Top 6 Essays Analyzing the Character of Thi Mầu in 'Thi Mầu Goes to the Temple' (Literature 10)

Hồ Xuân Hương, the woman who humbly listened to the heartbeats of a turbulent era, felt deep sympathy for the fate of beautiful women like the dandelion, whose life fades as swiftly as the wind, even when married to a man of misfortune. From this, she wrote: 'My body, so fair and round / I rise and fall seven times, tossed by rivers and mountains.' In an age dominated by a feudal society, filled with injustice, where human rights were as worthless as a coin, the value of women's rights was even less, worth less than a copper coin. Despite their 'talent and tragic fate,' women still fulfilled the duties of 'virtue, speech, appearance, and conduct.' This is why the image of these women is still remembered, often described as graceful and gentle, like a figure painted on canvas or pure like ice. But not all were the same, just as in any profession, there are both good and bad people, so in the world of women, not all followed the ideals of the virtuous. The more rebellious ones were often seen as reckless and free-spirited, which is exemplified in the character of Thị Mầu. All these contrasts are depicted in the excerpt from 'Thị Mầu Goes to the Temple' from 'Quan Âm Thị Kính.' In this excerpt, Thị Mầu embodies the carefree, lustful, and spontaneous nature, in stark contrast to the modest and reserved Thị Kính, a woman who devotes herself to Buddhist teachings, her soul calm and pure. The story is set in a monastery, where the character Thị Mầu, unrestrained and brash, attempts to provoke the attention of Kính Tâm, who embodies the virtue and spiritual purity of a Buddhist nun. The encounter between the two represents the clash of contrasting ideologies: one of spiritual discipline and the other of worldly desire. The interaction between them reveals much about their different views on love, life, and spirituality. Thị Kính, the one who has been wronged and misunderstood, sought solace in the Buddha's teachings, while Thị Mầu, full of vitality and desire, sought pleasure without consideration for moral boundaries. Thị Kính exemplifies the woman who endures the hardships of life with grace and patience, whereas Thị Mầu represents the unbridled, passionate woman who defies social norms. Their meeting is not only a confrontation of two different worlds but also a deep reflection of societal values, the tension between duty and personal desire, and the true nature of love and righteousness. The play reveals the inherent beauty in both women, albeit their approaches to life are very different. The moral of the story speaks to the tragedy of female suffering in a patriarchal society while celebrating the perseverance of women like Thị Kính, who remains dignified despite her trials. The excerpt from 'Thị Mầu Goes to the Temple' serves as a poignant reminder of the contrasting representations of women in society, with Thị Kính embodying the ideal of virtuous womanhood, while Thị Mầu highlights the consequences of defying those norms. Despite the harsh criticism of Thị Mầu's character, the play ultimately raises questions about the roles women are expected to play in society, and how those roles are often confining and unjust, leading to both societal critique and the need for reflection on the value of women in history and literature.

In addition to well-known plays like "Truong Vien", "Chu Mai Than", "Kim Nham", "Luu Binh - Duong Le", "Quan Am Thi Kinh" stands as one of the classic masterpieces of traditional Vietnamese cheo theater. A notable excerpt from the play is "Thi Mau Goes to the Temple", which presents the author's view of women in ancient society.

The text "Thi Mau Goes to the Temple" recounts how Thi Mau visits the temple for a ritual, where she meets Kinh Tam and becomes infatuated with him, using sweet words to flirt with the young monk. This excerpt contrasts the qualities of the two characters, Thi Mau and Kinh Tam.

Firstly, Thi Mau comes from a noble background, being the daughter of a wealthy villager. However, her behavior is seductive and carefree. While others visit the temple during the full moon, Thi Mau goes on the thirteenth day. This behavior led her to be labeled as "loose":

"Yet Thi Mau is known as loose

The boat takes me to the temple since the thirteenth.

Thirteenth,

I go to the temple and see a young monk, thirteen

See a monk at fourteen, an old nun at fifteen

I wish for a couple of times a month

First, I offer my respects to Buddha, then visit the old nun."

The repetitive mention of the number "thirteenth" emphasizes the days Thi Mau visits the temple. She attends on the thirteenth, fourteenth, and fifteenth days to fulfill her desire to meet the temple inhabitants.

