Top 10 Best Essays Analyzing the Emotions of Characters in 'The Happiness of a Bereaved Family' by Vu Trong Phung (11th grade)

In life, how often does anyone feel "blissful", "happy", or "joyful" in the face of death? Sometimes even the death of a bitter enemy isn't met with such emotions. Especially when it is the passing of a loved one, a parent; how could anyone feel happiness in such circumstances? Yet, paradoxically, in the novel *The Red Sky* by Vu Trong Phung, there is a "mourning family" that truly feels "happy", with "many people feeling joyful", and "everyone is smiling"... This is most evident in the chapter titled "The Happiness of a Mourning Family".

Vu Trong Phung is renowned as the "king of Northern journalism", with many of his works famous for their unique style, particularly in the field of satirical literature. *The Red Sky* is considered one of his beloved works, and what makes this piece stand out is the way the author crafts numerous characters, each contributing a distinct tone that blends into the overall tone of the story.

Chapter V, titled "The Happiness of a Mourning Family", is an exceptional chapter that clearly showcases the traits of the characters. In this chapter, the author skillfully constructs typical situations that reveal the unique characteristics of each person. First, consider the attitude of those closely related to the deceased. The death of the patriarch does not invoke sorrow from his children or grandchildren, for they have long awaited his passing to inherit his wealth. Instead, his death brings them joy—"happiness".

Mr. Phan Moc Sung is the first of the relatives mentioned. Phan Moc Sung, the "honored" son-in-law of the late patriarch, is thrilled because with the help of Xuan Toc Do, his wife’s scandalous plan to exploit the inheritance has succeeded magnificently. Thanks to this, he "was told in secret by the late patriarch that he would be given a few thousand dong to share with his daughter and son-in-law". He is "astonished by the immense value of the invisible antlers on his head".

The happiness of the late patriarch is a kind of "blind vanity" that is both foolish and absurd. To this quirky character, the death of his father is a rare opportunity for him to be recognized as a patriarch by society, even though he is barely over fifty years old. He "closes his eyes and dreams of the day when he will wear a tattered robe, hobble with a cane, cough and cry, so the public will point and say, 'Wow, look at how old that young man has become!'" He is certain that everyone will praise his funeral, his cane, and the entire spectacle.

Meanwhile, Van Minh, the heir of the late patriarch, has his reasons for being happy as well. He is sure to inherit a significant fortune, and his only "concern" is to "hire a lawyer to witness his grandfather’s death". He is pleased that "from now on, the will will be enforced, no longer just a fanciful theory".

The other relatives only truly feel joy when the patriarch orders the distribution of the inheritance. The funeral becomes an event where each person displays their role in society: Mrs. Van Minh will wear the latest fashion in mourning attire, Tuyet will wear a dress named "Innocence" to prove to the world that she hasn’t lost her virginity... Then there’s young Tu Tan, who will showcase his photography skills at the funeral, while Mr. Typn is delighted to see his fashion designs promoted by the media.

The joy from the patriarch’s death spreads beyond the immediate family. Two low-ranking guards, Min Do and Min Toa, are hired to maintain order at the funeral and are overjoyed by their work.

Prominent men—those powerful friends of the late patriarch—attend the funeral to mourn but also to boast about their illustrious careers and medals: "the North Star Order, the Long Order, the Cao Men Order, the Van Tuong Order..." Yet, this group, full of pomp, is thrilled to attend and witness Tuyet’s pale skin peeking through the delicate veil draped over her chest.

Monk Tang Phu is "overjoyed and proud" as he rides in a carriage, sure that the people watching from the streets will recognize that he has defeated the Buddhist Association. For the young men and women of Hanoi, who have no relation to the deceased, their joy lies in the opportunity to "flirt, gossip, judge, and fall in love". However, perhaps the happiest person is Xuan Toc Do, although he is unaware of it. The patriarch’s death brings Xuan both honor and wealth.

The funeral becomes a chaotic spectacle. The men and women flirt and socialize, the guests are thrilled to show off or secretly hope to inherit some of the deceased’s belongings. The repeated phrase "The procession keeps going" evokes the image of a grand funeral, filled with absurdity and crudeness. "The procession keeps going..." also symbolizes the never-ending immorality that doesn’t disappear but instead transforms into various forms within society.

