Personal motivation
“laboriousness, considerateness, sacrifice for her husband and her children” but when the country was at risk, they became the embodiment of beauty of
“heroism, indomitableness, kindness, resourcefulness” Also through such studies that we see Vietnamese women in traditional societies, not only playing a large role in family life as well as in social development but also recognized properly, there were many women who suffered misery, injustice throughout life under the repressive prejudices of feudal society Sympathy for the status of women in ancient society is tremendous momentum that we wish to clarify the image of women in traditional societies In addition, the old woman herself, she was the embodiment of the traditional cultural values of the nation Although modern society has developed very fast, the cultural values of our ancestors should still be kept and promoted Exploring images of women in traditional society is contributing to promote traditional cultural values in general and dignity of women in particular, which promotes the good Vietnamese women’s values in today society
Folk literature is a part of folklore treasure from which the picture of traditional societies is extremely vividly reproducted under workers' perspective In the literary treasures of Vietnamese folk, folk is a kind of the richest and most diverse genre in number and content expression We can say that folk poems have a very strong appealling to the people of Vietnam, because they are very close to their thought and soul, with words of daily voices of workers Therefore, one of the key features of a traditional folk song is richly expressed thoughts of human emotions in general, including in particular women The image of traditional women is expressed not only through the songs about them specifically the ones which are composed by the people to portray the image of the woman but also through narrative songs, the reader can feel all the thoughts, feelings, attitudes, their perceptions of their own identity
The folk poems having content of the image of women in traditional societies, has been the interest of many researchers who has had many valuable posts However, the researchers only focused on reflecting each aspect, individual elements of the image of women In addition, most of the studies were taken as research objects of folksongs with monophyletic research methods of literature, but not focusing on getting the woman is the object of study With this starting point, we hope that this research will help to clarify the image of Vietnamese traditional women with resource-based survey was carried out as a wealth of traditional folk poems of the Vietnam
Also follow all policies and guidelines of the Party and State, Vietnam is in the process of building an advanced culture imbued with national identity Along with the momentum of integration and quintessence of world culture, its needs to look back, to preserve the cultural traditions of the peoples is extremely important Therefore, the study of the image of Vietnamese women through traditional folk poems by portraying more clearly the cultural values of traditional practices to serve the country's development is a critical job.
Research problems and tasks
Research problems
The research done for contributing to learn the position, role, emotions of Vietnam women in society was reflected in the ancient folk poems
Accordingly, the image of the traditional Vietnamese woman will be approaches from two angles: the perspective of objective and subjective perspective Angle objective is to learn traditional Vietnamese woman through the assessment of the objective nature of the women folk Subjective perspective is the understanding of traditional Vietnamese women through their attitude before the social behavior, which includes conduct the injustices they suffered, the perception of themselves of Vietnamese women in traditional social context.
Research tasks
To achieve the purpose of the study mentioned above, we set out specific research tasks as followed:
- We have identified the social context of traditional Vietnam to draw social life factors that affect directly or indirectly the lives of contemporary women
- Learn the characteristic manifestations of women in traditional societies characterized by the appearance, personality, as well as the expression through family relationships and society
- Learn how the behavior of women in traditional societies through which they are incurred regardless of family life and society.
Literature review
The objectives of the thesis
The main research object of the thesis is the image of Vietnamese women in traditional societies The research document is based on a traditional Vietnamese folk to highlight the image of Vietnamese women in the context of feudal society.
Research areas
Theme revolves around a woman with a lot of things need to be clarified, however, within the framework of the thesis we focus only clarify the characteristics of traditional Vietnamese woman, but not the women of other ethnic minorities
The Vietnamese women will be approached from two angles objectivity and subjectivity noted in the research purposes Specifically, in order to clarify the characteristics of the traditional woman by objective perspective, besides clarifying the characteristic appearance, personality assessment recognized under the purview of his contemporaries We also learn Vietnamese woman at the relationship between their families (spouses, parents and children, brothers, cousins) and the social relationships in which there is close interaction directly traditional Vietnamese woman (men and women, kings, ministers, landowners, etc.), which are the typical relationship of women outside the scope of traditional families Subjective perspective, still in the relationships, as the contemporary social prejudice revolves around the lives of women, to curb oppression, pushed their lives in circumstances very well hurt suffering, torment, they react in a particular context and thus see the self-perceived myself with what traits As such, we will aim to clarify the characteristics of traditional Vietnamese women from these two angles
Regarding literature, we focus on the sources of all of the Vietnamese folk poems ; specific survey materials are mainly in: Total collection of Vietnamese Folklore (2002), Scientific and social studies Publishers This is a collective work meticulously compiled including 19 sets in all genres of Vietnamese folklore We have used a set of 15, 16 books (part one, part two) talking about the Vietnamese folk poems In addition, we may refer to “The Vietnamese folk Treasure” (1995), four episodes, written by Nguyen Xuan Kinh, Phan Dang Nhat (chief editors), Culture and Information Publishing House; “Folk proverbs” (1957, reprinted 1998) by Vu Ngoc Phan;
“Collections of Vietnamese proverbs and folk” (2001) by Nguyen Cu, Nguyen Thi Hue, Tran Thi An (editor), Literature Publishing House.
Research methods
to be able to clarify the object of study of the thesis Subjects of the study were Vietnamese women in traditional societies bearing the characteristic of gender as well as the definition of society during the feudal society Objective oriented approach using interdisciplinary methods; specifically we will approach the subject from the following research directions The first is from the perspective of history because they are the subjects of history; to measure the angle of the object is anthropology because Vietnamese woman, from a regional perspective to study localized Vietnamese women and people women of other ethnicities Study subjects are seen through folk so indispensable combination of methods that are strong in folk studies such as analysis of literature, linguistics, cultural learning
In addition to the above research method, the research process we combine statistical methods, analysis, synthesis of research during the Vietnamese folk treasure The method proved very useful to study the nature of data sources harboring small but large numbers, and content rich folk.
Contributions of the thesis
- Vietnamese woman was the truth of the nation’s cultural values The in-depth research is very necessary that we also look for the real images of women in traditional society as well as promote traditional values in a modern society
- The thesis is the references for those who wish to learn and have further research on the images of Vietnamese women in traditional societies
- The thesis initially uses interdisciplinary methods to approach the subject of Vietnamese women in traditional societies With this approach, we want to avoid unilateral comments of the research subject Interdisciplinary research methods proved very effective in this case when we can not access the object of study directly because specific objects are Vietnamese woman in a historical period which has passed, insteads, we must approach the object in an indirect manner, namely through the folk material (other subjects)
7 Thesis structure Besides the introduction and conclusion, the thesis is deployed into 3 chapters:
Chapter 1: The images of Vietnamese women in the context of traditional society
Chapter 2: Typical features of the women in Vietnamese traditional folk poetry
Chapter 3: The reations of Vietnamese traditional women toward the unjust behaviors in families and society
THE IMAGE OF VIETNAMESE WOMEN IN THE CONTEXT
Vietnamese traditional society
1.1.1 Natural, productive and economic situations
Economic base of agriculture Vietnam is incorporated with small industries and businesses with the most common characteristics are as follows:
- State agricultural fields is the main economic base, which is the dominant crop, livestock and small rely heavily on farming Agricultural production that relies on manual labor, technical muscle doing the thinking based on experience, there is no scientific and technical support; Moreover, the production takes place in a tropical climate with unusual events (droughts, floods, pests, etc) always happens to make life precarious, heavily dependent on natural course
- Commercial: domestic trade mainly with rural market system (village markets) and small trade flow Vietnamese society based on Confucianism, considered as degenerate art and craft wholesale traders considered the last class of the “Four classes” (Cholars - Farmers - Manufacturers - Traders)
In the above conditions, the traditional Vietnamese woman has a very important position in the maintenance and development of the economy reflected in the family to team up with her husband and other members of the production workers and the unique role of the wife in trade
Factors that greatly affect the lives of women in society and the traditional Vietnamese families:
Important social factors first, strong dominant position in the Vietnamese women’s traditional village institutions Vietnamese village - as the study indicates, the traditional settlements of the Vietnamese people in rural areas, there are local private sector, organizational structure, process rules, dialect, psychological and personality complete individual and stable over the course of history The village has features:
- As a self-governing institution with many organizations based on the collection forms, with many overlapping relationships, taking as a basis village conventions associated with the management of public opinion, the concept of morality, religion, and the law, creating a very tight management style
Looking at the horizontal axis, self-governing institution (village) is a system of organization based on the set of the groups of people:
- Hamlet is the organization that sets the address based on the relationship (or neighborly relationships) Each neighborhood consists of families neighborly relationships associated with blood relations, in many cases, including marital relations (intermarried)
- Family line: phylogenetic relationships based on
- Males’ groups: They are institutions for men (men or boy’s) from baby boy to his oldest tool in the village Each adjacent neighbor includes many members of the lane, different clans, taking age as principles of social advancement for each member Armor is the institution that served as the organizational unit of work done in the village Each member (men) in the village of receiving benefits and performs its obligations with its adjacent villages through
In addition to the above institutions are the social relations that each member of the village to get to know to have a correct behavior It is the longitudinal axis of the self-governing institutions In addition to blood relations (family and lineage), there are also gender relations (relationships between men and women), age (relations between older people and younger people), to address the (neighborliness), the occupation, the social status The relationship is expressed differently in each population component
Villages such institutions clearly show the advantages of men compared with women in traditional societies
The institutional organization and social relationships above (along with the important operational aspects of village life such as birth and death, unmarried, security, encouragement, worship organizations, security meet the obligations of the state) is adjusted by conventions Every member of the organizing institutions shall be obliged to comply with the provisions set out in the convention, if the violation or failure to comply will be subject to all the different sanctions Conventions directly sanction violators, but many cases, the family and the family of the offender shall also be jointly responsible
With the above rules, conventions are “rules of lifestyle” communities of each Vietnamese group that every member of the family as well as other institutions, organizations must comply
Besides the general rules of social organization and social life in the village, and the conventions are also specific provisions for women in the village:
- Article 14 of the convention of Huu Le Village, Muc Son commune, Thanh Hoa mentioned clearly: “Those who conjugal discord, disharmony brothers cursing my eyebrows, a fine of 3 offices If it is caused by the woman, adding: tied to a short rod segments, located at the crossroads of a day to quit unless unruly” [58, P.128]
- Article 65 stipulated: “Get to the virtuous wife, not marry indiscriminately, making routine sex style, if someone does not stop your heart desires that whisper so awkward together wedlock births, the village began serious crime And as another boy wooing girl, bad rumors around, just penalize people discovered the first 10 buffalo worth relating, to bring out the bad beats, do punish guilty to the following form to leave”.[58, P.128]
- Conventions of Thien Ky village, Hoang Mai commune, Quynh Luu district, Nghe An established in 1844, of which Article 7 states: “Women uncovered wild sex if unmarried daughter is fine and shaved 20 views parents also fined 3 offices After 100 days of parturition is wild sex that the girl was fined 30 lashes Man fined for adultery and 3 silver coins and 50 lashes
Added to that, he must take care of the girl until having given a birth and adopt children The pregnant girls without marriage came back parents’home Feminized husband committed 14 penalties related money Wild sex Money exciting sex scenes must be four related penalties Boys and girls were beaten 30 lashes Parents are mutually related fined 3” [14, P.164]
- Conventions of My Phong Commune, Nong Cong district, Thanh Hoa, established in Thanh Thai year 13 th (1901), which stipulated severe punishment adulterous guilty woman “The fornicator woman fined 12 silver coins, tie award goes disparaged the lane, hit 10 lashes, not sit, go, have a chat with other people, fine people home 3 silver coins” [58, P 41]
These things lead on a number of conventions to maintain morality in villages, reflecting the strict local laws On the one hand, the provisions of the conventions have to taste to create a legal and moral tradition of marriage and the nuclear family built stable in the old village Confucian ideology On the other hand, the provisions of conventions to uphold patriarchy, gender prejudice The women hardly participate in the village general strike Work there mostly men, men If promiscuous women about pregnancy will lead to heavy fines wild as above, while men were asleep right in the Bay, where the female teaser, or hurdles accidentally discovered also lower fines women
Cultural attitudes toward the women in Vietnamese traditional
1.2.1 The strict concept of Vietnamese women in traditional society under the influence of Confucianism
1.2.1.1 The attitude of promoting “Three obediences of a woman”,
“Four virtues of an ideal woman”
Viewpoints featured “Three obediences of a woman”, “Four virtues of an ideal woman” originated from China were introduced to Vietnam as teaching decences for women in traditional societies According to “Gia huan ca”, ideological terms are explained as followed: “The woman who listened to the teaching of men Therefore, for them, there is no inherent autonomy, but only directed “Three obediences of a woman” As a child according to his father and brother in the family, when they go married and her husband died when their husbands take their son without re-price”[61, P.90] Thoughts on what the cost is set to tie the woman to the man throughout his life, according to the law, once a woman is married and her husband completely under her husband’s family, rarely have the opportunity to change no matter what happens This is shown clearly thinking lowly status and dependent status of women in patriarchal society Before her husband, the woman suffered beyond filial father’s teachings, are entirely submissive absolute authority of the father without political or other rights granted under the notion of life itself Woman under the standards of traditional societies are not evaluated according to Gia huan ca As for marriage, the father may decide that all girls should be obliged to comply When getting married, she had to follow the concept of “subordinating to the husband when married” This concept means that home after her husband, a woman devoted to her husband and family to follow orders and obey her husband without permission requires nothing
The concept of “subordinating to the husband when married” is one- dimensional concept, because this concept is only for women, but there is no mention of the obligations of men In addition, men also have the right to get more concubines without his wife’s opinion Gia huan ca advised women to follow the advice without protests:
Dây bìm cho tựa cành vàng, Trước chàng đẹp mặt, sau nàng đỡ tay Câu “đường cái” xưa nay cũng vậy, Trai làm nên lấy bảy lấy ba,
Lấy về hầu hạ nhà ta, Thêm hòe, nẩy quế có là con ai?
