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Quận tx thanh xuân là một trong những quận tập trung nhiều trường trung học phổ thông với chất lượng giáo dục đào tạo và giảng dạy khác nhau. Vì chưng vậy lựa chọn ngôi ngôi trường nào tốt nhất có thể cho bé là vụ việc được các phụ huynh quan trọng đặc biệt quan tâm. Trong bài viết hôm nay họ sẽ cùng tìm hiểu về ngôi trường thpt Hồ Xuân Hương để giúp đỡ các bậc phụ huynh và học viên đánh giá chính xác về ngôi ngôi trường này nhé.
1. Trình làng Trường thpt Hồ Xuân Hương-Hà Nội
Trường trung học phổ thông Hồ Xuân hương có địa chỉ cửa hàng tại số 1-3 Nguyễn Quý Đức, phường Thanh Xuân, quận Thanh Xuân, tp Hà Nội.
Đây là ngôi trường tư thục uy tín được không ít bậc phụ huynh reviews cao về chất lượng giáo dục thuộc với cơ sở vật hóa học hiện đại. Tuy khuôn viên trường không thật rộng rãi tuy vậy với cách bài trí khoa học cùng trang máy tiên tiến đảm bảo an toàn phục vụ công tác làm việc dạy cùng học kết quả đạt kết quả cao.
1.1. Lịch sử hình thành
Trường trung học phổ thông Hồ Xuân hương được thành lập và hoạt động năm 1996 với đội ngũ các giảng viên, giáo viên ban sơ thuộc ngôi trường Đại học tập Ngoại ngữ Hà Nội.
Trong trong cả thời gian vận động nhà trường luôn luôn chú trọng mang đến công tác huấn luyện và giảng dạy để truyền đạt cho học viên những gốc rễ kiến thức vững chắc. Dường như toàn cỗ cán bộ quản lý, giáo viên, công nhân viên và học viên của trường cùng mọi người trong nhà phấn đấu cố gắng nỗ lực để đạt được rất nhiều thành tích cao không chỉ có vậy trong sự nghiệp trồng người.
Giới thiệu trường trung học phổ thông Hồ Xuân Hương
Với bề dày dặn hơn 25 năm có mặt và phát triển trường thpt Hồ Xuân mùi hương đã sinh sản dựng được uy tín đồng thời là việc lựa chọn bậc nhất của tương đối nhiều bậc bố mẹ cùng các em học sinh.
1.2. Điểm tuyển chọn sinh nguồn vào qua các năm
Trường thpt Hồ Xuân hương thơm được nhận xét là ngôi trường giành riêng cho các học sinh có học lực trung bình khá. Tại sao bởi điểm tuyển sinh nguồn vào của ngôi trường qua những năm không thực sự cao từ bỏ 38 cho 40 điểm.
Quý phụ huynh và các em học sinh muốn biết đúng mực điểm nguồn vào lớp 10 hãy truy cập vào website của trường nhằm biết chi tiết và chính xác. Từ bỏ đó dữ thế chủ động kế hoạch đăng ký tuyển sinh cùng theo dõi kết quả.
1.3. Cơ sở đồ vật chất
Nhà trường đặc biệt đầu tư chi tiêu cơ sở vật chất cùng trang thiết bị văn minh cho các lớp học. Khối hệ thống các chống học hầu hết được lắp đặt điều hòa sức nóng độ, quạt thông gió bảo đảm không gian nhoáng mát thật sạch sẽ để học viên học tập thoải mái.
Hệ thống đèn điện đầy đủ, bàn ghế đúng tiêu chuẩn, khối hệ thống máy chiếu phục vụ cho công tác đào tạo và giảng dạy và học tập bởi giáo án năng lượng điện tử. Hệ thống camera được lắp ráp ở tất cả các chống học, sân đùa đảm bảo bình an và quản ngại lí học viên chặt chẽ.
Lớp học tập khang trang, không bẩn sẽ
Ngoài khối hệ thống các lớp học tập trường còn có các phòng chuyên môn khác, phòng máy tính xách tay được liên kết internet đảm bảo an toàn 1 học tập sinh/1 đầu thiết bị để học sinh có đk thực hành.
