The 8 Best Essays Analyzing the Satirical and Critical Art in 'Vi hành' by Nguyễn Ái Quốc (Grade 11)

Ho Chi Minh was not only a great leader of mankind but also a poet of immense courage and compassion. We cannot help but admire him for leaving behind a vast body of work that continues to have a profound impact. "Vi Hanh" is one of the finest short stories by Nguyen Ai Quoc, excerpted from a collection of works written in French. The story, written in early 1923, is part of a satirical series critiquing the 1922 visit of King Khai Dinh to France. The story describes a scene in a Paris subway where a French couple mistakes the narrator, a native man, for King Khai Dinh, treating him as a cheap form of entertainment. The narrator recalls his childhood, reflecting on tales of kings, and connects them to the dubious intentions behind King Khai Dinh's visit. The author also highlights the misunderstandings of the French colonial authorities. This satire criticizes the visit and provides the main theme of the story. The ironic tone is evident from the very beginning when the author sets up a situation of confusion: the French couple on the subway mistakes the narrator for King Khai Dinh. They, like many other French people, confuse all yellow-skinned people with the king, and even more absurdly, they do not recognize him despite having invited him to their country. The author points out the reasons behind this mistake, namely the difficulty the French had distinguishing between the faces of people from the East. With yellow skin, flat noses, slanted eyes, and round faces, it was hard for the French to tell apart people from Vietnam. Yet, the confusion by the French couple intrigued the narrator, as it led them to discuss King Khai Dinh, allowing the reader to form an image of the king without him ever appearing in the story. This situation of mistaken identity serves to reflect how the French perceived Khai Dinh, mocking him as a puppet king. The story cleverly uses the misunderstanding as an artistic device, creating a humorous yet critical tone that highlights the absurdity of the situation. The absence of Khai Dinh himself does not prevent the author from sketching a clear image of him as a laughable, insignificant, and pathetic puppet ruler. Moreover, the author satirizes the curious and naive nature of Parisian society, lightly mocking their fascination with such spectacles. On the surface, the language seems playful and light, but behind it, sharp critiques are made of the ignorance and arrogance toward the enemy. The author points to the absurdity of Khai Dinh's character through dialogues like: 'At that moment, a king arrived to join us' or 'Do you remember the colonial ball at the opera? We had to pay nearly one and a half francs to watch the mistress of the Cambodian king.' 'Today, we didn’t lose any money yet got to see the king right next to us. I heard the puppeteer plans to sign a contract for a show.' These lines mock Khai Dinh's ridiculousness, revealing his ignorance and stupidity, while demonstrating the sharp satirical power of Nguyen Ai Quoc's writing. The deep satire is further evident in the author's use of the epistolary form. "Vi Hanh" is written as a letter to the author's younger cousin back home. Writing a short story as a letter might not seem particularly novel, but in this specific context, the form achieves exceptional artistic impact. The letter offers a flexible and informal writing style that allows for smooth transitions, shifts in tone, and the expression of personal thoughts and emotions. The author uses the letter form to make sharp critiques about Khai Dinh’s visit, the colonial government's attitude, and the puppet king himself. The letter format permits the author to critique colonial policy and expose the farce of the puppet king. Through the letter, the character of King Khai Dinh is again portrayed as a frivolous, decadent ruler. The author sarcastically portrays Khai Dinh as a king bored with his royal duties, seeking to taste the life of a carefree playboy. He left his baggage at a pawnshop, traveled without attendants, and frequented unsavory places. The author cleverly suggests that Khai Dinh's visit might have been driven by a desire to observe whether the French people consumed as much alcohol and opium as the Vietnamese under his rule. The language of the work is sharply satirical, and its tone unexpectedly biting. "Vi Hanh" is a masterpiece that mocks and critiques the puppet nature of King Khai Dinh. In addition, through the letter format, the author denounces the false colonial policies of France, the oppressive tax system, and even the covert surveillance of the colonizers in their homeland. The satire in "Vi Hanh" blends European modernist satire with the playful and subtle wit of Eastern humor. "Vi Hanh" is a representative work of the short story form, demonstrating the author's creativity in writing with brevity, intellectual depth, and profound satirical skill.

