Top 10 Best Essays on Analyzing the True Character of a Confucian Scholar in Nguyen Cong Tru's 'Bai Ca Ngat Nguong' (Grade 11)

Nguyen Cong Tru was a Confucian scholar who made significant contributions to the development of folk poetry in Vietnam. Among the many 'hat noi' poems he left behind, 'Bai Ca Ngat Nguong' stands out as one of the finest, representing a summary of his eventful and rich life. The poem vividly portrays the character of a true Confucian scholar, leaving a deep impression on readers.

'Bai Ca Ngat Nguong' serves as a unique self-portrait, expressing a proud, rebellious attitude toward the world, contrasting the true scholar with those who lack talent. The title itself evokes an image of something precariously balanced, symbolizing the poet’s defiance and individuality. Through this, Nguyen Cong Tru conveys a philosophy of living that emphasizes confidence and independence, with a deep, unwavering sense of self. As a Confucian scholar, he was respected for his wisdom, and his poems reflected an awareness of both his responsibilities and the disdain he felt toward a conventional life.

The line 'Vũ trụ nội mạc phi phận sự' reveals his self-assured attitude toward life, embodying the Confucian ideal of living with purpose and responsibility. This echoes the sentiment found in other works, such as that of Pham Ngu Lao: 'Công danh nam tử còn vương nợ' — the desire to fulfill one’s duty and leave a lasting legacy. Nguyen Cong Tru, in his poetry, boldly declares his personal ambitions: 'Đã mang tiếng ở trong trời đất / Phải có danh gì với núi sông,' reinforcing his determination to make a name for himself, to contribute to his country, and to leave a legacy for posterity.

His use of the phrase 'Ông Hy Văn tài bộ đã vào lồng' emphasizes his self-identity and confidence, a stark contrast to the humility often found in classical literature. Nguyen Cong Tru’s tone is bold, full of self-assertion, showing a new, dynamic approach to poetry. The scholar's confidence is also displayed in his recounting of his official positions, including 'Khi Thủ khoa, khi Tham tân, khi Tổng đốc Đông,' which lists his high-ranking roles in society. These lines are marked by a rhythmic variation that conveys his proud yet humble attitude toward his accomplishments, suggesting that while he was proud of his achievements, he did not seek to be defined by them.

Nguyen Cong Tru’s portrayal of himself as a man who lived freely and proudly, without being constrained by social expectations, is reflected in the image of him riding a golden cow with a sword, unperturbed by the opinions of others. This vivid, unconventional image underscores his disregard for societal norms and his commitment to living life on his own terms. He maintained a carefree attitude towards life's challenges, as seen in his lines: 'Được mất dương dương người thái thượng / Khen chê phơi phới ngọc đông phong,' suggesting that neither success nor failure could disturb his peace of mind. He embraced both gain and loss with equal indifference, embodying a philosophy of living that accepted the transient nature of life.

In the final lines, Nguyen Cong Tru reflects on the role of a true Confucian scholar, one who balances loyalty to the emperor with personal integrity. The line 'Chẳng Trái, Nhạc cũng vào phường Hàn, Phú' further highlights his commitment to maintaining both his moral compass and his sense of self, regardless of external pressures. Through his poetic imagery and bold self-expression, Nguyen Cong Tru redefined what it meant to be a Confucian scholar, embracing individuality and challenging the norms of his time. His 'Bai Ca Ngat Nguong' continues to stand as a testament to the life of a scholar who lived freely, proudly, and unapologetically.

In the late 19th century, Nguyễn Công Trứ emerged with the work 'The Song of a Rebel,' a self-reflective piece marking a significant milestone in Vietnamese literature, showcasing the noble character of a true Confucian scholar.

Nguyễn Công Trứ was a patriot with an admirable character, talented and passionate across various fields, from culture and economics to the military. Despite his abilities, his career was far from smooth due to his free-spirited, unrestrained nature, leading to fluctuating promotions and demotions in his official life.

Not only a scholar with great character and talent, Nguyễn Công Trứ was also a poet fond of the 'hát nói' (spoken song) genre, which was popular in the late 18th century. However, it wasn’t until Nguyễn Công Trứ’s time that the genre was infused with content aligning with its structure and function. 'Hát nói' then transcended the rigid conventions of classical literature, allowing the poet’s personal voice to emerge. 'The Song of a Rebel' stands as one of his finest works in this genre, revealing the free, unrestrained spirit of a Confucian scholar with noble character.

'Ngất ngưởng' (rebel) refers to a state of imbalance or instability. In this poem, the repeated use of 'ngất ngưởng' symbolizes not only the poet's lifestyle and attitude but also a rejection of worldly constraints, a playful defiance based on self-awareness of one’s talents and integrity. Nguyễn Công Trứ’s Confucian character is first seen in his consciousness of his own ability and status:

'The universe does not lack my responsibility,'

'Master Hi Văn’s talent has entered the cage.'

'Sometimes Scholar, sometimes Advisor, sometimes Eastern Governor,'

'With strategic expertise, achieving heights beyond reach.'

'In the West, with the flag of General,'

'Sometimes returning as Governor of Thừa Thiên.'

The opening lines express Nguyễn Công Trứ's philosophy: 'The universe does not lack my responsibility,' declaring his ideal to be a man of action whose role encompasses everything in the vast world.

'The ambition of a man spans across North, South, East, and West,'

'To make my mark across the oceans.'

For Nguyễn Công Trứ, his ambition was inseparable from his career. He boldly stated, 'Without fame, I’d rather be dust among the trees,' and proudly claimed his rightful place in the world. His belief was that everything related to him was by his own talent, unparalleled by others:

'Master Hi Văn’s talent has entered the cage.'

