Thứ Bảy, 5 tháng 12, 2009

25 - THE TALE OF KIEU - Nguyen Du

Kieu Playing A Lute Beneath The Moon

           Vietnam's Epic National Poem: "Truyen Kieu"                                            
                                    by NGUYEN DU


A Lute

         Lecture Notes from Mr. Tien  

Manager, Dong Khanh Hotel, Ho Chi Minh City, to students on Campus Abroad Viet Nam, July 1998. Mr. Tien was a High School Teacher before he became the manager of the Dong Khanh.
I thank him  -  JKS.

Kieu Playing The Flute

                                             I.  Biography of Nguyen Du

--Born 1766 into a very learned family
--Father had been a prime minister in the Le Dynasty
--His brothers were high ranking officials in the Le Dynasty

                                                 II.  Historical Situation

 By the end of the 18th century, the Le Dynasty, after almost 300 years on the throne, had been weakened. 
 The king of Le was like a puppet. Power in the country was shared by two big families: The Trinh family to 
 the North and the  Nguyen family in the South. The country was at war; the two families fought each other
 for the power and the king did nothing. The national hero, Nguyen Hue from the Tay Son (Qui Nhon) 
 defeated both the Nguyen family and the Trinh family. Afterward the last king of the Le Dynasty, Le Chieu 
 Thong, went to China to beg for help. He asked the King of China (Thanh Dynasty), King Cau Long, to send
 troops to Viet Nam to help him gain back the throne of his ancestors. In 1789 Thanh's troops were also defeated 
 by Nguyen Hue, and he became a King by the name of Quang Trung. Nguyen Du and his family had tried to 
 follow Le Chieu Thong (to China), but they had to stay in Viet Nam. They were loyal to the former king of Le 
 and were afraid of the Nguyen Dynasty which took over in 1802. Nguyen Anh overthrew the Tay Sons and he 
 became the new king [the first of the Nguyen Dynasty which continued until Bao Dai abdicated in 1945-ed. note] 
 by the name of Gia Long. Gia Long asked Nguyen Du to join the new government. It was against Nguyen Du's 
 willingness, but he had no choice.

                                                       III.  The Concept

 The Vietnamese are a very learned people and were deeply influenced by the concepts of King-Master-Father 
 of the great Chinese philosopher, Confucius. [He taught that] you must be loyal to your king-no matter what. 
 Nguyen Du and his family had benefited a lot from the former Le Dynasty, which explains why Nguyen Du was 
 unwilling to join the new government. He considered it an act of disloyalty to the former king. As a learned man,
 he was afraid of being disregarded by the people of his time and felt it would bring shame to his family name, 
 because he was being faithful to the concepts of Confucius.

                                                         IV.  Kieu's Story

(Also titled the equivalent of The New Scream that Cuts Your Guts)

 In order to explain his situation, Nguyen Du was inspired by the story of KIM VAN KIEU by a Chinese author, 
 Thanh Tam Tai Than (pen name). The story had three main characters: Kim Trong, Thuy Van, and Thuy Kieu. 
 The culture of Viet Nam was deeply influenced by Chinese culture. But if we believe that Nguyen Du was only 
 translating the Chinese original we would be mistaken. Nguyen Du only wanted to borrow that story to convey 
 his concept, his situation, his memory of the dynasty that had been lost. Furthermore the story was written in
 [the Vietnamese] 6-8 verse. It was a very popular verse form and everyone, from farmers to learned men, could 
 understand it.

 Kieu sold herself to settle the debt of her family
 Nguyen Du considered the action of joining the new 
 government as selling himself

 Kieu had to endure suffering and hardship
 Nguyen Du suffered greatly because of his loyalty to
 his former king

 Deep in her heart, Kieu stays faithful to Kim

 Nguyen Du was truly loyal to the Le Dynasty
 Finally Kieu was reunited with Kim Trong
 Nguyen Du hoped for the return of his king

 This is the story of a young lady named Vuong Thuy Kieu. Kieu was very beautiful and learned as well. 
 She was born into a well-educated family, and she was in love with a young man, Kim Trong. Then disaster
 fell on her family. Her father and her brother were imprisoned. In order to solve the family's problem, she 
 had no choice but to sell herself. From then on, catastrophe after catastrophe fell on her. She had to follow 
 her fate: being cheated, two times being held in a pleasure house (whorehouse) as a singer, concubine, servant. 
 We may say this is a sad story of a talented lady who had bad fate. In this story Nguyen Du wanted to tell us 
 through the fate of Kieu to be widened into the fate of human beings in the wicked feudal society along with its 
 cruelties and injustice. He wanted to scream out loud, a scream that breaks our heart. Thus the title of the story
 DOAN THANH TAN THANH, or as it is more popularly known, KIEU's STORY.