2. Đánh giá trường thpt Hồ Xuân Hương-Hà Nội có tốt không?
Trường thpt Hồ Xuân Hương là một trong trong số đa số trường dân lập khét tiếng uy tín với đội ngũ gia sư trên 50 thầy cô giàu ghê nghiệm, trình độ chuyên môn cao. Những thầy cô hồ hết được tuyển lựa chọn từ những trường như Đại học tập Ngoại ngữ, Đại học sư phạm, trường tp hà nội Amsterdam,…
Bên cạnh các chương trình học văn hóa học sinh được tham gia những lớp học về kĩ năng sống. Đặc biệt bên trường còn tổ chức triển khai lớp học rất chất lượng với người nước ngoài giúp các em nâng cao khả năng giao tiếp.
Ngoài giáo trình chuẩn quốc gia của cục GD và ĐT trường vận dụng nhiều phương thức giáo dục tiên tiến và phát triển đồng thời hợp tác liên kết các các trung tâm ngoại ngữ như RMIT, RES, ISTAR. Mục tiêu tìm hiểu rèn luyện thuần thục các kĩ năng nghe, nói, đọc, viết cho học viên và tạo đk cho học sinh thi lấy chứng chỉ TOEIC, IELTS, TOEFL.
Thêm nữa trường còn liên kết huấn luyện với khoa thế giới của ngôi trường Đại học tập Quốc gia, Đại học Bách Khoa với Đại học thủ đô mang đến thời cơ cho học sinh đón nhận học bổng với du học nước ngoài.
Thành tích cơ mà trường đạt được trong số những năm vừa mới đây rất xứng đáng tự hào với phần trăm đậu giỏi nghiệp và đậu đại học cao đẳng đạt bên trên 95%. Trường còn vinh diệu được ủy ban nhân dân thành phố Hà Nội khuyến mãi bằng khen về công tác làm việc giáo dục trọn vẹn cho học tập sinh.
Học sinh trường thpt Hồ Xuân Hương đạt tỷ lệ tốt nghiệp cao
3. Ngân sách học phí trường trung học phổ thông Hồ Xuân Hương-Hà Nội như vậy nào?
Theo share học giá thành trường thpt Hồ Xuân Hương-Hà Nội là 1 - 1,5 triệu đồng/tháng. Tin tức học phí tham khảo từ nguồn lắp thêm ba và mức thu tất cả thể biến đổi tùy theo năm học tập và các khoản phụ thu thêm khác. Cho nên vì vậy phụ huynh có thể liên hệ trực tiếp với nhà trường để được support và cung cấp các tin tức chính xác.
Lựa chọn một ngôi trường có quality giáo dục xuất sắc cùng trang thiết bị phục vụ cho học tập tập văn minh là yếu hèn tố đặc trưng để học sinh có thể chuyên tâm cho việc nghiệp học hành. Mong muốn sau bài viết này các bạn đã sở hữu thể chỉ dẫn được review trường thpt Hồ Xuân mùi hương có giỏi không? Chúc các bậc phụ huynh và những em học sinh sẽ chọn được ngôi trường tương xứng nhất để các em có môi trường thiên nhiên học tập xuất sắc nhất.
