The 7 Best Essays Analyzing the Play 'Huyện Trìa Xử Án' (Literature 10)

'Nghêu, Sò, Ốc, Hến' is a renowned piece of Vietnamese Tuồng theatre, vividly depicting the social landscape during the feudal era. This is especially evident in the excerpt 'Huyện Trìa Xử Án,' where the character Huyện Trìa reflects the attitudes and thoughts about those in positions of power. Right from the start of the excerpt, the reader gains a clear understanding of the character through his self-introduction: 'Tri huyện Trìa is a great man/ Known for his fame in the area;/ Always on the move, day and night,/ As calm as a blooming flower.' This shows that Huyện Trìa holds an important position in the local government, and the villagers' praise subtly masks an ironic criticism of him. His personal affairs are portrayed as carefree, similar to his approach to his duties. This suggests that he is a frivolous, indulgent man. Furthermore, he is portrayed as greedy, arrogant, and corrupt, accepting bribes from the villagers and manipulating the law to suit his interests. He is ruthless, using force against anyone, regardless of age or gender. Additionally, he is shown as a sycophant, eager to please his superiors to retain his position, willing to spend any amount of money to advance his career. Despite his wealth, his family life is far from happy, with his wife’s jealousy creating conflict at home. Outside, he behaves arrogantly, but at home, he is cowardly and fearful. His character is further illustrated during a trial, where he makes biased and unjust decisions based on lust and personal gain, ignoring the law. Despite the clear evidence, he accuses the wrong people and absolves the guilty. Ultimately, Huyện Trìa's character is a blend of corruption, arrogance, and cowardice, exposing the decay of the feudal system and the author's satirical view of the ruling class.

'Nghêu, Sò, Ốc, Hến' (author unknown) is a remarkable Tuồng play known for its content and artistic style, deeply rooted in folk traditions and a classic example of Tuồng theatre. The play consists of an introductory scene and 19 acts, summarized as follows: Trần Ốc, a thief, seeks guidance from the fortune-teller Lữ Ngao, who advises him to rob the wealthy Trùm Sò's house. The stolen goods are sold to Thị Hến, a beautiful, cunning widow. Trùm Sò informs the village head (Lý Hà) and hires a sorcerer to find the thief. Thị Hến captivates both the village and the magistrate (Huyện Trìa) with her beauty. She is acquitted, and Trùm Sò fails to retrieve his stolen property. The play ends with a humorous scene devised by Thị Hến, who tricks Master Nghêu, Huyện Trìa, and Đề Hầu, exposing the fraudulence of a corrupt monk and two government officials obsessed with women. There are several versions of this play, differing in the number of acts, characters, and their roles. For instance, the 1967 edition from Đào Tấn Theatre has only 15 acts, and some versions omit Master Nghêu. In the final act, the characters who fall victim to Thị Hến's schemes include Lí Hà, Đề Hầu, and Huyện Trìa, with the added appearance of three angry, fierce wives. This summary is based on the text from the 'Vietnamese Literature Anthology' (42 volumes, Vol. 12, National Center for Social and Human Sciences, 2000). Huyện Trìa xử án is the 13th act of Nghêu, Sò, Ốc, Hến, with the title given by the editor.

Every form of art holds a certain magical power, and Tuong is no exception. As one of the most popular and beloved theatrical genres in Vietnam, Tuong has firmly established its influence, while also affirming its cultural value in daily life. It would be a mistake to overlook the Tuong play 'Ngheu, So, Oc, Hen,' especially the scene 'Huyen Tria Handles the Case,' which highlights the sarcastic tone and mockery of evil deeds.

The scene 'Huyen Tria Handles the Case' depicts everyday life, critiquing the moral failings within the feudal society of old, especially the injustice within the legal system. The opening lines immediately give a sense of the district chief's self-importance: 'Within the jurisdiction, praise resounds.' A lengthy list of titles is used to emphasize his arrogance and self-aggrandizement. His true motive for handling the case is to secure money, with those who bribe him more likely to win their cases. The saying 'Good things should be flaunted, bad things should be hidden' ironically applies here, as Huyen Tria boasts about both his virtues and vices. The work uses animal names to create interesting characters, injecting an element of folk literature to make the story more engaging. This play criticizes the injustices of society and the immorality of its rulers. Tuong plays, based on traditional folk tales, are often reworked for performance, highlighting the struggles between good and evil while evoking deep emotions in the audience. Through this play, we gain a better understanding of the difference between right and wrong and develop empathy for the downtrodden while condemning the corrupt.

"The Trial of District Chief Tria" is an excerpt from the play "Clams, Mussels, Oysters, and Crabs". It is both a powerful narrative and a sharp piece of satire. Through this text, the author criticizes the corrupt officials in feudal society. The scene describes a trial presided over by the District Chief Tria in the courtroom.

