Top 10 Outstanding Essays Analyzing the Excerpt "Mã Giám Sinh Buys Kiều" by Nguyễn Du

In *The Tale of Kiều*, Nguyễn Du portrays not only characters he deeply cherishes but also some who embody cruelty and vileness. Mã Giám Sinh is a prime example of such a character. The scene where "Mã Giám Sinh Buys Kiều" exposes the deceitful, despicable nature of the human trafficker, marking the start of a long series of tragic events in Kiều’s life. After a brief moment of happiness, disaster strikes Kiều’s family. Brutal henchmen destroy everything, and Kiều’s father and brother are bound and tortured: "The high bed twisted in misfortune, Even stones would break under the agony." Unable to watch her family’s suffering, Kiều sacrifices herself to save her father and brother. The news spreads quickly, and Mã Giám Sinh, sensing an opportunity, arranges for a matchmaker and pretends to want to marry Kiều. He introduces himself as follows: "Asked for my name, I say 'Mã Giám Sinh.' Asked for my hometown, I say 'Lâm Thanh County, nearby.'" He avoids using his full name, claiming only to be a learned 'giám sinh' from the National Academy. His speech is blunt and lacking refinement, revealing his uncultured nature. Nguyễn Du continues to describe his appearance: "In his forties, neat and polished, With a trimmed beard and fine clothes." Though over forty, Mã takes great care in his appearance, which casts doubt on his character. His cocky behavior only highlights his arrogance. In a simple gesture—sitting carelessly—Nguyễn Du exposes the fraudulence of this man pretending to be a scholar. In just eight lines, Nguyễn Du crafts a vivid image of Mã, from his appearance and mannerisms to his deceitful nature. The portrait is completed as Mã haggles over Kiều’s price, treating her like a mere object for sale: "Kiều stands, ashamed and reluctant, Her beauty hidden, her face full of shame." A girl of beauty and talent, once living in a sheltered, peaceful environment, now faces humiliation as her buyer examines her like merchandise: "After much deliberation, he asks her price, Haggling over her worth." Once satisfied, he asks, still playing the part of a refined gentleman: "How much for the gem that is Kiều? How much is the dowry, if you please?" But his true nature cannot be hidden. He reveals himself as a vile human trafficker, exploiting Kiều’s plight for his gain. A skilled bargainer, he buys her at an unbelievably low price: "After long negotiations, the price is set, A sum just over four hundred gold." At the conclusion of this grim “comedy,” Nguyễn Du bitterly laments: "When money is ready, anything can be done." The poet condemns the brutal power of money that tramples on decency and humanity. In a society where money can manipulate everything, the value of human life is reduced to a commodity. This depiction of human trafficking is heart-wrenching, evoking images of historical slave markets. While Nguyễn Du maintains a calm, objective tone, his anger and sympathy for Kiều’s suffering are palpable. He harshly criticizes the savage society that crushes the rights of the most vulnerable, particularly women.

The excerpt "Mã Giám Sinh Buys Kiều" is from *The Tale of Kiều*, an epic work by the renowned Vietnamese poet Nguyễn Du. This masterpiece is a pivotal piece of Vietnamese literature, telling the tragic life of Thúy Kiều, a woman of exceptional beauty and intellect whose life is marred by misfortune and suffering. This particular passage recounts the pivotal moment in Kiều's life when she is sold to Mã Giám Sinh, transforming from a noble young lady to a mere object for sale. Due to her family's misfortune, Kiều has no choice but to sell herself in exchange for money to free her father and save her brother. The passage depicts this tragic transaction, allowing readers to deeply feel Kiều’s sorrow while exposing the vile, deceptive nature of Mã Giám Sinh, the human trafficker. Nguyễn Du uses this scene to condemn the exploitative nature of money, which forces people into unbearable situations. The excerpt opens with a description of the trafficker: "Asked for my name, I say, 'Mã Giám Sinh,' Asked for my hometown, I say, 'Lâm Thanh, nearby.' In his forties, neat and polished, With a trimmed beard and fine clothes." The initial warm and eager introduction of Mã Giám Sinh by the matchmaker creates an image of a refined, educated man with a respectable background. However, this is a hollow facade, as his outward appearance immediately betrays his true nature. He is an older man who tries to appear youthful by overly grooming himself, his polished appearance and clothes only emphasizing his pretentiousness. His fake manners are further exposed through his actions: "In front of the teacher, behind the servant, bustling, The matchmaker enters with him, bringing him upstairs. Sitting arrogantly in the upper seat, While the matchmaker urges Kiều to hurry out." Mã Giám Sinh's actions reveal his crudeness, lack of education, and disrespect for hierarchy. He has no understanding of basic social norms, as he arrogantly sits in the master's seat. However, because he is the one paying for Kiều, he believes he has the right to behave in such a haughty manner. In stark contrast, Kiều is in a state of utter despair: "My own pain is intensified by the family's sorrow, Every step is met with tears, every step leaves a trace of sorrow! Shivering in the breeze, afraid of the mist, Her face, once radiant, now marked with shame." Kiều’s internal anguish is clearly expressed here. She is fully aware of the humiliation and bitterness she feels as she is sold into a loveless marriage. Her sorrow is compounded by her worry for her family. Her steps are heavy, laden with both the emotional pain of her situation and the responsibility she bears as a daughter. Kiều senses her bleak future, feeling apprehensive and uncomfortable, but knows that this is an unavoidable reality. She is treated like an object for barter, forced to showcase her talents in music and poetry before her price is negotiated. The irony of Kiều’s situation is that her extraordinary talents are displayed in such a degrading environment, a reality that adds to her pain. After the bargaining is done, Mã Giám Sinh’s true nature as a skilled, callous trafficker is exposed, as he drives a hard bargain to acquire Kiều for an incredibly low price. Through this passage, readers not only experience Kiều's intense suffering but also witness the true character of Mã Giám Sinh, a vulgar, deceptive human trafficker. Nguyễn Du exposes the corrupt and exploitative nature of society, where money becomes a tool of oppression, dehumanizing individuals and reducing them to commodities.