Upon seeing the handsome young monk, Thi Mau immediately uses flirtatious language. When Kinh Tam asks for her name to include in his prayer, she purposely exaggerates details about herself. She often mentions that she is unmarried and expresses a desire to marry.

Thi Mau's yearning for companionship is also shown in her words:

"Hey young monk!

You are like the sour apples fallen in the courtyard

While I am like a young girl craving sour food."

The apples in the yard usually ripen and fall after spring, left uncared for and thus sour and bitter. The "young girl" metaphor refers to a girl in her prime, always craving sour or unusual foods. Thi Mau compares herself to a girl in heat and the young monk to a fallen apple, expressing her desire to pair with him. Although she came to the temple for religious rituals, she is more focused on teasing the young monk. When confronted about her behavior, Thi Mau responds confidently, saying "My family still has plenty of cattle!". When criticized, she proudly claims, "My family has nine siblings, and I am the most responsible among them!"

Not stopping at sweet words, Thi Mau also tries to seduce the young monk through song:

"Standing by the temple door

I call out, but the young monk doesn't respond, I feel sad

Oh, young monk!

A branch of bamboo, five or seven branches of bamboo

It's destined, so marry, don't listen to your family

[...] Oh, young monk!

Bamboo grows in the temple courtyard

But I'm more beautiful when I'm with someone, not alone!"

In this song, Thi Mau uses many traditional motifs like "bamboo branches", "peony", "temple", "wife", "husband", and "rice with soup" to both express her feelings and flirt with Kinh Tam. The song reveals her idea of love: freedom, comfort, and defiance of social barriers. Thi Mau doesn't care about societal judgment and focuses solely on her personal desires, saying "It's destined, so marry, don't listen to your family". She believes she would not be as attractive without a partner, singing "I'm more beautiful when I'm with someone, not alone!". She even boldly declares, "I will hide and catch the young monk so I can hear everything!".

As the scene progresses, Thi Mau's words become more audacious. At one point, she even says "Forget about Buddha!", showing complete disregard for the ritual. At this moment, she no longer cares about worshipping Buddha but is fully fixated on the monk. This outburst reflects her disrespect for the temple and its practices. When Kinh Tam does not respond, Thi Mau's mood shifts from initial excitement to sorrowful longing:

"I wish the mustard greens would grow green again

Wild mustard, lettuce on the edge of the bamboo fence

Listen closely, I will tell you

But no one understands my feelings, only my quiet longing!"

Beyond words, Thi Mau's character is further revealed through her actions. Breaking all norms, she boldly takes Kinh Tam's hand and sweeps the temple grounds in his place. Every word and gesture from Thi Mau shows her seductive and carefree nature.

In contrast to the carefree Thi Mau is Kinh Tam, a young monk who embodies noble qualities. Unlike Thi Mau, Kinh Tam was born into a peasant family and later married into a wealthier one. After a misunderstanding, she leaves her home, disguises herself as a man, and becomes a monk at Van Temple. Despite her disguise, Kinh Tam exudes dignity. Through Thi Mau's comments, we can envision Kinh Tam's purity and grace.

In the face of Thi Mau's advances and bold actions, Kinh Tam maintains a composed demeanor:

"I pray to the ten directions

Present my offerings to the Three Jewels

With a sincere heart

Offering my gifts"

These words are those of a true monk, reflecting the Buddhist teachings. Whenever Thi Mau speaks, Kinh Tam gently responds with "Namo Amitabha!" as a polite refusal. Witnessing Thi Mau's misguided affections, Kinh Tam expresses her thoughts through a monologue:

"Reflecting on the many injustices I've faced

Thinking back, it's almost laughable

It was an accident that led to this misfortune

But only in ignorance, could one make such a mistake"

These are the reflections of a woman who has endured much hardship. Having experienced numerous struggles in life, Kinh Tam finds the situation with Thi Mau ironic. Thi Mau's misunderstanding of her is a result of her own desires, not knowing that Kinh Tam is a woman in disguise. When Thi Mau grabs her hand, Kinh Tam simply says, "Let go so I can sweep the temple or the master will scold me!". Sometimes, Kinh Tam has to run away, finding ways to refuse Thi Mau's advances, reflecting her dignity and integrity.