 Nguyen Du's inspiration:

 Nguyen Du tried to explain to us that disaster that befell Kieu is the conflict between talent and fate [See 
 opening lines of the story]. Kieu had to endure a lot of suffering and hardship because she is beautiful and 
 talented. The more you are talented, the more bad luck may strike you.

 To Nguyen Du to settle this conflict, the matter of the heart must come into being. By the end he wrote that 
 the heart is three times more important than the talent. The inspiration of Nguyen Du's was the inspiration of 
 considering men's fate. How could men live in a society full of injustice and cruelties? Kieu was built in the image
 of perfection, she was the essence of desirability by men. Kieu was not only beautiful, she was also talented. 
 In one word she was the perfect combination of beauty and talent. Such a lady must have a good life with 
 happiness but because she was living in an unjust, cruel,wicked society, all that she got was turning against her 
 and she fell victim to a disaster that destroyed her. Kieu had become a victim of the society. But she never 
 accepted her fate; she was always fighting against it. There was a rebel in Thuy Kieu. We may say that the more 
 she fought the more she failed, and as she became aware of her fate, her failure became more bitter. 
 Nguyen Du was writing Kieu's story with his blood and his tears.

                               V. The Kieu Story and the Vietnamese People

  • 6/8 verses are popular and easy to understand
  • The Kieu story is a masterpiece that every Vietnamese knows
  • In conversation we refer to citations from KIEU
  • In life every event that happens may refer to a part of Kieu's story
  • 1st of the New Year. KIEU may be used as a book to predict the future

                                                          VI.  Conclusion

To solve everything the matter of the heart comes into being; 
righteous people will overcome everything toward a better life.

MANY THANKS TO A WONDERFUL TEACHER. Transcribed with permission of Mr. Tien  -  JKS

The Tale Of Kieu Book Cover


 Lecture by John Swensson:
 October, 1998

 All page references are to the English side of the Yale University Press bilingual 
 edition, translated by Huynh Sanh Thong, copyright 1983.

                 PART I -- Lecture -- pp. 3-67 -- Kim Trong & Scholar Ma Section                                                   
 WHY STUDY KIEU?  I think the logical place to start is with this passage from Alexander Woodside's 
 "The Historical Background," (xi-xviii) which serves as a preface to the referenced text:

 To the Vietnamese people themselves, THE TALE OF KIEU is much more that just a glorious heirloom from 
 their literary past. It has become a kind of continuing emotional laboratory in which all the great and timeless 
 issues of personal morality and political obligation are tested and resolved (or left unresolved) for each new 
 generation. Western readers who are curious about Vietnam and the Vietnamese may well gain more real wisdom 
 from cultivating a discriminating appreciation of this poem than they will from reading the entire library of scholarly 
 and journalistic writings upon modern Vietnam which has accumulated in the West in the past two decades. (xi)

 Strong words those; I cannot add to them except to say that an understanding of modern Vietnam, and the 
 roles of Americans and Vietnamese in the recent conflict, is one of the aims of this critical thinking course. 
 A powerful idea that we might understand the recent past by going to the beginning of the nineteenth century. 
 I am reminded of Maxine Hong Kingston's comments to me that by studying war today "we are preventing wars 
 a thousand years from now." (PREVENTING WARS A THOUSAND YEARS FROM NOW, May 1994 taped interview 
 with MHK, on reserve in the Open Media Lab of the LRC). I suppose a secondary aim is to assist our Vietnamese 
 (and Chinese in view of the sources of Nguyen Du's work) students to retain an important part of their culture, 
 and to help non-Asian students to understand our fellows.


 This is fairly straightforward and is illuminated in the introduction by Thong on page xxix. There is a general 
 introduction from pages 3-9 where we meet the Vuong family and the deceased muse Dam Tien, who, although 
 she is only a spirit will eventually speak to Kieu, and who has a real perfume fragrance. The intro. is critical and 
 bears several readings (My recommendation for those of you who are reading this for the first time is that you 
 do a quick read all the way through and then go back and do an analysis in each section, doing a more careful 
 reading and using the wonderful endnotes). It is the detailed introduction to Van and Kieu and young Vuong,
 and it introduces a number of themes that resonate throughout the work. Notice also that there is a god in the 
 work whom Kieu addresses on p.7. On page 9, after the break we meet the "youthful scholar," Kim Trong, 
 who is an admirable first love for Kieu.

