Top 7 Best Essays Analyzing the Text 'Xã trưởng - Mẹ Đốp' (Vietnamese Literature 10)

The traditional Vietnamese art form of chèo is a unique performance style that has long been a part of the country’s cultural heritage. One of the seven classic chèo plays, 'Quan m Thị Kính,' vividly portrays the social landscape of Vietnam during the feudal era. The flaws and vices of certain social classes, particularly officials, are most sharply depicted in the excerpt 'Sá Chưởng – Mẹ Đốp.' This segment stands out for both its content and its artistic expression.

The excerpt 'Sá Chưởng – Mẹ Đốp' shows the village chief visiting Mẹ Đốp's house to demand she announce to the village about Thị Mầu's illegitimate pregnancy. Through the conversation between the chief and Mẹ Đốp, the folk author critiques the corrupt nature of feudal officials.

The theme of the text is clearly presented when the village chief arrives at Mẹ Đốp's house, instructing her husband to announce Thị Mầu's scandal. The excerpt begins with the chief finding Mẹ Đốp’s husband absent, prompting him to introduce himself:

'I serve as the chief of this village,
The law is my command.
The people chose me for this post,
I stand at the top of the local order.
Now I bring news of scandal,
Thị Mầu's pregnancy is without a husband.
It is by village decree that punishment follows.
A fine of one hundred coins will be levied.'

The chief’s self-introduction provides a glimpse into his status and position. His tone is dismissive, seeing himself as superior. When Mẹ Đốp mentions her husband had gone to the provincial capital to receive his certification, the chief mocks her: 'What kind of certificate could someone like him earn?' Mẹ Đốp cleverly responds, 'He has gone to carry the briefcase for the district head to receive his certificate.' Her quick retort cleverly conveys equality with the chief.

With her husband absent, Mẹ Đốp steps in to carry out the task. As she does, she sings her introduction:

'I am Mẹ Đốp,
Though my words may sound rough,
When a guest arrives, I come forward,
Speaking in sharp tones,
Today I announce the village’s matters,
Raising the drum for the people to listen.'

In the eyes of local officials and the elite, the people who strike the village drum, like the Đốp family, are seen as lowly. Mẹ Đốp, aware of her social standing, takes pride in her role. Despite lacking wealth or power, her skill in drumming and announcing news makes her a respected figure in the village. She boasts about her skills but also mocks the chief, saying 'I will set things straight here.' She cleverly addresses him, 'When there’s news in the village, I’m sent to drum the message. Is that not my duty?' With every word, she seeks to overshadow and dominate the chief. He responds angrily, 'How dare you! You think you're the one who speaks for the village?' Mẹ Đốp counters, 'You think that just because you are the chief, you can silence me?'

After her witty remarks, Mẹ Đốp delivers a poem that subtly asserts her position while mocking the chief:

'The village speaks, and I announce.
The official may think his words are loud,
But it’s me who brings the message to the people.
When I speak, the whole village listens.'

The chief, oblivious to the deeper meaning, praises the poem, saying 'That’s a fine poem!' Mẹ Đốp humorously responds, 'If you like it, take it home and hang it on your wall.'

Later, the chief makes lewd comments about Mẹ Đốp, suggesting that she is an attractive woman. Mẹ Đốp deftly brushes off his advances, warning him that her husband might hear. The chief, realizing he is in a vulnerable position, tries to explain his intentions but is forced to retreat. Mẹ Đốp continues to mock him, even suggesting that he could follow her lead in drumming the village’s news, which drives the chief into a rage.

In the context of feudal society, where women had little power, Mẹ Đốp’s boldness in standing up to the chief is remarkable. Her witty exchanges and sharp tongue expose the chief’s flaws, revealing him as an uneducated, self-important figure.

Eventually, frustrated by Mẹ Đốp’s defiance, the chief strikes her. However, Mẹ Đốp’s response is not one of submission. She cries out for the whole village to hear, 'Oh, my husband! The chief is bullying me!' This outcry is not only a plea for justice but also a strategy to expose the chief’s true nature to everyone. Realizing he has lost face, the chief is forced to apologize and compensate Mẹ Đốp with rice.

