Contents

Preface .............................................................................................ix
Chapter 1 Translation revisited ................................................... 1
Translation: art or science?......................................... 1
What is translation?....................................................3
Translation cognitive process.................................... 7
Chapter 2 Overview o f translation theories...............................14
Chapter 3 U nit o f translation and translation
strategies and methods...............................................25
Unit o f translation.....................................................25
Translation strategies and methods......................... 36
Chapter 4 Equivalence in tra n slatio n ..........................................54
What is translation equivalence?............................. 54
Typologies o f translation equivalence..................... 55
Dynamic Translation Model (D T M )....................... 63
C hapter 5 Translation quality assessment................................. 74
What is translation quality assessment (TQA)?.... 74
Translation assessment approaches........................ 77
* Translation quality assessment model....................84
References..................................................................................... 126
A ppendix ...................................................................................... 139
 Preface

“ Translation exists because men speak different languages”

(George Steiner). Translation brings people o f different languages
together, increasing knowledge sharing in the knowledge world.
Thus, the journey to find a more operational definition o f
translation, more effective translation methods, as well as a more
effective translation quality assessment model is still ongoing.

This book, “ An introduction into translation theories” , is an

expedition through translation theories. Chapter 1 o f the book
revisits diverse views on the nature o f translation as well as how
the translational act cognitively proceeds. Different translation
theories which have contributed to the growth o f translation
discipline are depicted in Chapter 2. Diverse translation theories
have paved the paths for diverse translation strategies and methods.
Chapter 3 provides readers a landscape o f diverse translation
strategies and methods which are contingent on the choice o f
translation unit. That different degrees o f equivalence are produced
depending on the choice o f translation unit is highlighted in
Chapter 4. Chapter 5 presents approaches to assessment o f an
accomplished translation and arrives at Juliane House’ s translation
quality assessment model.

The target audience for this book is undergraduates and graduates

as well as teachers and researchers on language, applied linguistics,
translation and communication studies.

As the author o f this book, I am profoundly indebted to Dr. Nguyen

Thi Kieu Thu, Dr. Nguyen Tien Hung, Dr. Le Hoang Dung, Dr. Le

IX
Thi Thanh, Dr. Nguyen Thi Kim Loan, and Mr. Nguyen Tuan
Minh, for their incisive and useful comments on its draft as well as
University of Social Sciences and Humanities, Ho Chi Minh City
for its advocacy to enable the emergence o f this book.

Luu Trong Tuan

Ho Chi Minh City

Summer 2012
Chapter 1

Translation revisited

In this chapter, we w ill:

• explore whether translation is art or science.

• revisit diverse definitions o f translation.
• explore the cognitive process that takes place during the act
o f translating.

Translation: art or science?

Holmes (1979: 23), specifying two branches o f translation studies,
namely pure and applied, points out that the aim o f pure translation
studies is to portray the phenomenon o f translation and to explore
all relevant facets o f it; nonetheless, applied translation studies
revolve around the application o f translation theories to such facets
o f translation as translation practice, the teaching and learning o f
translation. He believes that all factions o f translation are
interrelated and their relationship is dialectical; yet, Toury (1995:
7) puts forward that the interconnection between pure and applied
translation studies is unidirectional - theoretical studies serve as a
nurturing source for the applied studies. Moreover, Toury (1982: 7)
believes that translation, as a cognitive science, has to reach beyond
linguistics, and calls it "interdisciplinary"; therefore, he apparently
deems translation a science. This science appears to be warmly
welcomed by some scholars in the form o f 'word for word.' For
instance, Norton (1984: 59) quotes Horace (65-8 B.C) to state that,
"it is the duty o f a faithful interpreter to translate what he

1
undertakes word for word." Albeit the most salient features o f a
field o f science are precision and predictability, Berkeley (1991:
83) notes that some sciences, principally those dealing with the
humanities, do not attain a one hundred percent predictability level.

Chukovskii (1984: 93), however, does not take translation into

account as a science when he claims that, "translation is not only an
art, but a high art." Furthermore, Newmark (1988), referring to
translation as "a craft" (p. 7), believes that literal translation is, "the
basic translation procedure, both in communicative and semantic
translation, in that translation starts from there," and he goes as far
as to claim that literal translation above the word level is, "the only
correct procedure i f the SL and TL meanings correspond" (p. 70).
Miremadi (1991: 39) writes that, "whether translation is considered
an art or a science, it is, in its modem sense, a by-product o f a long
history o f trials and errors, developments, improvements and
innovations." Additionally, Long (1996: 10) believes that the desire
for creating a science o f translation appears to be a mere wishful
thinking. A similar idea is echoed by Zaixi (1997: 339), who writes
that "translation is a process, an operation, an act o f transferring. It
is mainly a skill, a technology that can be acquired. In the
meantime, it often involves using language in a creative manner so
that it is also an art. However it is by no means a science."
Contrarily, he asserts that, "the subject which takes translation as
its object o f study must be treated as a science, because it is a
system o f knowledge, about translation, aiming to expose the
objective laws about the process o f translation" (p. 340).

Baker (1998: 4), nonetheless, points out that translation is a

separate academic discipline which, "like any young discipline, ...
needs to draw on the findings and theories o f the other related

2
disciplines in order to develop and formulate its own methods."
However, differentiating between science and translation, Karra
(2000: 1) writes that "my colleagues never understood why I chose
the world o f translation over science."

Gabr (2001: 2), however, regards translation both a craft and a

science when he writes that "translation being a craft on the one
hand, requires training, i.e. practice under supervision, and being a
science on the other hand, has to be based on language theories".
Nevertheless, claiming a literary translation to be a device o f art,
Herzfeld (2003: 110) writes that literary translation used to release
the text from its "dependence on prior cultural knowledge."

The integration o f the nature o f science and art in translation

cuminates in Azizinezhad’s (2004) view:

Translation has a lot in common with arts as well as

sciences. It sometimes becomes highly dependent on the
idiosyncrasies and intuition o f the translator. Like
composers and painters, translators often find their own
moods and personalities reflected in their work. The major
factor that prevents translation from being considered an art
is that, unlike translators who have to solve a range o f
different problems, the defining factor o f an artist's work is
esthetics (Azizinezhad 2004: 3).

What is translation?
Lewis (2004: 257) writes that "translate" is formed from the Latin
"trans+latus", which means "carried across". Jakobson (1959/2000:
114) distinguishes three ways o f interpreting a verbal sign: it may
be translated into other signs o f the same language, into another

3
language, or into another, nonverbal system o f symbols. These
three kinds o f translation are differently labeled:

1 Intralingual translation or rewording is an interpretation o f

verbal signs by means o f other signs o f the same language.

2 Interlingual translation or translation proper is an interpretation

o f verbal signs by means o f some other language.

3 Intersemiotic translation or transmutation is an interpretation o f

verbal signs by means o f signs o f nonverbal sign systems.

However, from Tuan’s (2009b) standpoint, translation more

generally can be considered as a mapping f from the source set S to
the target set T: f: S —> T, in which each sign ss e S is translated as
ST G T.

1. I f S = T: V (V = verbal signs), ie. i f the source set and the target

set are the same set o f verbal signs, then this is intralingual
translation.

2. I f S: V * T: V, ie. i f the source set and the target set are the
different sets o f verbal signs, then this is interlingual translation.

3. I f S: V and T: N V (N V = nonverbal signs) or S: N V and T: V,

ie. i f the source set is a set o f verbal signs and the target set is a
set o f nonverbal signs or vice versa, then this is intersemiotic
translation.

Foster (1958: 1) deems translation to be the act o f transferring

through which the content o f a text is transferred from the source
language (SL) into the target language (TL). Catford (1965: 20)
points out that translation is the replacement o f textual material in
one language by equivalent textual material in another language. In

4
this definition, the most crucial thing is equivalent textual material.
Nonetheless, it is still vague in terms o f the type o f equivalence.
Analogous to this definition is that by Savory (1969) who contends
that translation is made possible by an equivalent o f thought that
lies behind its different verbal expressions.

Translation, whose beginning can be traced back to the Tower o f

Babel (Finlay 1971: 17), is defined as "a bilingual mediated process
o f communication which ordinarily aims at the production o f a TL
text that is functionally equivalent to a SL text". Moreover, as
regards the definition o f translation, Brislin (1976: 1) writes:

The general term referring to the transfer o f thoughts and

ideas from one language (source) to another (target),
whether the languages are in written or oral form; whether
the languages have established orthographies or do not have
such standardization or whether one or both languages is
based on signs, as with sign languages o f the deaf.

In a similar vein, Pinhhuck (1977: 38) defines translation as "a

process o f finding a TL equivalent for an SL utterance."
Furthermore, Wilss (1982: 3) points out:

Translation is a transfer process, which aims at the

transformation o f a written SL text into an optimally
equivalent TL text, and which requires the syntactic, the
semantic and the pragmatic understanding and analytical
processing o f the SL.

Nida (1984: 83) points out: "translation consists o f reproducing in

the receptor language the closest natural equivalent o f the source
language message, first in terms o f meaning and secondly in terms
o f style." Likewise, translation, as Bell (1991: 8) alleges, entails the

5
transfer o f meaning from a text in one language into a text in
another language.

Spivak (1992), looking upon translation as "the most intimate act o f

reading" (p. 398), writes that, "unless the translator has earned the
right to become an intimate reader, she cannot surrender to the text,
cannot respond to the special call o f the text" (p. 400).

Considering the translator as a learner, Robinson (1997a: 49) puts

forward that "translation is an intelligent activity involving
complex processes o f conscious and unconscious learning". He
contends that, "translation is an intelligent activity, requiring
creative problem-solving in novel, textual, social, and cultural
conditions" (p. 51).