 |  Tiếng Việt |
| Hồ Xuân hương thơm Introduction |
Hồ Xuân hương was born at the over of the second Lê Dynasty (1592-1788), a period of calimity và social disintegration. Nearly 900 years had elapsed since Ngô Quyền had driven out the Chinese lớn establish an independent Vietnam, modeled on the Chinese court và its mandarinate. By the end of Lê period, the Confucian social order had calcified và was crumbling. In the North, the powerful Trịnh clan controlled the Le kings and their court at present- day Hà Nội. The Trịnh warred with the Nguyễn clan, whose southern Huế court was aided by Portuguese arms & French troops recruited by colonial missionaries. Finally, adding to lớn decades of grim chaos, in 1771 three brothers known as the Tây tô began a populist rebellion that would vanquish the Trịnh, the Lê, & the Nguyễn rulers, seizing Hà Nội, Huế và Sài Gòn, & creating their own short-lived dynasty (1788-1802) that would soon fall to the Nguyễn. This period of social collapse và ruin was, perhaps not surprisingly, also a high pint in the long tradition of Vietnamese poetry. As Dante says in his De vulgari eloquentia, “the proper subjects of poetry are love, virtue, & war.” The great poetry of this period – like Nguyễn Du’s famous Tale of Kiều- is filled with individual longing, with a sense of “ cruel fate”, and with a searching for something of permanence. Warfare, starvation, and corruption did not vanquish poets lượt thích Nguyễn Du and Hồ Xuân Hương, but deepened their work. What is immediately surprising about Ho Xuan Huong’s writing is that she wrote at all – futher , that she earned immediate & continuing acclaim. After all, she was a woman writing poetry in a male, Confucian tradition. While women have always held high position in Vietnamese society- sometimes leading armies, often advising rulers, và always involved in the management of wealth- few were tutored in the rigorous literary studies given young men preparing khổng lồ take the imperial exams in hopes of finding their places in the bureaucratic hierarchy that governed Vietnam from 939 AD into the twentieth century.(A visitor lớn Ha Noi can still see, in a courtyard of the Temple of Literature, the magnificent stone turtles with huge stelae mix upon their backs và carved with the names of the highest-ranking scholars from 1442 khổng lồ 1779. The last exam was in 1919.). Also surprising is what she wrote about. At the end of the Le Dynasty, when the social status of women was sharply reduced, she constantly questioned the orders of things, especially male authority. The rigid feudalism of the later Le Dynasty took the 2000 year old Confucian Book of Rites as its fundamentalist guidebook in which a woman “ when unmarried, should obey her father; when married, her husband, and, if widowed, her son.”. Their were “ seven justifications for abandoning a woman: I, if she bears no child, 2, if she commits adultery, 3, if she does not respect her in-laws, 4, if she gossips, 5, if she steals, 6, if she is given lớn jealousy, and, 7, if she has an incurable disease.” khổng lồ make matters worse, dowry và wedding rules had become so expensive and complicated by Ho Xuan Huong’s time that fewer women of her class were getting married; more were becoming concubines(Following Hoa Bang, Ho Xuan Huong, Nha Tho Cach sở hữu (Sai Gon: Nha Xuan Ban Bon Phuong, 1950), pp. 100 & 103)). While hồ Xuân Hương’s poetic attacks on male authority might seem normal enough for fin de siècle Americans & other Westerners, for her time it was shocking và personally risky. In addition, she chose to lớn write in Nôm-a writing system that represented Vietnamese speech- rather than Chinese, the language of the mandarin elite. Her choosing to lớn write poetry in Nôm, as Chaucer chose khổng lồ write in English & Dante in Italian, gives her poetry a special Vietnamese dimension filled with the aphorisms and speech habits of the common people(Recent scholarship has also turned up poems that she wrote in Chinese. See Dao thai Ton, Tho Ho Xuan Huong (Ha Noi: Nha Xuat Ban Giao Duc, 1996).). Indeed, the modern poet Xuan Dieu called her” the Queen of Nôm poetry. But, finally, the most surprising fact is that the greater part of her poems- each a marvel in the sonnetlike lu-shih style- are double entendres: each has hidden within it an other poem with sexual meaning. In these poems we may be presented with a view of three cliffs, or a limestone grotto, or scenes of weaving or swinging, or objects such as a fan, some fruit, or even a river snail – but concealed within almost all of her perfect lu-shih is a sexual design that reveals itself by pun and imagistic double-take. No other poet dared this. As Huu Ngoc và others have pointed out, Confucianism