Top 7 Analyses and Assessments of the Themes and Artistic Features of a Play (Literature 10) - The Best Examples

The scene 'The Judge Tria's Trial' from the play 'Snails, Clams, Oysters, and Mussels' is an outstanding excerpt both in terms of its content and artistic technique. Through this piece, the folk author aims to criticize and expose the corrupt officials in feudal society. The excerpt narrates the trial presided over by Judge Tria.

To understand the conflict among the characters, we must first examine the reasons behind the lawsuit. The case stems from Thị Hến buying stolen goods from Ốc and Ngao, who had robbed the wealthy Trùm Sò's house. When Trùm Sò and his wife discovered this and had evidence, they brought the case to the authorities, hoping for justice. However, behind this unjust trial lies a deeper conflict within those entrusted with justice. Judge Tria, a powerful and wealthy man, has an unhappy family life with a jealous wife, and even his relationship with his trusted assistant Đề Hầu is filled with distrust.

As the trial unfolds, when Đề Hầu reports the case, Judge Tria dismisses him as a gossip, mocking him with insults: "I know that Đề speaks nonsense." This reveals the strained relationship between them. When Thị Hến, guilty as she is, pleads her case in front of the judge, the reader becomes acutely aware of the corruption within the justice system and the unfairness suffered by the common people. Despite clear evidence, Thị Hến denies her crime, trying to elicit sympathy by playing the victim. When she realizes that the judge is attracted to her, she uses this to manipulate him and further her own agenda. But it is Judge Tria, a man of supposed justice, who is truly corrupt. Seeing Thị Hến as a widow, he immediately takes advantage of her, pretending to offer fair judgment while making an unjust decision. He falsely accuses Trùm Sò and his wife of being bullies and frauds. As a result, the guilty go free, and the innocent suffer.

Even Đề Hầu, the judge's assistant, realizes the absurdity of the trial, stating: "The woman is bad, and so is the judge," but continues to flatter the judge, hoping to please him. This paints a vivid and grim picture of a feudal society filled with corruption and injustice.

The work also expresses sympathy for the powerless common people, represented by Trùm Sò and his wife. At the end of the trial, Thị Hến wins. The Trùm Sò couple not only loses their property but are falsely accused and punished, having no choice but to accept the unjust verdict. The helplessness and submission of the victims are portrayed poignantly, evoking empathy from the reader for the vulnerable in a corrupt society.

The success of the piece lies in its tightly woven plot and meaningful structure. Characters are primarily depicted through their speech and actions, allowing readers to interpret their personalities and morality. The corrupt officials are painted with vivid detail, giving readers a clear understanding of their roles. The work’s sharp satire exposes a powerful, cowardly judge who ignores the law and uses personal emotions to make decisions. The unfair trial and the juxtaposition of the powerless commoners against the scheming widow and corrupt judge make the story a harsh critique of feudal society. The simplicity and relatability of the language make the work accessible, allowing readers to deeply connect with the story and feel the emotions it evokes.

Through this play, we are reminded of the plight of the common people in feudal times. 'Snails, Clams, Oysters, and Mussels' remains a quintessential work in Vietnamese folk art, highlighting social injustice and the corrupt system.

Lưu Quang Vũ (1948 - 1988) was a renowned poet, writer, and playwright. His poem, Tiếng Việt, is widely known and loved. He left behind nearly 50 plays, many of which were performed, showcasing his sharp artistic style and addressing various critical issues during the 1980s, a period of reform in Vietnam.

New themes, intense conflicts, gripping dramatic situations, and sharp dialogue are the distinctive features of Lưu Quang Vũ’s works. The play *Tôi và Chúng Ta* consists of nine scenes, and this excerpt is from the third scene, depicting the first clash between two factions—progressive and conservative—at the Thắng Lợi factory.

Hoàng Việt, the Director, and Nguyễn Chính, the Deputy Director, represent the two opposing sides in this ideological battle. Nguyễn Chính argues that production must adhere to the higher authorities' plans, and hiring should follow strict staffing quotas. The head of the Finance Department claims there’s no salary fund for contract workers and insists that procurement must follow regulations. Meanwhile, Director Hoàng Việt declares that the factory must set its own goals, hire more contract workers, and aim to increase production fivefold, raising workers' salaries fourfold, and even halting the construction of a guest house to pay workers for two months.

