Top 9 Essays Analyzing Mị's Act of Untying A Phủ in 'Vợ chồng A Phủ' by Tô Hoài (Grade 12)

Literature is not merely a pastime for leisure but a source of strength, supporting us through our weakest moments. It instills hope, boosts our belief in life, and helps us trust ourselves to make a change. Transformations in life do not occur through the magic of fairies or mythical beings, but from the inherent strength and potential we possess within. Tô Hoài’s 'Vợ chồng A Phủ' exemplifies this truth. A person can escape suffering and embrace happiness through one simple act: Mị’s decision to untie A Phủ.

After the Revolution, Tô Hoài became recognized as one of the writers who pioneered a new frontier for revolutionary literature, particularly focusing on the mountainous regions of the Northwest – a remote, wild area at the nation's edge. His collection, 'Truyện Tây Bắc,' was the product of a real-life journey to the Northwest in 1952. Of the three short stories awarded first prize by the Vietnam Writers' Association in 1954-1955, 'Vợ chồng A Phủ' has perhaps left the most lasting impression. As Tô Hoài once said: 'The land and the people of the West have left such a profound impression on me, I can never forget…' This quote not only reflects the artist’s feelings upon returning, but also speaks to his deep sense of duty to honor these people with 'a heart and something that makes the life of the honest and devoted H'mong people come alive.'

Reading 'Vợ chồng A Phủ,' one cannot forget Mị’s 'sorrowful' face. It is the face of someone whose suffering renders them less than human. A face that seemed resigned, devoid of life. Yet this was not the first face Mị had. She had grown up as a beautiful young woman with dreams of happiness. However, oppressive feudal customs stripped away her spirit, turning her into someone indifferent to life, as if she no longer cared about joy or warmth. And perhaps Mị would have lived this way until death if not for the spring night’s warmth and the coldness of the winter evening. Thanks to the alcohol and the warmth of that spring night, Mị rediscovered her inner longing for life. This hidden vitality inside her slowly manifested and led to the critical action that occurred only that winter night...

At first, when witnessing A Phủ tied up, Mị remained 'indifferent, blowing the fire and warming her hands.' She had grown used to the oppressive, exploitative environment of this house. This was the result of years of suffering. Furthermore, Mị and A Phủ were not so different in their condition that she could consider him someone to 'rescue.'

But then, 'a single sparkling tear slid down her darkened cheek,' reminding Mị of her own life, of the nights when she too was tied up, unable to shed a tear. From this memory, Mị began to think of others, feeling pity for A Phủ, and growing angry at the cruel forces that caused suffering to people like herself. She imagined A Phủ escaping, and herself taking his place in the ropes. 'No matter what, Mị was not afraid,' because these were only distant thoughts.

And so, Mị decided to untie A Phủ, whispering, 'Go now.' She stood still in the dark, tense and anxious, facing the critical moment of decision. This sentence stands alone, marking the turning point of Mị's life and fate: from slavery to freedom, from life to death, from darkness to light. Finally, after years of submission, Mị ran after A Phủ, saying, 'A Phủ, take me with you,' 'I’ll die here.' She had made the decision to escape from hell, to flee from death. Was Mị doing a favor for A Phủ by untying him? Not entirely. By cutting the physical ropes binding A Phủ, Mị was also untying herself from the invisible ropes of fear, resignation, suffering, and captivity. She freed A Phủ with a small knife, and in doing so, liberated herself with her own will to live. This desire for life saved Mị, opening the path to freedom, away from the hellish existence she had known.

This brief passage, with its few scattered words and actions, is exquisitely written by Tô Hoài. The dark Northwestern night, beside the fire, brings clarity and illumination to the characters. They evolve from indifference to emotion, struggle, and ultimately decisive action that is both rapid and fitting. Through this, Tô Hoài deeply and movingly portrays Mị’s latent vitality. This vitality is like a fire smoldering, not easily extinguished. It embodies Tô Hoài’s firm belief in the ability of the people from the highlands to free themselves and embrace revolution using their own inner strength. It is not revolution that liberates the suffering people, but their own will and power that can save them. Revolution and the Party simply provide the way, guiding them to find their own happiness. The story’s significance transcends the temporary values of literature, such as mobilizing the masses or encouraging struggle. It touches upon humanistic values: emphasizing the inherent self-reliance and potential for self-liberation that all people possess – a core and timeless value of humanity.

As someone once said, when a work ends, its life truly begins. The life of Mị, and of 'Vợ chồng A Phủ,' endures, even after its conclusion, and will continue to live on as long as humanity still seeks hope, strength, and something to 'lean on to rise.'

