Top 10 Most Insightful Analyses of President Ho Chi Minh's Poem "Lai Tân" (Literature 8 - Kết nối tri thức Textbook)

In the early 20th century, Vietnamese literature experienced a new maturity. The nation's poetry was no longer bound by the rigid Confucian rules that restricted poets from expressing themselves freely.

With this new phase, each poet emerged with a distinct voice. This individuality led to fresh definitions of poetry. While Xuân Diệu viewed being a poet as dreaming with the moon and wandering with the clouds, Hàn Mặc Tử defined it as bearing the world's sorrow. This raises the question: what is this 'sorrow of humanity'? Is it the longing of Nguyễn Bính or Huy Cận's feeling of homesickness? Alongside these, Ho Chi Minh added a different perspective on this sorrow: one that critiques the corruption and decay of society. His focus wasn’t confined to the Vietnamese landscape but extended to the oppressive regime of Chiang Kai-shek's China.

Despite his disinterest in writing poetry for its own sake, Ho Chi Minh was deeply moved by the injustice and decay around him. In his poem "Lai Tân", he subtly yet powerfully critiques the society under Chiang Kai-shek, exposing the hypocrisy of the prison system.

The lines of the poem speak of a corrupt prison system: 'The prison head is busy gambling, the officer makes a living off the prisoners, and the county head does his work by candlelight, yet Lai Tân remains peaceful.' As a prisoner under the regime, it’s no surprise that Ho Chi Minh paints such a vivid, realistic picture of the societal flaws he witnessed.

Upon reading the poem, one quickly notices a paradox—a paradox inherent in all poetry. Like the contradictions in Tản Đà’s poetry or Xuân Diệu’s yearning for spring, these contradictions often reveal the beauty of the human spirit. In Ho Chi Minh’s work, however, the paradox comes with frustration. How can it be that a prison head, whose job is to reform prisoners, is engaged in gambling? How can it be that 'the world of Lai Tân' remains peaceful when corruption runs rampant?

This paradox reflects the broader hypocrisy of the regime, where the prison system has become a place for gambling, violating its intended purpose. The absurdity is further highlighted by the regret of a gambler-prisoner: 'Gambling outside, the authorities punish; but inside the prison, it’s allowed.' The poem cleverly critiques the abuse of power under the regime, where those in charge are no better than the prisoners themselves.

The prison system, now a public gambling house, stands as a symbol of the Tưởng Giới Thạch regime’s corruption, where even the prisoners acknowledge the absurdity of their circumstances, longing to have been imprisoned sooner just to avoid punishment for their vices.

The depiction of the corrupt environment is captured with sharp imagery: 'The officer makes a living off the prisoners,' painting a picture of the system’s exploitation.

"Prison Diary" (1942 – 1943) is an outstanding collection of poetry rich in combativeness, intellectual depth, and lyricism, penned by the great poet Ho Chi Minh. The collection, written in a diary format, features a variety of literary techniques, with satirical narrative being the dominant style. Through humor and irony, it condemns the prison system and the corrupt society under the Republic of China, led by Chiang Kai-shek. The poem "Lai Tân" employs a narrative style that skillfully blends wit and intellect.

The first three lines of the poem describe various figures:

'The prison warden is busy gambling,'

'The officer makes a living off the prisoners,'

'The county head works late by candlelight.'

The poet does not name these figures but rather identifies them by their roles and positions within the social and governmental structures. They are supposed to serve as examples for the public in upholding the law, yet their actions speak otherwise. The description appears to suggest that they perform their duties with diligence, but what are they really doing?

The prison warden, for instance, is shown openly gambling. Gambling is illegal, yet in prison, it is openly allowed—this reveals the corruption within the system. The police chief is depicted as exploiting prisoners for bribes. He uses his position to extort money and even cheats prisoners when transferring them. His actions are deceitful and disgusting.