And when the funeral no longer "keeps going" but instead halts at the grave, Vu Trong Phung presents two significant details that elevate the scene to its climax. The first is the moment when Tu Tan instructs each person to strike a mournful pose for a photograph. The second is the portrayal of Mr. Phan Moc Sung, the most deceitful and immoral person in the family, who cries as though he might collapse, but in the midst of his sorrow, quickly hands Xuan Toc Do a five-dong note as thanks for calling him a "horned husband" and for indirectly contributing to the old man’s death. These moments mark the conclusion of a chapter that keenly exposes the hypocrisy of human nature.

This strange, even grotesque, joy and happiness, spread widely through Vu Trong Phung’s pen, from the higher-ups to the lower ranks, from those inside the mourning family to those outside it. The author uncovers a society full of farcical Westernization, with its shallow, meaningless, and frivolous pleasures.

The intense, bitter laughter towards the colonial, feudal, and bourgeois society, a society which Vũ Trọng Phụng refers to as "despicable" and "scoundrels" in *Số đỏ* and *The Happiness of a Mourning Family*, resonates deeply in the reader's mind. This is a "world of human nature" built on two key elements: cruelty and deceit, which are epitomized in the paradoxical yet meaningful sentence: "That death has brought immense joy to many people".

A large family with many children, grandchildren, relatives, and acquaintances of the late grandfather Hồng represents a laughable bourgeois feudal society. From birth to adulthood, people always wish for happiness. Yet, upon death, all one desires is to receive the sorrowful tears of the living. But when the late grandfather Hồng passed, his death brought nothing but joy, excitement, and cheer among his family. This sentiment only exists in a corrupt, rotten society. The story seems to exemplify the moral decay brought out by Vũ Trọng Phụng’s work. Even in the title of this excerpt, the author emphasizes cruelty and deceit. Happiness is tied to mourning, and mourning creates happiness. The excerpt highlights these contrasting aspects through a naturally funny, logical metaphor.

By observing the expressions and actions of the characters in the story, the reader perceives the happiness they will soon receive, a happiness they've long awaited. When the grandfather passed, it’s uncertain if he was aware that his death had brought joy to many. His happiness, symbolized by the faint, dreamy closing of his eyes, was a result of imagining "the time when he wore his old clothes, hobbled with a cane, coughing and crying in front of people who would point and say:

- Look, the old man’s son has grown so old!

He reminisced, saying that everyone should admire such a funeral, with such a cane... The vision before the old grandfather Hồng’s eyes was absurd and bitter. People were attending his funeral, not to admire his son’s age or his cane, but to witness his journey to the afterlife. Yet, these thoughts truly reflected the grandfather’s emotions in this "lively", "noisy" funeral.

Meanwhile, Mr. Phán, with his antlers, felt astonished by the invisible value these antlers brought him. He was elated to hear the grandfather whisper that he would give his daughter and son-in-law a few thousand dong. Even during the funeral, Mr. Phán’s unexpected windfall brought him immense happiness. Even with the antlers Xuân Tóc Đỏ humorously attached to him, he was grateful. Amidst the chaos of the funeral, "the servant had counted 1,872, while the irritated grandfather Hồng repeatedly exclaimed, 'I know, it's hard, stop repeating!'" Mr. Phán quickly negotiated with Xuân, starting his business dealings... first, paying Xuân back five dong. In the sacred moment of a person’s life ending, people still couldn’t forget the gleam of money, and they chased after it more passionately than ever.

"Before the eager eyes of a group of filial children who were rushing to bury the grandfather’s body quickly," the grandfather Hồng closed his eyes in agony. How vile and despicable the faces of these people were! They attended the funeral not to mourn but to showcase their fashionable outfits for everyone to admire. Tú Tân was furious because his camera, which he had been ready to use, was never needed. Mrs. Văn Minh anxiously awaited her chance to wear the latest fashion: a new spike crown with black trim—a creation of modern trends. Such items, when paraded by European-style stores, could grant those experiencing mourning a little joy in life. It seemed like they were attending a wedding instead of a funeral. They only cared about satisfying their own desires while completely ignoring who had cared for the grandfather during his illness and after his passing. Meanwhile, the granddaughter Tuyết naturally showcased her ill-fitting, trendy clothes. Her naive outfit and her longing for a lover were enough to show that the grandfather’s death only made them happy and content.