In essence, Thi Mau represents rebellious women, while Kinh Tam symbolizes virtuous women in feudal society. Through this excerpt, the folk author praises chaste women while condemning those who are promiscuous. The author highlights the contrast between the two characters through their words and actions, employing literary devices like comparisons and repetition, as well as traditional folk songs.

The excerpt "Thi Mau Goes to the Temple" illustrates the author's view of women in ancient society. Both the text "Thi Mau Goes to the Temple" and the play "Quan Am Thi Kinh" will forever be etched in the hearts of the Vietnamese people for their humanitarian and meaningful values.

Regarding the play "Thị Mầu Goes to the Pagoda", it is arguably one of the most famous excerpts of Vietnamese traditional theatre, written with a narrative and expressive approach. This excerpt recounts the story of Thị Mầu visiting the pagoda to flirt and tease with the young monk Kính Tâm, displaying a shameless attitude and a lascivious demeanor. However, Kính Tâm remains dignified, indifferent, and maintains a respectful distance from Thị Mầu.

Thị Mầu is a woman with a strong personality, daring to break the norms of Confucianism to express and assert herself. She represents the desires and aspirations of many women from the past. While Mầu's actions in the pagoda are not appropriate, her yearning for love overpowers her rationality. The character of Thị Mầu in traditional opera reflects another aspect of Vietnamese womanhood—the yearning for love. This is a basic right of women and of all people, to have the freedom to explore love, to fall in love, and to marry the person they love. But in contrast to this right, in feudal society, there existed a façade of false morality enforced by harsh rules that bound women to obey the “three obediences,” and the principle that “children should follow the will of their parents,” leaving them no autonomy to choose their own love or happiness. Thị Mầu's awareness of freedom in love is expressed through her advice to other women to ignore the opinions of relatives. Thị Mầu is a character of art.

The character of Thị Mầu is more pitiable than blameworthy, sometimes evoking deep sympathy for her. Thị Mầu dares to live, dares to love, and dares to defy the shackles of an old system that denied women the chance to express themselves, often burying their lives in many forms. Thị Mầu, a rich merchant's daughter, has many flaws, but her fate is no different from that of Thị Kính or other women—her life is trapped, with no way out. Through this excerpt, readers can see how distinct Thị Mầu’s personality is. As a woman, she is willing to break free from the constraints imposed by feudal society. She yearns for happiness and seeks love for herself. According to old beliefs, women were voiceless, but with Thị Mầu's appearance, there is a new and unconventional version of a woman. She is unconcerned with the gossip of others, as long as her happiness is her priority, and she desires to pursue it to the end. However, the dilemma is that the person she loves is a monk, and in reality, Thị Kính is disguised as a man.