The county head is portrayed working late at night, though what he is doing is unclear. Is he smoking opium? Engaged in debauchery? Or simply drafting documents while being oblivious to his subordinates' corruption and exploitation of the people? Perhaps he is knowingly ignoring the truth, allowing the corruption to flourish. This creates a vivid portrait of the systemic decay, where everyone is complicit.

The poem uses enumeration, starting with the lowest-ranking officials and working upwards, progressively expanding the scope of corruption. The higher the position, the greater the depravity. The rhythm of the verses creates a sense of normalcy in their corrupt activities, as though they are unaware of their wrongdoing. The machine of governance continues to function normally, and society seems to carry on as if nothing is amiss. This repetition of abnormal behavior has made it seem normal, a terrifying reality where decay is now institutionalized. The cleverness of the satire lies in how these corrupt acts are accepted as routine, leading to a false sense of peace.

The final line of the poem, 'The world of Lai Tân is still at peace,' ironically declares the continuing peace in a society so deeply corrupt. This phrase, 'still the same old Lai Tân,' indicates that nothing has changed despite the widespread rot. The subtle mockery in the tone reflects a deeper condemnation of the hypocrisy that passes for peace in such a system.

Despite the ongoing global chaos of war, in Lai Tân, the corrupt officials remain untouched, living comfortably while the people suffer. They are the internal enemies of the state, thriving on the misery they cause. The poem is a biting critique of the regime's lies, revealing the deep flaws within the system.

Through its sharp intellectual critique and humorous yet scathing tone, the poem brilliantly showcases Ho Chi Minh's mastery of satire and his ability to expose societal decay with subtlety and depth.

A central theme in Hồ Chí Minh's 'Prison Diary' is the recording of his daily experiences, both what he hears and sees, during his time in prison and while being transported between jails. This gives many of the poems an outward-facing perspective, with a narrative and realistic quality. As a result, the work vividly portrays the grim, dark side of the Chinese Nationalist prison system, almost like a documentary film that offers strong criticism. The collection also sheds light on some of the social conditions in China during the 1940s. The poem 'Lai Tân' is one example of this realistic content.

Lai Tân is a place Hồ Chí Minh passed through on his way from Thiên Giang to Liễu Châu in Guangxi province. This poem, named after the place, is the 97th poem in the 134-poem 'Prison Diary' collection, and it reveals the dark, corrupt state of a society that was thought to be peaceful and prosperous.

A typical seven-character quatrain in the Tang style usually has four sections, each with a distinct function in the poem's structure and meaning.

'Lai Tân' follows the seven-character quatrain form but has a special structure. This uniqueness comes from the poet's satirical intention and also reflects Hồ Chí Minh's ability to compose a satirical poem within a form that is traditionally serious and rigid.

The poem is split into two distinct parts, unlike the usual four-part Tang-style structure. The first part consists of the first three lines, written in a narrative style, while the second part is a single line that carries an emotional tone. The narrative part recounts the daily actions of the head of the prison, the police chief, and the district head, while the expressive part reflects the poet's attitude toward what he witnesses.

The connection between these two parts is tight and essential. If either part were removed, the poem would lose much of its impact, especially if the final line were omitted, as it delivers the satirical sting, even though the first three lines already express criticism. This strong structural link emphasizes the contradiction between false tranquility and underlying turmoil, producing a bitter, ironic tone about the reality of life.

The poem was written during the period when China was under Japanese fascist occupation, and its people suffered under both foreign oppression and corrupt local governance. The first three lines describe the reality inside the prison, focusing on the everyday actions of three officials who represent the corrupt machine of the Lai Tân government: the prison head who gambles every day, the police chief who exploits prisoners, and the district head who stays up at night to smoke opium. One might think the district head is diligently working late into the night, but placed in the context of the prison head and the police chief's behavior, it becomes clear that his actions are highly inappropriate. This scene is completely abnormal for a governing apparatus that is supposed to be orderly. The final line of the poem introduces an ironic paradox: 'Lai Tân is still peaceful.' On the surface, this line seems normal, but in fact, it exposes the false peace of the system: the prison head gambles, the police chief bribes, and the district head smokes opium. This is the order, the 'peace' of Lai Tân.