Nguyen Ai Quoc – Ho Chi Minh was a versatile writer, excelling in poetry, fiction, and memoirs. His works blend both classic and modern styles, leaving a remarkable legacy in every genre he touched. One of his distinctive works, written in French, is the short story "Vi Hanh," a brilliant piece of satire that sharply criticizes the 1920s visit of King Khai Dinh to France.

The story begins with a French couple mistakenly identifying the narrator as King Khai Dinh, treating him as a cheap form of amusement. This leads the narrator to recall the secretive travels of kings in the past and draw connections to Khai Dinh's dubious actions for personal gain. With biting humor and sharp satire, the story reveals the true nature of this puppet king who dishonored his nation.

The satire begins with the title of the story, "Vi Hanh," which, while seemingly light, carries a sarcastic, critical undertone. Traditionally, "Vi Hanh" refers to secretive journeys taken by kings in ancient times to better understand the lives of common people. Kings would disguise themselves in common clothes to learn about their subjects and implement better governance. However, Ho Chi Minh gives "Vi Hanh" a completely different meaning. The one who is traveling incognito is not a wise ruler but a foreign puppet, sneaking around for selfish pleasure.

To make the story more engaging, the author uses a comical misunderstanding between a couple on the Paris subway. They mistakenly believe the narrator is King Khai Dinh, and this confusion extends to the French public, who cannot tell apart the yellow-skinned people in their midst. The absurdity of inviting a king to France while not knowing who he is is highlighted, and the narrator finds humor in their conversation. From this encounter, the character of King Khai Dinh emerges in a comic light, with descriptions like: "the same flat nose, the same slanted eyes, the same round face like a lemon peel," and "the lamp-shaped head wrap, fingers adorned with rings."

Khai Dinh's appearance is depicted as utterly degrading – "a king has arrived," they mockingly say, comparing his arrival to a circus act: "how laughable," "paying an exorbitant fee to watch him up close," "today, we don’t even lose any money and yet get to see the king right beside us!"

The purpose of this misunderstanding is to show how the French view the Vietnamese puppet king. Combined with the form of a letter, the narrative also emphasizes that their perceptions are accurate, with the narrator even feeling that the king is even more contemptible. The mistaken identity, throughout the story, serves as the main tool for the satire.

To enhance the satirical impact, Nguyen Ai Quoc weaves together the conversation between the couple and the narrator’s storytelling to his cousin. The author references historical figures like Emperor Shun of China and Tsar Peter of Russia, who disguised themselves as commoners to learn about their people. These comparisons create a stark contrast, revealing the vile nature of the puppet king Khai Dinh. The question arises: "Was Khai Dinh's secret journey a way for him to learn whether the French people, under the reign of your friend Alexandre I, are as miserable, drinking wine and smoking opium as the people of Vietnam under his rule?"

Or perhaps Khai Dinh is "tired of being a big king and wants to try the life of a spoiled prince." The extravagant lifestyle of this puppet king is sharply observed and depicted by the author. The writing style is biting, a perfect example of "satirical pieces," where a single metaphor hits two targets.

With a humorous yet deeply meaningful tone, the author subtly criticizes the French government, which claims to be civilizing Indochina, but in reality, oppresses the people. "All white-skinned people in Indochina are considered civilized, but now all yellow-skinned people are treated as kings in France." "The government treats all Annamese people like royalty, sending entourages to escort them! These are humble, shy, selfless servants who are utterly devoted."

The humor in the story combines the lively Western style with the profound, introspective depth of Eastern thought. The fusion of these two cultural influences is brilliantly captured in "Vi Hanh." The story stands as a powerful testament to the sharp, creative pen of Nguyen Ai Quoc, whose artistic vision continues to resonate with readers today.

Nguyễn Ái Quốc is the pseudonym used by President Hồ Chí Minh during his secret revolutionary activities in Paris in the 1920s. Fully aware of the profound influence and power of literature, he used it as a tool for revolutionary propaganda, a sharp weapon to oppose the enemies of the nation. 'Vi Hành' is one of Nguyễn Ái Quốc's finest short stories, written in 1922 during the period when King Khải Định of the Nguyễn dynasty requested permission from the French government to attend an exhibition in Marseille. This exhibition aimed to deceive the French public with claims of the 'civilizing achievements' of the French colonies.