Hatim and Mason (1997: 1) consider translation as "an act o f

communication which attempts to relay, across cultural and
linguistic boundaries, another act o f communication." In most
cases, according to Houbert (1998: 1), "translation is to be
understood as the process whereby a message expressed in a
specific source language is linguistically transformed in order to be
understood by readers o f the target language".

From Vehmas-Lehto’ s (1999) view, when translating one expresses

something with the means o f target language that has been
expressed earlier with the means o f source language. This view
displays that one is not translating language, but the content o f a
translation, the meaning (Vehmas-Lehto 1999: 12).

Translation can also be taken into account as "the process o f

establishing equivalence between the source language texts and
target language texts" (Sa'edi 2004: 242), which aims at passing on
"an understanding to people in their own language and create the
same impact as the original text" (Galibert 2004: 1).

6
Kaur (2005: 1) defines translation basically as "a problem-solving
task"; yet, Sugimoto (2005: 1) points out:

Simply speaking, translation is the exchange o f one set o f

clothes for another set o f clothes that w ill cover the same
meaning or thought. However, when we think o f translation
culture, first we must understand its background and give
some thought to the age in which it was bom.

Translation, as Adewuni (2000: 1) puts forward, "is a reality

despite the complications and doubt attached to it based on the
nature o f the elements involved, the languages, the cultures, and the
translator."

Viewing translation as a form o f cross-cultural communication,

Tianmin (2000: 1) alleges that "translation is simultaneous
decontextualization and recontextualization, hence is productive
rather than reproductive . . . . Translation is never innocent."

Using the terms “ decoding” and “ encoding” in lieu o f

“ decontextualization” and “ recontextualization” , Weber (2005)
maintains that translation involves (1) decoding the meaning o f the
source language (SL) text and (2) encoding this meaning into a
receptor language (RL) text.

TEXT s i— decode -►M EANING— encode -►TEXT pj_

Translation cognitive process

From Darwish’s (1999) stance, the internal translation process is in
fact the cognitive process that takes place during the act o f
translating. This process consists o f several activities taking place
more or less simultaneously, involving visual sensory perception,

7
comprehension, analysis, processing, monitoring and production.
The cognitive process can be depicted graphically in Figure 1.1.

Figure 1.1 A cognitive model o f translation

r — 1
Target
language text

m er>g.t*#ng.

(Source: D arw ish, A . (1999). Towards a Theory o fConstraints in

Translation. At-turjuman Online, w w w .a t-tu iju m a n .co m . Posted 16
June 1999, p. 25)

This process comprises (1) visual sensory perception, which

involves active reading, (2) comprehension and (3) production.

In reading for comprehension, the reader sees the text, reads it, and
comprehends it. In reading for production (in this case, translation),
the reader (translator) Sees the text, reads it, comprehends its
content, then produces a new version o f the text in another

8
language. Ideally, the translator reads the text and translates at the
same time.
The time lag between comprehension and production is determined
by the translator’ s proficiency and also the efficiency o f his or her
mental processes as well as the degree o f translatability o f source
language text. A t the comprehension level, these processes are
however constrained by two major factors: legibility and
readability. Legibility refers to the clarity o f form, to the way the
text is presented physically on paper, and affects all readers
regardless o f the purpose o f reading. It determines the degree o f
accessibility to the information contained in the text. For instance,
typographical features such as typefaces, point sizes, margin
widths, text width, line spacing, letter spacing (kerning), paper size
and so on can facilitate or hamper information retrieval.
Readability on the other hand refers to the clarity o f content. It
includes features such as the number o f syllables per word, sentence
length, sentence complexity, paragraph differentiation and so forth.

Chapter summary
“ Translation has a lot in common with arts as well as sciences ...
Like composers and painters, translators often find their own
moods and personalities reflected in their work. The major factor
that prevents translation from being considered an art is that,
unlike translators who have to solve a range o f different
problems, the defining factor o f an artist's work is esthetics”
(Azizinezhad 2004: 3).

Jakobson (1959/2000: 114) differentiates three ways o f

interpreting a verbal sign: it may be translated into other signs o f
the same language (intralingual translation), into another

9
 language (interlingual translation), or into another* nonverbal
system o f symbols (intersemiotic translation). Most definitions
on translation center on interlingual translation. Foster (1958: 1)
views translation to be the act o f transferring via which the
content o f a text is transferred from the source language (SL)
into the target language (TL). Catford (1965: 20) points out that
translation is the replacement o f textual material in one language
by equivalent textual material in another language.

Hatim and Mason (1997: 1) consider translation as “ ah act o f

communication which attempts to relay, across cultural and
linguistic boundaries, another act o f communication.” Looking at
translation as a form o f cross-cultural communication, Tianmin
(2000: 1) alleges that “ translation is simultaneous
decontextualization and recontextualization, hence is productive
rather than reproductive.”

Nonetheless, from Darwish’s (1999) stance, the internal

translation process is in fact the cognitive process that occurs
during the act o f translating. This process consists o f several
activities occuring more or less simultaneously, entailing visual
sensory perception, comprehension, analysis, processing,
monitoring and production.

Activities

O Zaixi (1997: 339) writes that “ translation is a process, an

operation, an act o f transferring. It is mainly a skill, a technology that
can be acquired. In the meantime, it often involves using language in
a creative manner so that it is also an art.” Please provide an
illustration o f resorting to creativity in using language in translation.

10
© Multiple choice questions

For each question, choose the best answer.

1. The translation o f “ paroxysmal dyspnea” as “ can kho tha kich

phat” in Vietnamese language is termed
(A) translation proper
(B) intralingual translation
(C) intersemiotic translation
(D) transmutation

2. The interpretation o f “ the penny drops” as “ he finally understands

that he had not understood before” is termed
(A) transmutation
(B) interlingual translation
(C) intralingual translation
(D) intersemiotic translation

3. Which o f the following is an example o f transmutation?

(A) “ Nurse on duty” is interpreted as “ dieu dirang true” .
(B) “ Inspection” , one o f the four clinical examination techniques,
is interpreted as “ observation” .
(C) “ Inspection” , one o f the four clinical examination techniques,
is interpreted as “ quan sat” .
(D ) “ x is less than y” is interpreted as “ x < y” .

4. Which o f the following is NOT an example o f transmutation?

(A) “ A A B C = A D E F ” is translated as “ triangle ABC is
congruent to (has the same measurements as) triangle DEF” .
(B) “ V x : P(x)” is translated as “ P(x) is true for all x” .
 (C) “ f: X —> Y ” is translated as “ the function f maps the set X
into the set Y ” .
(D) “ the function f maps the set X into the set Y ” is translated
as “ ham f anh xa tap hop X vao tap hop Y ” .

© Provide examples o f three kinds o f translation by Jakobson

(1959/2000: 114).

O Decode the follow ing text, then encode it in Vietnamese as the

target language.

Advice To Little Girls

By M ark Twain (1835-1910)

Good little girls ought not to make mouths at their teachers for
every trifling offense. This retaliation should only be resorted to
under peculiarly aggravated circumstances.

I f you have nothing but a

M a rk T w ain was the pen name o f
Samuel Langhom e Clemens
(Novem ber 30, 1835 - A p ril 21, 1910)
rag-doll stuffed with sawdust,
while one o f your more
fortunate little playmates has
a costly China one, you
should treat her with a show
o f kindness nevertheless. And
you ought not to attempt to
make a forcible swap with her
unless your conscience would
justify you in it, and you
know you are able to do it.

12
 You ought never to take your little brother's "chewing-gum"
away from him by main force; it is better to rope him in with the
promise o f the first two dollars and a half you find floating down
the river on a grindstone. In the artless simplicity natural to his time
o f life, he w ill regard it as a perfectly fair transaction. In all ages o f
the world this eminently plausible fiction has lured the obtuse
infant to financial ruin and disaster.

I f at any time you find it necessary to correct your brother, do

not correct him with mud - never, on any account, throw mud at
him, because it w ill spoil his clothes: You secure his immediate
attention to the lessons you are inculcating, and at the same time
your hot water w ill have a tendency to move impurities from his
person, and possibly the skin, in spots.

I f your mother tells you to do a thing, it is wrong to reply that

you won't. It is better and more becoming to intimate that you w ill
do as she bids you, and then afterward act quietly in the manner
according to the dictates o f your best judgment.

You should ever bear in mind that it is to your kind parents that
you are indebted for your food, and your nice bed, and for your
beautiful clothes, and for the privilege o f staying home from school
when you let on that you are sick. Therefore you ought to respect
their little prejudices, and humor their little whims, and put up with
their little foibles until they get to crowding you too much.

Good little girls always show marked deference for the aged.
You ought never to "sass" old people unless they "sass" you first.

13
Chapter 2

Overview of translation theories

In this chapter, we w ill:

• glimpse source text-oriented or target text-oriented
translation theories.
• explore functionalist approaches to translation.

Translation has always been understood to refer to a written

transfer o f a message or meaning from one language to another. For
a formal definition, Dubois says “ translation is the expression in
another language (or target language) o f what has been expressed
in another, source language, preserving semantic and stylistic
equivalences” (in Bell 1991: 5).

Nonetheless, it has already been suggested by numerous translation

scholars such as Mona Baker (1992) and Peter Newmark (1988)
that the notion o f equivalence is problematic in the study o f
translation, and to surmount this problem, various translation
strategies have been suggested by various authors within the field
o f translation. Notwithstanding it is not easy to attain exact textual
equivalence, one may hint that equivalence could be attained when
a translation contains the meaning that is similar, or as close as
possible to that o f the source text. For this to transpire, it is crucial
for translators to have a thorough grasp o f semantics, which is “ the
study o f the meanings o f words” (Walpole 1941 : 20).

The zeal to produce appropriate and satisfactory translations is

shown in the ideological and theoretical changes that have occurred

14
throughout the history o f translation. In the onset, translation
theories were prescriptive and source text-oriented. As a result,
translators were anticipated to “ translate equivalently according to
the source text” (Sprott 2002: 3). First priority was given to the
source text as translators were required to preserve the meaning o f
the source text as far as possible. Consequently, some elements
from the target language were either undermined or overlooked.
Those might have encompassed some important cultural aspects o f
the target language.

