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Explore the societal contradictions reflected in the Tấm Cám story.
I. Structured Analysis of the Tấm Cám Story (Standard)
1. Introduction
- Introduce the folk tale of Tấm Cám.
2. Body of the Essay
a. Conflicts in the Story:
- Conflict between the stepaunt and her son-in-law.
- Conflict between half-sisters sharing the same father but different mothers.
- Conflict over the inheritance of surplus property.
- The overarching conflict lies between the forces of good - Tấm, and the forces of evil - Mother and Daughter Cám.
b. Emergence and Development of Conflicts between Tấm and Mother Cám:
* Segment 1: Familial conflicts regarding material and spiritual rights:
- Stemming from the unjust treatment by the wicked stepmother towards Tam, exploiting labor, depriving of material and spiritual possessions.
- Tam consistently toils day and night, resembling an inhabitant, while Cam indulges in luxury: Exploitation of physical labor and unjust treatment between blood and step-siblings.
- The shrimp picking incident, the red bamboo hat: Manifestation of material deprivation.
- The baby fish event: Deprivation of joy, deprivation of spiritual values.
- The festival attendance event: A usurpation of Tam's pursuit of happiness.
* Segment 2: Societal conflicts regarding status, rights, and livelihood:
- The incident of cutting the betel tree roots, causing Tam to fall and die, killing the golden rooster, cutting the apricot tree, burning the frame => Ruthless deprivation of Tam's life to seize privileges and status for Cam.
- The conflicts in this segment have become increasingly fierce, and the cruelty of the mother-daughter duo has reached its peak without any scruples.
b. Resolution of Tam's conflicts:
* Segment 1:
- Endure, accept fate, cry to relieve inner grievances.
- Passively seek the help of the fairy without engaging in a struggle as everything is still within the realm of endurance.
* Phase 2:
- Tam defiantly returns to the royal court multiple times, confronting and challenging adversaries.
- Becomes proactive, stronger, breaking free from the submissive orange shell, transforming repeatedly to return to her own world.
3. Conclusion
Summarize the value of the content, the significance of the work.
II. Sample Essay Analyzing the Tale of Tam and Cam
1. Analysis of Tam Cam, Model 1 (Standard):
In the treasury of folklore, fairy tales stand out as a genre leaving profound imprints with captivating stories imbued with humane educational meanings. Since ancient times, our forefathers used these fairy tales to impart moral lessons, guiding people towards 'good,' the law of karma, teaching virtues and good qualities in life such as honesty, integrity, and the rejection of evil in society. It can be said that, alongside folk verses and lullabies, fairy tales are the most familiar literary genre that every child encounters before delving into the vast world of literature. Tam Cam is a fairy tale that is extremely familiar, perhaps heard or seen on various media outlets, as it became a prominent theme in films, plays, etc. Retaining all the characteristic features of fairy tales, Tam Cam provides readers with profound life lessons.
Tam Cam is a magical fairy tale with the basic characteristic of incorporating fantastical elements to aid the main character, reflecting family and societal conflicts in the form of clashes between good and evil. With the structure where the main character undergoes numerous challenges and trials, they ultimately overcome and are rewarded with a just and satisfying ending. The main significance is to convey moral lessons and dreams of justice for the working people while expressing the optimism and trust of the people in the law of karma. The story of Tam Cam falls under the theme of orphaned individuals, a prevalent topic in the world of fairy tales.
Tam Cam reflects the confrontations and conflicts in ancient feudal society
The central conflict in the story revolves around the ongoing tension between two main characters, Tam and the mother-daughter duo Cam. This is a family conflict in the ancient patriarchal regime, stemming from disputes over inherited wealth after the family head, Tam's father, passes away. Specifically, the story portrays the conflict between the wicked stepmother and her stepdaughter, leading to further tensions between the two stepsisters, Tam and Cam. This conflict arises from their different parental origins, causing disputes over material rights within the family. It reflects a type of conflict prevalent in societies where the powerful oppress the weak, using cruelty and cunning to torment the innocent. In essence, these conflicts are manifested in the clash of good and evil, right and wrong, with Tam representing goodness and virtue, while the mother-daughter duo symbolizes evil and malice. It can be said that this enduring conflict reflects profound societal realities.
In Tam Cam, the emergence and development of conflicts unfold through two phases: the first phase before Tam becomes a queen and the second phase after Tam becomes a queen and is tragically killed. In the first phase, the conflict is readily apparent, originating from the unjust treatment Tam receives from her wicked stepmother. Tam, an orphan since childhood, sees her father remarry, and as the folk saying goes, 'Wicked stepmothers are more partial to their own children than to stepchildren.' Cams' mother is harsh, selfish, and naturally, she does not show affection and care for her stepson. Additionally, there is the issue of the stepmother's plot to seize the inheritance rights after Tam's father's death. Tam, being the direct heir with legal rights, is naturally entitled to more privileges than her stepmother. The unfair treatment by the wicked stepmother is a series of consecutive events in family life, where Tam must labor intensively like a servant while Cam and her mother enjoy a comfortable lifestyle. Tam is being fully exploited for her labor to serve the luxurious needs of Cam and her mother. In contrast, Cam, not being burdened with heavy work, lingers at home, highlighting the injustice between blood-related and step-siblings, initiating a series of conflicting events. It starts with the event of the red yoke, a coveted item for every young girl, yet during the competition, Cam deceives Tam and takes all the shrimp, claiming the yoke. The wicked stepmother, oblivious to Cam's deceitful nature, still rewards her beloved daughter. On the other hand, Tam knows she is treated unjustly but lacks the courage to stand up for fairness, only crying beside an empty basket. Here, it is evident that Tam is being deprived of material rights. The next unjust incident comes when Tam sits and cries, and the Fairy appears, advising her to take the remaining baby fish in the basket and release it into the well for nurturing. Tam sacrifices a portion of her meal for the fish, exchanging it for moments of joy after enduring the injustices. However, the selfish and cruel nature of Cam and her mother is revealed when they catch and kill the fish to eat. It's not about their desire for the fish; rather, they want to deprive Tam of her small happiness and mental well-being. The injustice of Cam and her mother is elevated further during the village festival. The wicked stepmother mixes a pot of bran and a pot of rice, instructing Tam to pick only one. The main purpose is to prevent Tam from attending the village festival, a day of joy, interaction, and potential romantic connections. Tam is once again deprived of her right to seek happiness, both materially and spiritually.
