Top 7 essays on the plight of farmers in 'Sống chết mặc bay' (Vietnamese Literature 7) - the best examples

Phạm Duy Tốn was one of the first writers to create works based on realism. His most famous piece is 'Sống chết mặc bay.' Through this story, we witness the corrupt society of that time and the struggles of farmers who faced storms and floods, yet received no assistance from the local authorities, who were supposed to care for the people’s welfare.

The story begins with farmers working together to battle the flood on the Nhị Hà river. The water level rises relentlessly. Despite it being midnight, the people continue to take turns watching to prevent the dam from breaking. The atmosphere is described as one of intense energy. Everyone brings whatever tools they have—hoes, shovels, sticks—to join the fight against the flood. However, despite all their efforts, their strength is limited, and their tools are primitive. The floodwaters continue to rise, threatening the lives of the people if the dike breaks. The villagers are waiting for help from the authorities, hoping things would be different if officials were present. Unfortunately, all their hopes are in vain.

Meanwhile, inside the local official's mansion, the atmosphere is completely different. The official is distracted by a game of cards, while numerous subordinates—such as teachers, officers, and other officials—are around him, playing along. The author uses this contrast to highlight the stark difference between the lives of the people struggling against the flood and the leisurely life of the officials inside their mansion. While the farmers are anxiously dealing with the rising waters, the official is blissfully playing cards, unaware of the impending disaster.

The official’s character evokes anger. He should be a father or mother figure to the poor farmers, yet he is indifferent to their struggles. He is selfish and only cares about his own comfort. Even during such a critical time, he remains focused on his game of cards. When someone informs him that the dike is about to collapse, he dismisses it and urges the card game to continue. Even those educated figures like the teachers and the officers do nothing but flatter the official, allowing him to enjoy his time. This highlights the bitter reality of the farmers’ fate.

When the servant reports a second time about the dam’s imminent collapse, the official remains unchanged, even scolding the servant. Phạm Duy Tốn subtly emphasizes the growing contrast between the urgency of the farmers’ plight and the official's increasing enjoyment of the card game. The water continues to rise, and the official’s card games become more exciting. Finally, when the dike collapses and the floodwaters inundate the region, destroying crops and livestock, the official wins the biggest hands of cards. The servant nervously informs him, but the official merely threatens to imprison them. The situation reaches its peak, and the water’s force causes everything to fall apart.

In conclusion, the work reflects the harsh reality of the time, showcasing a corrupt society and a ruling class that neglected the welfare of its people. The people were left to suffer, with nowhere to turn for help. The author subtly critiques the social order and the governance of the time, highlighting the failure of the authorities to care for the citizens.

One of the famous works of Pham Duy Ton is the short story “Sống chết mặc bay” (Live or die, let it be). The story critiques the irresponsible local officials, reflecting the state of governance at the time.

The story is set in rural Vietnam during the early 20th century. On a stormy night, heavy rain and strong winds cause the dyke near Nhị Hà River to break, putting the people in a dire situation. Despite this, the local officials in their hall continue playing cards, indifferent to the fate of the people. They let the people fend for themselves: “live or die, let it be.”

From the very beginning, the title of the work captures the reader’s attention. “Sống chết mặc bay” is derived from a popular saying, “Sống chết mặc bay, tiền thầy bỏ túi,” which refers to the indifference of old-school medicine practitioners or shamans, who cared only about their own benefit. The author uses only the first part of the saying to intrigue the reader, encouraging them to explore the story further.

The work opens with a vast, dark, yet urgent scene: “It’s almost one o’clock at night. The rain is pouring down. The water level of Nhị Hà River is rising, and parts of the dyke in X Village are on the brink of collapse.” In contrast, the hall where the officials sit is brightly lit, and the atmosphere is carefree, with no concern for the chaos outside: “Beside him, on the left, there’s a tray with a bowl of steamed bird’s nest, smoke rising from incense burners. The scene feels peaceful and luxurious.”