During the 1970s, so argues Gideon Toury (1995), a new

perspective on translation, which gave rise to what we now know
as “ Descriptive Translation Studies” (DTS), developed. As the
name suggests, DTS aims to describe rather than prescribe how
translations should be done. Unlike prescriptive translation studies,
DTS is target text-oriented. In Toury’s (1980) own words, DTS is
“ target-(rather than source-), solution- (rather than problem-)
oriented” , and its main aim is to “ describe and explain empirical
phenomena about translation, and come up with a pure theory o f
translation” (Toury 1980: 6). In addition, he argues that DTS is
goal-oriented and that the translation is judged from the point o f
view o f the target text, and not from the source text. According to
Toury, the prospective position or function o f a translation within a
recipient culture, or a particular section thereof, should be deemed
to be an important factor governing the very make-up o f the
product, in terms o f underlying models, linguistic representation or
both. Furthermore, he argues “ that translations always come into
being within a certain cultural environment and are designed to
meet certain needs of, and/or occupy certain ‘slots’ in it” (Toury
1995: 12). Following this, Toury argues that translators may be said
to operate first and foremost in the interest o f the culture into which

15
they are translating. This means that during the 1970s, there was a
shift towards understanding that the target system always has an
effect on translation decisions.

Christiane Nord (1997) provides a functionalist approach to

translation. Her argument centers on the function or functions o f
texts and translations. In her book “ Translation Theories Explained”
(1997), she points out that the functionalist approaches to translation
evaluate translations “ with regard to their functionality in a given
situation-in-culture” (Nord 1997: 2). She also provides a historical
overview which includes the development o f modem functionalism
in translation studies, and describes early functionalist views which
led to the modem ones. Her view is that throughout history,
translators, mainly literary or Bible translators, have been arguing
that different situations require different renderings o f translations.
For instance, in one situation a source text-orientation, which often
includes a word-for-word fidelity to the source text, may be
required, whereas in another situation, a target text-orientation may
be more appropriate. The decision to choose a translation strategy
is not an easy one as Cicero (106-43 B.C.) once remarked “ I f I
render word for word, the result w ill sound uncouth, and i f
compelled by necessity I alter anything in the order or wording, I
shall seem to have departed from the function o f a translator”
(Cicero 106-43 B.C., De optimo genere oratorum V. 14 in Nord
1997:4).

Following this, numerous Bible translators, as Nord argues, felt that

the process o f translating should entail both procedures, that is, a
faithful reproduction o f formal source text qualities at one level and
an adjustment to the target audience at another. W ithin the same
frame o f argument, Eugene A. Nida (1964) distinguishes between

16
formal and dynamic equivalence in translation. He says “ formal
equivalence” refers to a faithful reproduction o f source-text form
elements whereas a “ dynamic equivalence” refers to equivalence o f
extralinguistic communicative effect (Nida 1964 in Nord 1997: 5).
Moreover, in “ A Framework for the Analysis and Evaluation o f
Theories o f Translation” (1976) Nida highlights the purpose o f
translation, the roles o f both the translator and the receivers or
recipients o f translation, and also the cultural implications o f the
translation process. This is manifested when he argues that:

When the question o f the superiority o f one translation over

another is raised, the answer should be looked for in the
answer to another question, ‘ Best for whom?’ . The relative
adequacy o f different translations o f the same text can only
be determined in terms o f the extent to which each
translation successfully fu lfills the purpose for which it was
intended. In other words, the relative validity o f each
translation is seen in the degree to which the receptors are
able to respond to its message (in terms o f both form and
content) in comparison with (1) what the original author
evidently intended would be the response o f the original
audience and (2) how that audience did, in fact, respond.
The responses can, o f course, never be identical, for
interlingual communication always implies some
differences in cultural setting, with accompanying
diversities in value systems, conceptual presuppositions,
and historical antecedents (Nida 1976, in Nord 1997: 5).

Nida’s (1976) approach, in Nord’s opinion, had more influence on

the development o f translation theory in Europe during the 1960s
and 1970s than did the idea o f dynamic equivalence. In Edwin

17
Gentzler’s view, Nida’s work became “ the basis upon which a new
field o f investigation in the twentieth century - the ‘science’ o f
translation - was founded” (Gentzler 1993: 46). As a result, Nord
argues, some translation scholars working in training institutions
started to give functionalist approaches priority over equivalence-
based approaches. Among other things, functionalist approaches to
translation were developed as a result o f the impact the source text
and target text cultures have on translations. Culture, as defined by
Mary Snell-Homby, is “ the totality o f knowledge, proficiency and
perception” (Snell-Homby 1988: 40). For a more elaborate
definition, an American ethnologist Ward H. Goodenough defines
culture as follows:

Culture consists o f whatever it is one has to know or believe

in order to operate in a manner acceptable to its members,
and do so in any role that they accept for any one o f
themselves. Culture, being what people have to learn as
distinct from their biological heritage, must consist o f the
end product o f learning: knowledge, in a most general, i f
relative, sense o f the term. By this definition, we should
note that culture is not a material phenomenon; it does not
consist o f things, people, behaviour, or emotions. It is rather
an organization o f these things. It is the forms o f things that
people have in mind, their models for perceiving, relating,
and otherwise interpreting them (Goodenough 1964 in Nord
1997: 23-24).

According to Nord, this definition by Goodenough has served as a

general starting point for functionalist approaches to translation.
Within the functionalist approaches to translation, there is a
“ Skopostheorie” which was introduced by Hans J. Vermeer (1978)

18
in an endeavour to bridge the gap between theory and practice. The
word “ skopos” , so says Nord, is a Greek word which means
“ purpose” , and the “ Skopostheorie” is the theory that applies the
notion o f Skopos to translation (1997: 27). This theory holds the
view that the prime principle o f determining any translation process
is the purpose (Skopos) o f the overall translational action.
Furthermore, it argues that there are three possible kinds o f purpose
in the field o f translation, and those are: “ the general purpose aimed
at by the translator in the translation process (perhaps to earn a
living), the communicative purpose aimed at by the target text in
the target situation (perhaps to instruct the reader) and the purpose
aimed at by a particular translation strategy or procedure (for
example, ‘to translate literally in order to show the structural
particularities o f the source language’) (cf. Vermeer 1989a: 100, in
Nord 1997: 27-28).

As Nord argues, the word “ skopos” is usually applied to refer to

the purpose o f the target text, and some o f the related words used
by Vermeer together w ith this word (skopos) are “ aim” ,
“ intention” and “ function” . According to Katharina Reiss and
Hans J. Vermeer (1984), the top ranking rule for any translation is
the “ skopos rule” , which says that a translational action is
determined by its skopos, that is, ‘the end justifies the means’
(Reiss and Vermeer 1984 in Nord 1997: 29). The Skopos rule is
explained by Vermeer in this way:

Each text is produced for a given purpose and should serve

this purpose. The Skopos rule thus reads as follows:
translate/interpret/speak/write in a way that enables your
text/translation to function in the situation in which it is
used and with the people who want to use it and precisely in

19
 the way they want it to function (Vermeer 1989 in Non!
1997: 29).

To illustrate the operation o f Skopos, we could think o f a fictitious

scenario where I (the translator) am paid by B iti’s (a renownol
footwear brand in Vietnam) to translate its piece o f advertismcnl
which is to appear on the official website o f B iti’s.

Buoc chan Long Quan xuong bien
Buoc chan A u C o len non
B uoc chan Tay Son than toe
Buoc chan vircrt day Truong Son
Bucrc chan tien vao thien nien ky m oi
Long Quan’s strides headed fo r the sea
A u C o’s strides headed fo r the mountain
Tay Son warriors made expeditious stndi»>
Vietnamese soldiers strode across the
Tmong Son range

B it i’ s - N ang niu ban chan V ie t Vietnamese folks have been striding into
the new m illenium
B iti’s - Cherishes Vietnamese feet.

Client: B iti’s is obviously my client. Nonetheless, it is crucial to

note that the translated version could be carried in the English
version o f the website o f B iti’s, the English version o f a locul
newspaper or magazine, or a foreign newspaper or magazine. It
could also appear in specialized newspapers or magazines devoted
exclusively to footwear fashion.

Target readership: The translation would be read by average

readers who are interested in footwear fashion and professionals
working in the areas o f footwear fashion.

Purposes: As a translator, I am expected to be aware o f the reading

expectations from both the lay audience and Public Relations
(PR)/Brand Director in B iti’s. The advertisement is to promote a
high-profile brand image o f a specific company and its products
The translated text would be featured in B iti’s website, archived in

20
its PR file, and used for B iti’s marketing and promotion in overseas
market. Thus the style and appeal o f my translation is to be
compatible with B iti’s brand image, which is characterized by
grace, comfort, durability, and its direction— shielding wearers’
feet and accompanying wearers to success. The utilization o f fancy
words in the original advertisement which brings aesthetic elegance
to readers should be reproduced in the translated text.

With the aim o f producing translations appropriate for the target

system, Mona Baker (1992) provides certain strategies that can be
applied during the process o f translation. These strategies are
designed to deal with instances where there is a lack o f direct
conceptual and other types o f equivalence between the two
languages at word, sentence and textual levels.