The play 'Quan Am Thi Kinh' is a representative work of traditional Vietnamese Cheo theatre. In addition to the character Thi Kinh, the character Thi Mau is considered a 'lewd' type of female character, characterized by her bold and carefree nature. This personality is particularly evident in the excerpt 'Thi Mau Goes to the Pagoda,' which portrays her infatuation with and attempts to flirt with Kinh Tam during a visit to the pagoda. Thi Mau comes from a wealthy family and presents herself as a devoted daughter, expressing respect for her parents: 'I honor my father and mother with all my heart.' As the full moon approaches, she prepares to bring offerings of money and rice to the pagoda. However, unlike most people who go on the fifteenth day of the month, she decides to go two days earlier: 'Yet Thi Mau is blamed for her loose behavior I take the boat and go to the pagoda from the thirteenth day.' On the thirteenth, I reach the pagoda and see the novice at thirteen The monk at fourteen, the elder nun at fifteen I wish for two full moons in one month First to pray to the Buddha, then to visit the elder nun.' Thi Mau's words reveal contradictions and paradoxes. She says she wants to pray to Buddha first, but her main focus seems to be on meeting the monk. The repeated mention of the number 'thirteen' highlights her early visit to the pagoda, and the numbers 'thirteen,' 'fourteen,' and 'fifteen' correspond to her attempts to meet with Kinh Tam. She even expresses a desire for 'two full moons in one month,' hoping for more opportunities to 'visit' the monk. Thus, Thi Mau's words suggest a flirtatious nature. The character of Thi Mau, created by the folk author, is rebellious and free-spirited. She boldly flirts with the novice monk, Kinh Tam, and all her actions revolve around trying to seduce him. Upon meeting the novice monk, Thi Mau immediately becomes infatuated and, when asked her name, replies: 'What's my name? I am Thi Mau, the daughter of a rich man I am just eighteen, and not yet married, my dear novice monk! Not married yet, just so you know!' Thi Mau emphasizes that she is an unmarried young woman, signaling her desire for romance. She also compliments the novice monk, saying, 'He is as beautiful as a shooting star!' and 'He who lives in this pagoda, with a high forehead and eyebrows that are straight.' When others question her for praising the novice monk, Thi Mau unapologetically responds, 'If he's beautiful, then of course people will praise him!' Even when faced with remarks questioning her intentions, she remains unfazed, saying, 'My family has many cattle left.' It seems that Thi Mau is more focused on flirting with the monk than any other concern. Over time, her flirting becomes more explicit: 'You are like a fallen apple in the courtyard And I, like a craving woman, long for sour things.' This is a unique comparison that reveals Thi Mau's strong desire for love, contrasting with societal norms. After spring, apples that fall from the tree are often sour and bitter, while a pregnant woman craves sour food, representing her intense, contrary desire. The folk author also adds critical remarks, such as 'Mau, how many sisters do you have? Is anyone like you?' Yet, Thi Mau dismisses these criticisms, confidently asserting, 'I have nine sisters, but I am the most mature one!' Despite using all kinds of sweet talk, Thi Mau cannot get the novice monk to respond, so she resorts to using teasing songs: 'O, novice monks! I stand before the pagoda I call out, but you do not reply, I am sad [...] I am beautiful, but standing alone, I am not as pretty!' Thi Mau's teasing song reveals her view of love as free and carefree, unconstrained by societal boundaries or prejudices. The repetition of the phrase 'O, novice monks!' emphasizes her desire for the monk and opens the door for her desires. Thi Mau's idea of happiness is simple—what matters is her own feelings, not the opinions of her relatives. In her mind, love is about chance and mutual attraction, as expressed in her desire to be with Kinh Tam: 'We shall wait for each other to be together,' 'We will have a wife and husband.' Thi Mau believes she will only be truly beautiful when paired with someone, saying, 'I am beautiful, but standing alone, I am not as pretty!' This expresses her intense and passionate longing for a partner. As time goes on, Thi Mau crosses even more boundaries, becoming crude and disrespectful: 'Forget about the Buddha!' In the sacred environment of the pagoda, she no longer cares about the religious rituals but is focused solely on flirting with the monk: 'I hope the novice monk sweeps the courtyard To come closer to me, holding the broom to sweep in my place Love flies without wind!' Or: 'I wish the mustard plant would grow green So that the vegetable garden would thrive beside the bamboo.' Because the novice monk does not understand her feelings, Thi Mau laments, 'So I can love secretly and pine away alone.' Not only does she speak her desires, but her actions also reveal her personality. Thi Mau boldly grabs the novice monk's hand and offers to sweep the pagoda for him. In the context of feudal society, such behavior was unacceptable, as 'men and women should not touch.' Moreover, since Kinh Tam is a monk, his role as a religious person further challenges societal and religious norms. In this way, the character of Thi Mau is portrayed through her speech and actions. She represents a woman who defies the moral standards of her time. Through her, the folk author critiques women who fail to uphold chastity and social norms. In this excerpt, Thi Mau embodies the free-spirited and rebellious women who defy the rigid norms of feudal society. Alongside the character of Thi Kinh, she contributes to the success of both the excerpt and the entire play.

Thi Mau is a woman with a distinct personality, willing to break free from the constraints of Confucianism to express and assert herself. She represents the longings and desires of many women from the past. Although her actions in the pagoda are inappropriate, the intense urge of love clouds her judgment.