In the second phase, after Tam receives help from the Deity, goes to the festival, and accidentally becomes the queen, the cruelty of the Cam family intensifies. Consumed by envy for Tam's good fortune, prosperous life, and happiness, the Cam mother and daughter plot to kill Tam, intending to replace her with Cam as the queen. What's more horrifying is that the attempt to kill Tam doesn't happen just once but occurs a brutal four times. The first time is during the ancestral death anniversary when, adhering to traditional filial piety, Tam, despite being a queen, returns home to pick areca nuts to honor her father. This provides an opportunity for the wicked stepmother to cut the areca tree, causing Tam to fall to her death. However, unlike the first phase where Tam remains passive, crying, in the second phase, she undergoes a psychological transformation. Confronted with the injustice and cruelty of the Cam family, especially seeing her husband's happiness being snatched away by Cam, Tam summons inner strength and determination. Instead of silently disappearing from the world, Tam transforms into a golden bird and returns to be with the king. Yet, upon seeing the bird, Cam, fueled by jealousy, kills it, thinking herself superior to a mere creature. Once again, Tam is stripped of her right to live and be happy in a ruthlessly cruel manner. Just like before, Tam's spirit is not easily subdued; she remains determined. This time, she transforms into two apricot trees, providing shade for the king to nap. However, Cam, driven by envy, kills one tree and discards its leaves far away. This marks a turning point in Tam's resilience, demonstrating her fierce confrontation with Cam's cruelty. The threat, 'Take the painted husband, I will gouge your eyes out,' signifies Tam's determination to punish Cam and reclaim justice for herself. Despite Cam's relentless cruelty, Tam continues her tenacious resistance. Not content with past schemes, Cam resorts to more devious plots, burning the frame Tam resides in and throwing the ashes far away to prevent Tam's return. This signifies the peak of cruelty, uprooting the grass of the two families to secure Cam's position as the queen. Thus, through two phases, from Tam's unjust treatment at home to her life as a queen, experiencing repeated attempts on her life, the story depicts the escalating conflict between two character lines representing good and evil, culminating in a powerful comeback and rightful punishment by Tam against the Cam family.
After enduring numerous losses in material, spiritual, and even mortal aspects, faced with the unrelenting cruelty of the Cam family, Tam must rise to fight against injustice and reclaim her rights. Transitioning from embodying various objects such as birds, trees, and frames, Tam ultimately returns as a human, resurrecting once again from a fragrant apple. However, before delving into Tam's resolution of conflicts, let's examine her transformation over the two phases, especially in dealing with unjust treatment. In the first phase, when subjected to oppression and loss of privileges, Tam displayed weakness and vulnerability, often seen crying without resisting. Due to her diligence and kindness, she received assistance from the Deity whenever faced with challenges, maintaining a sense of compensation that perhaps hindered her chances of resistance and justice. Nevertheless, in the second phase, 'Even the curved worm must coil,' the deprivation becomes more intense, not only in material and spiritual aspects but also in terms of life and the distinction between the queen's status and commoners. After enduring several severe attempts on her life, Tam's response evolves. No longer confined to silent transformations, she becomes resolute and takes bold actions. Following the relentless cruelty of the Cam family, especially witnessing her own happiness seized by Cam, Tam exhibits a newfound determination. Instead of silently fading away, Tam transforms into a golden bird, returning to the king, only to be ruthlessly killed by Cam out of jealousy. Undeterred, Tam transforms into two apricot trees, offering shade for the king. Despite one tree being destroyed by Cam, this marks a significant shift in Tam's resilience, showcasing her bold confrontation against Cam's cruelty. The statement, 'Take the painted husband, I will gouge your eyes out,' reflects Tam's unwavering resolve to punish Cam and restore justice. Facing Cam's relentless cruelty, Tam remains steadfast. Unfazed by past schemes, Cam resorts to more sinister plots, burning the frame in which Tam resides and scattering the ashes far away to hinder Tam's return. This represents the pinnacle of cruelty, uprooting the essence of both families to solidify Cam's reign as the queen. Thus, traversing two phases from unjust treatment at home to life as a queen, enduring repeated attempts on her life, the story unfolds a profound conflict between good and evil, leading to Tam's triumphant return and just retribution against the Cam family.
In this manner, we have proposed the analysis of the Tấm Cám story for the next assignment. Students should prepare thoroughly the content related to humor through preparing the lesson on Tam dai con ga (Three Big Chicken) and preparing the lesson But it has to be equal to two eyebrows to better study the subject of Literature.