The short story 'Vợ chồng A Phủ' by Tô Hoài captivates readers not only with its depiction of the harsh realities of life in the mountainous Northwest, with its breathtaking landscapes and strange customs, but also with the surprising twists in the fates of its characters. Readers cannot predict the turns that the main characters' lives will take. No one could have foreseen that Mị – a young, beautiful, talented, and spirited woman – would become someone so saddened and speechless, reduced to the lowest depths of suffering. Yet, it is equally unexpected that this same woman, once enslaved, would cut the ropes to free a man tied to a pillar, and then run away with him, escaping from the place of torment.

Mị’s act of cutting the ropes to free A Phủ is astonishing, for before this, Mị had fallen into a state of near-total indifference. The relentless, exhausting labor both day and night, the brutal actions of her husband, and the inhumane treatment by the landowner had caused Mị to lose all sense of herself. There were nights when she sat up in the cold, warming herself by the fire, and when A Sử came home drunk and knocked her over, she got up the next night to light the fire as if nothing had happened. Mị’s behavior had become almost an animalistic reflex. For days and nights, she witnessed A Phủ being tied up, starved and left in the freezing cold, yet she felt no sympathy. Even if A Phủ had died standing, Mị would not have cared. It seemed that suffering had hardened Mị’s heart.

However, when she saw a tear rolling down A Phủ’s dark cheek under the flickering firelight, Mị’s heart stirred with compassion. She began to think of the injustice if A Phủ were to die. Despite the dangers of cutting the ropes to help A Phủ escape, Mị felt no fear. Yet, once the ropes were cut and A Phủ fled, leaving her behind, fear immediately took hold of her. Her survival instinct was too strong for Mị to ignore that the post he was tied to symbolized death. Her words, 'A Phủ, take me with you [...] I’ll die here' show that Mị was always drawn towards life. Mị and A Phủ ran through the forest for months to escape the landowner Pá Tra and the oppressive life at Hồng Ngài, which had truly become their personal hell.

At first glance, Mị’s act of cutting the ropes to free A Phủ and fleeing with him may seem surprising or strange. But upon closer inspection, it is a necessary act that reflects the nature of a person with an inherent will to live, someone who always resists oppression. In her early life with her father, when the landowner wanted to take Mị as a wife to pay off debt, Mị refused resolutely. She preferred to work in the fields every year to repay the debt rather than be sold to a wealthy man. When A Sử exploited the custom of bride kidnapping and forced her into marriage, Mị was ready to die to free herself. Even in one spring night, when her heart rekindled with longing, if she had a handful of poisonous leaves, Mị would have eaten them to die and forget it all. For Mị, a life of torment was worse than death. The fleeting thoughts of death in specific situations did not erase her fundamental instinct to live. Therefore, on that spring night, when the youth sang love songs and the warmth of the alcohol made her head spin, Mị wanted to return to her youthful, passionate self and live for the things she desired.

The sequence of events in Mị’s life, as portrayed by Tô Hoài in the early part of 'Vợ chồng A Phủ,' allows readers to clearly understand the essence of her character. It explains why, even when faced with death, Mị suddenly awakens a powerful desire to live, to rise up and overcome all obstacles in pursuit of freedom.

As Dubos famously stated, “Literature is thought in search of beauty in the light.” Could it be that writers, in their craft, gather small golden pieces to seek the subtle beauty within life? Tô Hoài, too, explores this idea, even uncovering the beauty of the working people’s spirits amidst suffering and darkness. This thought is reflected in the scene where Mị unties A Phủ in his work ‘Vợ chồng A Phủ.’

Literature carries the pulse of life. After Tô Hoài’s journey with the soldiers to the liberated Northwest, where he spent eight months immersed in the local culture, he found the inspiration for his short story ‘Vợ chồng A Phủ,’ featured in the collection ‘Truyện Tây Bắc’ (1953). It is through this narrative that Tô Hoài reveals the profound beauty of the working people’s hearts, showing an intimate understanding of their pain, even before the revolution reached their lands.

During a spring night in Hồng Ngài, A Phủ, who had “wronged” A Sử – the son of a local official – by striking him, was enslaved to repay his debt. One day, A Phủ lost a cow, and the landowner, enraged, had him tied to a pillar in the brutal cold of the highlands. A Phủ endured this torment for several days, while Mị, “indifferently,” rose to stoke the fire, warming her limbs to fend off the long and cold night that could have easily taken her life. Mị, unmoved by A Phủ’s suffering, saw such cruelty as commonplace in the house of the landowner. Though not physically bound, Mị’s heart had become as numb as the oxen and horses serving their masters.

It seemed that death would slowly claim A Phủ, but every time the fire flickered, he opened his eyes. The image of a single tear glistening on his darkened cheek, reflected in the warm firelight, not only spoke of sorrow but also revealed his human soul. When captured, A Phủ offered no resistance, making him appear weak and submissive. Yet, in this moment, the tear he shed conveyed a desperate, helpless desire to live.