In writing this short story, Nguyễn Ái Quốc aimed to expose the true nature of the puppet King Khải Định, who had brought disgrace to the national dignity; he subtly denounced the malicious plans of the colonial government in front of the public. Interestingly, the author wrote this story in French, right in Paris, deliberately making it accessible to the French readers. As a result, the story's critical message is amplified significantly.

The satirical and critical nature of the story lies right in its title. 'Vi Hành' traditionally refers to secret visits by kings or rulers in ancient times to experience the real lives of common people, which would help them adjust their governing policies accordingly. However, in this story, the author gives 'Vi Hành' a completely opposite meaning, implying secret indulgences of King Khải Định in France, purely for the satisfaction of his personal vices. The satire and criticism are woven into the plot's unique situation and the portrayal of the main character.

The author cleverly creates a situation that is both ironic and humorous, entirely fictional yet so believable, even more than real. The entire story is a sequence of increasing misunderstandings: a French couple on the subway mistakes a man with yellow skin and a flat nose sitting nearby (the narrator – the storyteller) for the King of Annam. The French public seems to think that all yellow-skinned, flat-nosed people in France are King Khải Định. Even more absurd, the authorities of 'the mother country, Great France,' are confused and cannot tell who is Khải Định and who is the person they need to watch (Nguyễn Ái Quốc). Consequently, Nguyễn Ái Quốc is always secretly accompanied by someone (monitored by secret agents). The author deliberately 'fabricates' this situation to emphasize that its root cause lies in the erratic 'Vi Hành' of King Khải Định.

In the end, this situation could occur, albeit rarely, because for Westerners, any person of East Asian descent looks the same, with flat noses, yellow skin, and slanted eyes... It is difficult to distinguish one person from another. The author takes full advantage of this characteristic to mock and satirize King Khải Định, the puppet, and his lackey status. Through a conversation between the French couple on the subway, which the author overhears and recounts, readers can imagine the general features of King Khải Định:

– It's him!

– No, it's not!

– Yes, it is! I told you, it's definitely him!

– Are you sure? I saw him at the racetrack, he seemed more shy and awkward, wearing a lamp-like thing on his head, with rings on all his fingers.

– Maybe he pawned all of that? But look closely! Isn't it the same flat nose, the same slanted eyes, the same chubby face like a lemon peel?

– I prefer Sác lô.

– Do you remember that colonial ball at the Cabaret Theatre? You had to pay a thousand and a half francs to see the concubine of the King of Cambodia... but today, we don't have to spend any money to see the king right here? I heard the puppet master has regular deals for shows...

Due to the misunderstanding, the French couple casually and humorously discusses the 'King of Annam.' In their view, this king is nothing more than a cheap form of entertainment, even free. This reflects the French public's attitude of disdain and contempt toward Khải Định.

To achieve maximum satirical effect, the author chose the form of a letter, specifically a letter from an older brother to his younger sister. Letters have a personal tone, offering freedom and flexibility, without any formal restrictions. The writer can change content and tone at will. The author blends dialogue from the French couple on the subway with narrative segments to the younger sister. The character of the younger sister is also a fictional creation, serving as a medium for Nguyễn Ái Quốc to expose the vile nature of King Khải Định. He followed the malicious agenda of the French colonists, poisoning the people with alcohol and opium.

The author's storytelling technique is highly engaging due to the dynamic shifts in tone: at times objective, at times intimate, and at times humorous or mocking... The story’s context also constantly shifts, intertwining the present with the past, placing one narrative next to another. The subway story in Paris suddenly transitions to memories of childhood back home, where the older brother enjoyed sitting on his uncle's lap listening to folk tales... Stories of King Nghiêu and King Thuấn from ancient China, of Tsar Peter the Great's undercover visits in Russia...; and the story of how the French authorities mistook him for the 'King of Annam,' sending secret agents to follow him around 'for protection'... before returning to the subject of King Khải Định’s notorious visits to popular entertainment spots in France. The author's intention is to target the audience with multiple tactics, using different methods to maximize the satirical impact, creating a vivid portrait of the useless, extravagant, and disgraceful king.

'Vi Hành' is a short story with high contemporary relevance and a strong fighting spirit, yet its content is delivered in an engaging and captivating artistic form. The humor in this story blends the energetic, bold spirit of the West with the deep, thoughtful nature of the East. 'Vi Hành' is a product of Nguyễn Ái Quốc's patriotism and hatred for the enemy, while also showcasing the creative power of his brilliant writing style.

