Top 10 Best Essays Analyzing the Story 'Live or Die' by Pham Duy Ton

Pham Duy Ton was one of the first writers to embrace realism in literature, focusing on works that depicted the harsh realities of society during his time. One of his most notable works, 'Live or Die,' sheds light on the decaying social structure of the period, revealing the struggles of farmers who battled natural disasters without receiving the care or support from the officials, who were supposed to protect them.

The story begins with farmers working together to combat the rising waters of the Nhi Ha River. Despite the late hour, they tirelessly take turns keeping watch, ensuring that the dyke doesn’t collapse. Their determination is evident as they bring out every tool at their disposal: hoes, spades, and sticks. But despite their efforts, their rudimentary tools and limited strength are no match for the ever-rising floodwaters, which continue to threaten their livelihoods. All they can do is wait for help from the officials.

Had the officials been present, the situation might have been different. But the people’s hope is in vain. Meanwhile, in stark contrast to the urgency on the dyke, the officials are inside the palace, playing cards. The game captivates their attention, while around them, their servants serve them refreshments and continue to cater to their every whim.

The contrast between the lives of the officials and the common people is striking. As the farmers struggle to prevent the flood, the officials enjoy luxury in their lavish palace. While the people are in a desperate race against time, fearing the dyke will break, the officials remain oblivious, absorbed in their game of cards.

The image of the official in this scene evokes feelings of anger and frustration. An official, who should be a father figure to the farmers, is indifferent to the suffering of his people. He is selfish and self-absorbed, thinking only of his own comfort. In the midst of a life-and-death situation, he remains uninterested, awaiting his turn to play the next hand of cards.

When a servant reports that the dyke is on the verge of breaking, the official pays no heed, dismissing the warning with a casual remark to continue the game. Even the educated men surrounding him, like the scholar and the judge, do not challenge the official’s behavior. Instead, they continue to flatter him and join in his indulgence. The plight of the common people is bitterly evident in this scene.

When the second report comes, the official remains unchanged, even scolding the servant. This contrast is heightened as the floodwaters of the Nhi Ha River rise, and the people's situation grows more dire, while the official’s card game becomes more intense, and his fortune increases. The more the villagers suffer, the more the official revels in his luck.

Ultimately, the dyke breaks, flooding the fields and homes of the villagers. As their crops and livestock are swept away, their cries fill the air. Yet, inside the palace, the official wins big at his game. When the servant nervously reports the disaster, the official dismisses him with the command to imprison him. The situation escalates, and the inevitable happens—everything falls apart.

In conclusion, the story paints a bleak picture of the society at the time, a decaying system where officials are indifferent to the suffering of the people. It critiques the negligence of those in power, whose irresponsibility leaves the common people vulnerable and helpless. The author subtly criticizes both the corrupt officials and the governing system they represent.

Pham Duy Ton (1883–1924), originally from Phuong Vu village, Thuong Tin district, Ha Tay province, and later residing in Dong Tho village (now Hang Dau Street, Hanoi), was one of the pioneers in modern short story writing in Vietnam. One of his most famous works is 'Live or Die'.

Through two contrasting depictions of life, the author vividly critiques the feudal society of the time. These opposing images amplify the narrative's condemnation of corrupt leaders who neglected the welfare of the people, particularly the irresponsible and cruel official – a villainous figure in the story. The text opens with an intensely tense scene of hardship.

It is a rainy night, and the river’s rising waters threaten to breach the dyke. Armed with crude tools, the farmers—muddy and soaked—take various stances: some carry hoes, others haul bamboo, while some wade through the water, drenched like rats, all united in their effort to combat the flood. This somber and painful image tugs at the reader’s heartstrings.

The farmers’ struggle continues into the night, their work unrelenting. The air is filled with calls, shouts, and urgency, reflected on the faces of the workers. In such a dire situation, one might ask: Where are the officials, the so-called guardians of the people? It turns out that they are in the palace, in stark contrast, playing cards.

The scene in the palace is calm, with no sense of worry. The officials lounge comfortably, sipping wine, their feet propped up, their hands stroking their beards. The official’s authority is flaunted through his words, while sycophants surround him, showering him with praises. His success in the card game is his joy. The contrast between the two scenes is starkly emphasized in the narrative.

