Analyzing the character Thị Nở in the literary work Chí Phèo

Prompt: Analyze the character Thị Nở in the work Chí Phèo

Despite his reputation as the village outcast, Thị Nở found herself drawn to Chí Phèo, the notorious troublemaker of Vũ Đại. Perhaps it was Nam Cao's intention to bring together two seemingly mismatched souls and explore the depths of human connection. This unlikely love awakened hidden beauty within the depths of their souls.

Transformed from a foolish, ugly woman, Thị emerged as a caring and compassionate individual: 'Leaving him now would be wrong. After all, we've shared intimacy! Like husband and wife...Last night's ordeal was tough. Today, he needs something nourishing. When ill, only spring onion porridge will do. Sweating it out will ease his discomfort...' Her seemingly awkward gestures and smiles, in reality, warmed Chí's heart, making him feel truly cared for.

Thị's gesture of bringing spring onion porridge and her genuine concern deeply moved Chí. It sparked memories of his youthful dreams, filling him with remorse for his past deeds. He longed to return to a life of virtue, to live a simple yet fulfilling life with Thị Nở. It's said that even the ugliest woman's love can stir the hardest of hearts. Perhaps only a sincere, selfless love like hers could reach the depths of Chí Phèo's soul, something no one else in Vũ Đại could accomplish.

Nam Cao skillfully crafted the image of Chí Phèo, the village outcast, and further succeeded in portraying Thị Nở, a woman full of love and acceptance, who awakened the goodness within Chí Phèo. Her love, devoid of selfish motives, emerged from genuine empathy and compassion, making it a love worth cherishing. Thị represented hope, a beacon guiding Chí Phèo back to humanity, back to community. Though Chí Phèo may have ultimately chosen to end his life, Thị Nở's character and the symbolism of spring onion porridge remain significant in shaping destinies and offering hope for a better future, even to those lost along the way.

Together with Old Hac, the short story Chi Pheo is one of Nam Cao's masterpieces written about the theme of Vietnamese peasants before the August Revolution of 1945. Both of these excellent short stories have been selected for the high school curriculum (Literature 8 and Literature 11, volume 1) along with many other short stories, which brought Nam Cao the honor of being the author with the most short stories in high school curriculum.

For a long time, when mentioning the typical character in the short story Chi Pheo, people immediately think of the main character whom the author initially named Cai Lo Gach Cu. When first printed (1941), the New Life Publisher changed the name to Matched Couple. When reprinted in the Luong Cay volume (National Culture and Education Association publishing house, Hanoi, 1946), Nam Cao renamed it Chi Pheo (Advanced Literature 11, volume 1, Education Publishing House, Hanoi, 2007, p. 178). There have been quite a few studies and articles on this unique character, unparalleled in the history of Vietnamese literature. This is inevitable because almost all the significance of the content of the short story emanates from the character Chi Pheo (Tran Tuan Lo in the article Through the short story 'Chi Pheo' discussing Nam Cao's realistic view, Literary Criticism, issue 4/1964) and Chi Pheo is the crystallization of Nam Cao's successes in the theme of peasants.

Besides Chi Pheo, in our opinion, there is another typical character that is rarely mentioned. This character appears infrequently, only near the end of the story, as a supporting character but plays an important role in the development of the story. The appearance of this character is a turning point in the story's progression as well as in the life and fate of the central character. Furthermore, this character also has a very distinct typicality. That character is Aunt Thi No.

Indeed, Aunt Thi No is just a supporting character. In the story, Nam Cao briefly describes her character, only outlining a few traits. Regarding her background, the author briefly states: 'Except for one aunt who could be called old and already widowed like... The aunt worked for a woman who traded bananas and betel nuts, didn't arrange boats to go to Hai Phong, sometimes went to Hon Gia, Cam Pha.' Even the name of this character is absent, only referred to by her relationship with the main character. Near the end of the story, when Thi No after five days of living with Chi, on Friday, suddenly remembered she still had her aunt and 'thought to herself: Stop loving to ask Aunt Thi,' then this character Aunt Thi No only appears through a few thoughts and two lines of dialogue. That's all there is. Therefore, it is very difficult to paint a portrait of this character.

