Top 10 Essays Analyzing the Excerpt 'The Sorrow and Grief of the Palace Maid' (Literature 10)

In the feudal era, there was a tradition of selecting palace maids for the emperors. This custom, which lasted for centuries, was truly a crime against women in ancient society, as their destiny was to serve as mere entertainment for the rulers.

If fortunate enough to gain the emperor's favor, they would be attended by others, but if not, they were condemned to a life of neglect, trapped in the royal palace until old age, and then sent back to their villages to await death. The tragic fate of these women moved many authors who viewed their plight with compassion and humanity, such as Nguyen Gia Thieu. His work “Cung Oan Ngam” serves as a denunciation of the crimes committed by the rulers of the Le and Trinh dynasties, in a society that cruelly trampled the lives of unfortunate women, forcing them to bury their youth in the cold, walled confines of the palace, day after day.

The excerpt “The Sorrow and Grief of the Palace Maid” expresses the despair and deep resentment of a beautiful and talented palace maid who, having been abandoned by fate and the emperor, is left to languish in the cold palace while her youth fades away. The author's portrayal of the sadness, self-pity, and bitterness towards life's injustices is reflected in the bitter verses of the poem. Through this work, the author conveys the sorrow of a woman waiting endlessly, with increasing feelings of hopelessness and despair. She lives alone, in a dark, cold space surrounded by the palace walls, resigned to her bitter fate, overwhelmed by the cruel indifference of the world.

How cruel is the passage of spring!

Flowers wither as time passes, fading away.

The word “Khoảnh” in the poem signifies the cruel fate of a woman whose loneliness tortures her heart. The maid recalls the days when the emperor showed her favor, but now, she feels like a flower that has lost its fragrance, left alone to wither away. Although she resides in a luxurious tower, it is empty of warmth, and her solitude only deepens her sorrow and sense of abandonment.

The next verses convey the maid’s despair, as her loneliness consumes her. Her mourning echoes through the silence of the palace, reflecting her disillusionment with her fate after losing the emperor's favor.

“The evening is desolate, the morning comes slowly,

Her soul drifts like a butterfly in the wind.

The empty room is silent,

The wind slips through the door, the mist falls on the curtains.

The phoenix’s marks and the moss-covered pillars,

As the sun sets, the grass sways in the distance.

The tower fades in the pale evening light,

The pillow is frozen, the blanket cold from the winter night.

“A woman’s sorrow never finds joy,” as the maid looks around, her loneliness consuming her. She feels exhausted, as though she is surrounded by nothing but her own solitude. The once warm embrace of love has turned cold, and she is left to endure the harshness of her life in isolation. The bitter competition of the palace is a ruthless, unforgiving battle: “What is the meaning of a shared husband? One lies in warmth, the other suffers cold.” Love, when forced to share, is like a thin blanket: if one person pulls it, the other feels the chill. True happiness cannot exist for all in such a system.

Can she sense it on the embroidered mat?

She clenches her fists, seething with resentment:

She kills with sadness, without the use of knives,

She kills with sorrow, poisoning her heart!

In her bitterness, the maid curses the unfaithful man who has abandoned her, accusing him of killing her not with weapons or poison, but with his cold neglect. This is the crime of the feudal system that only served the emperors, stealing the happiness of countless young women. These verses also denounce the indulgent lives of the rulers who reveled in wealth and pleasures, while oblivious to the suffering of the poor and the miserable women who withered in the palace's cold embrace.

Let the old man who binds fate not meddle with me!

Is this fate truly so incomplete?

She wants to break free from the red thread of fate,

Frustrated, she wishes to escape her confined life!

This verse reflects the conflicting emotions of the maid. On one hand, she feels the weight of her abandoned, neglected life in the cold palace. On the other, she longs for the happiness of ordinary life, the joy of youth. The “Nguyet Lao” is the figure who arranges marriages in this world, tying her fate to the emperor, but now, she finds herself abandoned. She resents fate, resents the matchmaker, resents the unfaithful man who has left her to suffer alone.

The image of wanting to cut the red thread symbolizes the maid’s desperate attempt to escape her miserable existence, but the feudal system, with its entrenched power, will not allow her to do so. She is forever trapped in the palace, destined to live and die in cold solitude. Through his poignant and insightful pen, Nguyen Gia Thiều exposes the harsh reality of the feudal society, condemning the debauchery of its rulers and the cruelty faced by countless women abandoned in the palace.

This poem also criticizes the practice of polygamy in feudal society, which forced many women to share their husbands. The excerpt highlights the deep humanity of the author, who sympathized with the tragic fate of women in the past.

During the feudal era, women often faced great hardships, born into a society that prioritized men over women. In a polygamous system with kings and lords, women were merely playthings for men. This is why the author Nguyễn Gia Thiều wrote the poem 'Cung oán ngâm,' to express the lamentation of young, beautiful women who were once favored by the king but were later abandoned without compassion. Their lives in the royal palace were lonely and isolated, living like birds in a cage with no escape.

The excerpt 'The Sorrow and Grief of the Palace Maid' is the most poignant part of 'Cung oán ngâm.' It captures the emotions of a young woman who, in the bloom of her youth, must endure a life of loneliness and isolation within the palace walls. The poem conveys the intense sorrow and lamentation of a woman who was once cherished by the king but has been abandoned, like a flower whose fragrance has been drained by bees, now forgotten. The bees, now enjoying a new flower, leave the woman feeling bitter and humiliated by her fleeting beauty.

'On the sixth day, I wait for the absent swallow,

At night, the chimes sound loud and clear.

How cold is the dreamless sleep,

With the scent fading, and the light dimming.'

These verses illustrate the palace maid's isolation, where time seems to stretch endlessly. The maid counts each tick of the clock, each moment dragging on as she waits for word from the king. The anticipation of a brief visit from the king, even just for a moment, makes the days feel longer. The maid struggles with poor sleep, as her mind is restless and filled with sorrow from being forgotten. The sound of the night chimes deepens her melancholy.

