Top 5 Best Essays Analyzing Thị Mầu Goes to the Pagoda (Literature 10)

In addition to famous traditional Vietnamese opera plays like "Truong Vien", "Chu Mai Than", "Kim Nham", "Luu Binh - Duong Le", "Quan Am Thi Kinh" stands out as one of the classic works of ancient Vietnamese opera. The most prominent part of the play is the excerpt titled "Thi Mau goes to the Pagoda", which offers a reflection on how the author perceives women in ancient society. The story "Thi Mau goes to the Pagoda" depicts the journey of Thi Mau, who visits the pagoda to make offerings. Upon seeing the young monk, Kinh Tam, she is immediately smitten and uses sweet words to flirt with him. The excerpt contrasts the qualities of Thi Mau and Kinh Tam, drawing attention to their different personalities. Thi Mau, born into a wealthy family in the village, outwardly exudes a carefree, bold demeanor. Unlike most villagers who visit the pagoda on the 15th day of the lunar month, she arrives on the 13th. This reputation for being somewhat loose in behavior is reflected in her words: "Yet Thi Mau, I am known as flirtatious, The boat rows silently, I go to the pagoda on the 13th. Thirteen, I go to the pagoda and see a young monk, thirteen, I see a monk fourteen, and an old nun fifteen. I want to visit once a month, on the full moon and the half moon. First to worship Buddha, then to visit the old nun, I step into worship Buddha Shakyamuni, Worship the Three Worlds, the Jade Emperor, the King of Heaven." These words paint a vivid picture of Thi Mau’s character and intentions. The repeated mention of the number "thirteen" emphasizes the significance of her visits. She goes to the pagoda on the 13th, 14th, and 15th days of the month, expressing her desire to meet the monks. When she first lays eyes on the young monk, Thi Mau immediately tries to win his affection with flattering words. When Kinh Tam asks for her name to write in the offering book, she purposefully exaggerates her personal details, mentioning that she is unmarried and expressing a wish for a romantic match. Her longing for a union is reflected in her playful words: "Hey, young monk! You are like a sour apple fallen in the yard, I am like a woman craving sour food, lurking at the pagoda." The sour apple metaphor suggests something that is ripe but neglected, and the woman yearning for sour food represents her desires. Thi Mau compares herself to a woman craving food, expressing her wish to be with the monk. Despite coming to the pagoda to worship, she disregards the religious rites and focuses entirely on flirting with Kinh Tam. When her house is mentioned, she responds sharply, "My house still has many cows!" In the face of criticism, she proudly claims, "My house has nine sisters, and I am the most sensible of all!" Thi Mau’s flirtation is not limited to words; she also uses songs to tease Kinh Tam: "Standing by the pagoda gate, I called, but the young monk didn’t answer, so I was sad. Hey, young monk! A bamboo branch, five or seven bamboo branches, If it’s fate, marry, don’t listen to family. [...] Hey, young monk! The beautiful bamboo grows in the yard, I am beautiful, but alone, not so beautiful!" In this passage, Thi Mau uses numerous folk references, such as "bamboo", "peony", and "temple", to express her feelings and flirt with Kinh Tam. The song also reveals her perception of love, which she views as free and unrestrained, surpassing societal expectations. Thi Mau is not concerned with social judgments but is focused on her personal emotions: "If it’s fate, marry, don’t listen to family." She believes that she would be less beautiful if she were alone: "I am beautiful, but alone, not so beautiful!" Thi Mau boldly declares her intention to pursue the monk: "I’ll find a hiding spot, and when I get close enough, I’ll grab his hand and make him listen!" As the scene progresses, her words become more forceful. The peak of her boldness occurs in front of the pagoda when she exclaims, "Forget about Buddha!" At this point, she no longer cares for the sacred rites and only focuses on the monk. This remark shows her complete disregard for the monks and nuns. When her persistent advances are ignored, Thi Mau’s mood shifts from playful to dejected and melancholic: "I wish the mustard tree would grow green, The wild herb grows by the bamboo fence. Listen to me, let me tell you, I’m misunderstood, my heart aches for the lone sorrow!" Thi Mau’s actions further reveal her audacity and disregard for norms. She even steps forward to grab Kinh Tam’s hand and sweeps the pagoda grounds in his stead. Through both her words and actions, Thi Mau embodies a carefree, rebellious nature. In contrast, Kinh Tam, the main protagonist of the play, represents virtue and decorum. Kinh Tam, born into a poor farming family and later married into a wealthy family, is forced to leave home due to misunderstandings and takes on a male disguise to enter the monastery. Despite being a monk in appearance, Kinh Tam radiates dignity. Through Thi Mau’s words, we see Kinh Tam’s pure and modest nature. When Thi Mau flirts with Kinh Tam and makes bold advances, Kinh Tam maintains a composed, respectful attitude and responds with restraint: "I pray to the Buddha, I offer to the Three Jewels, May my heart be filled with the Way, And I present my offering. [...] A Di Da Phat! I have finished lighting incense, please come to worship Buddha." Kinh Tam’s language reflects the teachings of Buddhism, following the rules and principles. Each time Thi Mau speaks, Kinh Tam gently recites "Nam Mo A Di Da Phat!" as a polite rejection. Witnessing Thi Mau’s blindness to her own behavior, Kinh Tam reflects on the situation with sorrow: "Reflecting on the injustice, I often want to cry, I think of fate and find it laughable, Perhaps it’s accidental, but it teases me, I didn’t know I was just..." These words express Kinh Tam’s feelings after enduring a difficult life, ultimately turning to monastic life. She sees the absurdity of the situation and feels that Thi Mau’s actions, based on mistaken affection, are caused by misjudgment. When Thi Mau lunges at Kinh Tam, he calmly says, "Please let go so I can sweep the temple, or the abbot will scold me!" In some moments, overwhelmed by Thi Mau’s aggressive advances, Kinh Tam must flee to avoid further confrontation. This behavior highlights her noble character and integrity. In conclusion, Thi Mau represents rebellious women, while Kinh Tam symbolizes virtuous women in feudal society. The excerpt shows the contrast between these two characters, with the author using dialogue and actions to highlight their differences. The play uses rhetorical devices such as comparisons, repetition, and traditional folk references to emphasize the characters' traits and to convey the author’s message about the societal roles of women. The excerpt "Thi Mau goes to the Pagoda" offers valuable insights into the author’s perspective on women in ancient society. Both the excerpt and the play "Quan Am Thi Kinh" will remain etched in the hearts of Vietnamese people for their humanistic values and significance.