'Sometimes Scholar, sometimes Advisor, sometimes Eastern Governor,'

'With strategic expertise, achieving heights beyond reach.'

He proudly recounts his achievements in the imperial court, from passing the national exam as the top scholar to holding prestigious positions such as Advisor, Eastern Governor, and General. His assertion of 'strategic expertise' reflects his complete mastery of both civil and military affairs, contributing to his bold, defiant character, even at the peak of his career. This pride in his ability showcases the elegance of his persona, marked by his high spirit, free from the norms of society.

'When leaving the court, taking off my official hat,'

'Riding an ox with a golden saddle, looking so rebellious.'

'Over yonder mountain, with white clouds,'

'I carry my bow and sword, embodying compassion.'

'My immortal steps leave an indelible trace,

And the Buddha laughs at my rebellious nature.'

After retiring, Nguyễn Công Trứ lived without ceremony, proudly showing his defiance against the worldly norms. Riding an ox with a golden saddle, wearing his sword, he embodied the paradox of a man who once wielded immense power now expressing a spiritual rebellion. Even in religious settings, he retained his sense of individualism, not bound by the rigid codes of Confucianism. His philosophy of 'freedom from worldly affairs' manifested through his acts of rebellion, presenting himself as a figure who transcended both earthly desires and religious conventions.

'Heaven and Earth—praise or blame doesn’t affect me,'

'As I drink, sing, play the flute, and the drum,

Unconcerned by Buddha, Immortals, or mundane distractions.'

For Nguyễn Công Trứ, receiving praise or criticism was just like the wind passing by. After stepping down from his official post, he embraced a life of freedom, fully indulging in all the pleasures of life. He reveled in the joy of wine, music, and leisure, completely unconcerned with the conventional norms of society.

'No Buddha, no Immortal, no worldly concerns.'

'No Confucian, Taoist, nor Aristocrat for me.'

The poet identifies with famous generals and statesmen from China’s Han, Song dynasties, reflecting his belief in the fundamental duty of loyalty to the ruler and country. Even in a court society where individualism was suppressed, Nguyễn Công Trứ’s rebellious spirit embodied a unique strength—a personal awakening that embraced individuality and modern views on life.

'Who else in the imperial court is as rebellious as he is!'

Lưu Trọng Lư once admired him: 'Such a miraculous harmony of opposites: The balance of Dream and Reality, the rebelliousness of a wanderer with the decorum of a Confucian scholar... Nguyễn Công Trứ entered life with the dignity of Confucius, left life with the joyful ease of Zhuangzi.' Indeed, he was a progressive scholar of the late 19th century, awakening to the individuality of a free spirit unshackled by the rigid framework of Confucian norms. This scholar had an admirable character, talent, and unwavering loyalty to his nation and society.

Through his exaggerated, ironic tone and the rhythmic style of 'hát nói,' Nguyễn Công Trứ's work stands as a breakthrough in poetic form, fully expressing his rebellious, free-spirited, and audacious philosophy of life. This poem has left a lasting impression on readers, immortalizing the portrait of a true Confucian scholar, both talented and noble in character.

Throughout his long life, spanning over four centuries, Nguyễn Công Trứ dedicated himself to many tasks, always holding the belief that his efforts were for the sake of the people and the nation.

'Alone to serve the people and the country,

The teachings I left behind will be passed down for generations…'

For Nguyễn Công Trứ, personal consciousness is defined through three realms: public achievements, personal pleasure, and a sense of individuality, pride, and self-assurance. These aspects create a harmonious, confident, affluent, and free person who rises above the trivial matters of praise or criticism. Through 'The Lofty Song,' Nguyễn Công Trứ vividly presents his own biography, and throughout the poem, readers can sense his unique lifestyle, distinct from the conventional norms of the time, revealing the beauty of the true scholar's character.

The poem carries a unique, dominant inspiration. Loftiness expresses the posture, actions, attitude, and spirit of a person who rises above worldly affairs. It represents a lifestyle that is unconventional, full of personality and courage. Nguyễn Công Trứ is aware of his own strength and personal qualities. His loftiness embodies the beauty of the true scholar, whether in the imperial court or in retirement, where this beauty is encapsulated in the term 'Lofty.'

'The universe's internal duties are mine.'

In this first line, Nguyễn Công Trứ uses classical Sino-Vietnamese words to express his pride and self-worth in being present in this world. He affirms his personal responsibility.

'The Hi Văn scholar is caged.'

For him, being a government official means sacrificing freedom. But he chooses the path of officialdom because it is the only avenue for him to express his talents and ambitions for the people and the nation. After introducing his name, the poet asserts his own stance, his 'scholar's talent,' and his heroic spirit.

'Once a top scholar, then a councilor, later a governor of the East,'

From organizing military campaigns to becoming the governor of Thừa Thiên.

Hi Văn was a real person with a reputation. He boldly took on exams and challenged others. He recounts his academic achievements and the positions he held. His not only boasts of his official career but also showcases his noble character. Through these six verses, we can infer a new definition of 'Lofty,' as created by Nguyễn Công Trứ. Loftiness, as a form of self-praise, challenges the traditional order of the feudal society.

On one hand, he fully commits to his duties and pleasures alike. This is evident when Nguyễn Công Trứ retired.

Retirement marked a turning point in Nguyễn Công Trứ's life after thirty years of serving in the imperial court. He broke free from the constraints, amplifying his eccentricity. Instead of luxurious feasts, he engaged in peculiar and unconventional activities. He would decorate cows with musical instruments and hang an areca leaf behind their tails. The shift from a soldier to a figure of compassion is remarkable. He would even take young women to visit temples, causing Buddha to laugh.