'The paintings seem lifeless in the women's quarters,

The sad face gazes from the window's cold frame.

Standing alone, feeling despair,

Complaining to the moon, lamenting with the flowers.'

These lines express the yearning for a lost lover and the despair of waiting for someone who never returns. The maid’s emotions are tangled, her heart heavy with sorrow as she waits in vain. The beauty of her surroundings, like the flowers, fades, mirroring her own sadness. The stillness of the environment deepens her solitude and sorrow.

'My heart is overwhelmed with sorrow,

Endless sadness, and wandering steps.'

The maid feels sorrowful for her fate. Once admired for her beauty, she was loved by the king, but now, with her beauty fading, she is abandoned, her beauty forgotten. She feels forsaken, her youthful days slipping away. The maid regrets the loss of her beauty and her unfulfilled life:

'This flower, ignored by the butterfly,

Fades, its petals dull, its golden stamen withered.'

In these lines, the palace maid compares herself to a flower whose fragrance and beauty have faded, leaving her abandoned by the king, like a bee that seeks out another bloom once the nectar is gone. The maid's lament is an expression of the cruelty of being discarded once one's charm is spent, leaving her in sorrow and frustration. These verses poignantly convey the deep sorrow of the maid, evoking sympathy for her plight and the author’s humanistic view of the tragic fate of women in such a system.

'At night, the five watches mark the endless sorrow,

This sadness, oh, it will kill me.

It’s not a slow death from poison,

But a gradual, cruel despair that kills me.'

Within the palace walls, only sorrow surrounds the maid. The sadness is so overwhelming that she wishes for death to end her misery, as it seems a kinder fate than the slow agony of loneliness and waiting. She feels that the death of her spirit is far worse than any physical death, as the emotional suffering eats away at her soul.

'The moon does not spin my thread of fate,

Will my fate remain unfulfilled?

My hands long to sever this bond,

But I am trapped, helpless against this cold fate.'

The palace maid blames fate, represented by the moon and the loom, for binding her to this miserable life. She wishes to break free from the constraints of her royal prison, to live a life of freedom, but finds herself unable to escape. Like a bird in a gilded cage, she lives a life of luxury but is forever alone, her spirit withering as time passes. The poem condemns the practice of selecting young women for the king’s entertainment, forcing them into a life of confinement and loneliness. These women lose their youth and freedom, slowly fading away in the palace, with no chance of marriage or happiness.

Most of these palace maids had to bury their youth and beauty, only to be sent back to their villages when they grew old, to die alone without ever having known true happiness. They were denied the right to marry, live freely, or experience the joys of life like ordinary people. This is the tragic reality for these women in the past. The poem reflects the deep humanitarian spirit of Nguyễn Gia Thiều, highlighting the fates of young, beautiful women who were forced into the palace, only to die slowly in isolation.

The poem demonstrates the author’s sophisticated artistic techniques. Using the form of 'song thất lục bát,' the poet paints a vivid picture of the lonely life of a maid who has been abandoned, her youth wasted in a gilded cage.

Nguyễn Gia Thiều grew up in a prominent noble family and was allowed to enter the royal court for education by his uncle, Lord Trịnh. As he grew older and worked as an official in the court, he had the opportunity to witness the extravagant and immoral lifestyle of the rulers, particularly the injustice faced by the palace maids. His personal experiences and compassion for the suffering of others led him to write 'Cung oán ngâm' – a work that echoes the humanitarian ideals of the time, calling for the right to live and the right to happiness for the people of that era.

'Cung oán ngâm' is a lamentation by a beautiful and talented palace maid who, once beloved by the king, is soon discarded. Inside the palace, she mourns her fate and resents the king’s abandonment. Through this song, the author also expresses his views on the fleeting nature of life. The entire 356-line poem, with its elegant, refined language and numerous Chinese characters and references, showcases a rich and mature literary style that influenced later poets. The excerpt, spanning from line 209 to line 244, encapsulates the essence of the entire work.

The first four stanzas depict the palace maid's sorrow after being rejected by the king. The setting is the imperial palace, a place that isolates her from the outside world. The solitary atmosphere and the dark night intensify the sense of loneliness and coldness. Moreover, the night’s five watches are the perfect setting for the character to express her inner turmoil. This is a time when her hope for happiness clashes with the despair of facing her grim reality. In the darkness, she continues to 'wait in vain,' longing for something unattainable, even though she knows deep down it is hopeless. The more she hopes, the greater her despair becomes, leading her to lament her situation:

'Khoảnh làm chi bấy chúa xuân'

'Chơi hoa cho rữa nhụy dần lại thôi.'

Her bitter words reveal the king’s deceitful and cruel nature. The tone of the verse is sharp, expressing the deep sorrow of the character: when she was young and beautiful, she was cherished, but as her beauty faded, she was abandoned. The lines contrast the lavish exterior of the palace life with the desolation and spiritual decay of the life within. The author uses many Sino-Vietnamese words like 'đãi nguyệt', 'thừa lương', 'phòng tiêu', which depict a life of luxury and power within the imperial court. Alongside these, the author employs the native language, rich in emotional value, to portray the palace maid’s reality, where the grandeur of the court no longer brings her joy.

The opulence of the palace sharply contrasts with the cold, desolate life of the maid, who is in despair about the lack of love and happiness. In this situation, she has nothing but the rain, the moon, and the wind for companionship, enduring the weariness of waiting for the king's return. She yearns for a past filled with warmth and affection, a time when she was loved and cherished. The fleeting moments of happiness are quickly overshadowed by the darkness of her present, as she faces a life of solitude, completely forgotten, with no one to visit her. The symbolic images of 'gối loan tuyết đóng' and 'chăn cù giá đông' convey this coldness: the pillow of happiness is now frozen in the snow, and the blanket meant for warmth is cold with the winter chill. These also symbolize the internal coldness—the emotional isolation that tortures the maid, leaving her in despair.