Though only a very minor character, this aunt character is a surprising and extremely important detail that turns the entire story as well as the life of the character Chi Pheo. Just one cruel statement 'If you could endure until this age, then endure it all, who would marry that Chi Pheo' touched the very depths of the pride of a woman over thirty, 'stupid like those foolish characters in fairy tales and ugly witches mocking demons' and silly, unmarried. That venomous remark brutally severed a newly blossoming love, coldly cutting off the last thread of communication between Chi and humanity. The 'hot onion soup' had barely brought Chi back from the demon world to human society when that harsh statement was like a final period to end all processes of rebirth in Chi, pushing Chi down into the depths of intense suffering and a violent death. Some say if only Nam Cao hadn't created this character, or at least didn't let Aunt Thi No appear at the end of the story, it would have had a better ending. It might be so. But in our opinion, if this detail were cut out, Nam Cao would no longer be himself. The value of Chi Pheo would also be greatly diminished. Because Chi's death, with many reasons, most directly the harsh rejection from Aunt Thi No, holds significant meaning. Even this character of this aunt carries many typical values.

First of all, this character is very representative of the folk idiom 'enemies on the cornfield are not as bad as a woman without a husband' (There is also a variant 'enemies on the cornfield are not as bad as a woman without her husband'). Aunt Thi No was over fifty, more than half her life and still couldn't find a husband. In the eyes of that miserable woman, the matter of the husband and children of 'a thirty-year-old descendant who hasn't experienced life' 'how disgraceful! Really shameful...' Her resistance, her bitter words, 'stabbing into the faces of her descendants' immediately had an effect. Because the more proud and aggrieved this aunt was, the more proud and aggrieved her descendants became. Even after Chi died, she still didn't forgive her own descendant, even 'pointed at her descendant and cursed'. Clearly, the attitude and words of the character are very typical of the personalities of older, unlucky women in love affairs. Ultimately, it reflects a deep-seated resentment, both psychologically and physiologically, which is most clearly expressed in the attitude of 'if you can't eat it, then kick it down', 'hating the buffalo that eats the grass'. The husbandless aunt in the story, in some respects, can be seen as a typical example. However, in this character, there are also points that make the reader feel sorry, pitiful, more pitiful than hateful. Nam Cao's humane pen doesn't stop at words, the actions of the character but also delves deep into the emotions when the character falls into ironic situations. The writer wrote: 'Maybe feel sorry for her. She thinks about her tough life, without a husband. She feels very bitter...' With just that much, we understand all the pain of the fate of women without husbands in the old society - an unjust colonial society, as unfair, as unjust as the society before it.

Particularly, the character Aunt Thi No is very typical of the peasants in Vu Dai village at that time, specifically, and the rural areas of North Vietnam before the 1945 Revolution, generally. It was a society completely degraded (degraded for power, degraded for the same hardships, degraded for oneself). The social relationships here are relationships between degraded units (individuals with individuals, groups with groups) (Duc Mau in the article Social Relationships in Vu Dai Village, in the book Thinking about Nam Cao, Writers' Association Publishing House, Hanoi, 1992). Most importantly, it was a society living in severe prejudices. In that closed-off village in the North Vietnam plain (Duc Mau, as cited), people lived in misery, poverty, and despair, but they also showed coldness, cruelty, and prejudices towards those around them. For an abandoned child, a fatherless orphan, penniless and homeless, a demon specializing in begging, Chi Pheo, no one in Vu Dai village accepted. The villagers seemed to exclude Chi from their relationships, ignoring his father, as if Chi didn't exist in that 'human' community. The narrow prejudices about origin, background, about the gloomy life of this Chi had a terrible power, like an invisible towering wall that Chi, when revived by Thi No's love, became 'craving for kindness', 'wanting to reconcile with everyone', trying every way to overcome but never succeeded. Even when Chi died a horrific death, no one in the village showed pity for Chi, not even a tear of compassion. Vu Dai village is a typical example of the rural areas of the North before 1945. In that impoverished, backward, and full of narrow prejudices, that village, the character Aunt Thi No, successfully built by Nam Cao, carries distinct typical values. The thoughts of Aunt Thi No when her grandchild mentioned 'marriage' with Chi ('All the men are dead, why would you go marry a fatherless one. Who would marry someone whose only profession is begging') as well as the bitter words of the aunt at the end of the story with Thi No before Chi's unexpected death ('Your life is blessed, my child. Don't hold on to that Chi Pheo') spoke volumes. Aunt Thi No isn't described much, but through the thoughts, attitudes, and language of this character, the reality of rural areas in the North before 1945 with many heavy, outdated prejudices has been successfully reflected and summarized.