Taking advantage of “subordinating to the husband when married” theory, dominant castes in a feudal dynasty also proposed some rules, which forced woman to kill herself when her husband died or ordained title “The woman of virtue” promoted the preservation woman virginity after her husband died Employment is the absolute expression of the theory of
“subordinating to the husband when married” to inculcate this concept on women make them invisible as it is noble values, extinguish all of the anti- woman when women want to demand justice for her It is an expression of the basic definition of the concept “Three obediences of a woman” of Vietnamese women in general in traditional societies, the starting point is to establish routines in the family and society, but in reality become a shackle shackles tighten woman must follow the ordering of men without protest
Besides the notion of “Three obediences of a woman”, old social assessment also considers woman under standards of ‘‘Four virtues” include, ingenious home-making skills, appearance, Proper language and behavior
‘‘Ingenious home-making skills’’ means the assessment criteria ingenuity of women in the work, such as embroidery, sewing, housework, parenting and childcare “Appearance” is the gauge of beauty, features of a woman “Proper language” is the word assessing a woman’s voice, consistent, gentle, easy listening or not In addition, “Behavior” is the love of a woman with her husband and children, compassion, self-sacrifice, the faithful golden, etc This was an important criterion to assess woman’s virtue and the first element brought into consideration when choosing her man
Phận làm gái này lời giáo huấn, Lắng tai nghe cổ truyện mới nên, Hãy xem xưa những bậc dâu hiền, Kiêm tứ đức: dung, công, ngôn,hạnh
Công là đủ mùi xôi, thức bánh, Nhiệm nhặt thay đường chỉ mũi kim
Dung là mặt ngọc trang nghiêm, Không tha thiết, không chiều lả tả
Ngôn là dạy trình thưa vâng dạ, Hạnh là đường ngay thảo kính tin
Xưa nay mấy kẻ dâu hiền, Dung, công, ngôn, hạnh là tiên phàm trần
Besides these positive aspects, “Four virtues” are the teachings to help women make the best of its obligations to the men, and it was the standard guideline for his life Follow “Four virtues” unfettered woman in the family space, without any conditions operating in the social space, to perform the obligation is the woman in the family, although there are other talents they did not have the opportunity to develop Li-Hsiang in Confucian studies and the woman - a philosophical interpretation indicated: “Unlike men, women and educated talent is not officially out of society to court may use, for academic talent and they can be confirmed Do not have an opportunity to prove, the high literacy of women is often perceived as a useless surplus and not social, not consistent with the nature or the good people are all accepted received’’
[64, P.113] Woman should not have the talent to work in the field of political education and the gender bias has created a strong barrier to hold back their shine
“Three obediences of a woman”, “Four virtues” on the one hand is the evaluation standards of women in traditional society, but on the other hand is the invisible barrier preventing women stepped outside world, turning them into completely dependent on men, despised This was the cause of an unjust ideology that women follow the general rules are the front, whereas women who have inadvertently violated one of these standards shall be considered a villain and suffered a lot of injustice in life
1.2.1.2 The attitude of promoting female virginity, discrimination of their beauty and sexual needs
The word “virgin” actually refers to “good character” of a good woman It is meant by nature subjective and women voluntarily practice
However, in the male-dominated society, a “virgin” has been male molded into “virtuousness” In the patriarchal society, the view considering “virgin” as “virtuousness” caused a lot of pressure for women
The policy of praising the virgin women in Nguyen dynasty became a harsh law as “the holding of the virtuous widow has become traditional beliefs and worship is recognized by the law official” [61, P.136] Under this dynasty, there were around 280 women referred more compliments in the Great Southern continent actually - national history book of this dynasty
These women are all very young age; they may have voluntarily committed suicide to express her love for her husband Song is undeniable element of time pressure led them to sacrifice their youth Vietnam feudal society has set a double standard of “virginity” which originated from China under Confucian notion demanding woman must preserve “virtuousness” This is totally one-dimensional concept, but has left lasting legacies in traditional Vietnamese culture The images of women through folk also were impacted by the culture
According to conception of “Ingenious home-making skills, apperance, Proper language, behavior” has been mentioned above, the “Appearance” to show the beauty here is second appearance standards “Ingenious home- making skills”, but the second, when considering the beauty of their appearance, also Confucian standards and generally avoiding the harsh natural beauty, their instincts In their eyes, the beauty of “Kieu” is a signal for disaster, disaster to the woman herself, and was representative of the strength of the temptation, needed to stay away From the point of view, instead of honoring the natural beauty of the woman, Confucian expressed very strict opinion of women This stigma also became very popular in medieval Vietnam, which will be considered in chapter 2 and chapter 3
A characteristic of women’s sexual life in traditional societies need considering Woman in traditional societies must comply with strict rules
“three obediences of a woman”, “four virtues” and the concept of “virginity”, as a corollary, the notion of sexual life was strict The man can get more concubines which essentially satisfy his instinct, whereas a woman when her husband walked to the adoption of the arrangement of the husband's family
1.2.2 The concept of promoting the women in traditional society
Many Western scholars have identified agricultural areas of Southeast Asia, including Vietnam Recently, Insun Yu, historian at the National University Seuol, South Korea, has published his research on the social model hermaphrodite and status of women in traditional societies of Vietnam Insun
Yu from the perspective approach of the historians has asserted, “Vietnamese social tradition had the hermaphrodite even when under the influence of Confucianism and this characteristic was closely related to the high position of women in society” [63] The above statement shows that in the evaluation of the research world, the role of women in family and society is huge Their position was very high, over the course of history, their position had been pushed down to make room for men, but they just faded out on the surface while their real role was still high In addition, Insun Yu specified, “Confucius doctrine affected some people in the ruling class in Vietnam, but it only happened from Le period” [63] Here the authors emphasized two points; the influence of Confucianism was not comprehensive Secondly, the authors would like to emphasize that just from Le on, Confucianism was influential, but before that, in the anti-Chinese cultural trends, the impact of Confucianism was very faint
During the flourishing period of matrilineal clans, marriage relationship and social marriage and methods of clan life style established the important role of women in all areas Children named after their mother’s clan, woman's division of labor, division of assets, owned fire and other forms of sacrifice, etc Added to that, the respect of the community about reproductive rights strengthens the position of women in society That was one of the reasons explaining the phenomenon had a large number of gods and goddesses and women occupied a very high position in god power In book Holy Mother and Goddess, Goddesses recorded in the area are 362 [26, P 380-421] According to Ngo Duc Thinh, relic worship goddesses are around 250 per 1,000 monuments and cultural relics [56, P.10]
The spirit of matrilinealness among the people marked vividly when turning to patriarchy Hong Duc Code (1948), the law of patriarchal-feudal state, an independent Confucianism could not rigid and authoritarian one way to protect the rights of men, the women’s rights generally guaranteed the right of marriage: marriage only occured when a woman agreed (Term 314)
Divorce rights: the wife was entitled to divorce if the husband mistreated, etc
(Terms 308, 333) On the right to inherit property: daughters might inherit parental property (Terms 375, 376) [62]
Sub-conclusion
The scholars recognizing the women from the Confucian perspective believed that Vietnamese women in traditional society were inferior to men in all respects, moreover they had to live a miserable and suffering life
These scholars recognizing the women from Vietnam cultural perspectives as a farming culture, Vietnamese women in traditional society had an important position and role in real life, especially family life and not entirely looked inferior as Confucianism Some foreign researchers believed that social patterns of Vietnam’s social model were hermaphrodite, and Vietnamese women had a traditionally high place much higher than some neighboring countries
Through folk poems , the literary sources to reflect real life of people in traditional societies, we want to understand the role and position of Vietnamese women in traditional societies from two angles subjective and objective Objective perspective means through folk poems , particularly when placed in the main relationships: relationships with men, family, and other social relationships, how the women were seen and assessed Subjective perspective means that how the woman evaluated themselves in the above relationships, they reacted before the binding of Confucianism laws
TYPICAL FEATURES OF THE WOMEN IN VIETNAMESE
Physical and personality characteristics of Vietnamese women
In traditional societies, the beauty of a woman was respected The beauty that was expressed very clearly in popular literature, especially folk
Still referred too many, but to establish a common denominator for standards of a beautiful woman is not aesthetically important because each person is different, and even different according to each historical period However, it seems that in the eyes of the people, beautiful women cannot only beautiful in appearance:
Tốt gỗ hơn tốt nước sơn Xấu người đẹp nết còn hơn đẹp người
Popular conception of woman’s beauty:
Một thương tóc bỏ đuôi gà Hai thương ăn nói mặn mà có duyên
Ba thương má lúm đồng tiền Bốn thương răng lánh hạt huyền kém thua
Năm thương cổ yếm đeo bùa Sáu thương nón thượng quai tua dịu dàng
Bảy thương nết ở khôn ngoan Tám thương miệng nói lại càng thêm xinh
Chín thương cô ở một nơi Mười thương con mắt hữu tình với ai
Through the folk above, we can see an overview of the standards of beautiful women in traditional societies A beautiful woman should have the following features It was a long hair wrapped around her head in velvet or Tam Giang still sticking out of a piece of hair called left tail It also was reluctant to speak, calmly, in moderation Create a dimpled charm on her face; jet-black teeth; beautiful neck, wearing overalls, wearing amulets; roof top hat with tassels to tie straps; way to behave cleverly, showing gentle modesty; and indispensable as the eyes, the inner expression of the girl, as well as her eyes fluttered, but boys do
