Top 10 Best Essays Analyzing the Realistic Value of the Excerpt 'Entering the Lord Trinh's Palace' (Literature 11)

“Entering the Lord Trinh's Palace” is an excerpt from the 'Thượng Kinh Kí Sự' by author Lê Hữu Trác. Through his delicate and sharp pen, along with his keen observational skills, the author paints a realistic picture of life in the Lord's palace. This highlights the work's realistic value and its deep criticism.

First, it is a portrayal of the extravagant life inside the palace. When summoned to the capital to treat the Heir Apparent, Lê Hữu Trác – who had grown up in a privileged environment – was astonished by the grandeur of the palace: “Only when stepping here did I realize the riches of the lord were no different from those of an ordinary person.”

The palace’s surroundings were filled with strange trees, unique rocks, and the vibrant sounds of birds chirping. The lush foliage, fragrant flowers, and gentle breeze filled the air. It truly was the richest place in the South. The palace was furnished with grandeur and luxury: “Through the western corridor, we reached a large, tall, and spacious house. On either side were two palanquins for the lords. The regalia was painted with red lacquer and gilded in gold. In the middle, there was a golden-covered couch, and above it, a hammock. Around the couch, there were tables and chairs with unique furnishings.” The surroundings were opulent, beyond comparison. But behind this luxurious setting, the author subtly suggests something ominous, for when the life inside the palace surpassed even that of the emperor’s, it signaled that the dynasty had undergone significant upheaval, with the lord seizing the king’s power. This reflects the author's subtle critique of the extravagant, decadent lifestyle of the Trịnh Lords.

Moreover, while describing the wealth and prosperity, the author also hints at the inevitable downfall and destruction. At the end of the work, when Lê Hữu Trác returned to Hương Sơn, he heard of the misfortune of the chief official and wrote: “I heard the tale and lamented: - Wealth and luxury, like fleeting clouds, the places of music, palaces, and mansions, once grand, are now barren hills and empty mounds. I’m glad I have hidden away in the mountains, with no concern for wealth or fame…” Thus, the detailed depiction of the palace’s grandeur serves as a prelude to the philosophical message at the end of the piece: “Wealth is fleeting, like clouds, and soon faces inevitable ruin.”

Not only does the author describe the grand surroundings, but he also illustrates the lifestyle within the lord’s palace. Upon entering, servants shouted directions, moving at a frantic pace, signaling urgency. To reach the place where the Heir Apparent was being treated, one had to pass through several gates, each requiring a token to continue. The renowned physicians who attended to the Heir Apparent were skilled and famous, stationed at six palaces and two institutes, always on standby. The protocols were complex and strict, requiring utmost respect: The Heir Apparent had as many as 7 or 8 physicians attending to him. Upon entering, the author – an elderly man – had to kneel before the young heir. To examine the heir’s body, an official had to request permission to remove the heir’s clothing. After the examination, the author had to kneel four times before leaving. Before being allowed to treat the heir, Lê Hữu Trác had been served a lavish meal with “golden plates, silver bowls, and exquisite delicacies,” which revealed the luxurious lifestyle in the lord’s palace, from the living quarters to the food and drink. This showcased the ultimate power and extravagant life of the Trịnh family.

Particularly, the author’s realistic style is also evident in his depiction of the Heir Apparent. The young heir, about five or six years old, sat on a couch, yet Lê Hữu Trác – an elderly man – had to kneel four times before him, and the heir even complimented him: “You kneel so well!” Furthermore, the author describes the heir in great detail: wearing a red silk robe, sitting in a dark room with no windows, surrounded by thick curtains. The heir’s surroundings were lavish, decorated with gold and fine fabrics. By the dim candlelight, Lê Hữu Trác observed the heir’s “pale face and red robe.” The heir’s environment was suffocating, devoid of vitality, and this is the reason behind the heir’s fragile health. A child at the age to play and enjoy life, the heir was confined in a stifling, oppressive environment that hindered his development, leading to his worsening illness: “His vital energy was exhausted, his skin dry, his belly swollen, his veins turned blue, and his limbs were emaciated. This was due to his energy being depleted, his health severely compromised.” Through a few brief sketches and objective descriptions, the author reveals the frailty of the heir, both physically and mentally.

To depict the reality in the Lord Trịnh’s palace, Lê Hữu Trác employed his sharp observational skills, meticulously describing the palace’s surroundings, the layout, the lifestyle, and the Heir Apparent. Furthermore, the combination of narration, description, and expression, along with thoughtful comments and reflections, revealed the opulence in the lord’s palace. The gentle sarcastic tone reflected the author’s attitude toward the aristocratic lifestyle.

Though this is a brief excerpt, Lê Hữu Trác’s masterful writing vividly presents the reality of life within the lord’s palace, as well as the social reality of that time. Behind this picture lies a critique of the lavish, indulgent lifestyle and a prediction of its inevitable decline.

The writer Stendhal once wrote: "Literature is a mirror that reflects society." Literature carries the mission of reflecting reality, with the writer serving as the loyal scribe of their time. Like other literary genres, memoirs have faithfully documented the context of a nation's era. The true development of memoirs began in the 18th century with Lê Hữu Trác's work 'Thượng kinh kí sự.' The piece describes what the author witnessed on his journey to the capital to treat Prince Trịnh Cán. A notable excerpt, 'Vào phủ chúa Trịnh,' found at the beginning of the work, offers a profound reflection on the luxurious and powerful life in the Lord Trịnh's palace, while also revealing the author's perspective and attitude towards life.

The realistic value of a literary work encompasses the social reality and human experiences the writer portrays. Depending on the writer's creative intentions, these portrayals may either align closely with real life or be subtly distorted through the lens of the writer's soul. Along with humanitarian value, the realistic value contributes to the lasting vitality of a literary work, immortalizing the name of the true writer.

Lê Hữu Trác was a man who withdrew from the chaotic world, choosing a humble life amidst the corruption of his era. Disinterested in fame and fortune, he returned to his maternal hometown in Hương Sơn (Hà Tĩnh), dedicating himself to medicine and teaching others the art of healing. Due to his renowned medical skills, he was invited to the Trịnh lord’s palace to treat Prince Trịnh Cán.

The excerpt 'Vào phủ chúa Trịnh' vividly paints a realistic picture of the opulence and power in the Trịnh palace, describing the lavish surroundings in exquisite detail: "Everywhere are thick trees, birds chirping, flowers blooming brightly, and the air is filled with a pleasant fragrance." The scene is poetic and enchanting, evoking a sense of awe. Only someone with a refined soul, like Lê Hữu Trác, could perceive such otherworldly beauty. Additionally, the author gives an overarching view of the "meandering corridors connected in a continuous sequence," presenting a grand and magnificent palace that reflects the wealth of the ruler, standing in stark contrast to the common people. Though the author was raised in the bustling capital, this was his first visit to the palace, which astonished and fascinated him with its unfamiliar sights.

The dominant colors, red and gold, further enhance the Trịnh palace's opulence: "The house is large and spacious," "All furnishings are lacquered with gold leaf. In the center stands a golden throne," and "the furnishings are unlike anything seen in ordinary households." Moreover, the rich’s dining table consists of "golden trays and silver bowls, with rare delicacies on display." All of this wealth was built upon the sweat, effort, and blood of the common people. The laborers, who toiled and sometimes perished, helped construct the magnificent architecture that symbolized the opulence of the palace. The rulers, officials, and tyrants exploited the workers, stealing the fruits of their labor. Though not directly killing the workers, their actions were no different from the brutality of the Ming invaders:

"Roasting the common folk on a fiery blaze
Buried children in the pit of disaster."