The profound corruption of the government system has reached such a level that immorality and lawlessness have become normalized, even routine. This is the so-called 'peace' in the lives of the Lai Tân officials.

In just four lines, Hồ Chí Minh paints a full, clear portrait of the prison officials of Lai Tân. Moreover, the poem critiques the widespread corruption of the officials and Chinese society under the rule of the Kuomintang. The poem's satirical artistry is built upon two key elements: contradiction and tone.

One of the techniques used to create humor in satirical art is to highlight natural contradictions. In this poem, the contradiction arises from the poem's structure. The first three lines describe actions that are inherently wrong. With these actions described, one would expect the poet to conclude with a line exposing the reality of the society. However, instead, the poet concludes with 'Lai Tân is still peaceful,' turning what is abnormal into something normal. This creates a bitterly ironic laughter.

To make the irony more powerful, profound, and unique, Hồ Chí Minh presents three characters (the prison head, the police chief, and the district head) linked to three problematic behaviors (gambling, bribery, and opium smoking) and reinforces this with repetitive phrases like 'day by day,' 'night by night,' and 'just as before.' These repetitions elevate the events to a universal level, illustrating that Lai Tân is in chaos. Yet, unexpectedly, the poet concludes that there is peace. It becomes clear that 'peace' or 'chaos' no longer depends on objective reality according to natural logic, but on the perspective through which that reality is viewed. What others see as chaos, the officials of Lai Tân consider peace. The reader laughs, but it is a bitter, sour laughter because the truth has been grossly distorted, and the natural order of life has been ruthlessly trampled.

The tone of the poem reflects the poet's inner state. Hồ Chí Minh must have been deeply troubled by the scenes he witnessed, so why does the poem not adopt a sharp, angry tone, but rather a calm, gentle one? The answer lies in the fact that this is a piece of satirical reality, and Hồ Chí Minh maintains an objective attitude, aiming to provide the most powerful reflection of the situation. The calmness in Hồ Chí Minh's tone gives the impression that he is neither condemning nor mocking. However, this very calmness delivers a strong and decisive critique, showcasing Hồ Chí Minh's unique literary style in this poem.

'Prison Diary' is one of Ho Chi Minh's most iconic works. Among its many remarkable poems, one that stands out is poem 97 - 'Lai Tân,' which is included in this collection. This poem critiques and mocks the corrupt leadership within the prison system, reflecting the larger societal issues of the time.

The poem begins with a portrayal of the decadence and moral decay of the ruling class—those who hold power and enforce the law:

'The head of the prison gambles daily'

'The guard greedily takes money from the prisoners'

'The district chief works under the light of a lamp'

The first three lines of the poem present a stark reality of those in charge of upholding justice and the society in which they live. The prison director, instead of maintaining order, engages in constant gambling, undermining the very rule of law he is supposed to uphold. This corrupt behavior is not unique to this specific prison; it is also reflected in Ho Chi Minh’s poem 'Gambling,' where he vividly depicts the widespread nature of gambling in prisons:

'Gambling outside, the officials punish'

'But inside the prison, gambling is open'

'A gambler enters and regrets his past'

'Why didn’t I come to this place sooner?'

Through satirical humor, the poem criticizes the absurdity of this situation, and as we delve deeper into each image, we gain a clearer understanding of the role gambling plays within the prison. Not only is the prison director involved, but even the prison guards are described as 'greedy,' taking advantage of the prisoners. Instead of being a place of justice, the prison becomes a venue for exploitation and personal gain. Although we would expect higher authorities to correct this corruption, the district chief is depicted as being indifferent, simply 'working under the light of a lamp,' focusing on his own duties while ignoring the widespread injustices.