Everyone, each with their own appearance, even the two police officers Min Đơ and Min Toa, were overjoyed to be hired to maintain order at this grand funeral. "Thus, everyone in the mourning family was joyful." A funeral that blended local, Chinese, and Western traditions—with everything from a procession with a luxurious canopy, roasted pigs, to broken plates, bouquets, hundreds of couplets, and many people attending—was chaotic and noisy, worthy of being called a fair for celebrities to compete in photography. "Such a grand funeral could make the deceased smile in the coffin, if not nod his head in approval." This sentence felt so bitter and sharp. It seemed in this complex society, humanity had vanished. People treated each other only by following the dazzling light of a so-called "civilized modern lifestyle," with no thought for the deceased. In their hearts, the love between people no longer existed. Between them lay the chasm of cruelty and deceit.

Reading the first part of the excerpt, one might think the offspring of the grandfather were utterly detestable. But it doesn’t end there—these disobedient descendants still want to prove they are the most filial in the world. The funeral they were organizing had to become the model for the whole world. Those who eagerly awaited the death of their ancestor found happiness because it gave them a chance to express their filial piety by organizing a grand funeral, a "dirty" desire present in every ungrateful, heartless grandchild, embodying the complicated and chaotic nature of a rotten society, a society of "scoundrels".

The story of this family has come to symbolize society as a whole. The happiness and satisfaction of these "disgusting people" represent a "human world" built on cruelty and deceit. Humanity between individuals has become as cold and frozen as ice, lacking the warmth of love. The grandfather’s death caused no sorrow in anyone; they approached the funeral only to take and implement his will. Only the silent pages of a book reflect the writer's and reader’s bitter, resentful tears. The grandchildren, thinking of themselves as the most filial, do not recognize the cruelty and deceit in their actions and thoughts. The bridge they built to reach "filial piety" is made of cruelty and deceit.

Trying to cover up the rottenness inside with a false exterior is an act of deceit at its cruelest. The world they live in isn’t one of kindness. The world of humanity only exists when people trust, love, and respect each other. But here, people are merely sacrifices to the impersonal cycle of life. Their happiness and satisfaction may differ, but they all share the same foundation of cruelty and deceit. The funeral, attended by an enormous crowd, reflected the degradation and depravity of society everywhere. Through the refrain: "The funeral goes on," the author describes a grand funeral for everyone to admire. Yet, no one truly mourned. In both the family and outside it, whether young or old, male or female, they all tried to keep sad faces, but inside, they were all secretly delighted for some reason. "The funeral goes on" means that shamelessness and deceit continue without end, with no knowing when it will conclude. The world of humanity described in the excerpt is only cruelty and deceit. This cruelty and deceit don’t only exist in the "outsider" society but are even more pronounced within the very family and close relatives. No matter how grand, wealthy, or noisy the grandfather’s funeral is, it can’t conceal the cruelty and deceit of grandfather Hồng, Mrs. Văn Minh, Xuân Tóc Đỏ, or the monk Tăng Phú...

The absurdity of the funeral, with the appearance of two major frauds—Xuân Tóc Đỏ and monk Tăng Phú—further exposes the cruelty and deceit. Why was Mrs. Hồng so delighted by their presence? Was it because six cars with canopies carried the monks from Ba Banh Temple? Was it because of the large wreaths? No one knows for sure! All that is clear is that their presence made the already absurd funeral even more absurd. Monk Tăng Phú seized the "opportunity" to gain power for the Buddhist Association, while Xuân Tóc Đỏ was a benefactor of the family and Tuyết’s "betrothed".

Through the sharp eyes of Vũ Trọng Phụng, the immoral people in the family are not isolated—they are numerous and spread throughout society. Some even view the late grandfather’s funeral as the burial of the entire colonial, feudal society. The deceit and cruelty it exhibited had reached a point where it was openly displayed, causing an uproar. It was impossible to allow this farce to continue endlessly.

One of the most distinctive chapters in the novel *Red Sorghum* by Vũ Trọng Phụng is arguably *The Happiness of a Funeral*. The satirical tone in this chapter reflects much of the overall message of the work. The concepts of death and happiness, seemingly contradictory, are in fact quite realistic when applied to the story of the late ancestor of the Hong family.