In conclusion, not specifically and fully described, but the character Aunt Thi No is a unique artistic creation of Nam Cao. Alongside Chi Pheo, Thi No, Ba Kien, this character also carries many typical meanings as analyzed above, thus bringing many values of the work's content. In constructing this character, Nam Cao used a sharp pen, not describing much but richly evocative. Many people often think about this character with a sense of animosity, disdain. However, ultimately, in our opinion, Aunt Thi No is just a victim of fate, of the dark old social regime. The character is more pitiful than hateful. This is also an expression of Nam Cao's sparkling humane pen, shining with the literary values of Nam Cao.

3. Analysis of the character Thi No in the work Chi Pheo, model 3:

Poor, ugly, foolish like the face of a triangular prism, where the author tightly imprisoned his character Thi No. But is it true that Thi only has those three things? How did writer Nam Cao handle this 'initial design project' during the execution?

I believe the character Thi No from the beginning is a holistic expression of natural humanity, belonging to nature, rather than playing a social role. Is Thi ugly? In the countless creations of nature, is there anything that's always beautiful! In the natural realm, there's absolute beauty, absolute ugliness, and even both beauty and ugliness. Thi No, as ugly as a part of that ugly nature, is a fact. Moreover, Thi eats, sleeps, dresses... always with an 'indifference' as if nothing matters, then that's not the highest level of natural innocence! Therefore, the whole person of Thi No presents itself as a natural raw block. Being natural, it inherently has its own position, power. Nam Cao painted the portrait of Thi No under the guidance of this ideological light (please note that what's being said here is completely different from naturalism, which Nam Cao was once accused of).

Here, after the 'eating and sleeping' with Chi, that is, after this colorful act of creation, both Thi No and Chi are changed. Thi No completely indulges in the ultimate passion of natural instinct. Thi forgets all the constraints of daily life, forgets Aunt, forgets all the layered prejudices of the Vu Dai village society. When the whole Vu Dai village turns its back on Chi, only Thi goes to Chi with utmost innocence. Thus, the maternal duty (care), maternal love (affection), what's called feminine power in Thi suddenly stirred up, demanding to be expressed. But unlike Thi, while enjoying Chi, he's not entirely carefree. In his heart, he also begins to have a clear consciousness of possession, a complete consciousness of love for Thi, a human kind: both giving and demanding. Therefore, Chi starts to think far ahead about a home, a simple happiness in human terms. Chi cried when eating onion soup, that is, he cried for the first time enjoying happiness in the style of a family. Unable to be carefree, when waiting for Thi No, Chi Phèo became anxious, irritated. Meanwhile, finally, Thi came to vent her anger, then 'swayed her buttocks' away in the most indifferent way, without a single thought of regret, without calculating the harm, leaving Chi in the pain of betrayal (from Chi's perspective). So, that indifferent natural block of Thi No collided with the social human Chi Phèo, this interest conflict inevitably broke. The relationship between Thi No and Chi Phèo has now become the decisive spark hitting the next big explosion - the climax must explode, bloodied, shattered (as seen in the end of the story). This is an enlightening relationship. Thanks to it, the stubborn and hostile mind of Chi completely changes. Chi Phèo starts to feel 'craving for kindness, wanting to reconcile with everyone'. Thi No will pave the way for him. No doubt, Thi has deeply engaged in Chi's life, awakening Chi's entire soul, making his spiritual life tremble from its slumber. Thi No has wielded the power of nature - the magic wand of love hitting that dark box full of uncertainties, blowing into it the warm human flames, and in reality, pulling Chi out of that wild realm. Following the touching call of love, Chi takes hesitant, tender steps back to humanity. An involuntary wrongdoer brings back the repentance of good. Who would have thought, in a twist, Chi drinks again, picks up the knife again... Thus, the whole project constructed by Thi suddenly collapses. Because of Thi, the one who only knows giving, not keeping, how pitiful!