The first strategy that Baker refers to is that a translator may

translate utilizing a more general word, or what we also refer to as
a superordinate. This, she says, is “ one o f the commonest strategies
for dealing with many types o f non-equivalents, particularly in the
area o f propositional meaning” (Baker 1992: 26). Secondly, she
argues that a translator may use “ a more neutralMess expressive
word” (Baker 1992: 26). Thirdly, a translator may resort to
translation by cultural substitution, and fourthly, a translation using
a loan word or loan word plus explanation could be used. The fifth
strategy that Baker (1992) notes is to translate by paraphrasing
using a related word, and the sixth one is to translate by
paraphrasing using unrelated words. The seventh strategy is to
translate by omission. W ith this strategy, the translator omits either
a word or an expression from the source text in his or her
translation. There are various reasons for this to happen, for
instance, when the omission o f such a word or expression does not

21
hamper the meaning o f the source text. The eighth and last strategy
is to translate by illustration. According to Baker, this is “ a useful
option i f the word which lacks an equivalent in the target language
refers to a physical entity which can be illustrated, particularly i f
there are restrictions on space and i f the text has to remain short,
concise, and to the point” (Baker 1992: 42). Translation strategies
suggested by different authors w ill be introduced in depth in the
next chapter.

Chapter summary
In the onset, translation theories were prescriptive and source
text-oriented. During the 1970s, a new perspective on translation,
which gave rise to what we now know as “ Descriptive
Translation Studies” (DTS), developed. DTS aims to describe
rather than prescribe how translations, should be done. Unlike
prescriptive translation studies, DTS is target text-oriented.

Christiane Nord (1997) provides a functionalist approach to

translation. Her argument revolves around the function or
functions o f texts and translations. Her view is that translators
have been arguing that different situations require different
renderings o f translations. For instance, in one situation a source
text-orientation, which often includes a word-for-word fidelity to
the source text, may be required, whereas in another situation, a
target text-orientation may be more appropriate.

W ithin the same frame o f argument, Eugene A. Nida (1964)

distinguishes between formal and dynamic equivalence in
translation. He says “ formal equivalence” refers to a faithful
reproduction o f source-text form elements whereas a “ dynamic
equivalence” refers to equivalence o f extralinguistic

22
 communicative effect (Nida 1964 in Nord 1997: 5).

W ithin the functionalist approaches to translation, there is a

“ Skopostheorie” which was introduced by Hans J. Vermeer
(1978) in an endeavour to bridge the gap between theory and
practice. The word “ skopos” , so says Nord, is a Greek word
which means “ purpose” , and the “ Skopostheorie” is the theory
that applies the notion o f Skopos to translation (1997: 27). This
theory holds the view that the prime principle o f determining any
translation process is the purpose (Skopos) o f the overall
translational action.

Activities

O Were early translation theories source text-oriented or target

text-oriented? Provide an example o f source text-oriented
translation.

© According to Toury (1980), is “ Descriptive Translation Studies”

(DTS) source text-oriented or target text-oriented? What is his
argument for this claim?

© Illustrate Christiane Nord’s (1997) functionalist approach to

translation by giving an example o f a situation in which a source
text-orientation may be required, and the other situation in which a
target text-orientation may be more appropriate.

© Does Eugene A. Nida (1964) share functionalist view on

translation with Christiane Nord (1997)?

In “ A Framework for the Analysis and Evaluation o f Theories o f

Translation” (1976) Nida highlights the purpose o f translation, the

23
roles o f both the translator and the receivers or recipients of
translation, and also the cultural implications o f the translation
process. Suppose you were invited to translate the Commencement
address delivered by Steve Jobs, the late CEO o f Apple Computer
and o f Pixar Animation Studios, on June 12, 2005 at Stanford
University for publication in an issue o f a popular newspaper in
Vietnam. Analyze the case in terms o f the elements Nida highlights
above. What is the skopos o f your translational action in this case?

0 “ Tess O f The D ’Urbervilles” , the title o f the novel by Thomas

Hardy, was translated as “ La lang” . Can the use o f this adaptation
method be explained via Skopos theory?

© Functionalist approaches to translation were developed as a

result o f the impact the source text and target text cultures have on
translations.

Take the example o f translating the medical term roseola as ban dao
in Vietnamese language. Western physicians found the secondary
stage lesions o f Syphilis resemble roses and named them roseola
meaning any rose-colored rash. However, Vietnamese physicians
chose peach blossom, a flower o f Vietnamese culture, to name these
lesions ban dao (meaning any peach blossom-colored rash).
Similarly, western anatomists gave the muscle lying between
thoracic cavity and abdominal cavity the name diaphragm (meaning
partition), whereas Vietnamese anatomists addressed it as co hoanh
(meaning horizontal muscle) probably based on its horizontal
position and from its analogy with the horizontal frame supporting
the roofs o f the houses in Vietnamese villages (Tuan 2009a).

Find your own example o f the impact the source text and target text
cultures have on translations.

24
Chapter 3

Unit of translation and

translation strategies and
methods

In this chapter, we w ill:

• look at different views and definitions on unit o f translation.

• revisit definitions o f translation strategy.
• distinguish between global strategies and local strategies in
translation.
• explore translation methods proposed by Newmark and
those by Vinay and Darbelnet.

Unit of translation
A large area o f translation discussion has apparently been dedicated
to what constitutes a translation unit. Barkhudarov (1993) observes
that “ Much has been written on the “ problem” o f the unit o f
translation, probably because the concept o f such a unit is
potentially interesting for translation pedagogy. I f students o f
translation could be told how to cut up texts and which pieces to
replace with which other pieces, they could once again, be
programmed in such a way that they would produce “ good”
translations.” (p. 39)

Unit o f translation (UT) has been given various definitions by

different theorists. Shuttleworth and Cowie (1997) define it as "a

25
term used to refer to the linguistic level at which ST is recodified in
TL" (p. 192). Hatim and Munday simply call it “ normally the
linguistic unit which the translator uses when translating” (2004:
25). Snell-Homby (1988/1995: 16) calls the UT “ a cohesive
segment lying between the level o f the word and the sentence.”
From Delisle et al.’s (1999: 91) standpoint, A translation unit is “ a
single element in the source text or a group o f elements that are
linked by semantic or formal features and which translators
interpret as a single entity in association with their situational
knowledge” .

In other words, it's an element with which the translator decides to

work while translating the ST. Barkhudarov (1993) defines a UT as
"the smallest unit o f SL which has an equivalent in TL". He
recommends that this unit o f translation, no matter how long, can
itself "have a complex structure" although its parts separately cannot
be translated and replaced by any equivalent in the TL. Phonemes,
morphemes, words, phrases, sentences and entire texts are probable
units o f translation for him. What determines the appropriate UT,
according to him, is the wording at a given point in ST.

When a translator commences his work, i.e. translation, in

accordance with the type o f ST he's working on, he decides about
the basic segments in ST to be translated into TT. These segments
range from a whole text, as in poetry, to a single phoneme.

The argument about the length o f a UT also dates back to the

conflict between free vs. literal translation. Literal translation is
much focused on individual words, or even sometimes morphemes.
Therefore in literal translation UTs are as short as words. On the
contrary, a free translation "aims at capturing the sense o f a longer
stretch o f language" (Hatim and Munday 2004: 17). It always

26
chooses the sentence. O f course by the arising o f text linguistics,
the concentration o f free translation has moved from the sentence
to the whole text. Once a translator decides to work on larger
segments than is necessary to convey the meaning o f ST, this is
free translation which is at work. In similar vein, while translating
smaller segments than is needed, literal translation is under
discussion. In Koller’s (1979/1992) terms, translating from a SL
which is not that much related to TL and w ill usually result in
choosing larger units, while closeness o f SL and TL involves
smaller UTs.

Vinay and Darbelnet (1985/95) totally draw on the concept o f word

as a basis for UT. O f course they do not believe in non-existence o f
words, especially in written languages. For them, a translator
doesn't need dictated criteria about a UT since what he does during
the translation process is all done semantically. So sentencing a
formal segment as a basic UT is not desired at all. Consequently,
what should be identified and distinguished as a unit for a
translator, who's translating thoughts and concepts, is a unit o f
thought. Vinay and Darbelnet consider three following terms as
being equivalent: "unit o f thought", "lexicological unit" and "unit
o f translation". What they suggest as a definition for UT is" "the
smallest segment o f the utterance whose signs are linked in such a
way that they should not be translated literally". Lexicological units
o f Vinay and Darbelnet contain "lexical elements grouped together
to from a single element o f thought".

Several types o f UT are recognized by them as: 1- functional units,

2-semantic units, 3- dialectic units and 4- prosodic units. The last
three types are, according to them, counted as UT but the
functional units are almost too long to include just one UT.

27
Three other different categories arise while looking at the
relationship between units o f translation and words inside a text:

1. Simple units: Vinay and Darbelnet correspond this type to a

single word. It's the simplest, as they state, and at the same
time the most widely used unit. In this case, number o f units
equals number o f words. Replacement o f words w ill not
lead to a change in the sentence structure.

2. Diluted units: These units contain several words which in

turn shape a lexical unit, since they pursue a single idea.

3. Fractional units: "A fraction o f a word" is what this type o f

UTs are consisted of.

Guo (2002: 544), based on his own experience, claims that in

Chinese-English translation “ the best UT is the paragraph” . Huang
and W u’s (2009) contrastive analysis o f the ST and TT materials
shows that translations are done sentence by sentence within
context and thus identifies the sentence in context as the UT. For
Newmark (1988), "sentence is a natural unit o f translation" (p. 65).
He then considers some other sub-units o f translation in the
sentence, the first o f which is the morpheme. Unless placed in
special cases, Newmark states, morphemes shouldn't be considered
seriously. Clause, group, collocation and words including idioms
and compounds are grammatical and lexical sub-units o f translation
proposed by him. For sure Newmark's proposed category partly
relies on a scale formerly established by Michael Halliday in 1985.
The following scale is the one according to which Hallidays
performs a systematic analysis o f English:

Morpheme
Word

28
 Group
Clause
Sentence

Newmark considers no priority for each o f the lexical or

grammatical units, since wherever they exist, he believes, adequate
magnitude should be paid toward them. Briefly speaking, Newmark
(1988) labels paragraphs and texts as higher UTs, while sentences,
groups, clauses and words as lower UTs. He contends that "the mass
o f translation uses a text as a unit only when there are apparently
insuperable problems at the level o f the collocations, clause or
sentence level" (p. 64). Recent emphasis on communicative
competence and language is what Newmark counts as a factor which
had made the text as unit renowned. In his terms, most o f the
translation is done at the smaller units, i.e. word and clause.