The scene where Mã Giám Sinh purchases Kiều is a powerful critique of society, exposing the dark realities of human trafficking and exploitation. In this world, women like Thúy Kiều, with both beauty and talent, are reduced to mere commodities for trade. This part of the narrative, which spans 34 verses from the Truyện Kiều (verses 618-652), illustrates the dramatic fall of a once wealthy family. After being falsely accused by a silk seller, Kiều's father and brother are tortured and imprisoned, and their wealth is stolen by corrupt officials. Faced with the family's misfortune, Kiều resolves to sell herself to rescue her father. The scene details the transaction between Mã Giám Sinh, the buyer, and the intermediary, the mụ mối, who presents Kiều as an object for purchase. The mụ mối urges Kiều to meet the customer, and Mã Giám Sinh assesses her beauty and talent before negotiating a price. Initially, the mụ mối demands one thousand gold coins, but after haggling, the price is reduced to just over four hundred gold coins. The entire process is conducted with formal language, using terms like 'buying gems,' 'giving the bridal gift,' and 'arranging for the wedding,' mirroring the traditional rituals of marriage negotiations in noble families. This scene highlights the brutal reality of a society where human beings are bought and sold like property. The line 'Once the money is secured, nothing is impossible' critiques the power of money in a corrupt world, where human dignity is trampled upon. It exposes the moral decay of the period, where the human soul is subordinated to material wealth. Nguyễn Du's portrayal of Mã Giám Sinh and the mụ mối reflects their cunning and ruthless natures, while also revealing the tragedy of Kiều, who is forced to trade her life for her family’s survival. Through their interactions, Nguyễn Du sharply critiques the greed and corruption of the ruling class. Mã Giám Sinh, although presenting himself as a refined scholar, is in reality a cold-hearted trafficker. His appearance is meticulously cultivated, yet his actions expose his true nature. He is depicted as a man of nearly forty, yet he remains a 'playboy,' marked by the phrase 'clean-shaven' and 'dapper,' adding layers of sarcasm to his character. His behavior reveals his complete lack of morality, as he uses charm and deceit to manipulate those around him. As the scene progresses, the language used by both the buyer and seller becomes increasingly coarse, illustrating the degrading nature of the transaction. Mã Giám Sinh's actions, described as 'measuring beauty and talent,' demonstrate his lack of any genuine human connection. He treats Kiều as an object, assessing her like a commodity. The use of phrases like 'buying gems' and 'asking for the bridal gift' only further emphasizes the transactional nature of their relationship. Despite the formalities, the true nature of the exchange becomes apparent as Mã Giám Sinh seeks to bargain for a better price, symbolizing the power dynamics in a patriarchal society. The poet’s condemnation of this system is made clear through the depiction of Mã Giám Sinh’s cold calculation and Kiều's tragic predicament. Ultimately, Kiều is sold not just as a wife, but as a 'sacrifice' for her family, highlighting the heart-wrenching conflict between duty to one’s family and personal freedom. The tragedy of Kiều is compounded by her internal struggle. She is forced to choose between her love and her duty to her family, a dilemma that causes her great emotional pain. The poet masterfully portrays this internal conflict, using vivid metaphors like 'tears of flowers' and 'her sorrowful expression like chrysanthemums, her sadness delicate as a withered plum blossom,' to reflect the beauty and despair of her situation. Mã Giám Sinh’s purchase of Kiều is a sharp commentary on the moral decay of a society that commodifies people. Through the lens of this transaction, Nguyễn Du critiques the corruption of the feudal system, while also highlighting the humanity and suffering of Kiều, whose sacrifice for her family stands as a poignant symbol of both courage and tragedy. In conclusion, this scene from the Truyện Kiều serves as a powerful critique of the social and moral problems of the time, offering a sobering reflection on the exploitation of women, the value of human dignity, and the destructive power of wealth in a corrupt society.

