid the beautiful spring scene, the nostalgia for the homeland, a vague sadness suddenly floods in:
"A distant guest meets when spring ripens
Minds wander, suddenly remembering the village
That sister, this year still carries rice
Along the sunny white riverbank."
The author refers to himself as a “distant guest,” observing from the outside, suddenly realizing spring has “ripened” - meaning it's at its most brilliant yet soon to pass. And it is in this radiant spring moment that the poet's heart stirs, remembering the homeland and loved ones. The image of the sister carrying rice along the riverbank under the intense sun evokes the hard-working, diligent people of the countryside, highlighting the author's deep love for his homeland.
Besides its profound content, "Mùa xuân chín" also stands out with its exquisite poetic art. The poet uses vivid imagery, combined with a gentle rhythm and smooth, flexible verse. The poetry images in the poem bear both realistic and romantic qualities. The skilful use of personification and metaphor allows nature and humans to blend, creating a lively and emotional spring picture.
The poem "Mùa xuân chín" is not only a beautiful natural picture but also the soul picture of Han Mac Tu himself. Reading the poem, one not only feels the beauty of spring but also deeply perceives the poet's fluttering, regretful emotions in the flow of time. The work leaves readers with sweet emotions, both joyful and subtly sad, demonstrating a sensitive, life-loving poetic soul. It is indeed one of Han Mac Tu's most outstanding poems, clearly portraying his talent and romantic soul.
Sample 2: Expository essay about the work "Bình Ngô đại cáo" by Nguyen Trai
Nguyen Trai (1380 – 1442) is one of Vietnam's illustrious cultural figures. He was not only a brilliant politician and military strategist but also a great writer and poet. Nguyen Trai's life is linked with the resistance against the Ming invaders, playing a crucial part in the nation's glorious victory. Among his works, "Bình Ngô đại cáo" is an immortal piece of writing, considered "the second Declaration of Independence" of Vietnam, expressing humane ideology and deep patriotism.
Born in early 1428, after Lam Son's forces defeated the invading Ming troops, "Bình Ngô đại cáo" is a strong indictment against Ming's crimes while affirming the independence and autonomy of Dai Viet. The essay is written in parallel prose, combining sharp polemic with deep lyrical quality, creating a work with strong emotional impact.
From the opening lines, Nguyen Trai affirmed the humanitarian ideology, a core value in his ruling thought:
"Humanitarian deeds are aimed at making people live in peace
Military actions should first focus on eliminating brutality."
According to Nguyen Trai, humanitarianism is not just the ethics between people but also linked with maintaining borders and protecting people's lives. This concept reflects his deep patriotism and progressive political thought.
Continuing, the author posits the essay's key argument – affirming Dai Viet's sovereignty and independence:
"As our Great Viet from the past
Its culture has long been affirmed
The mountains and rivers have distinct boundaries
The Northern and Southern customs are also different."
Through these heroic lines, Nguyen Trai stated that the Great Viet has a long history, distinct territory, vibrant culture, and customs different from the North. This shows national independence thought, unsubordinated to any powers, a progressive and valuable ideology.
Beside asserting sovereignty, the author also condemned the brutal crimes of the Ming against our people:
"Roasting black people on cruel flames
Burying red children in pits of calamity..."
The imagery “roasting black people” and “burying red children” are not just magnificent sentences but also furious accusations about the enemies' brutality. The use of strong words, combined with contrast, highlighted the antithesis between Lam Son's righteousness and the Ming's brutality.
After condemning Ming, the essay recounts the arduous yet glorious resistance of Lam Son forces. Nguyen Trai recreated major battles, resounding victories:
"Use great righteousness to vanquish brutality
With humane will to replace strength."
The idea of using humanitarianism to overcome brutality, employing reason to defeat might, is the core spirit of Lam Son's uprising. Nguyen Trai glorified Le Loi's role, the outstanding leader guiding the force to victory.
The essay's conclusion is a bold proclamation of the nation's long-term peace and independence:
"The country from now is stable
The mountains and rivers from now are renewed."
After so much hardship, Dai Viet has returned to peace, the people living in prosperity. This is a firm assertion of national independence, reflecting the author's deep pride.