The characters of Mẹ Đốp and the village chief symbolize the oppressed and the oppressors in feudal society. Through humor, irony, and simple language, the folk author critiques corrupt officials while celebrating the dignity and strength of women.

The excerpt 'Sá Chưởng – Mẹ Đốp' is a prime example of chèo from the play 'Quan m Thị Kính.' The sharp humor and critique presented in this piece have ensured that it remains an important part of Vietnam’s cultural legacy.

Professor Hà Văn Cầu, born in 1927 in Đông Hưng, Thái Bình, has made significant contributions to the traditional chèo art form since the 1950s. He was one of the founders of the Cổ Phong chèo troupe (the predecessor of Hà Tây chèo troupe) and was directly involved in researching and collecting traditional folk knowledge of chèo.

For nearly 60 years, Professor Hà Văn Cầu’s works have been used as research material and textbooks for students at the Hanoi University of Theatre and Cinema. Some of these works have been introduced on stages in Germany, France, and Japan, where they were highly praised.

In the excerpt from 'Sá Chưởng – Mẹ Đốp,' the folk author skillfully exposes the corrupt and depraved nature of the feudal officials.

The situation arises when the village chief visits Mẹ Đốp’s house to instruct her husband to announce to the village that Thị Mầu, a woman without a husband, is pregnant. However, when the chief arrives, her husband is not at home. The chief remains patient and confident, asserting his position and importance compared to others, presenting his demands like a challenge: 'What can a drum man do compared to official titles?' Mẹ Đốp tries to explain that her husband has gone with the district head to receive his certificate. The chief then demands that Mẹ Đốp drum for her husband, but she does not back down. Instead, she stands firm and confronts the chief with sharp words that hit back at him. The chief attempts to flirt with Mẹ Đốp, complimenting her and suggesting sending a child for her to raise. However, Mẹ Đốp skillfully declines, telling him that her husband would be jealous if he heard. Eventually, the chief resorts to harassment and attacks Mẹ Đốp, causing her to cry out when he mistreats her.

In this excerpt, Mẹ Đốp and the village chief represent two different social classes: Mẹ Đốp symbolizes the oppressed class, while the village chief represents the ruling class of the feudal society. Through this passage, the folk author aims to criticize and satirize the corrupt, immoral officials of the time. The village chief is depicted as arrogant and contemptuous of the common people, abusing his power unjustly. Mẹ Đốp, on the other hand, stands up to the chief and defends her dignity and freedom. This also highlights the strength and virtues of women, as demonstrated by Mẹ Đốp, who refuses to be oppressed and chooses to preserve her self-respect and integrity. The tone of the passage is humorous, satirical, and ironic. The author uses simple and colloquial language to create a story that resonates with the everyday life of the people, making it approachable and relatable to the audience.

Professor Hà Văn Cầu, born in 1927 in Thái Bình, made numerous contributions to traditional chèo art starting in the 1950s. He was one of the founders of the Cổ Phong chèo troupe (which later became Hà Tây chèo) and took an active role in researching and collecting knowledge of traditional folk chèo. He authored over 30 stage plays such as 'Giấc Mơ Của Ông Cò', 'Nên Vợ Nên Chồng', 'Sang Sông', and 'Người Công Dân Số 1'. Notably, he adapted two famous scripts, 'Tống Trân – Cúc Hoa' (1961) and 'Từ Thức' (1990), from folk stories and traditional stage plays. In 2001, he was awarded the State Prize for Literature and Arts.

Regarding the work 'Sá Chưởng Mẹ Đốp', this excerpt comes from a chèo play, a traditional Vietnamese art form. It revolves around two main characters, the village chief and Mẹ Đốp, who spread the rumor about Thị Mầu being pregnant without a husband. The excerpt is taken from the play 'Quan Âm Thị Kính' and is published in the 'Kịch bản chèo', Volume 1, Vietnam Folklore Association, Hanoi, 2014, pages 282-288 and 324-327.