In that brief, yet poignant moment, Mị was awakened. She remembered how she herself had been mercilessly bound by A Sử the previous year. Her personal sorrow led her to feel for A Phủ, realizing that “he was supposed to die like this.” Her anger flared at those who inflicted suffering on her: “They are so cruel.” In that instant, Mị imagined herself untying A Phủ and, the next day, being bound in his place. But she felt no fear, for this was merely a thought. That thought spurred her to act, and with determination, she retrieved a small knife, cutting the ropes that held him. After being freed, A Phủ collapsed, weakened by hunger, cold, thirst, and numb limbs. Yet, upon hearing the whispered words, “Go now,” he realized how fragile life and death were, and with all his strength, he pushed himself to rise and run. His will to live propelled him to escape his fate.

The sentence, “Mị stood still in the darkness,” serves as a pivotal moment, a hinge between two paths: to stay or to flee, to remain a slave or to seek freedom, to live or to die, to stay in the dark or to move toward the light. Mị paused, overwhelmed by the eternal forces of power that had confined her throughout her life. Ultimately, she chose the second path, whispering, “A Phủ, take me with you,” and “I’ll die here if I stay.” In freeing A Phủ, she was also liberating herself. With the small knife, she cut through his chains and, in doing so, opened the door for both of them to escape into the light of freedom.

Through his unique storytelling style, rich with the speech and life of the highland people, the author conveys a message that transcends time. The scene where Mị unties A Phủ emphasizes the hidden strength of the laboring people, who, even though bound, possess an unbroken spirit. It also reflects the writer’s belief in the possibility of self-liberation, that one can change their life. The story touches on universal truths about life’s dignity, ensuring that the legacy of Tô Hoài and his work ‘Vợ chồng A Phủ’ will endure in the hearts of readers.

"Vợ chồng A Phủ" is a short story from Tô Hoài's collection "Truyện Tây Bắc" and won the First Prize for Novels at the 1954-1955 Vietnam Literature Association Awards. The story emerged from Tô Hoài's deep immersion into the lives of the people of the mountainous regions in the Northwest, depicting the hardships faced by the local inhabitants before the arrival of the Party’s light. In reading "Vợ chồng A Phủ", one cannot forget the pivotal moment when Mị cuts the ropes to free A Phủ—an act that forms the very essence of the narrative. As someone once said, when Mị untied A Phủ, she also untied herself from the oppressive grip of the Pá Tra landlord’s household.

The story of Mị begins with a strikingly vivid image: "Anyone returning from afar, on a visit to the Pá Tra landlord’s house, would often see a young girl sitting by the stone, spinning thread, beside the horse cart. No matter the task—whether spinning hemp, chopping hay for the horses, weaving cloth, or fetching water from the stream—she would always be hunched, her face downcast, consumed by a deep sadness." With these simple sentences, the nature of the situation is immediately revealed. Mị’s position is symbolic of her fate, tied to these repetitive, soul-crushing tasks.

Mị was once a young, spirited girl born into poverty, "poor from the start". She was vibrant, full of life, and skilled at playing the flute. She was also known as a devoted daughter. But, due to the 'ancestral debt' of poverty, she was forced into the harsh life of a servant at the Pá Tra household, a form of slavery comparable to the usurious loans that trapped the mountain people.

In the early days at "Pá Tra’s prison", Mị was filled with pain and defiance. "For months, Mị cried every night." She couldn’t accept being a slave to the wealthy. However, this was her fate. Like Nguyễn Du's tragic heroine, Thúy Kiều, Mị also considered suicide before enduring a lifetime of humiliation. Even more tragic was the debt that weighed heavily on her, passed down from her father.

In the hellish world of the Pá Tra household, years passed. After her father’s death, Mị became numb to the idea of death. "Mị had grown accustomed to hardship. Now, she felt as though she were a buffalo or a horse, knowing only how to eat grass and work." Mị’s life became a monotonous cycle, endlessly repeating each year, season, and month: after the harvest, she would collect opium, weave hemp, and in the late season, gather corn. Alongside the physical toil was the spiritual oppression of superstition and divine authority, which served the ruling class. This was truly the "opium of the mind", as Marx once described.

Tô Hoài’s pen goes deeper, uncovering a painful truth: when people suffer oppression for too long, their spirit of resistance becomes paralyzed. "Each day, Mị spoke less and less, withdrawing like a turtle in a corner." There, lives are devalued, and individuals come to devalue themselves in desperation. Mị endured this fate, trapped in a room, looking out through a small square window, waiting for death to come.