Back to a simple life, he acted in ways that seemed absurd, almost mocking his own lofty demeanor. He lived fully, both in his work and his leisure. The poem's humorous self-deprecation hints at whether the world laughs at him or whether he is laughing at himself. Regardless, the concerns of gain and loss or praise and criticism no longer mattered to him. He continued his passion for 'hát nói' (a form of oral performance), a craft he adored since childhood. With his boastful nature, Nguyễn Công Trứ considered himself a great figure in the world, proud of his identity. With this unique spirit, he encapsulated his life in two final verses.

'The duty of the king and his subjects remains pure.'

In the court, who could be as 'Lofty' as him?

Nguyễn Công Trứ remains lofty, yet he always upholds his duty as a subject. He asserts his talent, his unconventional way of living, and his challenge to the world. This self-assurance in his abilities and his confidence in his way of life enabled him to rise above common societal norms, living and doing what pleased him. But no matter how lofty he became, he was always aware of his responsibilities to the world. Although he relished a free, carefree lifestyle, he remained committed to his duties as a soldier.

The short song, walking along a long stretch of sand, conveys the disillusionment of an intellectual with the mundane pursuit of fame and fortune of the time, and the longing to transform life. The poem's rhythm effectively conveys the emotional and philosophical reflections of the poetic persona on the rocky and challenging road to success.

'The Lofty Song' was composed by Nguyễn Công Trứ after 1848, the year he retired from his official duties. The poem reflects a summation of Nguyễn Công Trứ's life, encapsulating his intellect, talents, character, personality, and philosophy. This exceptional piece, written in the style of the folk song, reveals the artistic brilliance and bold spirit of 'Ông Hi Văn'.

'The universe is not beyond my duty

Ông Hi Văn, whose talents are now confined

Once a Top Scholar, then a Consultant, and later the Governor of East

With military strategies that elevated him to heights...'

Who in the court was as exalted as him!'

Unlike other folk songs, Nguyễn Công Trứ begins not with two classical Chinese lines but with one Chinese line: 'The universe is not beyond my duty' and one Vietnamese line: 'Ông Hi Văn, whose talents are now confined.' The Chinese line expresses the belief that nothing in the universe lies beyond one's responsibilities. This is a sacred principle of Confucianism, one that Nguyễn Công Trứ understood deeply and embodied consistently throughout his life. As a result, 'Ông Hi Văn, whose talents are now confined.' The verse is magnificent! It takes tremendous inner strength to exude such pride. It might seem like Nguyễn Công Trứ is mocking some 'Ông Hi Văn,' but the truth is, 'Ông Hi Văn' is none other than Nguyễn Công Trứ himself! A man who devoted his life to serving the country yet viewed his official position as a 'cage'. Why such a disdainful attitude? It is understandable: Nguyễn Công Trứ, gifted and intellectual, gave everything to serve the country and its people. Yet the feudal society, where he toiled with devotion, was small and pitiful. 'Ông Hi Văn' always felt confined, lacking freedom, much like a bird in a cage. Thus, his great military actions were merely the struggles of a bird confined in a cage.

'Once a Top Scholar, then a Consultant, and later the Governor of East

With military strategies that elevated him to heights

At times in the West, with the banner of a General,

And sometimes in Phú Thừa Thiên.'

This alone sounds magnificent! A perfect blend of literature and military prowess. But this only scratches the surface of his many contributions to the nation. Yet, what distinguishes Nguyễn Công Trứ from the bureaucrats of his time? Here lies 'Ông Hi Văn'!

'With military strategies that elevated him to heights.'

'Exalted' even in official duties! 'Exalted' atop the peak of fame! Truly rare. This is not just a posture or external behavior; exalted became Nguyễn Công Trứ's essence. It represents his outlook on life, his character, and personality. Serving a declining dynasty amidst corrupt officials and ridiculous 'paper scholars,' Nguyễn Công Trứ's 'exalted' demeanor was fitting. From a character standpoint, 'exalted' is his greatest 'achievement.' It defined his entire life. Nguyễn Công Trứ, when considered deeply, 'exalted' even in court, 'exalted' at the pinnacle of fame, is the most respectable trait of 'Ông Hi Văn.' His rebellious nature became the core of his being. In the twilight of his life, he retired in his 'exalted' way:

'The city gates are wide open as I retire,

Riding a golden ox adorned with bells, 'exalted'

See the distant mountains covered in white clouds,

With a sword and bow, I show my compassion.'

The footfalls of a 'perfect' sage,

Even the Buddha laughs at his 'exalted' ways...'

When he retired, he refused to ride a horse but instead chose to ride a golden ox, adorned with a bell. 'Ông Hi Văn' was truly 'exalted.' Not only that, he tied a piece of mo-cau to the ox's tail to block the mouths of the world. Then, the familiar mountains of his homeland appeared: 'See the distant mountains covered in white clouds.' Đại Nại Mountain in his homeland appeared in its ethereal beauty.

The hero who stirred the heavens and seas now returned to the Buddhist realm. 'The sword and bow' only serve to topple temples, but they don't signify compassion!

'With a sword and bow, I show my compassion

The footfalls of a perfect sage.'

Entering a temple, he brings along a courtesan. Only Nguyễn Công Trứ, or more precisely, only Nguyễn Công Trứ could be so candid. His honesty adds vibrancy to the verse, perhaps due to his artistic brilliance. The term 'perfect' is quite apt, capturing the pace of courtesans entering the temple, moving gracefully like the rhythm of temple bells, not the brisk steps of a street. But it is not about stopping at the temple to become a nun. Nguyễn Công Trứ entered the temple of compassion, yet could not rid himself of worldly desires.