Pham Duy Ton skillfully creates two parallel but contrasting scenes: the one outside the dyke, where the people struggle to survive, and the one inside the hall, where the officials enjoy their leisure. The true face of the local authorities is revealed—selfish and indifferent, reflecting the “live or die, let it be” attitude. The story’s message is a sharp critique of the corrupt feudal system that disregards the welfare of the common people.

Through the use of contrast, narrative techniques, and a shifting tone—from emotional to sarcastic—the story powerfully denounces the cruelty of the feudal authorities and expresses sympathy for the suffering people. It is a powerful condemnation of an unjust system, leaving the people to survive on their own while the authorities remain oblivious to their plight.

The short story “Sống chết mặc bay” (Live or die, let it be) by Pham Duy Ton is considered one of the pioneering works of realism in Vietnamese literature. The stark contrast between the two social classes in the face of the people's critical survival issues is a key feature of the story.

The story opens with an urgent situation: “It’s almost one o’clock at night. The rain is pouring down heavily. The water level of the Nhị Hà River is rising dangerously. The dyke near X Village is on the verge of collapse, threatening disaster.” For the people in Vietnam, the integrity of the dykes is a matter of life and death. If the dyke breaks, houses, crops, trees, and lives are at risk. The dyke in X Village is at the edge of destruction, and the situation is extremely precarious.

Faced with this direct threat to their lives, the villagers work tirelessly to repair the dyke. The author depicts this scene with vivid and compassionate realism: “Some are digging, others are hoeing, while others carry soil or patch the trellis. They are waist-deep in the muddy water, each one soaked to the skin, like rats caught in a flood. The scene is truly heartbreaking.” The urgency and the desperate efforts of the villagers to protect the dyke are palpable. Everyone realizes the gravity of the situation and is pouring every ounce of energy into saving the dyke. The image is deeply sorrowful. The author intensifies the villagers' plight: “Though the drums beat loudly, and people shout at each other to help, it seems that everyone is exhausted. Meanwhile, the rain keeps pouring, and the river keeps rising. Alas! The human strength cannot contend with the forces of nature! The dyke cannot withstand the pressure of the water! How alarming! How dangerous! This dyke will be destroyed.” At this point, we understand that the villagers have been working for a long time, not just on that night. Despite their best efforts, they are fatigued and worn out. The sense of despair grows as we read on, with little hope left. The situation is dire, and everyone feels the weight of impending disaster.

The author’s detailed portrayal of the villagers struggling against nature sets the stage for the contrast that follows in the next scene, within the hall: “But where is the district chief? He is in the hall, about four or five hundred feet away. The hall is on the dyke, high and solid, unaffected by the rising waters.” In the chaos of the villagers' struggle, the author describes the district chief leisurely playing cards with his subordinates, attended by servants and soldiers. The tone is filled with sarcasm, irony, and anger. The district chief is indeed overseeing the dyke repair, but not from the front lines with the villagers—he is in the warmth of the hall, enjoying luxurious food and comfort: “The lights are brightly lit, servants and soldiers bustle around.” The district chief sits majestically, his left hand resting on a cushion, his right foot stretched out while his servants sit on the ground massaging his feet. Around him are his courtiers, including the most senior officials, all indulging in a card game. This is a complete system of officials who profit from the people’s toil, yet remain indifferent to their suffering. The contrast between the scene outside, where the villagers are laboring desperately under the rain and wind, and the scene inside the hall, where the officials continue their game in comfort, highlights the cruelty and indifference of the ruling class. The indulgence of the officials in gambling, even on the dyke itself, shows their callousness and disregard for the lives of the people. The tragedy peaks when the dyke finally collapses—while the villagers suffer, the district chief celebrates his win at cards: “While the district chief triumphantly calls out his big win, all over the land, the waters surge, houses are swept away, crops are submerged, and people are left homeless, some dead with no place to bury them. The water rises endlessly, the situation is unbearable, tragic beyond words.”

While the villagers’ suffering is a result of natural disasters, the pain is intensified by the apathy of the officials, who show no concern for the lives of their people. The story ends on a sorrowful note.