even banished the nude from Vietnamese art(Huu Ngoc and Françoise Corrèze, Ho Xuan Huong, ou le voile deschiré (Ha Noi: Fleuve Rouge, 1984), p. 31.)). For her erotic attitudes, hồ nước Xuân mùi hương turned to the common wisdom alive in peasant folk poetry and proverbs, attitudes that from her literary pen might be read more accurately as defiance rather than as a psychosexual malady, as some of her critics have changed. So, in a time when death và destruction lay about, when the powerful held sway và disrespect was punished by the sword, how did she get away with the irreverence, the scorn, & the habitual indecency of her poetry? The answer lies in her excellence as a poet và in the paramount cultural esteem that Vietnamese have always placed on poetry, whether in the high tradition of the literati or the oral folk poetry of the common people. Quite simply, she survived because of her exquisite cleverness at poetry. Khen ai khéo vẽ cảnh tiên sơ, she sometimes writes in response to lớn natural wonders: “ Praise whoever sketched this desolate scene.” It was her own skill in composing two poems at once, one hidden in the other, which captured her audiences – from common people who could hear in her verse echoes of their folk poetry, proverbs, & village common sense, khổng lồ Sinophile court mandarins who bantered with her in verse, who valued her poetic skills, và who offers her their protection(Such as Chieu-Ho, fond of teasing her in poetry, who some scholars(but not all) identify as the high-ranking ifficial Pham Dinh Ho.). Her verbal play, her wicked humor, her native speech, her spiritual longing, her hunger for love, and her anger at corruption must have been tonic. Xem thêm: Điện Thoại Xiaomi Redmi Note 5 Pro Cũ Rẻ Như Xác, Xiaomi Redmi Note 5 32Gb Cũ Her life and legend Not much is factually known about her life. Actuarial records like those kept in the West even in Shakespeare’s time are recent lớn Vietnam. Most of her biography is derived from her poems. Indeed, given the lack of hard facts & the frequent improprieties of her verse, some readers have argued that she never existed but was the fictional creation of some literary man-of-letters, sort of an Earl of Oxford argument. But too much dense biographical evidence emerges from the poems for this lớn be true, along with her habitual way of looking at things & a unique range of diction. Scholars generally agree she came from the ho family from Quỳnh Đôi village, Quỳnh giữ district, tỉnh nghệ an province in North centre of Vietnam(For a full discussion see Hoang Xuan Han, "Ho Xuan Huong voi Vinh Ha Long," in his La Son Yen Ho (Ha Noi: Nha Xuan Ban Giao Duc, 1998), pp. 897ff. Và 930.). They disagree on whether her father was the scholar hồ Sỹ Danh ( 1706-1783) or hồ nước Phi Diễn ( 1703-1786). Her mother, whose given name was Hà, was a vk lẽ to lớn her husband –ie., a second wife , or concubine, albeit a concubine of high rank. Ho Xuan Huong was probably born between 1775 & 1780, either in Quỳnh lưu or Khán Xuân village, now buried in the suburban sprawl near the West Lake of present day Hà Nội. She apparently received an education in classical literature. Her name, which may derive from the village in which she was raised, means “ spring essence”, as in “ perfume" or “ scent of spring”. Between 1815 & 1818, she seems to have made several visits to the picturesque Hạ Long Bay. In 1819, according lớn professor Nguyễn Huệ bỏ ra of the Institution of Literature in tp hà nội , there is official reference lớn “ the concubine hồ nước Xuân Hương” while another manuscript (“Xuân đường đàm thoại,” 1974) mentions a conversation in 1869 between literati in tỉnh bắc ninh province, in which one of them, arriving late, says he “ just came from hồ nước Xuân Hương’s funeral”. Indeed, the 1819 reference lớn part of the record of her husband’s execution for bribery. Her husband, nai lưng Phúc Hiển, the governor of im Quảng province, was executed by order of the emperor. The record notes “ the concubine of this man is named hồ Xuân Hương. At that time she was well- know as a talented woman in literature và politic.” But she was probably dead by the early 1820s. In 1842, we have the remarkable poem by Emperor Thiệu Trị’s brother during a royal visit lớn Hà Nội. Here is the lake is filled with lotuses.Tell the flowers girls khổng lồ pick some Whatever the facts of her life, a legend of rich cultural significance and consistency has emerged. The legend says that her father’s early death severely affected the family, in marriage. Legend has it that she sometimes ran a tea shop in Thăng Long, as hà nội was once called. Famous for her ability to lớn compose perfectly structured poems off the đứng top of her head, she would