THE VIETNAMESE FOLK

by

Dương Đình Khuê

LITERATURE

TABLE OF CONTENTS
FOREWORD ............................................................................................................................................................. 2
PART ONE : THE PROVERBS....................................................................................................................... 12
GENERAL FEATURES......................................................................................................................................... 12
CHAPTER I : MORAL PRECEPTS .................................................................................................................. 16
CHAPTER I I : PSYCHOLOGICAL OBSEVATIONS....................................................................................... 36
CHAPTER III. : SOCIOLOGICAL AND GEO-HISTORICAL OBSERVATIONS......................................... 53
CHAPTER IV : METEOLOGICAL AND ECONOMIC ................................................................................... 62
OBSERVATIONS. .................................................................................................................................................. 62
PART TWO : T H E F O L K S O N G S...................................................................................................... 70
GENARAL FEATURES ....................................................................................................................................... 70
CHAPTER V : MORAL SONGS...................................................................................................................... 75
CHAPTER VI : ROMANTIC SONGS............................................................................................................ 91
CHAPTER VII : INSTRUCTIONAL SONGS ............................................................................................. 164
CHAPTER VIII : SPECIAL SONGS ............................................................................................................... 187
PART THREE : THE TALES OF OLDEN TIMES..................................................................................... 201
GENERAL FEATURES.................................................................................................................................... 202
CHAPTER I X : INSTRUCTIONAL TALES................................................................................................ 204
CHAPTER X : EDUCATIONAL TALES. .................................................................................................... 234
CHAPTER X I : ENTERTAINING TALES. .................................................................................................. 287
CONCLUSION...................................................................................................................................................... 361
BIBLIOGRAPHY.................................................................................................................................................. 363

FOREWORD

In my previous work, The Masterpieces of Vietnamese Literature,
I endeavored to reveal to the foreign reader the wealth of our ancient
written literature. Although I was determined to confine myself to the
simple role of translator, I have been induced to set forth briefly the
psychology of these scholars of old, their conception of life, their moral
principles, their reasons for joy or sadness. They were undoubtedly the
elite of our nation ; nevertheless, I did not point out that their literary
works interpreted somewhat imperfectly the very psychology of the
Vietnamese people taken as a whole. Heirs and defenders of the
philosophical teachings which had come from China, the Vietnamese
scholars somehow remained detached from the strong currents of ideas
and feelings that stirred up the heart of the nation. Of course, there were
continual exchanges between the Chinese contribution and the native
thought, especially since the middle of the 18th century; however, these
were still not sufficient for the scholars' literature to represent in itself
the true Vietnam of old.
Besides, the reader may have noticed that the scholars, works
have been mainly concerned about metaphysical, psychological and
moral subjects : family, fatherland, love, man's destiny, the vanity of all
mankind's trifles, and so on. Very little was written about the
Vietnamese people's social and economic life, habits and customs. That
was certainly an aristocratic attitude, but it also left a deplorable gap,
fortunately filled by the folk literature. The study of the later thus
promises to offer a considerable psychological and sociological interest.
It is known that the folk literature includes proverbs, songs and
ancient tales. What qualifies these works as folk literature ?
One would be tempted to answer : the anonymity of their authors,
or rather their collective authorship. Nevertheless, we must realize that
a proveb, a song or a tale is necessarily created first by somebody,
usually anonymous, but sometimes well known too. For example, the
following proverb taken in the Gia Huấn ca of Nguyễn Trãi :
Thương người như thể thương thân
Have compassion for others as for yourself
or the following song :

Gối rơm theo phận gối rơm,
Có đâu dưới thấp mà chồm lên cao ?
The straw pillow has to stay in the position of a straw pillow,
How dares it jump up from its lowly position to a higher one ?
taken from the Lục Vân Tiên by Nguyễn Đình Chiểu.
Therefore, the main characteristic of the folk literature is that such
a proverb, song or tale has fallen into the public domain, is present on
all tongues, in all memories, in fact because it perfectly reflects
everybody's ideas and feelings. So, in my opinion, it would be better to
replace the criterion of collective creation by that of public appropriation. I do not mean to say that the folk literature is not sometimes
the result of a collective creation, for its present wording is probably not
the original wording which must have undergone many modifications
throughout the centuries.
Can we date the folk literature's works ? This erudite question is
extremely difficult. Some writers (particularly Trương Tửu in his Kinh
Thi Việt Nam) have tried to solve it by following three clues :
1. The Language :
a/ The folk works containing no Sino-Vietnamese word would
have dated back to prehistoric times. For instance, the following song :
Lạy trời mưa xuống
Lấy nước tôi uống
Lấy ruộng tôi cầy,
Cho đầy nồi cơm.
Pray Heaven let it rain
To give us water to drink
To fertilize our rice fields,
And so to fill our rice pots.
b/ In contrast, works having any Sino-Vietnamese word would
date back to the Chinese domination or the succeeding independence
period.