The death of the patriarch is something many in the family had secretly wished for, a desire shared by all his children and grandchildren. After multiple failed deathbed scenes, the old man finally passes away for real. He had lived so long that his family had grown to resent him, and his death was met with a quiet celebration. Everyone was happy in their own way. The son of the deceased, the head of the family, now ascends to the top, and he can finally boast about his age and newfound power over the family.

The daughter-in-law of the late patriarch is overjoyed, as there is no better occasion to flaunt the family's status. She takes great pride in showcasing the extravagant funeral, a grand affair unlike any other in the land. With ceremonial chairs, mixed Western and Vietnamese music, a flurry of camera flashes, floral wreaths covering everything, and crowds of mourners, the funeral is the talk of the town.

The grandson, Văn Minh, is happy because the will is finally in action, no longer just a piece of paper but a reality he can benefit from. His happiness is tied to tangible material gains. The granddaughter-in-law, Văn Minh’s wife, is thrilled as this is a chance to display the latest funeral attire in her shop for all to see. The stylish new designs will be the talk of the town at this event.

The granddaughter Tuyết sees the funeral as an opportunity to present her pure, innocent image while flaunting her youthful beauty through the latest fashion trends. She subtly searches for a romantic connection in the midst of the ceremony, acting demure and dreamy, adding a touch of wistfulness to the otherwise bustling funeral.

For the grandson Tú Tân, the funeral is a chance to show off his skills with a camera and his leadership as a budding photographer. At this time, owning a camera is a symbol of wealth and sophistication, so Tú Tân seizes the chance to direct the crowd at the gravesite while snapping photos. The son-in-law Phán, known for his notorious cuckold status, is pleased because everyone now knows about his unfortunate fate. He can now proudly declare to the world that he’s the man who was betrayed, the unfortunate one who had horns sprout on his head.

Xuân Tóc Đỏ uses the funeral to enhance his image as a sophisticated, well-dressed man, all while taking the opportunity to collect a debt from Mr. Phán. Even those outside the family, such as old friends and acquaintances, come to the funeral with their own peculiar happiness. The elderly men use the event to boast about their medals and achievements, while enjoying the view of young women like Tuyết. The youth, full of vitality, treat the funeral as a chance to socialize and flirt.

The atmosphere of the funeral is unexpectedly lively, almost festive. Everyone arrives with their personal motives, turning the funeral into a jubilant, bustling celebration that even the deceased might rise from the grave to enjoy.

In depicting the happiness of these characters in this story, Vũ Trọng Phụng opens the readers’ eyes to the complex emotional landscape of each individual, as well as the surreal atmosphere surrounding the funeral. The story’s underlying logic becomes clear: this is a kind of happiness, albeit a satirical one, and certainly not the kind anyone would expect from a funeral.

While many contemporary writers focus on the struggles of poor farmers and the tragedies of hunger and degradation, Vũ Trọng Phụng instead explores the upper class to expose the hypocrisy and immorality of society. He vividly portrays these issues in the excerpt from 'The Happiness of a Funeral,' a passage from Chapter XV of the novel 'Số đỏ.'

The characters in this excerpt represent the upper class of urban society at the time. They praise a 'civilized' lifestyle, unaware that this mimicry leads to the erosion of moral values and the corruption of human dignity. The passage begins with the line: 'Three days later, the old man really passed away,' signaling the death of the patriarch and providing an opportunity for the family and others to express their joy. This funeral contrasts starkly with others, as people usually grieve the loss of a loved one, but here, the death brings joy to many. The passing of the patriarch 'brought great happiness to many.' The children in the family are the most excited, as 'the will would soon be executed, no longer just a distant dream.' This joy stems from their obsession with status and wealth, causing them to lose sight of ethical principles and the societal values that once mattered.