The satirical tone of the poet highlights the rotting system of the prison and society as a whole. The behavior of subordinates reflects the lack of oversight and care from those in higher positions. The district chief, for instance, is only concerned with his own work and oblivious to the suffering of the people. Through this subtle yet powerful critique, the poem exposes the moral decay of both the prison system and the broader societal structure.

'Lai Tân remains peaceful.'

The final line of the poem leaves the reader questioning: how can a society so corrupt and decayed still be considered 'peaceful'? This line employs reverse irony, revealing that Lai Tân has always been this way. The use of 'still' conveys a sense of disdain and mockery from the poet. What might seem like an abnormal situation is, in fact, a reflection of the entrenched corruption and dysfunction within society. The phrase 'peaceful' here is a disguise, masking the widespread vices and societal issues hidden beneath the surface. Through this, Ho Chi Minh illustrates the truth about the rot within both the prison system under Chiang Kai-shek and the wider Chinese society at the time.

'Lai Tân' thus summarizes the ugly, corrupt nature of the prison leadership under Chiang Kai-shek. Through gentle yet profound satire, the poem effectively critiques the prevailing social and political evils. In just four simple lines, the poet’s voice resonates with the anger of countless innocent people, those who despise selfishness, abuse of power, and who advocate for justice and righteousness.

'Prison Diary' by Ho Chi Minh blends two key elements: 'lyricism' and 'realism.' 'Lai Tân' is one of the poems that clearly exemplifies these aspects. It represents a success in combining realistic description with satire, painting a vivid and contemporary picture of the social regime under Chiang Kai-shek.

As the faithful recorder of his era, Ho Chi Minh objectively captured the following scenes:

'The head of the prison gambles incessantly'

'The guard greedily takes money from prisoners'

'The district chief lights a lamp to work on official business'

Unlike Tu Xuong, who in his free environment could 'strike the ruling class with blows,'

'In Hang Song street, there are so many officials'

'The city chief is dark-skinned, and the District Chief is a scoundrel'

'The wife is shared, while the people beg the officials for favors'

(So many officials)

Ho Chi Minh could only mock and sarcastically critique the ruling class with his pen, in the harsh conditions of imprisonment. From the outward appearance to the deep arrogance within the Chinese Nationalist Party’s regime, contradictions are rampant. The author of 'Lai Tân' highlights three key figures from the Tưởng Giới Thạch government: the 'head of the prison,' 'the guard,' and 'the district chief.' These 'leaders' seem to hold great power, but their actions are filled with corruption and illegality. The poem is concise but deliberately repeats the word 'chief' in the first three lines to emphasize the hypocrisy and corruption within the ruling class. These three lines create a powerful, timely, and vivid image of the ruling class, painted with a calm yet piercing pen. The first image depicts the 'prison head who gambles incessantly,' the second is the 'greedy guard taking money from prisoners,' and the third showcases the 'district chief, who sits under a lamp, attending to 'official work.'

Both the prison head and the guard serve as effective instruments of law enforcement in a society rife with corruption and vice. They wear the cloak of 'justice' to perpetuate constant injustice. Their position is official, but their crimes go far beyond any legal boundaries. At first, when we mention 'the prison head' and 'the guard,' we might assume they are figures of authority, impartial and clean, but we are soon surprised to learn they are simply corrupt officials exploiting the system for their personal gain.

They use their titles as shields to give themselves the freedom to do whatever they want. In Lai Tân, we are told that life is peaceful under the rule of the head of the prison and the district chief. However, this peace is ironic, as lawlessness persists under their leadership, with crimes like gambling flourishing openly within the prison itself. It is absurd that the very place meant to house criminals is the same place where criminal activities, especially gambling, thrive. The poem's line, 'gambling is punishable outside, but it is openly allowed in prison' reveals the undeniable moral decay of Chiang Kai-shek's prison system.