Nguyễn Du's *Truyện Kiều* is a poetic indictment of the corrupt feudal society, revealing the suffering of the oppressed. Thúy Kiều embodies those who are victimized, with her first tragedy being the sale of her body to a trafficker. This sorrow is most poignantly expressed in the excerpt *Mã Giám Sinh Buys Kiều*. In this passage, Kiều's emotional turmoil is laid bare. After a tragic misunderstanding, the family faces ruin, with her father and brother imprisoned, and their assets seized by corrupt officials. As a devoted daughter, Kiều sacrifices her love and personal happiness to free her father and brother by agreeing to marry Mã Giám Sinh as a concubine. In this scene, Nguyễn Du vividly portrays Kiều's internal conflict. The first lines of the excerpt capture her agony: 'The pain of myself is compounded by the pain of my family.' Her family's tragic separation and the forced end of her pure love for Kim Trọng create an unbearable burden. The love she once nurtured must be abandoned for familial duty. This tension between family and love overwhelms Kiều, leading her into deep sorrow. The poet describes her pain as she steps out to meet Mã Giám Sinh, her steps heavy with grief: 'The flowered steps and tears like blooming petals.' These metaphors—'flowered steps' and 'tears like petals'—are both vivid and poignant, evoking a sense of fragility and sorrow. Her beauty, once the subject of admiration, now serves only to emphasize her sadness and the betrayal she feels as she faces the buyer's scrutiny. As a young woman raised in a respectable family, Kiều’s exposure to such degradation is profoundly humiliating. She is forced to present herself, both physically and emotionally, as an object for evaluation—her worth measured by the monetary value placed upon her. Despite being a rare beauty, she is reduced to a mere commodity for the traffickers, reflecting the harsh reality for women in this society. Kiều’s recognition of her situation makes her resignation even more heartbreaking, as she contemplates her fate and sacrifices her personal dignity to fulfill her filial duty. Through this portrayal of Kiều’s emotional distress, Nguyễn Du critiques the societal system that reduces women to objects for trade. The power of money is shown to cause immense suffering, and the poet condemns the heartless individuals responsible for this exploitation. Ultimately, the passage emphasizes the humanity of Kiều, drawing attention to the profound injustice of her situation, while also highlighting the cruelty of the society that allows such abuses to persist.

After making a vow to stay loyal and true, Kim Trọng had to leave for Liêu Dương to mourn the death of his uncle. During his absence, the family was wronged and suffered great misfortune. Kiều, desperate to save her father and brother, entrusted her sister Thúy Vân to uphold her love for Kim Trọng while she sacrificed herself. The excerpt describes the moment when Mã Giám Sinh comes to purchase Kiều and take her to Lâm Tri. Mã Giám Sinh, a so-called ‘distant guest’, arrives with a companion to propose to Kiều. His words seem polite, but there is much more beneath the surface. Let’s examine Mã’s behavior and attitude. When asked about his name and background, Mã gives curt responses. He even hints at his high status, claiming to have studied at the prestigious Quốc Tử Giám. Nguyễn Du cleverly portrays this with these lines: 'When asked his name: “Mã Giám Sinh”' 'When asked his hometown: “Lâm Thanh, not far.”' This impolite, dismissive attitude immediately causes the reader to lose any sympathy for him. He hides his true identity, giving vague and evasive answers. Nguyễn Du then reveals Mã’s appearance: ‘Over forty years old, with a well-groomed face and fine clothes.’ While his attire suggests refinement, his age and behavior seem to conflict with his appearance. Upon arriving at Kiều’s home, he behaves arrogantly: 'He sat proudly in the chair'. In that single action, Nguyễn Du exposes his boorish, uncultured nature. In just eight lines, the poet vividly sketches Mã’s appearance, language, and behavior. The image is completed as Mã haggles over the price of Kiều, pretending to propose marriage when in fact he intends to take her to a brothel in Lâm Tri. He scrutinizes her beauty and talent, forcing her to perform before he expresses his satisfaction: ‘You are truly a rare gem.’ Then, the bargaining begins: He asks: “How much for the precious gem?” Mã, mimicking the polite speech of a scholar, tries to appear respectful. But his true nature as a merchant becomes evident. He presses for a lower price, knowing full well the desperate situation Kiều is in. He acquires her for a mere fraction of her worth—‘worth a thousand gold, but purchased for just over four hundred.’ Mã’s disguise as a cultured scholar is stripped away, revealing him as nothing more than a cruel trafficker. Kiều, sacrificing herself for her family, takes her first steps into a life of suffering and disgrace. This trade marks the beginning of a 15-year-long tragedy for her. Had Kiều been born into a just society, her beauty and talent would have guaranteed a life of happiness. But in the corrupt feudal system, her value is reduced to a mere commodity, exchanged in cold negotiations. In six lines of poetry, Nguyễn Du captures Kiều’s silent anguish, as she is unable to express her sorrow. But through her gestures, we understand the depth of her pain: 'Her pain deepens with her family’s fate.' 'Each step on the flowered steps, each tear falls like petals.' Kiều weeps, her tears of shame and sorrow flowing in silent streams. A daughter raised in a respectable family, she is now a commodity for sale. How could she not feel humiliation? The lines, 'Her reflection in the flower’s shadow, her face full of shame,' reveal her self-criticism. She blames herself, but the fault lies not with her. In a society where money rules all, many women, like Kiều, suffer similarly. The excerpt ‘Mã Giám Sinh Buys Kiều’ is a short drama, where events unfold gradually and characters reveal their true selves. Nguyễn Du’s attitude is unmistakable: he condemns the dark forces of society while sympathizing deeply with the suffering of his characters. Reading *Truyện Kiều* today, we are moved by Kiều’s tragic fate and repelled by the brutal society that tramples on the rights of women.