Based on research resources, we have identified 1429 units describing the physical beauty of the proportion of women: 12.8% of the collection We have classifying the folk poems according to beauties in the following table:
Table of statistics of Vietnamese women’s physical beauty in traditional folk poetry
Order Body parts Number (folk poem) Percentage (%)
Through the table above, we see the details in the women mentioned most is hand (539/1429 accounted for 37.7%), followed by hair, feet, teeth and eyes The women in ancient society was mentioned most particularly the hands and wrists and then to the hair, feet and teeth shows the concept of the beauty of women in traditional societies That is the beauty symbolizes the
In particular, the woman figure in traditional societies, the people have made the comment following:
Những người thắt đáy lưng ong Vừa khéo chiều chồng vừa khéo nuôi con
Folk imagery wasp waists to make standards for women have a good body, is the beauty of a woman is healthy, viable authors folk have been described recently had true wit image via “taking good care of her husband” and “good care of her child”
Through the image above, we can see the folk concept of beautiful women in traditional societies as followed Beautiful woman means not only beautiful in appearance but also have beautiful both within, and add to that the beauty of the old woman's beauty “beauty of the body” healthy beauty, abundant vitality, which is the concept of beautiful woman synonymous with the good wife and good mother That is the beauty nature fertility, beauty unlike “weak willow, peach silk” often found in poetry influenced by the concept of beauty Confucius
Here are the folk poems describing a particular beauty of the old woman:
- Folk poems about beautiful eyes, beautiful eyebrows:
Những người con mắt lá dăm Lông mày lá liễu đáng trăm quan tiền
- About hair beauty, ancient folk poems mentioned:
Duyên là tóc, tóc là tơ
Xe tơ kết tóc, tóc đà ngang vai
Tóc em dài em cài hoa lý
Miệng em cười có ý em thương
- And this is the beauty of a smile:
Năm quan mua lấy miệng cười Mười quan chẳng tiếc, tiếc người răng đen Răng đen ai nhuộm cho mình
Cho răng mình đẹp cho tình anh say
- Or her rosy cheeks, red lips:
Ai xui má đỏ môi hồng Để anh nhác thấy đem lòng thương yêu
Hai má có hai đồng tiền Càng nom càng đẹp, càng nhìn càng ưa
- The high and charming neck:
Cổ cao ba ngấn cổ cao Răng đen hột đỗ miệng chào có duyên
Cổ tay em trắng lại tròn Để cho ai gối mà mòn một bên
Gối chăn gối chiếu không êm Gối lụa không mềm bằng gối tay em
Người thanh tiếng nói cũng thanh Chuông kêu khẽ đánh bên thành cũng kêu
When portraying the beauty of the traditional woman, folk besides emphasizing the beauty of each individual path to permanent weight harmonious beauty of hair, teeth, eyes, cheeks mouth, voice, physique, skin
The physical beauty of the old woman's beauty, healthy, fresh, casual, close, stick with the natural life of labor, associated with the nature of the country, reminiscent to the beauty of the mother country
Besides portraying the image of beautiful women, there are traditional folk poems metioning the unreasonable points of a woman (12 units):
- The girl with a pitted face and canine teeth:
Mặt rỗ như tổ ong bầu Cái răng khấp khểnh như cầu rửa chân
- Son Tay girls mentioned of all the characteristics of a bad girl:
Cô gái Sơn Tây, yếm thủng tày giần Răng đen hạt nhót, chân đi cù lèo Tóc rễ tre chải lược bồ cào
Xù xì da cóc, hắc lào tứ tung Trên đầu chấy rận như sung Rốn lồi quả quít, má hồng chôn niêu
Cô tưởng mình cô ái ố mĩ miều Chồng con chả lấy để liều thân ru?
Hai nách cô thơm như ổ chuột trù Mắt thì dán nhấm, lại gù lưng tôm Trứng rận bằng quả nhãn lồng Miệng cười tủm tỉm như sông Ngân Hà
Con rận bằng con ba ba Đêm nằm nó gáy cả nhà thất kinh Hàng xóm vác gậy đi rình Hóa ra rận đực nóng mình bò ra Bánh đúc cô nếm nồi ba Mía re tráng miệng hết vài trăm cây Giã gạo vú chấm đầu chày
Xay thóc cả ngày, được một đấu ba Đêm nằm nghĩ hết gần xa Giở mình một cái, gãy mười ba thang giường
Perhaps in reality, there were no bad girls like that Her appearance is: camisole ragged perforation, tooth colored dye so damaged grain exceeding joy, tickling leo gait, bamboo root hair, rough skin, such as skin warts even be ringworm, navel protruding like tangerine colored cheeks buried pots, smelly armpits as planned slum, fried rodent eye, humpback, laughing as the Milky river, etc In addition, the streak is snoring, greedy: flan tasting pot three, sugarcane re a few hundred trees, do lazy: milled rice all day over a game of rice, ungainly: lifting his thirteen stairs a broken bed The girl in the song knives on his carry on all the bad points of a woman, she is a fictional object from which authors through folk telling lyrics with exaggerated example of satire that characterized commandments teach the girls to be discreet, reflecting both his manner and form streak
Besides the picture looks praising the beauty of Vietnamese women traditional folk poems and shows us the view of the people on bad woman, bearing humorous nature, meaning higher education
The costumes of Vietnamese traditional women
Costumes are cultural characteristics of each people, each regions
Since ancient times, people have known women apparel costume tradition skillful use of materials, colors close to natural life; manifest a tendency to move towards aesthetic
It is said that costume is indispensable in life every person Woman’s outfit shows how traditional Vietnamese dress, aesthetic perspective, the cultural symbol of the nation That is how subtle and unobtrusive beauty of Vietnamese women this eternal beauty was portrayed in folk as followed:
We found that there are 246 units referring to the traditional women’s costume We summarized the figures in the table below:
Table of statistics of Vietnamese women’s costumes in traditional folk poetry
Order Kinds of costume Number per 246 folk poems Percentage
Based on the statistics, we can see that the iconic costumes reflected most affectionately (accounting for 23.9% with 59 units) Clothing (68 units accounted for 27.6%), towel (44 units accounted for 17, 8%) and hats (46 units accounted for 18.6%) can therefore see that this is the closest costume and indispensable for women in daily life as well as on occasions festivals, weddings, etc Here is the description of typical folk costumes of the traditional woman:
Description of Vietnamese style brassiere had a very distinctive image:
Nhác trông dải yếm cũng xinh Khen ai khéo dệt ra hình hoa mai
Khen người khâu yếm cũng tài
Cổ thì em ngả màu hiên Thăt lưng màu huyền dải yếm cũng xinh
Khen ai khâu yếm cho mình Đường lên đường xuống ra hình lưng ong
Hỡi cô yếm trắng lòa xòa Yếm nhiễu, yếm vóc hay là trúc bâu
Hay là lụa bạch bên Tầu Người cắt cũng khéo, người khâu cũng tài
- Redish blouse has become a base for the boys and girls to make jokes, such as exploration:
Hỡi cô yếm thắm đeo bùa Bác mẹ có bán anh mua nửa người
Along with the plastron is the shirt Traditional woman before leaving home is to wear long sleeves The shirt was also traditionally associated with identity ancient Vietnamese woman
The shirt’s shoulder patch images associated with those women whose lives are tied to twin basket:
Nhác trông em cái áo vá vai Thầy mẹ em vá hay tài vá nên
Thương em thuở áo mới may Bây giờ áo rách hai vai vá quàng
Talking about the shirt shoulder patch but is actually injured the girl scraped, hard early on The girl’s eyes folk always charming and beautiful even if she was wearing all his clothes The shirt on the shoulder patch with grace, charm becomes general beauty
Trong lót lụa hồng Ngoài thêu chỉ thắm
The woman in the streets usually worn in long shirt, also known as dress:
Vải nâu may áo, kìa áo năm tà
Ai may cho cô mình mặc
The petal plastron symbolized the feelings of a loving couple, the dress as it was a symbol of gratitude of the loving couple:
Phải duyên áo rách cũng mang Chẳng duyên áo nhiễu, nút vàng không ham
In addition: Đêm qua hết đứng lại nằm Năm thân áo vải ướt đầm như mưa
Thus, the image was indicated by the shirt outside beauty of folk costumes associated with old Vietnamese woman was a symbol unique beauty praised their spirit
Besides the image overalls and shirt, traditional dresses of Vietnamese women are also praising the towel Picture headgear did respect the natural beauty of a woman who goes to the heart through the generations incredibly images tinged with folk:
Ngó lên đầu tóc em bao Chéo khăn em bịt, dạ nào chẳng thương
Scattered on headscarves embracing youthful face, the girl smiled coyly as Vietnamese girl charm that cannot be found anywhere else:
Miệng cười như thể hoa ngâu Chiếc khăn đội đầu như thể hoa sen
Associated with women, scarves seem to be saying instead that her heart cannot be shown to anyone:
Khăn thương nhớ ai, khăn rơi xuống đất Khăn thương nhớ ai, khắt vắt lên vai …
Then handkerchief, as if to encapsulate how that loves of the boys and girls:
Trầu bọc khăn trắng cau tươi Trầu bọc khăn trắng đãi người xinh xinh
Therefore, as well as shirt, a bib, and the scarf was to give the post of loving couples:
Gửi khăn, gửi túi, gửi lời Gửi đôi chàng mạng cho người đàng xa
The images of Vietnamese women in traditional families
In relationships of couples in general, by examining the data, we find that there are two directions: positive and negative Specifically, the following:
2.2.1.1 Positive aspects of the spousal relationship
Husband-wife relationship is the foundation for harmonious happy family How can a married couple harmony, calm family is being very seriously and folk should first be made on both sides as the wife and the husband (12 units):
The couple reconciled based on love:
Yêu nhau cho mặn cho mà Chồng vợ thuận hòa, trong ấm ngoài êm
According to the folk conception, so should the husband and wife is due to fate, not the previous one was, so much for the wife as the husband is partly due to luck However, traditional experience as “old husband and young wife” are both age-matched couple and their marriage will be reconciled later:
Chồng già vợ trẻ mới xinh
Vợ già chồng trẻ như hình chị em
Vợ chồng may rủi là duyên
Vợ chồng hòa thuận là tiên trên đời
Folk poems praising the agreement upon husband and wife in production, especially in difficult circumstances, the couple shared joint effort please, do not be afraid to be afraid of suffering and cultivate lift harder for home and family Đôi ta vợ cấy chồng cày, Chồng nay sương sớm, vợ nay sương chiều
Ta nghèo vui phận ta nghèo, Quản chi sương sớm, sương chiều, hỡi anh! or:
Kể chi trời rét đồng sâu,
Có chồng, có vợ rủ nhau cày bừa
Bây giờ trưa đã hồ trưa, Chồng vác lấy bừa, vợ dắt con trâu
Một đoàn chồng trước vợ sau, Trời rét mặc rét, đồng sâu mặc đồng
Folk poems have advised the woman of the couple discord situations, when the wife’s initiative of reconciliation, the tolerant husband remains how to appease her husband
Chồng giận thì vợ bớt lời Cơm sôi nhỏ lửa nhỏ lửa, một đời không khê
In order to interest the husband, the wife also agreed to marry her husband a mistress:
Chồng giận thì vợ làm lành Miệng cười chúm chím: thưa anh giận gì?