Endeavouring to delve more into the details and providing a more

lucid elaboration on the concept o f UT, Newmark (1988) states that
in informative and authoritative texts, the focus is on the word, in
informative texts on the collocation and the group and in vocative
texts on the sentence and the text, as a unit.

He concludes in this way: "all lengths o f language can, at different

moments and also simultaneously, be used as units o f translation in
the course o f the translation activity ... to me the unit o f translation
is a sliding scale, responding according to other varying factors,
and (still) ultimately a little unsatisfactory" (pp. 66-67).

Ldrscher (1992, 2005) collated translations o f both advanced

foreign language learners and professional translators together with
concurrent verbalizations. The transcripts were analyzed and a
number o f translation strategies - procedures which the subjects

29
utilize so as to solve translation problems - were discerned. The
results displayed that the length o f the translation units was larger
w ith professional translators than w ith foreign language students:

The units o f translation, i.e. the SL text segments which

subjects extract and put into their focus o f attention in order
to render them into the T L as a w hole , are considerably
larger among professional translators than among foreign
language students. In other words, the processing system o f
professionals can obviously address larger units than that o f
non-professionals. The former m ainly choose phrases,
clauses or sentences as units o f translation whereas the
latter concentrate on syntagmas and especially on single
words. (Lorscher 2005: 605)

This difference between foreign language learners and

professionals is highly intuitive. Nonetheless, for Bemardini, this
distinction is not so clear-cut:

According to most researchers, the length o f translation

units is an indication o f proficiency [...] Clearly, this does
not mean that a professional translator never stops m idway
through a sentence, but only that the sentence is processed
as a unit w ith more local problems tackled on the way. The
suggestion can be put forward that attention units are better
defined in hierarchical rather than sequential terms, w ith
smaller units being processed w ithin larger units.
(Bem ardini 2001: 249)

Since translation is prim arily concerned w ith the rendition o f

meaning in the target language, a common sense definition o f the
translation unit would be:

30
 “ A translation unit is any manageable, short-term memory
retainable stretch o f text or utterance that yields meaning on
the syntactic, semantic and pragmatic levels.” (Darwish,
1998)

The Translation cognitive process comprising (1) visual sensory

perception, w hich involves active reading, (2) comprehension and
(3) production occur at the translation

unit level as displayed in Figure 3.1.

Figure 3.1 Perception, comprehension and production at

the translation unit level

(Source: Darwish, A. (1999). Towards a Theory o f C o n stra in ts in T ranslation.

A t-tu rju m a n O nline, www.at-turjuman.com. Posted 16 June 1999, p. 25)

31
As depicted above, the entire translation cognitive process is the
expedition to determine the appropriate translation unit and
implement translational action at this translation unit level. In other
words, an effective translation strategy should be built on the right
translation unit and the mapping o f it to the target language.

Activities
O From cultural perspective, should “ M r. & Mrs. Smith” , the title
o f the 2005 film by Doug Liman, be translated as “ Ong va ba
Smith” or “ Ong ba Sm ith” ?

© What is the unit o f translation chosen to translate “ Jaws” , the

title o f the 1974 novel by Peter Benchley? Should “ Jaws” be
translated as “ nhung ham rang” or “ ham ca map” by looking at
cultural differences between the source language and the target
language?

© “ Canh dong bat tan” , the title o f Nguyen Ngoc T u ’s short story,
was translated as “ Floating lives” when the story was transformed
into the film version. W hich translation unit is looked at in this
adatation process?

O Study this source text:

Hai gib sau, ccm phu phoi da qua, va ngubi benh dang thiem thiep
ngu. Khuon mat co be, con cua chi benh nhan, da tuoi hem dau con
dong vai giot nude mat kho ben khoe. Toi thb phao, nhung chat
nhb ra bai giang cua minh. Da qua gia roi, toi nhin ra cua phong
benh, cac sinh vien hay con dang dung chd. “ X in loi! khong con du
gid de giang bai giang horn nay cho cac ban, cho toi ng nhe!” Toi
ngugng ngap cudi, cac ban cung cudi. M ot ban sinh vien chat len
tieng: “ Nhung horn nay tui em da len cap d thay nhieu thu lam ma

32
thSy khong biet: each cap cuu phu phoi, va ca tam long vi nguai
benh, va con mQt thu ...”

Cau noi bo lung con dang lam toi boi roi thi em dira ra mot tam anh
va tinh nghich noi: “ Em xin tra thay, nhung thay dung danh roi nua
nhe” . Do la tam anh Hippocrates ep nhua da cu toi cat ra tu mot to
bao thai con sinh vien, va tu ay den gia luc nao toi cung de noi tui
ao blouse ben trai moi khi den vai benh nhan nhu nhac nhd minh
luon ghi nho cau noi cua v i to sir nghe y, toi ghi sau buc anh:
“ Ngucri thay thuoc khong phai luc nao cung chtra khoi benh, song
dieu ho luon lam duac la lam vai di noi dau cua nguai b?nh” . Co
sinh vien lai noi: “ Thay biet khong, cho den sang horn nay, horn nua
trong chung em van chua yeu thich nghe y, cai nghe ma ba me
chon cho chung em, nhung bay gia chung em da biet rung dong vi
chiec ao blouse nay ro i” .

Luu Trong Tuan

(Source: http://vietbao.vn/Xa-hoi/Bai-giang-dau-
tien/40068065/124/1

• How do you translate the word “ em” in the first sentence o f the
second paragraph? And which translation unit do you utilize to
translate it?

(A ) Translation: “ a student” | Translation unit: word level

(B) Translation: “ a student” | Translation unit: phrase level
(C) Translation: “ she” | Translation unit: text level
(D) Translation: “ she” | Translation unit: intertextual level

• W hich should the phrase “ v i to su nghe y” in the source text be

translated into English as, “ the Ancestor o f Medicine” , “ the Master

33
o f M edicine” , or “ the Father o f M edicine” ? Does your choice look
at lexical unit, textual unit, or a translation unit beyond the text
towards the whole target language or culture?

e
• Look at the first paragraph o f the fo llow ing passage. Think about
what translation units a translator m ight use when translating this.

• Translate this paragraph into English and make a note o f the

translation units you use when dividing up the source text.

• Translate the entire text into English. Is your translation more

source text-based or more target text-based?

Nong nan dat V iet

T T - N g iro i N hat yeu va t y hao

ve dat nirdc ho o' sire manh
khoa hoc ky thuat. Con bao
doi nay, ngiro i V iet ta luon yeu
va t y hao ve que hirong m inh o'
nhung dieu binh d j ...

Hinh bong que hmmg trong long

ngudi Viet khong hung vT nhu
ngudi Nhat tarn niem qua hinh anh nui Phu ST, ma chi don so nhu
cai ao sau nha. Ma khi di xa, ngudi V iet luon mong va cung ru
nhau “ ta ve ta tarn ao ta” .

Cai ao, dong muomg, ben song luon ghi lai giup ngudi Viet nhung
ky uc mot ddi ngudi, tir tirng ngay sang song di hQC ddn mot ngay
rdi ben sang ngang.

34
Nhung dong nude, nhung cay cau go bac sang neu ai mot lan di qua
chSc kho co the rbi xa manh dat nay. Chi mot cau tra ld i di dom cua
mot sinh vien y khoa noi rang: “ Nguoi me mang thai nen tranh di
c§u tre lat leo de di cau van dong dinh phai khong co?” da giu trai
tim mot nguoi thay thuoc(*) a lai vdi nhung benh nhan, sinh vien
cua minh khi que huong nay con bao khon kho sau chien tranh.

Cach day horn 15 nam, lan dau di cong tac nuac ngoai, khi di tren
taxi, nguoi lai xe sau mot luc nhan lam toi la ngucri Trung Quoc, biet
ngucri khach di xe la ngucri Viet, da hoi toi co phai do la xu so cua
nhung tieng sung, long toi se lai. Song chi vai nam sau khi dat nude
m d cua, dat Viet da co hinh anh khac noi be ban. M ot buoi chieu
tren thanh pho Kuala Lumpur, toi da rung dong khi nghe tieng rao ve
mon an Viet tir mot chiec xe quang cao chay quanh: “ M d i ban den
vdi am thuc Viet, khong cay nhu mon an Thai, khong beo nhu mon
an Hoa, huong vj dju nhu tarn hon nguoi V iet” .

Bao nguoi V iet xa xu hoai huong, nhd huong gao nang thorn, them
duoc noi, duoc nghe nhung cau chao buoi sang cua nguoi Viet:
“ Sao, cai lung anh con dau khong?” , “ Chau be do sot chua?” ... Do
la nhung ld i chao mot ngay m di trai long cimg m oi nguoi, khong
mang ranh gidi hinh thuc trong ld i chao giira nhung con tim.

Bao nguoi V iet xa xu mong duoc thot len nhung ld i ma bai hat
Bonjour Vietnam cua nhac si nguoi Phap M arc Lavoine noi giup.
Song khong it tre em goc V ie t sinh ra d x u nguoi chi cam nhan
duoc giai dieu ma khong cam nhan duoc ld i ca, bdi le cac em
chua duoc m ot lan xuoi nhung dong kenh hay bude chan tren bun
ma. Va co le cung khong it tre em dang song tren que huong V iet
cung khong cam nhan duoc nhung bai tho, ld i nhac em dem mot
dang que.