The character of Thi Mau in traditional Cheo theatre embodies another aspect of Vietnamese women—the longing for love. This is a fundamental right of women, and of all humans in general. As they grow, they must have the freedom to explore and love, and to marry the one they choose. However, this right stands in contrast to the false moral facade of feudal society, which shackles women by imposing the strict 'three obediences' and the rule that 'a daughter sits where her parents place her,' denying women the opportunity to choose their love and happiness. Thi Mau’s awareness of freedom in love is reflected in her advice to herself and her sisters not to listen to family members. Thi Mau is a woman of art.

The character of Thi Mau is more pitiable than blameworthy; at times, one might even feel sympathy for her. She dares to live, to love, and to act against the chains of an oppressive system that buried women’s lives in many forms. Thi Mau, the daughter of a wealthy man, exhibits many flaws, yet her fate, like that of Thi Kinh and other women, is one of entrapment, with no escape.

Through the excerpt, the reader can see just how bold and individual Thi Mau is. As a woman, she is ready to defy the social standards imposed by feudal society. She yearns for happiness and seeks love for herself. In the traditional view, women lacked a voice, but with the appearance of Thi Mau, a new version emerges. She is not concerned with the gossip of others, as long as she pursues her happiness, and she is determined to follow it through. However, tragically, the person she loves is a monk, and in fact, it is Thi Kinh disguised as a man.

Have we ever wondered what has shaped the colorful life we have today? Is it the soothing melodies that help us unwind after a tiring day? Or is it the words that stretch across the pages of a book we love to read... enriching the spiritual life of humans? Art, in general, and literature, in particular, were created to allow people to express their thoughts, reflect on life, and draw valuable lessons for themselves. A unique and ancient form of art, Cheo has been around for a long time. Rooted in the folk cultural heritage, Cheo uses music as a foundation, combining metaphors with direct and diverse expressions, making it a distinctive type of theatrical performance in festivals. One classic Cheo play, whose deep thoughts and timeless questions still resonate today, is "Quan âm thị kính." The excerpt from "Thị Mầu lên chùa" offers us a clearer understanding of society and the people of that era.

Visiting the temple for offerings is perhaps a beautiful custom in Vietnamese culture, a tradition upheld in every family. And Thị Mầu, too, goes to the temple to pray. Known as a seductive girl, Thị Mầu's image evokes the impression of a beautiful, flirtatious woman who seems insincere and not serious at the temple. Thị Mầu's visit to the temple is different from the norm: people typically visit the temple on the 14th or 15th, while Thị Mầu goes on the 13th.

From the beginning, Thị Mầu is portrayed as a flirtatious woman, not fitting the traditional values of “tam tòng tứ đức” (the three obedience and four virtues) of ancient times. Hence, through the dialogue, her flaws are clearly exposed. One of her flaws is her blind passion. When one falls in love so intensely, it is understandable to be blind, and therefore, easier to sympathize with her. What makes Thị Mầu blind is that she doesn't realize that the object of her affection, the young monk, is actually Thị Kính in disguise. Her blindness, mixed with the passion of love, leads her to boldly approach the young monk with flirtatious actions and words. She praises him, saying "beautiful like a comet," and even uses metaphorical language, flirting openly, making it clear that she desires him. When words are not enough, she takes it further, grabbing the young monk's hand, offering to sweep the temple for him, and even suggesting more.

In her introduction to the young monk, Thị Mầu notably emphasizes her status as "unmarried."

“At the age of eighteen, I’m still unmarried, young monk!”

Her visit to the temple seems less about worshipping Buddha and more about being captivated by someone she meets there.

Thị Mầu's flirtation is expressed through two distinct singing styles, "Cấm giá" and "Bình thảo." In the "Cấm giá" song, her flirtation is still shy and delicate:

“I went to the temple and saw a young monk, thirteen The monk was fourteen, the old man was fifteen I wanted to meet him for a month, twice a month.”

"Bình thảo" expresses her boldness and intensity as her flirtation intensifies, losing all subtlety:

“Who is here at the temple With a high collar, eyebrows straight Those are the young monks.”

“Monk, you’re like a fallen apple in the courtyard, And I am like a woman craving sour fruit.”