Thưa anh, anh giận em chi
Muốn lấy vợ bé, em thì lấy cho
Through this we can see, very seriously folk harmony spouses, the foundation of the old family The peace that was built up by the couple's hymen emotional, warm, generally known by the couple and efforts productive labor, or in difficult circumstances However, there are still folk put a burden on the woman's shoulders, as the regulation of the couple’s relationship and obligations of the wife The wife needs to know patience, sometimes even sacrificing their legitimate interests (let the husband have the second wife), to please her husband, so long as the family is feeling good
The loyalty, gratitude spouses accounted for the number of most folk verses has content reflects positively in the spousal relationship In particular, the fidelity of husband and wife relationship from the standpoint of folk is the true meaning spouses, the cohesion of the husband to the wife as well as the full integrity of the wife to her husband (17 units):
Ba thương, bốn nhớ Đạo chồng, nghĩa vợ
Là đức cù lao Nhớ khi trăng gió, mưa rào Trăm năm gối phượng má đào bên em
Although there are numerous difficulties and hardships, although there are big events coming up (tilted mountains, dried river) they cannot alter the direction that faithful spouses lip color: Đã rằng là nghĩa vợ chồng Dầu cho nghiêng núi, cạn sông chẳng rời
Besides the perceived morality wife is the building of both husband and wife, there are many folk poems (11 units) brings the content to reflect this, but the words of the woman, when the monologue, sometimes like to bring a taste of the good message, but sometimes it seemed to hon charge:
She wanted to tell the faithful heart, her son with husband's identity:
Mặc ai một dạ đôi lòng,
Em đây thủ tiết loan phòng đợi anh
Sometimes, she wanted to remind her husband of keeping the family happy:
Ai chèo nghe bí qua sông Đạo nghĩa vợ chồng nặng lắm anh ơi! Đạo nghĩa vợ chồng nặng lắm anh ơi!
Then there are women want to use folk poems to reflect her feelings:
Lầu nào cao bằng lầu ông Chánh Bánh nào trắng bằng bánh bò bông Đạo nào sâu bằng đạo vợ chồng Đêm nằm nghĩ lại, nước mắt hồng tuôn rơi
We recorded 5 units about love and sacrifice of the husband for his wife:
Canh ba trống điểm trên lầu Phần thương cho vợ, phần sầu cho con
Giận chồng xách gói ra đi Chồng theo năn nỉ tù ti trở về
Hai nách những lông xồm xồm Chồng yêu chồng bảo mối tơ hồng trời cho Đêm ngủ thì gáy o o Chồng yêu chồng bảo lái đò cầm canh Ăn vụng bụng to tày thùng Chồng yêu chồng bảo cái giành đựng cơm!
Meanwhile the number of units that contain love and sense of sacrifice for husband of the wife occupied a much larger number of 54 units
Folk express infinite love of wife for husband:
Chàng lên non, thiếp cũng về theo
Chàng lên trời, vượt biển, thiếp cũng bồng con theo chàng
The woman's love for her husband, not managing difficult time to share the difficulties husband struggled:
Công nợ thiếp trả cho chàng Xin đừng lên thác, xuống hàn nắng mưa
Because injured husband, the woman decided to do pit, algae liabilities frequency shoulder with her husband, the desire not to be separated spouses, families are luxuriant this For oldwife, wealth, wealth cannot be compared to family life with wife against early evening ran smoothly together to care for family life:
Công danh theo đuổi mà chi, Sao bằng chăm chỉ giữ nghề canh nông
Sớm khuya có vợ có chồng, Cày sâu bừa kỹ mà mong được mùa
Songs range below speaks of happiness filled the early evening the women were married Notwithstanding the difficulties, but she completely satisfied with her life, her words are a happy life than a king:
Lấy anh thì xướng hơn vua, Anh đi xúc giậm, được cua kềnh càng Đem về nấu nấu rang rang, Chồng chan vợ húp lại cang hơn vua
Then there are the husband and wife always understanding, attentive husband’s needs
Chè Ô Long nấu nước ấm đồng Để vô bình tích thủy đãi đằng lang quân
Tôi đà biết tính chồng tôi
Cơm no thì nước, nước thôi thì trầu
Just because you love her husband, the woman accepted the traditional sacrifice, ignoring her husband’s mistakes:
Thương ai bằng lỗi thương chồn Bởi chồng cờ bạc nên lòng chẳng thương Khuyên chàng cờ bạc thì chừa Rượu chè trai gái say sưa mặc lòng
But the woman said just stop blaming, because sooner or later how much debt that people are suffering husband dumped his wife’s shoulder, although there plowing repayment, she also considered it is his fate that cam bear:
Anh ham xóc đĩa cò quay Máu mê cờ bạc, lại hay rượu chè
Eo sèo công nợ tứ bề
Kẻ lôi người kéo, ê chề lắm thay!
Nợ nần em trả, chàng vay Kiếp em là kiếp kéo cày đứt hơi!
It can be said, the lyrics of the image of Vietnamese women in traditional positions wife whose husband is military wives whose husbands travel and competition, the resourceful, the sacrifice honestly do not know how much that after (25 units):
Tháng hai cho chín tháng mười Năm mười hai tháng em ngồi em suy
Vụ chiêm em cấy lúa di
Vụ mùa lúa dé, sớm thì ba trăng Thú quê rau cá đã từng Gạo thơm cơm trắng chi bằng tám xoan
Việc nhà em liệu lo toan Khuyên chàng học tập cho ngoan kẻo mà
In addition, so that it can be said no joy can match the joy of the proud husband wife privilege rules:
Chi ngon bằng gỏi cá nhồng Chi vui bằng được tin chồng vinh qui
Here is the picture the wife whose husband is military, so many hardships, including dogs out pity argues that (14 units):
Anh ơi phải lính thì đi Cửa nhà đơn chiếc anh thì cậy ai?
Tháng chạp cày đất trồng khoai Tháng giêng trồng đậu, tháng hai trồng cà
Tháng ba cày vỡ đất ra Trời thời mưa gió, nước sa đầy đồng Người ta có vợ có chồng Chồng cày vợ cấy ngoài đồng có đôi Nhà anh chỉ có mình tôi Cày rồi lại cuốc, cuốc thôi lại bừa Cho nên tôi phải về trưa Gẫy đôi tai bừa, ai kẻ têm cho!
Ai về nhắn nhủ các cô Đừng lấy chồng lính thiệt thua trăm đường
In terms of the spousal relationship in Vietnamese family tradition, the role and position of the wife to the husband in the family not being nestled side They have a real role enormous; along with her husband build a sustainable family life and happiness, as well as her husband admitted so they have a high position almost on par with the husband in the family, which is what we can confirm It is possible to live with a large family, existed for generations and their parents, grandparents, the woman also subject to other constraints, but consider the pair of husband-wife relationship, and attitudes husband and wife expressed through folk aspects examined under emotional attachment relations, labor relations, everyday life, and the couple distance, showing a conjugal relationship bond, and the wife has a high position
2.2.1.2 Negative aspects of the spousal relationship a Because of both the husband and wife The negative manifestations of conjugal relations caused by both of them, both husband and wife (5 units):
Chồng đánh bạc, vợ đánh bài, Chồng hai ba vợ, vợ hai ba chồng b Because of the husband The negative manifestations of conjugal relations caused by the husband (63 units):
The husband was not compatible to his wife: old husband, stupid husbands, husbands are small (13 units)
Bồng bồng cõng chồng đi chơi, Cõng qua chỗ lội đánh rơi mất chồng
Chị em ơi cho tôi mượn cái gầu sòng, Để tôi tát nước cho chồng tôi lên
The images of Vietnamese women in traditional social relationships
2.3.1 The overview of social traditional relationships
Social relations are relations between people (relationships between social actors) in the process of production, exchange, distribution and consumption (material, cultural, energy, information) It is the relationship between human beings during practical activities both physically and mentally This is a sustainable relationship, the stability of the subject action
Relationships are formed on the stability of social interaction, repetition, etc
The interaction can also bring other characteristics, and thereby to the different social relations
There are many ways to split the social relations, depending on the approach or research purposes In the framework of the thesis, we only consider the basic social relations Through survey, we underlied social relationships:
- Neighborly relationships and those who are less familiar
- And relationships between the different classes in society
In particular, according to our research, the relationship can be divided into two groups as follows:
- The first group: group relations not cause injustice to women: relationship friends, neighbors, teachers and students, individuals with individuals in the society in general
- The second group relations caused injustice to women: relations between men and women (dominant from the objective factors), the relationship between people and government
To achieve the purpose of the study was to understand the image of Vietnamese women in traditional social relations we consider social relationships in which there is active participation of women; our particular focus will clarify later social relationships:
- The women were in the relationship of the same people in the community, friends, neighbors Relationships between male - female may be understood in relationship of love and marriage are governed huge from the family, and is included in the scope at home, part 2.2
- The woman in the relationship with the government, specifically in relation to the feudal landlords
2.3.2 In relationships of the people in the same community, teachers and students, friends and neighbors to each other
The relationships of people in the same community
In personal relationships, and individuals in general, this is the category to say that the relationship between people in society According to the general trend, it can be divided into two trends: a positive trend, worthy of praise and negative trends, reprehensible Furthermore, considering the iconic woman in the relationship we have identified three knives reflect the content is personal relationships with individuals of the traditional woman Thereby, the traditional woman speaks of her surviving injured body parts with the same women, however tortuous circumstances encountered Whose husband, no husband injured person, the injured person whose husband deserted her husband and the husband's absence sympathy for the plight of women who are not married Here the women expressed sympathy for the wounded survive than their tortuous fate:
Thóc bồ thương kẻ ăn đong
Có chồng thương kẻ nằm không một mình,
Có chồng thương kẻ vắng chồng
Vắng chồng thương kẻ đứng đồng mà kêu
Teachers and students relationships Although very few women who are going to school, teacher-student relationship in which the woman as a student is not reflected in folk poems , they appear only indirectly in the role of mother (1 unit):
Bồng bồng mẹ bế con sang, Đò dọc quan cấm, đò ngang không chèo
Muốn sang thì bắc cầu kiều, Muốn con hay chữ, thì yêu lấy thầy
Whether as mothers, they also show respect for their teachers to the child's death anniversary
Friendship Friend's relationship relationships inevitably exist in every individual’s life Revolves around social relationships, folk poems reflect some of the following traits: choosing you, maintain friendships, how to deal with friends, etc The woman in this relationship is not folksongs reflect distinct and clear
We found 1 unit which has the appearance of a woman, but also indirectly:
Nghĩa nhân sinh hóa nợ nần Kém bạn một tí xa gần đều hay Nghĩa nhân thành hóa nợ vay Ăn miếng trả miếng không thì dèm pha Nghĩa nhân thành nợ oan gia
Tằn tiện con, vợ, phung pha bạn bè Đói lòng mà vẫn chơi se Miễn sao được bụng bạn bè thì thôi
In which reflect a respected friend of the ancients treated through thoughtful friends out of ink while his wife and children also have suffered
Thus, the relationship is not friends key relationships, have a great impact on the lives of traditional women, rather they appear only through the relationship of husband and on the surface they do not respected by the relationship of husband and friends
Neighbor’s relationships For Vietnam, neighboring positions extremely important role
Neighborly relations appeared after kinship and formed by the convergence of Vietnamese residing in different geographical areas; therefore conscious neighbor is considered an essential relationship, intimacy in life, even more than their neighbors seriously as a real remote cave in traditional societies
The woman in this relationship but appeared indirectly, not directly reflect knives but it was enough to prove this is a relationship that has a great impact on their daily lives:
Láng giềng để trở ba ngày
Chồng cô, vợ cậu một ngày cũng không
2.3.3 In the relationship with upper classes 2.3.3.1 In the relationship of the feudal lords and ordinary people
The apparatus of feudal domination includes kings, ministers and men in rural bullies Taking advantage of their position, they were badly suppressed farmers including women Farmers are key forces in the heart of the struggle against foreign invaders; they also become simultaneously forces were victims of civil war War caused many domestic scenes of separation, mourning family, oppression love men and women, causing a lack of agricultural labor, women labor to replace her husband had to carry extra custodial cause misery among the people Therefore, whether it was directly or indirectly, that relationship was not very good
Lính này có vua có quan Nào ai cắt lính cho chàng phải đi Nay trẩy kim thì, mai trẩy kim ngân, Lấy nhau chưa được ái ân, Chưa được kim chỉ Tấn Tần như xưa!