In the dead of night, in Nghi Xuan district

One recalls the great Nguyễn Du, and feels sympathy for the tragic fate of Thúy Kiều...

(Tố Hữu - A Tribute to Nguyễn Du)

The word “bâng khuâng” refers to a state of mind where, though physically present in the moment, one's soul is lost in the past, the future, or in daydreams. This state of nostalgia, rooted in the past, is why Tố Hữu, like all of us, cannot forget Nguyễn Du, a great poet who gifted the world the timeless masterpiece *Truyện Kiều* (The Tale of Kiều) – a monumental song about human values; a sharp critique of evil; and a paragon of literary art.

In the same breath, we cannot help but “feel sorrow for Kiều” – a beautiful young woman who, in an act of immense sacrifice, sold herself to save her father, falling into the hands of a ruthless man, Mã Giám Sinh, in the infamous excerpt where he buys Kiều.

This excerpt, from lines 619 to 652 of *Truyện Kiều*, takes place in the chapter *Gia biến và lưu lạc* (Family Misfortune and Separation). Prior to this scene, the story unfolds as follows: On their way back from a spring outing and tomb-visiting, Thúy Kiều and her sisters meet Kim Trọng, a young man of great talent and virtue, a classmate of Vương Quan. Back home, Kiều is deeply enamored with Kim Trọng’s image, as he is with hers. Their love blossoms and they pledge to stay together for life, but soon after, Kim Trọng is called back to Liêu Dương due to his uncle’s passing. At the same time, Kiều’s family is wrongfully accused by a silk merchant, and all their wealth is seized by corrupt officials. In order to save her father and brother, Kiều decides to sell herself:

The rain does not spare the humble fate,

I risk everything, a blade of grass, to repay three springs.

With heartfelt sincerity toward the people

Rumors spread far and wide, stirring whispers everywhere.

Thúy Kiều then sadly informs the matchmaker of her decision. Immediately, the matchmaker leads a man from afar:

From a distant land, there came a matchmaker,

Introducing a man to inquire about Kiều's name.

The phrase “viễn khách” (distant guest) conveys respect and elegance. Could this “distant guest” be a noble, refined man, coming to ask for Kiều’s hand according to the marriage customs of the time? The stranger, who presents himself as a student from the National College, begins to introduce himself:

He asks for a name, “Mã Giám Sinh”

He asks for a hometown, “Huyện Lâm Thanh, not far.”

The rhythm of these two lines is very peculiar, with a disjointed cadence: 2-1-3 for the six-syllable line, and 2-1-3-2 for the eight-syllable one. The awkward line breaks reflect the character’s unstable answers. “Mã” is certainly a surname, but “Giám Sinh” is not a common first name. The vague reference to “Huyện Lâm Thanh” is also suspect. If this man were truly respectable, why would he not clearly state his origins? His responses, curt and evasive, suggest that Mã Giám Sinh is a man of low culture. This is also reflected in his age and appearance:

Over forty years old, just beyond youth,

Clean-shaven, dressed in fine clothes.

“Ngoại tứ tuần” means “over forty”, signifying that he is past the prime of youth. The term “quá niên” intensifies this, yet he dresses in a youthful, flashy manner, as if trying to appear young and trendy. The use of pure Vietnamese words in the second line, such as “nhẵn nhụi” (smooth-shaven) and “bảnh bao” (dapper), underscores his pretension and the disdain for his vulgarity. His entourage of rough and unruly followers further shows his lowly character.

In contrast, the refined and dignified Kim Trọng has a presence that contrasts sharply with Mã Giám Sinh’s vulgarity:

He lingers, unsure whether to stay or leave,

The distant sound of music grows nearer.

From afar, one sees a scholar,

With his sleeves fluttering, walking slowly across the fields.

His pockets bulge with the winds and moon,

A few young servants trailing behind.

The snow marks the horse’s steps,

The grass blends with his clothes of heavenly colors.

In the distance, his face reveals his character,

The guest dismounts, and his feelings come to light.

Kim Trọng’s elegance is evident, and he seems to shine brightly wherever he goes. Meanwhile, Mã Giám Sinh’s crude appearance is a stark contrast. Even his first gesture – sitting arrogantly in the most honored seat – displays his ignorance. The phrase “ngồi tót” (sit arrogantly) clearly paints him as uncouth, in contrast to Kim Trọng’s cultured bearing:

With grace and refinement, he appears truly noble,

Inwardly elegant, outwardly sophisticated.

Throughout *Truyện Kiều*, Nguyễn Du masterfully uses language to depict the villains’ downfall. He uses the word “lẻn” (sneak) to describe the character of Sở Khanh, and “mặt sắt” (iron face) to describe Hồ Tôn Hiến, thereby portraying their corrupt and heartless nature.