It would seem that a life of luxury must be a happy one, but the atmosphere within the palace was far from fresh, even though a fragrant aroma filled the air; it was instead stagnant and suffocating. This very environment was the cause of the prince's ongoing illness: "The prince, living in the covered palace, overfed and overly dressed, weakened his internal organs." A person who lives in luxury, indulging in fine food without any physical exertion, is bound to fall ill. This was the illness of the wealthy. The author astutely recognized this flaw in a place that seemed to be "the finest in all of Southern China."

The lifestyle at the palace was much like that of a royal court, with strict order and regulations. "The gatekeeper's announcements were bustling, officials passed through like threads in a loom. Guards watched over the gates, and anyone wishing to enter or leave needed a pass," and "Soldiers with strict orders." This demonstrates the immense power of the ruler. Meeting the prince was no easy feat; one had to pass through five or six obstacles, and bow four times before being allowed to leave. The rigid rules of the palace made the author feel awkward and out of place, as he could only "raise his eyes to glance before bowing" or "hold his breath" and "grovel" in submission.

Amidst all this, there was no desire for personal gain, and the internal conflict was most pronounced when prescribing medicine. If the prince were cured immediately, Lê Hữu Trác would have to stay and could not return to the mountains. However, he could not let his personal desires override the principles of loyalty and virtue that a true servant and healer must uphold, treating all people, whether rich or poor, good or evil, equally in the pursuit of healing:

"A kind heart lies in saving others,
The purest heart seeks nothing in return."

The depiction of the Trịnh palace's luxurious life is depicted in Lê Hữu Trác’s work with remarkable authenticity, as he arranges and organizes the events and characters in a chronological and spatial order. His first-person narration, combined with fluid language, draws readers deeper into the reality of the world he describes, making it all the more captivating. While traditional classical literature often relied on allegorical and symbolic descriptions, in this excerpt, the author moves beyond those conventions, returning to the reality of lived experiences.

"My child, remember this well,
Robbing by night is the thief, robbing by day is the lord."

Most feudal lords, like the Trịnh rulers, were nothing more than daytime thieves, exploiting the wealth, strength, labor, and aspirations of the common people through open, blatant actions to enrich themselves and indulge in luxury.

The excerpt from 'Vào phủ chúa Trịnh' carries profound realistic value. On one hand, it critiques the extravagant and oppressive lifestyle in the Trịnh palace; on the other hand, it sympathizes with the fate and life of the poor. It also highlights Lê Hữu Trác’s noble character, his dedication to the healing profession, and his pure lifestyle, serving as an exemplary figure in the field of medicine and as a revered ancestor in the profession.

Hải Thượng Lãn Ông Lê Hữu Trác is known not only for his fame as an extraordinary physician, a compassionate figure, and a noble recluse, but also as the author of the renowned "Thượng kinh kí sự". In early 1782, due to his famous medical skills, he was summoned to the capital to treat Crown Prince Trịnh Cán and Lord Trịnh Sâm. With the materials and notes from this journey, he completed his masterpiece "Thượng kinh kí sự", a work that holds profound realistic value. "Vào phủ chúa Trịnh" is one of the most notable excerpts from this work, vividly illustrating the lavish life, the grandeur, and the corruption within the feudal ruling class.

Firstly, through the sharp, observant eyes of a recluse, the author Lê Hữu Trác captures and reflects the fraudulent and opulent lives of the ruling class. Through detailed descriptions of the luxurious surroundings in the palaces and mansions, he paints vivid images: the lush gardens with "dense trees, chirping birds, blooming flowers, and the faint scent carried by the wind"; the majestic buildings such as "Great Hall", "Violet Pavilion", and "Crimson Tower" adorned with red lacquered sedan chairs, hammocks, golden-embossed ceremonial objects, and "the unimaginable treasures of the mortal world". Even the golden platters and silver bowls used during the feasts represent the extraordinary wealth and excess of the noble court.

Furthermore, the realistic value of the work is underscored by details of life within the ruler’s palace. From the moment the author is carried into the court, it’s evident that the scene is filled with power and grandeur: "the servants running ahead, shouting directions" and "the litter moving as swiftly as a wild horse". Upon entering the palace, the author observes the bustling scene: "messengers reporting loudly at the gate, people passing through like a weaver's shuttle". This overwhelming spectacle leaves the author in awe:

"Soldiers at a thousand gates carry axes with strict precision The finest in the South, it’s right here."

This line by the author further underscores the absolute power within the court. The author openly admits that although he was born into a noble family, raised amidst the splendor of the capital, and familiar with many palaces, the palace of the Trịnh family was unlike anything he had ever witnessed. Through this, he emphasizes the unparalleled wealth of the rulers. The author's vivid portrayal adds depth to the temporal artistic value of the work. Beyond the physical passage of time marked by dates and years, the author also reflects on past events, infusing each description with his personal thoughts and emotions.

Through realistic and detailed writing, the author indirectly criticizes and denounces the excessive, corrupt lifestyle of the aristocracy. He observed that Crown Prince Trịnh Cán’s health problems were due to "growing up in lavish surroundings, overly indulged, with weak internal organs and prolonged illness draining his vitality...". The prince, a naive child, became a victim of excessive luxury and improper nurturing. As the author continues, he subtly criticizes the ignorance and greed of the Northern doctors, who, instead of adhering to the true ethics of medicine, were more concerned with status and wealth. Through his sharp and authentic portrayal, Hải Thượng Lãn Ông diagnosed the ailments of the feudal system, showing that behind the gilded facade, the corruption and decay of the regime were evident, heralding its eventual collapse.

The profound realistic value of the excerpt "Vào phủ chúa Trịnh" contributes significantly to the authenticity of "Thượng kinh kí sự", enhanced by the distinctive travelogue style of the author. The careful observation, truthful documentation, and vibrant descriptions bring the scenes to life, capturing the essence of both the material and emotional landscapes of the time.

Through the work’s realism, the readers also gain insight into the deep humanistic value it embodies. The author’s description of the opulent palace inadvertently expresses sympathy and sorrow for the harsh, impoverished lives of the common people. The contrast between the aristocratic class’s luxurious existence and the suffering of the masses forms the foundation of the piece. Through this work, we are reminded of the old saying about the brutal and flagrant behavior of the ruling class:

"Child, remember this saying: At night, robbers are thieves, in the day, robbers are the officials."

"My child, remember this saying:

The thief who steals at night is a robber, but the thief who steals by day is a lord."

The feudal kings were, for the most part, day robbers. They plundered the people openly using cruel methods to live lavishly, enjoying their lives. Le Huu Trac, a distinguished physician and talented scholar of the 18th century, partly revealed this reality through his work *Thượng Kinh Kí Sự*. In this memoir, the excerpt *Vào Phủ Chúa Trịnh* provides profound insight into the lavish, powerful life of the Trịnh lords.