The excerpt begins with the information that Thị Mầu is pregnant and without a husband, a scandal that spreads throughout the village and results in punishment. This brief mention by the village chief reflects the outdated and rigid social norms of the past, which imposed harsh rules.

Next, the exchange between the village chief and Mẹ Đốp unfolds, detailing their back-and-forth over the task of drumming the news. The dialogue reveals the chief's deceitful and ignorant nature, as well as Mẹ Đốp's quick wit and eloquence: 'I alone am the one the village awaits / The truth is what I declare today.' As Mẹ Đốp reads poetry, the chief, impressed, is told to take it back and hang it up himself.

Then comes the comedic interaction with a lecherous and corrupt official. Despite being a leader, the village chief shows inappropriate behavior, making lewd remarks about Mẹ Đốp’s family: 'The Đốp house looks like a nice girl… I’ll send one over on a pleasant day.' Such language is more fitting for youthful flirtation than a respectable authority figure.

The final scene uses comedic dialogue to emphasize the personalities of the characters, guiding the conflict with surprising, dramatic action. The humor is driven by wordplay such as 'bằng' (the same): 'My father has gone to town to receive a certificate... What’s a drum-man to that?' and the playful use of 'ôi' sounds (e.g., 'Thánh đế lên ngôi'). These folk expressions reflect Mẹ Đốp’s humor and sharpness, and the village chief’s arrogance and dismissiveness toward lower-status people. This contrast between the characters serves to express the author's critique of the old, outdated social system, showing both humor and depth.

The text critiques corrupt officials like the village chief, who display arrogance and disregard for others, while also illustrating the restrictive and backward nature of the society that punishes Thị Mầu. It also highlights folk culture through the language and expressions of the characters.

Art has always been intricately connected to life, evolving and developing in a natural bond with reality. By faithfully reflecting that reality, art truly participates in the progress of history as a creative weapon, exploring the essence of its era.

The excerpt “The Village Headman – Mother Đốp” from the chèo play “Quan Âm Thị Kính” boldly addresses the injustice within feudal society, highlighting the contrast between the ruling and oppressed classes.

Extracted from the play: “Quan Âm Thị Kính,” “The Village Headman – Mother Đốp” represents a quintessential work in the traditional Vietnamese art form of chèo theater. In this excerpt, the play portrays two classes: the ruling class, represented by the Village Headman, who symbolizes the feudal village government, and Mother Đốp, the village bell ringer who reports news to the villagers, representing the oppressed lower class of society.

“The Village Headman – Mother Đốp” is a comedic excerpt characteristic of chèo theater, focusing on the contrasting comic roles of short-sleeved clowns and long-sleeved clowns. The common characters in chèo include the young scholar (kép), the leading lady (đào), clowns (hề), old women (mụ), and the elderly (lão). Kép characters are often portrayed as noble scholars; đào characters are usually the heroines, with different types such as đào thương, đào lệch, or đào lẳng; hề and mụ lão are popular comedic figures. The characters in chèo typically carry symbolic meanings with fixed characteristics. Among them, the hề character is quite common.

In “The Village Headman – Mother Đốp,” the short-sleeved clown is Mother Đốp, representing the oppressed common people who constantly mock and criticize the Village Headman, creating humor with her sharp and witty commentary on the foolish and inhumane actions of the ruling class.

The second character is the long-sleeved clown, specifically the Village Headman, an ignorant yet lecherous and greedy official who oppresses the common people. He is often the subject of ridicule from the farmers. The long-sleeved clown on the traditional chèo stage does not directly create humor, but through his acting style, the character inadvertently conveys deep, bitter humor, evoking tears and laughter.