Painting Of Kieu's Tearful Departure
 From pages 21-29 their love deepens and it results in a pledge of  betrothal. But, alas, on page 29 the plot
 thickens and Kim must leave for some years because of his uncle's death, and even  worse, Old Vuong is
 arrested on false charges on p.33, and Kieu sells herself into marriage to save the family--the concept of
 loyalty is an important one throughout. Aided by family friend, administrator Chung, Kieu is sold to Scholar
 Ma, and Old Vuong is released. Before she marries Ma, Kieu enlists Van to  promise to fulfill her marriage
 vow to Kim (39) .

 Scholar Ma and his wife, Dame Tu, are very evil characters (not without some comic relief somewhat
 reminiscent of the Thenardiers in LES MIS). Note the commingling of the flower, nature, and sexual
 imagery on pp. 43-45 et. passim.. The melancholy family leave-taking on pp. 47 inspired a playlet put 
 on by my students in Viet Nam in the summer of l998, which was keenly appreciated by the Vietnamese 
 students in their audience at  the University of Forestry and Agriculture in Thu Duc, Viet Nam. 

Painting Of A Woman In A Brothel Pages 49-67 are set in the brothel and involve skullduggery, captivity, mirth--
 particularly when Dame Tu hears from Kieu that her husband slept with Kieu.
 Keep in mind that Kieu did not at the time know he was already married.
 We have a wonderful subplot involving a rogue named So Khanh who
 promises to help Kieu escape, but is really in league with Dame Tu, and
 finally we meet a young woman, also held captive in the brothel, who
 befriends Kieu, Ma Kieu. Dame Tu then offers instruction to Kieu in how
 to be a good courtesan, and this leads us to a consideration of an alternate
 translation, and the start of Part II, the Thuc Ky Tham section, which begins
 on p.67.

 (The alternate translation is a prose translation, KIM VAN KIEU, five copies of which are on reserve 
 in the DeCillis Collection, along with several copies of TRUYEN KIEU, in Vietnamese. If you are really 
 into KIEU, and I hope you will be, check out a copy of the prose translation and compare some of 
 the footnotes. While the superiority of the Huynh Sanh Thong translation will readily become 
 apparent, the alternate translation will shed additional meaning for serious students. :-) The prose 
 translation is published in Viet Nam, is titled KIM-VAN-KIEU. and is translated by Le Xuan Thuy. )

                    KIEU II -- Lecture -- pp. 67-113 Thuc Ky Tham Section 

 In the introduction, pp. xxx-xxxi , Huynh Sanh Thong starts off by saying that "The love between Kieu 
 and the weak willed Thuc eventually matures into a deep attachment, but sexual attraction is its main 
 ingredient. Thuc meets Kieu as a customer of the brothel. Once again the plot evolves based on the 
 departure of a parent, Thuc's father journeying home by "a stroke of timely luck" (67). While the 
 relationship is a sexual one it soon includes music, poetry, and chess.

 Kieu then takes up the notion of her responsibility and Thuc's and urges that there is no future in their 
 relationship given Thuc's attachment to his first wife and she proceeds to forecast all of the doom that 
 will (and does) befall them if they continue. Thuc's argument on p. 71 is that these matter-and Miss Hoan--
 are all far away and she should pay them no heed, and as a measure of his serious intent he buys her 
 out of the brothel, and they live together for 6 months until Thuc's father returns. And here the wrath
 of the father that Kieu had foretold comes home with a vengeance and a trip to the judge.

 The father turns them into a judge and it here that Kieu must make a moral choice, choosing to accept
 punishment for her deeds, or return to the brothel. She replies with grace "I shall endure the thunder 
 of the law" (75). Here she is beaten as Thuc is forced to watch. Thuc's pain is so intense that the Judge's
 heart is moved, and he shows mercy and orders a wedding. (I am reminded of Shakespeare's Portia in 
 THE MERCHANT OF VENICE dispensing justice and mercy in a European society, that is younger than 
 the Asian societies here. Where is this in American literature?)

 Old Thuc's heart is softened also BUT they still have, as Kieu has also foretold, Miss Hoan to deal with--
 and her mother!! Miss Hoan is one of the strongest characters in the novel, physically violent and with 
 a malicious cunning that guarantees that Kieu will be punished sorely for her deeds. On Kieu's urging 
 Thuc returns to his wife (79) and we see, especially on p. 83 his weak will that Thong started us off with. 
 His refusal to reveal his relationship with Kieu which was the purpose of his journey shows how weak 
 he is and we as reader experience the dramatic irony of knowing what Miss Hoan knows and what her 
 intent is. 