Alas! The injustices of feudal society are laid bare. Through a combination of narrative techniques, descriptive imagery, and genuine emotion, the author pulls the reader into the world of the time, illustrating the tragic contradictions that stir deep empathy. The callousness of the officials, represented by figures like the district chief, the scholar, and the corrupt elite, is clearly depicted.

With simple yet powerful language, the author evokes a vivid and realistic atmosphere. Furthermore, the use of striking literary techniques, like a dramatic moment where a distant voice warns that the dyke might break, contrasts sharply with the calm demeanor of the official, who dismisses the warning with a nonchalant ‘Let it be’ while awaiting his next hand of cards. His defiance is evident in his dismissive words: 'Even if the dyke breaks and the water rises, the palace won’t collapse.'

This technique of escalation is brilliantly executed. The art of contrast is equally compelling. The two scenes—one of relaxed leisure and the other of frantic anxiety—highlight the stark differences between the two classes in ancient society.

With a deft application of these artistic techniques and a masterful use of language, the essay successfully portrays the opposing figures. It condemns the corrupt officials who live in comfort, indifferent to the suffering of the people, and paints a vivid picture of the feudal society’s injustice. These contrasting depictions not only showcase the harsh reality but also evoke deep human empathy and a call for change.

Phạm Duy Tốn was born in a tumultuous historical era. Although he wrote little, his works had a profound influence. He became one of the pioneers paving the way for the glorious achievements of modern Vietnamese literature in later periods.

The short story "Live or Die" by him is considered the first short story in the Western style of Vietnamese literature and also the first short story of the new Vietnamese literary movement. "Live or Die" is a representative work in Phạm Duy Tốn's literary career and is regarded as one of the pieces that initiated the critical realism literature of the future.

The short story was first published in Nam Phong magazine, issue 18, in 1918. It is one of the first modern Vietnamese short stories written in Quốc Ngữ script. The author vividly depicts the stark contrast between the suffering lives of the people and the extravagant, luxurious, and self-indulgent lives of the officials.

Through this work, Phạm Duy Tốn harshly criticizes the heartlessness and irresponsibility of the officials who have driven innocent people into misery. He was one of the early figures in modern Vietnamese literature in the early 20th century.

His works primarily expose the rotten and unjust conditions of the semi-feudal colonial society. He wrote numerous short stories such as "Life's Woes", "Irritation", and "The Sorrowful Man". Phạm Duy Tốn's works are touching due to his realistic portrayal of the phenomena he observed.

"Live or Die" is considered a pioneering short story in modern Vietnamese literature. The emergence of modern short stories marks the continuation and development of the achievements from traditional short stories. Unlike traditional stories that mainly focused on documenting real people and events, modern short stories emphasize narrative techniques, dramatic situations, character psychology, and richer dialogue and monologue.

This story condemns the greedy officials and expresses sympathy for the suffering of the people caused by natural disasters and the irresponsibility of those in power.

The title "Live or Die" is derived from the Vietnamese saying "Live or die, the money is in the official’s pocket", which reflects the officials’ complete indifference to the people's fate. Whether the people live or die, the officials are unconcerned.

From the very title, the text reveals its central theme, which is a sharp critique of the time's officials. The image of the official exemplifies the cruel and callous nature of feudal and semi-colonial rulers, a theme found in the works of Nguyễn Khuyến, Tú Xương, and others.

The entire story is built around two contrasting scenes: one of the people working hard to maintain the dyke and the other of the officials indulging in gambling. The author sets a very tense situation right from the start: "Around midnight. The rain is pouring heavily. The water of the Nhị Hà river has risen so much that the dyke in village X is in danger of breaking."

The fate of the people and the officials depends on whether the dyke holds. In this life-threatening situation, the officials should be on the front line with the people. However, the events unfold in stark contrast to this expectation, with the officials abandoning their responsibilities.

As the people struggle to reinforce the dyke, the officials are engrossed in their gambling game. The contrast is highlighted in every detail: the people working on the dyke in the dark, in an urgent and dangerous situation, while the officials are absorbed in their game, unconcerned about the suffering of the people.

The villagers are wet and exhausted, desperately trying to save their homes, while the officials are immersed in their game, their focus solely on the cards in front of them, completely ignoring the crisis unfolding outside.

The story sharply contrasts the intense suffering of the people with the irresponsible behavior of the officials. The portrayal of the officials’ selfishness and indifference is heightened as the situation becomes more desperate. The people are calling for help, but the official’s sole concern is his next move in the game.