often be challenged by young men up for imperial exams. One day, a young scholar & his brother came to her shop and asked hồ Xuân mùi hương ‘s maid khổng lồ fetch her. Instead, hồ Xuân hương thơm sent out a few lines of poetry for completion, but the verse was so difficult that on reading them the young scholar went into something lượt thích apoplectic shock và fainted. This was a potential family disgrace, so the younger brother dashed him with water và brought him to, whereupon he finished the poem và the maid took it back to hồ Xuân Hương, still at the rear of her shop. “ Not bad”, she is supposed to have said, và married him, the future Pefect of Vĩnh- Tường. This marriage, if once accepts the sentiments in her “ Lament for the Prefect of Vĩnh- Tường”, was one of real affection, but lasting only twenty- seven months. Her second marriage was khổng lồ an official, whom she mocks as “ Mr. Toad” in his funeral elegy, “ Lament for commissioner Coc”. Lượt thích her mother, hồ nước Xuân hương thơm was a vk lẽ, or concubine, a condition she resented. So runs the legend. Scholar like the late Hoàng Xuân Hãn suggest that, given he chronological evidence, she could not have actually been the wife of the Prefect of Vĩnh Tường. Others, like Đào Thái Tôn, suggest that many of the poems attributed lớn her were written others who simply did not dare khổng lồ put their names on them. In this view, from her earliest recognition, hồ Xuân hương thơm gave chất lượng voice lớn issue for which the prevailing Confucianism forbade discussion. Whatever the facts, in poem after poem we hear her complaints about marriage. Is she too forward, she wonder in one poem, too bold to get a husband? What she was looking for, và apparently never founded, was a marriage of equals that included something quite extraordinary and popular in the Vietnamese mind: duyên. Duyên is the lãng mạn notion that Westerners điện thoại tư vấn “ true love”. Duyên is “ fated love”, a bond created in heaven that is so strong that two lovers who “ have” duyên may go through successive incarnations until they are inevitably joined. Lacking this, hồ nước Xuân hương thơm had lớn settle for shelter and sex, but even the latter was not reliable, if one takes as biographical the sentiments of “ On Sharing a Husband”. Hồ Xuân mùi hương also writes forcefully about compassion, particularly in its Buddhist sense of an individual’s love and sacrifice for others. Like most Vietnamese, she would have been a Mahayana Buddhist of Amida School, where the main figure is the Buddha of the Western Peace, lớn whom one can travel by perfecting oneself in life so that at death one can live in the Western Paradise, visualized as a spiritual realm somewhere “ West” in the direction of India, from which Buddhism first arrived. Given her bad luck at marriage & her distaste at being a “ second wife”, entering a Buddhist nunnery might have given her both shelter & spiritual fulfillment. Instead, she saw corruption in the religious institutions of her time & cast some of her wickedest slurs on venal, lazy, or decadent clergy. At Trấn Quốc pagoda, she “aches” thinking of the heroes of Vietnam’s past and see the monks only as a ‘ flock of shaved heads”, “ neglecting their “ debt of love”. At cửa hàng Sứ pagoda, “ The Ambassadors’s Pagoda,” she comes to meditate but finds the place deserted. Giving up on institutionalized region, but keeping Buddhist precepts, she takes khổng lồ wandering the countryside lớn find in lonely landscapes in inspiration for a number of poems of intense spiritual lyricism & compassionate revelation("She traveled lượt thích a man in society where the woman was a recluse," Huu Ngoc và Françoise Corrèze write. In Febraury of 1999, I retraced some of her travels và was struck by the distances and rugged terrain she would have encountered jouneying by horse, boat, and foot.). “ Look, và love everyone”, she says in “ Autumn Landscape.”. Elsewhere, she declares that nirvana “ is here, nine times out of ten”, and that sometimes we can “ see heaven upside- down in sad puddles.” Spring- watching pavilion |
The poetry | |
In literal translation, “ Spring – Watching Pavilion” reads as follows: Spring – Watching Pavilion | |
Vietnamese is a tonal language belonging khổng lồ the Mon- Khmer family. ( Those diacritical marks around the vowels indicate the world “ pitch, “ or tone. Without those marks, a Vietnamese reader would find a text unreadable.) Word tone makes for a poetry of complex music và allusion, as well as a linguistic openness to poetic habits from Chinese, a structurally similar language. For a Westerner perhaps the most remarkable feature of the Vietnamese language and its poetry is just this aspect of word tone.