In this way, Nguyễn Du uses his sharp literary skills to expose Mã Giám Sinh’s true nature:

He hesitates, weighing her beauty and talent,

He tries to bargain, as one does when buying a fan.

The word “cò kè” (bargaining) is typically used in markets, evoking a sense of crudeness and haggling. The matchmaker tries to get a better deal, while Mã Giám Sinh drives a hard bargain to maximize his profit. After much bargaining, the final price is agreed upon: more than four hundred gold coins. This exchange highlights the mercilessness of the transaction.

In conclusion, through vivid language, Nguyễn Du reveals the despicable nature of Mã Giám Sinh while also portraying the profound sorrow and humiliation of Thúy Kiều, who is forced into this painful situation. Despite her external beauty, she is caught in a tragic fate, and her dignity is trampled upon by those who seek to exploit her. The contrast between the villain and the heroine underscores the nobility of Thúy Kiều’s character, which remains intact despite the hardships she faces.

Through his poetic mastery, Nguyễn Du captures the essence of human suffering, especially that of women caught in a cruel world. The beauty of Thúy Kiều’s character lies in her silent dignity, even in the face of tremendous adversity, which reflects Nguyễn Du’s profound empathy for the human condition.

Ultimately, *Truyện Kiều* stands as a testament to Nguyễn Du’s literary genius, portraying both the vileness of human greed and the unwavering beauty of the human spirit amidst suffering.

The Tale of Kieu is a masterpiece that not only showcases profound humanistic values but also reflects Nguyen Du’s brilliant artistic style. The excerpt from "Ma Giam Sinh Buys Kieu" reveals the poet's remarkable ability to depict the inner turmoil of characters, and it underscores his deep empathy for the plight of Kieu and, by extension, for the fate of women in a feudal society full of injustice.

This passage appears in the second part of the epic (Family Tragedy and Wandering). Before the family tragedy strikes, Kieu cannot sit idly by; torn between love and filial duty, she decides to sacrifice herself to save her father. In the dramatic bargaining scene, Nguyen Du unravels the true, vile nature of Ma Giam Sinh, a human trafficker.

Nguyen Du skillfully portrays Ma Giam Sinh as a student from the prestigious National Academy (Quoc Tu Giam) who comes to buy Kieu as a secondary wife. From the very beginning, his character is unappealing. Despite his seemingly respectful introduction as a "distant guest" coming to inquire about Kieu, his responses are blunt and curt:

"Asked for his name: Ma Giam Sinh

Asked for his hometown: Lam Thanh County, nearby."

His responses are rude and unclear, suggesting that this man is no gentleman. Although he pretends to be a learned scholar, he is nothing more than a trafficker, boasting falsely about his education. Nguyen Du further critiques Ma Giam Sinh’s ridiculous appearance:

"Over forty years old, face clean-shaven, clothes elegant"

This image is a sharp mockery of a man past middle age who still dresses and grooms himself as if he were a young man. Though his attire is neat, it is ironically out of place, an absurd attempt at elegance. His entourage, although seemingly respectable, is noisy and lacks proper decorum:

"First the teacher, then the servants, noisy as they may be"

His clumsy behavior exposes the vulgarity and lack of refinement that defines him. Even his manner of sitting—"sitting awkwardly"—reveals his crude and uncouth nature. Nguyen Du masterfully captures his true character with this single word, "tót". In stark contrast, Kieu is devastated:

"Her grief grows, as does her family’s plight"

Kieu’s sorrow is palpable; she knows that the future ahead is full of suffering. Her heavy steps reflect her unwillingness to move forward, yet her filial duty forces her to sacrifice herself. The image of Kieu's tears falling like petals evokes deep sympathy:

"The wind stirs her, the dew makes her uneasy"

In the face of an uncertain future, Kieu feels unease, knowing the harshness that awaits her. Her sorrow is visible, with her face showing the sadness of a fragile flower. Meanwhile, the matchmaker remains focused and diligent in her work. Kieu’s sadness is compared to the delicate sorrow of a chrysanthemum and the frailty of a plum blossom:

"Hesitating, she weighs beauty and talent"

Thuy Kieu is tragically reduced to an object in the bargaining process, no different from an item for sale. Her plight is heart-wrenching. Ultimately, Ma Giam Sinh’s true nature as a ruthless trafficker is revealed:

"He said: I come to purchase a gem, Kieu Lam"

The negotiation that follows is tense, a bargain between Ma Giam Sinh and the matchmaker. Despite trying to maintain a veneer of civility, his true, mercenary nature shines through as he haggles over the price, lowering it from a "thousand gold" to "four hundred".

The transaction concludes with one party happy, while the other is left in despair. This passage exposes Ma Giam Sinh’s base, greedy character, and Kieu’s deep humiliation. She is merely an object in this transaction. The excerpt paints a grim picture of the decaying feudal society that forces women into such tragic circumstances:

"What a pity, the sweet cinnamon tree in the forest,

To be climbed by the Mán or Mường."