Painting Of Women and A Man In A Brothel In a brief vignette on pp. 84-85 we meet Miss Hoan's mother and get
 some insight into why the daughter is so mean--the mother graciously
 accedes to a scheme that involves kidnap, bondage, and public torture
 (Hell hath no fury. . .as Shakespeare tells us).

 What follows next is the dramatic subplot of the kidnapping and burning
 of Thuc and Kieu's apartment complete with the planting of an unclaimed
 corpse which provides more torture for Old Thuc who has to oversee the
 funeral of what he believes to be Kieu. 

 Young Thuc returns and consults a psychic--the importance of fortune telling is one that we Westerners
 do not appreciate--indeed in Viet Nam fortunes are told by the text of  THE TALE OF KIEU itself.
 And the psychic correctly foretells the plot"when you two stand face to face again,/how strange, you
 will avoid each other's eyes!" (89).

 On p. 91 we meet another young girl (cf. Ma Kieu in Part I) who befriends and advises Kieu who is now 
 in the service of Miss Hoan, and the Buddhist notion of karma/justice/responsibility is repeated "Perhaps 
 you must atone for some past sin" (91). But she then continues "but malice [Miss Hoan] brought you here,
 and not pure chance" (91). This text is so rich you can almost stop anywhere and do a textual analysis--
 which is also why the Vietnamese fortune tellers can randomly select any line and tell a fortune from it.

 Eventually Miss Hoan softens--although this becomes a necessary plot point for what is to follow--but not 
 before continuing her own plot to humiliate her husband and Kieu by having Kieu wait in them and play 
 music for them together. Miss Hoan finally lets up a bit on p. 99 and grant Kieu's request to become a Nun. 
 Conveniently there is a shrine in the garden that Kieu can be cloistered in, just close enough for Thuc to
 sneak over to, which he does, all of the time observed by his wife. But the reunion of Thuc and Kieu is 
 quite beautiful and Kieu merely asks his help in her escape. She is willing to forego their own happiness 
 and leave him with Miss Hoan. But alas, Miss Hoan has overheard it all, and Kieu is left no choice but to 
 escape. Like Valjean leaving the Bishop of Digne's house, she takes the silver as she goes.

 We next meet the character of Giac Duyen who would make for an interesting paper. I am still not sure 
 what to make of her. A prioress, she instructs Kieu in what nuns are supposed to do and all is well until 
 a pilgrim sees the silver and identifies it as Miss Hoan's . Kieu confesses and Giac asks a neighboring family 
 to provide shelter for Kieu. Alas, "Dame Bac soon proved a colleague of Dame Tu" (109) and Kieu is back 
 in a brothel again. I remain confused by the apparent marriage to Bac Hanh (whose first name means 
 "false") but he is a parallel to Scholar Ma. Indeed the # of times that Kieu is married is a mystery to me. 
 I hear various reports from 2-9 and a textual examination must be aided by more cultural expertise than
 I possess. Perhaps some of our students have some answers.

 The final line worth mentioning in this section "O Great Potter's Wheel, how you treat womanhood (112) 
 certainly sums up one of the major themes of this work, and reminds me of Maxine Hong Kingston's 
 vignette in CHINA MEN called "On Discovery." So much for Thuc Ky Tham and Miss Hoan--though 
 we shall see them again. Time to turn our thoughts to Kieu's next great love, the soldier Tu Hai.

                                      KIEU  --  Part III  --  Lecture  --  pp. 113-67
                                              Tu Hai and Family Reunion Section
 A second customer, a General, turns up to buy Kieu from the second brothel, with "A tiger's beard,
 a swallow's jaw, and brows as thick as silkworms" (113). Note Du's use of nature imagery (and go
 to the De Cillis Collection and view the lacquerware of Tu Hai on the wall opposite the clock. He is
 shown in mother of pearl shell with exactly these characteristics and arrows in his back, standing up,
 deceased--see upright death of Lord Tu, p. 131). Once again it is not clear whether Kieu and Tu Hai
 are formally married, though note 2212 implies that as does the celebration on pp.117-19. They clearly
 share a strong love and are happy together. Tu Hai is a very popular general, but not venerated in
 Vietnamese history because he does not repel foreign invaders as did Tran Hung Dao (the Mongols)
 or The Trung sisters (the Chinese in 40 A.D.).