Considering Chi's overall mood, there are two pivotal events: the first time in prison, the second, his love for Thi No. The first event is not described but only mentioned as a fact. The author focuses on exploring the second event thoroughly, and in fact, the pages dedicated to it account for more than one-third of the story. Stating this to show that Thi No's presence in Chi's life (though only for five days before the end) truly has significant meaning and importance. Suppose Thi No were absent; then the character Chi Phèo wouldn't have much worth discussing.

So, as a natural raw block, deficient in appearance, Thi No has preserved within herself the 'humanity's simplicity, innate goodness' qualities: maternal love, maternal duty, natural talent - the essence layer lies in the deep unthawed layer not yet degraded. Therefore, Thi No has shed that ugly shell to become a respected woman.

4. Analysis of the character Thi No in the work Chi Phèo, sample 4:

Chi Phèo is a famous short story before the August Revolution, it was written to reflect the profound values of society at that time, in the story each character is delicately described by the author, reflecting deeply the reality of life. The prominent character conveying the values of the characters in the work is the character Thi No.

Thi No is a supporting character, however, this character is given a fairly large responsibility by the author Nam Cao in the work, a character conveying the value of love in the work, each detail is deeply expressed, carrying profound human values, humanity shown in that work.

Thi No is described by the author as a person with an ugly appearance, the language that Nam Cao expresses in that work is 'ugly as a demon'. With the appearance described by the author 'The nose is short, large, red, rough like the peel of an orange, swollen as if wanting to mix with the lips which are also made thick so they are not inferior to the nose: perhaps because they are too thick, they crack like fissures. Moreover, Thi chews betel nuts, her thick lips are padded once more, luckily betel nuts stick together again, covering the gray buffalo flesh color. Furthermore, the teeth are very large: probably they think balancing fixes some parts of the ugliness.' Right in this detail, the author has shown the appearance of Thi No with extremely ugly external features.

Readers often use Thi No as a metaphor for 'ugly as Thi No', with that appearance, no one can dream of Thi No's external appearance. However, by giving the character a special, profound task, that image has been deeply portrayed through realistic, captivating details, bringing readers refreshing laughter.

Even in this dark social context, Thi No is also a victim of oppression, of poverty. In the very detail of meeting Chi Pheo, Thi No seems to become a character conveying humanitarian values in the work. Could the encounter with Chi Pheo be the arrangement of the author to speak of the circumstances of the two, one with an ugly appearance, one being marginalized by society?

Right in the cool moonlit night is when Chi Pheo and Thi No meet, love makes the two come together, and the detail of Chi Pheo's onion soup clearly expresses love, humanitarian values ​​presented in the work. Moreover, love also helps Thi No and Chi Pheo come together, it helps to emotionalize the souls of the two characters in the work.

The love, care of Thi makes Chi desire a family, because Chi was born in a deserted brick kiln, also without family, relatives, so Thi's care seems to awaken Chi, Chi understands the care, love of Thi for him. Each description detail is meticulously crafted by Nam Cao to express personal, profound emotions, bringing readers special, subtle emotions, with clear, deeply humanistic values appearing in the work.

With his talent in reflecting subtle realities, Nam Cao has constructed characters rich in emotions, conveying profound values of reality and humanism in the work, with each detail expressing unique traits, evoking nuanced emotions, imbued with meaningful content, reflecting the profound significance in the lives of each character. Thi No is a character through whom the author conveys deep love in the story.

Known as a realist writer, Nam Cao seems to never idealize the lives or embellish the fates of farmers. Perhaps Nam Cao's characters are always ordinary people, rural and very simple, but it's easy to recognize that his characters often have ugly and crude appearances. And it can be said that the character Thi No also embodies these characteristics of the writer Nam Cao.