The following lines depict an even more tragic emotional descent, as her feelings become increasingly sorrowful and painful. Even in sleep, she senses the 'solitude and darkness,' and her disappointment deepens as her youthful years are confined to a life of monotony, oppression, and darkness. The pain and longing for love that can never be fulfilled make her wait in vain, sinking into a state of numbness: 'Mặt buồn trông cửa nghiêm lâu', 'đứng tủi ngồi sầu', walking aimlessly with a heart full of longing. As the sorrow intensifies, the poem turns into a reproachful tone:

'Hoa này bướm nỡ thờ ơ,'

'Để gầy bông thắm, để xơ nhụy vàng!'

'Giết nhau chẳng cái mưu cầu'

'Giết nhau chẳng cái lưu cầu,'

'Giết nhau bằng cái sầu độc chưa!'

Finally, all the suppressed frustration and sorrow burst forth as she expresses a desire to break free, to escape the oppressive darkness and cold of the palace:

'Đang tay muốn dứt tơ Hồng'

'Bực mình muốn đạp tiêu phòng mà ra.'

This excerpt, like the entire poem, reflects the tragic fate of women during that time, especially the palace maids. Their lives were confined, their youth locked away in the suffocating, stifling palace. They longed for love and happiness but were left in despair as their hopes dwindled. The palace maid’s lamentation became a powerful critique of society, exposing the moral decay and harsh conditions of the imperial court.

This excerpt embodies the core philosophy of the entire work. 'Cung oán ngâm' mirrors the human condition and the literary face of its era.

The homeland of poet Nguyễn Gia Thiều (1741-1798) is in Làng Liễu Ngạn, Siêu Loại district, Kinh Bắc region (now part of Ngũ Thái commune, Thuận Thành district, Bắc Ninh province), which was a center of ancient Buddhism and once famous under the name Luy Lâu. It later became the ancestral shrine of the Ti Ni Đa Lun Chi Zen sect. One notable aspect is how the era deeply influenced Nguyễn Gia Thiều's spiritual life. He was born and raised during the political decline of the Lê - Trịnh dynasty, followed by the Lê - Tây Sơn period, and finally the establishment of the Tây Sơn - Nguyễn Huệ dynasty. In the midst of such societal turmoil, when individuals were searching for a path, all sources of thought could be used, whether to provoke one another or to synthesize and elevate them to a higher form, or even to harmonize in the pursuit of a philosophical solution. Living in an era where various ideologies competed for attention, the poet Nguyễn Gia Thiều could not help but choose a spiritual reconciliation that suited his own perspective. Among the many influences, Buddhism stood out and resonated deeply with him. A careful examination of his work *Cung oán ngâm khúc* reveals a clear Buddhist influence, seen in the frequent appearance of terms and concepts related to Buddhist views of life, such as 'water of destiny', 'suffering', 'the river of confusion', 'delusion', 'illusion', and 'the path to enlightenment'. In this particular excerpt, Nguyễn Gia Thiều captures the profound emotions of a palace maid, lonely, despondent, and at the end of her tether. Her sorrowful mood flows from feelings of isolation, drifting through time with phrases like 'autumn wind waking and sleeping', 'melancholy afternoon', 'the cold of winter', and 'silent echoes of the palace'. The sense of emptiness is reflected in spaces such as 'The palace hall is silent in shadow', 'The cold room feels like a tomb', and 'In the empty darkness, hope is like the distant cry of a bird'. All the while, life's mundane joys are nowhere to be found. Time itself seems to reflect this emotional void, as if it too is frozen in a deep, cold sleep. The emotional narrative shifts between the fast passage of time—'time passes without care'—and the slow, agonizing stretch of 'unmoving time'. These contrasting states create an intense paradox: at times time feels indifferent and fleeting, and at other moments, it seems to drag on endlessly. This duality of time is emblematic of Nguyễn Gia Thiều's deep reflections on life's meaning, as he expresses his grief over a world that has abandoned him. At one point, the poet writes with anguish: 'This is a world where even flowers and butterflies are indifferent, and where I want to tear myself away from this life of suffering.' He also subtly critiques the oppressive system of the imperial harem and dreams of freedom, longing for a future that acknowledges the right to happiness and self-determination. In terms of literary style, the poem is rich with the use of classical Chinese terms and allusions, making the verses feel dense, profound, and formal. The poet employs the traditional *song thất lục bát* rhyme scheme, creating a rhythmic flow that evokes a sense of wistfulness and longing. The poem uses a high density of adjectives that convey various emotional states: silent, cold, melancholy, despondent, empty, and more, all contributing to the profound sense of grief and self-reflection. *Cung oán ngâm khúc* is not just a masterpiece of the *ngâm khúc* genre, but also a key work of 18th-century Vietnamese literature, significant in both its artistic and social critique. Nguyễn Gia Thiều's work expresses not only the misfortune of the palace maid but also his own frustrations with the society of his time. His work indirectly affirms the importance of acknowledging the human right to live fully and happily, and through this work, he solidifies his legacy as a poet who voiced the hopes for change and development in society. Even though modern perspectives on life have evolved, the humanistic philosophy and literary skill of Nguyễn Gia Thiều continue to offer valuable insights, making *Cung oán ngâm khúc* a timeless piece, transmitting its spirit to future generations.

When mentioning Nguyễn Du, one immediately thinks of 'The Tale of Kiều', and when mentioning Nguyễn Khuyến, one recalls his autumn poems, but when we think of Nguyễn Gia Thiều, we think of 'Cung oán ngâm'. This is a significant work filled with artistic value by Nguyễn Gia Thiều. Particularly, the excerpt 'The Sorrow and Grief of the Palace Maid' is a typical example of the tragic fate of the palace maid. Moreover, this excerpt also introduces other real-life values beyond the fate of the young girl.