2. The psychological tendency :
a/ The unsophisticated works would belong to the prehistoric
period because in those ancient times the Vietnamese people lived very
simply under the patriarchal or even matriarchal system, without any
conflict of interests or emotional problems. For instance , the following
song :
Ông tiển ông tiên
Ông có đồng tiền
Ông giắt mái tai
Ông cài lưng khố
Ông ra hàng phố
Ông mua miếng trầu
Ông nhai tóp tép,
Ông mua con chép
Về ông ăn cơm
Ông mua mớ rơm
Về ông để thổi
Ông mua cái chổi
Về ông quét nhà
Ông mua con gà
Về cho ăn thóc
Ông mua con cóc
Về thả gầm giường
Ông mua nắm hương
Về ông cúng cụ.
Mr. So and So is as happy as an angel
He has some coins
That he puts close by his ears
Or hides in his loin cloth.
He goes out into the street
To buy a quid of betel
That he chews noisily.
He buys a carp
That he will eat with rice
He buys a bundle of straw

To be burnt in the kitchen.
He buys a broom
To sweep his house
He buys a chicken
That he wil feed with unhusked rice.
He buys a toad
To be released under his bed.
He buys a stich of incense
To be burnt on the altar of his ancestors.
b/ With the Chinese domination Confucianism was introduced into
Vietnam. It is a rationalist philosophy preaching an authoritative
regime in society and family, and the supremacy of reason over instinct.
The Vietnamese people reacted with mischievous jests against this stern
discipline so unsuited to their temperament, good-hearted and freedomloving. The following song is an example :
Gái chính chuyên lấy được chín chồng
Vê viên bỏ lọ gánh gồng đi chơi.
Không may quang đứt lọ rơi,
Bò ra lổm ngổm chín noi chín chồng.
The virtuous woman has married nine husbands
She kneads into balls, put them in a jar to carry with her
in a basket 1 when she strolls along the streets.
Unfortunately, the basket trap breaks, and down falls her jar
From which crawl in turmoil her nine husbands
in nine different directions.
c/ After freeing herself from Chinese domination, the independent
Vietnam had no time to relax into a peaceful life. Compelled to endure a
deadly struggle against her too powerful Northern neighbour, she had
also to expand her “vital space” southward because of her fast-growing
population. Of a thoroughly peaceful nature, the Vietnamese people had
thus been forced to live in a state of continuous alarm and to prepare all
1

The traditional way to carry heavy loads in Nord Vietnam is by means of two
baskets suspended at the ends of a six-feet long bamboo pole which the carrier
balances on his left or right shoulder.

their sons for the battle front. Only the privileged class, the scholars
unfit for physical exertion, and the women remained at home. The latter
group therefore monopolized the economic power, and attained a much
stronger position in both society and family than that allowed by the
Confucianist philosophy and the moral or legal regulations that derived
from it. Thus, the very important role given to women in folk tales and
songs is understandable, a role that is placed rather low in both the
Chinese literature and the works of the Vietnamese scholars.
3. The shift in rythm in the folk songs.
Indeed, Trương Tửu asserts that the 6/8 rythm, so characteristically Vietnamese, does not date back to as early as the foundation
of the Vietnamese nation. Rather, it has been the result of a long
metamorphosis. For instance, in the song quoted above :
Lạy trời mưa xuống
Lấy nước tôi uống
Lấy ruộng tôi cầy
Cho đầy nồi cơm
if the first two verses are completely irrelevant to the 6/8 rythm, the
third and fourth ones obviously draw nearer to it. From then on,
assumes Trương Tửu :
a/ The songs created on a free rythm, completely different from the 6/8
one, would have appeared in the first centuries of our history;
b/ Those created on still coarse rythms but coming close to the 6/8
rythm, would have appeared during the Chinese domination;
c/ Those created on the 6/8 rythm would have dated back to the period
after national independence.
As this is not intended to be an erudication work, no discussions of
the above theory will follow.
Can we classify folk works by region? In others words, can we tell
the local origin of each work, whether it comes from the North, the