The author skillfully employs descriptive techniques, emotional expression, and the technique of escalating contrasts to bring the story to a climax, allowing the reader to grasp the dire situation of the villagers and the vile, heartless nature of the officials. The parallel structure of the sentences creates a balanced narrative that reflects the atmosphere of the era.

With this short story, Pham Duy Ton marks the beginning of a new era in Vietnamese literature—the advent of works written in the Quốc ngữ script. The story laid the foundation for the future development of Vietnamese literature.

The story “Sống chết mặc bay” is regarded as the “first blossom of the modern Vietnamese short story.” This work has left a significant impact, bringing forth fresh perspectives both in content and art.

The plot revolves around the collapse of a dyke, with the central character being a district official. The narrative unfolds in three scenes, following a chronological sequence: Scene 1 presents a heavy rain and strong winds, with floodwaters rising and the dyke on the verge of breaking, while the people hurriedly work to reinforce the dyke. Scene 2 depicts the officials, servants, and soldiers engrossed in a game of cards inside a temple. Scene 3 shows the dyke breaking. The author paints a stark contrast between the hedonistic indulgence of those in power and the suffering and misery of the common people. Through this, the author harshly condemns the corrupt, incompetent, and irresponsible ruling class in regard to the property and lives of the poor, while also expressing deep sympathy for the people's pain and hardship.

The story begins with the perilous situation of the Nhị River dyke. The author describes it with vivid details of time and place: “It was nearly one o'clock in the morning. The rain fell heavily. The waters of the Nhị Hà River had risen significantly; the section of the river in X village, belonging to District X, was at risk of collapse, with two or three sections already leaking, and it seemed it might break.”

The scene of hundreds of thousands of people frantically trying to prevent the dyke from breaking against the overwhelming floodwaters is vividly described by the author using realistic, emotion-laden language: “Some were digging, others were hoeing, some were carrying earth, others were hauling bamboo, some were filling in dikes, others were reinforcing with bamboo, wading through mud that reached up to their knees, each person drenched, looking pitiful.”

The tense, terrifying atmosphere is palpable. The contrast between human strength and the forces of nature reaches its peak: “Though the drums beat incessantly, the conch shells blew endlessly, and voices echoed in all directions calling for help, it seemed everyone was exhausted. Yet, the rain continued to pour relentlessly from the sky, and the floodwaters rose higher and higher. Alas! Human strength cannot contend with the forces of nature! The dyke cannot withstand the water’s power! What a tragic sight! How dangerous! This section of the dyke will surely fail.” The scene of the laborers desperately struggling against the flood to save the dyke sets the stage for the completely contrasting scene in the temple, where the common people are covered in mud, facing extreme danger to protect their lives and belongings, while the officials remain unaffected by the disaster.

The response is bitterly ironic: “They are in the temple, about four to five hundred meters away. The temple stands on top of the dyke, but it is high and solid, so no matter how much the water rises, it will not be affected.” In this second scene, the author narrates the district official’s obsession with playing cards with his subordinates while being pampered and served by his servants and soldiers. The narration is objective and detailed but carries a tone of sarcasm, mockery, and anger.

In the face of the dyke’s imminent collapse, the “father of the people” also comes out to “supervise” the dyke reinforcement. However, ironically, the official is not among the common people who are struggling but is in the temple, surrounded by luxury and comfort; the lights are bright, and servants bustle about. The depiction of the official is sharp and clear: He sits arrogantly on a raised platform in the middle of the room, his left hand resting on a cushion, his right leg stretched out, while a servant sits on the ground, scratching his back. A soldier stands beside him, waving a fan. Surrounding the official are various others: a teacher, a village chief, and a district head, all sitting to play cards. The official enjoys a leisurely life, utterly unconcerned with the dire situation unfolding on the dyke. The atmosphere in the temple is solemn, without any connection to the desperate efforts of the laborers on the dyke. By juxtaposing these two scenes, the author condemns the irresponsible and callous attitude of the ruling officials.