'Even the Buddha laughs at his 'exalted' ways.'

In a society where the individual is suppressed and personality stifled, Nguyễn Công Trứ stood out as an individual, naturally displaying his character. With a humanistic spirit, Nguyễn Công Trứ was ahead of his time by centuries! As we follow the song from the beginning, we notice three distinct 'exalted' motifs. 'With military strategies that elevated him to heights' shows 'Ông Hi Văn' 'exalted' in the 'cage.' This is an extraordinary motif, showcasing Nguyễn Công Trứ's bold spirit. In other words, this represents a glorious victory over self-destruction (when one reaches the peak of fame, they are no longer themselves). 'Riding a golden ox adorned with bells' is the motif of Nguyễn Công Trứ retiring 'exalted.' 'Even the Buddha laughs at his 'exalted' ways' is the motif of Nguyễn Công Trứ proudly seeking transcendence. And this final motif summarizes the life of a loyal Confucian scholar who never lost himself:

'Gain or loss, boldly moving upward,

Praise or blame, joyfully swept by the spring breeze,

Sometimes in song, sometimes in wine, sometimes clapping, sometimes drumming.

No Buddha, no immortals, no worldly entanglements

Not Confucian, not Taoist, entering the halls of Hàn, Phú.

Loyalty to the king and filial piety, all in harmony with the original virtue,

Who in the court was as exalted as him!'

For Nguyễn Công Trứ, 'Gain or loss, boldly moving upward.' The author references the classic story 'The old man loses his horse.' Gaining isn't always fortunate, and losing isn't necessarily a defeat. In this competitive world, 'gain or loss' can lead people to betray each other. But Nguyễn Công Trứ remained unshaken by gain or loss, demonstrating the remarkable strength of 'Ông Hi Văn.' As for 'praise or blame,' he remained joyful, 'swept by the spring breeze.' He found joy in both praise and blame because these things didn't align with his personal standards. Even when the great general Nguyễn Công Trứ was demoted to a common soldier, he still felt 'joyfully swept by the spring breeze.' He may have lost his title, but Nguyễn Công Trứ remained.

'Sometimes in song, sometimes in wine, sometimes clapping, sometimes drumming.'

His senses were open to life's freedom, beauty, and pleasures. Poetry, wine, ca trù, and hát ả đào were Nguyễn Công Trứ's true passions. The rhythmic verse (in song, in wine, clapping, drumming) enlivened the whole piece. The author didn't forget to assess 'Ông Hi Văn's' service to the dynasty:

'Not Confucian, not Taoist, entering the halls of Hàn, Phú

Loyalty to the king and filial piety, all in harmony with the original virtue.'

Nguyễn Công Trứ placed himself among the great generals and statesmen of ancient China, such as Trái Tuân, Nhạc Phi, Hàn Kì, and Phú Bật. He was right to be proud because his heroic ideals mirrored the Confucian ideals of loyalty and patriotism, which he upheld faithfully. Finding a scholar as accomplished as Nguyễn Công Trứ is rare, but finding someone like 'Ông Hi Văn' is impossible!

'Who in the court was as exalted as him?'

This is also the final motif of 'The Lofty Song.' The author ends the poem with the 'exalted' motif. 'Exalted' in the court, 'exalted' atop the peak of fame—this embodies Nguyễn Công Trứ's personality and spirit.

If one were to choose a representative work from Nguyễn Công Trứ's entire body of work, it would be 'The Lofty Song.' The man, the talent, the spirit, and the essence of Nguyễn Công Trứ are vividly represented in this remarkable work. The folk song style has become poetry—beautiful poetry, philosophical, lyrical, and satirical. There is a Nguyễn Công Trứ outside the 'cage,' laughing at the 'Ông Hi Văn' inside the 'cage,' a Nguyễn Công Trứ who mocks 'Ông Hi Văn' within the system. The four 'exalted' motifs encapsulate the rich life of a brilliant, loyal scholar who never lost himself. In a society where individuality is suppressed, Nguyễn Công Trứ's 'exalted' attitude is not only his own spirit but also a timeless humanistic value.

Nguyễn Công Trứ's life, spanning the 18th and 19th centuries, reflects a unique personality marked by an unconventional lifestyle and poetry. He rightfully continues the distinct 'I' introduced by predecessors like Phạm Thái and Hồ Xuân Hương. These personal traits contributed to the beauty of many of his works, including 'The Song of the Exalted'.

The poem's title, 'The Song of the Exalted', is quite unusual. 'Exalted' suggests instability, swaying as if on the brink of collapse. The title mirrors the tumultuous life of the poet, a life full of ups and downs. However, these struggles only serve to highlight the noble character of the true Confucian, Nguyễn Công Trứ, who lived 'exalted', independent and carefree, unaffected by worldly opinions.

The poem was written after 1848, following Nguyễn Công Trứ's retirement in his homeland, Hà Tĩnh. The freedom of rural life, no longer constrained by the rigid rules of officialdom, allowed him to express his rebellious spirit even more strongly. With his life nearing its end, he reflects on the changes in the world and his own journey.

Looking back, he takes pride in having lived with purpose. He fulfilled the duties of a scholar, contributing to the world with the belief that 'There is no task under heaven that is not my responsibility.' For Nguyễn Công Trứ, the role of the scholar was to cultivate oneself, govern the family, manage the state, and bring peace to the world. His poetry reflects his deep awareness of his personal role in shaping history.