Central or the South of Vietnam ? Probably, if one is patient enough.
But in my opion, this erudition issue is not of any importance.
One reason is that the Vietnamese are an extrememely homogeneous people. Except for the moutainous ethnic minorities whose
number is only a very small fraction of the population, the Vietnamese
descend from a single race which, from its Red River Delta cradle, has
gradually moved southward down to the Cambodian frontiers, in
relatively recent times. Let us briefly review the two main areas of
expansion.
- Gradual annexation of Champa from 1069 to 1697 by the Lý, Trần, Lê
kings, and finally by the Nguyễn princes;
- Gradual annexation of Lower Cochinchina (which was part of the
Khmer kingdom) by the Nguyễn princes from 1708 to the arrival of the
French in the middle of the 19th century.
Besides, during their southward expansion, the Vietnamese people
brought with them their culture, their customs, their literature, so that
many proverbs and tales are found almost identical throughout the three
regions. The songs from the Center bear the particular mark of the
Chàm people, and those of the newly acquired South have innuendoes
peculiar to that region.
What classification, then, are we going to adopt to study the folk
literature ? In my previous work, I discerned three great periods in the
old literature :
- the beginning comprising the Lý, Trần, Hồ dynasties;
- the development period, during the Lê dynasty interrupted by the Mạc
interregnum; and
- the full blooming period stretching from 1740 to the beginning of the
20th century.
This classification fits the evolution of the prevalent philosophy in
each of those great historic periods, on the one hand, and the widespread increase of the nôm's use in literature on the other hand.

Undoubtedly, such classification would not be available for the study of
folk literature, given the difficulties set forth above concerning the
dating of folk works. For the same reason, a geograpraphic classification must be dispensed with. What is then to be done ?
First, we notice that the scholars' literature is composed almost
solely of poems, worse, poems composed on a very few rigid patterns :
the Đường Luật (verse of 5 or 7 words), the Lục Bát (alternated verses
of 6 and 8 words), the Song Thất Lục Bát (2 verses of 7 alternated with
2 of 6/8), and the Ả Đào song.
Fortunately, the folk literature is much more diversified.
1. Avoiding the long philosophical dissertations of which the scholars
are fond, the folk writer tries to condense high rules of behavior with his
village's customs, the meteorological signs from the clouds' color or the
birds' song . . . . - in short sentences, ease to memorize, most often
rhymed, sometimes not, but always giving a sharp picture that holds the
attention. These are proverbs.
2. To express his feelings of joy, sadness, hope, disappointments in love,
family or fatherland, the folk writer uses verses always ease to be
recited melodiously, or even sung in the tune of some popular melodies,
with or without music. These are songs.
3. Finally, the folk writer uses prose to express ideas and feelings in
story form, his imagination being given free reign. These are tales.
Thus, what distinguishes the three forms of the folk literature we
just looked into is neither their form nor their substance, but the spirit in
which they have been composed.
Certainly, form may be used to distinguish the tale, always in prose,
from the song and the proverb (the proverb, even if not rhymed, is
always a short sentence and cannot be confused with the tale). But the
criterion of form is not enough when we want to distinguish the song
from the rhymed proverb. Indeed, it is not unusual to verify that some

proverbs, listed as such in one anthology, are classified as songs in
another anthology, or vice versa.
There is no difference in substance among the proverb, the song
and the tale. A single topic such as friendship, can be developed at the
same time by proverbs, songs and tales. The proverb will condense in
short sentences the duties of frienship, or the way, fair or unfair, in
which friends behave toward each other. The song will exalt the joy of
frienship or bemoan the false friends' betrayals. And finally, the tale
will develop a little drama, put on stage more or less actual characters
to relate some adventures which have happened to true or false friends.
However, the song is often but the developed form of the proverb,
or conversely the proverb is but the concise form of the song. For
instance :
Proverb :
Trâu cột ghét trâu ăn
The yoked buffalo hates the grazing one.
Song :
Trâu cột thì ghét trâu ăn,
Quan võ thì ghét quan văn dài quần.
As the fastened buffalo hates the grazing one,
So does the officer hate the long-robed civil servant.
Proverb :
Tốt gỗ hơn nước sơn
Xấu người đẹp nết còn hơn đẹp người.
As good wood is better than a fine coat of paint
So is a virtuous, ugly woman better than a bad beautiful one.
The true criterion differentiating the three forms of the folk literature is therefore the spirit which has inspired their creation. The
proverb teaches, it is the voice of reason. The song moves, it is the voice
of the heart. Finally, the tale diverts while teaching and touches the
reader's heart by adding a bit of imagination. Of course, this criterion
is not to be rigidly applied : it is easy to find in some proverbs deep