After suffering from personal injustice, Thị Kính, in her grief and sympathy for her own fate, decided to disguise herself as a man, enter a temple, and become a monk. She was accepted by the abbot and given the name Kính Tâm. Thị Mầu, the daughter of a wealthy landowner, known for her promiscuity, saw Kính Tâm and, admiring her beauty and virtuous nature, tried to seduce her but was rejected.

The play excerpt from *Thị Mầu Goes to the Temple* is one of the most famous excerpts in Vietnamese traditional opera, written with a narrative and expressive style. It recounts the events of Thị Mầu going to the temple to flirt and tease the young monk Kính Tâm, displaying her brazen attitude and coquettish demeanor. However, Kính Tâm remained virtuous, uninterested, and kept her distance from Thị Mầu.

Thị Mầu is a woman with a strong personality, one who dares to break free from the rigid confines of Confucianism to express herself. She embodies the unfulfilled desires and aspirations of women in the past. Although her actions in the temple are inappropriate, they stem from the overwhelming desire of love, which clouds her judgment. The character of Thị Mầu in the traditional opera symbolizes another aspect of Vietnamese womanhood: the yearning for love. This is a fundamental right for women and humanity in general—to grow up, to seek love, and to marry the one they love. However, this right is in direct conflict with the restrictive moral codes of the feudal society, which forced women to obey the rules of “three obedience” and “six virtues,” where they were not allowed to choose their own love or happiness. Thị Mầu's awareness of freedom in love is expressed through her advice to her fellow women, urging them not to listen to the opinions of others. Thị Mầu is a woman of art.

The character of Thị Mầu is more pitiable than blameworthy, and one may even feel deep sympathy for her. Thị Mầu dares to live, to love, and to challenge the chains of the old regime, which suppressed women's rights to express themselves and buried their lives in many ways. Thị Mầu is the daughter of a wealthy landowner, a woman with many flaws, yet her fate mirrors that of Thị Kính and many other women—trapped, with no way out. Through this excerpt, readers can see the strong personality of Thị Mầu. As a woman, she is willing to defy the social norms imposed by feudal society. She yearns for happiness and seeks love for herself. In traditional views, a woman without a voice would find in Thị Mầu a new version—someone who does not care about the gossip of society, as long as her happiness is fulfilled. However, the person she loves happens to be a monk, and in reality, it is Thị Kính disguised as a man.