The workers will no longer have to worry about “working extra jobs for additional income.” For the factory to thrive, Hoàng Việt emphasizes the need for investment, particularly in people, to eliminate the injustice where “diligent workers and lazy ones are treated the same, where the talented and the unskilled enjoy equal benefits, and where those who contribute little are held in higher esteem than the hardworking ones.” Ineffective managers like Quản đốc Trương will be reassigned, as the only thing that matters is the results, not titles. Those who produce more will earn higher wages, while poor performers will face fines.

For production to grow, the factory needs to purchase more machinery, materials, and repair broken equipment. The Director orders the Finance Department to release funds for procurement and assures, “I will take responsibility.” However, the Finance head refuses to comply. Nguyễn Chính criticizes Hoàng Việt, saying he disregards the strict regulations governing finance, banking, labor, and procurement.

The conservative Nguyễn Chính fiercely opposes the Director’s views. Sometimes he relies on principles or Party resolutions, and other times he appeals to moral arguments: “The system you criticize has been enduring for decades. Thanks to it, we have the socialism we have today. The rice you eat, the clothes you wear, and even your very development have been shaped by this system. Don’t hastily dismiss it.”

Hoàng Việt’s stance is fresh, progressive, and dialectical. He challenges Nguyễn Chính and the conservatives, saying, “Things don’t stay the same. What was right yesterday may now be an obstacle. We must find a way to break through.” This reveals how the conservative, bureaucratic system has been forcefully challenged by the new thinking. However, the conservative forces are still unwilling to surrender. Nguyễn Chính, a cunning individual, has previously overthrown four directors. He is the type of person who, if you shake hands with him, you must check if all five fingers are still intact. Behind him, there are powerful allies, such as Trần Khắc, a representative of the Ministry’s Inspection Department.

It’s a sad situation where the bureaucratic system rewards dishonesty with honors, while those who do honest work are punished. Hoàng Việt’s firm stance embodies a clear attitude: “I act, I take responsibility.” The “we” philosophy is vital: we work hard for our well-being and the prosperity of our country. *Tôi và Chúng Ta* is a play about renewal, and over 20 years later, amidst the country’s progressive transformation, we can clearly see how Lưu Quang Vũ’s play remains relevant and profound.

In addition to famous Cheo plays such as 'Truong Vien', 'Chu Mai Than', 'Kim Nham', 'Luu Binh - Duong Le', 'Quan Am Thi Kinh' is also one of the classical works of Vietnamese traditional Cheo theater. The standout scene in this play is the excerpt 'Thi Mau Goes to the Temple'. This excerpt reflects the author's perspective on women in ancient society.

The text 'Thi Mau Goes to the Temple' tells the story of Thi Mau, who visits the temple to make offerings, and upon seeing the young monk Kinh Tam, she becomes infatuated and uses sweet words to flirt with him. The excerpt highlights the contrast in character traits between Thi Mau and Kinh Tam.

Initially, Thi Mau comes from a noble family, being the daughter of a wealthy man in the village. However, she displays a rather promiscuous and carefree attitude. While most people visit the temple on the 15th of the lunar month, Thi Mau goes there as early as the 13th. This is why she gains a reputation for being overly flirtatious:

'But I, Thi Mau, am known as flirtatious

I row the boat and go to the temple from the 13th.'

The repetition of '13' emphasizes the days Thi Mau visits the temple. She goes there on the 13th, 14th, and 15th to fulfill her desire to meet the monks.

Upon seeing the young monk, Thi Mau immediately uses sweet words to charm him. When Kinh Tam asks for her name to write in the temple's record book, she exaggerates details about herself, mentioning that she is not yet married and expresses her wish for a partner.

This desire for a romantic connection is further revealed in the line:

'Hey, little monk!

You are like a sour apple fallen in the courtyard

And I, like a maiden, watch for the sour taste of the temple.'

The 'sour apple' metaphorically refers to something neglected and bitter, while 'the maiden' suggests a young girl who craves the experience of life. Thi Mau compares herself to a maiden, while she sees Kinh Tam as a neglected apple, symbolizing her wish to be paired with him. Despite her visit to the temple for prayer, she shows little interest in the spiritual practices and instead focuses on teasing the young monk. When someone mocks her, she responds confidently, saying, 'My family still has plenty of cattle.'