affection or indignation, as well as to find in some songs very interesting
sociological information. In spite of these somewhat blurred fluctuations, I do believe that the above criterion is sound. It will guide us in
the classification of proverbs, songs and tales; moreover, it will show us
in which spirit we have to study them.
Last but least, this study period - we must not forget - concerns
itself only with the pre-French domination. Because of this domination,
radical transformations have taken place in all domains, cultural as
well as political, economic and social.

PART ONE

THE

PROVERBS

GENERAL FEATURES
Proverbs are short sentences, very easy to remember. How ?
1. Most often, by the use of rhyme :

a/ which may be two words 1 in the same sentence. These two rhymed
words' positions are movable. Occasionally, the first word rhymes with
the second as follows :
Lo bò Trắng răng
To be anxious about the cow's white teeth
The second word may also rhyme with the fourth one :
Tốt danh hơn lành áo
Good fame is better than fine clothes.
b/ Sometimes proverbs consist of two verses. In that case, the last word
in the first verse rhymes with the first one in the second verse :
Lấy vợ xem tông
Lấy chồng xem giống
Before taking a wife, inquire about her ancestors
Before taking a husband, inquire about his family.
or with the third :
Một miếng giữa làng
Bằng một sàng xó bếp.
A morsel eaten at the village banquet
Is worth a basketful eaten in the corner of your kitchen.
or the fourth :
Sống vì mồ mả
Không sống vì cả bát cơm.
Your life depends on your ancestors' tombs
And not on the rice you eat.
or with the fifth :
Biết thì thưa thớt
Không biết thì dựa cột mà nghe.
Speak if you know,
Other wise you'd better lean on the post and listen.
or finally with the sixth word of the second verse :
Một cây làm chẳng lên non
Ba cây chụm lại nên hòn núi cao.
A lone tree cannot make a forest
1

In general, words in the Vietnamese language are mono-syllabic

But thre trees gathered together form a high hill.
Sometimes proverbs are not rhymed. Even then, they are easy to
remember by means of two other ways :
a/ by the parallelism between the two parts of the sentence :
Giầu điếc sang đui.
The rich man is deaf and the nobleman is blind.
No nên bụt
Đói nên ma.
Surfeited, one behaves like Buddha
Starved, one becomes a demon.
b/ or by a striking image :
Chó cắn áo rách
The dog barks after ragged clothes.
Máu loãng còn hơn nước lã .
Diluted blood is better than pure water.
Ăn cháo đái bát.
He urinates into the bowl from which he just ate soup.
It is necessary to distinguish proverbs from idioms that do not
express a moral rule or some other observation. Idioms are ready-made
phrases that come spontaneously when the common man wants to
express an idea, for these phrases are colourful, picturesque, easily
remembered and often repetitive. For instance :
About a fertile region, it is said to have :
Tiền rừng bạc bể.
As much money as there are trees in the forest or water in the oceans.
A slanderer is compared to :
Miệng hùm, nọc rắn.
The tiger's mouth or the snake's venom.

To place some ill-famed fellow in the hierachy of this contemptible
class, the following verdict is used :
Đầu trộm đuôi cướp.
At the head of thieves, and at the tail of pirates.
The stupid man is pitilessly mocked at in the following comparison
:
Dốt đặc cán mai.
His ignorance is as dense as a spade's handle.
Two paramours are defined as :
Già nhân ngãi non vợ chồng.
More than lovers and less than a married couple.
The bittersweet words exchanged between the members of a
disunited family sound at time light and at times heavy :
Tiếng bấc tiếng chì.
Words of cork and words of lead.
and so on.
An extensive study of idioms would be useful to show more fully
the numerous and very ingenious rhetoric forms used by the common
people. But, as the main purpose of this work is to reveal to the foreign
reader the psychology and customs of the Vietnamese people, it will be
confined to the study of proverbs.
The proverb, as we know, teaches. What does it teach ? First, moral
precepts. Then, lessons of experience acquired from the observation of
human behaviour, of sociological facts or of natural phenomena. There
are therefore four groups of proverbs :
1. Moral precepts ;
2. Psychological observations;
3. Sociological observations ;
4. Obsrvations of natural phenomena.