2. Analysis of the Tấm Cám story, model 2:
The Tấm Cám story consists of various characters, divided into two categories: good and bad, or virtuous and evil. Tấm represents the good, the virtuous; Cám and Mother Cám represent the bad, the evil. The good are diligent, kind, trustworthy, and only wish for happiness. The bad are lazy, deceitful, greedy, envious, cruel, harmful, and only pursue their own pleasure. The bad try every way to harm the good. The good do not yield to adversity but strive to rise, resist, and ultimately triumph. Thus, the dream of justice, the dream of happiness for the people has been realized.
In a deeper sense, Mother and Son Cám represent the oppressed and exploited class in society, while Tấm is the one being oppressed. The conflict between Tấm and Mother-Son Cám is essentially the conflict between labor and exploitation, between honesty and deceit, between good and evil. The oppressed must endure countless hardships, but if they persist in the struggle, they will triumph and live happily. On the other hand, the oppressors must be justifiably punished. This was the law of justice in the ancient times.
The story is divided into two parts. The first part narrates Tấm's background (an orphaned girl) and her journey to happiness. The second part tells the arduous, determined struggle to gain and maintain Tấm's happiness. Both parts express the aspiration 'Good begets good' and the philosophy of the laborer's happiness.
Tấm lost her mother when she was young. Her father remarried, and the stepmother gave birth to a girl named Cám. After a few years, the father also passed away, leaving Tấm with the stepmother. The relationship between the stepmother and stepdaughter divided the household into two classes. Mother and Daughter Cám represented the oppressors, while Tấm represented the oppressed. This family situation mirrored the widespread injustice in the society at that time.
Tấm Cám is the journey of struggle to reclaim the happiness of Tấm.
The first part of the story recounts the unfortunate fate and the path to happiness of the orphaned girl Tấm.
One day, the wicked stepmother instructed Tấm and Cám to catch shrimp, promising a red apron as a reward for the one who caught the most. Tấm caught many, while Cám caught few. If possible, the two sisters were only different in one aspect - diligence and laziness. However, laziness is often accompanied by bad manners, deceit, and mischief. So, Cám pretended to care for her sister, suggesting Tấm wash her hair in the river for cleanliness. In reality, Cám deceived Tấm, transferring all of Tấm's shrimp into her own basket and returning home first. Although the story doesn't tell, Cám is undoubtedly praised by her mother, and if the red apron is real, it will belong to her. Naturally, Tấm will face scolding and punishment from her wicked stepmother. The lazy one steals the hardworking one's effort. The diligent one gains nothing, and the non-contributor enjoys it all. Such is the fate of the laborer in an exploitative society.
As for the red apron, why did the wicked stepmother promise it to Tấm and Cám? Suddenly, is the stepmother being kind? Not really. The stepmother knows that young girls consider the apron, especially a red one, as a discreet ornament enhancing the beauty of a young woman. Tấm also holds such sentiment, so the stepmother uses the red apron as bait to exploit Tấm's labor. Indeed, Tấm catches many shrimp, and the stepmother enjoys all of it without losing anything. This act is a crime of exploitation and deception against the laborer.
From the beginning until now, who has been Tấm's true friend? Cám is a half-sibling, but she only causes harm. The phrase: 'Sister Tấm, your head is dirty, let me help you clean it, lest you get scolded by our stepmother' sounds caring but turns out to be a trap. Cám deceives Tấm, taking all the shrimp, fortunately leaving behind a small fish. The deity advises Tấm to raise the fish to have a friend. The fish hides deep in the well to avoid detection, revealing itself only to Tấm. Every day, Tấm hides rice in the water jar to feed the fish. Tấm dedicates a sweet, loving song to the dear fish: 'Fishy fishy swim, rise to eat golden and silver rice at our home, don't eat bland rice at others'. Our rice becomes golden and silver not because of its quality but because of the added love. Listening to this song, the fish emerges, receiving Tấm's love, providing her with a companion. The lonely orphan girl now has a friend to share her sorrows.
But the wicked stepmother and Cám won't leave Tấm in peace. Evil deeds often don't know when to stop. The mother and daughter plot to harm the fish. The stepmother orders Tấm, disguised as sweet advice: 'My child, tomorrow, go herd the buffalo in the distant field. Don't herd the one near home; the villagers will take it. Lure Tấm away to easily execute their sinister plan. They capture the fish for meat. Though the fish is small, the wicked duo hasn't had enough to eat. But for Tấm, the fish is a source of comfort, a close friend. Cám's mother kills the fish, no different from killing half of Tấm.
The exploiters not only exploit labor but also seek to harm Tấm emotionally. Their escalating wickedness is symbolized by fresh red blood on the water's surface, a curse reflecting their heinous deeds.
All of Tấm's suffering stems from Mother and Daughter Cám. The conflict between Tấm and the wicked stepmother is essentially a conflict between good and evil. The evil manifests through the cruel actions of the mother-daughter duo: deceiving and robbing Tấm of her small dream of obtaining a red apron; sneakily killing the little fish, Tấm's tiny friend. Lonely Tấm, knowing only to cry when oppressed by them.
In a society where exploitation is rampant, the orphans' lives are genuinely filled with suffering, and the happiness they enjoy is often scarce, mostly a dream. Yet, expressing dreams of happiness is also a way to show an optimistic spirit, a love for life, hope for the future, and a belief in the justice of labor.
Hence, the more goodness is suppressed, the more oppression and evil prevail. When tyranny becomes rampant, and supernatural deeds unfold, it deepens the irreconcilable conflict between the two sides, creating a tense atmosphere that demands a change in power.