In a society weighed down by feudal oppression and injustice, women were the most vulnerable victims. The poet Nguyen Du poignantly captured their plight in the lines: "Alas, the fate of women is sorrowful, and the saying 'bad luck' is universal." During the poet's time, misfortune seemed to be an inevitable rule for women. The life of Thuy Kieu, a woman of extraordinary beauty and talent, stands as a testament to this cruel fate. The excerpt 'Mã Giám Sinh Buys Kieu' marks the beginning of her tragic journey, setting the tone for her misfortune. This excerpt is from the second part (Family Tragedy and Wandering) of the *Tale of Kieu*. After being wrongfully accused by a man named Mã Giám Sinh, Thuy Kieu's family fell into ruin and suffering. Their wealth was taken, and her father and younger brother were tortured by corrupt officials. The price for their release was steep: three hundred taels of silver. Left with no choice, Kieu sacrificed her first love with Kim Trong and sold herself to secure the release of her father and brother from prison. Nguyen Du’s skillful and vivid realism brings to life the character of Mã Giám Sinh, a vile man who trades in human flesh, while also portraying the profound despair of Thuy Kieu — a woman of unmatched beauty and talent who is treated as a mere commodity, bought and sold with no compassion. The poet's denunciation of the decaying feudal society and his passionate plea to save humanity are hidden within the imagery and words of this passage. The news of Kieu's decision to sell herself sparked widespread gossip, for everyone knew her as the beautiful and talented young woman. Mã Giám Sinh, taking advantage of her fame, arranged to meet her with the help of a matchmaker, intending to take her as a secondary wife. One notable aspect of Nguyen Du’s character portrayal is that he uses stylized language for positive characters (like Thuy Kieu, Kim Trong, Từ Hải, etc.), while he adopts a more direct and realistic style for negative characters (like Tú Bà, Mã Giám Sinh, Hồ Tôn Hiến, etc.). Through this, readers can easily discern the type of character and the poet's stance toward them. Mã Giám Sinh is no exception. Nguyen Du’s brilliance lies in his ability to depict key details that capture the essence of a character without unnecessary elaboration. Little is known about Mã Giám Sinh’s background; he is described simply as a man from afar (a 'visitor'). When asked about his name, he curtly responds: "My name is Mã Giám Sinh. I am from Lâm Thanh." His answer gives no clear information beyond his surname, Mã. The ambiguity of his background adds to the mystery of his character. 'Giám Sinh' is a general term for students of the Imperial Academy, not a proper name, and Lâm Thanh is a vast region, so no one knows exactly where he is from or his social standing. His speech and mannerisms reveal much about his character. He lacks the refinement expected of a scholar. Mã Giám Sinh’s physical appearance is full of contradictions. His age is described ambiguously as 'over forty,' with phrases like 'too old' and 'about forty' used to create a sense of uncertainty. In the past, men in their forties were considered to be approaching old age (fifty years old). Yet, his appearance and attire attempt to convey the image of a young man, dressed in fine clothes and sporting a smooth face. Words like 'smooth' and 'stylish' carry a sense of mockery, highlighting the poet’s scorn for the character. Mã Giám Sinh tries to hide his true nature with a flashy exterior, but the absurdity and vulgarity of his persona are evident. In one line, Nguyen Du humorously illustrates Mã Giám Sinh’s unconventional approach to courtship: "He sits on the master’s chair, arrogant and disrespectful." The master’s chair is meant for the host or a distinguished guest, but Mã Giám Sinh sits without invitation, raising his legs and showing no respect. His actions and demeanor reflect the behavior of a lowly, uneducated man. Through these details, his true character slowly unfolds. When the matchmaker introduces Kieu to him, Mã examines her with the calculating eye of a businessman. He measures her beauty and talent, pushing her to play the zither and compose poetry to determine her worth. Thuy Kieu’s beauty and talent satisfy him, and he begins to believe he has found a rare treasure. Mã is certain he will 'buy' this priceless object and profit greatly from it. However, he does not rush the deal; instead, he haggles over the price. The poet uses colloquial, almost market-like language such as 'bargain' and 'haggle' to expose Mã Giám Sinh’s vulgarity and greed. Through these words, Nguyen Du strips away the facade of the refined scholar and exposes the true nature of this 'gentleman' who seeks to buy Kieu. The reader is left with the harsh reality: Mã Giám Sinh, a man who traffics in human lives, is fully revealed. As we read this passage, we are filled with both anger at Mã Giám Sinh’s cruelty and deep sympathy for Thuy Kieu, who, despite her extraordinary beauty and talent, is trapped in the clutches of this heartless man. Nguyen Du describes Kieu’s inner turmoil in vivid, poignant detail, as if the very ink on the page were soaked in her pain. In the poem, Kieu’s grief is expressed through delicate metaphors: 'The flower steps forward, shedding tears in every petal,' and 'Her beauty still shines through, even in sorrow.' Despite the overwhelming despair, Kieu’s beauty remains, like a flower that endures even in the harshest conditions. The poet’s use of imagery, such as comparing her to flowers, cypress, and willows, emphasizes her timeless beauty. Nguyen Du’s precise use of symmetry in the poem enhances the emotional depth of his depiction of Kieu. The sincerity of the poet’s feelings breaks free from the conventional constraints of classical poetry, evoking a true emotional response from the reader. We are left not only pitying Thuy Kieu but also despising the corrupt feudal society that shattered her family and thrust her into a life of hardship. This excerpt from 'Mã Giám Sinh Buys Kieu' showcases Nguyen Du’s mastery in depicting human psychology and character. The *Tale of Kieu* stands as a powerful lament for the suffering of women, a call to expose the injustices of a broken society. It also serves as a silent yet forceful condemnation of the corrupt feudal system that produced men like Mã Giám Sinh, who, driven by personal gain, trample on the dignity of others. The poet’s message is clear: 'Stop the hands of evil! Save humanity!'