Sáng trời chàng mới tập binh,
Em ngồi vò võ một mình em lo
Ruộng nương không ai cày cho, Trâu bò hèn mọn, em lo đường nào!
Đồn rằng chàng chẩy hay đừng? Ở nhà công việc nửa mừng nửa lo
Ruộng nương ai chịu cấy cho Để thiếp ở lại, đói lo vài đồng?
Lấy gì đóng góp cho chồng?
Lấy gì giỗ chạp thổ công ông bà?
Lấy gì nuôi mẹ, nuôi cha?
Lấy gì thu xếp cửa nhà chàng ơi!
Rồi khi sinh gái, sinh trai, Sớm khuya mưa nắng lấy ai bạn cùng!
Sinh gái thì em gả chồng Sinh trai lấy vợ mặc lòng thiếp lo
In that relationship, officials of feudal state were harassing the woman, especially women who had beauty It was difficult to escape the harassment of greedy rulers and great men (9 units) were typical of the cases:
1 Vua Lê ba mươi sáu tàn vàng Thấy con gái đi đàng ngó ngó nom nom
Cô nào óng ả son son Vua đóng cũi hòm, đem trẩy về kinh
2 Đẻ đứa con trai Chẳng biết nó giống ai?
Cái mặt thì giống ông cai Cái đầu ông xã, cái tai ông trùm
Not only men, the women were just objects both directly influenced by the oppression, exploitation under the feudal mandarins So, the objection ruling class, oppose war mostly women weep for their miserable fate of relatives and
2.3.3.2 In the relationship of landlord and peasants
In parallel, shaking hands with local officials was they bully landowners In rural areas, the main reason is that they pride for those who trust authority, that reliable, raped women, harm the people very much (11 units) Typically, the following folk:
Từ nay tôi kệch đến già Tôi chẳng dám cấy ruộng bà nữa đâu!
Ruộng bà vừa xấu vừa sâu Vừa bé hạt thóc vừa lâu đồng tiền Tôi về cấy ruộng quan điền Hạt gạo đã lớn, quan tiền trao tay
THE REACTIONS OF VIETNAMESE TRADITIONAL
In the spousal relationship
Considering aspects wife suffered injustice in the spousal relationship, as discussed in Chapter 2, can be attributed to the specific cases as followed:
- The mismatched and incompatible husband
- The widow Before each specific case, the attitudes of traditional Vietnamese women followed:
3.1.1.1 The attitude of the wife toward the unfaithful, polygamous husband
We collected 34 units showing the attitude of traditional Vietnamese woman with unfaithful husbands while 12 units showing resigned attitude, 15 units showing the attitude of resistance and berate, 7 units presented in the backlash overcome prejudices of that time
- The wife in the following song expressed resigned attitude before the husband’s change of heart, though there were frustrations, so she was able only to accept the unfaithful husband
Nói thương mà ở có thương Đi đâu mà bỏ buồng hương lạnh lùng Đêm qua khi lạnh khi nồng, Khi đắp áo ngắn, khi chung áo dài, Bây giờ chàng đã nghe ai Áo ngắn chẳng đắp, áo dài không chung!
- The wife in this case expressed frustrations with betrayed husband to seek a death wish When her husband was sick, she took a devoted care, but when he recovered, he abandoned her causing her immensely frustrations:
Nào khi anh bủng anh beo Tay bưng chén thuốc, tay đèo núi chanh Bây giờ anh mạnh anh lành Anh mê nhan sắc anh đành phụ tôi Thà tôi xuống giếng cho rồi!
- Images of husband disappeared for a long time The wife decided to stop waiting for him and find herself a new happiness
Chàng bạc, chớ thiếp không bạc, Bởi con dao vàng sút ngạc,
Nên đèn hạnh lưu ly…
Thiếp chờ chàng ba bộn năm ni, Chờ không thấy bạn, thiếp phải ra đi lấy chồng
Although roughly the amount was not much, 7/34 units showed us the fierce resistance breakout was easy to force the family’s habits, the feudal rites of the wife to seek their happiness
3.1.1.2 The attitude of the wife toward the mistreating husband
We collected 27 units showing the attitudes of wives with betrayal husbands, mistreated his wife in which 13 units showing conciliatory attitude, resigned in order to defuse for calm family:
Chồng giận thì vợ làm lành, Miệng cười hớn hở hỏi: anh giận gì?
Thưa anh: anh giận em chi?
Muốn lấy vợ bé em thì lấy cho
- Of the 27 units above, there were 9 units showing attitude of resistance at the level of hostility expressed the husband acted badly:
Cái cò là cái cò quăm Mày hay đánh vợ mày nằm với ai
Có đánh thì đánh sớm mai
Chớ đánh chập tối, chẳng ai cho nằm
- 5 units showing the resistance level of ferocious woman who refused to succumb to a violent husband, she wanted to end the injustice of abuse by her husband to terminate marital relations
Xưa kia ở với mẹ cha Cha mẹ yêu dấu như hoa trên cành
Từ ngày tôi ở với anh Anh đánh anh chửi, anh tình phụ tôi Đất xấu nặn chẳng nên nồi Anh đi lấy vợ, cho tôi lấy chồng
Dầu cho chín đụn mười con cũng lìa
3.1.1.3 The attitude of the wife toward the mismatched and incompatible husband
We collected 53 units reflecting the situation the woman got married to a mismatched man, the most common of which was taken to the husband too small (21 units), get too old to be married (19 units), taking husband to stupid, bad (13 units) In such circumstances, the most common reaction of the woman was expressing her disagreement (11 units), charge parents for taking her rich, in place of commercial disproportionate (17 units), especially with 9 units expressed strong resistance above that was wanted lamented breakout constraints of him to find happiness for themselves, specifically through a number of folk poems represent the following:
- The woman expressed her disagreement of her parents’s arragement:
Gà ta xào với mướp già
Vợ hai mươi mốt, chồng đà sáu mươi
Ra đường, chị giễu, em cười
Rằng hai ông cháu kết đôi vợ chồng Đềm nằm, tưởng cái gối bông, Giật mình gối phải râu chồng nằm bên, Sụt sùi tủi phận hờn duyên, Oán cha trách mẹ tham tiền bán con
- Images of women expressed her strong protest by expecting her husband die soon to get married to another “young man”:
Trời mưa nước chảy qua sân, Lấy ông lão móm, qua lần thì thôi
Bao lần ông lão chầu trời, Thì em lại kiếm một người trai tơ…
We also collected 24 units reflecting the woman who had husband gambling, laziness, incompetence, of which 17 showed her disagreement when getting married to a bad man and 7 units expressed strong opposition from women
Trách duyên, lại giận trăng già
Xe tơ lầm lỗi, hóa ra chỉ mành Biết ai than thở sự tình?
Chẳng qua mình lại biết mình mà thôi?
Lấy chồng gặp phải kẻ tồi Cho nên lòng những bồi hồi đắng cay
Cả ngày chỉ rượu say sưa, Khi nay thuốc phiện, khi nay tài bàn
Nói ra mang tiếng phũ phàng;
Nín đi thì não can tràng xiết bao!
- As violently as her husband
Chồng đánh bạc, vợ đánh bài Chồng hai ba vợ, vợ hai ba chồng 3.1.1.4 The widow
Under the feudal rites, the wife had lost her husband to bereave at least 3 years, in addition to other strict rules for women who remarried We have listed 10 units reflecting the attitude of the woman before the rites demanding that she suffered the loss of her husband
- There are 3 units showing her loyalty to the husband of the woman, even if her husband was dead, she was more determined to her husband:
Thiếp vì chàng mới lênh đênh nơi biển ái, Chàng vì thiếp, mới nỗi đạo tâm can
Em đây thủ tiết buồng lan, Dẫu hồn về chín suối, hãy còn mang tượng chồng
- There are 3 units showing the exclamations of women widowed and pre-feudal rites demanding more threatening to force her to three years of their youth:
Lênh đênh chiếc bách giữa dòng Thương thân góa bụa phòng không lỡ thì
Gió đưa cây trúc ngã quỳ,
Ba năm chực tiết còn gì là xuân!
- There is 4/10 expressing wishes of the woman decided to pass strict feudal rites to go one-step further:
Giàu thì thịt cá cơm canh, Khó thì lưng rau đĩa muối, cúng anh tôi đi lấy chồng
Hỡi anh chồng cũ tôi ơi!
Anh có khôn thiêng thì xin anh trở dậy ăn xôi nghe kèn,
Thôi anh đã về nghiệp ấy, anh đừng ghen, Để cho người khác cầm quyền thê nhi
Miệng em khóc, tay em bế ẵm ông thần vì, Tay em gạt nước mắt, tay em thắp nén nhang
Bởi vì đâu mà nên nỗi xót xa muôn vàn!