Amidst the dire situation of resisting the floodwaters, the image of the “father of the people” emerges clearly through vivid descriptions of his appearance, gestures, words, and psychological state. It is unimaginable that, in a moment of life and death where thousands of people’s lives and property are at risk, the official remains composed, playing and enjoying himself. Around him, luxury is on display: On his left side, a tray with a sweetened bird’s nest soup, surrounded by fine silverware, incense rising from a tray of precious goods, with a variety of items like gold-plated betel, tobacco, and fine tools. This image is in stark contrast to the one outside.

The official’s gambling obsession with his subordinates is happening right on the dyke. In such a critical situation, it demonstrates the cruelty and depravity of those in power. The official’s obsession with cards and the money he gains from gambling has completely eroded his conscience: “Even if the dyke breaks, and the people are drowned, he would still be unaffected.” The author paints a detailed picture of the official’s gestures and words. His gestures are described: “By then, the official had already made his move in the card game. After finishing the bird’s nest soup, he sat with his legs crossed, stroking his beard, eyes focused on the card game.” His words are as follows: “The teacher asked: 'Sir, what’s the next move?' The official responded: 'Hmm, when there is news that the dyke is broken, the official turned red in the face and shouted: 'The dyke has broken! The dyke has broken! You all will be executed, or I’ll imprison you all! Do you understand? Where are the soldiers? How dare you let them rush in here like this? Is there no order? When playing cards, the official was completely immersed: 'I won! Full house! Big win!'”

The author masterfully uses contrasting images throughout this passage: The deafening cries outside the dyke contrast sharply with the official’s composed enjoyment. The servant’s timid voice: “Sir, the dyke has broken,” contrasts with the official’s angry retort: “I don’t care!” The image of the peasant, covered in mud, panting as he rushes to report the news of the dyke breaking contrasts with the image of the official, red-faced and shouting: “The dyke has broken! I’ll have you all executed!”

At the end of the story, the author uses both descriptive and emotional language to depict the scene of the dyke breaking, expressing deep sorrow and sympathy for the suffering farmers. The author emphasizes: “The miserable lives of the people are not solely caused by natural disasters, but first and foremost by the negligent, irresponsible, and inhumane attitudes of those in power.”

The short story “Sống chết mặc bay” strongly condemns the cruelty of the district official and expresses heartfelt sympathy for the suffering of the people, caused both by the natural disaster and the irresponsible behavior of those in power.

Phạm Duy Tốn is one of the pioneering writers who made significant contributions to the modern short story genre. His work “Sống chết mặc bay” is a prime example of his mastery. The story sharply condemns the provincial official for his “heartless” actions and expresses deep sympathy for the “misery and countless woes” of the people caused by both natural disasters and the callousness of those in power.

The author creates a unique situation in the story: “It is nearly one o’clock in the night, the setting is a section of the dyke near village X, in district X. The weather is described as “rain pouring down heavily, the water level rising steadily,” and “in several places, water has already seeped through and is flowing elsewhere.” Through the technique of escalation, the author powerfully depicts the violent force of the floodwaters, threatening the lives of the villagers. In this dire situation, hundreds of villagers labor tirelessly to protect the dyke: “Some dig, others hoe, some carry soil, others carry bamboo, some pile earth, some reinforce the dyke… The scene is chaotic with the sound of people calling for help, but everyone is utterly exhausted.” A final remark captures the dire nature of the situation: “The situation looks truly dreadful.” The author skillfully conveys their own feelings through: “Alas! Human strength is no match for the strength of nature! The dyke cannot withstand the force of the flood! How frightening! How dangerous! This section of the dyke is doomed.” These lines vividly depict the chaotic and tense atmosphere outside the dyke, where human efforts seem entirely powerless.