*Thượng Kinh Kí Sự*, originally written in classical Chinese, was penned by Le Huu Trac in 1782. It describes the author's experiences and observations while being summoned to the capital, Thang Long, to treat the health of the Trịnh family. Through vivid and sharp writing, Le Huu Trac realistically portrays the extravagant lifestyle of the feudal lords, subtly expressing his indifference toward fame and wealth. The author uses the first-person narrative, directly observing the luxurious lifestyle of Lord Trịnh. He keenly documents the environment, describing the scene in a detailed and skillful manner.

The opening of the memoir introduces the scene of the rich and stunning beauty of the Trịnh lord's mansion, described directly through the author's observations and indirectly through the impressions they left on him: "I looked up and saw lush trees everywhere, birds chirping, flowers blooming, and a faint scent in the air… I thought to myself: I was born into a noble family, familiar with the splendor of the royal court, but this was the first time I encountered the opulence of the Trịnh lord's estate."

The setting and lifestyle within the mansion are meticulously recorded from the perspective of a doctor stepping into this unfamiliar world. The artistic space of the work broadens as the character moves through different areas, capturing the vastness and depth of the mansion's splendor.

Even though invited, the physician is ushered into the mansion through the back door, with attendants accompanying him every step. As he walks, he observes and records everything: "After walking a few hundred steps and passing several gates, I arrived at the 'Hậu Mã Quân Túc Trực' inn. The inn was located by a pond with strange trees and unusual rocks. Inside the inn, the columns and railings were elegantly designed and beautifully crafted."

As the author ventures deeper, his astonishment grows: "After passing through the western hallway, I reached a large and spacious room. On either side were palanquins for the lords, their poles gilded. In the center, there was a golden platform with a hammock placed above. Surrounding it were exquisite tables and chairs never seen before by common folk. I passed through another door and arrived at a high, vast tower. The columns were gilded, fitting for a golden palace, the kind of place one would only imagine in fairy tales."

Le Huu Trac encapsulates the splendor of the mansion in a few poetic lines:

The guards at a thousand gates stand firm,

The southern sky’s most glorious view is here!

The towers stretch high, touching the clouds,

The curtains of jewels, the balconies of jade, the reflection of the plum blossoms in the light.

The lifestyle within the mansion was even more distant from that of ordinary people. For the first time, the author was served meals on golden trays, with silver bowls, and the food was rich and exotic… Without commenting directly, the author allows these details to speak for themselves, revealing the deep reality behind them. At this time, the feudal regime was in a state of crisis and disarray. The weak Lê king played a mere puppet role, with all political power in the hands of the Trịnh lords, who indulged in excessive luxury, while the common people lived in misery, their cries echoing through every corner. The interests of the royalty no longer aligned with those of the nation or its people. Hence, uprisings by the common folk against the feudal court erupted everywhere. Recognizing the true nature of the feudal court, Le Huu Trac resolutely turned away from the tempting path of fame and wealth, understanding it to be both dangerous and hollow.

The passage describing the royal palace is detailed and sharp in its realism, while subtly mocking the absurdity of the court: "After passing five or six embroidered tents, I entered a large room with a golden platform at the center. A child, around five or six years old, sat on the platform, dressed in a red silk robe. Several attendants stood by. In the center of the room was a large candle placed in a golden stand. Beside the platform was a golden dragon chair with velvet cushions. A curtain stretched across the room. Inside, several concubines stood in clusters. The light from the wax candles illuminated their faces, showing the contrast between the red silk robes and their powdered faces."

Surrounded by dazzling luxury and fragrant flowers, it seems the king often sat in this golden dragon chair, but today, the heir to the throne had retreated behind the curtain for the physician to examine him closely. Through the description of the heir's condition, the author indirectly compares it to the deteriorating state of the Vietnamese feudal regime: "The heir, living in the comfort of luxury, with excessive food and warmth, had weakened his internal organs. His face was dry, his belly swollen, and his limbs thin. This deterioration was due to overindulgence, and his constitution had been severely depleted." This was a reflection of the decaying feudal system that had existed for centuries but was now outdated and unable to be saved.

Le Huu Trac, wise as always, carefully considered the treatment for the heir. He listened to the advice of other physicians and, from the situation, devised the most appropriate treatment: "I noticed the heir was frail, his pulse weak and erratic. This means both the Yin and Yang were disturbed, so I must use a strengthening remedy to nourish the spleen and kidneys, and restore the foundations of life. When the body's natural energy is restored, the illness will naturally fade away without direct treatment."

Interestingly, when analyzed deeply, the prescription that Le Huu Trac wrote for the heir contains a subtle but sharp critique of the feudal court, offering a remedy for its deep-rooted problems: "The pulse was weak and feeble, showing a deficiency in the spleen and an excess of internal heat. The exterior seemed full but hollow, and therefore, I recommend restoring the spleen to stabilize the body's energy."

Le Huu Trac's wisdom allowed him to prescribe a gentle cure for the heir, mindful that if he achieved immediate success, he would be caught in the web of fame and rewards and never be able to return to his peaceful life in the mountains. As a true Confucian scholar, he understood the principles of honor and the importance of retreating from the temptations of wealth and power. His decision to avoid fame was a wise one in this context.

Le Huu Trac skillfully manipulates the narrative perspective. At times, the story is told from the first-person perspective, while at other times, the narrative voice describes events in a detached manner. The reader gets the sense that not only does Le Huu Trac lead us into the mansion, but the attendants also assist in revealing the truth behind the royal façade. The first-person narrator’s monologues express keen insight and sensitivity. The descriptions provide a panoramic view of the mansion, capturing the essence and reality of the palace's life. As a humble country doctor, the narrator remains polite and respectful but still manages to highlight the flaws within the court. The crowded scene in the court reveals an ineffective and parasitic bureaucracy.

Scholars of the past rarely spoke of themselves, but in this excerpt, the author allows the personal 'I' to play an important role. *Vào Phủ Chúa Trịnh* clearly presents the author's personal view. Through this excerpt, we see that Le Huu Trac is not only an experienced physician but also a man of conscience and integrity. He holds the medical profession in the highest regard, seeing it as a sacred duty. He emphasizes the importance of maintaining moral purity and dedicating one's life to the service of others, rejecting the pursuit of trivial wealth and fame in favor of a simple life dedicated to healing and helping people.

*Vào Phủ Chúa Trịnh* thus becomes a process of uncovering the true life of luxury and power, rather than simply a medical visit. The visit to treat the heir was merely an excuse to reveal the grandeur of the Trịnh lord's palace. The excerpt contains profound realism, capturing the opulence of the Trịnh family's life while also conveying the author's disdain for material wealth. For him, nothing is more precious than a free life in the peaceful countryside, dedicating his talent and energy to medicine and saving others. Although the life in the royal court is full of wealth and power, it ultimately leads to subjugation and constraint.

Hải Thượng Lãn Ông - Lê Hữu Trác, in addition to being a renowned physician with the work Hải Thượng y tông tâm lĩnh, was also a talented writer who made significant contributions to Vietnamese literature. One of his most famous books in this collection is Thượng kinh ký sự, which offers a glimpse into 18th-century Vietnam, a time marked by intense power struggles between the Lê kings and the Trịnh lords. It was said that two royal courts coexisted in parallel, which plunged the people into hardship. In this work, we are given a unique opportunity to explore one of the two royal courts, the extravagant court of the Trịnh lords, through Lê Hữu Trác's narration in the excerpt Vào phủ chúa Trịnh.