Vietnamese literature in the early 1920s was still in a period of transformation. Meanwhile, across the western world, Nguyễn Ái Quốc had already created a work in the French language, following the modern European prose style. This work is the short story 'Vi Hành.' Its release marked an important milestone both in terms of ideology and artistry for Nguyễn Ái Quốc. It captivated readers with its sharp, subtle, and intellectually rich satirical style.

In mid-1922, the puppet king Khải Định was invited to France to attend a colonial exhibition. In reality, it was a humiliating trip to openly praise the 'civilization' of the French motherland. Such an act might deceive the amusement-seeking French public, but it certainly couldn’t fool the revolutionaries. Nguyễn Ái Quốc, not willing to accept seeing his nation humiliated by the capitulation of a single individual, wrote 'Vi Hành' to expose the despicable face of Khải Định and his puppet officials. Thanks to the remarkable success of its satirical art, the work's sharp, mocking arrows hit their intended targets.

The plot of 'Vi Hành' is based on several 'accidentally intentional' situations. But first, let’s discuss the language form and the story's title. Choosing French to reach the French audience was a carefully considered decision by Nguyễn Ái Quốc, for awakening the French public would also strengthen the Vietnamese revolution. At that time, the French people were politically unaware, deluded by their government, and indifferent to the actions of their government in the colonies. Though written in French, 'Vi Hành' carries a title in Classical Chinese. The term 'Vi Hành' originally had a positive meaning. In ancient times, virtuous emperors often went incognito to listen to the complaints of the people, and such secretive, compassionate journeys were called 'vi hành.' Later, the term also came to denote secretive, dubious trips. By using a word typically associated with a noble meaning to describe a sordid, shameful trip, Nguyễn Ái Quốc’s choice of title served as an ironic and satirical statement. Furthermore, the title piqued the curiosity of the French readers, drawing them in immediately.

The story begins with a French couple mistakenly identifying the narrator as Khải Định. Such a misunderstanding is plausible, as it is easy to confuse one person for another. From this moment, Nguyễn Ái Quốc freely sketches, thinks, and comments on the king without worrying that the public might dismiss his words as mere subjective opinions or slander from a revolutionary. In reality, it is the French people themselves who are making these judgments! This clever and creative choice allows the caricature of Khải Định to come alive vividly, without the king himself ever appearing as a 'model.' The woman says: 'I saw him at the racetrack, he seemed more shy, awkward, and wore a headscarf with his fingers covered in rings.' At first glance, the king appears wealthy, but upon closer inspection, his appearance is bizarre, outdated, and uncultured. Also, why does this king appear so timid and clumsy? The man adds to the description, emphasizing the king's weakness, just as in real life: 'Same flat nose, same slanted eyes, same bloated face like a lemon peel?'

But all of this is humorous, not tragic, until the French set a price on Khải Định. Alas! A king reduced to a mere playboy, wasteful and careless; a king worth less than a circus act (not even compared to the Cambodian king’s concubines or the acrobatics of Congo's holy man). Khải Định is so dull, so insignificant, that he cannot even compare to the absurd acts of the Saclos. In the eyes of the French, Khải Định is utterly useless. And can such a king, from a country like this, truly represent the people? Or is he merely a pawn in the government’s game? Any French person who stops to think would surely be troubled by this question.

Thus, from a seemingly simple situation, the satirical arrow hits its mark. But the true value of satire lies not just in the plot but in the form of the story: a letter. Right beneath the title, Nguyễn Ái Quốc writes: 'Extracted from letters sent to a cousin, translated by the author from Annamese.' This remark is full of wisdom! It is not just a simple comment on the form of the work, but it points to something deeper. The remark subtly shifts the author's story to a more personal level, making the readers trust it even more, believing it is one of many stories the author translated from Annamese. In the West, publishing such private secrets was not uncommon, allowing the writer to express freely while the readers would enjoy savoring the hidden truths. Ultimately, the result is that although everything is based on reality, the author remains seemingly detached from it all.