Nguyễn Gia Thiều, born in Kinh Bắc, a land rich in famous villages and folk songs, came from a noble family. His ancestors, including his grandparents, parents, and wife, were all from the upper class. Nguyễn Gia Thiều was highly educated, well-versed in many fields, yet he was born during a turbulent era. After King Quang Trung ascended to the throne, the poet returned to his hometown and lived a simple life until his death.

'Cung oán ngâm khúc' is a monumental work by Nguyễn Gia Thiều that tells the story of the sorrow and loneliness of the palace maids abandoned by the king. The work is written in the song thất lục bát rhyme, with a vivid and delicate portrayal of emotions, and elegant, artistic language. The excerpt 'The Sorrow and Grief of the Palace Maid' spans from lines 209 to 244.

In addition to reflecting the painful, humiliating fate of the palace maid in the luxurious palace, this excerpt also depicts the harsh reality of feudal society at the time. The reality was that men could have many wives, while women could only be with one husband for life. In the event of a husband's death, the woman was expected to remain widowed for the rest of her life. This was an injustice to women. Men, including kings, could love and abandon women at will:

“How can one continue to play with spring,

Let the flowers wither and fade away.”

The grand palace, with its beautiful towers and moonlit halls, felt like a beautiful prison where the woman remained trapped for her entire life. Furthermore, through this excerpt, we realize that the palace maids and concubines did not live joyful lives. The king, consumed by state affairs, had so many beautiful women around him that he could hardly care for his kingdom. The excerpt also exposes the luxurious, hedonistic life of the feudal kings:

“The tower greets the moon, the mind dances with the night,

The room rests with the autumn wind.

The cold bed feels like a metal slab,

The mirror shattered, the copper screen split in two.”

Once more, these kings lived in luxury, surrounded by rare items like bronze mirrors, precious copper screens, and silk curtains. But where did these treasures come from? The common people had to labor and lose their wealth to support such extravagance. The more opulent the palace, the more the common people suffered.

Alongside these reflections of contemporary social realities, Nguyễn Gia Thiều expresses his views on life's fleeting and illusory nature. People come together through love, affection, and loyalty, but life is so ephemeral that even the palace maid, who is married, might feel as if she is not. She grows weary and restless, her heart filled with longing:

“Sadness consumes the heart with longing,

Weary with each passing day, drifting in confusion.

This flower is neglected by the butterflies,

Withered petals and fading golden stamens.”

The titles of concubines, the opulent palaces, golden chopsticks, and jade cups are all just fleeting illusions. While the aristocracy lives in luxury, they forget that the people suffer, working to create these beautiful objects. The transient nature of life is emphasized: despite hoping for reciprocal love, the kings’ fickleness leaves the women in despair.

Through this excerpt, Nguyễn Gia Thiều not only reveals the painful fate of abandoned palace maids but also critiques a feudal society that is cruel, decadent, and unjust. The poet employs various artistic techniques, notably the vivid portrayal of psychological states and the use of contrasts, to convey this message to the reader.

Nguyễn Gia Thiều (1741-1798) was a prominent writer of the 18th century. Born into a noble family from the Trịnh Lords' lineage, Nguyễn Gia Thiều personally witnessed the decline and collapse of the feudal system, and the extravagant, decadent lifestyle of the ruling class at the time. From the tragic reality of the palace women, Nguyễn Gia Thiều wrote “Cung oán ngâm khúc”. This 356-line poem, written in a traditional Vietnamese verse form called song thất lục bát, expresses the deep sorrow of the palace women, reflecting the poet's rebellion against the cruel palace system in the feudal era.

The excerpt “The Sorrow of the Palace Woman” consists of five stanzas, totaling twenty lines that portray the longing, sadness, and resentment of a neglected palace consort. The emperor had thousands of concubines, some fortunate enough to receive royal affection occasionally, while most were ignored and abandoned. Nguyễn Gia Thiều, a noble artist who understood the life of palace women, deeply sympathized with their misfortunes:

“On the sixth watch, a crane's message missed,

At night, the bell tolls as the hours drift.”

The palace woman, trapped in a never-ending wait, feels both her desperation and the coldness of her lonely existence:

“Cold, cold, the sleep of solitude!

The scent of silence, the dim light of the lamp.”

The poet's empathy for the woman's suffering is profound, highlighting the desolate beauty of her existence. Her misery is further reflected in her isolation, symbolized by her quiet, sorrowful moments:

“The painting lies forgotten in a lady’s tools,

Her face filled with sadness as she stares at the palace gates.”

In her abandonment, she can do nothing but long for her absent emperor, even talking to the moon and flowers, reflecting her complete solitude:

“Alone, standing in sorrow, sitting in despair,

Complaining to the moon, lamenting with the flowers.”

Her sorrow intensifies as time goes on, shifting from anticipation to regret, and finally to an almost unbearable, unsharable pain. She pleads with the moon and flowers, symbols of femininity, as if they could understand her grief and longing:

“My sadness, why is it so enduring?

Does anyone hear it?”

The metaphor of “flowers” and “butterflies,” which traditionally represent lovers, takes on a tragic tone here as the poet uses them to describe the neglect suffered by the palace women:

“This flower fades, the butterfly turns away,

Leaving the bloom to wither, the petals to fall.”

These words reflect not only the physical fading of flowers but also the tragic end of a woman's beauty and life when abandoned by the emperor. The poet's rhythm of sorrow and rebuke emphasizes the emotional depth of the woman’s suffering:

“Through five watches, leaning against the cinnamon wall,

Can this sadness easily be ended?

Can sorrow be killed with a mere blow, unheeded?”

In these lines, the poet’s anger intensifies, questioning how anyone could extinguish such profound despair. The poet no longer maintains a distant tone, but instead, directly voices his fury at the ruthless system that destroyed the palace women's spirits:

“Can this sorrow be simply eradicated?