35
Cac em chira dugc mot lan thay lua tro dong dong, thi co hat bao
lan theo co giao bai hat Tia em ma em, cac em cung khong the rung
dong trirac hai tieng que huorng. Cac em dang Ion len, dang lam
quen nhieu voi van hoa phuong Tay hon van hoa Viet, dang thich
doc nhung truy?n Tay hon la truyen Viet, ma cac em dau biet rang
nguoi phuong Tay da phai lan loi sang dat V iet van chua tim het
dugc cai hon cua nhung cau chuyen Gio dau mua cua Thach Lam,
Anh phai song cua Khai Hung ...

Hay dua cac em ra khoi lop hoc, den voi nhung canh dong, thay
dugc het cai lam lu cua ngucri lam ra hat gao, cham den tim g hat
phu sa, de cam nhan dugc cai nong nan cua dat me.

Luu Trgng Tuan

(* ) Tam s ir cua BS Nguyen Thi N goc P hu o ng - nguyen giam doc

Benh vien p hu san T it Du, TP.HCM .

(Source: http://vietbao.vn/Xa-hoi/Nong-nan-dat-
V iet/40121601/124/ )

Translation strategies and methods

Translation strategies
Krings (1986: 18) defines translation strategy as “ translator's
potentially conscious plans for solving concrete translation
problems in the framework o f a concrete translation task,” and
Seguinot (1989) believes that there are at least three global
strategies employed by the translators: (i) translating without
interruption for as long as possible; (ii) correcting surface errors
immediately; (iii) leaving the m onitoring for qualitative or stylistic
errors in the text to the revision stage.

36
\ Moreover, Loescher (1991: 8) defines translation strategy as “ a
'potentially conscious procedure for solving a problem faced in
translating a text, or any segment o f it.” As it is stated in this
definition, the notion of consciousness is significant in
distinguishing strategies which are used by the learners or
translators. In this regard, Cohen (1984: 4) asserts that “ the element
o f consciousness is what distinguishes strategies from these
processes that are not strategic.”

Furthermore, Bell (1998: 188) differentiates between global (those

dealing w ith whole texts) and local (those dealing w ith text
segments) strategies and confirms that this distinction results from
various kinds o f translation problems.

Venuti (1998: 240) indicates that translation strategies “ involve the

basic tasks o f choosing the foreign text to be translated and
developing a method to translate it.” He employs the concepts o f
domesticating and foreignizing to refer to translation strategies.

Jaaskelainen (1999: 71) considers strategy as, “ a series o f

competencies, a set o f steps or processes that favor the acquisition,
storage, and/or utilization o f inform ation.” He maintains that
strategies are "heuristic and flexible in nature, and their adoption
implies a decision influenced by amendments in the translator's
objectives."

Taking into account the process and product o f translation,

Jaaskelainen (2005) divides strategies into two major categories:
some strategies relate to what happens to texts, w hile other
strategies relate to what happens in the process.

Product-related strategies, as Jaaskelainen (2005: 15) writes,

involves the basic tasks o f choosing the SL text and developing a

37
method to translate it. However, she contends that process-related
strategies “ are a set o f (loosely formulated) rules or principles
which a translator uses to reach the goals determined by the
translating situation” (p.16). Moreover, Jaaskelainen (2005: 16)
divides this into two types, namely global strategies and local
strategies: “ global strategies refer to general principles and modes
o f action and local strategies refer to specific activities in relation
to the translator’s problem-solving and decision-making.”

T ranslation methods
Newmark (1981/1988) mentions the difference between translation
methods and translation procedures. He writes that, “ [w ]h ile
translation methods relate to whole texts, translation procedures are
used for sentences and the smaller units o f language” (p. 81). He
goes on to refer to the ensuing methods o f translation:

• W o rd -fo r-w o rd tra n s la tio n : in which the SL word order is

preserved and the words translated singly by their most
common meanings, out o f context.

• L ite ra l tra n s la tio n : in which the SL grammatical

constructions are converted to their nearest T L equivalents,
but the lexical words are again translated singly, out o f
context.

• F a ith fu l tra n s la tio n : it endeavours to produce the precise

contextual meaning o f the original w ith in the constraints o f
the T L grammatical structures.

• Sem antic tra n s la tio n : which differs from ‘ faithful

translation’ only in as far as it must take more account o f
the aesthetic value o f the SL text.

38
 • A d a p ta tio n : which is the freest form o f translation, and is
used m ainly for plays (comedies) and poetry; the themes,
characters, plots are usually preserved, the SL culture is
converted to the T L culture and the text is rewritten.

• Free tra n s la tio n : it produces the T L text w ithout the style,

form, or content o f the original.

• Id io m a tic tra n s la tio n : it reproduces the ‘ message’ o f the

original but tends to distort nuances o f meaning by
preferring colloquialisms and idioms where these do not
exist in the original.

• C om m unicative tra n s la tio n : it attempts to render the exact

contextual meaning o f the original in such a way that both
content and language are readily acceptable and
comprehensible to the readership (1981/1988: 45-47).

Newmark (1991: 10-12) writes o f a continuum existing between

“ semantic” and “ communicative” translation. A n y translation can
be “ more, or less semantic— more, or less, communicative— even a
particular section or sentence can be treated more communicatively
or less semantically.” Both seek an “ equivalent effect.”

According to Vinay and Darbelnet (1958/1995/2000), translators

can choose from two methods o f translating, namely direct, or
literal translation and oblique translation. In the listing which
follows, the first three procedures are direct and the others are
oblique.

1) D ire c t b o rro w in g

Borrowing is categorized into direct and indirect borrowing. Direct

borrowing consists o f native words in donor language, whereas
indirect borrowing comprises words borrowed through donor

39
language. According to Fromkin (2000: 512), native words are
those which can be etym ologically traced back to the most
prim itive phase o f that language. Even though direct borrowing is
becoming the increasingly common term inology translation
procedure, this should be the last resort as suggested by O hly
(1987). Thus, such medical terms as “ test” and “ oxygen” should be
translated as “ xet nghiem” and “ duong kh i” respectively, rather
than being retained in the target language. Sim ilarly, such
management terms as “ franchise” , “ public relations (PR)” , and
“ event” should be rendered respectively as “ nhirgng quyen” , “ quan
he cong chung” , va “ sir kien” .

2) C alque/loan tra n sla tio n

A caique is a special kind o f borrowing whereby a language

borrows an expression form o f another, but then translates literally
each o f its elements. The result is either

i a lexical caique, as in the first example, below, i.e. a caique

which respects the syntactic structure o f the T L, whilst
introducing a new mode o f expression; or

ii a structural caique, as in the second example, below, which

introduces a new construction into the language, e.g.:

This program is sponsored by Toyota. —» Chucmg trinh nay

dirge Toyota tai trg.

This program is sponsored by Toyota. —> Chuong trinh nay

dirge tai trg bdi Toyota.

3) L ite ra l tra n sla tio n

Literal, or word for word, translation is the direct transfer o f a SL

text into a grammatically and idiom atically appropriate T L text in

40
which the translators’ task is lim ited to observing the adherence to
the linguistic servitudes o f the TL.

I left the glasses on the table. —>Toi de cap kinh tren

ban.

This train arrives at Saigon Station at ten. —»Chuyen tau nay den ga
Sai Gon luc 10 gio.

4) Transposition

The method called transposition involves replacing one word class

w ith another without changing the meaning o f the message. Beside
being a special translation procedure, transposition can also be
applied w ith in a language. For example: “ I am happy that he has
returned” , can be re-expressed by transposing a subordinate verb
w ith a noun, thus: “ I am happy about his return” . In contrast to the
first expression, which we call the base expression, we refer to the
second one as the transposed expression. In translation there are
two distinct types o f transposition: (i) obligatory transposition, and
(ii) optional transposition.

The follow ing example has to be translated literally, but must also
be transposed:

When he returns ... Khi anh ay tra ve ...

Khi anh ay trd ve ... When he returns ...
Upon his return ...

In this example, the Vietnamese allows no choice between the two

forms, the base form being the only one possible. Inversely,
however, when translating back into English, we have the choice
between applying a caique or a transposition, because English
permits either construction.

41
Transposition also occurs when nominalizations are translated as
verbal forms in Vietnamese language since the Vietnamese tend to
utilize verbal structure (Them 2004: 296) rathem than
nominalizations as “ detransitivizing devices” (Martinez 2002: 1).
Thus, in the follow ing medical text, the nominalization “ disease
activity” is translated as the verbal construction “ benh dang tien
trien” (disease being active) rather than “ su tien trien cua benh”
(the activity o f the disease):

Source text Translation

Fever accompanies a wide Sot di kem voi nhieu loai

variety o f illnesses and is a benh va la mot chi dan co gia
valuable marker of disease trj benh dang tien trie n .
a c tiv ity .

5) M o d u la tio n

Van H o o f describes modulation as a type o f transposition at the

global level, applying to categories o f thought, not grammatical
categories (1989: 126).

Vinay & Darbelnet (1977) use the term “ modulation” to encompass

a shift from:

• Abstract to concrete
• Cause to effect
• Means to result
• Part to whole
• A to Negation o f not-A
• One metaphor to another

42
Van H o o f (1989) supplement shifts from:
• Popular to learned vocabulary
• One colour to another

Chuquet & Paillard (1987: 30, 26, 28) provide the illustrations for
• Different temporal viewpoint
• Different part o f the same process
• Metaphor shifted to non-metaphor

Comparing the medical terms in M o s b y ’s M e d ic a l D ic tio n a ry (6th

ed.) (Anderson et al., 2002) w ith Vietnamese medical terms shows
the reverse shifts o f modulation forms found by V inay &
Darbelnet, Van Hoof, and Chuquet & Paillard, as w ell as different
spatial viewpoint. Shifts in modulation are displayed in the
follow ing examples (Vietnamese translations trail the arrows)
(Tuan 2009b: 233-236).