The path to happiness for the protagonist is a distinctive approach to resolving conflicts, especially in fairy tales. To resolve those conflicts, the journey leading to Tấm's happiness cannot lack the involvement of fantastical characters and elements.
Fantastical elements or magical forces are supernatural factors, products of human imagination. In the beginning of the story, whenever Tấm cries, the Deity appears to comfort and assist her. Tấm loses the red apron - the Deity provides a small fish. Tấm loses the fish - the Deity offers hope for a better life. In the second part, when Tấm is intentionally deprived of joy by her wicked stepmother - the Deity sends sparrows to help Tấm, taking her to the pinnacle of happiness. The Deity (commonly referred to as Buddha in folklore) is a religious figure (Buddhism) popularized by the people, becoming a kind, benevolent old man who often appears at the right moment to fulfill the people's dreams. Alongside the Deity, the chicken and flock of sparrows are also fantastical elements, assisting Tấm on her journey to happiness.
Tấm meets the king and becomes the queen. Queen Tấm is the ultimate image of happiness that people can dream of for impoverished and unfortunate girls in the feudal society of the past.
Through diligence and kindness, Tấm, aided by the Deity, transforms from a poor orphaned girl into a regal queen. This is the path to happiness for virtuous characters like Tấm. Most fairy tales, like Tấm Cám, conclude when the virtuous character, after enduring hardships, attains a life of wealth and happiness. It reflects the moral principle of 'good begets good,' common in fairy tales. However, Tấm Cám goes beyond this typical conclusion.
The second part begins with the royal festival, a joyous occasion for the people. Festivals provide a break from the constraints of daily life, allowing people to be more relaxed, carefree, and spirited. There's a saying that goes, 'festivals bring joy,' and with only a few each year, attending a festival is a great pleasure, a heartfelt wish for everyone.
Knowing this, the wicked stepmother seeks to prevent Tấm from going. She mixes pebbles with rice, forcing Tấm to sort them out before she can leave, intentionally creating a meaningless task with malicious intent. No longer employing deceit like the first time or stealth like the second, the oppression and cruelty of the stepmother have now become blatant.
This time, Tấm is not like the previous occasions. When deceived by Cám, losing all the shrimp in the basket, only the small fish remained as a sympathetic companion. The fish, eaten by Cám's mother, is saved by the good-hearted chicken. Tấm finds a bone from the fish and buries it under the four bedposts, an act of hope. This time, immense surprises await Tấm: a flock of sparrows harvesting rice is surprising; beautiful embroidered clothes, a ride on a horse, even more so; being escorted back to the palace by the king is the pinnacle of surprise. In fact, the storytellers deliberately planned it this way. Despite Tấm's hardships as a stepchild, a victim of oppression and exploitation, she remains a skilled, compassionate, hardworking, kind-hearted laborer. Hence, the common people desire the highest happiness for Tấm. The compensation for Tấm this time is even greater because the Deity has helped her: Tấm not only gets to attend the festival in beautiful embroidered clothes, riding a horse, making Cám and her mother die of envy, but she also becomes the queen chosen by the king.
How can the wicked stepmother and Cám endure such a sight? They are determined to harm Tấm to secure their coveted position of a regal queen. Four times, they intentionally try to kill Tấm: during the memorial day for her father, when Tấm transforms into the Golden Swallow, when she turns into two apricot trees with a swing. The first attempt is to seize the queen's throne. The subsequent attempts aim to maintain that royal status. However, with each attempt, Cám becomes increasingly terrified. Each time, she confesses all to her mother, revealing all the malicious schemes. The crimes know no bounds, and to safeguard their ill-gotten gains, the exploiters hesitate at no nefarious plot, even resorting to murder across lifetimes.
In return, Tấm's attitude is no longer as patient as before but a fierce resistance to claim and preserve happiness for herself.
Previously, in times of adversity, Tấm would only cry helplessly, and then the Deity would appear to aid her. That warm, plaintive cry demonstrated an awareness of her suffering, marking the first signs of resistance. Now, Tấm handles things on her own. The gentle and virtuous Tấm, when pushed down, transforms into a strong and determined Tấm, returning to life to demand happiness. Tấm refuses to be submissive. After each attempted murder, Tấm resurrects in a different form. Notably, whether as the Golden Swallow, two apricot trees, or a swing frame, Tấm always cares for her husband, creating warm moments. Even when she becomes the regal queen, Tấm retains the essence of a rural working girl, never forgetting her duties, including honoring her father's memorial day. Returning to her original appearance, Tấm remains a composed and benevolent young woman. However, this benevolent young woman is no longer easily forgiving of past wrongs.
Tấm transforms into the Golden Swallow, signaling her presence to the king. The Golden Swallow is killed, and Tấm transforms into two apricot trees. The apricot trees are chopped down by Cám's mother, turned into a swing frame, then burned to ashes. Tấm emerges as a plant and a fruit to return to life. The Good does not quietly succumb but rises defiantly, while Evil seeks to eliminate the Good by any means. Tấm's cycles of death and rebirth reflect the intense and determined nature of the battle between Good and Evil. It also showcases the resilient and indomitable vitality of the Good.
As the Golden Swallow and the apricot trees, Tấm repeatedly warns the wicked Cám with harsh words: 'Hang your husband's clothes, hang them on the pole, but don't hang them on the torn fence...' These instances reveal Tấm's shift from indignation to outright resentment towards the deliberate exploitation and continuous crimes of Cám and her mother.
Persistently fighting, Tấm achieved the ultimate victory. Tấm reunites with the king in a humble setting: at a poor old woman's food stall. More interestingly, the wife and husband meet again through a betel chew, a traditional matchmaker, handed over with skillful and gentle hands by Tấm. The king escorts Tấm back to the palace, happiness, after all the trials and tribulations, now fully restored for Tấm.