Can sorrow be killed with the poison of neglect?”

As the poem progresses, the poet’s anger grows, and the woman’s emotional collapse is depicted in her final rejection of her fate:

“The old moon will not weave the thread anymore,

Will this ending be incomplete?”

Here, the poet criticizes the unfulfilled promises of love and the anguish of unrequited devotion. The image of “cutting the red thread” is a strong metaphor for breaking away from the oppressive bonds of the court system:

“In frustration, she wishes to break free from this life, to leave the palace forever.”

These powerful verbs “cut” and “stomp” reflect not just a physical escape, but the deep emotional turmoil of someone desperate to break free from a life of abandonment and sorrow. This intense longing to break away further highlights the cruelty of the feudal system and the tragic lives of the palace women.

Nguyễn Gia Thiều was a noble intellectual, enjoying the favors of the emperor, yet his heart was that of an artist, filled with deep compassion for the suffering of the palace women. He lived close to both the emperor and the victims of the emperor’s system, sympathizing with their plight and denouncing the corruption and cruelty of the feudal court. Even in just an excerpt from “Cung oán ngâm khúc,” we can recognize his literary genius and profound humanity. His work, written in the sonnet form song thất lục bát, expresses both a delicate musicality and sharp intellect, blending scholarly language with everyday speech, images with rhythm, and emotion with philosophy. “Cung oán ngâm khúc” is a masterpiece of Nguyễn Gia Thiều, showcasing the pinnacle of language, intellect, and humanitarian spirit.

In 18th and early 19th century Vietnamese literature, female characters held a special place, reflecting various issues related to their circumstances and fates. There was the lonely, happiness-seeking figure of the Chinh Phu in 'Chinh Phu Ngam,' the tragic fate of Thuy Kieu in 'Truyen Kieu' by Nguyen Du, who endured 15 years of exile, and other characters like Ngoc Hoa and Cuc Hoa in Nôm tales. 'Cung Oan Ngam' by Nguyen Gia Thieu contributes a powerful voice against the feudal system that imprisoned and wore down women, particularly the concubines. The poem 'Noi Sầu Oan Của Người Cung Nữ' (from lines 209 to 244 in 'Cung Oan Ngam') conveys the isolated, abandoned plight and sorrow of the concubine. The feudal concubine system under the kings was a brutal, illogical phenomenon that lasted for thousands of years through various dynasties. This subject also appeared in many medieval literary works, but it was only in 'Cung Oan Ngam' that the abandonment and grief of the concubines were vividly portrayed, with deep anguish and bitterness. The excerpt opens with the image of the concubine, alone and forsaken, amidst the dazzling luxury of the royal court. Surrounded by majestic palaces, moonlit towers, and luxurious chambers, all that remains is the solitary, quietly sorrowful figure of the concubine. In the silent palace of cinnamon, Under the five-night watch, she anxiously waits. The moonlit tower stands, restless, as she dances, The chambered window sleeps through autumn winds. The use of classical Sino-Vietnamese terms at the beginning of the verses evokes the splendor and elegance of the royal court, while the common Vietnamese verbs convey the loneliness and restless, weary emotions of the concubine. The repetitive pairs of verbs—'waiting,' 'restless,' 'sleeping'—express not only recurring actions but also the deep weariness and unease of the concubine. The following verses narrow the scene to the concubine's private chamber within the royal palace. Although the space retains its grandeur with exquisite furnishings, it cannot hide the emptiness and isolation of the concubine. The cold, desolate imagery persists, with phrases like: 'The room is as cold as metal,' 'The door allows the wind to pass, the ivory curtains catch the mist,' and 'The embroidered pillow is icy, the quilt rough, cold as winter.' The space is bleak, and the time spent in despair stretches on endlessly. In the sixth hour of the day, longing for the missing swallow, At night, five watches pass, hearing the deep echo of the bell. In these long, cold nights filled with fragmented, restless dreams, the concubine tries to light incense to bring warmth and fragrance, but the scent only heightens the solitude ('the scent of loneliness')—the lamp's dim glow only accentuates the gloomy atmosphere of the room. The first 20 verses of the poem paint the image of the concubine's desolation in a magnificent yet desolate, cold palace. The next 16 lines delve deeper into her emotional turmoil, shifting from sadness to an ever-stronger resentment. Every action of the concubine—whether gazing at a painting with indifference, her face gloomy, sitting dejected, or standing in sorrow—expresses her profound weariness. Her inner sorrow stretches endlessly, seeming to reach its peak: 'All sorrow has carved deeply into my heart, Tired of a hundred afternoons, wandering, lost in thought.' At this point, the concubine's sorrow turns into resentment. Initially, she complains about the king's neglect, watching her beauty fade away as time passes: 'The flowers are abandoned by the butterfly, Leaving the delicate bloom to wither, the petals turn yellow.' In the earlier verses, she had grieved over: 'Why did the spring pass away so quickly? The flowers spoiled, their stamens wasted.' But the resentment evolves into a harsh condemnation of the king: 'Killing each other is not through an open sword, But through the poison of sorrow, is that not cruel enough?' Poems about concubines often contain complaints about being forsaken, ignored by their kings. In many cases, this symbolizes a fallen minister lamenting their lost favor, using the concubine's plight as a metaphor. However, in 'Cung Oan Ngam,' this is perhaps the first time in medieval literature that the crime of the king is directly and harshly condemned. The king imprisons countless beautiful concubines in the royal harem, allowing them to waste away in sadness and loneliness. Isn't this a form of murder? Moreover, the way in which these women are 'killed' is insidious and cruel—they are not slain by sharp swords, but by 'the sorrow,' a more insidious form of murder that only those directly suffering can fully comprehend: 'Killing with sorrow, isn’t that a poison beyond comparison?' The tone of the poem has shifted here from sorrowful lamentation to harsh, intense reproach. The concubine also blames the heavens, specifically the actions of the goddess of fate, Nguyet Lao: 'Nguyet Lao's hand did not tie the bond correctly! Will this fate be broken?' Searching for the origin of her tragic fate, the concubine can only blame the fate dealt by the heavens, a common theme in ancient philosophy. When one is unable to control their life and cannot explain the reasons for their fate, they often resort to blaming higher powers. The figure of the concubine in 'Cung Oan Ngam' conveys much stronger resentment compared to characters like the chinh phu in 'Chinh Phu Ngam,' who gently blamed the heavens: 'Oh, why did you cause such suffering?' Likewise, Nguyen Du’s Thuy Kieu cursed angrily in 'Truyen Kieu' when faced with injustice: 'Curse this wretched fate of mine! I am shackled by a cruel fate, it is unbearable.' The concubine's anger reaches a boiling point, transforming her thoughts into actions, as she contemplates tearing apart the red silk threads of fate: 'In my hands, I want to tear the red silk, Frustrated, I want to stomp out the palace doors!' Of course, there is a vast gap between thought and action, and the concubine still hopes that one day, the king will notice her once again, ending her lonely, sorrowful life in the harem. The character of the concubine in Nguyen Gia Thieu’s work is complex, filled with contradictions, reflecting the contradictions in the author’s own thoughts. The excerpt from 'Noi Sầu Oan Của Người Cung Nữ' is a quintessential example of the philosophical and artistic value of 'Cung Oan Ngam.' The poem powerfully portrays the melancholic and sorrowful condition of the concubine, revealing the deceitful face of the king’s power. The palace may appear luxurious on the outside, but it is truly a prison, a cold and lonely space that confines beautiful women to their sad fates. The concubine's sorrow and resentment are expressed with all the intensity and depth of human emotion, showing the author's profound sympathy. This is the humanitarian value of the poem and of the entire 'Cung Oan Ngam.' Through 'Cung Oan Ngam,' once again, the legitimate desires of human beings, especially women, are voiced authentically and powerfully in 18th-century Vietnamese literature. The poem also demonstrates Nguyen Gia Thieu's brilliant mastery of language and the creative use of the 'song that' form. The combination of Sino-Vietnamese vocabulary and pure Vietnamese words is expertly blended, creating a balance between the grandeur of the royal court and the emotional depth of the concubine’s feelings. Many verbs and adjectives, mostly in pure Vietnamese, are placed at the heart of the verses, leaving a strong impression on the reader's perception: 'When the flowers are abandoned by the butterfly, Leaving the delicate bloom to wither, the petals turn yellow.' The 'song that' form, which has existed for centuries, reaches its peak of perfection in 'Cung Oan Ngam,' where each verse maintains a cohesive structure, with rhyme in the fifth word of each seven-syllable line and tonal balancing in pairs of seven-syllable lines. Through 'Cung Oan Ngam' and 'Chinh Phu Ngam,' this poetic form demonstrates its suitability for expressing deep emotions over extended periods, with each verse acting like a wave, one after another, to create a long-lasting lyrical work.