The author uses the portrayal of Tria to highlight the hypocrisy of this official. Described as a pompous leader in the local administration, he is mocked by the villagers with the phrase, "When he walks in and out, the moon shines quietly." Though wealthy and fond of luxury, his personal life with his wife is turbulent and filled with strife, reflecting a deeper personal turmoil.

Tria, a man of greed, often abuses his power, collecting bribes and ruling arbitrarily without regard for justice. He is depicted as a man who values money above all else, issuing punishments indiscriminately, regardless of age or gender. His legal decisions are based on whim rather than law, undermining trust in the justice system.

The portrayal of his corrupt nature is stark in the trial scene. When a woman, Thị Hến, pleads her case, his lust overrides his duty. He promises her leniency but manipulates her for his own desires. Despite clear evidence against another party, he falsely acquits the guilty and condemns the innocent, showcasing his moral decay.

Alongside Tria, Đề Hầu is introduced as his loyal accomplice, a vile character who aids Tria in his corruption. He is depicted as a grotesque figure, with a disheveled appearance and a reputation for flattery. Though secretly despising Tria, he outwardly supports his master's decisions, reinforcing the theme of corruption.

Thị Hến, a widow, is another key character. She is shown as manipulative and deceitful, taking advantage of Tria's weaknesses. Despite her guilt, she denies her wrongdoings and plays on Tria's lustful desires to avoid punishment, further revealing the flaws in the justice system.

In contrast, the couple, Trùm Sò, represents the common people who are powerless in the face of authority. Even though they are victims, they are unable to recover what they lost and are wrongfully accused. Their final submission, "We must bow down and accept the judgment," reflects the helplessness of the oppressed.

The text skillfully uses character portrayal, satire, and simple yet effective language to criticize corrupt officials and the unfair legal system. Through this work, the author calls attention to the exploitation of the powerless in feudal society, offering a poignant critique of the social system.

Art is like a river flowing with goodness. When one immerses themselves in its waters, they are awakened. Art teaches us to love, to hate, to appreciate beauty, to reject evil, to nurture virtue, and to avoid vice. Every form of art possesses this remarkable power, and Tuong, the traditional Vietnamese theater, is no different. As one of the most beloved musical theater forms in Vietnam, Tuong continues to prove its influence and, more importantly, its value in daily life. It would be a great loss to miss the Tuong play 'Ngheu, So, Oc, Hen', especially the 'Huyen Tria's Court' scene, which sharply critiques the flaws in society with a sarcastic tone.

Tuong is a composite art form, harmoniously combining spoken dialogue, the songs of Tuong, and other elements from folk arts. It gained popularity in the 19th century in the Central South region of Vietnam. Often regarded as a form of storytelling through theater, Tuong uses the stage and actors as a medium to connect with the audience. The script focuses on action and leads conflicts through the characters' dialogues. Depending on the theme, content, audience, and production style, Tuong is divided into two main categories: Tuong Pho and Tuong Do. Tuong Do leans towards humorous satire, with simple, everyday language and a more relaxed, less stylized performance, making it closer to spoken drama. Notable examples of Tuong Do include 'Truong Do Nhuc' and 'Truong Gao', with 'Ngheu, So, Oc, Hen' being a prime example. This play is distinguished both artistically and in content, showcasing the essence of folk culture.

The play revolves around a comical and tragic series of events involving Tran Oc, a thief who seeks the advice of a fortune-teller named Lu Ngao to rob the house of a wealthy local man, Trum So. Oc sells the stolen goods to Thi Hen, a cunning and beautiful widow. Trum So informs the village chief, hiring a sorcerer to track down the thief. A servant of Thi Hen, dissatisfied with her cruelty, inadvertently reveals the stolen goods, leading to Thi Hen's arrest. The local magistrate, intrigued by Thi Hen's beauty, tries to defend her. Eventually, the group is taken to court, where Thi Hen's charm captivates both the magistrate and the official, and she is acquitted. Trum So is unable to recover his stolen goods. The play concludes with a humorous twist, as Thi Hen outwits the spiritual teacher, the magistrate, and the official, exposing their flaws and their obsession with beauty.

The scene 'Huyen Tria's Court' stands out with its portrayal of everyday life and its critique of the corrupt, unjust practices of the old feudal legal system.

From the first lines of dialogue, the audience is immersed in the self-important attitude of the magistrate, who proudly boasts, 'The district is full of praise for me.' His lengthy self-aggrandizing speeches resemble an official report, aiming to display his arrogance. In a clever twist, he inadvertently reveals his intentions to win cases for money, making it clear that those who pay more will be favored in court. A popular saying in folk humor, 'Good things are shown, bad things are hidden', seems to apply to Huyen Tria, who has no qualms about showcasing both his virtues and flaws.