As a representative of the ruling class, the Village Headman cannot escape the corrupt nature of the feudal society. A corrupt official who embodies the worst traits of human nature. It is no surprise that he would begin with lines such as:

“Village Headman:

For the people, I am the chief

The national laws are in my favor

By the people’s consent, I stand at the top

Today, the grave is disturbed

Thị Mầu is pregnant without a husband

According to village regulations, it’s a crime

Confiscate 100 quan as a fine”

His tone is harsh, authoritarian, full of threats. It’s no surprise that, being an appointed official, he arrogantly believes himself superior to everyone else. He takes the right to trample on the common people and looks down on those of lower status.

In contrast to the Village Headman, the playwright creates the character of Mother Đốp – a representative of the oppressed class. Though she is mistreated and oppressed, she cleverly mocks and humiliates the lustful and ignorant Village Headman by exposing his foolishness.

In a society rife with filth, where officials oppress, exploit, and bully the common people, the hatred of the people for corrupt officials becomes even deeper. The conflict between the oppressed and the rulers intensifies. Therefore, it is no surprise that the common people seize any opportunity to ridicule officials.

The Village Headman is clearly uneducated, unable to understand any of Mother Đốp’s remarks, and yet he still arrogantly boasts: “You’re being rude”

Throughout the dialogue, Mother Đốp seems to have control, leading the Village Headman in circles, confusing him at every turn. He is the head of the village, yet his narrow mind and ignorance allow Mother Đốp – a common person who is more educated and trusted by the villagers – to mock him without consequence. Is it not clear that he doesn't understand, yet blindly follows her words?

The Village Headman’s confused, blinking eyes, and his smirking expression are enough to show a greedy and lustful official. Faced with the Village Headman’s lewd behavior, Mother Đốp remains calm, sharp, and clever enough to expose his shameful actions, making him feel guilty and diverting the conversation. After revealing his faults, the Village Headman finally gives in and orders Mother Đốp to go ring the bell: “Go ring the bell!”

The Village Headman’s order to ring the bell is a strong satirical gesture. In the past, women were considered inferior, and their attire was often associated with impurity. When Mother Đốp rings the bell, it becomes a symbolic mockery of the degrading words spoken by the Village Headman.

When he realizes he has been outwitted by a woman, the Village Headman, who has long abused his power, becomes defensive and deflects the blame, showing the typical behavior of the ruling class at that time. However, not all members of this class are the same. Even a corrupt and ignorant official like him is aware of the negative reputation he is earning for himself:

Mother Đốp:

Oh Father Đốp, Father Đốp!

Where shall I go to escape the harassment of the Village Headman?

Village Headman: “Stop, stop!”

“The village ears are listening now!

Quiet! I beg you!

Then I’ll bring rice for you!

Go ring the bell!

Make sure you invite the deaf scholar, remember?”

This situation reveals that “money” is the measure of all values, both material and spiritual. The Village Headman uses wealth to silence injustice and truth, while the common people also abandon their fight for justice for material gain.

This chèo play is a perfect example of the satirical attitude of the common people toward the ruling class, providing a cathartic laughter for the audience. With its expressive dialogue and rhythm that matches the characters’ personalities, the play effectively portrays figures like the Village Headman and Mother Đốp. More importantly, this chèo play remains simple, relatable, and close to the people of Vietnam.

Being a traditional chèo, it often revolves around moral lessons on how to behave and interact according to folk wisdom or Confucian ideals. In “The Village Headman – Mother Đốp,” these values are clearly present.

When it comes to Vietnamese traditional opera, it is impossible not to mention the iconic play “Quan Âm Thị Kính.” In it, the excerpt “Village Chief – Mother Đốp” stands out, offering the audience sharp, satirical humor. Through the character of Mother Đốp, the folk author skillfully expresses their thoughts and feelings about the ruling class in the feudal society.