The recruitment of court maids was a dark reality of feudal monarchs that spanned over thousands of years. In the past, kings and emperors set for themselves the right to have hundreds of beauties, sometimes up to three hundred, along with numerous concubines. Hundreds of young, beautiful girls were chosen to serve in the palace. Once selected, they were confined to the palace, cut off from their families, villages, and all societal connections. The tragic fate of these women has inspired many writers and poets, especially during the reign of King Le and the Trinh Lords. Several works have been written about them, but none have conveyed the sorrow and injustice as strongly as the poem *Cung Oán Ngâm* by Nguyễn Gia Thiểu. *Cung Oán Ngâm* is a sorrowful and anguished poem, narrating the plight of a beautiful, talented woman who was once favored by the king but was soon abandoned in her youth. The growing resentment, as days go by, overwhelms her heart, torturing her endlessly. Isolated within the palace walls, she laments her fate and expresses her deep grievances towards the king for his betrayal. Through this poem, the author depicts the suffering of the court maid who waits in despair, while also reflecting on his own philosophy of life's fleeting nature and injustices. The excerpt consists of 36 verses (from verse 209 to verse 244), expressing the sorrow of a maid who has lost favor. She lives alone within the cold, four-walled palace, lamenting the wasted years of her youth and the unjust fate forced upon her. The excerpt can be divided into two smaller sections: Section 1: The first five verses describe the grandeur of the palace and the lonely, sorrowful life of a maid who has fallen out of favor. Section 2: The next five verses express the prolonged suffering and overwhelming disappointment that the maid endures. The opening lines vividly depict the maid's solitude: *In the palace, the light is dim, and she is but a shadow. The night stretches long, with the passing hours dragging endlessly.* The contrast between the grandeur of the palace and the gloomy, desolate life of the maid accentuates her pitiable existence. The poet chooses the night as the time for the character to reveal her deepest emotions. Abandoned by the king in the grand palace, the maid spends each long night in sadness and yearning, hopelessly waiting. In such circumstances, she is acutely aware of her tragic fate and who is responsible for her misery. She is not killed by a sharp sword but by the confinement and despair of her lonely existence in the palace. The poem’s sorrowful tone emphasizes the king’s cruelty through the maid's voice: *What of this spring, O king! Why did you let the flowers wither away?* The maid's loneliness continues to consume her as the poet describes the luxurious but meaningless surroundings of the palace: *The moonlit hall where she waits, the tower that overlooks, her lonely bed, the stillness of her chamber.* Despite the palace's beauty and its luxurious comforts, all that it offers is meaningless, only amplifying the maid's grief and despair. The poem then transitions into describing the maid’s profound disappointment, giving way to her deep lamentations: *The evenings grow dull as the hours crawl, the stillness of the chamber oppresses my spirit.* In the next verses, the maid’s prolonged suffering is depicted, highlighting her growing frustration and despondency as she awaits the king's return, which never comes. The sorrow builds to a breaking point, and the maid expresses her bitter resentment: *What was once love has turned into neglect.* Her every emotion, whether sorrowful or resentful, is intense and overwhelming, never moderate. Later verses describe the maid's hopelessness as she struggles with her isolation: *My empty bed, the hollow scent of flowers, the darkened room, and the dead silence all create a sense of unbearable stillness.* Despite attempts to bring comfort, the overwhelming solitude is inescapable. Her thoughts constantly return to her emptiness and the harshness of her life. The poem moves towards an even darker tone, where the maid wishes for an end to her suffering. *Why is my life like this? Why am I forced to endure such agony in the palace?* Through this powerful imagery and the maid’s voice, the poet critiques the unjust and oppressive system of polygamy and concubinage under feudal monarchs. These systems, cruel and dehumanizing, took away the women’s freedom and happiness, leaving them trapped in a bitter existence. The king, as portrayed in the poem, is not a noble ruler but a callous figure who has abandoned his duty and betrayed those who once served him. The poem, as well as the entire *Cung Oán Ngâm*, stands as a passionate call for the recognition of the human rights and dignity of these women. The maid’s voice, through her poetry, speaks out against the cruelty and exploitation of women under the feudal system, while also revealing the poet’s deep empathy for their suffering. It is a poignant reminder of the silent struggles of women whose voices have been drowned out by history’s injustice.

