The Art of Satirical Critique in Vi hành

Prompt: The Art of Satirical Critique in Vi hành by Nguyễn Ái Quốc

Analyzing the Exceptional Art of Satirical Critique in Vi hành by Nguyễn Ái Quốc
 

I. Detailed Outline of the Art of Satirical Critique in Vi hành by Nguyễn Ái Quốc (Standard)

1. Introduction
Introducing the short story 'Vi hành'

2. Body

* Satirical critique is an art that utilizes profound, sarcastic language and imagery to expose the vile nature of the subject being discussed, providing a detailed description.

* Manifestation:
- Story Situation:
+ On the subway, a French couple mistakenly believes the character 'I' - the author is King Khải Định. They discuss and criticize the appearance, dressing style, gestures, and actions of the man they think is the king of Annam.
+ The French believe that everyone with yellow skin becomes emperor in France...(Continued)

>> See details of the Detailed Outline of the Art of Satirical Critique in Vi hành by Nguyễn Ái Quốc here.
 

II. Exemplary Essay: The Art of Satirical Critique in Vi hành by Nguyễn Ái Quốc (Standard)

When we speak of Nguyễn Ái Quốc, we not only recall a great leader but also a literary career with numerous famous works. Apart from Vietnamese writings, Uncle Ho also penned works in French, with the notable short story 'Vi hành' (1923) showcasing profound satirical critique.

The art of satirical critique is expressed through the use of language, imagery with profound characteristics, and deep sarcasm towards the subject, exposing their true nature. Nguyễn Ái Quốc created unique and surprising story situations, full of satire, like the situation where a French couple mistakenly believes that the character 'I' - the author is none other than King Khải Định. They discuss and criticize the appearance, gestures, and actions of the king enthusiastically on the subway. There are hilarious misunderstandings when 'all those in Indochina with white skin are colonial officials, so now it's the turn for those with yellow skin to become emperors in France.' And the 'funniest thing is that even the Government doesn't recognize its true guests anymore, and to avoid embarrassment in the reception task, the Government treats all Annamites as kings and sends attendants to serve them all'. The discreetly serving attendants may seem hesitant but are incredibly devoted: 'The gracious ones follow me like a loving mother watching her toddler take the first steps', 'they cling to my feet, attached to me like a shadow'. Even the lack of effort in serving by these attendants is enough to make others envy the author for the 'tenderness' they show to the character 'I'. That's why the French public 'expresses enthusiasm when glimpsing a fellow countryman.' They welcome us with words like 'There he is!', 'Look at him!' full of respect. Though not directly appearing in the work, through the conversation of the French couple, King Khai Dinh appears with the essence of a bumbling and comical king. At the same time, the author also expresses a sarcastic but somewhat humorous attitude towards the curiosity of the French people.

'Vi hành' is written in the form of a letter to a younger sister, so the author can express his views and thoughts freely. Therefore, the author can freely change the tone, express his viewpoint, and thoughts. The author used a sarcastic and mocking language to criticize the hypocritical nature of King Khai Dinh and the policies of rule, the deceit of the French colonialists.

Under the eyes of the French couple, the king of Annam appears ridiculously funny. He is described as a person with a 'flat nose,' 'slanted eyes,' 'a face as round as a lemon,' and 'with a light bulb cap on his head, and fingers adorned with rings.' The actions and gestures of the king are 'awkward' revealing a timid character. Not only that, he becomes a laughing stock, a source of entertainment for the French when wearing both a corn cob and silk as part of his ugly appearance. Despite boasting of his wealth, he also boasts in an exaggerated way. Ultimately, he is like a clown amusing the people of this Western land. If the French had to pay 'thousands of francs to see the wife of the crab servant Cao Mien, watch the acrobatics of the saint from the Congo' then when they see the king of Annam, they don't lose a penny to watch the comedy. A head of state in Annam becomes a cheap laughing stock in France. True to the purpose of the journey, he visits places like the racecourse, pawnshops, and other entertainment venues. Could it be that the purpose of Khai Dinh's journey is to 'know the French people, under the rule of the First A-lex-and of yours, are enjoying themselves, drinking a lot of wine, and smoking a lot of opium like the people of the South, under your rule, or not'? 'Is it that you are tired of being a big king, and now you want to taste the life of little nobles'? The author is deeply saddened to know that the purpose of Khai Dinh's journey is not to learn good things to take care of the lives of the working people, but Khai Dinh's journey is only to satisfy curiosity and show off his wealth. Alcohol and opium are things that the French colonialists use to poison our people, but Khai Dinh's journey is to see if those things are widely used in the metropolis or not. The sarcastic and satirical words of Nguyen Ai Quoc not only point straight to the caricature portrait of King Khai Dinh but also mock the very purpose of 'civilizing,' 'protecting' by the French colonialists towards our people.