In the end, when the dyke finally breaks, the official expresses no concern for the people’s plight, instead focusing on his own gambling. His indifference and the extent of his selfishness are shocking.

"Live or Die" is a short story that effectively critiques the exploitation of the people by the officials. The narrative employs contrast and escalation techniques to highlight the deep injustice and suffering caused by the irresponsibility of those in power. The story successfully conveys the profound human values of compassion and justice.

Phạm Duy Tốn's mastery of modern short story techniques and his ability to create dramatic tension, vivid characters, and emotional language make this story a cornerstone of modern Vietnamese literature.

The story highlights the sharp contrast between the luxurious lives of the officials and the dire struggles of the people, vividly illustrating the cruelty and negligence of those in power. Phạm Duy Tốn's work remains an essential commentary on social injustice and the plight of the Vietnamese people under colonial rule.

Phạm Duy Tốn is a pioneering social writer of the new literature movement in Vietnam. His works often depict the harsh realities of life with vivid detail. Among his most notable works is 'Sống chết mặc bay,' a story set in a time when society had made notable progress. The narrative paints a chaotic scene where peasants struggle amidst rising floodwaters, while local officials remain indifferent. The story contrasts the misery of the common people with the detached luxury of the ruling class, offering a stark portrayal of life during that era.

The story opens with the image of villagers desperately trying to prevent the floodwaters from breaching the banks of the Nhị Hà River at night. Despite the late hour, they continue their efforts, battling the rain and water. The storm rages on, threatening to engulf the village. Hundreds of villagers wade through the flooded fields, carrying bamboo poles and trying to stave off disaster, but it seems futile—nature is relentless. As the floodwaters rise, the villagers fear the collapse of the dike, and wonder how they will survive.

In their minds, they turn to the local officials, hoping they might offer help. However, their hopes are soon dashed as they observe the inaction of the government. The so-called 'fatherly officials' are comfortably lounging, with attendants at their service, while engrossed in a game of cards: "A lofty official, seated comfortably, one hand resting on the arm of his chair, his legs extended. A servant kneels beside him, scratching his back, while a soldier stands by with a fan, lazily waving it. The scene is filled with luxurious items: a silver pipe, a gold watch, a tray of delicacies—symbols of their wealth and detachment from the struggles of the people." The author skillfully contrasts the suffering of the villagers with the idle indifference of the officials, highlighting the vast divide between the two groups.

The author masterfully creates two starkly opposing settings to underscore the social injustices of the time. The contrast adds dramatic tension, drawing the reader's sympathy for the peasants, who bear the burdens of oppression and neglect. The officials, who should have been working to protect the people, are instead absorbed in their leisure. This selfishness and neglect evoke frustration not only in the characters but in the reader as well. Even when news of the dike's potential collapse reaches the officials, they remain unmoved, continuing their game of cards while the villagers suffer.

The story reaches its peak when a peasant rushes in to report that the dike has indeed broken. The 'fatherly official' does not express concern but instead responds coldly, shouting, "The dike is broken, and it's your fault! I will have you imprisoned." He then returns to his game, demonstrating an utter lack of responsibility. This indifference highlights the deep corruption and disregard for the welfare of the people.

The author once again employs the technique of escalation to emphasize the official's complete detachment. As the floodwaters rise, the official's obsession with his card game intensifies, revealing the extent of his negligence and selfishness. The corruption of the officials is so deep that they fail to recognize the gravity of the situation, choosing instead to indulge in their selfish pleasures.

When the dike finally collapses and the floodwaters inundate the villages, destroying crops and livestock, the sound of crying fills the air. The official, however, remains focused on his cards, and when a servant reports the devastation, the official dismisses him with a harsh rebuke, saying, "I will have you thrown in jail." The situation reaches a boiling point, and there is no turning back. The collapse of the dike becomes a symbol of the failure of the governing class to serve and protect its people.

The author uses this story to reveal the suffering of the common people, who endure both the natural calamity and the callousness of the ruling class. The tale serves as a powerful critique of the feudal system and the injustice faced by the peasants. It is a call for sympathy for those who endure oppression and a condemnation of the corrupt officials who perpetuate this suffering. The story paints a grim picture of a society where the poor are left to fend for themselves while the wealthy thrive in luxury. This work not only criticizes the past but also calls attention to the human cost of inequality and neglect.