CHAPTER

I

MORAL PRECEPTS

From the large storehouse of moral precepts inherited from folk
wisdom, two opposite trends emerge : one, dogmatic, with a clear
relationship to the best Confucianist teaching; the other, utilitarian,
derived rather from seft-interest. But we should not conclude that the
dogmatic moral precepts appeared only after the introduction of
Confucianism into Vietnam. This doctrine merely codified and systematized moral rules in a society which had already reached some degree
of social and economic development. The ancient Vietnamese society,
as that of the ancient Chinese, subsisted on agriculture, livestock, fishing
and hunting, at different technical levels. The fulfillment of those
various social tasks necessarily required a social organization founded
on the authority of the pater familias, the rights of ownership and
inheritance, loyalty, joint responsibility, charity, and so on. Thus, very
probably, many dogmatic moral precepts actually preceded Confucianism rather than originated from it. It remains true, though, that
Confucianism, a broad and coherent synthesis of alrealdy existing and
later acquired ideas, had a profound influence on the Vietnamese people
after it was introduced into Vietnam.
So, if I said beforehand that the dogmatic morals show their evident
kinship to the best Confucianist teaching, I simply meant that they
corresponded with Confucianism rather than originated from it.
1. Dogmatic Morals.
Although usually illiterate, the common people greatly admired the
Confucianist doctrine taught in schools, the study of which opened the
way to the highest socials ranks. Their veneration was such that it
became supertitious.
Một chữ thánh, một gánh vàng.
A word from the holy masteris equal to a load of gold.
And if one found at home or in the streets a sheet of written paper,
he would hasten to pick it up and would respectfully burn it afterwards
instead of throwing it into the garbage can.

This veneration for Confucianism was perfectly understandable
because the doctrine was marvelously adjusted to the Vietnamese mode
of living, and this venaration was even to increase with the great
privileges granted by the monarchical regime. It is no wonder, therefore,
that the common people willingly welcomed the principal Confucianist
dogmas, a brief survey of which follows.
The Confucianist education aimed at teaching its disciples the art of
:
- improving themselves;
- managing their domestic affaires;
- governing their country;
- pacifying the world.
We will follow this order, while noting that political matters
concerned only the scholars; the common people took almost no interest
in them, as is evidenced by the following proverb :
Thành đổ đã có chúa xây
Việc gì gái góa lo ngày lo đêm.
If the citadel has fallen, the king must restore it.
Silly is the widow who worries about it day and night.
This attitude was entirely different from the scholars' :
Quốc gia hưng vong, thất phu hữu trách.
Even the humble citizen must share responsibility
in the prosperity or decadence of his country.
We will search later for the reasons behind these divergent points of
view. For now, let's confine ourselves to study, among the dogmatic
morals, only three elements :
- Duties toward oneself;
- Duties toward the family;
- Duties toward society.
Duties Towards Oneself.

There are three distinct groups : the physical, the moral, and the
economic duties.
a/ Physical duties. “A sound mind in a sound body”, this twofold aim
of Hellenic education was not achieved, we must admit, in perfect
balance by our people, for whom the intellectual concerns prevail over
the bodily ones. We should not look in our ancient proverbs for
exhortations to sports, a field most often reserved for athletes striving
for fame in military exploits. In these proverbs, only some precepts
advising cleanliness and temperance can be found. Even these disclose a
preoccupation more of a moral rather than a physical nature.
About cleanliness :
1-

Đói cho sạch
Rách cho thơm.
If you be hungry, be clean,
If your clothes be worn out, let them be sweet smelling.
2. Nhà sạch thì mát
Bát sạch ngon cơm.
A clean house is cool
A clean bowl gives appetite.
About temperance :
3. Ăn ít ngon nhiều.
Lest eating, more appetite.
4. Tửu nhập ngôn xuất.
When alcohol goes in, words go out.
b/ Moral Duties. Unlike the above, there are plenty of moral counsels.
A careful study of these reveals the essentially intellectual tendencies of
our race deeply impregnated with Confucianist and Buddhist thinkings.
First, honesty :
5. Giấy rách giữ lấy lề.
The more a book is worn out, the more it must be taken care of.