Lê Hữu Trác (1724-1791), also known as Hải Thượng Lãn Ông, was born in Hải Dương and Hương Sơn. Apart from being a renowned doctor, he was also a gifted writer. His most famous work, Hải Thượng y tông tâm lĩnh, is a monumental piece, written over nearly four decades of his life.

Thượng kinh ký sự is a key volume in the Hải Thượng y tông tâm lĩnh series, written after the event when Lord Trịnh Sâm invited Lê Hữu Trác to the capital to treat Prince Trịnh Cán. This book documents the experience of that journey.

With keen observation, Lê Hữu Trác vividly reimagines the reality of life at the Trịnh court. He places himself in the position of a rural doctor, a commoner, who enters the court for the first time, marveling at the lavish lifestyle of the ruling class. This is truly the perspective of an intellectual with integrity and honesty. His observations follow a spatial and temporal sequence, starting from the outside and moving inward. The first impression Lê Hữu Trác had was the beauty of the Trịnh palace: "lush trees, birds chirping, beautiful flowers blooming, and the air fragrant with scents." Then, he describes the vast, stunning surroundings with winding corridors and bustling people passing through. Even someone like Lê Hữu Trác, who had grown up in comfort and wealth, was left in awe of the grandeur, silently admiring the lavish life of the royal family.

Upon entering the inner sanctum, Lê Hữu Trác was struck by the opulence of the imperial court. Everywhere were high, grand palaces with meticulously painted and gilded surfaces. The items inside were unlike anything seen in ordinary life. The air was filled with fragrant scents of incense and flowers, but the atmosphere was heavy and stifling, mainly due to the grandeur and opulence that seemed excessive, suffocating the natural beauty. Through Lê Hữu Trác's sharp eyes, the Trịnh court emerges as a place of unparalleled wealth and splendor, but one where excessive beauty makes the life of the elite claustrophobic and devoid of vitality.

The extravagance at the court wasn't only in its appearance; it extended to daily life as well. For example, the food served to royal physicians came in gold and silver bowls, with exotic delicacies. Lê Hữu Trác quietly thought, "Only now can I truly understand the lavish lifestyle of the elite." The road to the prince's sickroom had no doors, only several layers of velvet curtains, keeping everything isolated from the outside. Even though the room was just for the prince and the lord, there were numerous attendants and servants waiting around, even when nothing was needed. The lavish lifestyle, which seemed so alluring, was ultimately suffocating, as evidenced by the young prince, who had fallen ill despite the luxury around him. The luxurious curtains, the extravagant foods, and the opulent silks all contributed to his illness. This is why the saying "excess is never good" holds true.

Lê Hữu Trác also reflected on the prince’s illness as a deeper metaphor for the state of the country at that time, stating, "The national vitality has been exhausted, harmed beyond repair," making it almost impossible to cure. While treating the prince, Lê Hữu Trác was torn between healing him and fearing that he would be drawn into the cycle of fame and wealth, which would trap him. In the end, he prescribed a balanced remedy for the prince, knowing that it would cure him, though not immediately, so he could leave the court and return to his life as a doctor in the countryside without feeling indebted to the state.

This excerpt offers a profound critique of the excessive, immoral lifestyle of the Trịnh court, which oppressed the people through heavy taxes and exploitation, all to maintain their lavish lifestyle. Meanwhile, the people lived in misery, unable to speak out. The opulent court was a symbol of the suffering of the people, who were weighed down by the burden of this inequality. At the same time, the excerpt highlights Lê Hữu Trác's disdain for fame and wealth. As a respected doctor, he yearned for the peaceful, free life in the countryside, where he could practice medicine and help the people. The luxurious, indulgent life at court, despite its allure, was ultimately shallow and oppressive, unworthy of admiration.

With a writing style that follows the form of reportage, recounting real-life events and people, the excerpt from 'Entering the Lord Trinh's Palace' offers us a rare historical document from the reign of King Le and Lord Trinh, a period whose traces have almost vanished today... Le Huu Trac, born into an aristocratic family skilled in military strategy and martial arts, served as an official under Lord Trinh for some time. Observing the social decay and moral laxity, he took advantage of his brother’s death in 1746 to resign from his position under the pretext of caring for his elderly mother. From then on, he dedicated himself to studying medicine, treating patients, composing books, and teaching in his school to promote medical ethics, theory, and practice.

On January 12th, 1782, during the 43rd year of the Canh Hung era, Le Huu Trac received an order from the Lord to come to the capital and diagnose and prescribe medicine for the crown prince Trinh Can. After some time, he also treated Lord Trinh Sam. The experiences Le Huu Trac had during his many trips from Huong Son to Thang Long inspired him to take up the pen.

In 1783, he completed the 'Shangjing Ji' (Entering the Capital Chronicles) in Classical Chinese. This work is a true literary masterpiece, rich in historical value. The excerpt 'Entering the Lord Trinh's Palace' in the 11th-grade advanced literature textbook (published by Education Publishing House, Hanoi, 2007) fully demonstrates the unique features of Le Huu Trac’s narrative style.

As we know, 'reportage' is a genre that blends journalism and literature. It writes about real life, real people, and actual events. The reporter’s role is similar to that of a historian, focusing on recounting events in detail, never neglecting the depiction of the environment. Reportage encompasses several forms such as essays, reportage, travel writing, memoirs, diaries, etc. Among these, reportage leans more toward detailed documentation of real-life stories. Naturally, alongside the narrative, there are often reflections and insights of the writer on the events being described.

The excerpt 'Entering the Lord Trinh's Palace' paints a vivid picture of the luxurious and powerful life within Lord Trinh's court. Le Huu Trac employs the first-person narrative to directly observe and describe the opulence of the Trinh family. He carefully records details, vividly describes the surroundings, and skillfully recounts events.

The beginning of the excerpt presents a concrete, real event. The journalistic quality of Le Huu Trac’s writing is clear in his meticulous recording of time and events. The writer combines objective narration with atmospheric creation to highlight the urgency and haste of the action: 'On the first of the second month, early in the morning, I heard a hurried knock at the door. I rushed to open it. It was a servant from the Chanh Duong...'. Here, 'in the midst of action' is closely connected to the setting and the specific environment. Le Huu Trac’s sentences are concise, informative, and naturally written, without any unnecessary details. His style is simple yet elevated, blending natural flow with expressive power, transmitting both emotion and understanding. The reader can vividly imagine a particular situation unfolding, and as the story progresses, they feel a sense of suspense and concern, only to eventually recognize the familiar, human perspective of the narrator 'I'.

Before us, the character 'I' stands still, surprised, slightly disappointed. The narrative pace slows down to capture the person and the event more clearly and thoroughly. The phrase 'it turns out' both creates a sense of discovery and brings attention to the real people and events involved.

The narrator 'I' does not appear in a specific physical form. First, the character is introduced through their voice, the sound they perceive, and their actions. The narrator presents themselves as a participant in the described event, directly involved in the unfolding story.