But the struggle is not over. After countless transformations in the battle against enemies, Tấm returns to life. It seems Tấm understands that complete happiness is unattainable as long as evil persists; Cám and the wicked aunt still exist, and Tấm's triumph is not yet deemed complete. The folk belief is that evil begets evil, so there are stories of Cám dying in a blaze and the wicked aunt dying miserably. People believe that wrongdoers must face punishment, bringing justice to offset the suffering and injustice endured by laborers and those exploited from one life to the next. In reality, justice was lacking in the past, so the people kept dreaming eternally. With the deaths of Cám and her daughter, those dreams finally materialize, bringing satisfaction to everyone who hears the tale.
The story of Tấm Cám embodies the dream of justice and happiness. In the arduous struggle, Tấm is always assisted, compensated, and ultimately becomes a queen with the help of the mythical character, Bụt. In ancient times, being a queen was considered the most blissful, as evidenced by the saying 'happy as a queen.' Conversely, the wicked, the evildoers, those who exploit must pay for their sins justly. Therefore, for the common people, the story of Tấm Cám holds significant meaning. It serves as consolation, a source of hope and belief, educating a clear and decisive attitude: love the good, love sincere workers, hate the bad, hate exploiters, and the cruel.
However, the element of fantasy and its role in the second part of the Tấm Cám story differs from the first part. In the initial part, we see Bụt appearing to bestow magical items whenever Tấm cries. In the second part, the struggle intensifies, yet Tấm no longer sheds tears, and Bụt is entirely absent. The working people instill in the character Tấm the awareness of claiming and preserving their happiness. It must be earned and guarded independently for it to endure. Therefore, unlike the first part, the fantasy elements (Golden Swallow, apricot trees, and persimmons) don't accompany Tấm in the battle but serve as disguises for Tấm to resume the fight against evil more intensely.
Tấm's reincarnations into different forms mirror the societal dream of justice: the virtuous should not suffer unjustly but enjoy happiness, and the wicked must face punishment. Simultaneously, it reflects a pragmatic view of the happiness of the working class. They don't seek happiness elsewhere but find and maintain true happiness in this earthly life.
Discussing Tấm's transformations, some attribute it to the influence of Buddhist reincarnation. However, it merely borrows the outer shell to express the dreams and optimistic spirit of the working people. Buddhist reincarnation involves enduring suffering for past sins before seeking happiness in Nirvana. In contrast, Tấm's multiple deaths and rebirths aim not to endure suffering or seek vague happiness in Nirvana but to claim and preserve happiness in the earthly realm. This portrays a love for life and the practicality of the working class in crafting fairy tales.
A happy ending signifies the culmination of dreams. The virtuous character ultimately enjoys happiness as envisioned by the romantic imagination of the common people.
Poor and oppressed, Tấm faced death but ultimately reunites with the king, returning to the palace to resume her role as the queen. This ending reflects the people's aspiration for a better life—a vision of an ideal society with a 'wise king and virtuous subjects.' In this utopian society, they are not destitute but hold elevated positions.
Tấm Cám stands out as the most widespread folktale in the ancient folklore of Vietnam. Compared to similar stories in other countries, it possesses unique Vietnamese traits that make it exceptionally captivating. The narrative embodies romanticism, an optimistic spirit, a love for life, and the aspiration for beauty and goodness among the working people.
3. Analysis of the story of Tấm Cám, model 3:
Whether it's an animal story, a mythical tale, or a cultural narrative, folk stories still primarily involve and reflect events occurring in human society.
The folk tale of Tấm - Cám belongs to the genre of mythical stories, recounting the life of Tấm, an unfortunate girl who endures many bitter and heartbreaking experiences but overcomes them with the help of fairies and spirits, ultimately achieving happiness in her life.
While the story contains fantastical details playing a crucial role in each situation, it predominantly reflects the fervent dreams of the working people for family happiness, social justice, and the outstanding qualities and capabilities of humanity.
In the opening passage, the folk introduces the main characters and their living conditions. Tấm is the eldest wife, and Cám is the stepdaughter. Tấm's mother passed away when she was young, and a few years later, her father also died. Tấm lives with the wicked stepmother, who is Cám's mother.
The introduction is not only concise and clear but also hints at the bitter fate of the character Tấm to the reader. Indeed, a proverb has once reminded us:
Through many generations, the dumplings may have bones,
Through many generations, the wicked stepmother still pities her son-in-law.
While Cám is pampered by her mother, enjoying a life of ease, Tấm, on the contrary, is forced by her wicked stepmother to toil endlessly with no end in sight.
After the introductory passage, the first situation arises due to the cruelty of the wicked stepmother. She brings out two baskets and gives them to the two sisters for catching shrimp and crab, with a condition that whoever fills their basket first will be rewarded with a red ribbon.
One condition, one fair promise, not forcing the stepdaughter, nor favoring the biological daughter. Whoever catches more will be rewarded. That's it! But who knows what the stepmother said to Cám, her beloved daughter? Certainly, in their daily activities, the stepmother knew that Tấm was experienced in catching shrimp and crab, while Cám was not. In just one session, Tấm filled a basket. Seeing this, Cám exclaimed, 'Sister Tấm, oh Sister Tấm! Your head is dirty, you should bend down, or else, Mom will scold you.'