Thi Mau doesn't stop at sweet words—she also teases Kinh Tam with a song:

'Standing by the temple door

I call, but the monk doesn't reply, I feel sad

Oh, little monk!

A branch of bamboo, five or seven branches of bamboo

If it's destined, then marry, don't listen to the family.'

In this part, Thi Mau uses a lot of traditional imagery such as 'bamboo branches', 'peony flowers', and 'marriage'. These phrases express her feelings and flirtation with Kinh Tam. She also expresses her view on love, which for her is about freedom, ignoring social boundaries, and focusing on personal feelings.

Thi Mau boldly says, 'I want a partner, a lover,' indicating her desire to break free from societal norms and seek her own happiness.

As the scene progresses, Thi Mau becomes more direct in her actions, even disrespecting the sacred space of the temple, saying 'Forget the Buddha!' She completely abandons the idea of offering prayers and focuses entirely on the monk. Her words illustrate her lack of respect for the monastic life.

In the final part of the scene, Thi Mau's frustration grows. When Kinh Tam doesn't show interest in her advances, her mood turns sour and she sings:

'I want the vegetables to be green

The wild vegetables grow along the bamboo fence

Listen to what I say

To my close friend, I can’t tell you.'

Through her words and actions, Thi Mau reveals her free-spirited and reckless nature. She disregards social propriety and boldly takes the initiative to interact with the young monk.

Contrasting with Thi Mau's boldness, Kinh Tam, the more virtuous character, comes from a humble farming family and later marries into a wealthier family. Due to a misunderstanding, she leaves home, cuts her hair, and disguises herself as a monk. Despite appearing as a novice monk, Kinh Tam maintains a sense of decorum and dignity.

In contrast to Thi Mau's advances, Kinh Tam responds with restraint and composure, always maintaining a proper demeanor:

'I offer my prayers to the Three Jewels

With a sincere heart, I present my offering.'

These words show Kinh Tam's deep devotion to Buddhism and her respect for the temple. Each time Thi Mau speaks to her, Kinh Tam responds with calm and polite phrases like 'Amitabha Buddha!'. When faced with Thi Mau's crude behavior, Kinh Tam reflects on the situation with sorrow:

'Reflecting on past injustices, I want to cry

Seeing this relationship, I find it laughable

Perhaps it was fate that caused this to happen'

These words express Kinh Tam's understanding of the complexities of life and the misunderstandings that arise from people's actions. She shows compassion and empathy towards Thi Mau's situation, though she is firm in rejecting her advances.

In the end, the two characters represent opposing views of womanhood: Thi Mau as the rebellious, flirtatious woman and Kinh Tam as the virtuous, modest woman. The play uses these contrasting characters to critique societal norms and celebrate the values of modesty and virtue. The excerpt from 'Thi Mau Goes to the Temple' has remained an important part of Vietnamese literature, admired for its deep humanism and meaningful lessons.

Excerpt from the Cheo play 'Thi Mau Goes to the Pagoda' is a distinctive piece in the art of Cheo, as well as in the broader context of Vietnamese theater. The uniqueness of this piece comes from both its subject matter and the artistic form in which it is presented.

The charm of the subject lies in the character of Thi Mau, who, in the face of rigid Confucian values, dares to pursue love openly. This stands in stark contrast to the character of Thi Kinh, who embodies the more traditional, repressed ideals. Furthermore, the fact that Thi Mau seeks out the young monk Kinh Tam adds an interesting twist to the story, showcasing a rebellious and unconventional aspect of her character. Despite its humorous and playful tone, this excerpt conveys a message of breaking free from societal constraints, as expressed in the character's lines: 'Forget the Buddha!' and 'Being chaste does not make you pure.'

The artistic quality of this excerpt shines through in its performance. Compared to traditional Chinese opera, Cheo's language is more accessible and relatable, using local dialects and even incorporating poetic forms such as the six-eight verse, which carries the emotional depth of the Vietnamese people:

'I wish the mustard greens grow green, Rice in abundance, with the trellis full of vines.'

'Laxness won't wear off, Purity can't be maintained by just offering incense!'

The distinctiveness of Cheo lies in the audience's interaction with the performance, which blurs the line between the stage and the spectators, a feature not found in Western-style dramas. This communal aspect makes Cheo a uniquely vibrant form of theater, offering a more engaging experience than the more passive style of Western plays.'