Thus, from the beginning, readers sense that this is not a fictional story, but a depiction of a real, ongoing life situation. In recounting events and describing people, Le Huu Trac does not rely on pre-existing models but seeks to explore the everyday, private aspects of life. For instance, the servant’s dialogue is presented naturally and true to his role: 'There is an imperial decree summoning you. The officer is currently at the elder’s house, and I’ve come to inform you...'.

Le Huu Trac values the completeness of the narrative. He prefers to organize events coherently, ensuring that each segment is well-connected, with clear beginnings and endings. Thus, each action of the servant is followed by the narrator’s own reactions and feelings: 'I heard the knock... I rushed out...', 'the servant said... I immediately...'. The narrative is tightly woven, reflecting the logical cause-and-effect structure of events and actions. Initially, it seems like the narrator 'I' is taking the initiative, but as the story progresses, we see that 'I' is swept along by one event after another.

The opening of the excerpt features short, succinct sentences. Each sentence corresponds to an emotion, an event, or an action. The reader sympathizes with the narrator's difficult and involuntary actions, while also agreeing with Le Huu Trac’s ironic stance on the Trinh family’s abuse of power and disregard for ceremony.

The descriptions of the Lord’s palace and lifestyle are recorded in great detail through the eyes of a doctor experiencing this lavish world for the first time. The narrative space expands with each step the character 'I' takes and as their perspective broadens.

The panoramic view of the Lord Trinh's palace is not only wide in scope but also profound, with a strong evocation. According to the narrator, the palace is incredibly luxurious, unlike anything else: entering the palace requires passing through several gates, with winding corridors between them, and guards stationed at each gate. The palace grounds are vast, with well-designed rest areas, and the natural scenery is extraordinary.

In the garden, birds chirp, flowers bloom, and the air is fragrant with the scent of blossoms. Inside, there are grand halls and splendid pavilions, with gold-painted palanquins and hammocks. The Lord’s possessions are gilded and painted with gold, the dining utensils are golden trays and silver bowls, and exotic foods are served... To enter the prince’s inner quarters, one must pass through six layers of silk curtains. The prince’s living space is incredibly luxurious, with a gilded couch, dragon chairs, soft cushions, and an atmosphere filled with the fragrance of flowers...

Le Huu Trac skillfully combines focused descriptions with selective details, highlighting the supreme authority and the extravagant lifestyle of Lord Trinh Sam's family. The narrative voice is objective and solemn, yet subtly conveys the writer's surprise and covert criticism of Lord Trinh.

The author also blends prose with poetry. Le Huu Trac’s poem about the scene, his remarks on the work, carry deep meaning and wit, subtly hiding a mocking, ironic smile. The evaluations in the work are diverse: first, Le Huu Trac reflects on the overall beauty; next, he comments on the scene of wealth; then, he notes the meticulous arrangements and architectural style. The author pauses to assess the lavish items, from the grand hall to the gilded pavilions. Each of Le Huu Trac's judgments is precise, refined, and measured, contributing to the work’s lyrical quality.

The author observes the architectural structures and natural scenes through their shapes, sizes, and appearances, describing the palace grounds mainly through impressions of fragrance, sound, and the presence of guards to emphasize the solemnity of the place. Le Huu Trac particularly enjoys describing the pathways and entrances to the palace. One gets the sense that behind each door is a painting.

The excerpt consists of several scenes with varying degrees of light and dark, soft and intense, linked together. Through the first few gates, the author experiences what seems like a fairy-tale scene with lush trees and aromatic flowers. As they proceed further, the wealthy lifestyle of the palace becomes more visible and complete. The deeper the narrator goes, the more they observe the spacious interiors, the high ceilings, and the gold-plated ornaments, all giving a sense of grandeur and aristocratic taste.

'Entering the Lord Trinh's Palace' becomes more of a process of uncovering the lavish, royal lifestyle than simply visiting to treat the crown prince. Treating the crown prince Trinh Can appears merely as an excuse, a fortunate opportunity for the writer to complete a picture of the powerful and affluent life at the court.

Le Huu Trac organizes the perspective flexibly. At times, the events are described from the narrator’s point of view. At other times, the writer allows the characters to describe and introduce the scene. The reader feels that not only does Le Huu Trac lead us into the Lord’s palace to observe freely, but also that the servants of the palace guide us, helping us uncover the truth behind the 'Eastern Palace'. The sections where the narrator 'I' speaks in monologue reveal sharp observations and sensitive perceptions. The descriptive passages demonstrate how the narrator is able to grasp a wide spatial view and understand the essence and nature of the events described.

As a humble country doctor, the narrator always appears polite, respectful, and eager to learn from his colleagues. The contrast in status with the palace physicians does not diminish the narrator’s stature; instead, it highlights the character's integrity and skills. The crowded nature of the imperial medical staff exposes the reality of the palace’s corrupt bureaucracy, filled with incompetent, parasitic officials. In the past, Confucian scholars rarely spoke about themselves, but in this excerpt, the author does not hesitate to let the 'I' play an important role.

'Entering the Lord Trinh’s Palace' directly reflects the personal voice of the writer. Through the excerpt, we see that Le Huu Trac was not only a highly skilled doctor but also one with a deep sense of integrity and moral values. He viewed the medical profession as sacred and noble, believing that doctors must continue the dedication of their ancestors and always uphold their integrity. Le Huu Trac loved freedom and a simple lifestyle. Above material wealth, he returned to his calling to save lives with the belief that: 'A good heart is for saving people. The beginner’s heart seeks no reward/ Knowing happiness, poor is better than rich/ Doing good without expecting return.'

Not only was Lê Hữu Trác a renowned doctor of the 18th century, whose legacy has endured through the ages, but he was also a poet and a gifted writer in Vietnamese literature. His work *Thượng kinh kí sự* marked the true beginning of the nation's literary era. This work is a remarkable piece of reportage, rich in real-life value. We can grasp its depth through the excerpt *Vào phủ chúa Trịnh* from the book.

Lê Hữu Trác, born in 1724 and passing away in 1791, lived through a tumultuous period in Vietnamese history: a time when the feudal factions of Lê and Trịnh fought for power, and the people endured immense suffering with frequent peasant uprisings. Especially notable was the extravagant and corrupt nature of the Trịnh family’s court, which darkened an already tragic historical landscape.

As a famous doctor, Hải Thượng Lãn Ông was invited to the Trịnh court to treat the heir apparent, who had developed a condition typical of the wealthy due to excess. This contrast between the suffering masses and the privileged elite is both painful and unjust. During a trip to the capital, Lãn Ông wrote *Thượng kinh kí sự* to record his observations and emotions from this unforgettable experience in the heart of southern Vietnam.

The excerpt *Vào phủ chúa Trịnh* details Lê Hữu Trác’s first visit to the Trịnh palace. Through his descriptions of the surroundings and the grandiose lifestyle of the powerful, this passage reveals the profound reality of the court.

The first thing the author observes is the beauty of the Trịnh palace. It is a stark contrast to the common, dusty life of the people. Everything is lush, vibrant, and ornate. “Everywhere are dense trees, birds chirping, flowers blooming brightly, and the air carrying a light fragrance.” These are not wild or ordinary plants and animals, but exotic trees and rare birds—“strange trees and peculiar stones,” all of them “truly beautiful.” Furthermore, the palace itself is a masterpiece of architecture. With intricate structures, “several doors” and “twisting corridors” lead to spacious, magnificent halls, “the grand house is truly tall and vast,” “with a bed covered in red lacquer and gold.” The beauty of the palace prompted the author to praise:

The tower’s steps paint the clouds in the sky,

Beaded curtains shimmer in the morning light,

The fragrance of the palace flowers drifts through the air,

The royal garden hears parrots demanding a treat.