Impressively, the play gives animal names to its characters, adding an element of novelty and intrigue that resonates with folk literary traditions. Despite his boastful and unflattering words, the magistrate’s council begins to speak up, offering a critique of the unjust society.

The play is a commentary on the daily life of the people and a critique of the corrupt practices in the feudal system, particularly the injustice in the legal system. At its heart, it reflects the lives of individuals in the old society. As M. Gorky once said, 'Literature is the study of humanity.' Every work of literature carries profound moral insights. 'Love others as you love yourself...', with a compassionate heart passed down through generations, Vietnamese folk art not only expresses love for the country and family but also shows deep sympathy for the plight of peasants in the feudal society. The excerpt 'Huyen Tria's Court' is a satirical portrayal of an unjust society, filled with corruption and moral decay.

Tuong Do performances often derive from folk tales or traditional stories, referred to as 'tich truyen'. From these tales, playwrights create scripts that are passed down orally. During performances, Tuong artists may adapt the scripts slightly to suit the acting conditions and the audience. With rhythmic dialogues and poetic expressions, Tuong performances evoke a wide range of emotions. As a representative form of folk art, Tuong, particularly the excerpt 'Huyen Tria's Court', imparts valuable spiritual lessons, helping the audience understand right from wrong, sympathize with the disadvantaged, and condemn evil.

Rooted in the voices of ordinary people, folk art remains accessible, relatable, and easy to empathize with. The excerpt 'Huyen Tria's Court' deeply resonates with the audience, planting seeds of goodness in their hearts. Like a river of righteousness, the work immerses us in profound humanitarian values, nurturing our souls to always aspire to truth, goodness, and beauty.

"Huyện Trìa xử án", part XIII of the play "Nghêu, Sò, Ốc, Hến", is a remarkable excerpt in both content and artistry. Through this text, the folk author aims to criticize and expose the corrupt officials and exploitative rulers of the feudal society. The excerpt recounts a scene of trial in the courtroom of the official Huyện Trìa.

To emphasize the theme of the work, the author focuses on character development. First, through their titles, the audience gets a glimpse of the character of Huyện Trìa, the leader of the district. He is often praised by the villagers with the words: "Cầm đường ngày tháng vào ra,/ Hoa nguyệt hôm mai thong thả", a sarcastic and mocking comment aimed at the magistrate.

Despite his wealth, indulging in luxurious wine, his marriage is far from happy. His wife, who is jealous by nature, often argues with him, and when he goes out, Huyện Trìa is fearful. At home, he is troubled by unease. This paints a stark contrast to his authoritative and arrogant demeanor in the courtroom.

Not only is he lecherous, but Huyện Trìa is also greedy, ruthless, and abuses his power. He highly values money and shamelessly accepts bribes. Regardless of the person—be it a man, woman, young, or old—he deals with everyone harshly, using punishment rather than law. He enforces the law according to his whims, which leaves the people dissatisfied.

Moreover, he is deceitful, flattering and seeking favor with higher authorities. Wherever there is money to be made, he is quick to take action, regardless of the effort or cost involved.

The true face of this corrupt official is revealed during the trial, where he makes arbitrary judgments without justice. Upon hearing Thị Hến’s plea, his lustful nature takes over. While appearing stern and righteous, he secretly aids Thị Hến in evading punishment. When he learns of her willingness to cooperate, he instructs Đề Hầu to assist her. The trial concludes with the wrongdoers being cleared of guilt while the innocent are unjustly convicted.

Alongside Huyện Trìa, the character of Đề Hầu is also vividly depicted. He is an accomplice, helping Huyện Trìa in his misdeeds. Described by Huyện Trìa as having a long back and a face full of scraggly beard, Đề Hầu’s appearance is grotesque and frightening. He shares the same sycophantic tendencies as Huyện Trìa, expressing disdain for his superior while outwardly agreeing with his actions. Though secretly planning to inform on Huyện Trìa’s misconduct, Đề Hầu pretends to support his decisions.

The trial, full of injustice, also features Thị Hến, a widow known for her cunning and deceit. Although she is complicit in receiving stolen goods, she denies the charges, claiming "I never bought such items, it was a misunderstanding." Aware of Huyện Trìa’s lustful nature, Thị Hến plays to his ego and agrees to his proposal.

If Huyện Trìa and Đề Hầu represent the ruthless rulers, the couple Trùm Sò symbolizes the powerless common folk. Despite being victims, they not only fail to recover their stolen property but are also wrongfully accused of oppressing the widow. In the end, they have no choice but to submit to the unjust system:

"Heaven’s call is not heard,
The magistrate’s command must be obeyed,
Bowing to the ground, I offer thanks,
And return to my place of origin."

Through the use of biting satire and simple, direct language, the folk author condemns the corrupt officials and highlights the oppression of the common people. The play “Nghêu, Sò, Ốc, Hến” remains a timeless and valuable work in Vietnam’s folk art tradition.