While everyone shares in the family's happiness, each person has their own personal reasons for rejoicing. The eldest son’s attitude reflects the false piety and ingratitude towards his father. Before his father’s death, the patriarch, Cụ Cố Hồng, imagined himself in old age, using a cane, coughing and crying in a dramatic show of filial piety, 'so people would say: 'Look, the eldest son has grown so old!'' Is his coughing and crying a genuine expression of grief, or merely a false display to impress others? Cụ Cố Hồng wants society to see his family as part of the wealthy elite. In truth, his actions aim to showcase his age, piety, and status: 'He was sure that everyone would praise such a funeral, such a cane.' This would make people think his family was blessed because the patriarch lived a long life. Văn Minh, the patriarch’s grandson, should have been mourning his grandfather’s death, but instead, he is happy to inherit the family wealth.

Who wouldn't feel elated to suddenly receive money and property, but to feel joy over the profit gained from a loved one’s death is immoral. Văn Minh’s only concern is arranging for a lawyer to witness the grandfather’s death and ensure the will is executed as planned. This is also an opportunity for him to show off the latest fashion trends from the family tailor. Despite the festive atmosphere, he is troubled by how to repay Xuân Tóc Đỏ, who had helped cause the patriarch’s death. Although Xuân was not qualified as a doctor, Văn Minh invited him to treat the old man, indirectly contributing to his death. Văn Minh, uncertain how to thank Xuân, appears pensive, with a face 'like that of a person from a family in mourning.' The author delves into the thoughts of the character, revealing the true nature of the grandson, who is often seen as a well-educated individual, having studied abroad.

Alongside her husband’s joy, Văn Minh’s wife is thrilled by the opportunity to advertise the latest fashions from the tailor shop, including clothing 'for those in mourning, allowing the deceased to experience some happiness in life.' As the daughter-in-law, she eagerly anticipates wearing the new fashionable mourning attire. Her primary aim is to showcase the designs, not to mourn the patriarch’s passing. The funeral becomes a fashion show, rather than a space for expressing grief for the deceased. This behavior contradicts traditional cultural values.

When Cụ Cố Hồng mentions that he will 'give a little extra money to the daughter and son-in-law,' Mr. Phán becomes excited. He never imagined that the 'symbolic horns' on his head would bring such benefits. He feels no shame about his affair but is instead grateful that it has led to financial gain. Even at the funeral, he plans a 'business venture' with Xuân Tóc Đỏ to earn more money, as Xuân is skilled at advertising. While the readers may think Mr. Phán is a devoted grandson, his crying is false, as he uses it as an excuse to slip a five-dollar note to Xuân. For him, the funeral is a place for transactions, where he conducts business with Xuân, who helped him earn money.

One of Văn Minh’s younger sisters, Tuyết, is seduced by Xuân. Besides enjoying the chance to showcase her fashion, she wants to prove her virtuous character to society. She wears a 'delicate gown, with sheer sleeves revealing her bare shoulders and half of her chest, but with black trimming, and a pretty little hat.' Tuyết dresses like this to demonstrate that 'she hasn’t lost her virtue.' She wears it to dispel rumors about her promiscuity. What kind of devoted granddaughter would wear such a revealing outfit to her grandfather’s funeral? The funeral has become an opportunity for Tuyết to flaunt her beauty, her virtue, and present herself as a traditional, modest woman, although she is actually morally corrupt. Her expression, 'slightly melancholic, in fashion for a family in mourning,' shows that her sorrow does not stem from grief over the patriarch’s death, but from waiting for Xuân Tóc Đỏ, whom she eagerly anticipates.

Thành Tú, another member of the family, seizes the opportunity to show off his photography skills. He is 'excited beyond measure' because he has finally found a chance to use his camera. He directs everyone at the funeral to pose for photos, 'instructing each person to either hold a cane, bow their head, or wipe their eyes in this way or that.' The funeral turns into a photo shoot where he and other amateur photographers compete to show their skills.

The family members create a satirical portrait of society with their complete lack of genuine emotion for the deceased. This is a family devoid of filial piety, hypocrisy, and moral decay, treating each other like strangers. They are obsessed with money and indifferent to their own family members.