In this metaphor, she compares herself to a woman who longs for sour fruit, representing her unfulfilled desires. The apple, which falls unripe in the courtyard, is both sour and bitter, much like her longing for love, unrequited and painful. The image is clear and vivid, easily understood by the audience. Through these verses, we understand Thị Mầu’s yearning for love, which remains unreciprocated by the young monk.

These words serve not only to express her feelings but also to highlight the deep moral critique embedded in folk literature, which often uses irony to expose the hypocrisy of feudal ethics. While Thị Mầu boldly pursues the monk, Thị Kính, in contrast, keeps her distance, repeating her chants of “Nam mô A Di Đà Phật” to avoid temptation. The contrast between the lively, free-spirited music and the solemn chanting creates a powerful, unique dramatic moment.

The two women, two different situations, two personalities, two destinies, and two choices... all constrained by the rigid customs of feudal society. As a woman of great virtue, Thị Kính should have had a peaceful, happy life, yet her fate was filled with pain and misfortune. When her husband, Thiện Sĩ, woke up and misunderstood her intentions, he accused her of attempting to kill him. His mother, Sùng, used harsh, cruel words to scold and even physically push Thị Kính. Despite her continuous attempts to explain, she was dismissed from the family, unjustly accused, with no one believing her. Thị Kính was forced to leave her home, heartbroken and rejected by both her husband and family. Her once happy life had disintegrated. With no other option, Thị Kính left, looking back at the memories of her past life with sorrow and regret. She then sought refuge at the temple, as the only place where she could find peace and prove her innocence.

The repeated call of “young monk” reveals Thị Mầu’s intense longing and affection. She yearns for love, desperately seeking a response to her sincere feelings. She is bold enough to openly express her love and pursue it with determination, even defying the customs of society. Her declaration of love is expressed in the lyrics:

“A branch of bamboo, five or seven branches If it is destined, let us marry, don’t listen to others’ opinions.”

Her passionate plea is filled with a desire for freedom in love, and the ability to choose her own partner. She dares to love and speak up, a rare act in the feudal society where love and marriage were controlled by external forces.

Thị Mầu is the epitome of a woman who dares to challenge the oppressive norms, even as Thị Kính endures silently. She boldly expresses her desires, shedding light on the repressed desires of women in her time. Through her flirtation and boldness, we see her quest for personal freedom, which was stifled by societal norms.

In contrast, Thị Kính, a woman who embodies patience, has no choice but to suffer in silence, leaving us with a poignant portrayal of the inequality and oppression faced by women in feudal society.

In the Vietnamese folk song:

“The bamboo is delicate, growing at the temple door The girl is beautiful, standing alone, still beautiful,”

The bamboo symbolizes the grace and fragility of Vietnamese women, while the girl, standing on her own, remains beautiful despite the lack of support. In the Cheo play, Thị Mầu’s words are altered to reflect her need for a partner, implying that she needs someone to be truly beautiful, unlike the lonely girl in the original folk song.

Thị Mầu’s affair with a servant, resulting in pregnancy and societal punishment, further reveals her rebellious nature. She falsely accuses Kính Tâm, leading to his unjust persecution. Eventually, she gives birth and leaves the baby at the temple, where Kính Tâm, moved by compassion, takes the child and raises it. In the end, Kính Tâm’s death reveals the truth, clearing Thị Kính of the false accusations. Yet, the lingering social stigma remains, highlighting the tragedy of Thị Kính’s plight.

Through Thị Mầu’s character, we also see the struggles of women in feudal society. Although Thị Mầu’s actions were often inappropriate, her story reveals the deep desire for freedom and love that was denied to women in that era. Her character stands as a symbol of resistance against the societal constraints placed upon her.

As poet Anh Ngọc eloquently writes in his poem "Thị Mầu":

“The chains coated with moral paint For centuries, they could not restrain Thị Mầu, Though the curtains have been closed, The apples still fall, no one picks them up, Thị Mầu returns to the real world, The sour apple still lingers on the lips.”

Thị Mầu is a woman with a strong personality, willing to break free from the confines of Confucian teachings to express herself. She represents the deep-seated desires of women in the past. Despite the disapproved actions, her intense longing for love and the freedom to choose her partner remain poignant reflections of the plight of women under oppressive societal norms.