As mentioned earlier, Mị once had a bright youth full of hope, a desire to own her life. This quality didn’t die; it was merely suppressed for a time. The spark that rekindles Mị’s inner flame comes with the arrival of spring in the highlands. "In Hồng Ngài that year, the wind blew golden reed grass, and the cold wind was biting." Despite the harsh weather, spring brought joy to the people. The vitality of nature and humanity seemed to awaken: "In the Mèo Red villages, flowered skirts were hung on rocky cliffs, spreading out like colorful butterflies. The opium flowers bloomed in shades of white, red, and purple. Children awaited the Tết holiday, playing with spinning tops and laughing on the village square…" Tô Hoài’s compassionate writing not only evokes sympathy for Mị but also critiques the cruelty of the ruling class while highlighting the potential for life within the human spirit. The author delves deeply into the subconscious of Mị, showing that even in the coldest, most oppressive layers of her existence, a flicker of life remains, waiting to be kindled, just like embers hidden beneath the ash, ready to flare up at the slightest breeze.

The external force that stirs Mị’s spirit is the sound of the flute: "From the top of the mountain, a flute call could be heard, inviting someone to go play. Mị heard the flute’s tune echo back, deeply emotional, stirring her soul…" For Mị, the sound of the flute is the most alluring symbol of love and the thirst for life. In this moment, Mị is also spurred by the intoxicating effect of alcohol: "Mị secretly took the jar of alcohol and drank in large gulps." The way she drinks foreshadows a rebellion that Mị herself hasn’t fully realized: "Then, drunk, Mị fell into a stupor, watching the others dance the đồng... While the others were in the present, Mị was living in the past."

By recalling her past, Mị overcomes her long-standing condition of 'timeless existence'. The desire to live surges powerfully: "Mị felt revived, filled with life." Her first thought is: "If I had a handful of leaves of death right now, I would swallow them all and forget everything…" This moment of contemplating death is her desperate rebellion against the oppressive circumstances.

Meanwhile, the flute’s call continues to beckon, seducing Mị. It represents life, which Mị had long forgotten but is now returning. The flute’s tune follows the shifts in Mị’s inner state. What was once an external reality (the sound of the flute echoing from the distance) now becomes part of her internal reality, ringing in her mind. As Mị’s thoughts evolve, she takes a meaningful action: "Mị went to the corner of the room, took the oil lamp, and cut a piece of fat to add to the light." This act symbolizes Mị lighting a lamp to dispel the darkness of her past life.

At the peak of her desire to live, it is brutally crushed. A Sử enters the room, indifferent, and ties Mị to the post. That night, Mị is caught in a fierce struggle between her burning desire for happiness and the cold, cruel reality. At first, when she is tied up, Mị still seems lost in the trance of the flute’s sound. She forgets that she is bound, ignoring the physical pain, so much so that in a moment of fierce longing for life, Mị "tried to walk". But the harsh reality sets in as the ropes tighten, and no matter how desperately she yearns, she cannot break free. The two symbols of her dream and the harsh reality emerge in two contrasting sounds: the flute’s call and the sound of hooves pounding the dry earth.

"Mị no longer heard the flute; she only heard the sound of hooves... Mị thought to herself, 'I am not even worth a horse'"—the brutal reality stifles any hope of a brighter future. This outcome reveals that spontaneous resistance is insufficient for liberation. It also hints at the possibility of future uprisings. After the spring night when she was tied up, Mị’s feelings of numbness deepen. At first, Mị was completely indifferent to A Phủ’s suffering, even as he stood there, bound. She calmly continued to stoke the fire. Even if A Phủ was a lifeless figure, it did not matter to Mị. His wide-open eyes didn’t stir anything in her. But as noted earlier, the desire following the call of life still remained in her soul. The image of the fire is repeated by the author, intensifying the portrayal of Mị’s inner conflict.

What causes Mị to reconnect with her true self? One moment, the "fire flared up brightly", and Mị opened her eyes and saw A Phủ’s eyes: they opened, and a tear sparkled as it rolled down his blackened cheeks. Oh, tears! That drop of pain, that drop of sorrow, made Mị "suddenly remember" when she was tied up the previous year, tears falling down her mouth and neck, unable to wipe them away. She thought of the woman who had died, bound in this very house, and A Phủ was about to die that very night. Last year’s Tết had been the same. This time, Mị’s memory sparked involuntarily. And like a chain reaction, it connected the fates of three lives. Mị no longer lived for the fire. The flame had gone out, and she had not blown on it. Mị sunk into her imagination. She thought she might die in A Phủ’s place. She rose with a newfound acceptance of her sacrifice: she took the small knife and cut A Phủ’s ropes. This was the pinnacle of Mị’s life and the embodiment of her humanity. Mị’s action, though unexpected, was within the bounds of her character. Mị had accepted hardship to repay her father’s debt and had even considered dying to find liberation. So why would she hesitate to die in order to save an innocent life?

However, Mị’s actions are not just rational—they carry a surprising, intriguing twist. She had just thought about dying for A Phủ, but when A Phủ ran away, Mị stood still in the darkness, only to follow him. The narrative structure is tight: if Mị had saved A Phủ, then why not save herself? And "the two of them silently supported each other as they ran down the mountain".