In terms of form, the rhythmic and melodious nature of the dialogue makes the narrative more engaging. On the surface, the statement seems reasonable, but upon reflection, beneath the seemingly sensible advice lies a subtle threat. Trusting it to be true, Tấm obeys, while Cám seizes the opportunity to pour all the shrimp and crab into her basket, then hastily runs home.
All the details that make up the situation help the readers clearly discern the characteristics of each character—those who are genuine, and those who are deceitful and fraudulent.
Analyze the story of Tấm Cám to observe the struggle between good and evil in the ancient society.
Faced with that situation, Tấm could only cry. Then, Bụt appeared. Reality (Tấm) and supernatural phenomena (Bụt) intertwined to create a new situation. Without Bụt appearing, the story might have developed in a realistic direction (for example, Tấm returning home, being scolded and driven away by her wicked stepmother). With Bụt appearing, he guided Tấm on how to raise the only surviving magical fish in the basket. And the fish transformed into a magical creature that listened to human voices following Bụt's instructions to emerge...
Bống bống, bang bang,
Up to eat golden rice and silver rice at our home,
Don't eat the soggy rice and flower porridge at others' homes.
The magical supernatural world intertwines with human life starting from this situation. Tấm follows Bụt's instructions to raise the magical fish in the well in the garden, meeting each day with the phrase dictated by Bụt. For those who believe in the spiritual world, it's a mantra. For ordinary people, it's a password to recognize allies even without knowing each other's faces. Thanks to this, Tấm and Bống live and encounter each other for a long time.
However, the watchful eyes and suspicious mind of the wicked stepmother cannot be deceived. She sends Cám to spy, memorize those sentences, and then execute her sinister plot. The stepmother assigns Tấm to herd the buffaloes, far away in the fields, not in the home fields, causing the loss of the buffalo. Tấm complies. In the evening, she brings rice for Bống as usual. She calls for a long time but doesn't see Bống, finally only seeing a blood clot floating on the water surface. That surreal detail gives readers a chilling sensation. The cruelty grows in the characters of the stepmother and her daughter. Death has appeared, even if it's the death of the magical fish. In this case, the fish is part of the supernatural force because it has guidance, clear instructions from Bụt, more than just love, the assistance that Bụt provides to Tấm—the orphaned, unfortunate girl. Therefore, when Tấm cries while narrating the incident, Bụt reveals that Bống has been eaten, and guides on how to use Bống's bones. Tấm searches for Bống's bones throughout the garden but in vain. Seeing that, a chicken tells Tấm: My lump, my task! Give me rice, I'll dig up the bones for you.
Tấm follows the chicken's request, then follows the chicken into the kitchen. Getting Bống's bones, Tấm puts them in four jars and buries them under the four bed legs as instructed by Bụt.
Certainly, Tấm doesn't know who ate Bống, but through this passage, the supernatural (Bụt) knows. It only guides Tấm on how to use Bống's bones and arranges for the chicken to meet and convey the message to Tấm. Whether a chicken speaks human language or humans understand chicken language is also due to the supernatural's power. That power is mysterious, just like burying four jars of bones under the four bed legs for what purpose, what they will become later, no one knows. But readers recognize the connection between the four bone jars and Tấm when posing the question: Why not bury the four bone jars somewhere else but under Tấm's four bed legs? These details provoke the curiosity of readers, making them reluctant to break away from the story.
The story continues with the festivities in the capital. Reluctantly, Tấm is sent by the wicked stepmother with mixed barley and rice, telling her to separate the two before leaving. Bụt once again aids Tấm with two magical bird-calling phrases:
Down to pick for me
Whoever eats a grain, I shall smite.
Lacking fine clothes for the event, Bụt instructs Tấm to dig up the jar buried under the four bed legs. Bống's bones have transformed into ceremonial attire, embroidered shoes, a horse, and a saddle. Equipped with these means of presentation and transportation, Tấm quickly attends the festival. As the horse crosses a ford, Tấm loses a shoe. The two leading elephants in the king's procession attending the festival refuse to move forward and trumpet loudly. The king has to send his attendants to investigate, and they find the lost shoe. Examining the shoe closely, the king silently remarks: Ah, such a beautiful shoe! Surely, the one who wears this must be an extraordinary beauty. From this point back to the beginning of the story, the details creating the situations helping Tấm overcome challenges are orchestrated by Bụt, with Bống being the associated character. It is precisely because of the magical shoe transformed from Bống's bone that Tấm is selected by the king's entourage, despite earlier mockery by the wicked stepmother and Cám during the shoe-fitting event. From this point onward, the main details creating the core situations are directly linked to Tâm's destiny and the wicked schemes of the stepmother and Cám.
Despite living luxuriously in the royal court, Tấm never forgets her father's memorial day. This detail reveals Tấm as not only an honest girl but also a filial daughter. She seeks the king's permission to return to her wicked stepmother to prepare an offering for her father. Exploiting Tấm's filial piety, the wicked stepmother tricks her into climbing a tree to retrieve a bird's nest to use as an offering, intending to set the tree on fire and kill her. The stepmother replaces Tấm with Cám in the royal court. The king, though saddened, remains silent.
Tấm's death gives rise to a sequence of subsequent small situations. Tấm, now a golden bird, flies straight back to the palace, delivering a warning to Cám:
Hang the husband's shirt, sun-dry the worn-out loincloth, but beware of exposing it to the fence, or your husband's shirt will be torn.
The golden bird earns the king's immense favor, residing in a golden cage. Cám, knowing her mother's command to cook and discard the bird's feathers, cunningly turns them into two peach blossom trees in the royal garden. The king allows them to bloom and provide shade every day. The wicked stepmother and Cám secretly cut the trees to make a loom frame. Each time they weave, Cám heeds the menacing threats:
Bird's nest, bird's hide,
For my sister's husband, beside.