Since the beginning of time, poetry has always had a deep resonance, offering solace to people in all circumstances. From folk songs and proverbs that echo the heartfelt voices of common people, like a parched rice field longing for the rain, to the flourishing and comprehensive development of literature in the medieval period to meet people's needs for expression. Among these, the emergence of the genre of recitation, especially the song-tha-luc-bat (song-song, seven-syllable poetry), stands out. One of the most famous recitations is Nguyễn Gia Thiều's 'Cung oán ngâm' ('The Lament of the Palace'). The excerpt 'The Sorrow of the Palace Maiden' is one of its most iconic parts. The work 'Cung oán ngâm' was created at the end of the 19th century when Vietnamese society was falling into decline due to the extravagant lifestyle and indulgence of the kings, and the suffering of people from all walks of life. The plight of the poor was not limited to peasants but also affected the palace maidens. The system of palace maidens, a crime born of kings' excesses, had been in place for centuries under the feudal system. The kings created rules to recruit hundreds and thousands of young girls into the palace. The youth and happiness of these girls, once full of promise, became fleeting and fragile upon entering the palace. Through the seven-syllable poetry of Nguyễn Gia Thiều, the poet voiced the sorrow of these women, whose fates were destroyed. At the beginning, the poet describes the loneliness and sadness of the palace maiden, contrasting her plight with the lavish life in the palace. 'In the palace of cinnamon, a silent shadow, At the fifth watch, waiting endlessly.' The living space of these women is a 'cinnamon palace,' isolated from the world outside, with time: the late night. This is the time when the character comes to remind the palace maiden of what she has had, as well as the haunting hopes and expectations that gradually turn into disappointment. The image of the woman appears with 'a silent shadow'—lonely and quietly, 'waiting endlessly'—longing for something distant, knowing it is impossible but still unable to stop waiting. The verse vividly portrays the endless waiting, night after night. Eventually, she must voice her grievance: 'What does spring mean to you now?' The words read with a tone of sharp bitterness, yet also deep sorrow from the lyrical character, whose circumstances are tragic. The lives of these women enjoy luxurious material comforts: 'hosting the moon, staying up for a feast, the round mirror...'. Placing these elegant Chinese terms next to simple expressions like 'sitting and standing, sleeping and waking, half-broken mirror, torn sash' highlights the contrast between the opulence of their lives and the cold, miserable, and painful reality of their souls. The palace maiden is left alone, only to keep company with the wind and the moon. The following lines reflect the state of mind of the chinh phụ (the abandoned wife). The emotions are conveyed directly through words like 'faded, forlorn, sad, despairing,' and indirectly through symbols like 'butterfly soul, morning dream.' This is the state of being lost, dazed, and dreamy due to the mental torment. The technique of parallelism: 'the phoenix's mark on the willow' and 'the fading of the distant sun' evokes memories of a warm, happy past that the palace maiden once had, now reduced to mere dreams—both cherished and painful. 'The patchy moss, the winding grass' symbolizes how happiness has been covered with moss, marking the harsh reality that the palace maiden has been forgotten. The imagery is imbued with symbols and metaphors: 'the snow-covered pillow, the cold winter quilt.' Despite the warmth provided by the quilt, the cold still seeps from the bottom of her heart, and no matter how soft the bed, happiness remains elusive. The human emotions develop in a tragic direction, becoming increasingly heavy. The lyrical voice resonates with sorrow and frustration. The sorrow of the palace maiden continues in a refrain of longing, her grief taking on a sharper, more intense tone compared to the chinh phụ. Each stanza depicts a different sorrow: 'On the sixth day, a message awaited, yet the swallow did not return, At the fifth watch, the bell tolls without end.' 'Cold, solitary, these dreams of mine, The scent is still, and the lamp is dark.' The phrase 'the sixth day, the fifth watch' emphasizes the intensity of waiting, an aching heart. She yearns for a message that does not come, for a distant sound, but only hears the sound of a temple bell. The contrast of the lamp lighting up yet casting shadows, the fragrance of incense meant to warm her soul only making her feel colder, extends this loneliness to the very surroundings. Words like 'lazy, sorrowful, distressed...' reflect the painful realization that everything is meaningless in the face of hopeless longing. The sorrow, restlessness, and despair mark the emotional journey in a negative direction, from confusion to anguish, eventually losing all hope. In addition to the complaints, there is also anxiety: 'This flower, this butterfly—will they be indifferent? /Will the flower wither, the stamen fade?' She worries that her beauty will fade, and the hope for happiness will vanish forever. Three stanzas subtly depict the heavy sorrow, loneliness, and intense resentment in waiting. The resentment of the palace maiden escalates, manifesting in an even more vehement and resolute way. The repeating time motif: 'At the fifth watch...' suggests an ongoing inner conflict with no resolution. The repeated phrase 'kill each other' powerfully conveys the brutality and cruelty of the situation. Killing with a sword seems like the ultimate physical pain, but to kill with sorrow, to slowly torment oneself in the isolation of an empty bed, is the most horrific destruction, an irreparable mental wound. The verse feels like a gentle reproach, yet its bitterness gnaws at the heart. 'Not yet!' is either an expression of complaint or a rhetorical question. The question 'Will this journey be in vain?' represents frustration, anger, and the helplessness of being pushed to a dead end. Thus, while the chinh phụ in 'Chinh phụ ngâm' is lonely due to missing her husband, feeling disappointed but still nurturing hope for his return, the palace maiden suffers a deeper torment. Abandoned by the king, she is left in sorrow day and night, unable to break free. Her journey from losing faith to intense resentment is far more tragic. While the chinh phụ might still hold onto some vague sense of the perpetrator of her misfortune, the palace maiden is fully aware of who is to blame, yet remains powerless. Through this, Nguyễn Gia Thiều's work shows deep sympathy and support for the longing for freedom, which is both tragic and admirable. The poet skillfully conveys the inner emotional turmoil of the character through rich and varied expressions, metaphors, and symbols. These verses live on in people's hearts, even after the poem has ended, leaving readers with lingering emotions and regrets. 'Cung oán ngâm' by Nguyễn Gia Thiều has achieved this timeless impact.