Not only does the author depict the family members, but Vũ Trọng Phụng also explores the attitudes of the outsiders who attend the funeral. These people represent the different classes of society, with their own status and positions. The police officers, Min Đơ and Min Toa, are 'happily overseeing the funeral,' grateful for the employment provided by the family. Friends of the deceased show up to express condolences, but their true intention is to flaunt their medals, like the 'Bắc Đẩu bội tinh, Long bội tinh, Cao Mên bội tinh.' They boast of their status, showing off their facial hair, either long or short, black or brown, sparse or thick. They are also enamored with the sight of a young woman’s pale skin peeking through the thin veil of her mourning attire. The funeral is a chance to display the latest trends, and Mr. Typn is 'frustrated because he hasn’t yet seen his creations showcased.' Sư Cụ Tăng Phú, a monk from the Gõ Mõ newspaper, is 'delighted,' 'smug,' and triumphant because he has defeated the Buddhist Association. He attends the funeral to boast about his honor and success. Xuân Tóc Đỏ also receives recognition and praise from the attendees, using the occasion to flaunt his accomplishments and raise his self-worth. The author does not forget to mention the young, fashionable mourners, who see the funeral as an opportunity to 'flirt, gossip, criticize, and make promises,' all under the guise of mourning.

Through his satirical technique, Vũ Trọng Phụng criticizes the pretentious and fake nature of the urban elite before the Revolution. Each character is a realistic brushstroke contributing to a lively depiction of society. Through this, the 'King of Northern Vietnam Journalism' also critiques the hypocrisy, unfilial behavior, and moral decay of the upper class. While other writers 'want their novels to remain just novels,' Vũ Trọng Phụng and like-minded authors 'want novels to reflect the true nature of the world.' Therefore, his writing always reflects reality, harshly criticizing the darker side of society.

The Red Number is hailed as Vu Trong Phung's greatest work and a landmark in modern Vietnamese satirical literature. This satirical nature is not only shown through the language, tone, and scenarios but is most sharply revealed through the vivid portrayal of each character in the excerpt 'Happiness in a Funeral'.

The story begins with the death of an elderly man – the great-grandfather. He was a beloved father, grandfather, and respected friend of an upper-class family. One might expect the death to cause overwhelming sorrow, but instead, the passing brings extreme joy and happiness to all the heirs. The will is now being enacted, and they stand to inherit a vast fortune. In the midst of the funeral confusion, each relative rushes to display their grief in different ways, wearing different faces to show sorrow while secretly reveling in their joy.

The great-grandfather Hong, dreaming of the moment he will wear his mourning clothes, limp with a cane, and sob theatrically, imagines the public pointing at him, whispering, 'Look at that old man, he’s become so frail.' This is his chance to perform in front of the crowd and show his filial piety by organizing a grand funeral. Mr. Van Minh's personal joy merges with the family's collective excitement. His joy is centered on eagerly awaiting the lawyer to begin dividing the inheritance, not on the funeral arrangements. Vu Trong Phung depicts him as lost in thought, pulling at his hair, but in reality, he’s more concerned with how to handle Xuan Toc Do than the funeral itself. Mrs. Van Minh, his wife, is delighted to wear trendy mourning clothes, excited to unveil her latest fashion collection at the funeral.

The judge, Phan Moc Sung, is thrilled upon learning the value of the horns on his head, as they mean he will receive a greater share of the inheritance. The money is compensation for his dignity. At the funeral, his sobs can be heard, but his actions reveal his deceit when he secretly hands Xuan Toc Do a folded bill. This act exposes his hidden agenda to enter into a business arrangement with Xuan for financial gain.

Tuyet, the partially corrupted girl, is thrilled to wear the latest fashion—an outfit of innocent, semi-revealing sheer fabric, with an elegant veil and a hat. Her melancholic expression is meant to convey sorrow, but in reality, it's because she’s waiting for her lover, Xuan Toc Do, who has yet to arrive. Vu Trong Phung masterfully uses biting satire to reveal the contrast between her outward sorrow and her inner desires.

Cu Tu Tan, upon hearing of the grandfather's death, is excited because his new camera will soon be put to use. At the funeral, he criticizes everyone around him, acting as though he’s directing the funeral as a tragic play to perfect the performance.

Min Do and Min Toa are initially downcast from having no tasks to do but become ecstatic when hired to manage the funeral. The monk, Tang Phu, sits proudly on a vehicle, basking in his self-satisfaction as the crowd gathers to witness his achievements. The deceased's old friends take the opportunity to flaunt their medals and awards, all while pretending to mourn. They aren’t grieving the death but rather distracted by Tuyet's revealing outfit.