Sister peeks out her eyes wide.
Terrified, Cám, following her mother's command, burns the loom frame and instructs someone to scatter ashes far from the palace. From the ashes grows a jasmine plant, bearing only one flower when in season, spreading a fragrant aroma everywhere. An old water-seller nearby saw and asked:
Oh Jasmine, fall into my pot, I'll let you sniff but won't consume.
Returning to the kind old lady, Tấm emerges from the jasmine flower to help tidy the house, fetch water, and cook. The old lady, seeing her, embraces and tears up the wicked stepmother's command. Since then, Tấm lives with the water-seller, and they share a loving bond like mother and daughter.
During a royal journey, the king notices a clean and thriving water stand, decides to stop by. The old lady serves betel nut and water fit for a king. Seeing a betel nut leaf resembling a phoenix wing, the king recalls the betel nut leaf Tấm offered him before and inquires with the old lady. This leads to the reunion of Tấm and the king.
A chain of causes and effects, a series of small situations originating from Tấm's death and flesh. The golden bird, dao wood, loom frame, and jasmine plant all have roots in Tấm's remains. But only from the jasmine, Tấm reincarnates back into a human, as she has repaid past debts, known in Buddhism as karma (retribution), now entering a situation with virtuous beings.
In the fairy tale of Thạch Sanh - Lí Thông, Thạch Sanh forgave, but Heaven punished, both mother and son Lí Thông were struck dead by lightning. In this tale, Tấm seeks revenge, killing Cám. Some consider Tấm ruthless. However, ultimately, the mother and daughter Cám have accumulated too much evil karma. Killing them is Tấm's way of eradicating that evil karma, preventing others from suffering their cruelty if both were alive. The death of the mother and daughter Cám aligns with the law: You reap what you sow!
The mythical fairy tale of Tấm - Cám narrates the turbulent fate of Tấm from the day she lost her mother, father, and had to live with the wicked stepmother and her cruel sister. Through the art of fiction with magical details, that period, the transformation of Tấm's character is the struggle between good and evil, the conflict within the family under the stepmother's rule. From an orphan girl abused and forced to die multiple times, Tấm eventually becomes the reigning queen, showcasing the triumph of goodness over evil.
4. Analysis of the Tấm Cám story, sample 4:
1. Content Characteristics
Tấm Cám belongs to the genre of stories featuring stepchildren, a prevalent theme in the treasury of fairy tales worldwide. In the world of fairy tale characters, stepchildren, the youngest, or orphans are central figures associated with the emergence of individual ownership and family structures. Feudal society prioritizes the principle of 'the rights of the elder, the duty of the younger,' favoring inheritance rights for the eldest, the shared offspring. The youngest, stepchildren, and orphans become the most disadvantaged and unfortunate. Social contradictions and injustices within class-based societies are vividly reflected within the family. According to Professor Dinh Gia Khanh, the Tấm Cám genre of the Vietnamese people, as well as other ethnic groups worldwide, encompasses at least two themes: the conflict between stepmother and stepchild and the role of a precious item aiding a virtuous person in finding happiness. Legends carry distinct national traits, while fairy tales exhibit international characteristics. Legendary characters are products of history, while fairy tale characters are creations of the people's imagination, serving the function of harmonizing social conflicts within their dreams. Consequently, characters and artistic details exhibit repetitive patterns, turning these characters into familiar archetypes.
2. Structure of the Tấm Cám Story
The Tấm Cám story consists of two parts corresponding to two stages in Tấm's life, symbolizing the struggle between Tấm and the mother-daughter duo Cám, representing the dichotomy of good and evil.
Part 1: Tấm's Fate - an innocent, gentle orphan enduring the injustice and torment inflicted by the wicked stepmother and stepsister.
Part 2: Tấm's fierce struggle to reclaim life and happiness.
a) Tấm - the unfortunate stepchild enduring the injustice and torment inflicted by the wicked stepmother and stepsister.
- The story depicts the conflict within a patriarchal family structure of ancient times. Tấm represents the archetype of an orphan (fatherless and motherless), hardworking and gentle. The wicked stepmother and stepsister embody evil. Tấm faces injustice under her own roof, toiling tirelessly all day while Cám enjoys the mother's favoritism.
- Detail of the red bodice: Initially industrious and awarded the red bodice, Tấm, unfortunately, falls into Cám's deceit. Tấm sits with a tear-streaked face, crying bitterly, until the appearance of the Fairy who comes to her aid.
- Detail of the magical fish: While the red bodice represents a modest yet coveted ornament in the orphan girl's dreams, the magical fish, a gentle creature and Tấm's newfound companion, becomes a victim of treachery. The image of the blood clot surfacing on the water symbolizes hidden grievances and hatred. Tấm wails in sorrow until the Fairy intervenes.
- The wicked stepmother's envy and cruelty prevent Tấm from attending the festival. She mixes rice with stones, forcing Tấm to pick them out. Tấm sits alone, weeping, until the Fairy appears, summoning a flock of sparrows to help her.
Lacking fine clothes for the festival, the Fairy advises Tấm to dig up four jars containing fish bones buried beneath her bed. The fish bones transform into beautiful garments, a horse, and shoes.
- Crossing a stream, Tấm loses a shoe in the water -> Tấm tries on the shoe -> becomes a queen. Here, we see a motif of 'a treasure bringing happiness to the virtuous character.' Closing part 1 of the story.