In terms of artistry, "Bình Ngô đại cáo" is an excellent work of Vietnamese medieval literature. The author employed a tightly structured, sharp argument, powerful and vibrant prose. The parallel prose, the use of expressive imagery, combining polemic and lyricism, created an immortal literary piece.
In conclusion, "Bình Ngô đại cáo" is not only an outstanding polemic piece but also a heroic song about Vietnamese patriotism and indomitable spirit. The work has significant historical, ideological, and artistic value, reinforcing Nguyen Trai's firm standing in national literature. With those values, the essay remains an eternal monument of independence spirit and national pride.
Sample 3: Expository essay about the art value and humane ideology in "Bình Ngô đại cáo"
Nguyen Trai – a great hero, a world cultural figure – not only significantly contributed to driving out the Ming invaders and helping establish the Le dynasty but also was an outstanding writer and poet. He left behind many immortal works, among which "Bình Ngô đại cáo" is considered one of the classical masterpieces, bearing both historical value and significance as a national declaration. Not only does it stand out in political content and patriotic spirit, but the essay also demonstrates profound humanitarian ideology and masterful literary art.
Born in early 1428, "Bình Ngô đại cáo" was written after Lam Son's forces defeated the invading Ming troops and liberated the nation. This is an essay declaring Dai Viet's independence, written by Nguyen Trai at Le Loi's behest. The work has the nature of a proclamation, affirming national sovereignty and reflecting Nguyen Trai's political humanitarian ideology.
Humanitarian ideology is a consistent theme throughout the essay. From the opening line, Nguyen Trai emphasized:
"Humanitarian deeds are aimed at making people live in peace
Military actions should first focus on eliminating brutality."
According to Nguyen Trai, humanitarianism is not merely compassion but also involves protecting the people, opposing brutal forces. Unlike the "loyalty to the monarch" ideology in contemporary feudal literature, Nguyen Trai prioritized the people as the country's center, seeing bringing peace to the people as a monarch's foremost duty. This is a progressive ideology, deeply reflecting Nguyen Trai's humanism.
Following the humanitarian ideology, the essay affirms Dai Viet's independence with compelling argumentation:
"As our Great Viet from the past
Its culture has long been affirmed
The mountains and rivers have distinct boundaries
The Northern and Southern customs are also different."
Nguyễn Trai not only pointed out territorial factors but also emphasized Dai Viet's distinct cultural identity. He listed heroic dynasties in history such as Trieu, Dinh, Ly, Tran, confirming our nation has long had sovereignty, a separate regime, not dependent on the North. This is a powerful national pride reflection, contributing to the resilient vitality of Vietnam's culture over centuries.
Besides profound ideological content, "Bình Ngô đại cáo" also excels in its sharp polemic literary artistry. Nguyen Trai used parallel prose, a distinctive form of medieval literature, with symmetrical sentences, flexible rhythm, combining tight argumentation with vigorous prose.
Especially, the essay shows a flexible change in tone:
When condemning Ming's crimes, the tone is sharp and powerful:
"Roasting black people on cruel flames
Burying red children in pits of calamity."
When recounting the war process, the tone is urgent, heroic, full of victorious spirit:
"Taking advantage of victories, return to the West Capital, seize the East Capital
Completely clean up those brutes."
In the end, the tone becomes solemn, full of pride when declaring independence:
"The country from now is stable
The mountains and rivers from now are renewed."
This tone variation helps the essay not only bear polemic nature but also be rich in lyricism, touching every citizen's patriotism.
Moreover, Nguyen Trai effectively used the art of opposition. He contrasted between justice and injustice, between Lam Son forces and the invading Ming troops:
Ming troops: Brutal, inhumane, spreading misery to the people.
Lam Son forces: Righteous, humane, victorious through will and solidarity.
Thanks to this art of opposition, "Bình Ngô đại cáo" became a national heroic anthem, declaring independence and praising the strength of justice, patriotism, and humanity.
In summary, "Bình Ngô đại cáo" carries immense historical significance and is a literary masterpiece. The humanitarian thought and patriotic spirit in the essay have stood the test of time, becoming a precious heritage of Vietnam. The sharp polemics, vigorous tone, tight argumentation made the essay an immortal literary piece. To this day, "Bình Ngô đại cáo" remains valuable, reminding us of our national pride, unity, and our ancestors' indomitable will in preserving the country.