In stark contrast, the scene inside the temple is calm and secure. “Inside the temple, the lights shine brightly, with smoke billowing. Bureaucrats, soldiers, and servants bustle about.” Meanwhile, the provincial official is absorbed in a game of dominoes: “The provincial governor sits comfortably, completely engrossed in his game of dominoes.” When someone rushes in to inform him that the dyke is about to collapse, the official merely responds dismissively: “Foolish!” and continues with his game. The atmosphere inside the temple is lively with sounds of the game: “Occasionally, the provincial governor calls: ‘Throw it!’; the servant responds: ‘Yes’; the dealer asks: ‘Shall we deal?’; the official commands: ‘Sure.’ The exchange continues in a relaxed manner, with some voices quick, others slow, as the governor enjoys his game at ease. Truly, a scene fitting someone of his high status…” Eventually, the strength of humans cannot withstand the force of nature. The dyke collapses, flooding the area, washing away homes, submerging crops. The survivors have nowhere to shelter, the dead have nowhere to be buried. It is a heart-wrenching, tragic sight. Yet, “At that moment, everyone in the temple is filled with anxiety and fear. Suddenly, a villager, drenched and exhausted, rushes in, barely able to speak:

- Master, the dyke has broken!

The governor, turning red with fury, shouts:

- The dyke is broken!... The dyke is broken, and I’ll have you all punished, I’ll throw you in jail! Do you understand?... Guards! How dare you let him run in here like that? Have you lost all respect for authority?...”.

The dialogue highlights the complete irresponsibility of the provincial official. Instead of joining the villagers to protect the dyke, the official, supposed to be the “parent of the people,” remains in the temple, indulging in his game. The author cleverly uses the contrast between the temple and the dyke to emphasize the official’s selfishness and indifference to the suffering of the people.

Finally, the author describes the aftermath of the dyke’s collapse: “The water rises, swirling into deep pools, houses are swept away, crops are submerged. The survivors have no shelter, the dead have no graves. The villagers’ misery is unbearable, while inside the temple, the official continues to enjoy the success of his game. The contrast between the scene outside the dyke and inside the temple serves to accentuate the official’s negligence and selfishness.

Thus, “Sống chết mặc bay” reflects the greed and irresponsibility of the ruling class, embodied in the provincial official’s neglect, which is in stark contrast to the hard and suffering lives of the common people. Through this, Phạm Duy Tốn shows his deep sympathy for the struggles of the villagers caused both by natural disasters and by the indifference of the officials. The story is rich in both social realism and profound humanitarian values.

Phạm Duy Tốn, a prominent writer and journalist of the early 20th century, wrote 'Sống chết mặc bay,' a short story that stands as his debut and most famous work. This story paints a vivid picture of the lives of common people and the face of the ruling class in the old society.

The story begins with an extremely tense and urgent situation: a group of people are desperately working to reinforce a levee. It’s nearly one in the morning, the water level of the Nhị Hà river is rising, and the rain is pouring relentlessly. "The laborers, numbering in the hundreds of thousands, have been working since the afternoon, some digging, others carrying dirt, some hauling bamboo, all drenched in mud, their legs submerged up to their calves, drenched like drowned rats." The use of listing and dialogue, along with cries and calls, emphasizes the perilous and tense situation, where every moment is crucial. The author also uses comments such as: "The scene is truly tragic" and "Alas! Human strength is no match for nature’s might! The levee cannot withstand the rising water!" These exclamations heighten the sense of anxiety in the face of impending disaster.

In such a dire situation, one might ask: where is the leader, the one in charge? Shifting from the perspective of the workers, the author’s lens zooms in on the safe, elevated position of the local official. The official is seen inside a well-lit temple at the top of the levee, seemingly untouched by the chaos below: "The temple stands on the levee, but it is high and stable, unaffected even by the rising waters" and "Inside, the lights are bright, and servants and soldiers bustle around, moving back and forth." The warmth and order inside the temple starkly contrast with the anxiety and fear outside. The calm of the official is evident as he plays cards, leisurely sipping tea, all while the levee is in danger of breaking.

Using a blend of narrative, description, and emotive language, the author effectively highlights the irony and evokes empathy for the plight of the suffering common people. At the most critical moment, a report comes in: "Sir, the levee might break!" The official, unmoved, responds: "Let it be." The tension heightens when the levee finally does break, and panic spreads, but the official merely scolds: "The levee has broken! The levee has broken, and I’ll throw you all in jail for this! Do you understand? Guards! Why did you allow them to rush in like this?" Meanwhile, he continues to play his hand, showing no concern for the lives of the people. His behavior reveals the cold-hearted, cruel nature of those in power. Through the stark contrast and escalation of the situation, the author exposes the inhumanity of the ruling class, showing the misery and helplessness of the common people.