 We now come to the popular trial scene with the theme of justice, or is it retribution? Ma Kieu and
 Giac Duyen are invited as honored guests which leads us to believe that Giac was not being duplicitous
 in Part II when she referred Kieu to the Bac family (107 et. ff.). Kieu first rewards Thuc, though using
 the ant in the cup metaphor from Miss Hoan, her earlier chief tormentor. Miss Hoan apologizes, reminds
 Kieu that she had had a change of heart and let her tend the shrine and Kieu forgives her and sets her free!!
 (I am reminded of the actions of all of the coup plotters and successive governments in South Viet Nam
 in the early and mid-1960's, which we shall read about in Halberstam's THE MAKING OF A QUAGMIRE,
 next. Perhaps this is why they constantly forgave each other, reformed, and tried again.)

 But the mercy is short lived. Bac Hanh, Dame Bac, So Khanh, Dame Tu, and Scholar Ma are not only
 executed, but tortured as well. (Perhaps that is why Diem was dispatched in the M113 armored personnel
 carrier built at the FMC plant on Coleman Avenue in San Jose?)

 Giac Duyen takes her leave with a promise of a reunion within five years guaranteed by another seer, 
 Tam Hop. And in that five years Tu Hai is victorious in many battles, accompanied by his first lady, Kieu. 
 The partnership is taken advantage of by Lord Ho Ton Hien whose entreaties convince Kieu to convince
 Tu Hai that Ho will be an ally, not an enemy. Alas, the end of Tu Hai, because of Kieu's actions (I am 
 reminded of The Moor of Venice & Desdemona, but in that case it was the Moor who was convinced 
 of the wrong thing). We have already noted the powerful death of Tu Hai, and Kieu is once again in 
 captivity, this time playing "Cruel Fate" on her lute for Lord Ho.

 And it appears that Kieu marries again (135), forced into it by her captor! And then we start back to the
 beginning with Kieu communicating with Dam Tien, lamenting her fifteen years of suffering under the 
 cruel "wheels of fate" (137). The next part starts with Giac Duyen and the seer Tam Hop weighing the 
 balance of Kim's actions "When judged for her past sins, Kieu must be charged/ with reckless love,
 but not with wanton lust" (139). Tam Hop continues:

 "She caused one death, but saved ten thousand lives./She knew right thoughts from wrong, 
 fair deeds from foul./ Whose merits equal her good works in truth?"(139).

 Let's go back for a minute back to the opening stanza of the poem:

A hundred years in this life span on earth/
talent and destiny are apt to feud./
You must go through a play of ebb and flow/
and watch such things as make you sick at heart/
Is it so strange that losses balance gains? /

 There is both the conflict of talent & destiny (individual actions versus fate) and the notion, explained 
 in note 5 that "losses balance gains" refers to a "Chinese adage, which makes the common observation
 that no one is perfect or enjoys complete happiness, [which] has a Vietnamese equivalent in a folk saying:
 '[who] gets this loses that'" (169).

A Fisherman's Boat Under A Peaceful Moon At Night   

 In fulfillment of her dream, Kieu escapes from Lord Ho by jumping into the river- her second suicide  
 attempt? - and after floating downstream is rescued by two fishermen who were there for the purpose 
 of saving her and fulfilling Tam Hop's prediction of Kieu's and Giac Duyen's reunion within five years.
 And Dam Tien also appears again with a prediction, finally some good news:

with many days ahead, you shall fulfill/
your great past love, reap future happiness./ (141)

 But what happened to Kim Trong, Kieu's great past love whom we last saw in Part I?

  (Their leave-taking is captured in another piece of lacquerware in the DeCillis Collection,
  which depicts Kieu and Van, Kim and young Vuong, Kim's horse and the mountains he
  will journey beyond. The next piece shows Kieu lamenting the absence of Kim. The third 
  piece shows Kieu playing her pear shaped lute form Thuc, and the fourth Tu Hai, noted above)

 Kim had come back to the awful news of Kieu's departure and the plot summary in lines 2775 et. ff. is worth noting,
 but I will not summarize nor quote it here. Kim takes care of the family and sends emissaries looking for Kieu, and to 
 assuage his grief, the family arranges for him to marry Van, which you will recall Kieu had asked Van to do. On page
 149 Van dreams that she will be reunited with Kieu, and Old Do, a clerk whom we have not met before, summarizes
 Kieu's life. This summary leads Kim to find Thuc to get the rest of the story, which continues to the top of p. 153 at 
 which Kim's supposed death by drowning in the river is reported. 