Sample 4: Expository essay about the excerpt "Hồi trống Cổ Thành" – La Quan Trung
La Quan Trung is an exceptional Ming-era writer of China, famous for the work "Tam Quốc Diễn Nghĩa" – one of China's four great classical novels. The novel not only reflects historical turmoil during the Three Kingdoms period but also builds characters of epic stature with loyalty, strategy, and bravery. Among them, Guan Yu and Zhang Fei are two outstanding characters with deep brotherhood. The excerpt "Hồi trống Cổ Thành," from the 28th chapter of "Tam Quốc Diễn Nghĩa," is one of the most dramatic and exciting episodes, depicting the challenging reunion between Guan Yu and Zhang Fei after a period apart.
The scene of the excerpt occurs when Guan Yu, after years of being separated from his brothers, decides to leave Cao Cao's camp to find Liu Bei. On the way, he brings Liu Bei's two ladies to Co Thanh, where Zhang Fei is stationed. The reunion thought to be joyful turns unexpectedly as Zhang Fei becomes furious, accusing Guan Yu of betraying Liu Bei to follow Cao Cao. Due to absolute loyalty to his brother, Zhang Fei is determined to eliminate the traitor, regardless of Guan Yu's explanations.
In the dangerous situation, Guan Yu must prove his loyalty through action. He accepts Zhang Fei's challenge: within three drumrolls, he must decapitate Sai Duong – a Cao Cao enemy general. When Sai Duong charged, Guan Yu, within one drumroll, wields his sword, beheads the enemy, making Zhang Fei undeniably acknowledge his brother's loyalty. Witnessing Guan Yu's might and sincere heart, Zhang Fei is moved, immediately apologizes, and joins him in escorting the ladies to the city.
The excerpt is not only a dramatic scene in "Tam Quốc Diễn Nghĩa" but also bears profound meaning about loyalty and brotherhood. Guan Yu appears as a loyal hero, maintaining integrity, not forsaking brotherhood for gains. When misunderstood, he doesn't rage or use force to prove, but patiently explains and is ready to face challenges to affirm his innocence. His calmness, bravery, and allegiance made Guan Yu a literary and cultural symbol in Chinese folklore.
Conversely, Zhang Fei bears a contrasting character. He is hasty, straightforward, but deeply loyal to his brother. Zhang Fei's unwillingness to believe Guan Yu immediately shows the character of someone who prioritizes integrity, sacrificing kinship to uphold justice. However, he also acknowledges faults; upon witnessing Guan Yu's merit, he immediately rectifies his mistakes and sheds tears from emotion. Zhang Fei's image in the excerpt is firm yet displays a sincere, loyal, admirable heart.
Artistically, the excerpt clearly demonstrates La Quan Trung's captivating storytelling style, crafting dramatic, conflicting, tense situations. Dialogues in the story are written concisely and decisively, reflecting the characters' strong personalities. Battle action descriptions are vivid, especially the scene of Guan Yu beheading Sai Duong within a single drumroll, emphasizing his heroic demeanor.
Additionally, the conflict between Guan Yu and Zhang Fei is a highlight of the work's artistry. This conflict not only shows the character differences between the two but is also a test to assert Guan Yu's loyalty. Through that, La Quan Trung subtly conveys a profound lesson: loyalty is not only spoken but must be demonstrated through tangible actions.
The excerpt "Hồi trống Cổ Thành" is a representative example of La Quan Trung's character-building art, with vivid characters having clear personalities placed in dramatic, engaging situations. Beyond a brotherhood story, the excerpt reflects deep human values of loyalty, determined will, and martial spirit of a hero during chaos.
Today, Guan Yu remains a symbol of loyalty and integrity, revered by Chinese and many East Asian people. The work "Tam Quốc Diễn Nghĩa" and the excerpt "Hồi trống Cổ Thành" are classic literary pieces, providing profound lessons about loyalty, brotherhood, and an indomitable heroic spirit.
Download Sample 5: Expository essay about the short story "Chí Phèo" – Nam Cao
Download Sample 6: Expository essay about the short story "Chữ người tử tù" – Nguyen Tuan
Download Sample 7: Expository essay about the work "Hồn Trương Ba, da hàng thịt" – Luu Quang Vu
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