By positioning himself as someone responsible for all matters under heaven, he proudly declares: 'I, Hi Văn, have entered retirement.' The bird that once soared freely now folds its wings, but the legacy of his achievements still resounds. His poem acknowledges his past glory while embracing a new, reflective phase of life.

In Vietnamese literary history, Nguyễn Công Trứ, along with a few others like Nguyễn Du and Hồ Xuân Hương, is remembered for his bold, personal expression. His use of 'I' in his work breaks away from Confucian tradition, asserting the individual's importance in a world dominated by collective duties. The repetition of 'When... when...' in his verses emphasizes his many talents and achievements, confirming his personal identity in a society that often suppressed such individualism.

Not only did Nguyễn Công Trứ recognize his talents, but he also acknowledged his virtuous character. However, his noble integrity was not for hiding in seclusion. Unlike other Confucian scholars, his moral virtue coexisted with a rebellious and unconventional nature, rejecting societal norms. 'While others ride horses, I, Hi Văn, ride an ox.' His unique lifestyle, proudly displayed, was his way of distancing himself from the greed and sycophancy of the world. His personality also reflects his disdain for mediocrity and pretentiousness.

Even in his old age, Nguyễn Công Trứ retained his confidence, unafraid of societal judgments. He faced life's ups and downs with indifference, unaffected by praise or criticism, embodying the strength of a true man who understands the ways of the world.

'Gains and losses come and go, while praise and blame are fleeting.' This stoic attitude, rooted in an understanding of life's impermanence, showcases his wisdom. The sound of 'cắc - tùng' in his poetry signifies that life is just a play, made richer by the joys of music, poetry, and wine.

Though he lived an eccentric life, Nguyễn Công Trứ still understood his connection to the greater whole. He was aware of his role and the value of his unique way of life. Despite his individuality, he remained committed to his duty to the emperor and the people, embodying the balance between personal identity and social responsibility.

When we speak of Nguyễn Công Trứ, we speak of a singular personality in Vietnamese literature. His poetry, particularly 'The Song of the Exalted', celebrates the beauty of living freely and understanding the deeper truths of life.

There are poets and writers whose figures have faded into nostalgia, remnants of a bygone era. Yet, when we look back through time, the beauty of their souls continues to shine brightly, timelessly. This truth is most evident when we engage with Cao Bá Quát's "The Short Song Walking on the Sandy Shore" and Nguyễn Công Trứ's "The Song of the Exalted" – two works rich with the noble character of true Confucian scholars.

First and foremost, the beauty of the true Confucian character in these two works is expressed through their reflections on the pursuit of fame and wealth. However, each expresses their thoughts differently about the dreams of their time. Cao Bá Quát, disillusioned, laments:

"The long beach, oh the long beach,

Each step feels like retreating a step,

The sun has set, yet still, it does not stop,

The traveler sheds tears on the path"

Perhaps it is the long and difficult journey through fame and fortune that made him indifferent when mentioning it? For him, the path to becoming an official was fraught with obstacles. This does not mean that Cao Bá Quát lacked talent, but rather that his talents were stifled by the corruption of society and the crises of his time. Through vivid imagery of the beach and the person walking on it, Cao Bá Quát skillfully depicts the weariness of those on the path to fame. This road is long and arduous, so much so that even the tears of the intellectuals fall. These tears are cries for the hardship, the wasted years of studying, and for a society in decline. On the other hand, Nguyễn Công Trứ presents a different perspective:

"In the universe, nothing is beyond my duty,

Mr. Hi Văn's career has entered its final stage"

Unlike Cao Bá Quát, Nguyễn Công Trứ had a successful career. Yet, he did not exalt the path of becoming an official. There is a subtle similarity in the thoughts of both scholars, as Nguyễn Công Trứ, too, felt constrained by the bureaucracy. This feeling is poignantly expressed through the phrase “into the cage.” Perhaps in that era, the ultimate aspiration of a Confucian scholar was to hold an official position. For them, studying was for exams, and reading was to gain fame. We should not harshly judge this mindset, for it was the goal of an entire generation. If they did not follow this path, they had no alternative.

But both Cao Bá Quát and Nguyễn Công Trứ left their own unique marks in their works to affirm their individual styles. Cao Bá Quát’s true Confucian spirit shines through his progressive views on life. If the path of fame is so rough, then why not break free from it? One step forward to change the course of life, to avoid the struggles, and move towards a brighter future. Being an official is not the only route to success; one should choose a different, more peaceful path. Do not let the whirlpool of fame pull down talented individuals, for breaking free from this cycle is the wisest choice. Cao Bá Quát’s views, which transcended his time, guide people towards a happier life. This is the first step to changing society and escaping corruption. Through this, Cao Bá Quát became an icon of the true Confucian scholar, vastly different from earlier generations. Likewise, Nguyễn Công Trứ, another true Confucian, expressed his character through his personal style and courage.

... "The gates of the city are open,

Riding a golden cow with an air of defiance,

There, the mountains rise with white clouds,

Armed with a bow and sword in hand, showing compassion,

The footsteps of immortals, leisurely, one pair of sandals"

Nguyễn Công Trứ boldly asserted his unique style. He always did things differently, not like others, even though he was an esteemed official. Moreover, he was unafraid to boast of his accomplishments and to elevate himself above others. Nguyễn Công Trứ led a free and open life, above the trivial gossip of the world. He lived true to himself, unapologetically. Despite his unconventional life, he remains a beloved figure with a profound legacy, having contributed greatly to the country. Even more admirable was his willingness to express his true self. His “I” transcended his era. A true Confucian was one who dared to speak out and assert their individuality before the world. Nguyễn Công Trứ did just that, earning his rightful place in history.