Constructing the story based on a letter format means the writer is not constrained by any formal structure. Letters are inherently free and unrestrained. So, starting from the subway station, Nguyễn Ái Quốc takes the reader all the way back to Annam, to the time when the author and his cousin were young children. They recall a story the author once told about the great rulers of the past, who undertook magnificent 'vi hành' journeys. This story doesn’t aim to hurt anyone but subtly serves as a mirror to expose the corrupt nature of King Khải Định. Furthermore, the dynamic nature of letter writing ensures that 'Vi Hành' does not become monotonous with a single tone. The dialogues and the author’s comments shift between various tones: sometimes plain, sometimes tender, sometimes sarcastic, and sometimes solemn. This variety in tone allows Nguyễn Ái Quốc to skillfully criticize a range of targets: The French government appears comical and ignorant in hosting a banquet for an unknown figure (which also reveals their contempt); the secret police are as ridiculous as flies; and even the French public is mocked for their ignorance, caring more about entertainment than political issues or crimes.

Overall, the work is a masterful blend of light yet sharp satire, built on a foundation of astute artistic thinking. The satirical nature of the work is multifaceted, addressing many different targets with varying degrees of intensity. Interestingly, no target of mockery can hide its true nature.

Ho Chi Minh was a genius leader of Vietnam, a man who traveled extensively across the world, gathering invaluable experiences to bring back to his people. His deep understanding of the suffering of the people led him to write the piece *Vi hành* to expose and criticize the traitorous officials of the Vietnamese court who sold out their country and harmed their people.

The work was written to unveil the crimes of King Khai Dinh, a traitor who sold out the country and harmed its citizens. The people of Vietnam suffered greatly, yet Khai Dinh, the leader of the country, showed no sense of duty or responsibility toward his nation. These actions were meant to expose and reveal the crimes of the enemy. Such actions enraged Ho Chi Minh, prompting him to highlight the heinous acts of the king.

The story takes place aboard a ship with a French couple, and the narrative unfolds logically and understandably. It develops in chronological order, with an open structure and a well-crafted sequence that advances the plot. The opening scenario sets the stage, as the French couple mistakes a person aboard the ship for Khai Dinh, further emphasizing the treasonous nature of his actions. The French perspective shows their disdain, mocking and ridiculing the Vietnamese king.

From the French perspective, Khai Dinh is held in utter contempt, and for the Vietnamese, this perspective is amplified through Ho Chi Minh's artistic critique. Ho Chi Minh's methods of creating trust and firm determination against the enemy are powerfully conveyed, with his satire having a significant impact on literature. It reflects the spirit of the time, as literature serves as a mirror for the soul of the era. Through his artistic mastery and personal experiences, Ho Chi Minh exposes the crimes of Khai Dinh against the Vietnamese people.

As the leader of the nation, Khai Dinh should have been working for the welfare of his people, but instead, he took actions that benefited only himself, even selling the nation to France. His image is deeply despised, not only through the eyes of the young couple but also through the sharp observations of Ho Chi Minh. Faced with these actions, Ho Chi Minh wrote *Vi hành* to denounce the king's deeds. The title itself is a mockery, with 'vi hành' meaning to go on a secret mission, yet the satire is present right from the title, aimed at undermining the spirit of the king.

The harsh criticism runs deep in the spirit of the writing, highlighting the king's indulgent, self-serving lifestyle, at the expense of the nation's poverty. It is truly a despicable and deeply condemnable act. In every situation, Ho Chi Minh's portrayal of the king carries an accusation, acting as a warning to any leader who behaves like a puppet, silent before the manipulation of the enemy. This represents a great shame for the Vietnamese people.

The various scenarios created in the story logically connect the issues being addressed. Each situation fits seamlessly into the narrative, with numerous descriptive details adding depth to the story. The comedic elements serve to highlight the deeper meanings of the story, and the developments reveal the sharp satire at play. In the exchange between the two French characters, we can clearly see their contempt for this puppet king.

While the story is fictional, it is powerful enough to expose the enemy's crimes. The images in the work are detailed and carry immense symbolic weight, serving to illustrate the king's faults. The story not only reflects the king's character but also evokes powerful emotions and memories for the readers, amplifying the value of the work. These images and situations elevate the artistic strength of Ho Chi Minh's writing.

The French colonists were a formidable empire, and they used harsh methods to control the Vietnamese people, intoxicating them with alcohol and opium. These substances had a profound impact on individuals, leaving a lasting emotional imprint on the author. The imagery of these drugs and their effects on the Vietnamese people permeates the work.