6. Tốt danh hơn lành áo.
A good name is better than fine clothes.
7. Trâu chết để da
Người ta chết để tiếng.
The dead buffalo leaves its skin
The dead man leaves behind his reputation.
8. Sống đục sao bằng thác trong.
Better to die with honor than to live in dishonor.
To achieve honesty, one should obviously start with being frank :
9. Ăn mặn nói ngay
Còn hơn ăn chay nói dối.
To eat meat and speak frankly
Is better than to fast and lie .
10. Một câu nói ngay
Bằng làm chay cả tháng.
A sincere word is equal to a whole month of lent.
11. Một lời nói dối
Sám hối bẩy ngày.
Expiating one lie
Needs seven days' repentance.
Our ancestors were aware that the flesh is weak, and that the most
honest person may be induced to bad behaviour by his passion. So they
wisely recommended moderation of desires as a brake to all sinful
activities :
12. Có hoa mừng hoa
Có nụ mừng nụ.
Welcome a flower
Also welcome a bud.

That does not imply that our ancient education wanted to form
effeminate men ready to cringe before difficulties of unfairness. If it is
wise to accept a modest way of living, it is cowardly to abdicate all will
and perseverance.
13. Chớ thấy sông cả
Mà ngã tay chèo.
On a large river
Do not panic and abandon the rudder.
14. Có chí làm quan
Có gan làm giầu.
He who has a strong will becomes a mandarin
He who is audacious becomes wealthy.
15. Còn nước còn tát .
Keep on drawing as long as there is still water.
16. Hữu chí cánh thành.
Success will reward your efforts.
17. Thua keo này
Bầy keo khác.
If you be beaten in a match
Try another.
18. Nước chẩy đá mòn .
Running water may wear down a stone.
19. Công nợ trả dần
Cháo húp quanh bát.
Debt are to be paid gradually
As hot soup is to be eaten around its bowl.
Will and perseverance must chiefly be applied to work and
study :
20. Giầu đâu những kẻ ngủ trưa

Sang đâu những kẻ say sưa tối ngày.
Those who get up late never become rich
Those who are drunk day and night never stand in high social position.
21. Ăn nễ ngồi không
Non đồng cũng lở.
If you do nothing but eat
Even a copper mountain of yours would be fast used up.
22. Tấc đất tấc vàng .
An inch of land is worth an ounce of gold.
23. Hay học thì sang
Hay làm mới có .
By dint of study, you will be a high official
By dint of work, you will be wealthy.
24. Có đi mới đến
Có học mới hay .
If you wish to be in some place, you have to go there
If you wish to become a learned man, you have to study.
25. Một kho vàng
Không bằng một nang chữ .
A warehouse of gold
Is not worth a belly full of characters.
26. Dao có mài mới sắc
Người có học mới khôn .
To be cutting, a knife must be sharpened
To be wise, a person must study.
As you acquire a great fortune through work, study or luck, it will
be rapidly dissipated if you do not maintain it with caution and thrift,
two essential virtues of the peasant.
27. Kiến tha lâu cũng đầy tổ.

By virtue of long work, the ant succeeds in filling up its nest.
28. Làm khi lành
Để dành khi đau .
Work while you are healthy
To protect yourseft when you get sick.
29. Ăn mắm thì ngắm Về sau .
While eating pickle, think of the coming thirst.
30. Ăn tối lo mai .
At dinner tonight, worry about tomorrow's lunch.
Duties Toward the Family .
Up to the beginnings of this century and even beyond to the great
social and literary revolution of the 1930's, the Vietnamese family was
very tightly structured. It was not unusual to see three or four
generations living under the same roof and submitting to the supreme
authority of the pater familias. Indeed, the individual was nothing in our
ancient society; he could fully grow only within two communitiess : the
one established by blood ties, i.e. , the family; and the other comprising
all individuals living under the same laws and customs, which form in
the narrow sense the village and in the larger sense the fatherland.
Concerning the role of parents with their children :
31. Yêu cho vọt
Ghét cho chơi .
If you love your children, whip them
If you hate them, let them play.
32. Con dại cái mang.
The mother is responsible for her children's misdeeds.
33. Con hư tại mẹ
Cháu hư tại bà.

It is the mother's fault if her child is naughty
And if grandchild does not behave, it is the grandmother's fault.
34. Công cha như núi Thái Sơn
Công mẹ như nước trong nguồn chảy ra.
The father's beneficences are as great as a giant mountain
And the mother's are as infinite as water flowing from a source.
35. Cá không ăn muối cá ươn
Con cưỡng cha mẹ trăm đường con hư.
As unsalted fish is soon rotten,
So the disobed...