Indeed, the beauty of the true Confucian character in "The Short Song Walking on the Sandy Shore" and "The Song of the Exalted" is vividly portrayed. Though each scholar had their own style, both works have become iconic of their time, shining beacons of aesthetic beauty in the hearts of readers. They represent the ideal human character of Vietnam in a bygone era.

Nguyễn Công Trứ was a highly educated and talented individual who held numerous high-ranking positions in the imperial court. However, his life was filled with challenges and setbacks on his career path. Despite being demoted while holding a prestigious office, his true Confucian character remained unshaken. He continued to live in a distinctive, unconventional manner. The essence of a true Confucian scholar's character is fully embodied in his work, The Exalted Song.

When referring to the concept of 'character,' it highlights the moral and ethical qualities of a person. The term 'Confucian scholar' refers to learned individuals following Confucian ideals. Therefore, the character of a true Confucian scholar must embody 'cultivating oneself, managing the family, governing the nation, and bringing peace to the world.' Nguyễn Công Trứ's character as a true Confucian is evident both during his time as a government official and later in his retirement.

'The universe is not beyond one’s responsibility / Hi Văn's talents are trapped within the cage.'

At the start of the poem, Nguyễn Công Trứ asserts that everything in the world is within his responsibility. In his life, he succeeded academically and held important positions, but he also expressed his sorrow for being 'trapped,' leading a life constrained by societal expectations. He held many key positions: Advisor, Governor, General, and Official of Thừa Thiên. Despite his awareness that being a government official would limit his freedom, he accepted this fate, believing it gave him the chance to serve his country and fulfill his responsibilities as a man: 'To strive for greatness in the East, West, North, and South / To spread my influence across the four seas.'

While Confucian scholars often remained humble, regardless of their talents, Hi Văn, in contrast, was bold and unafraid to showcase his abilities, even asserting his personal strength: 'With strategies and talents, I proudly stand apart.' It seems that his poem reflects his disdain for those who seek fame and success without merit, living subservient lives. Yet, his career was marked by its fluctuations, as individuals with unconventional ways of thinking often face resistance and sabotage. His path to success was full of ups and downs. His distinctive way of life did not fit into the rigid structure of feudal society. When he retired, it was the moment when his true, free-spirited self could finally be expressed:

'The city gates have opened for the aged / Riding a golden ox with jingling bells.'

Nguyễn Công Trứ truly lived a life of freedom, like a bird released from its cage. His actions and words were marked by a rebellious spirit, which was a key aspect of his character. In retirement, he built a home in the mountains, surrounded by white clouds, resembling an otherworldly paradise. He often visited temples, but always with his young companions, defying the norms of the monastic life. Nguyễn Công Trứ disregarded conventions, leading an eccentric and carefree life, to the point where even the Buddha might 'laugh at his audacity.'

Moreover, he expressed his philosophy of life: 'Success or failure, it is the will of the heavens / Compliments and criticisms, like the winds of the east.' He viewed life’s ups and downs as a natural part of existence and encouraged a calm acceptance of life’s changes. He also made it clear that he paid no heed to the praise or criticism of others, living freely according to his own desires: 'Singing, drinking, playing music, or enjoying the pine trees / No Buddha, no Immortal, no concern with the mundane.'

In the final lines, Nguyễn Công Trứ sums up his life: 'Neither the Monarch nor the Minister can match my ways / Loyalty to the king is a sacred virtue / In the court, who is as audacious as I am?' While he may not have been a famous general or scholar, his loyalty to the king was unwavering, and this noble quality of a true Confucian scholar is deeply admirable. He dedicated his life to serving the country and fulfilling his duties, and in doing so, his individual greatness stood out in a way that no one could surpass.'

From the Exalted Song, it is clear that his free-spirited lifestyle stemmed from his Confucian ideals, emphasizing loyalty to the monarch. This unique character, unbound by the rigid confines of Confucian teachings, created his own distinctive path while maintaining his loyalty to the king and country. This is what makes Nguyễn Công Trứ’s legacy truly remarkable.

Nguyễn Công Trứ was a man of talent, ambition, and virtue. Born into a Confucian family, he was educated in the classics from a young age, passed the imperial exams, and went on to hold high-ranking positions under the Nguyễn dynasty. Not only was he a skilled military leader and politician, but he was also a poet who used his writing to express his ideals and assert his identity. His most notable work, 'The Exalted Song,' embodies the character of a true Confucian scholar while also transcending traditional Confucian norms, showcasing a unique and independent personality.

'The Exalted Song' can be seen as a brief autobiography, summarizing his life and character as Hi Văn (his pen name). He boldly presents himself with a defiant attitude and an honest, unconventional lifestyle. Through his work, he reveals the personality of a true Confucian scholar, someone with progressive views who deserves admiration and emulation.

So, who exactly were the Confucians? They were intellectuals who followed Confucianism, a system of ethics, philosophy, and religion established by Confucius to create a harmonious society. Those who adhered to these moral standards were called Confucian scholars. What is character? Character is the moral quality, integrity, and dignity within each person. It is what defines our worth and shapes the good in life. So, what does the character of a true Confucian scholar mean? We can understand this better through Nguyễn Công Trứ’s portrayal of his own character in 'The Exalted Song.'