'Clams, Oysters, Snails, Mussels' is a comedic play in the Tuong tradition (also known as Tuong Do), which is a classic example of Tuong theater's artistic expression.

While some claim that Tuong theater has lost its audience and belongs to a bygone feudal era, making it a subject for museums, this pertains to the older style of Tuong, also called Tuong Pho. The plays in this style were composed by officials and glorified the stability and perpetuity of the feudal system, with tales of wise kings, loyal officials, brave generals, and rebellious traitors. The performances often took place in royal courts and were meant to uplift the rulers and noble class. On the other hand, comedic Tuong, like 'Clams, Oysters, Snails, Mussels', written by commoners with themes drawn from everyday life, has been more popular with the general public. It is this form that continues to captivate audiences to this day.

The character 'Mussel' stands out in this play. She is portrayed as a beautiful, charming woman from a well-to-do family, who, after experiencing heartbreak and misfortune, chooses a life of independence, living alone and working as a pawn broker. Despite the changing times, the pawnshop business, with its ups and downs, has remained a constant throughout history. In the play, Mussel's beauty and talent in performing Tuong, particularly when she plays the role of 'Dao Lang', are irresistible to the audience. Although the Tuong theater in her village no longer exists, Mussel occasionally gathers a small troupe to perform short scenes from Tuong if the need arises.

The humor in the scene 'Mussel’s Trick' holds significance even today, as it reminds us that laughter is an important part of life. This comedic folk play provides not only entertainment but also valuable life lessons, making it timeless in its appeal.

Traditional art forms have always had a unique charm that resonates across generations. Among these are genres like Cheo, Tuong, and Hat Xam, which have proven to be powerful mediums for bringing people closer to literature. These art forms have also been a conduit for transmitting valuable moral lessons in a vivid and impactful manner. One of the most famous Cheo plays is 'Thi Mau Goes to the Temple' (from 'Quan Am Thi Kinh'). This classic script offers a perspective on how women were viewed in ancient feudal society.

At the heart of the play is a strong emphasis on the purity and virtue of women, while also criticizing immoral, rebellious behavior that goes against the societal moral code. This theme is evident in the characters of Kinh Tam and Thi Mau.

Thi Mau, born into a wealthy family, represents rebellion and goes against the moral expectations of the time. Even in sacred spaces like temples, she boldly flirts with the young monks, and her behavior contrasts sharply with the ideals of modesty and virtue. Her playful lyrics highlight her unconventional views on love, portraying a carefree, rebellious attitude that defies the strict norms of the feudal system.

In stark contrast, Kinh Tam comes from a poor farming family, yet she enters a higher social circle after a series of events forces her to disguise herself as a man and become a nun. Her graceful beauty and composed demeanor capture the attention of Thi Mau, but unlike the latter, Kinh Tam maintains her integrity and poise, firmly upholding the moral code. She represents the ideal of a virtuous, cultured woman.

The contrast between the two characters—Thi Mau's rebelliousness and Kinh Tam's virtue—highlight the moral judgment the author is directing towards them. The play builds tension between the notions of immoral behavior and virtuous womanhood, with the audience growing increasingly sympathetic towards Kinh Tam as the story unfolds.

The work succeeds not only in its thematic depth but also in its artistic execution. Cheo plays often rely on dialogue and action to develop their characters, and in 'Thi Mau Goes to the Temple', much of the focus is on Thi Mau’s dialogue, which showcases her bold and unrestrained nature. Kinh Tam's words are sparse, presenting her as calm and measured, reinforcing her role as the epitome of grace and propriety. The use of song and repetition in the script helps further convey the moral undertones of the story, making it memorable and impactful for the audience.

With its distinctive artistic elements, the excerpt highlights the differences between the two female characters. The author's critique and the audience's reactions are made evident through the contrasting depictions of the characters. This makes the play not only engaging but thought-provoking, appealing to generations of viewers. When performed on stage, it becomes even more captivating, adding to the rich tapestry of traditional folk art and enhancing its cultural value.

'Thi Mau Goes to the Temple', though only a part of the larger 'Quan Am Thi Kinh', clearly reflects the traditional perspective on women. In today’s world, society has evolved, and attitudes towards love have become more relaxed than during the feudal era. However, the moral lessons regarding the conduct and virtues of women still hold relevance. We can express our love and desires freely, but it should always align with the ethical standards set by society.