While the village chief represents the ruling class, Mother Đốp symbolizes the common people. As the wife of the village bell ringer, Mother Đốp comes from humble origins, considered lower class in the eyes of the officials and wealthy landowners. Despite her lack of social status, Mother Đốp takes great pride in her husband’s work and her own position, as reflected in her introduction:

“I’ll tell you, I’m Mother Đốp Though my speech may seem rough and crude When guests arrive, Đốp rolls out Greeting them with sharp words, so rude Today I’ll sing in a loud voice And offer some entertainment with pride.”

To the villagers, Mother Đốp is known for her sharp tongue. Yet, in reality, she is always polite and eager to welcome guests.

Today, when the village chief visits, Mother Đốp seizes the opportunity. Her line “I raise the bell to offer entertainment” subtly mocks the chief, showing her disdain for him. She knows that he is not a respectable man, so she plays along, entertaining him with trivial amusements. Despite being looked down upon, Mother Đốp proudly claims, “I am the expert in speechmaking, perfect in my craft.” Even though the chief disrespects her, she remains confident in her abilities:

“Not bound by fame or wealth Without power or commands from above Yet everyone in the village awaits my word What is right or wrong, I’ll decide for all!”

Mother Đốp is fully aware of her lowly background, yet she believes her words command respect, and the villagers eagerly await her judgments. Without her input, the village cannot function. Through these declarations, we can see the quick wit and agility of Mother Đốp’s character.

As the story progresses, the reader grows increasingly impressed by Mother Đốp’s cleverness and sharp intellect in her conversation with the village chief.

She deliberately says, “I’ll decide what is right and wrong today,” aiming to outmaneuver the chief. When she notices his frustration, she explains herself: “Here’s how it is: when the village has something to announce, the bell rings first, and isn’t that my responsibility?” Yet, Mother Đốp still mocks the village chief by positioning herself as an important figure: “For everything from the wedding to any other matter, any decree must first be reported to me. Until I give my word, the village cannot proceed.” These words infuriate him, prompting him to angrily retort, “What is this, Mother Đốp? You think the village can’t sit until you speak?”

The tension escalates, creating a sense of unease. But Mother Đốp skillfully defuses the situation by offering a convincing explanation: “Well, if I don’t spread the mat, how can the village sit down?” At this point, the village chief is left with no choice but to accept her logic: “Alright, Mother Đốp, I guess that makes sense.”

Despite the chief’s higher status, Mother Đốp never submits or bows down. She uses her wit to counter his insults, positioning herself as his equal. This is most evident in the poem she recites:

“My bell rings loud and clear Not just a simple village affair Its sound echoes, uniting all the village The golden tone rings far and near From all directions, everyone hears it The villagers cherish the sound so dear In all matters, I make the calls Sitting alone on my own seat.”

Though the village chief prides himself on being elected by the people, Mother Đốp makes it clear that her voice is just as powerful. She may only be the bell ringer, but she holds the authority to “arrange and manage” just like any official.

The poem carries many layers of meaning, but the village chief, lacking education, fails to understand its depth. He even praises it, “This poem is nice.” Seizing the opportunity, she continues to taunt him, asking, “Did you bring paper and ink?” Her response, “If you like my poem, take it home and hang it up,” adds humor to the scene, highlighting the chief’s ignorance and lack of sophistication.

Always ready to exploit the chief’s weaknesses, Mother Đốp tells him, “My family will go ahead to ring the bell, and you’ll follow behind and announce for us.” Furious, the chief snaps, “So now I’m your bell servant? You’re crossing the line.” In Mother Đốp’s eyes, the chief is no better than a bell servant!

The most striking moment comes when she uses her scarf to catch the chief’s words. This action is a sharp critique and a biting satire. In the past, women were not held in high regard, and the scarf was often seen as a symbol of modesty. By letting the chief’s words fall into her scarf, Mother Đốp subtly equates them with the chief’s filthiness.

Besides being sharp-witted and lively, Mother Đốp is also a loyal and devoted wife, always standing up for her husband. When the village chief mocks her husband, she explains with care, “My husband is out, attending to the government’s business!” She cares deeply for him, for “loving him means enduring hardship.” When the chief makes flirtatious remarks, Mother Đốp cleverly turns him down, saying, “My husband is outside, and if he hears you, he’ll get jealous!”