In essence, the act of Mị cutting the ropes and running after A Phủ represents her awakening. She recognizes the brutality of society, saves A Phủ because she sees the injustice and absurdity of a life about to be extinguished. In doing so, she also recognizes herself, breaking free from the oppressive bonds of the Pá Tra household. This act reflects the revolutionary spirit of the era. As Friedrich Engels once said in his writings on the history of class struggles, "The history of mankind is the history of class struggles; the more oppressive the rule of the ruling class, the more forcefully the resistance will arise."

Tô Hoài is one of the leading prose writers in modern Vietnamese literature. He has an extensive knowledge of the people and culture of the Northwestern region. His short story "Vợ chồng A Phủ" stands out as a masterpiece, telling the story of a H’Mông couple's lives under feudal rule in the mountains before 1945. The work not only reflects the harsh reality of the impoverished but also conveys a deep humanitarian message, highlighting the inner strength of individuals, as shown by Mị’s actions when she frees A Phủ.

Once a beautiful and lively young woman, Mị was sought after by many suitors, with men waiting at her door for a chance to speak with her. Full of youth, vitality, and a love for freedom, Mị seemed destined for happiness. However, her life was marked by a series of tragic events as she was forced into a debt-repaying marriage to the landlord’s family.

After becoming a debt-repaying daughter-in-law for the landlord, Mị lived like a turtle confined in a corner, her will numbed and her spirit broken. Though her inner vitality was dormant, it was not entirely extinguished. A simple gust of wind could revive it with fierce strength. On a spring night, her energy began to stir, yet it was not until she freed A Phủ that her full potential was awakened.

While tending the fire, Mị witnessed A Phủ bound in the yard at Pá Tra's house. The sight of people being tied up by the landlord’s family had become so familiar that Mị’s numb heart felt no emotion. But when she saw the tears in A Phủ’s eyes, her awareness was powerfully stirred, and her vitality flared up once again.

Seeing A Phủ’s plight reminded Mị of her own suffering when she had been bound by A Sử. Compassion for herself transformed into sympathy for A Phủ. Slowly, Mị’s long-dormant awareness came to life. She saw the cruelty of the landlord’s family and realized the full extent of their oppression, as they "tied people until they died." With empathy for A Phủ’s suffering and anger at the landlord’s injustices, Mị made the bold decision to cut the ropes and free him.

This act was bold and decisive, symbolizing the resurgence of Mị’s inner strength. By cutting the ropes, Mị confronted not only the landlord’s earthly power but also the spiritual authority they held. After saving A Phủ, Mị ran after him, filled with fear and desire for freedom, showing the intensity of her will to live. It was this desire and love for life that ultimately freed both A Phủ and Mị.

The act of Mị cutting the ropes to free A Phủ condemns the feudal powers that deprived people of their right to life and happiness. It also reflects Tô Hoài’s deep empathy for the poor and oppressed, the victims of such a society.

In depicting Mị’s awakening, Tô Hoài illustrates the path for the oppressed to liberate themselves: the courage to stand up against tyranny and injustice, to participate in revolutionary movements, and to strive for a better life. These are the powerful messages conveyed in this story.

Tô Hoài is a renowned realist writer from before the August Revolution. He possessed an extensive knowledge of the customs and traditions from various regions of Vietnam. "Vợ Chồng A Phủ" is one of three stories featured in the collection "Tây Bắc", which won First Prize at the Vietnam Writers' Association Award from 1954-1955. This work resulted from a trip to the northwest in 1952, where the author gathered material for his writing. In this short story, Tô Hoài skillfully portrays the psychological evolution and actions of Mị on the cold winter night when she unties A Phủ and escapes from Hồng Ngài.

Once a young, beautiful, and talented girl from the highlands, Mị was forced into servitude to pay off an ancestral debt to the family of the Thống Lí. As a result, Mị was robbed of her youth and forced to endure a life of both physical and mental torment. Mị even once contemplated suicide, holding a handful of poisonous leaves, but she couldn't go through with it. If Mị had died, her father would have suffered, unable to repay the debt to the Thống Lí's family. Resigned, Mị returned to live as a daughter-in-law working off the debt, trapped in a life of humiliation and misery.