Painting Of Family Scene With Kim and Van So the family makes an altar to Kieu, it is discovered by Giac 
 Duyen, and we have arrived at the final resolution of the plot
 for the next 14 pages (remember that half are in one
 language, half in another-- effectively 7 pages of resolution.)
 There is little merit in my summarizing this portion. It should
 be read carefully to be appreciated. Note, though, the solution
 of Kieu's marrying Kim, but not sleeping with him-- she lives as
 a nun, because she has lost her chastity. He continues to live
 and have children with Van. Note also that the family thanks
 Buddha for the reunion.

Kieu Playing The Lute
 Of Kim and Kieu:
 "Of love and friendship they fulfilled both claims--/
 they shared no bed but joys of lute and verse/ . . .
 Their wishes all came true since fate so willed,/
 and of two lovers marriage made two friends./ (165)

 [and I hope you the EWRT 2 students have enjoyed these pages of verse.]
  Of the story:
 "This we have learned: with Heaven rests all things./
 Heaven appoints each human to a place./
 If doomed to roll in dust, we'll roll in dust;/
 we'll sit on high when destined for high seats./. . .
 In talent take no overweening pride,/
 for talent and disaster form a pair./
 Our karma we must carry as our lot--/
 let's stop decrying Heaven's whims and quirks./
 Inside ourselves there lies the root of good:/
 the heart outweighs all talents on this earth./ (167)
 and finally the concluding lines
 May these crude words, culled one by one and strung,
 beguile an hour or two of your long night./ (167)

 My wish for you is the same as the author's. I hope you enjoy your study of this great work. Like all 
 great works of literature it returns to you what you invest in it, and you should return to it ten years 
 from now to measure your own change. Its words will still be the same.

  Please use the LISTSERV or FORUM -I will post the lectures there also which is a password protected 
  area--to agree/disagree/comment. I have gotten responses so far ranging from "I could not put this book  
  down" to "it is an immoral book that should not be taught in our class." I very much appreciate the  
  comment about morality since this is a critical thinking course, and whether I agree with that opinion is not 
  so important as whether YOU do. Later in the course I want us to consider the morality of American actions 
  and Vietnamese actions in the war. This is kind of like the CLIFF'S NOTES. Now it is up to you to think 
  critically. What are YOUR thoughts?  --  JKS

 Musashi-bo Benkei and Tu Hai: 

Japanese and Vietnamese Heroes, Dying Standing Up

Musashi-bo Benkei, A Famous Character In Japanese History
Thoughts From Kayoko Sato

 Have you ever heard of Musashi-bo Benkei? Tu Hai, in THE TALE OF KIEU, reminded me 
 of this famous character in Japanese history. Benkei became avery faithful follower of the
 aristocratic warrior Yoshitsune. As a retainer, Benkei sacrificed his life to protect his master
 from the attacks ofYoshitsune's brother, Yoritomo. Even after being strapped with so many
 arrows and he was mortally wounded, he stood still, did not let the enemies go by and reach
 his master. Benkei's strong will to guard Yoshitsune kept his body "firm as rock and hard as
 bronze" (Du 131)--just like Tu Hai in the story--and this shows how devoted and committed
 he was. I feel that Benkei and Tu Hai were somewhat similar. I think not only was Benkei
 loyal to his master, but was proud of himself being a retainer of the great warrior who--
 Benkei thought he was-- worth sacrificing his own life. And Tu Hai, who was very faithful
 to his wife Kieu, and who agreed with her to stop expanding his niche and to have a truce,
 was killed by the government-- his foe. Like Benkei, he stood still even after he was dead
 Both Benkei and Tu Hai died after all, but one thing that I caught a glimpse in their death
 was that both of them were loyal to the people who they loved, and they died proudly.
 My interpretation of Tu Hai may be wrong, but are they not they similar? I think it is very
 interesting.   Regards, Kayo Sato

P.S. I really enjoyed reading THE TALE OF KIEU (although it was pretty tough to understand!) 


Kieu Looks Across Mist To Distant Mountains

Truyen Kieu: The Tale of Kieu
The Tale Of Kieu Book Cover

1 nhận xét:

  1. Tôi rất thích page này. Tôi tến là Philippe và tôi đã sóng ở Hà Nội. Tôi đang dịch Truyện Kiều sang tiếng Anh. Link này là blog của tôi:

    Trả lờiXóa