Have we ever wondered what makes our lives so colorful today? Is it the soothing melodies that help us relax after a long, tiring day? Or is it the words that flow in the books we read that nurture our spiritual lives? Art in general, and literature in particular, were created for humans to express their emotions, reflect on life, and derive life lessons. One of the oldest and most unique forms of art is the traditional theatre genre, Cheo, which originates from the rich cultural heritage of Vietnam. Cheo music serves as a foundation for its performances, blending poetic language with lively, direct expressions, and it is considered an essential part of community festivals. A famous Cheo play, still deeply relevant today, raises questions that every generation seeks to answer. One of these is the Cheo play *Quan Âm Thị Kính*, and the scene where Thị Mầu visits the temple offers a poignant insight into society and human nature at that time.

Visiting the temple to pray is a cherished tradition in Vietnam, and Thị Mầu also goes there to pray. Known as a flirtatious girl, the image of Thị Mầu evokes a picture of a beautiful and seductive woman who, while at the temple, lacks sincerity and devotion. Thị Mầu's visit to the temple deviates from the norm: while people typically go on the 14th or 15th of the month, Thị Mầu arrives on the 13th.

From the very beginning, Thị Mầu is depicted as a carefree girl, far removed from the traditional Confucian ideal of 'tam tòng tứ đức' (the virtues of a woman). As such, her flaws are more vividly revealed through the narrative. Her greatest flaw, however, is her blind love. When love is so intense and passionate, blindness to reason becomes understandable, and thus it evokes empathy, or even endearment. Thị Mầu's blind love manifests in her unawareness that the object of her affection, the young monk, is actually Thị Kính in disguise. The depth of her passion leads her to act boldly and impulsively, grabbing the monk's hand and speaking provocatively. Her words and actions express both affection and playful teasing, with boldness and a lack of hesitation.

In her introduction to the young monk, Thị Mầu emphasizes that she is 'still unmarried.'

'Just 18, still unmarried, young monk!' Still unmarried!'

Though she came to the temple to pray, Thị Mầu seems more interested in the young monk than in fulfilling her religious duties.

Thị Mầu's flirtation with the monk is portrayed through two musical styles: 'Cấm giá' and 'Bình thảo.' The 'Cấm giá' is used during her initial, subtle flirtation:

'I went to the temple, saw a young monk of thirteen,

And an older monk, fourteen, a priest at fifteen.'

'I wish for a day together.'

Meanwhile, the 'Bình thảo' comes into play when her advances are not returned, and her desire becomes fiery. Her seductive words lose their sweetness:

'Who is this at the temple?

With a high forehead, straight brows, and sharp eyes,

Is that the young monk?'

'He's like a fallen apple in the temple yard,

And I'm like a girl sneaking around.'

At this point, Thị Mầu's metaphorical comparison is particularly striking. The apple she likens herself to is one that has fallen from the temple yard tree, aged and bitter, yet still tempting. Similarly, the woman, a metaphorical 'gái rở' (pregnant woman), longs for sour, unripe fruits, symbolizing her own inner desires and frustration. These lyrics vividly convey Thị Mầu's yearning for happiness and affection, but her advances are met with indifference from the monk.

These words not only reveal Thị Mầu's character but also highlight a recurring theme in traditional literature, that of exposing the hypocrisy of Confucian morality. When Thị Mầu's sweet words fail to move the monk, she tries even harder to seduce him. On the other hand, Thị Kính, the monk, maintains a respectful distance, evoking a stark contrast between their two attitudes.

The two women, both caught in the societal constraints of Confucian rules, embody two different paths. Thị Kính, a woman with many admirable qualities, should have had a peaceful, happy life, but instead, she is subjected to immense suffering and injustice. Her misfortune begins when, in an attempt to remove a stray hair from her husband's face, Thiện Sĩ, waking up abruptly, accuses her of attempting to kill him. In response, Thiện Sĩ's mother harshly scolds Thị Kính, even pushing her down. Despite the cruel words and actions, Thị Kính remains composed and tries to explain, but to no avail. She is unjustly expelled from the house, her family broken, and her faith shattered. The grief she feels when she witnesses her father's humiliation is immeasurable. In the face of such injustice and helplessness, Thị Kính has no choice but to leave. As she departs her home, she gazes back longingly at the objects that once symbolized happiness, now representing the pain and unfairness she faces. She decides to seek refuge at the temple, a decision forced upon her by the rigid social norms of the time, which prevent her from returning to her parental home. She disguises herself as a man and becomes a monk in search of peace and validation, hoping that the temple will prove her innocence. However, her choice also reflects her deep sense of hopelessness and the passive role women were often forced to accept in a society that stifled their agency.