Indeed, this is where “All of Southern Vietnam's grandeur resides!”

Notably, the author reflects on his own feelings: once a nobleman, familiar with many opulent places, he is still awestruck by the majesty of the Trịnh palace. He exclaims, “Only upon entering here did I realize the immense wealth of the rulers compared to ordinary people.” Lê Hữu Trác feels like a “country bumpkin” visiting the “palace forbidden to ordinary folk,” akin to a fisherman encountering a “paradise.” This striking metaphor reveals a harsh historical truth: during the struggle for power, the Trịnh family overshadowed even the royal court, their wealth and authority eclipsing that of the emperor, while the palace remained grand, yet the emperor’s court was empty, dilapidated, and wind-swept.

In *Vũ trung tùy bút*, Phạm Đình Hổ once lamented, “At that time, the Trịnh rulers collected everything rare—exotic birds, strange stones, and flowers—that ordinary people could never afford.” How could such a place not smell of fragrant flowers and strange grasses? This reflects the boundless greed and selfishness of the ruling class. In *Vũ trung tùy bút*, he also wrote about the suffering of the people, who endured years of war, leaving the land in ruins, and forcing the survivors to eat tree bark and rodents. Meanwhile, the Trịnh court lived in luxury, unaffected by the cries of the oppressed.

Along with the scenic beauty, the people within the palace live in an opulent, excessive, and sickly manner that contrasts sharply with the common folk.

Lê Hữu Trác does not describe these strange events by chance. They are highlighted because they starkly deviate from normality.

Their working manners are baffling! They urgently knock on doors, “speaking while gasping for breath” in the early morning hours. At first, it seems as though the patient must be in critical condition. The hurried journey of the servants “galloping like wild horses” causes the author great discomfort, but he must endure. As a humble man of lower rank, he has no choice.

Yet, to his surprise, upon entering the palace, he finds not the distress he anticipated but a calm, peaceful environment. The hurried servants were not the lords or rulers, but rather the palace guards and servants. Before attending to the heir, Lãn Ông had to pass through “several doors,” winding corridors, and vast halls, reminiscent of a maze. The Trịnh palace is so vast that the cries of the people cannot reach it. In fact, every room has a name: “Great Hall,” “Quyển Bồng,” and “Purple Tower,” with the “Purple Tower” even avoiding the word “medicine” and being called the “tea room” instead. All this complexity simply to treat one person. The luxurious feasts with “golden trays and silver cups, exotic food” stand in stark contrast to the suffering of the common people who are starving.

While the surroundings are vibrant and bustling, the royal chambers are dark and devoid of light. The only light comes from candles, as no sunlight reaches these chambers. This symbolic absence of the sun, the source of life, suggests that those inside are deprived of divine blessings and are doomed to sickness and decay. This is reflected in the sickly state of the heir, whose health has been compromised by indulgence. A child deprived of nourishment is pitiful, but a young man weakened by excess is deeply ironic and tragic. How can such a person govern the nation?

The extravagant lifestyle at the Trịnh palace, with its excessive rituals and unhealthy opulence, is a criticism of the corrupt system. Through this excerpt and the entire *Thượng kinh kí sự*, Lê Hữu Trác not only shows himself to be a skilled doctor but also a compassionate writer, deeply concerned for the people and critical of the ruling elite.

With *Thượng kinh kí sự*, Lê Hữu Trác solidified his place in Vietnamese literature, not only as a doctor but also as a writer with a deep sense of empathy and responsibility for the nation.

Le Huu Trac (1724 – 1791), also known by his pen name Hai Thuong Lan Ong, was born in the village of Lieu Xa, Duong Hao District, Thuong Hong Prefecture, Hai Duong Province, which is now part of Yen My, Hung Yen Province. He is a renowned physician in the history of Vietnamese medicine. His greatest aspiration was to use his knowledge and dedication to help people. Neither fame nor wealth could divert him from his noble ideals. His life's work is compiled in the 66-volume 'Hai Thuong Y Tong Tam Linh,' a monumental medical research work spanning nearly 40 years, representing the pinnacle of medical scholarship in Vietnam during the medieval period.

'Thuong Kinh Ki Su,' originally written in Classical Chinese, was authored by Le Huu Trac in 1782. The text records his personal experiences while being summoned to the capital, Thang Long, to treat the family of Lord Trinh Sam. Through his vivid and insightful writings, the author realistically reflects on the luxurious life of the feudal lords, subtly expressing his disregard for fame and wealth.

The beginning of the text describes the rare beauty and wealth of Lord Trinh's mansion, which the author observes both directly and indirectly through his impressions: 'I looked up and saw thick trees, birds chirping, flowers blooming, the scent of the wind... I thought to myself: I am from a noble family, raised in a prosperous place, and I have seen all corners of the palace, but this mansion of the Lord is something I had only heard about. Upon arriving, I realized that the royal wealth is far beyond ordinary people's comprehension.'

Although invited, the famous physician was only allowed entry through the back gate, with servants following him closely at every step. On his way, he made careful notes of everything: 'After walking a few hundred steps, passing several gates, I arrived at the 'Rear Guard' station. The station was beside a pond, surrounded by strange trees and unusual rocks. The pillars and railings around the station were beautifully designed.'

As he ventured deeper, his astonishment grew: 'Passing through the western corridor, I reached a large, high, and spacious house. On either side, there were royal palanquins. All the items were painted in gold. In the center was a golden bed, with a hammock above it. Around the bed, there were tables and chairs, and all the furnishings were extraordinary... Further ahead was another large and grand building. The columns were also covered in gold. It was truly the palace of dreams, a scene only found in legends or fantasy.'

The luxury of the mansion was poetically summarized by Le Huu Trac in the following verses:

Thousands of soldiers guard the gates,

And here, in all of the southern lands, it is the richest!

The palace towers reach the sky,
Beaded curtains, jade balconies, and the shadows of plum blossoms.

Life in the Lord's mansion was entirely different from ordinary life. For the first time in his life, as an invited guest, the author was served food on golden trays, with silver cups, and delicacies that he had never encountered before... Without any commentary, the author let the details themselves reveal the deeper meaning behind it all. During this period, the feudal system was in disarray, with the weak Le King only serving as a puppet while all political power fell into the hands of the reckless Lord Trinh, who indulged in luxury and excess. Meanwhile, the common people lived in misery, their cries echoing in every corner of the land. The interests of the king were no longer aligned with the welfare of the nation. Thus, protests and revolts against the court arose everywhere. Because he understood the true nature of the feudal court, Le Huu Trac decisively turned away from the tempting path of fame and fortune, a path that was ultimately dangerous and humiliating.

The description of the palace was done with meticulous detail, offering not only a sharp realistic perspective but also a subtle tone of mockery from the author: 'After passing through five or six luxurious tents, I reached a spacious room where there was a golden bed in the center. A child, about five or six years old, sat on the bed, dressed in a red silk robe. Several servants stood nearby. In the center of the room, a large candle was placed on a bronze holder. On one side, there was a golden dragon chair with a velvet cushion. The room was surrounded by a silk curtain, and several concubines stood huddled together. The light from the wax candles illuminated the red robes and the powdered faces of the attendants. The scent of flowers was overwhelming. It seemed that the emperor often sat on this golden throne, but today, he had retreated behind the curtains for me to check the Eastern Prince's pulse.'