With the powerful contrast and escalation, along with skillful use of language, Phạm Duy Tốn creates two contrasting depictions: one of a privileged official, enjoying comfort, while the people suffer in the floodwaters. The story’s language departs from the formal, traditional style of classical literature and moves closer to the everyday language of modern literature.

'Sống chết mặc bay' is a short story with profound social commentary. It is a powerful denunciation of irresponsible rulers who care only for their own pleasures and disregard the suffering of the common people.

One of the authors who played a significant role in the development of modern short stories is Phạm Duy Tốn, known for his short story 'Sống chết mặc bay.' This work vividly portrays the suffering of the people during a time of social decay.

The title itself sparks curiosity in readers. It originates from a well-known and widely recognized Vietnamese proverb: 'Sống chết mặc bay, tiền thầy bỏ túi' ('Live or die, it doesn’t matter, as long as the teacher’s money is in their pocket'). This proverb criticizes those who selfishly pursue their own interests, indifferent to or even callous toward the lives of those they are responsible for. The author purposefully chose to use only the first part of the proverb, creating intrigue and aligning it with the story’s theme. As discussed earlier, 'Sống chết mặc bay' isn’t about 'the teacher’s money in their pocket,' but about the neglectful attitude of officials, enjoying their own freedom while avoiding responsibility.

In this story, Phạm Duy Tốn sets the scene during a flood where villagers are working to reinforce a levee. The narrative takes place in just two locations: the levee and the temple. Outside, the villagers are busy and struggling, while inside the temple, officials and their subordinates play cards. The story’s setting may be small, but it highlights two social classes with deep-rooted conflicts within the society of the time: the peasants and the feudal officials. Through the levee-building work in a small village, the author addresses larger societal issues: the misery of the villagers during the flood and the irresponsibility of the officials.

In the harshest conditions, with the sky as dark as ink and the waters of the Nhị Hà River rising, hundreds of people laboriously carry earth and bamboo, trudging through mud and rain to protect the levee. A few hundred meters away, inside the temple, the light is bright, and people walk about while the 'officials' sit comfortably, with servants attending to their needs as they play cards: 'One official sits arrogantly, left hand resting on his knee, right leg stretched out, with a servant kneeling at his feet to scratch his leg. A soldier stands nearby, fanning the official with a feather fan. Another soldier stands with arms crossed, ready to serve. Beside the official, there are trays of delicacies, precious items like silver pipes, gold watches, and luxurious possessions.' The author uses contrast to depict two completely different situations: the suffering of the common people and the leisurely, indifferent attitude of the officials.

The author’s skillful writing contrasts these two opposing scenes, amplifying the sense of injustice and anger in the reader. The rain continues to pour, the levee increasingly weakens, and the villagers grow exhausted. Meanwhile, in the temple, the official’s card game becomes more intense. The use of contrast, combined with a rising tension, creates an atmosphere that grows suffocating. The climax comes when a villager runs in, trembling, to announce: 'The levee has collapsed,' but the official, rather than showing concern, angrily retorts: 'The levee collapsed, that’s your problem, not mine,' and continues playing cards.

Through sharp descriptions, the author shows the extreme suffering of the common people, the fragility of their lives, and the coldheartedness of the officials, exemplified by the main character, the official. This reality is portrayed in the grueling task of protecting the levee. The author expresses sympathy for the miserable lives of the villagers, both during the levee work and after the levee's collapse. This work criticizes and denounces the indifference and irresponsibility of the officials, an attitude that has become a crime against the people. In that society, it wasn’t only this one official who acted irresponsibly, but many others who were also indifferent to the fate of the people. By portraying this one official, the author is using his character to denounce the whole corrupt system of officials exploiting and oppressing the people. 'Sống chết mặc bay' can be seen as a powerful indictment of the decaying feudal society, which allowed inhuman individuals to thrive and cause suffering to the people. The author expresses deep sympathy for the oppressed, exploited people.