The younger generation, including Hoang Hon and Tuyet, try to appear serious and sad, but in reality, they gossip, make crude comments, and engage in flirtation, all while pretending to maintain decorum.

When Xuan Toc Do finally arrives, he completes the grand farce. He enters with a massive wreath, and everyone is deeply moved by his attentiveness, making the funeral appear even more solemn. However, the most striking moment is the smooth and secretive exchange between Phan Moc Sung and Xuan Toc Do. Phan discreetly hands over a folded bill to Xuan, and the exchange is so swift and skillful that no one notices. The deal is done, promising future profitable ventures.

The funeral procession is repeatedly mentioned to emphasize the unending, shameless nature of the mourners. It seems to go on forever, with only superficial changes in appearance. Through sharp, masterful satire, Vu Trong Phung presents detailed, individual portraits of each character, exposing the hypocrisy and deceit of the society of the time.

'The Red Sky' is regarded as the finest work by Vu Trong Phung and one of the most significant examples of modern Vietnamese satirical literature. The satirical essence of the work is not only conveyed through language, tone, and scenarios, but it is most sharply depicted in the characterization, especially in the excerpt from 'The Happiness of a Bereaved Family.'

The story begins with the death of an elderly man—the great-grandfather, a revered figure in an upper-class family. It is assumed that his passing would bring great sorrow to those left behind, but instead, his death is met with joy and overwhelming happiness by the entire family. This is because his will has come into effect, and they will inherit vast wealth. Amidst the funeral chaos, each family member behaves differently, putting on a different face to show their sorrow, yet deep down they are elated by the prospect of the inheritance.

Great-grandfather Hong imagines the moment he will wear his coarse fabric suit, frail and leaning on his cane, sobbing loudly for the public to notice and say, 'Look, the old man is really that old now.' This is his chance to perform in front of the crowd, to show filial devotion by organizing a grand funeral. Mr. Van Minh's joy is a combination of personal and shared happiness, eagerly waiting for the lawyer to divide the inheritance. While he pretends to be worried about the funeral, the truth is he is more concerned about handling Xuân Tóc Đỏ's presence.

Mrs. Van Minh, on the other hand, is thrilled to wear the latest fashion, eagerly showcasing her new collection at the funeral, turning it into a runway show for her latest designs.

Judge Phan feels elated upon realizing the value of the 'horns' on his head, as they entitle him to a larger share of the inheritance. His loud, exaggerated cries at the funeral appear sincere, but when he secretly hands Xuân Tóc Đỏ a folded bill, it exposes his deceitful nature. This action also suggests a potential business partnership with Xuân to gain more profit.

Tuyet, the half-corrupted young woman, looks forward to wearing a delicate, fashionable outfit—an airy, semi-transparent dress, topped with a cute mushroom hat. Her sad, romantic expression is intended to make others believe she is grieving, but in reality, it is her longing for Xuân Tóc Đỏ, who has not yet appeared. Vu Trong Phung cleverly uses satire to highlight the contrast between her external appearance and internal emotions.

Finally, the young man Tu Tan, upon hearing of the death, is excited because his newly bought camera will soon be put to use. At the funeral, dressed sloppily, he criticizes the mourners and directs their movements like a film director, turning the funeral into an elaborate performance of grief.

Vũ Trọng Phụng is a talented and successful writer, renowned for his mastery in the genre of fiction. His work 'Số đỏ' vividly portrays the harsh realities of early 20th-century Vietnamese society, with biting satire aimed at the absurdities and deceptions of the time. One of the most striking sections in his writing is the excerpt 'The Joys of a Bereaved Family,' found in Chapter XV, where the characters' strange joy and happiness in the face of death leave a deep impression on readers.

In this family, rather than sorrow, there is an odd sense of joy. The entire family, both close and distant members, eagerly anticipates the death of their elder, not to mourn, but to show off their wealth and to fulfill their own desires. Though each person has their own happiness, they collectively create a bizarre atmosphere where even a funeral feels like a celebration.

The joy begins with the grandchildren, who despite the usual expectations of grief, look forward to the death of the patriarch. Once the death occurs, they are filled with a sense of elation, as it signifies the fulfillment of the will and the start of their inheritance. For them, happiness comes not from love and family bonds, but from wealth, status, and shallow desires.