Although the intense physical and mental suffering seemed to have numbed Mị’s spirit, she surprised the readers when she untied A Phủ’s bonds. This action was completely unexpected and sudden. It was shocking because, when Mị saw A Phủ tied up, she initially reacted with indifference. Confronted with a man on the brink of death, she continued to nonchalantly “blow on the fire and warm her hands.” Mị even thought to herself that if A Phủ were “just a standing corpse, it wouldn’t matter.” Mị was entirely apathetic, unfeeling in the face of A Phủ’s suffering. This behavior was a logical psychological reaction. Mị had been trapped in constant pain for so long, enduring both physical and mental abuse, that her spirit had been crushed. The cruelty of life in the Thống Lí’s household had eroded her emotions. Mị had become numb to her own pain and the suffering of others. Furthermore, seeing people being tied up or beaten was a common occurrence in the Thống Lí’s household. It was a routine part of life, so much so that people became desensitized to it. The life of those trapped in the Thống Lí’s house was full of hardship, bitterness, and torment. Thus, it was unsurprising that Mị could no longer empathize with others. Mị even considered the possibility that if A Phủ escaped, she would have to take his place and be tied up herself. She had imagined the consequences for herself if the Thống Lí family found out A Phủ had fled: she would “die on that stake” instead of him. Who could courageously face death in such a moment? When life is threatened, most people are concerned only with their own survival, not the well-being of others. This was a perfectly normal human response. Even after untying A Phủ, Mị stood “silent in the darkness.” No one expected her to cut the rope and free A Phủ, least of all Mị herself. The action was spontaneous and unplanned, making it all the more surprising and sudden.

Despite its unexpectedness, Mị’s act of untangling A Phủ was also inevitable and logical. It was inevitable because it fit with the character’s psychological development and the story’s structure. In the dim light of the fire, Mị noticed “a stream of tears glistening down the hollows of A Phủ’s darkened cheeks.” These were the tears of a strong, courageous man nearing death—tears of helplessness and despair. At the same time, these tears symbolized his yearning for freedom and life, intense emotions from someone so close to death. Those tears reached deep into Mị’s soul, melting the icy barrier that had built up inside her. It was a turning point for Mị; she awoke to her compassion and began to care for herself. Tô Hoài and other humanitarian writers believed that tears had the power to purify and change a person’s heart, leading them toward goodness and love. This belief became a deeply humanitarian philosophy in Tô Hoài’s works. With compassion, Mị’s feelings and actions underwent significant changes.

Mị remembered the spring night when she, too, had been tied up by A Sử, tears falling down her face, unable to wipe them away. She felt sympathy for herself, for the pain and humiliation she had endured, for the fate and the life that had been forced upon her. But it was only when Mị learned to pity herself that she could also feel sympathy for others in similar circumstances. This is a natural emotional rule: only when we love ourselves can we love others. Mị thought of the terrible things she had experienced, and her heart went out to the other women in the same plight: “they were tied up until they died, just like the woman before, who also lived in this house.” These women, too, suffered a tragic, humiliating existence like Mị’s. Thus, it was understandable that Mị sympathized with the other women in the Thống Lí’s household. Tô Hoài’s insight into the psychology, personality, and emotional transformation of the character was masterful. It was this compassion that led Mị to realize how “cruel they really were.” After months of silent suffering, Mị finally understood the true nature of the Thống Lí’s cruelty. In the past, Mị had endured hardship in silence, never protesting, but now, a powerful voice of accusation rose from within her. A concise, yet vehement, condemnation of the cruelty of the Thống Lí family came from Mị, filled with all the pain and anger she had suffered.

All these experiences led to Mị’s ultimate decision to untie A Phủ. Mị “took out the knife” and whispered, “go right away.” A rapid, determined, and risky chain of actions unfolded, full of anxiety and fear. But this act of untying was not just about freeing A Phủ; it was Mị’s own liberation. She freed herself from the oppression of both the political and spiritual forces that had shackled her life. By helping A Phủ escape, Mị was also freeing herself. This action was the culmination of years of pent-up anger, pain, and suffering endured under the Thống Lí’s roof. It was the natural outcome of a deep, dormant desire for freedom. Moreover, it reflected an eternal truth: where there is oppression, there will be resistance. Mị’s action was consistent with her character—there was always a latent force within her, a compassion for others, and a desire to resist the Thống Lí family’s oppression. All these emotions had been waiting for the right moment to be unleashed.

The moment when Mị unties the ropes, freeing A Phủ and herself in the story "Vợ Chồng A Phủ" stands as a pivotal event, highlighting both the main theme and the humanitarian values of the work. Through this event, author Tô Hoài demonstrates his exceptional talent in storytelling and character development.

The timing of Mị’s act of untying is in perfect harmony with the narrative’s logical progression. The writer carefully sets the scene, creating a smooth and natural build-up that makes this event feel like a foregone conclusion. Prior to this moment, Mị is portrayed as someone who seems oblivious to life, existing as if dead: "Having endured hardship for so long, Mị became accustomed to suffering. Now, she even believes she is like the buffalo, just like a horse, moving from one task to the next, knowing nothing but eating grass and working... Every day Mị becomes more silent, creeping like a turtle in the corner of the house." Without this careful setup, Mị’s eventual awakening would feel contrived and forced.