Nam Cao has portrayed the character Thi No as truly ugly, and it must be affirmed that Nam Cao is not a writer intending to denigrate Vietnamese women, but seemingly the opposite, the author seems to want to highlight the deep beauty within their souls. Even if their appearance is so ugly to the point of being 'ugly as a demon'. In Thi No's case, she is truly ugly. We can see Nam Cao describing Thi No 'The face of Thi is a mockery of craftsmanship, it seems to be shortened to the point where the width exceeds the length, yet her cheeks are folded in, which is truly disastrous, if her cheeks were plump then Thi's face would be similar to a pig's face... The nose is both short, wide, red, and rough like the skin of an orange...'. With such realistically descriptive lines, perhaps readers have the impression that both in literature and in real life, no one can be uglier than Thi No. Or another sentence 'not to mention, Thi is foolish... And Thi is poor... And Thi is from a lineage with a rotten reputation...'. Therefore, the character Thi No is unmarried and 'people avoid Thi as if avoiding a very disgusting animal'.

Nam Cao, with his talent in reflecting subtle realities, has constructed characters rich in emotions, conveying profound values of reality and humanism in the work, with each detail expressing unique traits, evoking nuanced emotions, imbued with meaningful content, reflecting the profound significance in the lives of each character. Thi No is a character through whom the author conveys deep love in the story.

Yet, Thi No has feelings for Chi Pheo. Chi Pheo is likened to a demon of the village of Vu Dai, whom everyone must avoid. It seems that this is also an artistic device of the writer Nam Cao when he brings together someone with a deformed appearance, ugly and a rogue, and they come together and love each other. Perhaps this love story has awakened the beauty deep in the human soul. And for these two people to come together seems like an artistic intent, not coincidentally that the period of the work 'Chi Pheo' is titled 'Matched Pair.'

Thi No, from an ugly and foolish woman, has become a woman who truly knows how to care and worry about others, as in the saying 'If I leave him now, I will be heartless. After all, we have slept together! Slept together like husband and wife... Last night's thunderstorm was really something. Call today tired. I have to feed him something. Since he's sick, he only eats onion porridge. When sweating, he feels better right away...'. Writer Nam Cao is very subtle when he discovers many good things about this ugly person. And when Thi cooks porridge and brings it to Chi Pheo herself, Thi seems to consider him her man, and because of that, Thi is extremely worried and loving. We can easily feel Thi's gaze and awkward smile at that time seemed very awkward but in fact it made Chi feel that Thi was really charming how much.

Readers cannot forget the detail of the onion porridge that Thi No brings along with the attentive care that Thi gives to Chi, which has truly touched him at this moment. And at that time, he thought about the dreams of his youth, he probably regretted and regretted what he had done. Because of love, care, and concern from this woman, Chi Pheo seems to want to return to being a good person, wanting to live a truly simple life and have so much happiness with Thi No. It can be said that in the love of a woman as ugly as Thi, she still seems to be able to move people. No one, even the village of Vu Dai besides Thi No, seems to be able to humanize the demon Chi Pheo. Yet it's surprising that just an ugly and foolish woman with sincere love, no ulterior motives of her own, can do that.

Indeed, writer Nam Cao was very successful when he built the image of the evil demon of Vu Dai village. But it is even more admirable when he builds the character Thi No so ugly to the point of being ridiculed, the demon must be angry. It seems that the full-hearted woman and the broad-minded heart have awakened the good part of Chi Pheo. We can see that the love of that ugly woman is truly sincere, and that feeling comes from the heart, and from deep sympathy, it is truly worthy of much appreciation. For Thi No, she is the light, the hope, and also a bridge for Chi Pheo to return to being human, and helps Chi Pheo live with the community. Even if later on, no matter how it goes, even if Chi Pheo chooses to end his life on his own, for the character Thi No and the detail of the onion porridge, it still seems to have a great significance for a life, for a fate. Perhaps even for those on the same path, or lost, they still seem to have hope for a better future, they still long to live and to be loved.