Analysis of the Best Grade 10 Tấm Cám story
b) Tấm's fierce struggle to regain life and happiness
- The structure of the Tấm Cám story in Vietnam and some fairy tales of Southeast Asian ethnic groups shares similarities but also presents differences compared to the European Cinderella story. While the French and other European Cinderella tales conclude with her marriage to the prince facilitated by a pair of tiny shoes (Similarities between these plots are the central character being a stepchild and the main motifs being the stepmother-stepchild conflict and a treasure bringing happiness), the latter part of the structure of the Tấm Cám story in Vietnam and some Southeast Asian countries has distinctive features, highlighting the uniqueness in the theme of the work. The stepmother-stepchild conflict in European fairy tales only manifests as jealousy and malevolence through rivalries and deceit but doesn't escalate to the extent of attempting to extinguish the life of the stepchild, as seen in Tấm Cám. When Cinderella's fate changes and she becomes queen, her stepmother and stepsisters are embarrassed, frightened, and disappear without a trace. In Tấm Cám, the stepmother goes beyond jealousy and common cruelty; she goes so far as to repeatedly attempt to kill Tấm. Despite becoming a queen, Tấm remains a virtuous girl, climbing a tree to pick betel leaves for her father's memorial. The stepmother cuts down the tree, causing Tấm to fall into the pond and drown. Evil has triumphed over goodness. There is a peculiar aspect when Tấm's body is killed, but her consciousness awakens. It's as if another Tấm rises not to cry or be deceived but to awaken, identify enemies, reveal the villain, regain lost happiness, and take revenge herself.
When exploring the Tấm Cám story, it's essential to pay attention to the witty rhymes that people enjoy using to mock Cám: 'Hang the husband's shirt, hang the rake and hoe, don't; hang the fence, tear my husband's shirt.'; or:
A fishing net, a fish trap
Marrying a painting, my sister-in-law
She gouges out her eyes.
In the previous structure, each time deceived or in pain, gentle Tấm passively only knew to cry, and each time, the Deity (a magical element) appeared just in time to help her. In the later part, Tấm becomes proactive, resilient, transforming from one life to another, relentlessly struggling against her enemies. Here, the Buddhist reincarnation concept (Buddhist reincarnation posits that life is a cycle, people live, die, and life continues in a new form) is merely a superficial form for the folk to express their robust, wholesome philosophy. The Tấm Cám story reflects the people's stance in favor of the unfortunate, a rallying song to boost the spirit of fighting for happiness and punishing evil.
- Tấm's vengeance against the Cám family:
It's crucial to address Tấm's revenge against the Cám family. This issue sparks intense debates. The populace relishes the traditional 'evil begets retribution' endings, supporting the moral philosophy. However, for contemporary aesthetic education, modifying the punitive aspect in the final part might be advocated. For instance, Tấm instructs her guards to dig a deep hole and boils a pot of water. She orders Cám into the hole, then has the guards pour the boiling water in. Cám perishes, and the wicked stepmother witnesses the scene before also succumbing.
Examining the structure of the two parts in the Tấm Cám story when compared with this narrative style in certain European folktales reveals both similarities and differences in fairytale structures. When comparing some motifs in various versions, one can identify international characteristics and national traits in fairytales. Despite having limited motifs and patterns, the variations of these motifs are infinite. Thus, ethnic groups continuously create their own folktales. The peculiar couple, a motif crucial for recognizing a sole individual in European tales, appears differently in the Vietnamese Tấm Cám fairytale, featuring a betel leaf couple—a reciprocal symbol. The red scarf, the fish, the peach tree, the roadside market, the festival, the water seller—all represent distinct ethnic features.
- Magical elements in the story:
Magical elements abound in the Tấm Cám tale. The benevolent deity, animals like fish, roosters, and sparrows always appear at the right moment to aid Tấm in times of need. Objects like a pair of shoes, fish bones buried in a jar beneath the bed transforming into beautiful clothes, a pink horse—all contribute to the fantastical ambiance. Tấm's transformation between lives adds another layer of enchantment. The magical elements in fairytales differ from those in mythology. Mythological elements are manifestations of primitive beliefs, what ancient people 'believed,' whereas magical elements in fairytales are consciously used artistic devices, enabling people to fulfill dreams of changing the fate of unfortunate characters. Simultaneously, these magical elements contribute to the wonderful allure of fairytales, especially for children. The close-knit, simple village setting combined with a fantastical space creates a distinctive fairytale world, of which the Tấm Cám story is a prime example.
3. Artistic Features
- Character construction: Characters in fairy tales are highly abstract, representing a type of person in society rather than individual traits. For example, Tấm symbolizes goodness, while the stepmother and stepsisters symbolize evil. These aspects are conveyed not through the storyteller's language or character descriptions (fairy tales don't emphasize character psychology and appearance) but through character actions. Fairy tale characters serve both as functional and action-oriented figures and as tools for people to fulfill the dream of justice—where good prevails and evil is punished.
- Intricate plot development, logically unfolding. The clear structure of two distinct parts contributes to conveying the thematic ideology. For instance, in the first part, Tấm is always passive, responding to the oppression with tears, while in the second part, after her murder, Tấm consistently takes an active stance in her struggle. Compared to certain variations of the 'Cinderella' narrative in other countries, the richness of plot elements in Tấm Cám reflects its diverse and national characteristics.
- Prominent use of magical elements, mythical characters, enchanted objects, and transformations add a particularly enticing aspect to both the content and artistry of the fantastical fairy tale Tấm Cám.