Married woman crying with words expressing hearts, overcome the pain of loss, the severity of the rites, she determined to go step further and start a new life Folk poems had expressed the desire to express the happy medium location determination to overcome all the roadblocks strict feudal rites so long always grip the woman’s life
Through the above analysis, we can see that the attitudes of wives in traditional society for the injustices of the spousal relationship is very diverse, depending on the particular circumstances, but they have expressed resistance at various levels of the most intense level that leaves her husband actively work to extricate themselves from unjust oppression This suggests that ideological opposition and intense desire happiness in women as well as tradition itself not solely nestled side with her husband.
In the relationship of the daughter and her mother – in – law
Considering the relationship between the woman and the husband’s family, as discussed in Chapter 2, the main conflict through the periods was the conflict between the bride and husband’s mother In particular, the bride was subjected to unjust oppression from mother
We listed 25 units about attitude of woman oppressed, suppressed, even abused by her husband’s mother
- There are 5 units showing the woman’s resignation before the imposition of mother:
Thương chồng phải lụy mụ gia Chứ tui với mụ có bà con chi
- There are 13 units expressing their grievances before the cruel of husband’s mother: Đói thì ăn khế ăn sung Trông thấy mẹ chồng thì nuốt chẳng trôi
- There are 7 units showing the intense opposition of the woman before the cruel of her husband’s mother, the peak of the response was that she wished her mother-in-law would died in order to give her poison
Cô kia đội áo đi đâu?
Tôi là phận gái làm dâu mới về
Mẹ chồng ác nghiệt đã ghê Tôi ở chẳng được tôi về nhà tôi
Làm trâu tế sống mẹ chồng Cái công mẹ đã ẵm bồng chồng con.
In the relationship of parents and their children
In the relationship between parents and children, as analyzed above, have the following main characteristics There are both positive aspects and negative aspects, as discussed in the second chapter In this chapter, we only consider the specific attitude of women before each plot twists circumstances, injustice At the behavioral aspects of a woman with children, also have negative traits, but one of the striking features is the negative pressure will be the charm we analyze in detail later expressed attitudes woman before the imposition of traditions of feudal rites and their parents in love and marriage
In this section, we mainly consider the negative aspects that children treat their parents, particularly the mother and the woman’s attitude in this case the stars
The typical manifestation of the negative behavior of children for mother abandoned her mother when the elderly are not cared for properly, be careful
In that case, our statistics are 6 units reflecting the attitude of women being mistreated children The general response of the woman in this case complained, expressing sadness when children suffer neglect, or false treatment, no good:
Mẹ nuôi con biển hồ lai láng Con nuôi mẹ kể tháng kể ngày
Sống thì con chẳng cho ăn
In the matter of love and marriage
Feudal society with strict rules was sometimes insurmountable roadblocks for women before true love and voluntary marriage Before the ceremony’s religious austerity, we have listed 78 units showing attitude of women before creating roadblocks that prevent them to be with love and happiness, as follows:
- There are 12 units showing the woman’s attitude to arranged marriage, even in the case of the girl who had been in love, but their parents do not agree, she chose to obey their parents without protest:
Em thương anh cha mẹ không cho Tìm nơi khuất tịch khóc no rồi về
The woman in the song immensely saddened by the prohibition of the parents; she could only give herself permission to cry in her heart and would never have anything to react to the imposition
Tiếc thay con người da trắng tóc dài Bác mẹ gả bán cho người đần ngu
The woman in the song was typical on the fate of countless women in feudal society conditioned by parents forced to marry a man whose age mismatched, suffer bitter misery in husband’s family without any opposition
- There are 17 units expressed hesitancy, pain, blame her parents for her sufferings
Ba tàn ba héo vì cây Con sầu vì mẹ vì thầy ép duyên
Dòng nước chảy xuôi, con cá buôi lội ngược Dòng nước chảy ngược, ông Nược vượt theo
Hai đứa ta chẳng quản giàu nghèo Ngặt vì cha mẹ cứ theo cựu truyền
In addition to blaming parents, folk poems also showed the inability of the the woman before the parents’s arragement and feudal rites Listen to her parent’s wishes was her only option Listen to “the traditions” that the children must follow from the past to now, has become a way of thinking, a tradition She scolded, you want to protest, but said his health could not resist that big powers should want to share the pain
- We have also been three units howing the woman’s attitude of waiting until their parents agreed This is despite the soft attitude behavior directly but on the inside it potentially a strong protest It was a resistance though not directly expressed opposition Ông trời năng mưa, năng vận chuyển Đất cát ngoài biển, năng lở năng bồi Đôi ta yêu lỡ nhau rồi Chàng than thiếp thở, phụ mẫu ngồi sao yên?
This was how intelligent behavior of the woman, in an indirect way against the imposition of feudal rites of the parents to their happy hundred years
- We also collected 47 units showing the reaction directly of the woman holding conditions 47/ 79 units showing a woman in traditional society was largely reactive and fierce resistance to forced conditions Especially in the cases of 47 units in this section, there are 21 units showing that despite the objections of parents, feudal rites, the woman has decided to get married based on love her
These examples of folk poems express the protest of women when being pressed:
Cơm sôi bớt lửa kẻo trào
Mẹ ơi khoan bán, má đào đang non
Cơm ăn hai bát, bát ăn bát để Đũa so hai đôi, đôi đứng đôi nằm Dầu mà thầy mẹ đập chín chục một trăm Đập rồi lại dậy quyết tâm lấy chàng
The tone seems gentle but it was not so, that was in the mood of explosion of the girl, she would hide the protests paralyzed but certain patches would not listen according to the arrangement of his parents As for question, the protest was clear, though parents have beaten no restrictions to where the woman was also determined to be taken by his lover
3.2 The reactions of Vietnamese traditional women toward the unjust behaviors in social relationships
In the relationship of the king as well as feudal lords and ordinary
As well as the relationship between working people and the landlord class, the basic conflict between farmers and feudal lords was conflicted about social status and economic interests, in which the conflict of social status was more fundamental Conflicts often occur by officials of harassment, exploitation, oppressed people in the main attitude of the people before the negative behavior that is not directly protest the indifference of attitude and hiding, looking for ways to not involved in the county
Suffer from oppression in such relationships, women who had reacted as followed:
Expressing the attitude ironicness those who did not lead a good life but disturbed people, especially girls and women: Đẻ đứa con trai, Chẳng biết nó giống ai?
Cái mặt thì giống ông cai, Cái đầu ông xã, cái tai ông trùm
They also expressed strong opposition in case of infringement of the government:
Gió đưa bụi chuối tùm lum Chồng cô đi khỏi ông trùm tới chi?
Tới đây ông hãy ngồi đây Ông mà lếu láo gậy mây lên đầu
Before unfair, unreasonable rules of feudal state, the woman had expressed strong protest:
Tháng tám có chiếu vua ban Cấm quần không đáy người ta hãi hùng
Không đi thì chợ không đông, Đi thì phải lột quần chông sao đang!
Có quần ra quán bán hàng, Không quần ra đứng đầu làng trông quan
However, these folk poems expressed the attitude of the woman in the relationship with the feudal lords are not much, but over here we also saw the disdain and willingness to protest in many different forms of irrationalities of society at that time
3.2.2 In the relationship of landlords and peasants
Folk poems reflect the relationship between the employer and employee established in terms of economic, social position Therefore, the main conflict between the two objects was contradictory in terms of economic benefits and social behavior In such a social context, women were mistreated, suppressed, exploited even heavier men because they were lower class having no rights to raise her voices
Before the mistreatment, the exploitation of such common reactions of women who complained of the injustice of fate, the misery suffered themselves:
Làm thì chẳng kém đàn ông Thế mà kém gạo, kém công, kém tiền
Then there was also the anonymous act of defiance against property owner:
Trả đủ gạo đủ tiền Thì ta sẽ cấy cho liền hàng sông Nếu mà bớt gạo bớt công Thì ta cấy ruộng hàng sông ta về
The reason for opposition was that peasants were often suppressed by property owners while women do so although not want to have to keep a job because of rice and clothing pieces
There were also cases of women who were oppressed expressed resistance directly as below:
Có ăn vất vả đã cam Không ăn ta nghỉ, ta về nhà ta
Bớt đồng thì bớt cù lao Bớt ăn bớt uống thì tao bớt làm
Từ nay tôi kệch đến già
Tôi chẳng dám cấy ruộng bà nữa đâu!