For a long time, when reflecting on *The Tale of Kiều*, many of our elders may not have paid enough attention to the passage where Mã Giám Sinh purchases Kiều, comparing it to others. I once shared this thought with an elder teacher and asked, "Why is that, sir?" The teacher did not answer immediately, instead, he stood up and walked slowly to the garden. I followed, feeling uneasy: "Could it be that my question or my tone displeased him?"

Stopping near a cluster of fragrant flowers, the teacher gently plucked a few flowers and leaves, asking, "What makes poetry good?" I hesitated for a moment, and then he added, "Don’t rush to answer. Answer me in a few years, maybe thirty or forty years from now. When I am gone, just write it down, and whenever it's convenient, light a stick of incense and read your answer to me."

Then he continued, "Good poetry should elevate the soul, make one a little more transcendent, purer... is that not so?" Perhaps to give me a hint, he elaborated, "The part where Mã Giám Sinh buys Kiều that you just mentioned is disturbing, it's disgusting and infuriating. I tend to skip over it." Then he laughed quietly, almost imperceptibly.

So, it wasn’t that our elders ignored the passage about Mã Giám Sinh purchasing Kiều, but rather, they had a certain bias against it. Upon reading it, the feelings of disgust and anger were so overwhelming that they avoided discussing it. Critiquing poetry is an art, but it also depends on the disposition of the person doing the critique. What can be done?

The feeling of disgust when reading about Mã Giám Sinh purchasing Kiều might stem from the realization that, five hundred years ago, selling and buying people had become an established profession. This profession is vividly portrayed through Nguyễn Du’s pen. The "heartfelt" story – an unfortunate family matter – is "spoken to the human race" (Why not speak to the family, the neighbors, but to the human race?)

Perhaps this is because Kiều’s family knew that in today’s society, there are certain people who specialize in these matters and they had to rely on them to resolve the situation. It wasn’t just a personal issue but one that became the subject of widespread gossip, "spreading far and wide." Because it was so widely talked about, the matchmaker saw an opportunity for business, bringing someone from afar (a "distant guest") to make the deal. In this business of buying and selling people, the worth of a person, their beauty, and their talent—once regarded as "so beautiful they could make the rivers and cities tilt"—were now merely weighed, tested, and forced into submission, coldly and mercilessly.

This transaction was devoid of empathy or compromise, merely a "bargaining game" that dragged on, eventually resulting in a price of "over four hundred gold." In this transaction, Kiều had no say. The only people speaking (or laughing) at this point were the matchmaker and the man named Mã Giám Sinh – professionals in this gruesome trade.

Yet, this transaction was disguised as a "meeting" for marriage, a polite affair to bring a bride home, which culminated in the statement, "Take the offering first, then we’ll set the date for the formal betrothal."

A civilized society is one that has many professions, with people specialized in each area of expertise. But in a society where talent, beauty, virtue, and human dignity—like Kiều’s—fall into the hands of such human traffickers, it is truly revolting! That society is not civilized.

Many readers also feel anger when they read the passage about Mã Giám Sinh buying Kiều. Anger because of Mã’s overly polished, suspiciously neat appearance, the noisy movements of his followers, and especially his audacious way of sitting, "sitting cross-legged in the high seat without invitation." Who allowed him to be so bold? Money. He relied on his wealth. And sometimes, people who have money can speak nonsense, and the masses will follow blindly.

Here, Mã’s behavior not only reveals his lowly, arrogant character but also exposes the painful and awkward predicament of Kiều’s family. It reflects the unfortunate situation where the power of money, in the hands of scoundrels, could dominate a decaying society.

Some have criticized Nguyễn Du for making this scene so detailed. The more detailed it is, the more painful it becomes. If he had made it less detailed, perhaps someone could have said a few comforting words or shown some sympathy to Kiều. But I believe: this is just how the transaction works. It is, after all, a private matter conducted in a formal, perhaps even discreet way (like a marriage proposal!), so Nguyễn Du portrayed it as it was.

On the other hand, we must also see that behind the seemingly cold, detached manner in which Nguyễn Du recounts this scene is a heart full of compassion for Kiều’s fate. When Nguyễn Du wrote:

"The rain doesn't care about my lowly fate,

But I will sacrifice this small bit of grass to repay the three springs of my life."