Even as subordinates act recklessly and cruelly, the district chief continues 'working under the light of a lamp.' The level of sarcasm increases as the poem progresses, with each subsequent image becoming broader and more encompassing. The first portrait is of a prison head governing a small prison, followed by a guard managing a larger area, and finally, a district chief overseeing a vast region with authority over the prison head and the guard. The third image portrays the district chief, who, though seemingly concerned with 'official matters,' is in reality a bureaucrat who does not care about the crimes happening under his watch. The poem's line about the district chief's 'official duties' holds a deeper irony.

All the sarcasm and critique are compressed into the word 'official.' Is the district chief truly concerned with his work, or is he merely using his 'official duties' as a cover for his personal indulgences, perhaps smoking opium? The word 'light' in the line doesn't shine a spotlight on the district chief's image but contrasts it with the dark, corrupt nature of Lai Tân’s ruling system and the broader Tưởng Giới Thạch government. Given this reality, where can peace truly be found? The answer is: peace remains in Lai Tân!

'Heaven and Earth, Lai Tân is still peaceful.'

This statement is so surprising that it might shock the reader. How can peace exist in such a corrupt system? The author's words are a sharp rebuke of the rot within Chiang Kai-shek's government, revealing the system's decay with biting sarcasm. The phrase 'Lai Tân is still peaceful' seems to mock the entire situation, with the word 'still' adding a layer of irony. It evokes a mocking smirk, a derisive tone that carries a profound message of disbelief at the false 'peace' the regime promotes.

Ho Chi Minh uses the technique of raising and then slamming down to powerful effect in the final line of this poem, urging readers to look deeper into the true nature of this society. Like an ostrich burying its head in the sand, the ruling class in Lai Tân is content with their false peace, unaware that it is nothing more than a façade, masking the dangers beneath the surface. This reveals their ignorance and irresponsibility. The three portraits of the three key figures in Lai Tân come together to form a larger, comprehensive picture of the corrupt society under Chiang Kai-shek's rule.

Through the 'concentric circle technique,' the author of 'Lai Tân' paints a progressively more complete and vivid picture of the regime. The decay at the top trickles down, and even the small town of Lai Tân exposes the rot of the entire Tưởng Giới Thạch government. Ho Chi Minh’s work completely rejects the ruling class, emphasizing the chaos and irresponsibility of the entire system. The 'chaos' of Lai Tân is painted in dark shades of corruption, neglect, and bureaucratic failure, all wrapped in the lie of 'peace.' This lie is understood by everyone who sees the reality of Lai Tân's peace.

Ho Chi Minh’s ending is in the same vein as traditional Vietnamese satirical poetry, similar to works by Tu Xuong, Nguyen Cong Tru, and Ho Xuan Huong, but also influenced by Western humor. The two words 'Lai Tân' are not just the name of a district; they symbolize a new, bright, and peaceful land. But the 'peace' here means stagnation and a refusal to change, maintaining the same vices and corruption. Ho Chi Minh sharply critiques and mocks the Tưởng Giới Thạch regime, using satire to expose its lies and failures. In this poem, he delivers a series of precise blows to the system, making its hypocrisy impossible to ignore.

'Lai Tân' is just one of many poems in 'Prison Diary' where Ho Chi Minh critiques and mocks Chiang Kai-shek’s government. Poems like 'Trảng binh gia quyến,' 'Đổ,' and 'Đổ phạm' all feature biting satire that reveals the absurdity and cruelty of the regime. Ho Chi Minh’s humor is both intellectual and emotional, making us laugh at the same time that we are deeply moved by the injustice. It’s the kind of laughter that makes us feel both discomfort and relief.

We are reminded of Tu Xuong’s satirical laughter, which has a similar feel: 'The district chief of Xuan Truong has had a few peaceful years, thanks to heaven.' (The District Chief's Blessing)

This national laughter is embedded in Ho Chi Minh’s satirical realism, which grows deeper with every read. 'Lai Tân' is a prime example, combining sharp social critique with brilliant artistry, helping us understand more about both the Tưởng Giới Thạch regime and the brilliant mind of Ho Chi Minh.