Ruộng bà vừa xấu vừa sâu Vừa bé hạt thóc vừa lâu đồng tiền Tôi về cấy ruộng quan điền Hạt gạo đã lớn, quan tiền trao tay
These statements suggest that reactions of the woman of being oppression, exploitation Workers sometimes also chose the way that responsed by the burners we all still need people working for them when they do not do it for themselves and it was clear the real wealth of the landlords
3.3 Sub-conclusion For residents of rice farming, dominated by the concept of yin and yang, so the elements earth, water, clouds, rain, etc are negative concept - the female reproductive function Therefore, the traditional culture of Vietnam, the status of the woman was very especially high Woman in Confucianism were opposed to the Vietnam traditional cultural, so our people protested violently
Along with the movement to protect cultural importance of ethnic women, the women who did not hesitate to speak out against the injustices that Woman in traditional society folk used to bug confided his heart, sending her aspirations
The woman female group agreement: they are realistic woman, resourceful, filial piety, altruism rich, devoted husband, because I embody the beauty of the national culture is a mirror enlighten people learn It was the self- conscious woman, who values herself, asserts their true value in the welfare of the family, in human moral, social and cultural in traditional Vietnam on the other hand is the act event fight against binding, despised, scorned women feudal standpoint exotic Through group of women, we see reality against feudal society no longer commonly ethics as “three obediences”, “four virtues” anymore: children do not listen to parents, wives to husbands not hold true religion, people disregard important sub-samples, etc all upside down If women’s groups agree that women who adhere to the feudal rites that are not happy, then the second group is the act of the woman carrying the spirit of rebellion, smashed, negative to liberate them according their rites before all bonds of life Thus, women in traditional society highly conscious about themselves, they know to comply with order, rules of society, but not at the mercy of his life according to the rites that
Vietnamese woman in traditional societies is the subject of many intensive research scholars of both domestic and abroad ones for a long time in many different angles, based on the different sources has resulted in many different conclusions which are not uniform as stated above
Derived from the original purpose of the study was to clarify the status of Vietnamese women in traditional society and then compare results with published studies, we have looked at the women from two angles: objective and subjective perspective From an objective perspective is to clarify the role of the position of women in traditional society through the understanding of the role of their position in the relationship of love, family, and society From the subjective perspective is to understand how women perceived themselves based upon attitudes or resistance according to the standards that society set for them in the above relationships We have identified the following conclusions:
- From an objective perspective to evaluate the status of women through Vietnamese traditional folk shows us some remarkable characteristics as followed:
Confucianism was the most influential element on the role of women in traditional societies In fact, the concept “three obedience”, “four virtues” has become the standard of evaluating the women despite only on a superficial way Many rites were only formal rather than mandatory, so the Vietnamese traditional women did not always have to follow the strict rules that as the Chinese women at the same time
Our people still attached great importance to women in the Vietnamese society This concept had its roots in natural conditions, forms of economic production, social organization, spiritual consciousness, and the survival of the family from the great role of women They were actual strength, the will to fight foreign invaders, in ensuring the production, in the construction of the traditional moral values of the nation, in cohesive family life, relationships, during storage and spreading the values of national culture from generations to generations, etc They were the beauty, the civilization of the nation, the value of social history and cultural importance
- From the subjective perspective of the woman to evaluate them, we draw some comments as followed
From the subjective perspective, we have sees two emerging trends: the trend of obeying and the trend of disobeying Women’s groups who agreed to follow all rules of feudal rites while the others who had thoughts, feelings, actions contrary to the feudal rites, did not follow social rules
Through further investigation, we found that: along with the movement to protect cultural importance of the nation Woman in traditional society used to confide her heart, send her aspirations While the women of the obeying group was the symbol of female beauty and ethnic culture as well as a mirror enlightens people to learn, through women’s disobeying groups the feudal social reality was not as ethical diamonds as usually “three obedience”, “four virtues” anymore Women’s obeying groups were the women who adhere to the feudal rites that are not happy, then the second group with rebellious spirit to free themselves from the constraints Thus, women in traditional society were highly conscious about themselves, they know to comply with order, rules of society, but not at the mercy of their life according to the rites
To conclude, through the process of research, we found that the actual role of traditional Vietnamese women within the family was great They assumed an important role in the care of family life, as well as in the domestic work in general Woman in Vietnamese feudal society can experience the disadvantages of not going to school and not being involved in the national social work, their range was mainly within family However, the offset within the family, they took on the important role and missions, so that in fact, they also had an important position in the life of Vietnam traditional family
Sub-conclusion
of the woman was very especially high Woman in Confucianism were opposed to the Vietnam traditional cultural, so our people protested violently
Along with the movement to protect cultural importance of ethnic women, the women who did not hesitate to speak out against the injustices that Woman in traditional society folk used to bug confided his heart, sending her aspirations
The woman female group agreement: they are realistic woman, resourceful, filial piety, altruism rich, devoted husband, because I embody the beauty of the national culture is a mirror enlighten people learn It was the self- conscious woman, who values herself, asserts their true value in the welfare of the family, in human moral, social and cultural in traditional Vietnam on the other hand is the act event fight against binding, despised, scorned women feudal standpoint exotic Through group of women, we see reality against feudal society no longer commonly ethics as “three obediences”, “four virtues” anymore: children do not listen to parents, wives to husbands not hold true religion, people disregard important sub-samples, etc all upside down If women’s groups agree that women who adhere to the feudal rites that are not happy, then the second group is the act of the woman carrying the spirit of rebellion, smashed, negative to liberate them according their rites before all bonds of life Thus, women in traditional society highly conscious about themselves, they know to comply with order, rules of society, but not at the mercy of his life according to the rites that
Vietnamese woman in traditional societies is the subject of many intensive research scholars of both domestic and abroad ones for a long time in many different angles, based on the different sources has resulted in many different conclusions which are not uniform as stated above
Derived from the original purpose of the study was to clarify the status of Vietnamese women in traditional society and then compare results with published studies, we have looked at the women from two angles: objective and subjective perspective From an objective perspective is to clarify the role of the position of women in traditional society through the understanding of the role of their position in the relationship of love, family, and society From the subjective perspective is to understand how women perceived themselves based upon attitudes or resistance according to the standards that society set for them in the above relationships We have identified the following conclusions:
- From an objective perspective to evaluate the status of women through Vietnamese traditional folk shows us some remarkable characteristics as followed:
Confucianism was the most influential element on the role of women in traditional societies In fact, the concept “three obedience”, “four virtues” has become the standard of evaluating the women despite only on a superficial way Many rites were only formal rather than mandatory, so the Vietnamese traditional women did not always have to follow the strict rules that as the Chinese women at the same time
Our people still attached great importance to women in the Vietnamese society This concept had its roots in natural conditions, forms of economic production, social organization, spiritual consciousness, and the survival of the family from the great role of women They were actual strength, the will to fight foreign invaders, in ensuring the production, in the construction of the traditional moral values of the nation, in cohesive family life, relationships, during storage and spreading the values of national culture from generations to generations, etc They were the beauty, the civilization of the nation, the value of social history and cultural importance
- From the subjective perspective of the woman to evaluate them, we draw some comments as followed
From the subjective perspective, we have sees two emerging trends: the trend of obeying and the trend of disobeying Women’s groups who agreed to follow all rules of feudal rites while the others who had thoughts, feelings, actions contrary to the feudal rites, did not follow social rules
Through further investigation, we found that: along with the movement to protect cultural importance of the nation Woman in traditional society used to confide her heart, send her aspirations While the women of the obeying group was the symbol of female beauty and ethnic culture as well as a mirror enlightens people to learn, through women’s disobeying groups the feudal social reality was not as ethical diamonds as usually “three obedience”, “four virtues” anymore Women’s obeying groups were the women who adhere to the feudal rites that are not happy, then the second group with rebellious spirit to free themselves from the constraints Thus, women in traditional society were highly conscious about themselves, they know to comply with order, rules of society, but not at the mercy of their life according to the rites
To conclude, through the process of research, we found that the actual role of traditional Vietnamese women within the family was great They assumed an important role in the care of family life, as well as in the domestic work in general Woman in Vietnamese feudal society can experience the disadvantages of not going to school and not being involved in the national social work, their range was mainly within family However, the offset within the family, they took on the important role and missions, so that in fact, they also had an important position in the life of Vietnam traditional family
Based on the above statement, I support the scholars who said that the status of Vietnamese women in traditional societies is relatively high in comparison to the position of men, especially within the home family
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26 Vu Ngoc Khanh, Mai Ngoc Chuc and Pham Hong Ha (2002), Nữ Thần và Thánh Mẫu Việt Nam, The youth Publishing House, Ha Noi
27 Nguyen Xuan Kinh (1992), Thi Pháp ca dao, Social sciences Publishing House, Ha Noi
28 Nguyen Xuan Kinh, Phan Dang Nhat (chief editor) (1995), Kho tàng ca dao người Việt (episode 1), Culture and information Publishing House,
29 Nguyen Xuan Kinh, Phan Dang Nhat (chief editor) (1995), Kho tàng ca dao người Việt (episode 2), Culture and information Publishing House,
30 Nguyen Xuan Kinh, Phan Dang Nhat (chief editor) (1995), Kho tàng ca dao người Việt (episode 3), Culture and information Publishing House,
31 Nguyen Xuan Kinh, Phan Dang Nhat (chief editor) (1995), Kho tàng ca dao người Việt (episode 4), Culture and information Publishing House,
32 Nguyen Xuan Kinh, Phan Dang Nhat (chief editor) (2002), Tổng tập VHDG người Việt (episode 15), Culture and information Publishing House, Ha Noi
33 Nguyen Xuan Kinh, Phan Dang Nhat (chief editor) (2002), Tổng tập VHDG người Việt (episode 16, book1), Culture and information Publishing House, Ha Noi
34 Nguyen Xuan Kinh, Phan Dang Nhat (chief editor) (2002), Tổng tập VHDG người Việt (episode 16, book 2), Culture and information Publishing House, Ha Noi
35 Phan Khoi (1929), Chữ Trinh: Cái tiết với cái nết, Phụ nữ tân văn, number 2, Sai Gon
36 Phan Khoi (1931), Tống Nho với phụ nữ, Phụ nữ tân văn, number 18, Sai Gon
37 Ma Giang Lan (2012), Tục ngữ ca dao Việt Nam, Literature Publishing House, Ha Noi
38 Nguyen Tan Long – Phan Canh (1970), Thi ca bình dân Việt Nam, New life Publishing House, Sai Gon
39 Pham Viet Long (2000), Tục ngữ, ca dao và việc phản ánh phong tục tập quán người Việt, University of social sciences and humanities Publishing House, Ha Noi
40 Luu Thi Nu (1992), Người phụ nữ qua những hình ảnh so sánh trong ca dao Việt Nam, Graduation thesis, Multi-department university, Ha Noi
41 Tran Dinh Ngon (1998), "Con mắt trong tục ngữ, ca dao với ngôn ngữ tạo diện hình ảnh", Folkore magazine, number 7, P.23-25
42 Trieu Nguyen (1999), Tiếp cận ca dao bằng phương thức xâu chuỗi theo mô hình cấu trúc, Thuan Hoa Publishing House, Hue
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45 Bui Van Nguyen (1978), Lịch sử văn học Việt Nam, Education Publishing House, Ha Noi
46 Nguyen Anh Nguyet (2001), Nghiên cứu đặc điểm thi pháp cấu trúc ca dao trữ tình người Việt, Master thesis, Thai Nguyen Synthetic University
47 Le Thi Nguyet (2008), Nét đẹp của người phụ nữ trong ca dao cổ truyền người Việt, Master thesis, Thai Nguyen Synthetic University
48 Vu Ngoc Phan (1997), Hợp tuyển thơ văn Việt Nam tập I phần văn học dân gian, Literature Publishing House, Ha Noi
49 Vu Ngoc Phan (1998), Tục ngữ ca dao dân ca Việt Nam, Social sciences Publishing House, Ha Noi
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51 Tran Ngoc Them (2006), Tìm về bản sắc văn hóa Việt Nam, Ho Chi Minh City Publishing House, Ha Noi
52 Tran Ngoc Them (1999), Cơ sở văn hóa Việt Nam, Education Publishing House, Ha Noi
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61 Tran Quoc Vuong (1972), Truyền thống phụ nữ Việt Nam, The woman Publishing House, Ha Noi
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1 http://tailieutonghop.com/free/tags.php?tag=download+b%E1%BB%99+l u%E1%BA%ADt+h%E1%BB%93ng+%C4%91%E1%BB%A9c
2 http://diendan.vnthuquan.net/m44207.aspx; Gia huấn ca (Nguyen Trai) 28.02.2005 17:19:22
TABLE OF CLASSIFICATION OF TRADITIONAL VIETNAMESE WOMEN’S FOLK POEMS
The folk poems reflect the feelings of women in favorable circumstances, loving feelings
1 Ai đi đắp bờ một mình Phất phơ chéo áo giống hình phu quân
2 Ai làm cho nước chảy xuôi Cho thuyền xuôi ngược cho người nhớ nhau
Chàng đi để thiếp sao đành Thiếp xin khóa cửa, buông mành thiếp theo
3 Ai về cuốc đất trồng cau Cho em vun ké dây trầu một bên Chừng nào trầu nọ bén lên Cau kia bén trái lập nên cửa nhà
4 Ai về đằng ấy hôm mai Gửi dăm cái nhớ, gửi vài cái thương Gửi cho đến chiếu đến giường Gửi cho đến tận quê hương chàng nằm Vắng chàng em vẫn hỏi thăm
Nơi ăn đã vậy, nơi nằm làm sao?