"Sống chết mặc bay" is a renowned work that made Pham Duy Ton's name. It is a significant example of early 20th-century critical realism literature. The story was published in the December 1918 issue of the Nam Phong magazine and stands out for its modern short story format that grabs readers' attention right from its title. The phrase "Sống chết mặc bay" is derived from a traditional proverb "Sống chết mặc bay, tiền thầy bỏ túi", which implies selfish people who focus solely on benefiting themselves while disregarding the suffering of others.

The meaning of this proverb is a critique of individuals who only care about their own well-being and ignore the needs or lives of others. These people are condemned by society for their selfish and irresponsible behavior. The title played a crucial role in the success of the story by creating curiosity and intrigue among readers.

The story portrays the situation in Vietnam before the August Revolution, particularly in rural areas in the 1920s. It tells of a stormy night on a dike along the Nhị Hà River, where the dike collapses, throwing the villagers into a life-threatening situation. Meanwhile, the officials in the nearby governor's mansion are casually playing cards, oblivious to the flooding and the suffering of the people.

The author uses this stark contrast to show the neglect of the authorities, who leave the villagers to fend for themselves, embodying the meaning of the proverb "Sống chết mặc bay". The story opens with a gloomy night, heavy rain, and rising floodwaters along the river, setting a sense of urgency as the villagers try to cope with nature's fury.

In contrast, inside the governor's mansion, the atmosphere is lively and indifferent. The officials are engaged in card games, completely uninterested in the disaster unfolding outside. The juxtaposition of these two scenes – the desperate villagers and the carefree officials – creates a powerful contrast in the narrative. The story uses these two opposing images to highlight the stark realities of the time.

Pham Duy Ton skillfully portrays this duality: on one side, the villagers are struggling to survive, while on the other, the officials are ignoring their responsibilities. The image of the officials engrossed in their games, while the villagers fight for their lives, emphasizes the absurdity of the situation. The officials' indifference to the people's plight underlines the cruel disconnect between the rulers and the ruled.

The author uses sharp contrast to expose the true nature of the ruling class, showing them as heartless and detached from the suffering of the common people. The tragedy of the villagers is amplified by the officials' obliviousness, as seen when the dike finally breaks and the floodwaters ravage the land, destroying crops and homes. As the officials continue their card games, the disaster around them escalates, showing the deep injustice of the time.

Through his keen observations and sharp writing, Pham Duy Ton critiques the rulers and expresses sympathy for the plight of the common people. The work is a powerful condemnation of the ruling class and a poignant reflection on the dire conditions faced by the people in Vietnam during that era.

Pham Duy Ton, a celebrated writer and journalist from the early 20th century, authored only a few works—just four short stories—yet he is considered a pioneer in modern Vietnamese literature. His debut work, "Sống chết mặc bay", is also his most well-known and stands as a significant contribution to literature. The story illustrates the lives of the common folk while also revealing the heartless face of the ruling class in old society.

The narrative begins with an intense and urgent situation: the villagers are desperately working to reinforce a dike. It's nearly midnight, the waters of the Nhị Hà River are rising, and the rain is pouring relentlessly. The writer describes hundreds of laborers tirelessly working since the afternoon: "Hundreds of thousands of workers, struggling under the rain, some digging, others carrying dirt, some hauling bamboo, all slogging through mud up to their knees, drenched to the bone."

Through a series of vivid lists and dialogues, the author emphasizes the perilous and tense atmosphere, where lives hang by a thread. The author's comments, such as: "The situation looks truly grim", and exclamations like, "Alas! Human strength cannot fight against nature’s power! The dike will surely fail against the flood! What a disaster!" amplify the growing anxiety surrounding this critical moment.

In such a dangerous situation, one might wonder where the leader is. Moving away from the laborers, the author's gaze shifts to the nearby temple, which stands firm and high above the dike, revealing the image of the official in charge.

The official, however, is comfortably inside the temple, a scene in stark contrast to the outside chaos: "The temple stands tall on the dike, unaffected by the rising waters. Inside, the lamps shine brightly, with servants and soldiers moving about busily." The calm and solemn atmosphere inside the temple is a sharp contrast to the fear and worry outside. The official is leisurely playing cards, unaffected by the looming disaster.