Despite knowing that the French were gradually poisoning and torturing the Vietnamese, Khai Dinh, the puppet king, stood behind it all. His puppet-like behavior, when confronted with the enemy's crimes, only fueled the anger and frustration of the people. Through his artistic skill, sharp language, and situational storytelling, Ho Chi Minh elevates the critique, condemning the puppet king's actions. These images intensify the value of the work, with each situation created to harshly criticize the enemy's crimes.

The prominent images of the puppet king are depicted through the dialogues between the two young French characters. The journey aboard the ship serves as a vehicle for denouncing the crimes of the enemy. These images enhance the vitality and power of the work, forcefully exposing the mockery and disdain that everyone feels for the king.

Ho Chi Minh's artistic skill and free-spirited writing style imbue his works with great significance in condemning the crimes of the enemy against the Vietnamese people.

Nguyễn Ái Quốc - Hồ Chí Minh was not only a great leader of the Vietnamese people but also a remarkable writer, adept in various literary styles ranging from poetry to storytelling and reportage. His works are a blend of the modern and the classical, humorous yet satirical, and deeply humanistic. He has left behind an extensive body of work in both French and Vietnamese. One of his notable works in French is the short story 'Vi hành,' a unique piece that satirically critiques the visit of Khải Định to France in the early 20th century.

The story is a fictional account. On a subway train in Paris, a man is mistaken for King Khải Định, who is 'incognito.' The young French couple, assuming that the Vietnamese king does not understand French, freely gossip about him. This narrative also critiques the colonial policies of the French in Vietnam and the secret police operating on French soil. Written in French, 'Vi hành' takes the form of a letter, a genre familiar to French literary tastes. The tone of the story shifts seamlessly from an objective recount of events on the subway to a more lyrical voice when recounting childhood memories of the author's cousin. Moreover, with the form of a letter, the author effortlessly transitions between different settings, from Paris to Vietnam, from Emperor Shun to Emperor Pierre, from mocking Khải Định to denouncing French colonialism.

The satirical tone of the work is evident from the very title 'Vi hành,' which carries a gentle yet sharp mocking undertone. Traditionally, 'Vi hành' referred to covert journeys undertaken by rulers to understand their people's lives better. Kings would disguise themselves in common clothes to gain insight into the lives of ordinary citizens, hoping to govern more wisely. However, in this case, the term takes on a completely different meaning. The one 'incognito' is not a wise ruler, but rather a puppet of foreign powers, whose actions are clandestine and selfish, aimed at satisfying personal pleasures.

The satirical artistry continues with the situation in the story. On the subway, the young French couple mistakenly thinks the protagonist is King Khải Định. On the streets of Paris, the French public assumes that all people with yellow skin are royalty. Even the government fails to recognize their real guest, treating all Annamese people as royalty or royal attendants. This mix-up creates a satirical effect, reinforcing the story’s persuasive power and maintaining an objective tone. The figure of Khải Định never appears; the author only records the conversation between the French couple, yet the portrait of Khải Định is vividly sketched: a puppet king, a worthless figure, a cheap puppet.

Additionally, the author gently mocks the curious nature of the Parisian crowd. On the surface, the writing seems to lightly ridicule, but behind it lies a profound satire, a sneering attitude toward the enemy. 'At that moment, a king arrived to join us,' or 'Do you remember the colonial ball at the theater? We paid a fortune to watch the king of Cambodia's concubines perform...' 'Today, we didn’t lose a penny yet got to see the king up close. I heard the puppet theater manager is negotiating a deal to hire him…' These lines about Khải Định’s absurdity not only expose his ignorance but also demonstrate Nguyễn Ái Quốc's sharp satirical prowess.

The deep satire is also evident in the choice of letter form. 'Vi hành' is written as a letter to the author’s cousin in the homeland. While writing a short story in the form of a letter might not be groundbreaking, in this particular context, the letter serves an exceptional artistic purpose. The letter format is free-flowing, allowing the author to shift scenes and tones fluidly. Letters can convey information as well as personal thoughts, emotions, and reflections. This form grants a sense of freedom, enabling the author to weave a narrative full of wit and imagination. Through this letter form, Khải Định’s character is vividly depicted as a ruler who indulges in pleasures. The writer mocks the frivolous nature of this Annamese emperor.

