Stanza 1

The poem "Spring-Watching Pavilion" opens with Ho's vivid portrayal of "A gentle spring evening," which stands in stark contrast to the notion of "worldly dust." This "dust" serves as a metaphor, a literary tool where an object is imbued with a secondary meaning beyond its literal sense. Ho isn't suggesting that the spring dusk is literally cleared of dust; rather, she implies that the "dust"—symbolizing the chaos of human existence—is blissfully absent in the serene natural setting. Though Ho refrains from explicitly saying it, the absence of "worldly dust" signifies her escape into nature, far from the clamor of her village or city. This worldly dust is depicted negatively, as it is "clouded," unlike the clarity of the spring night. It could symbolize numerous adverse facets of human society. During the time this poem was conceived, likely the late 18th or early 19th century, Vietnam was grappling with turmoil—marked by civil conflicts and colonization. Thus, the "dust" might be an allusion to this instability. More plausibly, however, it alludes to organized religion, since "worldly dust" is a term deeply rooted in Mahayana Buddhism.

Stanza 2

The tranquil scene is suddenly disturbed in the second line, not just through the abrupt, staccato sentence, but also by the ominous sound of "bell tolls" whose "echoes" ripple from the village or city "like a wave." Employing the word "like" marks this section as a simile. Similes, akin to metaphors, lend an object an additional layer of meaning, yet do so indirectly, suggesting something is "like" or "as" another. Here, Ho likens the echoes' journey from urban to rural landscapes to the undulating motion of a wave. The tolling bells could symbolize numerous things. Initially, they could represent the sounds of conflicts mentioned earlier. Bells often historically served as alarms for impending threats, such as invasions. If interpreted as a critique of the period's wars, then the echoes "like a wave" suggest advancing waves of soldiers on the city or village. Consequently, heaven appears only "upside-down in sad puddles," as war wedges a chasm between humanity and the divine, leaving only heaven's reflection visible, not heaven itself.

Yet, since Ho has already hinted at Mahayana Buddhism with "worldly dust," she might also reference the echoes of Buddhist ceremonial bells. A bell, revered as a sacred instrument, historically symbolizes contact between the earthly and the divine. While the bell is a human creation, its harmonious sound echoes the celestial world's tranquility. In nature, distanced from Ho's village, these bells are but faint echoes. This detail is notable. Ho is setting the stage for the poem's latter half by distancing the bell's sound, a symbol of organized religion, from her natural surroundings. As with the war interpretation, the reflections seen in the puddles are sorrowful because organized religion offers only a dim, melancholic imitation of heaven, not nirvana itself.

Stanza 3

Having established the contrast between human and natural realms, Ho shifts her focus entirely to nature, invoking the imagery of "Love’s vast sea" and "springs of grace." Here once more, she weaves metaphorical language. The "sea" isn't literally brimming with love, nor are the "springs"—normally natural water sources—made of grace. Instead, the sea's imagery evokes love's enduring strength, which "cannot be emptied." Similarly, grace, a term signifying divine aid gifted to humanity, "flows easily everywhere," symbolizing the divine presence in nature. This interpretation stands robustly on its own.

Nevertheless, for those versed in Mahayana Buddhism, the lines unveil deeper meanings. Mahayana Buddhists hold that bodhisattvas—individuals who have attained nirvana yet choose to remain in the human world—offer divine help. Through their quest for...