Sitting comfortably with a bowl of tea, stroking his beard, the official remains entirely indifferent to the plight of the villagers. When news arrives that the dike may break, his response is cold and dismissive: "Let it be."

The situation intensifies when the dike finally collapses. As panic sets in, the official responds harshly: "The dike is broken!... The dike is broken! I’ll have you all imprisoned! Do you realize the gravity of this? Guards! How could you let this happen?" Then, he returns to his card game, unconcerned about the disaster unfolding.

This character is a heartless and cruel figure, indifferent to the lives of the people. His sole focus is on his game, disregarding the lives of the villagers. The author uses contrast and escalation effectively to reveal the true nature of the ruling class, exposing their apathy towards the suffering of the common people.

The story creates two clear and contrasting images, reflecting the inequities of the old feudal society. These opposing scenes further amplify the critique of the callous rulers who are disconnected from the hardships of the people.

Through the skillful use of contrast and escalating tension, Pham Duy Ton masterfully portrays two worlds: one of comfort and indifference for the rulers, and one of suffering and struggle for the people. His writing moves away from traditional literary forms, adopting a more direct and modern style that resonates with everyday language.

This short story is a deeply realistic and poignant commentary, denouncing the corrupt and irresponsible rulers who indulge in luxury while the people endure countless hardships, both natural and man-made, under their neglect.

In the story "Sống chết mặc bay" by Pham Duy Ton, originally published in the 18th issue of the Nam Phong magazine in 1918, was later selected by the Social Science Publishing House in 1989 to be included in the collection of Nam Phong short stories. This work is considered the "first bloom of modern Vietnamese short stories" because it was one of the first to be written using the Latin alphabet, despite the literary style still clearly bearing traces of classical literature (biên ngẫu writing style).

The story revolves around the event of a dike collapse, with the main character being a government official. The plot unfolds in three scenes, presented chronologically: Scene 1: Heavy rain, strong winds, the floodwaters rising high, the dike is about to break, and the people rush to reinforce it. Scene 2: A group of officials, clerks, and soldiers are engrossed in playing cards at the communal house. Scene 3: The dike breaks.

The author contrasts the extravagant lifestyle of the ruling class with the suffering and despair of the common people. Through this, the author harshly criticizes the corrupt, incompetent, and irresponsible ruling class, indifferent to the welfare and lives of the poor, while also expressing deep sympathy for the misery and hardship of the people.

The story begins by depicting the imminent danger facing the Nhị River dike. The author describes the scene with many specific details about the time and place: Nearly 1 AM, heavy rain pouring down, the water in the Nhị Hà River is rising rapidly; a section of the X village river is in danger, with two or three sections already leaking, and if not careful, it could break.

The author vividly portrays the scene of hundreds of thousands of people frantically working to save the dike from the relentless floodwaters: some digging, some carrying soil, some carrying bamboo, some reinforcing the embankment, with the muddy water rising over their knees, their bodies drenched, looking pitiful.

The atmosphere is tense and horrifying. The contrast between human strength and the power of nature reaches its peak: Although drums are beaten, horns are blown, and people call out to help each other, everyone is exhausted. Meanwhile, the rain continues to pour, and the floodwaters rise uncontrollably.

Alas! Human strength cannot contend with nature's power! The dike cannot resist the force of the water! Oh no! The dike will collapse. The scene of the people struggling desperately to protect the dike sets the stage for the arrival of a completely contrasting scene inside the communal house, where the officials are leisurely playing cards while the people outside fight to save their lives and property. Where is the concerned fatherly official?

He is inside the communal house, about 400 meters away. The house, though located on the dike, is high and solid, unaffected by the flooding outside. In this second scene, the author describes the official engrossed in playing cards with his subordinates while being served by clerks and soldiers. The narrative is objective and detailed, but behind it, the tone carries irony, mockery, and indignation.

When the dike is at risk of breaking, the "fatherly official" goes to "supervise" the dike reinforcement, but ironically, he is not among the people working hard to save the dike; instead, he is comfortably seated in the communal house, where everything is serene, well-lit, and the servants are bustling around. The portrait of the official is drawn in vivid detail: he is sitting grandly on a mat in the center, one hand resting on a cushion, one leg stretched out, while a servant below scratches his foot. A soldier stands beside him, fanning him with a feather fan, and around him are all his aides, including a primary teacher, a secondary teacher, and a village head, sitting around playing cards.