However, Tô Hoài subtly introduces Mị’s dormant will to live and desire for happiness, awakening within her during a spring night. The energy of the season, the sound of a flute calling to a lover, and the warmth of wine slowly reignite the memories and longings of her youth. These feelings stir within her a renewed awareness of time, life, and her own fate. Mị lights the lamp brighter, ties her hair, and prepares a festive dress to go out. Even when A Sử ties her up to a post, Mị’s yearning for life is still vibrant. Just before the act of untying, Mị sits and stokes the fire, warming her hands and back, an action that has become routine for her. Even when A Phủ is tied, each night, the sound of the fire being stoked causes him to stir awake.

The flames flare up, and at that moment, Mị looks over and sees A Phủ’s wide-open eyes, realizing he is still alive. For several nights, this has happened. But Mị continues to casually stoke the fire, indifferent to his suffering. If A Phủ were just a standing corpse, it wouldn’t matter. But then, on the night when Mị unties the ropes, she catches a glimpse of A Phủ’s half-closed eyes, and a tear slowly trickles down his cheeks. This sight stirs Mị with deep sympathy for his pain, the hopelessness of his situation. At first, it is simply the empathy of someone who has endured the same torment, but soon, Mị recalls a woman who had once been tied up until she died in this very house. A sense of rebellion begins to take shape in Mị’s mind: "They are so cruel. The other person will surely die by morning—starved, frozen, and in pain." The thought of dying in such a manner doesn’t even scare Mị anymore, and this empathy and growing sense of resistance become the driving force behind her bold action: cutting the rope to free A Phủ. Immediately afterward, Mị’s will to live, her hope for a better life, and the awareness of her own existence surge within her, compelling her to follow A Phủ and free herself from her life of servitude.

Thus, step by step, in accordance with the progression of the story and the psychological development of the character, Mị’s act of untying the ropes is a fitting artistic choice. The character’s psychological transformation—from thoughts of suicide to the desire to go out in the spring night, and finally, to the act of untying—reveals that the longing for life, happiness, and freedom never truly disappeared in Mị. Sometimes it is hidden, and sometimes it erupts into action. Tô Hoài masterfully showcases this inner strength and the character’s will to fight for happiness, reinforcing the work’s profound humanitarian message.

"Vợ Chồng A Phủ" is one of the exemplary short stories by Tô Hoài. With his deep knowledge and love for the culture, traditions, and customs of various regions, the author introduces readers to the lives of the people in the Northwest, in a way that is both vivid and authentic. Through the story, readers are presented with the enchanting beauty of the mountainous landscape and the hard-working lives of its people, alongside their fates under the oppressive rule of the powerful and the constraints of outdated beliefs. However, the most prominent aspect is the powerful song of freedom and the latent vitality of the laboring people of the Northwest, most clearly embodied through the character Mị, especially her act of untying A Phủ.

With unique narrative techniques, Tô Hoài gradually reveals the tragic fate of a beautiful girl who, despite her former beauty, is now treated as a mere tool in the house of the local ruler, Pá Tra: "Anyone who passed by the Pá Tra household often saw a girl spinning hemp by the stone at the entrance, next to the stable." Few could have guessed that Mị was once a beautiful and talented young woman, skilled at playing the flute, full of zest for life, and admired by many young men. Mị was the epitome of the natural and free-spirited beauty of a mountain girl. However, this vibrant, talented girl was reduced to a victim of oppressive customs and violent power. After being captured by A Sử, Mị was bound physically and mentally, treated as little more than a labor tool, living silently like a shadow.

Before the night she freed A Phủ, Mị’s dormant will to live began to awaken. The faint sound of a flute calling a lover stirred her soul, making her long for freedom once again. The arrival of spring, combined with the intoxicating effect of alcohol, acted as a catalyst, causing Mị to feel a renewed sense of vitality and to realize, "I am still young, I want to go out and have fun." Yet, this newfound desire was quickly extinguished by A Sử.

When Mị first saw A Phủ being tied up, she was indifferent and emotionally numb, having become too accustomed to the exploitation and oppression brought by the Pá Tra family. However, when she saw A Phủ’s tears glistening as they slid down his weathered face, Mị’s inner world, hardened by years of suffering, suddenly experienced turmoil. At first, sympathy and love surged within her, emotions she thought had long been dead. Mị remembered the night A Sử had cruelly tied her up and felt both sorrow for herself and compassion for A Phủ. She briefly considered the punishment she might face for cutting the ropes, but her love and empathy overcame her fears, driving her to untie A Phủ. After this brave act, Mị stood silently in the darkness and then ran after him, liberating herself from the oppressive customs and tyrannical power of the Pá Tra family.