(1) Abstract ±7 concrete

Abstract —> concrete:

floating kidney —> than di dong
(kidney + m oving)
floating ribs —> xuong sircrn cut
(rib + cut off/too short)
frozen shoulder —> khop vai han che
(shoulder + lim ited)
Concrete —> abstract: sexually transmitted disease (STD)
—> benh hoa lieu (disease + flow er and
w illo w [, which probably comes from the
Japanese word k a ry iik a i "the flow er and

43
 w illo w w orld" im plying the elegant, high-
culture w orld o f geisha]).

(2) Cause ^ effect

Cause —> effect: poliom yelitis —> Sot bai liet
(fever + paralysis)
Effect —> cause: tuberculosis —> lao
(tuber = swelling) (due to w orking too hard)

(3) Means ^ result

Means —> result: undescended testis —> tinh hoan an
(incomplete descending) (hidden testis)
Result —» means: hemothorax —> tran mau mang phoi
(blood in the thorax) (blood flooding
pleural cavity)
ulna —> xucmg tru
(ulna [Latin, elbow] = elbow bone)
(xucmg tru = the bone functioning as a pivot)

(4) Part ^ whole

Part —> whole: meningococcemia —> nhiem nao mo cau
(meninges = part) (the infection involving
brain (= whole) tissue)
W hole —> part: hydrothorax —> tran dich mang phoi
(thorax = whole)
(flu id flooding pleural cavity (= part))
sleepwalking —> mong du
(sleep = whole) (w alking in the dream
(= a part o f the sleep))

44
(5) A ^ Negation o f not-A
A —» Negation o f not-A:
fainting —> bat tinh
(not + conscious [= not fainting])
Negation o f not-A —> A:
insanity —> loan tarn than (mental illness)
(in + sanity [= opposite “ mental illness” ])

(6) Different temporal/spatial viewpoint

Different temporal viewpoint:
prolonged pregnancy —» thai gia thang
(too old fetus)
Different spatial viewpoint:
articulatio radioulnaris distalis
—> khop quay tru duoi
(= inferior radioulnar jo in t)

(7) Different part/phase o f the same process

Psoriasis [Greek, itch] is etym ologically a m inor symptom o f
the disease whereas its Vietnamese translation “ vay nen” (wax­
like scales) is a major manifestation o f the disease.

(8) One metaphor to another

heart murmur —> am thoi tim
(the blow ing sound o f the heart)
risus sardonicus —> ve mat cucri nhan
(laughter + mocking) (laughter + pulling faces)
kneecap —> xuong banh che
(cake-shaped bone)
spur —> gai xuong

45
 (spur = spur-shaped projection o f bone from a body
structure)
(gai xircmg = thorn-shaped projection o f bone from a
body structure)
tapeworm —> san xo m it
(tape-shaped worm) (“ja ckfru it bulb” worm,
im plying worm resembling the
edible bulbs o f ripe ja ckfru it)
roseola ban dao
(= rose-colored rash) ( “ peach blossom” rash,
im plying peach blossom-
colored rash)

(9) Metaphor ^ Non-metaphor

Metaphor —> Non-metaphor:
cradle cap —> benh nam da dau
(dermatitis o f the scalp)
Non-metaphor —> Metaphor:
lymphogranuloma venereum (LG V )
—» benh hot xoai
(“ mango stone” disease, in which the metaphor “ mango
stone” refers to marked swelling o f the lymph nodes in
the groin)
epidemic parotitis —> benh quai bi
(“ bag-shaped swollen ja w ” disease)
(10) Popular style ^ Professional/Academic style
Popular style —> Professional/Academic style:

46
 windpipe —> khi quan (equivalent to “ trachea” in terms
o f stylistic scale)
Professional/Academic style —» Popular style:
anaemia —> thieu mau (“ lack o f blood” )
ductus arteriosus —> ong dong mach (“ arterial duct” )
molluscum —> u mem (“ soft tum or” )
in vivo —> tren co the song (“ on the human
body” )

(11) One color to another

pinkeye —» benh dau mat do (“ red eye” )
cyanosis —> chung xanh tim
[Greek, kyanos, blue] (“ blue and violet skin” )

6) A da p tatio n

Adaptation can be described as a special kind o f equivalence, a

situational equivalence. Let us take the example o f an English
father who would think nothing o f kissing his daughter on the
mouth, something which is normal in that culture but which would
not be acceptable in a literal rendering into Vietnamese.
Translating, “ He kissed his daughter on the mouth” by “ Ong ay hon
moi con gai” , would introduce into the T L an element which is not
present in the SL, where the situation may be that o f a loving father
returning home and greeting his daughter after a long journey. A
more appropriate translation would be, “ Ong ay hon con gai” .

47
C hapter sum m ary

Shuttleworth and Cowie (1997) define unit o f translation (U T ) as

“ a term used to refer to the linguistic level at which ST is
recodified in T L ” (p. 192). Barkhudarov (1993) defines a U T as
“ the smallest unit o f SL which has an equivalent in T L ” .
Phonemes, morphemes, words, phrases, sentences and entire
texts are probable units o f translation.

Krings (1986: 18) defines translation strategy as “ translator’ s

potentially conscious plans for solving concrete translation
problems in the framework o f a concrete translation task,”
especially discerning unit o f translation. Bell (1998: 188)
distinguishes between global (those dealing w ith whole texts)
and local (those dealing w ith text segments) strategies. Venuti
(1998: 240) indicates that translation strategies “ involve the
basic tasks o f choosing the foreign text to be translated and
developing a method to translate it.”

Newmark (1981/1988) provides the landscape o f translation

methods encompassing word-for-w ord translation, literal
translation, faithful translation, semantic translation, adaptation,
free translation, idiom atic translation, and communicative
translation. From Vinay and Darbelnet’s (1958/1995/2000)
perspective, translators can choose from two methods o f
translating, namely direct translation and oblique translation.
Three procedures - direct borrowing, calque/loan translation,
and literal translation - are direct, and the other three -
transposition, modulation, and adaptation - are oblique.

48
 Activities

O What is the distinction between global and local translation

strategies from the view o f Bell (1998) and that o f Jaaskelainen
(2005)?

© Based on forms o f written communication, Reiss (1971/2000:

163) distinguishes three text-types:
a. The communication o f content— inform ative type
b. The communication o f artistically organized content—
expressive type
c. The communication o f content w ith a persuasive character—
operative type

What is the text-type o f the ensuing text? Is exploring text-type o f

this text to decide on an appropriate translation method a global or
local translation strategy?

New M oon is a romantic fantasy novel by author Stephenie Meyer,

and is the second novel in the T w ilig h t series. The novel continues
the story o f Bella Swan and vampire Edward Cullen's relationship.
When Edward leaves Bella after his brother attacks her, she is left
heartbroken and depressed for months until Jacob Black becomes
her best friend and helps her fight her pain. However, her life twists
once more when Jacob's nature reveals itse lf and Edward's sister
decides to visit.

According to Meyer, the book is about losing true love. The title
refers to the darkest phase o f the lunar cycle, indicating that New
M oon is about the darkest time o f protagonist Bella Swan's life.
Meyer wrote the book before T w ilig h t was published. W riting the

49
book was d iffic u lt for Meyer as she feared the readers' reaction to
the book and often cried w hile describing Bella's pain.

The book was originally released

in hardcover on September 6, new m oon
2006 w ith an in itial print run o f
100,000 copies. Upon its
publication in the United States,
New M oon was highly successful
and moved quickly to the top o f
bestseller lists, becoming one o f
the most anticipated books o f the
year. It peaked at #1 on both the
New Y ork Times Best Seller list
and USA Today's Top 150
Bestsellers, and was the biggest S T E P M E N t E M E Y E R
o f thi vfN to rn r/«utisrsiuti r t n t if » :

selling children's paperback o f

2008 w ith over 5.3 m illio n copies sold. Moreover, New M oon was
the best-selling book o f 2009 and has been translated into 38
languages. A film adaptation o f the book was released on
November 20, 2009.

The novel received mostly positive reviews. Critics pointed out that
the novel was more mature and darker than T w ilig h t , which had an
"almost fairytale quality". Meyer's w ritin g gained wide praise for
the characters' development, especially Bella's, and the intense
portrayal o f love and pain which they called "m oving". However,
some critics thought that the middle section slowed the book's pace
a little.

(Source: http://en.wikipedia.org/wiki/New Moon %28novel%29~)

50
© According to Newmark (1981/1988), what is semantic translation?
Provide an example to illustrate this translation method.

O Provide some examples o f idiom atic translation from English to

Vietnamese?

© Provide an example to illustrate communicative translation

method from Newm ark’s (1981/1988) stance.

© M ultiple choice questions

For each question, choose the best answer.

1. The translation method called caque

(A ) involves replacing one word class w ith another without
changing the meaning o f the message.
(B) is a special kind o f borrowing
(C) is a special kind o f literal translation whereby a language
borrows an expression form o f another, but then translates
literally each o f its elements.
(D) respects the syntactic structure o f the TL.

2. W hich o f the follow ing is an example o f caique?

(A ) “ panic selling” is translated as “ ban tong ban thao” .
(B) “ low involvement product” is translated as “ hang thiet yeu” .
(C) “ loan market” is translated as “ thi trudng von vay” .
(D ) “ loan capital” is translated as “ von vay”

3. The translation o f “ low involvement product” as “ hang thiet

yeu” is an example o f
(A ) adaptation
(B) modulation

51
 (C) transposition
(D) literal translation

4. The translation o f “ The Grapes o f W rath” , the title o f the novel

by John Steinbeck, as “ Chum nho phan no” is an instance o f
(A ) adaptation
(B) literal translation
(C) modulation
(D) transposition

5. The translation o f “ heart murmur” as “ am thoi tim ” is an

instance o f
(A ) loan translation
(B) literal translation
(C) modulation
(D) transposition

6. W hich two translation methods are combined in the translation

o f “ woman in love” as “ ngudi dan ba dang yeu” ?
(A ) Caique and literal translation
(B) Literal translation and transposition
(C) Literal translation and modulation
(D) Literal translation and adaptation

7. W hich type o f modulation is used in the translation o f

“ sleepwalking” as “ mong du” ?
(A ) Concrete —> abstract
(B) Abstract —> concrete
(C) W hole —> part
(D ) Part —> whole

52
8. W hich type o f m odulation is used in the translation o f “ bogus
company” as “ cong ty ma” ?
(A ) Metaphor —> Non-metaphor
(B) Non-metaphor —» Metaphor
(C) Cause —> effect
(D) Effect —> cause

53
Chapter 4

Equivalence in translation

In this chapter, we w ill:

• revisit diverse definitions and perspectives o f translation

equivalence.
• discern the distinction between formal equivalence and
dynamic equivalence.
• build an overall portrayal o f typologies o f translation
equivalence.
• explore the Dynamic Translation M odel (D TM ).