The official is relaxed and detached, oblivious to the suffering of the people outside. The communal house remains a place of solemnity and dignity, with no connection to the frantic dike reinforcement happening outside. By juxtaposing these two scenes, the author aims to condemn the irresponsibility and heartlessness of the ruling class at the time.

Amidst the desperate attempt to fight the flood, the "fatherly official" is clearly seen through his gestures, words, and mental state. The readers cannot fathom that in such a dire situation, with thousands of lives and properties at risk, the official remains unperturbed, indulging in his leisure. Surrounding him are luxurious items: next to him, on his left side, there is a tray of steamed bird's nest with rock sugar, emitting a fragrant steam; beside it, there are silver inlaid boxes filled with betel nuts, areca nuts, roots, and various fine objects.

This is in stark contrast to the scene outside: rain and wind howling, the people covered in mud, scrambling on the dike like a swarm of ants. This opposition emphasizes the selfish, cruel, and inhuman character of the official, highlighting the tragedy of the people and intensifying the critical tone of the story.

While the disaster of the dike's collapse looms, the servants continue to serve the official, who is still absorbed in his card game. Though the game may seem innocent, it is happening while the official is supposed to be supervising the reinforcement efforts. Despite the alarming situation outside, the official maintains a strict hierarchy and solemn atmosphere within the communal house: four wicker chairs are placed around the mat, with the primary teacher, secondary teacher, and village head sitting in order, waiting to serve the official.

While the people are panicking, suffering, the official is absorbed in his game, displaying his callousness and irresponsibility. If outside, the dike reinforcement is filled with urgency and tension, inside the communal house, the air is calm and relaxed, with the sounds of the game: "Eight books! Eat"; "Seven characters... Full", spoken in a gentle, relaxed tone, while the people outside are struggling to prevent the dike from breaking, and the official, oblivious to the danger, continues to play cards.

The official's obsession with gambling, played right on the dike in the midst of an impending crisis, underscores his cruelty and depravity. The game of cards has such a powerful grip on him that he forgets all about his responsibilities and the dangers surrounding him. Why? Because around him, there are always servants flattering and serving him, eager to show their loyalty by letting him win. After finishing a bowl of bird's nest, the official leans back, stroking his beard and enjoying the moment while the world outside falls apart. When informed of the dike's collapse, he coldly dismisses it: "Let it be!" and continues playing. His obsession with gambling and the wealth he gains from it makes him lose all sense of morality: he cares not for the lives of others, nor for the destruction unfolding outside.

The author meticulously describes the official's actions, dialogue, and demeanor: as he awaits the next round of cards, sitting comfortably with his feet up, casually stroking his beard, while outside, the dike is collapsing. When news comes that the dike has broken, the official responds harshly: "The dike is broken! The dike is broken, I’ll have you all punished! Do you understand?" His callous attitude toward the people’s suffering reflects his complete lack of compassion.

In this story, the author skillfully uses contrasting images to highlight the stark difference between the people’s desperate struggle and the official’s leisurely indifference. The cries of people outside, desperately warning of the collapse, contrast sharply with the official’s calm, detached attitude. The contrast between the muddy, exhausted peasants and the haughty official further underscores the selfish, immoral character of the official, and the tragic fate of the people.

The story concludes with the collapse of the dike: while the official is engrossed in his game, the floodwaters rage, engulfing homes, crops, and lives. The people who survive have no shelter, and those who die are left without a proper burial. The scene is one of overwhelming sorrow, a devastating picture of the impact of the official’s neglect.

At the end of the story, the author blends descriptive and expressive language to portray the tragedy of the dike's collapse, expressing sympathy for the suffering of the people. The writer emphasizes that the poverty and misery of the people are not only caused by natural disasters, but also by the indifference and irresponsibility of the ruling class.

In terms of artistic technique, the author uses contrast and escalation to highlight the meaning of the story and sharpen the characterization of the corrupt official. The technique of escalation is evident in the way the author describes the increasingly desperate efforts to save the dike: The water in the Nhị River rises higher and higher, while the rain continues to pour down, creating a sense of mounting urgency. This escalation mirrors the growing irresponsibility of the official, who becomes increasingly absorbed in his gambling and indifferent to the disaster unfolding outside.

The story masterfully uses the techniques of contrast and escalation to intensify the criticism of the official’s cruelty and to convey the writer’s deep sympathy for the suffering of the people caused not just by natural forces but by the negligence of those in power.