The repeated cry of 'young monk!' from Thị Mầu highlights her passionate longing for love, and her desire to express her emotions freely. The most striking expression of her feelings is found in her confession:

'One bamboo shoot, five or seven bamboo shoots,

If fate allows, we will marry, don’t listen to others.'

'Dear young monk,

A camellia next to the temple,

We are meant to be together.'

Her words, filled with longing, reveal her desire for freedom in love and for the right to choose her partner. In a society where women were restricted by rigid norms, Thị Mầu's actions stand out as a bold declaration of female agency and defiance. She challenges societal conventions and embodies the struggle for women's right to love and choose their happiness.

Thị Mầu is portrayed as a complex figure: a woman who defies tradition and expresses her desires openly, even if her actions are deemed improper. However, her behavior is driven by a deep yearning for love, something denied to many women of her time. In a society governed by strict moral codes, she is both a symbol of defiance and a victim of her circumstances. Her journey is a painful one, marked by both rebellion and tragedy, but it also serves as a reminder of the fundamental human desire for love and connection.

Though her actions in the temple may be inappropriate, they are driven by the intensity of her emotions, illustrating the power of love and desire to transcend societal restrictions.

The character of Thị Mầu in the Cheo play represents the deep, innate longing for love that transcends the rigid constraints of Confucian society. She embodies the rights of women to seek love, freely choose their partners, and ultimately find happiness, even in a world that does not allow for such freedom. The folk song in the play reflects her feelings of frustration and desire:

'A bamboo shoot grows at the edge of the temple yard,

But I stand alone and am not as beautiful.'

In this play, Thị Mầu's longing for love and freedom stands in stark contrast to the societal forces that constrain her. She is a powerful symbol of defiance, yearning, and the desire to assert one's own identity in a world that seeks to suppress it.

Despite her flaws and mistakes, Thị Mầu's story is ultimately one of longing, loss, and the quest for love in a society that does not allow women the freedom to express their desires. The play *Thị Mầu Lên Chùa* serves as a timeless reflection on the constraints placed upon women and their desire for autonomy in love and life.

Hồ Xuân Hương, the girl who humbly lowered herself to listen to the voice of an era turbulent with change, felt deep sympathy for the fate of women, who, like dandelions, fade quickly despite their beauty, destroyed by an unkind fate. It was from this sorrow that she wrote: “My body, so fair and round, / Seven times I rose and sank with the waters and mountains.” In the feudal society, where human rights were worth less than a single coin, the plight of women was also devalued to mere pennies. Despite being ‘talented yet unfortunate,’ women of the past fulfilled their duty to embody the four virtues of a woman: “công dung ngôn hạnh” (virtue, appearance, speech, and work), and were remembered for their gentle, graceful beauty, often described as “a painting-like beauty” or “pure and immaculate like ice.” However, not all women could be placed under this same idealized image, as just as in politics, there were both good and corrupt figures. Similarly, in the realm of women, while some embodied purity and grace, others defied these expectations, as seen in the character Thị Mầu. This contrast is clearly depicted in the excerpt from “Quan Âm Thị Kính,” where Thị Mầu defies conventional femininity with her boldness and seductive nature.

“Hey, sisters…”

….

“Chastity is not something to be worshipped.”

The excerpt “Thị Mầu lên chùa” from “Quan Âm Thị Kính” has been transmitted in various forms such as opera, folk music, plays, poetry, and prose. To this day, scholars have not discovered the original poet but know that the first published version in Quốc Ngữ was printed by Nguyễn Văn Vĩnh in 1911. Many different versions and adaptations have emerged over time, and it later became a famous performance on the stage, widely distributed. The title “Quan Âm” refers to the bodhisattva Avalokiteśvara, a deity who listens to the cries of suffering humanity and provides mercy and protection. The name “Thị Kính,” with “Thị” being a marker for women, contrasts the common male naming convention, reflecting the patriarchal society's contempt for women. The word “Kính” suggests a disciplined, modest, and virtuous woman who holds an inner purity, exemplified by her adherence to Buddhist teachings.