5 Anh Ba yêu đến tôi chăng?
Gió đưa trăng là trăng đưa gió Thung thăng cá vượt qua đăng Xin đừng lắm chốn, nhiều nơi nhỡ nhàng
6 Anh có muốn gần em, em vẽ chước cho Cầm một buồng cau, chai rượu, anh giả đò đến chơi
7 Anh đi chơi nhởn đâu đây?
Phải cơn mưa này ướt áo lấm chân
Em chờ anh rửa xong chân anh vào nhà Vào nhà em hỏi tình ta
Trăm năm duyên ngãi mặn mà hay không?
8 Anh đi cởi áo bỏ phòng Áo gửi em giặt cởi vòng em thay
9 Anh đi làm thợ nơi nao Để em gánh đục gánh bào đi đưa Trời nắng cho chí trời mưa Để em cởi áo che mưa cho chàng
10 Anh kia gánh lúa một mình
Cho em gánh với hai mình cho vui Anh còn gánh nữa hay thôi
Cho em gánh với làm đôi bạn tình
11 Anh như táo rụng sân đình
Em như gái rở đi rình của chua
12 Anh ơi anh hãy mau mau
Buồng cau con lơn cưới nhau đi rồi
13 Anh ơi chua ngọt đã từng
Non xanh, nước bạc ta đừng quen nhau
The folk poems reflect the feelings of both female and male, singing alone in favorable circumstances, loving feelings
1 Ai đi đâu đấy hỡi ai
Hay là trúc đã nhớ mai đi tìm
2 Ai giàu xe ngựa mặc ai Đôi ta đi bộ đường dài thích hơn
3 Ai kêu vòi vọi bên tai
Tôi đang bắt chấy cho người tình nhân
4 Ai sang đò ấy bây giờ
Ta còn ở lại ta chờ bạn ta Mưa nguồn chớp biển xa xa ấy ai là bạn của ta ta chờ
5 Anh còn son em cũng còn son Ước gì ta được ở làm một nhà
Bát canh anh ăn nó ngọt như là mật ong Đôi đũa anh ăn em vót đòng đòng Cái tăm anh chẻ như là cần câu
7 Bây giờ ta gặp nhau đây
Như con cá cạn gặp ngày trời mưa
8 Bây giờ trầu lại gặp cau
Cũng mong ta ở với nhau một nhà Bây giờ bướm lại gặp hoa
Xin đừng trở ngại gần xa mọi đường
9 Bấy lâu vắng mặt khát khao
Bây giờ thấy mặt mừng sao hỡi mừng
10 Bên kia sông quê anh An Thái
Bên này sông quê gái An Vinh Thương nhau chung dạ chung tình Cầu cha mẹ ưng thuận cho hai đứa mình lấy nhau
11 Bên Tĩnh có quán chợ Đình
Em về chung ý chung tình với anh
12 Bữa nay loan phụng hiệp bầy
Hò chơi nhơn đạo sau vầy nhơn duyên
13 Bước đi một bước lại ngừng Đôi ta tính liệu cầm chừng đợi nhau
14 Cành đào lá liễu phất phơ Đôi ta thương nhớ đợi chờ nhau đây
15 Cành đào lá liễu phất phơ Đường đi khuất nẻo, ai ngờ gặp nhau Gặp nhau ăn một miếng trầu
Còn hơn đám cưới mổ trâu ăn mừng
16 Cao li sắc với ngưu hoàng
Uống không mát dạ bằng thiếp với chàng gặp nhau
The folk poems reflect the feelings of women in unfavorable circumstances Đến bây giờ trách lỗi cho nhau Hai nhà có cách xa đâu
An Vinh, An Thái còn câu hẹn hò Dòng sông chung một con đò Sao anh tiếc của chẳng đưa đồ hỏi xin
2 Ai bưng bầu rượu tới đó
Phải chịu khó bưng về
Em thương anh thảm thiết trăm bề Heo vay cau tạm áo mượn võng thuê Thầy mẹ bên em nay nhún mai trề
Dạ không nỡ dạ, em không dám chê anh nghèo
3 Ai đi giống dạng anh đi
Giống chân anh bước, ruột em thì quặn đau
4 Ai làm Ngưu Chức đôi đàng Để cho quân tử đa mang nặng tình Thuyền quyên lấp ló dạng hình
Em đàng chẳng chịu gửi mình cho anh Trách ai nỡ phụ lòng thành Đêm nằm thổn thức tam canh ưu sầu
Ai làm ra cuộc biển dâu Gối luông chẳng đặng giao đầu từ đây
5 Ai qua quán Trắng, phố Nhồi Để thương, để nhớ cho tôi thế này!
Trèo lên cây khế nửa ngày
Ai làm chua xót lòng này khế ơi!
Bây giờ tôi đứng người ngồi Con dao lá trúc bình vôi têm trầu
6 Anh buồn có chốn thở than
Em buồn như ngọn đèn tàn thắp khuya
7 Anh có thương em thì thương cho trót
Có trục trặc gì thì trục trặc cho luôn Đừng làm theo thói ghe buôn
8 Anh có vợ rồi sao anh còn gian còn giấu
Em vạch mây hồng kêu thấu ông trời xanh Anh đừng lấy vải thưa che mắt thánh, nói gái nữ thanh đui mù
Người ngay không ở quấy Gái chính chuyên chẳng lấy hai chồng Biết em buông mối chỉ hồng
Tiếc cho anh đi chậm, nên đứng ngoài phòng bơ vơ
10 Anh kia lịch sự đi đàng
Mời anh hãy ghé vào hàng nghỉ ngơi Tay nâng chén rượu toan xơi
Tay gạt nước mắt: thiếp ơi, chàng về!
Chàng về thiếp cũng như mê Thiếp ở chàng về chàng nghĩ làm sao Đôi bên đông liễu tây đào
Dạ sầu ngao ngán làm sao bây giờ?
11 Anh đừng chê em nghèo không nơi nương tựa
Mà kiếm nơi giàu lên ngựa xuống xe
12 Anh đừng có bỏ giọng trầm Đừng ham tiếng ngọt mà cầm duyên em
13 Anh như con một nhà giàu
Em như tờ giấy bên Tàu mới sang Anh như con một nhà quan
Em như con én lạc đàn ngẩn ngơ Anh như chỉ gấm thêu cờ
Em như rau má nở bờ giếng khơi Cho nên chả dám ngỏ lời
Người chê rằng bạc, kẻ cười rằng khinh
14 Anh nói em cũng nghe anh
Bát cơm đã chót chan canh mất rồi!
Nuốt đi đắng lắm anh ơi
Tội trời đã có người mang Ước gì ta lấy được chàng, chàng ơi!
Bây giờ ba ngả bốn nơi Thiếp tôi bên này trong then ngoài khóa Thiếp chàng bên ấy có thỏa hay không?
Trách đường dây thép không thông Gửi thư, thư biệt, gửi lời, lời bay Nhạn ơi trăm sự nhờ mày
Ngậm thư mang tới tận tay cho chàng Chẳng may chim nhạn lạc đàn
Chim trời bay mất, để chàng nhớ mong
15 Anh ơi, quần áo rách tả tơi mỗi nơi một miếng Đứt chín đoạn lòng, nghe một tiếng anh than
16 Anh về kiếm nợ kẻo già
Kiếm con kẻo muộn, em đà có đôi
17 Anh về ở ngoải chi lâu
Chiều chiều em đứng hàng dâu ngó chừng Hai hàng nước mắt rưng rưng
Chàng xa thiếp cách dậm chân kêu trời Vắn hơi kêu khổng tới trời
Nghĩa ra đằng nghĩa, duyên rời đằng duyên
18 Anh về rẫy vợ anh ra
Con anh thơ dại thì đà có em Anh đã dẫy vợ anh rồi
Con anh thơ dại mặc đời nhà anh
Vợ anh như thể cột nhà Anh còn tình phụ nữa là thân em
19 Áo anh khô không mưa sao ướt
Bởi anh chậm bước nên thầy mẹ gả em đi Bảo anh đi chợ Phù Li
Sao anh lỡ hẹn lại đi chợ Gồm
Sao chàng lại để cho người giằng co Chả tin tôi đáp xuống đò
Lánh người Lưu Thủy, gặp đồ Sở Khanh
21 Ba bốn nơi sang cả, phụ mẫu em đành gả
Em chắp tay: khoan đã, chưa tới căn phần Phụ mẫu nói em bất tôn giáo hóa, đem treo cây bần cho kiến bu
22 Ba đồng một mớ trầu cay
Sao anh chả hỏi những ngày còn không Bây giờ em đã có chồng
Như chim vào lồng như cá cắn câu
23 Bạn hẹn với ta mồng bốn tháng giêng
Trông hoài không thấy bạn hiền vãng lai Đồ chừng mồng bốn tháng hai Ngày xuân con én đưa thoi muộn rồi Tháng ba tháng tư không đến thì thôi Chim quyên thỏ thẻ từng đôi vợ chồng Tháng năm tháng sáu trời hạ nắng nồng
Ve sầu dắng dỏi ngày trông đêm chờ Tháng sáu tháng bảy là tiết sương mờ Gió tây hiu hắt ta chờ bạn ta
Tháng chín, tháng mười gió táp mưa sa Ruộng tràn nước bạc, hai đứa ta xa rồi Tháng mười một, tháng chạp nhớ bạn lắm, bạn ơi!
Ngày đông gió lạnh, xa bạn rồi còn chi Đêm nằm tính lại tính đi
Năm thì mười hai tháng, mùa y bốn mùa Sợi chỉ khâu ai khéo thêu thùa Đắng cay dạ ngọc, xót xa lòng vàng
24 Biết là nông nổi nước ni
Trao duyên cho bạn từ khi nên mười
25 Biển Đông sóng bủa cát rùa
Em sánh đôi chẳng đặng em lên chùa tu
26 Bởi vì chàng cho nên thiếp quá
Không có chàng thiếp đã có nơi Khi tê ai mượn chàng quyến luyến mà nay lại thôi
Dùng dằng khó dứt, phận lỡ duyên ôi ai đền?
27 Buổi mai em xách cái giỏ
Em xuống dưới ao em bắt con cua
Em bỏ vô cái thõng, hắn kêu cái rỏng Hắn kêu cái rảnh, hắn kêu một tiếng chàng ơi!
Chàng đà yên phận tốt đôi
Em nay lẻ bạn mồ côi một mình
28 Bước xuống ruộng sâu nỡ sầu tấc dạ
Tay ôm bó mạ, nước mắt hai hàng
Ai làm nỡ chuyến đò ngang Cho sông cạn nước đôi đàng biệt li
Khăn rơi xuống đất Khăn thương nhớ ai Khăn vắt lên vai Khăn thương nhớ ai Khăn chùi nước mắt Đèn thương nhớ ai
Mà đèn không tắt Mắt thương nhớ ai Mắt không ngủ yên Đêm qua em những lo phiền
Lo vì một nỗi không yên một bề
30 Khô héo lá gan, vàng cây đỉnh Ngự
Vơi đầy giọt lên, đục nước sông Hương Lòng em luống những đoạn trường Nghe con chuốc chuốc kêu sương mùa hạ, tình thảm nỗi thương càng đầy Đương cơn sóng gió chia vàng giữa sông
Ví dù chàng ở có công Thời em lập miếu giữa sông mà thờ