The short story "Living and Dying at Will" by Pham Duy Ton is considered the "first bloom of the season" because it was the first short story written in the national script. While still bearing marks of medieval literature both in content and form, the issues addressed in the story are still relevant today. A striking feature of this work is the contrast between the two classes when faced with the critical survival issue of the people.

The story begins with the dangerous situation at the dyke section of the Nhị River: "It was nearly one in the morning. The rain was pouring heavily. The water of the Nhị Hà River had risen too high. The section of the river in village X, in district X, seemed to be in critical condition, two or three sections had already leaked, and if not careful, it could break." For the people, dykes are one of the most important factors for survival and farming.

If the dyke breaks, houses, crops, trees, and even people would be submerged, and life would be severely threatened. The dyke section in village X is at risk of breaking, truly a perilous situation. Facing direct threats to their lives, the people here are working tirelessly to reinforce the dyke. The scene is vividly and sorrowfully described by the author: "...some digging, others hoeing, some carrying earth, others patching bamboo, while wading through the mud up to their knees, each person drenched like a rat caught in the rain."

The urgency and desperation of the scene are immediately apparent to the reader. Everyone recognizes the critical situation, and each person is giving their all to save the dyke. The image is heartbreaking.

Not stopping there, the author intensifies the people's plight to a climax: "Although the drums are beating incessantly, and people are shouting to help, everyone seems to be exhausted. Yet the rain continues pouring from the sky, and the river keeps rising. Alas! Human strength cannot compete with the forces of nature! The dyke cannot withstand the power of the water! How worrisome! How dangerous! This dyke will break."

This passage reveals that the people have been working for quite a while, not just that day. Despite everyone trying to act quickly, human strength is limited, and they are all weary. Reading this, the reader is filled with a sense of deep sorrow. How much hope is left in this dire situation? Everyone feels the impending danger and the sorrowful fate of the people in village X.

The author depicts the scene of the people struggling against the natural disaster in great detail, preparing the reader for the contrasting scene that takes place in the temple: "...where are the officials? They are in the temple, about four or five hundred meters away. The temple is also located on the dyke, but it is high and stable, so it is safe even if the water rises."

Amid the chaos between the officials and the villagers, the author narrates how the official is engrossed in playing cards with his subordinates, served by officials and soldiers. The tone is filled with sarcasm, mockery, and indignation. The official is indeed overseeing the dyke work, but he is not with the people; he is in the temple, enjoying luxurious food and warmth while "the lanterns are brightly lit, and servants and soldiers bustle about".

The official sits in a posture of arrogance, "his left arm resting on a cushion, his right leg stretched out, while a servant sits on the ground, scratching his feet." Surrounded by a group of officials, "the head teacher, the head of the village, the deputy head, and the village chief" are all playing cards. This system of officials, paid by the people, is indifferent to the survival of the common people. The scene in the temple is completely detached from the people's struggle to protect the dyke.

While "the storm rages outside, the people laboring, drenched in rain like ants on the dyke", inside the temple, despite just a game of cards, the official maintains an air of authority and solemnity, as if in a court. The officials' passion for gambling, right on the dyke, over the lives of thousands of people, shows their cruelty and shamelessness.

The pain reaches its peak when the dyke breaks—while the people's suffering and loss occur, the official celebrates a victorious hand in his game, pounding his thighs in joy. What could be more infuriating than the fact that the pain of the people is overshadowed by the joy of a gambling victory?

The scene of the dyke breaking is described in great detail and with great sorrow: "While the official wins a large hand, everywhere else, water floods, swirling into deep whirlpools, houses are carried away, crops submerged, some people have nowhere to live, others have no place to bury their dead, drifting on the water, their shadows lost in the despair and sorrow of the situation." The suffering of the people, though caused by natural disasters, would have been alleviated if the officials had not been so indifferent to the lives of their people.

The story ends with a sad conclusion. The author skillfully combines descriptive techniques with expressive language, and through the escalating contrast, the story reaches its climax, allowing the reader to grasp the dire condition of the people and the corrupt, heartless nature of the officials. The rhymed sentences balance the narrative, giving the story the rhythm of its time.

With this short story, Pham Duy Ton opened a new era in national literature with the introduction of literature written in the national script. The work laid the foundation for the development of the country's literature in the following periods.