The character Thị Kính is depicted as a woman of both beauty and virtue, betrothed to a scholarly man, Thiện Sỹ. They lived in harmony until one day, while she was sewing beside him as he read, she noticed a stray hair on his chin. Attempting to cut it, she inadvertently caused him to panic, and he accused her of trying to harm him. His family wrongfully blamed her for attempting to kill her husband, and in despair, she decided to leave and become a Buddhist nun to clear her name and repay her parents. She disguised herself as a man, cut her hair, and left her home. While in the temple, she was wrongly accused of abandoning her husband, but her true intent was to find peace and escape the trials of being a woman in a patriarchal society.

In the temple, she met Thị Mầu, a woman who completely defied traditional expectations of femininity, with a bold and provocative nature that contrasted sharply with Thị Kính's quiet, reserved demeanor. Thị Mầu’s extravagant appearance and flirtatious behavior disrupted the tranquility of the temple, while Thị Kính, now a Buddhist, maintained a serene and modest presence, reflecting her commitment to inner peace and Buddhist teachings.

“Hey, sisters…”

…

“Please ask the monk to send the novice to receive my offering so I can return.”

In the peaceful, sacred setting of the temple, the vibrant and chaotic energy of Thị Mầu, with her colorful attire and sensual dances, shattered the calm atmosphere. Her outward display of passionate desire and worldly beauty contrasted with the purity and tranquility of Thị Kính, whose every action was a reflection of Buddhist discipline and respect.

Thị Mầu's desire for physical beauty and romance, on the other hand, was open and free. She boldly expressed her affection for Thị Kính, drawing attention to her beauty, despite the monk’s disapproving whispers. Thị Mầu, free of any sense of propriety, even joked about wanting to engage romantically with Kính Tâm, despite knowing her vow of celibacy. In contrast, Kính Tâm responded with piety, reciting the mantra “A Di Đà Phật” and embodying the essence of a devout Buddhist.

Thị Mầu’s behavior, full of sensuality and forwardness, clashed with the more reserved and disciplined Thị Kính. Thị Mầu was not bound by social conventions and showed no restraint in her desires, while Kính Tâm kept her dignity and spiritual commitment intact. Even as Thị Mầu flirted openly, Kính Tâm remained focused on her devotion, exemplifying the purity of a woman who had chosen a path of spiritual enlightenment over worldly pursuits.

Through their interactions, we see the stark contrast between the two women’s views on love, virtue, and self-discipline. Thị Mầu's view on love was simple: to follow her desires without concern for the consequences. In contrast, Kính Tâm’s love was focused on the greater good of humanity, reflecting her Buddhist teachings and dedication to alleviating the suffering of others.

In “Thị Mầu lên chùa,” Thị Mầu’s actions were criticized by others for her immodesty and lack of respect for the Buddhist temple’s sanctity. She was seen as a symbol of the woman who disregards traditional values and is consumed by her sensual desires, while Thị Kính represented the ideal of a pure, virtuous woman who chose a higher path.

The excerpt also emphasizes the importance of preserving women’s virtue and chastity in the face of societal expectations. Thị Kính’s commitment to Buddhist principles exemplifies the values of grace, humility, and devotion, while Thị Mầu’s behavior serves as a cautionary tale of the consequences of disregarding these virtues.

In conclusion, the text presents two contrasting images of women in feudal society: one who embodies purity and discipline, and another who represents defiance and indulgence in worldly desires. These two figures, though diametrically opposed, both highlight the complex nature of gender roles and expectations, as well as the power of personal choice in shaping one’s destiny. Thị Kính’s quiet strength and unwavering devotion to her faith set her apart from the chaotic energy of Thị Mầu, and their interactions offer profound insights into the social and cultural norms of their time.

The play 'Quan Âm Thị Kính' is one of the most iconic works of traditional Vietnamese Cheo theater. Alongside the character of Thị Kính, a compassionate woman, Thị Mầu is portrayed as a mischievous and carefree figure. This character's personality is clearly revealed in the excerpt 'Thị Mầu Goes to the Temple'. In the scene, Thị Mầu falls in love and tries to seduce Kính Tâm while she is on her way to the temple.

Thị Mầu is the daughter of a wealthy man. She describes herself as a filial daughter, always honoring her parents: 'My father and mother are deeply respected by me.' As the full moon approaches, she prepares to go to the temple with offerings: 'money and rice to donate at the temple.' Instead of going on the fifteenth day like everyone else, she arrives two days earlier:

Yet, Thị Mầu is given the reputation of being promiscuous

She rides the boat to the temple from the thirteenth day.