In Vietnamese, there are six quasi-musical tones or pitches. Every syllable in the language carries one of these tones, each establishing the meaning of the syllable. ( Most words in Vietnamese are monosyllables.) For example, the size /la/ can hold six separate meanings depending on the tone employed:
| La: khổng lồ shout( high level tone)Là: lớn be ( low màn chơi tone)Lả: tired ( falling- rising tone)Lã: insipid (high-constricted, broken tone)Lá: leaf ( high- rising tone)Lạ: strange ( low- constructed tone) |
In speech or prose, these tones fall at random; in poetry whether in the oral folk tradition or the high literary tradition-tones are regulated to fall at certain feet in the prosodic line. Rhymes usually fall only on words that have “ even” tones ( la and là, above). All other tones are considered “ sharp” and their placement is also regulated.
With a music of pitches inherent in every poem, an entire dynamic of sound – inoperable in English – comes into play. And since like-sounding words can mean vastly different things, a whole world of double meanings also is possible in any poem. These second meanings, và phrases reversals, or nói lái, are usually obscene. Take, as examples, “ the Lustful Monk” và “ Buddhist Nun” . In the former, đeo means “ to carry”, or “ bear”, but its tonal echo, đéo, means “ lớn copulate”. In the same poem, lộn lèo means “ khổng lồ turn about”, “to be confused”, even “ twisted rigging,” but lẹo lồn, with different tones, means “ to copulate”. ( Actually, it is more graphic.) Similarly, in Buddhist Nun”, xuất chũm means “ abandon the world”, a proper sentiment, but xuất thê means “ abandon a wife”. In some poems lượt thích “ The Pharmacist’s Widow Mourns His Death’, this kind of tonal play và echo is often the very heart of the poem, making translation almost impossible. In fact, one of the many dangers for a translator of hồ nước Xuân hương is driving any poem too far toward one pole of meaning – on the one hand, her landscapes are seldom innocent; on the other, the obscene secondary meanings must never appear obvious.
Part of hồ nước Xuân Hương’s cover for thí subterfuge lay in the millennial propriety of the lu-shih tradition itseft, i.e., in the hundreds of thousands of poems written by Vietnamese and Chinese scholar-gentry since the size was borrowed from Chinese classical tradition. ( Both the borrowing & the prestige attached lớn this khung are similar lớn our English borrowing and subsequent use of the Italian sonnet.) In fact, the lu-shih is similar in its tasks và cultural authority khổng lồ the English sonnet. But the lu-shih is more compressed(Readers who want to lớn know more about lu-shih should consult James J.Y. Liu, The Art of Chinese Poetry (University of Chicago, 1962), since Vietnamese poets followed T'ang style.): every poem must be eight lines long; every line has seven syllables . Rhymes usually occur at the kết thúc of the first, second, fourth, sixth, and eight lines. The internal four lines usually show some kinds of syntactic parallel structure. Rhyme words must be bình or “ even” tones. Sharp và even tones are regulated by where they fall in the poetic line. The variation on the lu-shih, the chueh-chu ( or “ broken-off lines” ), is especially a lu-shih cut in half. As daunting as these prosodic rules might seem, hồ Xuân hương thơm usually exceeded them, often throwing in more rhymes than required & sometimes creating small subtexts with anagram-like constructions if words are read up và down as well as left to lớn right, as in the “ Spring- Watching Pavilion” example above, where the verbal play is on “ dust” & “love” ( see also the endnote to the poem).