In the past, it was common for men to have multiple wives and concubines. Kings, however, had even more, recruiting hundreds of young and beautiful women to the palace every year. These women, often very young, would leave their families behind and enter a life cut off from the outside world. Once inside the palace, they were isolated, never to see their families again, not even their parents. Their lives became confined to the palace walls, unaware of the events taking place beyond. This tragic fate moved many writers and poets, including Nguyễn Gia Thiều. His work, Cung oán ngâm khúc, is considered one of the strongest condemnations of the royal harem system of the time. The woman in Cung oán ngâm khúc was initially loved by the king, but she was soon abandoned. Her youth was wasted in the palace, and loneliness and resentment grew with each passing day. These feelings consumed her, leaving her with a deep sense of sorrow. She blamed the king for abandoning her, and she mourned her fate. The excerpt Nỗi sầu oán (The Sorrows of the Concubine) vividly captures her emotions. Cast aside and lonely, she was filled with bitterness and grief. The opening lines of the poem reflect her isolation: "In the palace, a shadow lingers Night after night, waiting in vain." In the midst of a world of splendor, one would expect happiness, yet the concubine's life was steeped in darkness and despair. She felt like a shadow, ignored and unnoticed by those around her. The poet skillfully uses the darkness of the night to emphasize the concubine's solitude. Each night, she waited for the king, but her hopes were always in vain. She understood her tragic situation, knowing the source of her suffering. Her existence, locked away within the palace walls, was as if she were already dead, trapped in a lonely world with no escape. The king, portrayed as a heartless figure, is depicted through her reproachful words: "The springtime is gone, too late The flowers wither, the petals fall away." The poet's words capture the king's cruelty—he played with her like a toy, then discarded her when she was no longer of use. She, once close to the king, was now cast aside, like a broken doll left to rot. The poem also paints a vivid picture of the palace's luxurious yet empty surroundings: "The moonlit pavilion stands alone The cold winds pierce the silent night." Despite living in such opulent surroundings, none of it brought her comfort. Instead, it deepened her suffering. Her life, once filled with hope, had turned into an endless stream of complaints and bitterness: "The evening is gloomy, the morning comes too soon The soul, lost like a wandering butterfly." The emptiness of the palace reflects her inner emptiness. The once-beautiful surroundings now only serve to remind her of her despair. Her longing for the king grows with each passing night, but it is a hopeless longing. Each night, she waits for something that never comes, trapped in a cycle of grief and despair. She pours her sorrow into her words: "In the cold evening, my thoughts drift The flowers and the butterflies have abandoned me." The imagery of loneliness and abandonment is repeated throughout the poem, underscoring her emotional exhaustion. She is worn out physically and mentally, consumed by her sorrow. She is not just sad; she is full of resentment: "Every sigh is a weight on my soul The pain of the past is too much to bear." Within the confines of the palace, the concubine suffers not only from neglect but also from the oppressive, suffocating atmosphere. She resents the king for the happiness she could never have, for the life she was forced to live. The poem also reflects her deep frustration with the life she had been condemned to: "In this dark world, we kill each other with sorrow The pain is like a poison that never heals." Through these words, the poet reveals the cruelty of the king's polygamous system, which deprived women of their freedom and happiness. The concubines, trapped in their gilded cages, never knew true joy. Their souls were destroyed with every passing day. The concubine in the poem desires to escape this hellish existence, but her efforts are in vain. Her youth is wasted, and she is left with nothing but bitterness and regret. Nguyễn Gia Thiều's work is a powerful expression of sympathy for the fate of these women. He captures both their longing for happiness and their deep resentment for the injustices they faced. "The moon grows old, the years pass by I long to escape, but I am bound by fate." This excerpt highlights the contrasting emotions of sorrow and hope. The concubine struggles to free herself from her sorrow, but each attempt only leads to deeper despair. The poet not only portrays the pain of the concubine but also condemns the oppressive system that caused such suffering. Through this work, Nguyễn Gia Thiều expresses his compassion for the plight of women and calls for their right to live freely and happily."