He was not only sympathetic but also deeply understanding of Kiều’s situation. (Sympathy is precious, and within sympathy lies understanding, which is true gratitude, true insight—a heartfelt devotion that is why Nguyễn Du is regarded as a humanist.) Moreover, this was not just for Kiều, but also for the transaction itself, for the money-driven man. Nguyễn Du also leaves us with this line:

"With money in hand, what can’t be done?"

That is the painful conclusion to this tragic episode, a warning to people like Mã and those who cowardly extort others. We can almost hear the sneer and the rare sardonic laughter of the poet: "You all can think whatever you want, but with money in hand..."

Living in the bliss of a pure, passionate first love with Kim Trọng, Kiều's world is suddenly shattered when her family is falsely accused and punished. Unable to bear the destruction of her family, Thúy Kiều in agony decides to give her love to Thúy Vân and willingly sacrifices herself to save her father and younger brother.

Exploiting Kiều's pain, Mã Giám Sinh, “a man already well-versed in love affairs,” offers to marry her, but his true intention is to buy Kiều and take her to his brothel, run by the notorious Tú Bà in Lâm Tri. This excerpt describes the transaction, revealing Mã Giám Sinh’s true nature and marking the beginning of Kiều’s tragic 15 years of suffering.

With sharp writing and intense hatred for the merchants of human flesh, Nguyễn Du exposes the vile and cruel nature of those who trade people. In this scheme, Mã Giám Sinh pretends to be a scholar from the National Academy, coming to propose marriage to Kiều. However, his identity is suspicious, his name and origin unclear. Through his skillful depiction, Nguyễn Du progressively reveals Mã Giám Sinh’s true face as a revolting, heartless merchant:

“Approaching his forties…”

“Sitting arrogantly on the high seat”

Despite being in his forties, Mã Giám Sinh still dresses ostentatiously, with his “well-groomed face” clearly displaying his rakishness. His servants cause a commotion at Kiều’s house, and his act of “sitting arrogantly on the high seat” removes the mask of a scholar and exposes him as an uncultured, rude merchant.

Nguyễn Du objectively describes the scene of the transaction, but Mã Giám Sinh’s true character is fully revealed. Although he tries to hide his intentions with deceptive charm, his appearance, attitude, gestures, and words all betray his true nature as a despicable “slave trader.”

In Mã Giám Sinh’s eyes, Kiều, with her beauty and talent, is simply merchandise to be sold for his profit. He weighs her beauty and talent, “tests” her skills, treating her like a product in a marketplace. Once satisfied, his merchant nature shows as he bargains: “haggle down, raise up.” He tries to cover his actions with elegant, formal language:

“To buy a gem, to bring it to Lam Kiều

How much should I pay for this precious gem?”

But it ultimately culminates in the crude and repulsive exchange:

“Bargain down one, add two

After a long while, the price is set at more than four hundred.”

With this vile bargaining, the “marriage proposal” is exposed for what it really is—a blatant act of “buying and selling human flesh.” Mã Giám Sinh is revealed as the most loathsome and despicable of traders.

In this excerpt, Thúy Kiều is depicted in all her sorrow, humiliation, and shame. A gifted and beautiful girl, living in peaceful bliss, suddenly finds herself thrust into a world of exploitation, where she is treated like an object to be bought and sold. Kiều, deeply sensitive, is acutely aware of the tragic, disgraceful, and painful situation she finds herself in:

“My sorrow compounded with the sorrow of my family…

Flowers wilted, I felt the shame in my face.”

Kiều feels the pain of her love (her personal sorrow) and the pain of her family (the sorrow of her house), tears falling uncontrollably. She feels like a flower exposed to the harsh wind and dew, withering under their touch. She compares herself to the flower, feeling unworthy of it. This is Kiều’s hidden moral compass. Meanwhile, the matchmaker presents her as a mere commodity, an object for display: “arranging her hair, shaking hands” for the client to observe, making her perform poetry and play the lute for him. Kiều’s “sadness is like a chrysanthemum, her posture like a withering plum blossom.”

In this “marriage proposal,” under the direction of the matchmaker and Mã Giám Sinh’s pressure, Kiều becomes a puppet, mechanically performing poetry and playing music as if she were an automaton. Her sacrifice to save her family is an act of her own will, but she endures it all in silence.

Through Nguyễn Du’s writing, Kiều’s silent suffering becomes palpable. Despite her silence, the pain, shame, and humiliation of being stripped of her dignity are undeniable. She is a woman who values her self-worth, yet is humiliated and degraded. Kiều’s sorrow is deep as she reflects on the “sorrow of my love,” the unfinished romance, and the “sorrow of my house,” where false accusations have led to her family’s downfall. The overarching emotion in Kiều’s mind is a profound sorrow, symbolized by the “flower petals falling with every step, and tears as numerous as the petals”!

It must be said that Nguyễn Du, in the end, depicts the scene of human trafficking as “a flower sold to the merchants.” Through the portrayal of Mã Giám Sinh’s appearance, behavior, and dialogue, Nguyễn Du paints a picture of his despicable character, condemning the brutal forces that trample upon the talent, beauty, and dignity of women. At the same time, he expresses deep sympathy for Thúy Kiều’s unjust fate, which begins the long, bitter journey of her misfortune.