First and foremost, a true Confucian scholar must possess 'the ambition of a man.' From the very beginning of his poem, he asserts: 'Nothing in the universe is beyond my duty.' This idea is echoed in his other works, such as 'The Responsibilities of a Man' and 'On the Scholar’s Duties,' where he repeatedly emphasizes that every task in the universe is his responsibility. This reflects the Confucian view that a scholar must dedicate himself to serving society, continuing the legacy of earlier Confucians like Phạm Ngũ Lão, Nguyễn Trãi, and Nguyễn Bỉnh Khiêm.

Secondly, a true Confucian scholar is someone who knows how to 'cultivate oneself.' According to Confucian thought, there are three main tasks: 'cultivate oneself, govern the nation, and bring peace to the world.' The most important of these is self-cultivation, which involves education and personal growth. Like other Confucians, Nguyễn Công Trứ worked hard to pass exams and become an official, contributing his talents and virtues to the country. His career was marked by numerous positions, as illustrated in these four lines of poetry:

'When a top scholar, when a military adviser, when a governor of the East'

'Master of tactics, I stood tall and proud'

'At one point, I pacified the West, leading armies'

'At another, I governed Thừa Thiên, the capital’s province.'

He held significant positions such as the top scholar of the imperial examination (Giải nguyên), military commander in the southwest, governor of a province, and general leading troops to defend the west. He also made contributions in areas like land reclamation and flood control. His career reflects his sense of responsibility and dedication to his duties. Though his career seemed to have no limits, he was always confident, asserting himself as a person of exceptional talent in the universe. In Confucianism, modesty is valued, but Nguyễn Công Trứ went against this by boldly celebrating his abilities and breaking free from the constraints of Confucian orthodoxy.

A true Confucian scholar is someone who cares little for fame and fortune, focusing only on serving the king and the country. Figures like Nguyễn Trãi and Nguyễn Bỉnh Khiêm similarly chose to retire when the government was in turmoil, rejecting the pursuit of official titles. Nguyễn Công Trứ was no different, referring to his various positions in simple terms, showing that he did not value honor or wealth. As he famously stated: 'Being a governor does not bring me pride, being a soldier does not bring me shame.' Despite holding high-ranking positions, he treated them with indifference, underscoring his belief that these roles were merely his duty in the grand scheme of the universe. This is the essence of the 'exalted' persona he embodies in his poem.

Nguyễn Công Trứ’s Confucian character is unique and unconventional. While other Confucian scholars would devote their entire lives to advancing in their careers, Nguyễn Công Trứ, having fulfilled his responsibilities to the state, allowed himself the freedom to enjoy life’s pleasures. He believed that life should be lived with joy, claiming 'the enjoyment of life is the true profit.' He lived boldly, unlike any other. While other officials would travel on horseback or in palanquins, Nguyễn Công Trứ preferred to ride a golden ox, creating a dramatic image of defiance: 'Riding a golden ox, I carry the saddle with pride.' Some saw him as arrogant and eccentric, while others thought him disdainful of public opinion. Yet, this was his way of asserting his individuality, showing the world that he had 'liberated' himself from the rigid constraints of officialdom.

His character was so different that even in the presence of religious figures, he remained unaffected by the conventions of the time. When visiting a temple, where people typically prayed for blessings and good fortune, Nguyễn Công Trứ instead hosted a banquet with music and dancers. This was his way of asserting his freedom and rejecting the conventional norms that bound others:

'Look at the distant mountain, clouds drifting white'

'Holding a sword and bow, yet embodying compassion'

'With a graceful step, I walk alone'

'Even the Buddha chuckles at my 'exalted' ways.'

These four lines capture the contradiction of a Confucian scholar, wielding weapons of war yet embodying compassion, visiting a temple but indulging in worldly pleasures. To some, this seemed disrespectful, but it only made the Buddha smile at the old scholar’s unconventional spirit. He cared little for fame and wealth, dismissing such concerns as insignificant, as reflected in these lines:

'Victory and defeat, I face them with pride'

'Praise and blame, like the winds of the east'

'At times I sing, drink, play music, and dance'

'Neither Buddha nor immortal can bind me.'

Nguyễn Công Trứ’s spirit transcended the constraints of society. Despite his life being entangled in worldly affairs, his soul soared above them, finding happiness in music and joy. His personal happiness was his greatest concern, dismissing the transient matters of gain, loss, praise, and criticism. Even when he frequented the temple, he remained unburdened by the conventions of the Buddhist or Taoist realms. His poetry was light, free, and full of a carefree, independent spirit.

Nguyễn Công Trứ’s confidence and self-assurance even led him to compare himself to the great figures of China:

'Like the famous poets and generals of the Han and Tang'

'I uphold the king’s virtues, preserving the ancient ways'

'In the court, who else stands as proudly as I?'

Despite his carefree nature, Nguyễn Công Trứ remained a true Confucian scholar, embodying the noble qualities of a Confucian. His actions and philosophy were rooted in a balance between duty and enjoyment, demonstrating a unique vision of what it means to be a Confucian scholar. Like Cao Bá Quát, whose character is also reflected in his poem 'Short Poem on the Journey,' Nguyễn Công Trứ’s refusal to conform to societal expectations reshaped the identity of Confucian scholars during his time.

Nguyễn Công Trứ came from a Confucian family and led a life of poverty. His life was full of ups and downs, as he faced numerous challenges and fluctuations in his career. He was a highly talented individual, knowledgeable in various fields such as military strategy and science. However, despite holding a high-ranking position, Nguyễn Công Trứ was suddenly demoted, and his career was like a game of chance. This is why he adopted the 'soaring' attitude, mocking the rigid Confucian expectations in his work 'The Soaring Song of the Nobleman'. He presented a unique character of a Confucian scholar who did not follow the conventional mold. In traditional Confucian thought, a scholar was expected to be knowledgeable, possess moral integrity, and have a successful career. Nguyễn Công Trứ, though, embodied these traits while also breaking free from their constraints, reflecting a true Confucian spirit that wasn’t bound by rigid societal expectations.