Especially significant is the way the author selects and uses language to elevate the satirical artistry in 'Vi hành.' The language is sharp and full of unexpected sarcasm. 'Vi hành' serves to ridicule and critique the puppet-like nature of King Khải Định. Moreover, through the letter format, the author critiques the deceptive colonial policies of the French, their oppressive taxation system, and even the existence of the secret police operating within France itself.

Thus, 'Vi hành' is a work that harmoniously combines political and artistic elements. The satirical and critical artistry in the piece blends the modern European satirical style with a profound, humorous, and subtle East Asian flair. This work stands as a quintessential example of Nguyễn Ái Quốc’s writing style.

The short story "Vi hành" is a satirical piece criticizing the monarchy and colonialism, making it one of the earliest works of modern Vietnamese literature. Written to expose the true nature of the puppet king Khai Dinh during his visit to France for the 1922 colonial exhibition in Marseille, it also aimed to unveil the corrupt face of the French colonizers. "Vi hành" is a prime example of the biting satire of Nguyễn Ái Quốc. "Vi hành" was created with revolutionary intent, reflecting the spirit of resistance. It is part of a body of writings by Nguyễn Ái Quốc to denounce the puppet king Khai Dinh. The king is portrayed as nothing more than a ridiculous clown, sneaking around in secrecy. Through this story, Nguyễn Ái Quốc also intended to expose the dishonorable, deceitful nature of the French colonizers, subtly revealing the humiliation felt by the local people. Khai Dinh and the French colonists are portrayed in a manner that is both laughable and despicable. Satirical art has appeared in Vietnamese literature, with poets like Hồ Xuân Hương, Nguyễn Khuyến, and Tú Xương. However, the mockery of Nguyễn Ái Quốc carries a distinct tone of optimism, characteristic of a communist revolutionary. "Vi hành" showcases a sharp and playful wit, blending both combativeness and humor. Nguyễn Đăng Mạnh once remarked that "the story's situation is like a poetic theme. It serves as a cleansing agent, highlighting characters and issues with the author's perspective." In "Vi hành," Nguyễn Ái Quốc creates absurd yet entirely logical situations that bring out sharp satirical effects. The misunderstandings of a French couple and even the public and the French government, who mistake any yellow-skinned person for Khai Dinh, cleverly depict the true nature of the king, who is never directly named but revealed through the observations of the couple. In the eyes of the French, Khai Dinh is an absurd figure, dressed like a clown with a ridiculous headpiece and cheap, flashy jewelry. He is described as a strange spectacle, a "king" with a flat nose, slanted eyes, and yellow skin, stumbling through the glamorous streets of Paris. Where did he go? To the racetrack and the most decadent venues in Paris, his awkward, clumsy appearance portraying his pathetic state. Could it be that "you want to know if the French people, under the rule of your friend Alexandre I, live as indulgently as the people of Vietnam under your rule?... Or perhaps, having grown tired of being a great king, you now want to try the life of a spoiled prince?" Did he sneak around for a mischievous reason? Khai Dinh exposed his true face—he was nothing more than a reckless hedonist with no royal dignity. The author uses biting mockery to emphasize the king's contradictions, juxtaposing Khai Dinh with virtuous rulers like the ancient emperors Thuấn and Pierre, making Khai Dinh appear even more despicable, common, and pathetic. The story includes questions that speculate on Khai Dinh's motivations for his lowly actions. The repetitive use of words like "perhaps," "or," "or not" gives the impression that Nguyễn Ái Quốc is dissecting every aspect of the king's dishonor. In the eyes of the French, Khai Dinh is not just a ridiculous playboy or a woman-like figure draped in silks and beads; he is a source of amusement, a fool. The French couple's conversation on the bus illustrates this perfectly: "Do you remember the colonial ball at the theater? It cost us 1,500 francs to see the king of Cambodia's concubines, to watch the circus act of the Congo missionaries. Today, we don’t have to spend any money to see the king right next to us. They say the puppet theater manager is planning to sign a contract to hire him." The mockery of this puppet king is complete. Yet, the author, who is mistakenly thought to be the emperor, must endure this scorn from the French couple. But it isn't just the couple who is mistaken—"all yellow-skinned people are mistaken for the Emperor in France," and even the French government and the public make the same error. Ironically, "the public spontaneously greets us enthusiastically whenever they see our people," with whispered