The decisive act of cutting the ropes clearly shows Mị’s self-liberation from the bonds of tyranny. It also reflects the powerful resurgence of the vitality that had always existed within her. While her awareness of life and youth only began to stir on that spring night, her act of untying A Phủ clearly revealed the fierce spark of rebellion that had always smoldered in her heart. The "stake" and "ropes"—the very tools used to tie up A Phủ—serve as metaphors for the brutal rule and inhumane nature of the local tyrants. Therefore, Mị’s act of cutting the ropes is a representation of her deep, hidden desire for freedom, which even she had not fully realized. Through this, we can appreciate Tô Hoài’s talent for depicting and analyzing his characters’ psychology. From the spring night to the night she freed A Phủ, it is a journey of transformation—a journey toward reclaiming herself and breaking free from the shackles of oppression.

In the end, through Mị’s act of cutting the ropes to free A Phủ, we can see the powerful, latent vitality that always resided within her—a girl who loved life and longed for freedom, and whose spirit could never be bound or extinguished by any "shackles" or ropes. This is one of the key elements that contribute to the profound humanistic value of Tô Hoài’s work, "Vợ Chồng A Phủ".

Humanitarian values are considered one of the central philosophical themes that have shaped Vietnamese literature. In line with this, "Literature doesn't require skilled craftsmen, following fixed formulas," which is why we encounter the fresh humanitarian perspective in Tô Hoài's writing in his work "Vợ Chồng A Phủ." The author’s message culminates in the moment when Mị unties A Phủ on a cold winter night.

Through his quest for real beauty in life, Tô Hoài demonstrates his willingness to "smash idols" in the hearts of his readers. After the writer’s journey with the soldiers to liberate the Northwest, eight months spent with the local people inspired the creative energy behind his story "Vợ Chồng A Phủ" (1953), part of the collection "Truyện Tây Bắc." In this piece, the author uncovers the inner beauty of the working people, capturing the understanding of their suffering during a time when the revolution had not yet arrived. The new humanitarian values that emerge from each era, along with the love and noble human relationships they foster, are brilliantly expressed through the characters Mị and A Phủ in the story.

During the spring night festival in Hồng Ngài, when young people celebrate love, A Phủ "commits a crime" by striking A Sử—the son of the local ruler—because he tramples on local customs. As a result, A Phủ is forced to work off the family’s debts as a servant in the household of the local ruler. One day, while hunting for porcupines, A Phủ fails to catch a wild animal, and as punishment, the ruler ties him to a tree in the freezing cold. On these long, lonely winter nights, Mị calmly stokes the fire, warming her hands and feet. She witnesses the brutal treatment of the household servants, a regular occurrence that no longer affects her. Mị remains indifferent to the suffering, but this is not out of lack of feeling; rather, it is the result of the overwhelming pain and desolation she has endured. Though Mị herself is not physically bound, she shares the same fate as those who live as beasts of burden.

Perhaps Mị would have remained numb to everything until she saw "a tear shimmering as it slid down A Phủ’s darkened cheek," which reminded her of her own life. The image of A Phủ’s tears stirred a memory from the past, "The year before, A Sử tied Mị, and she cried endlessly, unable to wipe away the tears." The pain she felt for herself led her to feel compassion for others. As she thought, "That person should not suffer this fate," she grew enraged at the cruelty that had shaped her own suffering, "They are truly wicked." At that moment, she imagined untying A Phủ, knowing that the next day, she would be tied in his place. Yet, she was not afraid—this was just a fleeting thought, a world apart from her reality. This idea became the catalyst that pushed Mị to take decisive action. She picked up a small sickle and began to cut through the ropes. The detail of the "coals that had burned out" signified the passing of time, the fading of external light as the inner fire of her heart began to shine bright, enough to offer warmth. Upon being freed, A Phủ collapsed from hunger, cold, and thirst but suddenly heard a faint whisper: "Go now." In that instant, on the fragile boundary between life and death, A Phủ sprang to his feet, awakened by the will to survive.

After Mị untied A Phủ, "She stood still in the darkness," a short sentence that seems suspended in time. It was a pivotal moment in Mị's life, caught between two choices: stay and continue as a slave or escape into the unknown, between life and death, darkness and light. Mị stood silently, contemplating, still fearful of the overpowering force of the divine and the authority that had ruled her life for so long. Ultimately, she chose the second path, whispering with the wind, "A Phủ, take me with you," "If I stay here, I will die." In untying A Phủ, Mị also liberates herself. Her act of freeing him with a small sickle symbolizes her own desire for life. Though the moment is fleeting, it foreshadows a brighter future to come.

The work emerged during the fervent period of revolutionary literature, where writing became a weapon, and writers were soldiers on the frontlines. Tô Hoài's pen raised a unique humanitarian perspective, expressing empathy for the plight of workers under the rule of landlords. It celebrates the latent strength of the oppressed and the belief in their ability to liberate themselves, striving for freedom and a better life. The revolutionary worldview enabled the author to see not only the people as victims but as masters of their fate, emerging from darkness into light. The work’s message resonates with the timeless human longing for life and freedom, ensuring that "Vợ Chồng A Phủ" transcends the ravages of time.