'The Soaring Song of the Nobleman' is a piece written in the traditional 'ca trù' style, which follows certain rules. Nguyễn Công Trứ created a unique twist by replacing the traditional opening lines with the Chinese phrase 'Vũ trụ nội mạc phi phận sự' and the Vietnamese line 'Ông Hi Văn tài bộ đã vào lồng', setting the tone for the poem.

'Vũ trụ nội mạc phi phận sự Ông Hi Văn tài bộ đã vào lồng Khi Thủ khoa, khi Tham tán, khi Tổng đốc đông Gồm thao lược đã nên tay ngất ngưởng Lúc Bình Tây cờ đại tướng Có khi về phủ doãn Thừa Thiên.'

According to him, nothing in the world belongs to any one individual. He passed exams, became an official, and used his talents and virtue to serve the country. However, the term 'vào lồng' symbolized the constraints of office and the limitations imposed upon him. Nguyễn Công Trứ, a true Confucian scholar, held several prestigious titles, such as Thủ khoa (Top Scholar), Tham tán (Consultant), and Tổng đốc đông (Governor of the East), yet his Confucian education required him to be humble, regardless of his capabilities. However, he defied this expectation, breaking through the barriers of Confucian rules to express his own unique style and attitude. He boldly claimed, 'Gồm thao lược đã nên tay ngất ngưởng,' highlighting his military prowess and leadership. His confidence was evident, as he proudly declared his skills with the word 'ngất ngưởng'—a term meaning 'soaring high'. The phrase embodied his bold and fearless approach to life, standing out from the traditional Confucian humility.

Ironically, the feudal society of his time, governed by the rigid rules of Confucianism, seemed to disapprove of such a forward-thinking individual like him. He was frequently demoted, yet also promoted back to positions that matched his capabilities, experiencing the 'game' of office. Eventually, he withdrew from the world of politics and returned to a commoner's life.

'Đô môn giải tổ chi niên Đạc ngựa bò vàng đeo ngất ngưởng Kìa núi nọ phau phau mây trắng Tay kiếm cung mà nên dạng từ bi Gót tiên theo đủng đỉnh một đôi dì Bụt cũng nực cười ông ngất ngưởng.'

In 1848, Nguyễn Công Trứ retired from his official position, marking the moment he composed this poem. Through his actions, he demonstrated that he had freed himself from the 'cage' of officialdom. His return to his hometown on a golden cow, accompanied by music and leisure, was an unusual and unique gesture that caught people's attention. The cow, too, seemed 'soaring' as Nguyễn Công Trứ sat proudly atop it, making it a spectacle for those around him. The next lines of the poem describe a beautiful, otherworldly landscape: 'Kìa núi nọ phau phau mây trắng'. Nguyễn Công Trứ settled in the tranquil mountains of Đại Nại, expecting a simple, peaceful life in retirement. However, he broke the rules of ascetic living, bringing along servants who entertained him with music and song, despite the expected simplicity of such a retreat. His actions were so unconventional that even the Buddha seemed to laugh at him, acknowledging his 'soaring' attitude.

'Khi ca, khi tửu, khi cắc, khi tùng Không Phật, không tiên, không vướng tục.'

The poem's rhythmic structure, with alternating 2/2/2 and 2/3 beats, emphasizes the unconventional nature of Nguyễn Công Trứ’s lifestyle. Although he was at a temple, he did not adhere to the expected behavior, bringing along servants and enjoying music and drink, yet he remained untouched by worldly desires. In his view, he was 'soaring' above the mundane, beyond even the realms of Buddha and immortals. Nguyễn Công Trứ’s character stood out from all others, displaying a rare, unparalleled sense of individuality.

'Được mất dương dương người thái thượng Khen chê phơi phới ngọc đông phong.'

He highlighted his own philosophy on success and failure: 'gain' and 'loss' were just natural parts of life. He accepted both without joy or sorrow. Similarly, the opinions of others, whether praise or criticism, were of no importance to him. His indifference to both 'gain and loss' and 'praise and blame' reflected his deep understanding of life's transient nature.

'Chẳng Trái, Nhạc cũng vào phường Hàn, Phú Trong triều ai ngất ngưởng được như ông.'

The final lines of the poem reinforce Nguyễn Công Trứ’s distinct style. He places himself among the ranks of the most talented individuals, asserting that no one in the court could match his 'soaring' attitude. His life and his poetry embody a unique philosophy that stood out from all others.

Similar to Nguyễn Công Trứ’s view on the Confucian scholar's true character, Cao Bá Quát in his 'Sa hành đoản ca' (Short Song on Walking on Sand) also demonstrated a forward-thinking perspective. Cao Bá Quát rejected the importance of fame and titles in the decaying feudal system. Walking on the sand symbolized his view that the pursuit of fame was as futile as being caught in quicksand. Both Cao Bá Quát and Nguyễn Công Trứ shared unconventional thoughts, challenging the outdated Confucian ideals.

Nguyễn Công Trứ’s 'The Soaring Song of the Nobleman' clearly illustrates his unique perspective on the true Confucian scholar, showing that he did not conform to the outdated rules of Confucianism. Through his life and poetry, Nguyễn Công Trứ carved out a distinct identity and lifestyle that was uniquely his own, forever shaping the face of Confucian thought.