greetings, "There he is! Look at him!" The Vietnamese king is called "he," regarded with looks of curiosity and strange interest, like some rare curiosity, a circus act. The story’s critique becomes even more powerful, with the author capturing this in a letter to a cousin—an extraordinary portrayal that strongly criticizes the absurdity of the situation. The author masterfully shifts tones, comparing Khai Dinh's shallow pleasures to the oppression faced by the people. The story may seem lighthearted, but it conveys a deeper feeling of contempt and sorrow—sorrow for the nation under such a king. The sharpness of Nguyễn Ái Quốc's satire is evident not just in his portrayal of the puppet king but also in his depiction of the French colonizers, particularly the police and government. Even the French government cannot distinguish between real royalty, treating all Vietnamese as kings and sending a retinue to escort them. Nguyễn Ái Quốc’s satire is not just a surface mockery but a subtle, layered critique, conveyed through words like "exquisite reception," "for," "enthusiastic," "devoted," and "affectionate." These expressions mask deeper irony and sarcasm, such as: "You didn’t hesitate to protect us, and if you could see your tender, motherly attention to me, as though I were a child taking his first steps, surely you would feel jealous at your kindness." Through his work, Nguyễn Ái Quốc exposes the deception and exploitation of the French colonizers in Indochina, while attacking the colonial police state that infringes on the personal freedoms of the colonized. He also uses parallelism and comparison to criticize the ignorant policies and propaganda of the French colonialists. The laughter in the work is intellectual, a bitter laugh that arises from a deep reflection on the unnaturalness of the situation. The king—a prestigious title but in reality, despicable—stands as a metaphor for the protectorate policy, which may sound just, but is in fact brutally exploitative. The sharp, satirical pen of the author highlights the contradictions within the unity of opposing forces, uncovering both the scorn of a revolutionary and the sorrow of a nation under occupation. The laughter is full of irony, combining disdain for the oppressors and the pain of a conquered people, the wisdom of history, and the youthful playfulness of a fighter. Entering the world of "Vi hành," one encounters a richness of voices and images. The story captivates readers with its uniquely crafted narrative structure. "Vi hành" flows with a blend of various tones and perspectives. It begins with the lighthearted voice of an outsider, transitions into intimate musings between the author and his cousin, shifts to the royal reminiscences that satirize Khai Dinh's lowly motivations, and especially, when the author asks, "Do you want to know if the French under your rule are happy?" the tone becomes a direct jab at the puppet king's betrayal of the nation. The short story "Vi hành" is not just a satirical laugh but also the emotional state of the author. This mood is not only one of mockery but also contains hatred for the enemy and a deep sorrow for the loss of the homeland. Love for the country is sometimes expressed bitterly, as in the line: "Today, every time I step outside, I cannot understand why I hide my pride in being a Vietnamese and the pride in having an emperor." The creative brilliance of Nguyễn Ái Quốc culminates in this masterful satirical art, using humor to critique the powerful. However, in "Vi hành," Nguyễn Ái Quốc offers a deeper, more intellectual laughter. It is a bitter, reflective laugh born from the way words, situations, and characters are built. This is the laugh of intellect—it grows stronger the more you think about it, becoming more poignant the deeper you feel it.

The work 'Vi hành' is not only a piece of literature with profound anti-imperial and anti-feudal content, but also a magnificent artistic creation that reflects the modern prose style of the masterful writer Nguyễn Ái Quốc. The brilliance lies first in the title itself: 'Vi hành.' This title cleverly exposes the sarcastic contrast between the revered position of the emperor during his 1922 journey to the West and the ridiculousness of him as a puppet, a clown under the control of the puppet king Khải Định. Originally, the term 'Vi hành' referred to great emperors who disguised themselves as ordinary citizens to learn more about the lives and thoughts of their people in order to rule justly and bring true happiness to the people. However, Khải Định’s 'Vi hành' was merely an act to satisfy his lowly desires. Through this shift in meaning, Nguyễn Ái Quốc skillfully twisted the original intent into a biting form of satire. The writer used the emperor's own term to strike him down, a classic rhetorical technique where one uses the enemy's weapon against them. The wit and intelligence in the writing are undeniable.