The Prison Diary is a collection of poems written by Ho Chi Minh during his year-long imprisonment in the prisons of Chiang Kai-shek's regime in Guangxi, China. Primarily, this collection serves as a personal reflection, as evident from the opening poem where he writes: 'The long days pass, and I wait, singing to ease the burden of captivity.' In this diary, Ho Chi Minh expresses his thoughts, struggles, and emotions over the course of fourteen months in confinement. The poem "Lai Tan" is the 97th in the collection, written after his transfer from Tianjiang to Lai Tan prison.

Though the poem appears to objectively describe the prison conditions, it is ultimately a satirical commentary on the corrupt ruling class in Lai Tan and, by extension, the political system in China at the time.

In his concise four-line poem, Ho Chi Minh vividly portrays life in Lai Tan prison, reflecting a microcosm of the larger social issues in China. The brilliance of the poem lies in its sharp, satirical tone, expertly blending narrative storytelling with poetic lyricism and a tightly structured form.

The poem is divided into two parts, though its structure deviates from the traditional four-line Tang-style poem. The first part contains three lines, and the second part has only one. The first three lines merely describe the scene, but it is the fourth line that reveals the poem's deeper meaning, exposing the profound sarcasm aimed at the corrupt officials and their moral decay.

In the first part, Ho Chi Minh skillfully depicts three key figures: the head of the prison who openly gambles, the warden who accepts bribes, and the district chief who spends his nights smoking opium. These officials, who are supposed to uphold the law, blatantly break it themselves. This hypocrisy transcends the prison setting, reflecting the dysfunction and corruption permeating all of Chinese society at the time, where the ruling class is negligent and self-indulgent, while the lower classes struggle to survive in a society rife with corruption.

Ironically, these corrupt officials exacerbate the social decay they are meant to control. The three figures perform their roles as if in a silent comedy, but their seriousness only underscores the absurdity of their actions under Chiang's regime. The poem’s vivid portrayal critiques the disorder and moral collapse of Chinese society during that period.

The second part of the poem, the final line, offers a biting yet subtle reflection on the state of governance in Lai Tan. While one might expect a strong denunciation, the poet instead offers a seemingly neutral observation: 'Lai Tan remains peaceful.' This statement, which on the surface may appear benign, carries a sharp critique. The so-called 'peace' is, in fact, the normalization of corruption and societal decay, which has become so entrenched that it is no longer seen as abnormal, but as the accepted norm.

This ironic twist reveals the true nature of the regime, as the word 'peace' is used to mask the pervasive chaos within. As poet Hoang Trung Thong aptly commented: 'The word 'peace' reflects a reality that has long been the status quo for the exploiting ruling class in China, a peace that is nothing but a facade covering the inner turmoil.'

The poem "Lai Tan" demonstrates Ho Chi Minh's mastery of the traditional Tang-style short poem. Despite its brevity, the poem exposes the inherent decay of Chiang Kai-shek's regime, with the subtle yet powerful message underscoring the poet’s deep commitment to justice and change.

One of the themes in the *Prison Diary* by Ho Chi Minh is the daily recording of the author's observations and experiences while in prison and during his transport between prisons. This gives the poems an outward-looking quality, with a strong narrative and realistic elements. Thanks to this approach, the work vividly depicts the dark, corrupt face of the Kuomintang prison system in China with the precision of a documentary film, offering a scathing critique. The collection also reflects the social conditions of China in the 1940s. The poem *Lai Tan* is one such poem with a realistic tone.

Lai Tan was a location Ho Chi Minh passed through on his journey from Tianjiang to Liuzhou in Guangxi Province. The poem titled after this place is the 97th poem in the 134 poems of *Prison Diary*, capturing the grim and decayed state of a society that appears peaceful and orderly on the surface.