Thirteenth day,

I arrive at the temple and see a young monk

I see a monk on the fourteenth day, and the old nun on the fifteenth

I long for two full moons in a month

First to pray to the Buddha, then to visit the old nun

I enter and worship the Buddha Shakyamuni

Worship the Three Worlds, and the Jade Emperor.

In Thị Mầu's speech, readers can detect contradictions and paradoxes. She says, 'I long for two full moons in a month/ First to worship the Buddha, then to visit the old nun.' Clearly, Mầu's main purpose in going to the temple early is to worship, but her true focus is on meeting the monk. The repeated reference to 'thirteenth,' 'fourteenth,' and 'fifteenth' emphasizes the specific days she visits the temple to meet the monk. This highlights her desire for more opportunities to meet him, showcasing her flirtatious nature.

Created by a folk author with a rebellious, free-spirited nature, Thị Mầu boldly flirts with the young monk in the temple. Every word and action of hers is focused on wooing Kính Tâm. Upon meeting him, she immediately falls for him. When Kính Tâm asks for her name, she responds:

'My name, you ask?

Is Thị Mầu, the daughter of a wealthy man

Just turned eighteen, still unmarried, young monk!'

Not yet married, mind you!'

She emphasizes that she is a young woman, still unmarried, signaling her desire for a romantic connection. She also compliments the young monk: 'How handsome he is, like a shooting star!' and 'The man who lives in this temple/ His neck is high and his eyebrows are sharp.' To the exclamation, 'Who would compliment a monk like that, Mầu?' she replies, 'If he is beautiful, people praise him!'

Knowing her family situation, she is unbothered by it: 'My family has many cows.' It seems Mầu is not concerned with anything other than seducing the monk. As time goes on, her flirting becomes more direct:

'You are like a fallen fruit in the courtyard

I am like a woman craving sour food.'

This metaphor vividly expresses Mầu's strong desire for love. After the spring season, fruit falls from the trees, and the sour taste of old fruit symbolizes her desire for the monk, which goes against societal norms.

Folk authors even added critical remarks about Mầu: 'Mầu, how many sisters do you have? Is anyone like you?' But Thị Mầu firmly asserts: 'I have nine sisters, and I am the most mature one!'

Despite her sweet words, Thị Mầu cannot get a response from the monk. She resorts to singing flirtatious songs:

'Oh, young monk!

Standing outside the temple door

I call, but you don't answer, I feel so sad

[...] I am beautiful, but standing alone is not enough!'

Thị Mầu's playful songs reflect her free-spirited belief in love, which transcends societal barriers and conventions. The repeated line 'Oh, young monk!' emphasizes her focus on him, setting the tone for her heartfelt wishes. To Thị Mầu, happiness is simple. Her family's opinions don't matter as much as her own feelings. For her, fate is to be embraced, and she expresses her longing to be with Kính Tâm with lines like 'We two, let's wait and marry, we are meant to be.' She believes she is not beautiful unless she has someone by her side, expressing a burning desire for companionship.

As time passes, Mầu becomes more brash and crude: 'Forget about the Buddha!' In the sacred temple, she disregards the norms and speaks disrespectfully. At this point, Mầu no longer cares about her offerings and is completely focused on flirting with the monk:

'I wish for the young monk to sweep the yard

Come closer, take the broom, and sweep for me'

Or:

'I wish the mustard plant to turn green

The vegetables by the bamboo fence will thrive.'

Since the monk doesn't understand her feelings, Thị Mầu yearns for him: 'Let me secretly long for you in my heart, just like the durian!'

Her words and actions vividly display her bold and rebellious nature. Thị Mầu openly expresses her feelings to Kính Tâm through her singing and bold gestures, even grabbing his hand and offering to clean the temple for him. Such behavior was not acceptable in the Confucian society of the time, where physical contact between unmarried men and women was forbidden. Moreover, Kính Tâm was a monk, making Mầu's actions even more scandalous and inappropriate.

Thus, Thị Mầu's personality and traits are clearly illustrated through her words and actions. She embodies a rebellious woman who defies the moral standards of the feudal era. Through her character, the folk author critiques and condemns women who fail to maintain their chastity and proper conduct.

In the excerpt 'Thị Mầu Goes to the Temple', Thị Mầu represents the type of women who are free-spirited and go against the social norms and values of the feudal society. Alongside Thị Kính, Thị Mầu contributes to the success of the play and its impactful portrayal of complex female characters.