The patriarch, being the eldest and most senior member of the family, shows no outward grief. Instead, he dreams of how people will praise his age, longing to be admired for his old age. Rather than mourning, he views the funeral as an opportunity to showcase the family’s wealth, a grand affair that symbolizes his social standing. The family’s wealth is clear, but their compassion and love are all but gone.

Văn Minh, the eldest grandson, returns from studying abroad and is now viewed as a progressive intellectual. His joy at his grandfather’s death comes not from mourning, but from the prospect of inheritance. His first action is to hire a lawyer to implement the will. His external expressions of grief seem appropriate, but internally, he is calculating how to deal with Xuân, a notorious figure in the family. The author exposes his hypocrisy and selfishness by delving into his inner thoughts.

Văn Minh’s wife, eager to wear the latest fashionable clothes, is more concerned with promoting European-style attire than mourning the death. Her lack of true sympathy for the deceased is evident.

Equally joyful is the son-in-law, Mr. Phán, who finds pride in his secret affair and the “sacred horns” that come with it. His joy comes from the prospect of money, even though his outward grief at the funeral is exaggerated. In a moment of absurdity, he continues to cry loudly at the funeral, though his true feelings come to light when he secretly hands Xuân money as payment for his role in the affair that led to the patriarch's death.

Vũ Trọng Phụng, often called the 'King of Northern Journalism,' is renowned for his many literary masterpieces, each showcasing his unique flair. One of his most beloved works is 'Số đỏ,' a satire that leaves a lasting impression through its vivid characters, each distinct yet harmonizing to create a powerful narrative.

Chapter V, titled 'The Joys of a Bereaved Family,' stands out for its insightful portrayal of character traits. The story unfolds with the death of an elderly man, the father and grandfather of a large, respected family in a supposedly civilized, upper-class society. As expected, the family members react to the death with grief, yet, ironically, their reactions stem not from sorrow but from... happiness! 'The death brought immense joy to many,' says the author, capturing the absurdity of the situation and the hypocrisy of human nature.

This peculiar observation is not mere fiction or exaggeration for humor's sake. The reality depicted by Phụng is strikingly clear. Take Mr. Phán, who, after his father-in-law's death, finds his 'horns' more valuable, earning a few extra thousand. Meanwhile, the elderly man, Cụ Hồng, delightedly envisions himself in mourning clothes, fantasizing about people praising his funeral and his old, shaky cane. Then there's Mr. Văn Minh, the idealistic grandson and social reformer, whose joy over the death of his grandfather stems from the impending execution of the will, fulfilling his long-desired dream of inheriting wealth. His wife, Bà Văn Minh, revels in the funeral as a chance to flaunt the latest European fashions from the trendy tailor shop.

As for Tuyết, the young woman representing the 'modern' woman of the time, she wears a revealing outfit, her face a picture of 'romantic sadness'—sad not for the deceased but for her lover. Her appearance causes quite a stir among the wealthy guests, who, instead of mourning, are drawn to her allure. The funeral, in its excess and spectacle, becomes a venue for the family and friends to display their wealth and social status, often under the guise of filial piety.

The deceitful characters of this family are not alone. Phụng highlights the entire society’s hypocrisy, starting with the two policemen, representatives of the state, who are overjoyed to be hired to maintain order at the funeral simply because they have nothing else to do. The high-society attendees, dressed to the nines with every possible badge of prestige, are more interested in observing Tuyết's beauty than mourning the deceased. Even the appearance of the con men, Xuân Tóc Đỏ and the monk Tăng Phú, adds to the absurdity of the situation, stirring fake emotions among the attendees.

Despite the farcical nature of the event, Phụng reveals a sad truth: the funeral, which should be an occasion for mourning, becomes a spectacle of exploitation. The phrase 'The procession continues' symbolizes the unending nature of societal hypocrisy, which never truly disappears but simply takes on different forms. As the funeral concludes with the burial, two key moments encapsulate the absurdity: a photographer capturing mourners in awkward poses and Mr. Phán, the most deceitful character, sobbing dramatically while secretly slipping money to Xuân Tóc Đỏ, who helped him with his 'horned' reputation.

Through masterful satire, Phụng uses humor to expose the harsh truths of life, revealing the cruelty and dishonesty that underpin society's facade.