The poem follows the form of a traditional seven-character quatrain but deviates from the usual four-part structure, reflecting the poet's intention to satirize the subject. This deviation also showcases Ho Chi Minh's skill in structuring a satirical poem using a strict, formal style. The poem is divided into two distinct parts, rather than four as is typical in the regulated form. The first part consists of three narrative lines, while the second part is a single expressive line. The narrative part describes the actions of the prison chief gambling, the police chief exploiting prisoners, and the county chief smoking opium late at night. The expressive part conveys the poet's attitude toward the realities witnessed.

In terms of structure, these two parts are tightly interconnected. If any part were missing, especially the final line, the poem would lose its satirical and critical impact, despite the criticism already present in the first three lines. The cohesive structure highlights the contradiction between unrest and peace, creating a bitter irony about the living reality. This poem was written during the period when China was under Japanese occupation, with the Chinese people suffering under foreign rule and the corrupt governance of the Kuomintang. The first three lines reflect the daily realities inside the prison, depicting the routine activities of three officials who represent the governing machinery in Lai Tan.

The prison chief spends his days gambling, the police chief extorts even from the prisoners, and the county chief works so diligently that he stays up at night smoking opium. Upon reading these lines, one might think the county chief is diligently working late, but in the context of the prison chief and police chief’s actions, it is clear that the county chief's activities are highly irregular. This scene is far from normal for an official system that should be strictly disciplined. The final line of the poem creates an absurdity: *Lai Tan remains peaceful and calm.* There is nothing unusual about this line; the governing system in Lai Tan has always been clear-cut: the prison chief gambles, the police chief takes bribes, and the county chief smokes opium. The entire system operates in a state of 'peace.'

The corruption within the governing system has become so entrenched that immorality and lawlessness have become part of everyday life. This is the 'peace' that the officials of Lai Tan enjoy. Ho Chi Minh portrays the corrupt face of the prison authorities in Lai Tan in just four short lines. Moreover, the poem also criticizes the widespread decay of both the officials and Chinese society under the rule of the Kuomintang. The satirical artistry of the poem is created through two key elements: contradiction and tone.

One of the techniques for generating humor in satirical writing is exploiting unnatural contradictions. In this poem, the contradiction is created by the structure. The first three lines describe abnormal activities. Given these lines, one would expect the poet to conclude by exposing the societal issues, but instead, the poet concludes with the statement *Lai Tan remains peaceful*, turning the abnormal into the normal. This is the bitter irony that the poem conveys.

To make the irony more powerful and profound, the poet introduces three key figures (the prison chief, the police chief, and the county chief) linked to three phenomena (gambling, bribery, opium smoking), and takes it further by using repeated phrases such as 'day by day', 'night by night', 'just as before', which emphasizes how widespread these issues are. These phenomena lead us to conclude that Lai Tan society is in chaos. Yet, unexpectedly, the poet concludes with the statement that everything is 'peaceful.' It turns out that whether something is chaotic or peaceful no longer depends on the natural logic of objective reality but on how that reality is perceived.

If others looked at this situation, they would consider it chaotic, but for the officials of Lai Tan, this is 'peaceful.' The reader may laugh, but it is a bitter laugh because the truth has been distorted so bluntly, and the natural order of life has been ruthlessly trampled upon. The tone of the poem reflects the poet's inner state. The poet does not create laughter easily. Ho Chi Minh must have been deeply disturbed by the scenes he witnessed. Why then does he not use a harsh, angry tone but instead a calm, composed one? Through realistic, satirical writing, the poet maintains an objective attitude, aiming to reflect the most significant value of this reality.

Ho Chi Minh’s calmness gives the impression that he is not criticizing or mocking anything. However, through this calm tone, the poet delivers a strong, decisive critique. This is the unique style that Ho Chi Minh brings to this poem.