The condition of the young prince was described in great detail, leading the reader to draw parallels to the decline of the Vietnamese feudal court: 'The prince, living in an enclosed chamber, overeats, wears excessive clothing, which weakens his internal organs. Moreover, the illness has lasted too long, draining his vitality, leaving his skin dry, his navel protruding, his veins faint, and his limbs thin. This is because his vital energy has been depleted and severely damaged. Indeed, the feudal system, which had endured for thousands of years, had grown old, outdated, and was beyond recovery.'

Le Huu Trac, being a brilliant physician, carefully considered the treatment for the young prince. The advice of other doctors in the court was merely for reference. Based on his understanding of the prince's condition, he analyzed and proposed the best course of action: 'I see that the prince is thin, with a faint pulse. This means both Yin and Yang are depleted, and the treatment must focus on strengthening the spleen and kidneys to restore the fundamental balance of life force. If the internal energy is restored, the external symptoms will gradually fade on their own.'

What is particularly intriguing is that upon deeper reflection, we find that Le Huu Trac's diagnosis of the prince's illness also serves as a sharp critique of the feudal court's condition and offers a remedy for its ailments: 'Upon taking the pulse, I found six pulses to be faint and weak, with the right side even weaker. This indicates the spleen's Yin is deficient, and the fire of the stomach is excessive, preventing the preservation of Yang. Therefore, the outward symptoms of abdominal swelling are a result of internal weakness and external swelling. The remedy lies in strengthening the spleen.'

Le Huu Trac wisely prescribed a moderate treatment for the prince, fearing that an immediate result would entangle him in the temptations of fame and fortune, making it impossible for him to return to his quiet life in the mountains. As a true Confucian scholar, he understood the principles of a gentleman and chose to distance himself from the allure of power and wealth, a decision that was profoundly wise.

The excerpt from 'Entering the Lord's Palace' offers deep realism. With his sharp observational skills and detailed recording, the author paints a vivid picture of the extravagant, powerful life of Lord Trinh, while also revealing his own disregard for material wealth. For him, nothing was more precious than a life of freedom in the serene countryside, dedicating his talents to medicine and helping others. The luxurious life in the royal palace, though rich and splendid, ultimately led to a life of servitude, akin to being trapped in a gilded cage.

Lê Hữu Trác was born into a noble family skilled in military strategy and martial arts. After serving as an official under Lord Trịnh for some time, he became disillusioned with the corrupt society and lax moral standards. When his brother passed away in Hương Sơn in 1746, Lê Hữu Trác used the excuse of caring for his elderly mother to resign from his post. From then on, he focused on studying medicine, curing ailments, writing books, and opening a school to teach the ethics, principles, and techniques of medicine.

On January 12th of the 43rd year of the Cảnh Hưng reign (1782), Lê Hữu Trác was summoned by the lord to the capital to examine and treat Crown Prince Trịnh Cán. Later, he also treated Lord Trịnh Sâm. The experiences and events he witnessed on his journeys from Hương Sơn to Thăng Long inspired him to take up the pen.

In 1783, he completed the work "Thượng kinh kí sự" (The Journal of the Northern Expedition) in classical Chinese. This journal is a true literary masterpiece, rich in historical value. The section "Entering the Lord Trịnh's Palace" in the 11th-grade literature textbook (Volume 1, 2007, Education Publishing House) fully illustrates Lê Hữu Trác's unique and distinctive journalistic writing style.

As we know, the term "journal" refers to a group of literary forms that merge elements of journalism and literature. Journals describe real-life events, people, and situations. The writer of a journal strives for historical accuracy, and their approach is akin to that of a historian. The journal writer emphasizes narrating events thoroughly, never forgetting to describe the surrounding scenes. The genre includes various forms such as essays, reports, travel journals, autobiographies, and diaries. Among these, a journal is more focused on recording specific and detailed accounts of actual events. Naturally, within the narrative, there are also insightful reflections from the writer on the events they describe.

The excerpt from "Entering the Lord Trịnh's Palace" paints a vivid picture of the extravagant and powerful life of the Trịnh family. Lê Hữu Trác employs the first-person perspective, directly observing the luxurious lifestyle of Lord Trịnh. The author’s careful observation, precise documentation, vivid description, and skillful narration bring the scenes to life.

The opening of the excerpt begins with a specific and true event. The journalistic quality in Lê Hữu Trác’s writing is evident in his meticulous recording of events and times. The author combines objective narration with evocative techniques to highlight the urgency and haste of the characters: "On the first day of the second month, early in the morning, I heard a loud knocking on the door. I ran to open it. It turned out to be a servant of the Chánh đường...".

Here, the phrase “within the event, there is a person” links the character to the scene and the specific environment in which the action takes place. Lê Hữu Trác’s sentences are concise and full of information, written in a natural and straightforward manner without any unnecessary details. The writing is simple yet elegant, both "moving" and informative. Readers can clearly imagine the unfolding situation. Following the narrative, the reader feels a sense of tension and unease before suddenly recognizing a familiar figure, much like the character "I" in this work.

Before us, the figure of "I" appears surprised and slightly disappointed. The pace of the story suddenly slows down to focus more clearly and thoroughly on the person and the event. The two words "it turns out" not only create a sense of discovery but also reveal the truth behind the people and events. The character "I" does not appear physically at first but is introduced through their voice, their perception of sound, and more clearly, their actions. The character "I" emerges as someone involved in the events being narrated. Thus, right from the start, readers realize that this is not a fictional story but a real-life account. When describing events and people, Lê Hữu Trác avoids using pre-existing templates and instead focuses on everyday life and private matters. For example, the servant's dialogue is expressed naturally and fittingly according to his position: "There is a royal edict calling you in. The official's orders are being executed at the master's house, and I’ve come to deliver the message...".

Lê Hữu Trác values clear and structured narration. The author organizes the events logically and coherently, so that each action or statement from the servant is followed by the narrator's reaction: "I heard a knock on the door... I ran to open it...", "The servant said... I replied...", "The servant hurried... I was shaken...". The smooth narrative flow arises from successfully conveying the causal logic of the events. Initially, it seems like the character "I" is the one in control, but as the story progresses, it becomes evident that they are swept along by one event after another.

The opening section of the excerpt features short, to-the-point sentences, each corresponding to a feeling, an action, or an event. Readers empathize with the character's distress and involuntary actions, while also agreeing with Lê Hữu Trác’s subtle critique of the abuse of power and the self-indulgence of Lord Trịnh Sâm at the time.

The scene and lifestyle within the Lord's palace are described with great attention to detail through the eyes of a doctor who is stepping into a new, unfamiliar world. The artistic space of the work expands with the narrator’s perspective, giving a more comprehensive view of the scene. The panoramic portrayal of the Lord Trịnh’s palace not only includes its vastness but also its depth, evoking a powerful imagery.