Never once does she overstep her bounds. She always maintains her dignity, even when the chief tries to take advantage of her. The moment the chief strikes her, she doesn’t hesitate to shout out to the villagers, ensuring that her honor is preserved while also humiliating the chief.

Through dialogue and actions, the folk author vividly portrays Mother Đốp as a sharp, intelligent, and loyal woman, celebrating the best qualities of women. At the same time, they expose the moral decay of the officials in the ruling class.

Mother Đốp embodies the beauty of Vietnamese womanhood. In the face of vulgarity and mediocrity, she knows how to maintain her dignity and uphold moral values.

The play "Quan Âm Thị Kính" is one of the seven famous traditional Vietnamese opera plays. Alongside iconic excerpts such as "Thị Mầu Goes to the Temple", "Xã trưởng – Mẹ Đốp" is also a standout piece that captivates the audience's attention. Through sharp satire, the folk author exposes the corrupt nature of the village leader – a representative of the ruling class in the feudal society.

Without any need for judgmental statements, the author lets the character reveal his own base nature by introducing himself:

“I am the head of the village

The laws of the country are governed by the officials

The people of the village have elected me

I stand at the top of the social hierarchy

Today, the grave is stirred

Thị Mầu is pregnant without a husband

According to the village custom, she must pay a fine of one hundred silver coins”

He boasts, arrogantly claiming that just as a nation requires officials, a village must have a leader. Due to the trust placed in him by the villagers, he holds the position of village head. Thị Mầu, who has conceived without being married, is deemed to have caused scandal, and as a result, the village head imposes a fine of one hundred silver coins on her according to the village customs.

Not only does he see himself as the greatest, but he also looks down on others. When Mẹ Đốp mentions that her husband is away to receive his official certificate, the village leader mocks her, saying, “What good is an official certificate for a bell ringer?” It is only when Mẹ Đốp responds, “My father is accompanying the provincial official to receive the certificate,” that he retreats, reluctantly admitting, “Well, perhaps that is the case!”

Despite his official status, the village leader often falls victim to Mẹ Đốp's wit and sarcasm. Nevertheless, he continues to show off his power, exclaiming, “You’re insolent! Are you telling me what to do now?”

The village head is repeatedly caught off guard; initially, he threatens, but after hearing Mẹ Đốp's explanation, he reluctantly agrees, saying, “Well, what she says makes sense!” He also expresses his ignorance when he hears Mẹ Đốp's clever bell poem, praising it without understanding its deeper meaning.

Living in a decaying and corrupt feudal society, the village leader embodies the typical lustful and ignorant nature of officials. His lewdness is evident in his flirtations and compliments towards Mẹ Đốp: “The women at Mẹ Đốp’s house are quite attractive, aren’t they?” He even tries to seduce her by suggesting, “How about I send one of my girls over on a good day?” This is the behavior of a despicable official!

When he realizes he has been outwitted by Mẹ Đốp, the village leader resorts to physical violence and intimidation. As with many of his peers, he fears the shame of being exposed, so when Mẹ Đốp calls for the villagers, he begs, “Alright, alright! Let’s forget about it, I’ll make sure it’s kept quiet!” No longer arrogant, the village head now cowers, revealing his cowardice and weakness.

To silence Mẹ Đốp, he resorts to bribery, offering her rice in exchange for her silence, saying, “Alright, I’ll give you some rice! But make sure you don’t forget to speak well of the deaf teacher!”

Thus, through his words and actions, the folk author vividly portrays the village leader’s vulgarity and rudeness. Through this character, the author criticizes and satirizes the immoral, lustful officials of the time.

It can be said that alongside Mẹ Đốp, the village leader is also a central character in the excerpt “Xã trưởng – Mẹ Đốp.” From his actions and words, we gain a deeper understanding of the corrupt nature of the officials in the feudal era, and thus sympathize with the common people’s plight.