The text
Hồ Xuân mùi hương wrote in Nôm, a writing system devised by Vietnamese literati khổng lồ represent the sound system of their language through a native, or “ southern”, calligraphic script. From above the tenth century và into the twentieth, this script was the repository of Vietnamese literature, political essays, và philosophy, as well as religious & medical treatises. During the twenty- four years of the Tây đánh emperors through which hồ nước Xuân mùi hương lived(Indeed, there is some evidence that she was cousin to emperor Nguyen Hue và of equal family rank; Hoang Xuan Han, op.cit, p.901.), Nôm rather than Chinese, became the official language of the government. But Nôm, while indeed the language of the people, nonetheless is twice as difficult khổng lồ master as Chinese, since Nôm often takes Chinese characters & assigns them Vietnamese phonemic value while keeping other Chinese characters for their semantic value, thus doubling the total number of characters for any given expression. Today, out of seventy-six million Vietnamese, perhaps only a few dozen can read this thousand- year heritage in Nom, despite the fact that it is almost always around them – inscribed over old doorways, printed on the restaurant calendars, và incised on ancestral tombs that sit in all the rice fields. Nonetheless, Nôm died with the royal courts & the scholars – gentry class, giving away to Quốc-ngữ, “ the national script”, introduced by Alexandre de Rhodes in the seventeenth century & using a Latin alphabet immensely more accessible than Nôm and making it possible for the masses of Vietnamese to become literate.
No definitive, scholarly text exists for the poetry of hồ Xuân Hương. Indeed, her poems did not see print until many decades after her death, with a Nôm woodblock publication in 1909, followed in 1914 by the woodblock edition Quốc Âm Thi tuyển in Nôm with the quốc-ngữ transliterations directly beneath. Scholars disagree on the very number of poems that may be attributed to lớn her; some limit her oeuvre to a mere twenty-five, others claim as many as 148. Many of the originals that follow here have several variants because Nôm was never really standardized. What is more, hồ Xuân hương thơm ‘s poems were reproduced by hand, adding lớn further textual variations. Complicating the text still further, since the time of her writing in her northern dialect, Vietnamese itself has undergone shifts in sound & meaning. I have tried to find the most plausible versions, often relying on the late Maurice Durand’s L'(Euvre de la poétesse vietnamienne hồ Xuân Hương(Paris: Adrien-Maisonneuve, 1968. From the Collection de Textes et Documents sur L'Indochine, IX, Textes Nôm No. 2.), a great work unfortunately left incomplete at Durand’s death.
In February 1999, I traveled to thành phố hà nội to consult with scholars, khổng lồ find & verify the Nôm originals of the poems that follow. Thanks the help of Professors Đào Thái Tôn & Nguyễn quang Hồng of the Hán-Nôm institute, & the remarkable work of Ngô Thanh Nhàn, a computational linguist at thành phố new york University’s Courant Institute of Mathematical Sciences, this is the first time that Nôm is being printed typographically, a crucial first step toward retrieving the vast heritage of Vietnamese literature in Nôm.
This book, the first sizable collection of hồ Xuân Hương’s poetry in a Western language, almost certainly contains inevitable errors of provenance as well as errors that are purely of my making, a foreigner, albeit a poet, swimming in waters way over his head although cheered by shouts from Vietnamese standing on the far shore. The forty-nine poems in this book represent most of hồ nước Xuân Hương’s extant Nôm poetry. Others are not included here because they seems repetitious, or were almost certainly poems by others poets ( such as Bà thị trấn Thanh Quan, a woman whose poetry is sometimes attributed to hồ nước Xuân Hương), or because they seemed unretrievable in English, even with supportive footnoting.
For ten years I have pecked at these translations, often just giving up, but always returning. My persistence was sustained by admiration & awe, which I hope the reader will experience: for hồ Xuân Hương’s lonely, intelligent life, for her exquisite poetry, her stubbornness, her sarcasm, her bravery, her irreverent humor, and her bodhisattva’s compassion. She is a world- class poet who can move us today as she has moved Vietnamese for 200 years.