According to the narrator, the surroundings of the Lord’s palace are extraordinarily luxurious and unmatched anywhere: Upon entering the palace, one must pass through several gates, with winding hallways connecting them, each guarded by soldiers. The palace grounds are spacious, with rest stops designed in a stylish manner, surrounded by natural beauty. In the garden, birds chirp, flowers bloom vibrantly, and the air carries a fragrant breeze. Inside, there are grand halls, gilded pavilions, palanquins, and hammocks. The Lord's belongings are decorated with gold leaf, and the dining utensils are made of gold and silver, serving exotic delicacies… To enter the Crown Prince's private quarters, one must pass through six layers of silk curtains. The Crown Prince's residence is lavish, with gold-plated beds, dragon-shaped chairs with warm cushions, and an environment filled with glowing lights and the scent of flowers.

Lê Hữu Trác skillfully combines focused description with selective detailing, choosing the most striking features to highlight the supreme authority and extravagant lifestyle of Lord Trịnh Sâm’s family. The narrative tone is both objective and solemn, mixed with a sense of wonder and a subtle critique of the Lord Trịnh. The author also blends prose with poetry. The poem describing the scene and activities at the Lord's palace has a deep and nuanced meaning, with witty and ironic words hidden beneath a smile.

The commentary in the work is quite varied: First, Lê Hữu Trác offers a general evaluation of the beauty of the scene. Then, he comments on the grandeur of the wealth. Later, he gives his impressions of the detailed decorations and architecture. The author pauses to carefully evaluate and critique the luxurious items from the grand halls to the gilded pavilions. All of Lê Hữu Trác’s evaluations are thoughtful, precise, and moderate. This is why the work has a deep lyrical quality.

The author observes the architectural structures and the natural surroundings through their shapes, sizes, and proportions, primarily describing the palace grounds with impressions of fragrance and sound. The presence of guards and soldiers emphasizes the solemnity of the place. Lê Hữu Trác particularly enjoys describing the paths and entrances to the Lord's palace. It feels as though behind every door lies a painting. The excerpt consists of many scenes with varying shades of light and darkness, connecting them together.

After passing through the first few gates, the author perceives the scene as a fairy-tale vision, with lush trees and a fragrant atmosphere. As the narrator moves deeper into the palace, the depiction of its wealth becomes more vivid and complete. The deeper Lê Hữu Trác travels into the palace, the more he observes the grand interiors, the towering buildings, and the ornate ceremonial objects, all of which highlight the luxurious lifestyle of the ruling class.

"Entering the Lord Trịnh’s Palace" is not so much about treating the patient as it is about exploring the lavish, royal life. Visiting the Crown Prince Trịnh Cán for treatment was merely an excuse, a convenient opportunity for the writer to complete the portrait of the powerful, affluent, and authoritarian life at the palace.

Lê Hữu Trác organizes the narrative viewpoint flexibly. Sometimes the events are recounted through the narrator's perspective, while other times the author allows the royal servant to describe and introduce the scene. Readers feel as if not only Lê Hữu Trác is guiding us into the palace to observe freely, but also the palace attendants are allowing us to delve deeper into the truths of the "Eastern Palace." The narrator’s monologues reveal a sharp and refined view of the events and characters. The descriptive sections show that the narrator is able to grasp the vast space and essence of the phenomena.

As a humble rural doctor, the character "I" appears polite, humble, and eager to learn the medical arts from his colleagues. Despite his lower status compared to the imperial physicians, the character "I" does not seem diminished. In fact, his character and talents are further elevated. The bustling atmosphere of the imperial medical office exposes the fact that the Lord’s palace harbors a system of incompetent officials living off others' efforts.

In the past, Confucian scholars rarely spoke of themselves, but in this excerpt, the author allows the "I" to play an important role. "Entering the Lord Trịnh’s Palace" directly reflects the personal viewpoint of the writer. Through this excerpt, we see that Lê Hữu Trác is a highly experienced physician. Along with his skill, he is a doctor of great conscience and virtue. Lê Hữu Trác holds medicine in high regard and believes that doctors must continue their ancestors' legacy of loyalty, maintaining purity in both their minds and actions. He values a simple life, free from the pursuit of fame and wealth, returning to the practice of healing with the belief: "The true heart is in saving lives. I have no ulterior motive/ Knowing contentment, poverty is better than wealth/ Doing good without expecting any return".

Hải Thượng Lãn Ông, known primarily as a distinguished physician, was also an accomplished writer. Though his body of work is limited, his writings carry great value and significance. One notable example is his piece "Into the House of Lord Trịnh," which poignantly reflects the social realities of the era.

The story unfolds during the reign of Lord Trịnh Sâm, who summons Lê Hữu Trác to treat the ailing crown prince, Trịnh Cán. Reluctantly, Lê Hữu Trác complies with the royal order, and through his eyes, the reader is given a glimpse into the extravagant life within the palace.

The author meticulously describes the palace, from its exterior to the inner sanctum, detailing not only the setting but also the royal customs. The opulence of the palace is vividly painted, offering a clear window into its splendor.

Upon entering the palace, Lê Hữu Trác cannot help but marvel at its luxurious surroundings, including rare and exotic trees, which are not found elsewhere. These precious plants add to the air of wealth and refinement. Moreover, the palace is home to rare birds whose songs further enhance the majestic ambiance. The very sight of these rare flora and fauna evokes the impression of a life lived in extreme luxury.

As the narrative moves deeper into the palace, Lê Hữu Trác describes even more grandiose sights. However, despite the overwhelming splendor, he expresses no desire to partake in such a lifestyle. He subtly implies that such excess may be the root cause of the crown prince's ailments. The author's description of the golden halls and gilded décor speaks to the immense wealth of the palace. Everything, from the grand columns to the smallest household items, is adorned in gold. The reader is struck by the sheer abundance of wealth on display, as everyday objects such as chopsticks, plates, and food trays are made of gold, a luxury few could ever imagine.

Furthermore, the intricate customs of the palace serve as a metaphor for the wider societal realities. To enter the royal chambers, one must pass through several levels of approval, and the king's possessions are treated as sacred, akin to those of a divine figure. Even Lê Hữu Trác, summoned by royal decree, must navigate multiple gates to reach the palace. Inside, everyone, from the attendants to the courtiers, shows utmost reverence for the ruler. The lavishness of the palace life is clearly a reflection of the king's status. Yet one might wonder: how are such luxuries sustained?

Additionally, when Lê Hữu Trác arrives to examine the crown prince, even though the prince is just a child in the palace, the senior doctors must show great deference before they are allowed to begin their work. The prince’s chamber is opulent, with the royal heir shielded behind a delicate silk curtain, surrounded by a retinue of doctors, all waiting to attend to his needs. Eventually, Lê Hữu Trác finds the cure for the prince's illness, despite opposition from the majority of the court's physicians.

This contrast between the extravagant court life and the struggles of the common people is striking. The answer to how such wealth is accumulated lies in the taxes and tributes collected from the citizens. While the country is divided and its people suffer, the rulers indulge in a life of excess, without concern for the state of their subjects.

Through Lê Hữu Trác's "Into the House of Lord Trịnh," we gain insight into the realities of Vietnamese society at the time, where the luxury of the ruling class was in stark contrast to the hardships of the common people. The rulers' obsession with indulgence and pleasure, while neglecting their duties to govern the nation, becomes a powerful critique of the social and political system.