W hat is translation equivalence?

The comparison o f texts in different languages inevitably involves
a theory o f equivalence (Leonardi 2000). Finding equivalents in
translation involves decoding the source language (SL) text and
endeavouring to find an appropriate equivalent in the target
language (T L ) text to encode whatever has been decoded in SL
(Baker 1992). The domain o f equivalents covers linguistic units
such as morphemes, words, phrases, clauses, idioms and proverbs
(Baker 1992). Through using finding equivalence strategies, the
translators also attempt to improve the chance o f persuading their
readers by making .better their qualities o f translation (Neubert
1985).

“ Equivalence” is one o f the most traditional and critical concepts in

translation theory, being considered by some “ constitutive for

54
translation” (K oller 1997: 189) and the “ nucleus o f all translation
theory” (Albrecht 1987: 13) and by others provoking contradicting
opinions and carrying in its wake a plethora o f definitions (W ilss
1977: 156).

According to Halverson (1997: 207-210) equivalence is defined as

a relationship existing between two entities, and the relationship is
depicted as one o f likeness/ sameness/ sim ilarity/ equality in terms
o f any o f a number o f potential qualities. Proponents of
equivalence based theories of translation usually define
equivalence as the relationship between a source text (ST) and a
target text (T T ) that allows the T T to be regarded as a translation o f
the ST in the first place. Equivalence relationships are also said to
hold between parts o f ST and parts o f TL. However, the above
definition o f equivalence is not unproblematic. Pym (1992: 37), for
one, has pointed to its circularity: equivalence is supposed to define
translation, and translation, in turn, defines equivalence.
Unfortunately, few attempts have been made to define equivalence
in translation in a way that avoids this circularity (Kenny 1998).
House (1997) views the notion o f equivalence as “ the conceptual
basis o f translation and, to quote Catford, 'the central problem o f
translation practice is that o f finding T L (target language)
equivalents. A central task o f translation theory is therefore that o f
defining the nature and conditions o f translation equivalence'
(1965:21)” (p. 25).

Typologies o f translation equivalence

The theory o f translation offers different classifications of
equivalence according to different criteria deemed crucial.
Theorists, though constantly suggesting new definitions, agree at
least on one point - the notion o f equivalence is problematic.

55
Because o f that it m ight be better to present the various types o f
equivalence offered by authors rather than look for one unified
definition o f that obviously controversial term. The typology o f
eqivalence seems to be a kind o f safe ground for theorists to
investigate the issue o f equivalence from different points o f view.

Nida (1964) distinguishes two types o f equivalence, fo rm a l and

dynamic. F o rm a l equivalence ‘ focuses attention on the message itself,
in both form and content’ . In such a translation, one is concerned with
such correspondences as poetry to poetry, sentence to sentence, and
concept to concept. Nida calls this type o f translation a ‘gloss
translation’ , which aims to allow the reader to understand as much o f
the SL context as possible. D ynam ic equivalence is based on the
principle o f equivalence effect, i.e. that the relationship between the
receiver and message should aim at being the same as that between
the original receivers and the SL message.

Sim ilar distinctions are made from a linguistic point o f view by

Catford (1978: 27ff) who distinguishes between textu a l
equivalence and fo rm a l correspondence indicating two levels on
which “ equivalence” can be considered: a systematic, virtual level
(“ formal correspondence” ) and a parole-related, actual level
(“ textual equivalence” ).

In an attempt to solve the problem o f translation equivalence,

Neubert (1967) postulates that from the standpoint o f a theory o f
text, translation equivalence must be considered a sem iotic
category , comprising a syntactic, sem antic and p ra g m a tic
component.

In her interesting discussion on the notion o f equivalence, Baker

(1992) offers a detailed list o f conditions upon which the concept

56
o f equivalence can be defined. She explores the notion o f
equivalence at different levels, in relation to translation process,
including all different aspects o f translation and hence putting
together the linguistic and communicative approach. She
differentiates between:

1. Equivalence that can appear at word level and above word level
in translating from one language into another

A fter dealing w ith the difficulties im plied in the lack of

equivalence at word level, Baker (1992: 26-42) proposes the
follow ing classification o f strategies to solve non-equivalence at
word level.

1. Translation by more general word (TG W )

2. Translation by more neutral/ less expressive word (T N /L )
3. Translation by cultural substitution (TCS)
4. Translation using a loan word (T L W )
5. Translation by paraphrase using a related word (TPRW )
6. Translation by paraphrase using unrelated word (TPU W )
7. Translation by omission (TO)
8. Translation by illustration (T I)
9. Translation by loan word plus explanation (TLW E )

2. Gramatical equivalence, in view o f diversity o f grammatical

categories across languages

She notes that grammatical rules may vary across languages and
this may pose some problems in terms o f finding a direct
correspondence in TL. In fact, she contends that different
grammatical structures in the SL and T L may produce remarkable
changes in the way the inform ation or message is carried across.

57
These changes may induce the translator either to add or to om it
inform ation in the TT due to the lack o f particular grammatical
devices in the T L itself.

3. Textual equivalence, referring to the equivalence between a SL

text and a T L text in terms o f inform ation and cohesion

Baker (1992) states that equivalence should not be predicated

merely on the differences between the SL and the TL, but also on
the sim ilarities that may exist between them as well as on what
cohesive role either the differences or the sim ilarities m ight play in
the ST and the TT. That is why she named these two factors
together as textual equivalence.

4. Pragmatic equivalence, in view o f implicatures and strategies o f

avoidance during translation process

She believes that the role o f the translator is to recreate the author's
intention in another culture in such a way that enables the TT
reader to understand it clearly.

Kade (1968) and other authors (A m tz 1993; Hann 1992) in favour

o f lexical equivalence, especially in the area o f specific registers,
combine the above mentioned qualitative differences w ith
quantitative schemas so as to enable the categorisation of
equivalence depending on whether there is (the examples o f
inform ation technology (IT ) terms are derived from Tuan (2011)):

1. Complete conceptual equivalence

This category o f equivalence can be found in the case o f “ artificial

intelligence” translated as “ tri tue nhan tao” (tri tu?: intelligence;
nhan tao: artificial), and “ polymorphism ” (poly-: m ultiple; -
morphism: form ) translated as “ da hinh” (da: m ultiple; hinh: form).

58
2. Partial equivalence, overlapping

This category o f equivalence can be found in translating the term

“ online” . The intersection between the term “ online” and its
translated term “ true tuyen” is the component “ line” (“ tuySn”
im plying “ line” ), whereas the other component o f the term “ on” is
not equivalent to the component “ true” (straight) o f the translated
term.

Sim ilarly, “ homepage” is translated as “ trang chu” in Vietnamese

language; nonetheless, their mere intersection is “ page” (“ trang”
meaning “ page” ), and the other component o f the term - “ home” -
and that o f its translated term - “ chu” (host) - are unequivalent, so
the term and its translated term are partially equivalent.

The interface between the term “ webhard” and its translated term
“ 6 dla cung true tuyen” - the component “ hard” (“ cung” meaning
“ hard” ) - is even narrower. In the translated term, the component
“ true tuyen” (online) is unequivalent to the component “ web” o f
the source language term, and the component “ 6 dla” (disk) is
added.

3. Inclusion, a term merges into another

The term “ computer” is translated as “ may tinh” in Vietnamese

language, which means “ a device that calculates or computes” , so
its translation “ may tinh” is a hypemym embracing the hyponyms
“ computer” and “ calculator” .

On the contrary, the hypemym “ ring” in IT term inology does not

have the equivalent hypemym in Vietnamese language. Thus, it
tends to be translated through the hyponyms o f the term “ ring” as:

+ “ vanh” (a circular band): ring function —» ham vanh

59
 + “ vdng” (a circular line): ring counter —> bo dem vong

4. No conceptual equivalence (N il equivalence)

The term “ debug” is lite rally translated as “ kJiu- con trung” (remove
insects); however, its common translation “ go ro i” (shoot troubles)
is entirely unequivalent to the term.

Categorisation o f equivalence between tw o terms is displayed in

Figure 4.1.

Figure 4.1 Categorisation o f equivalence between two terms

1. C o m p le te c o n c e p tu a l e q u iv a le n c e

2. P a rla l e q u iv a le n c e , o v e rla p p in g

3. In c lu s io n ; a te rm m e rges In to a n o th e r

4. No c o n c e p tu a l e q u iv a le n c e

(Source: Jiitte, W. (1999). Translation difficulties and the importance o f

terminology work in comparative adult education. In Reischmann, J., Bron Jr,
M., and Jelenc, Z., C om parative A d u lt E ducation 1998. Ljubljana: Slovenian
Adult Education Institute, p. 264.)

60
According to its essential meaning, equivalence is the relationship
between the source language (SL) and the target language (TL). As
based on a generally accepted classification offered by K oller
(1989: 100-104), the follow ing types o f equivalent relationships
may be identified:

1. Referential or denotative equivalence - the equivalent elements

in the SL and T L refer to the same thing in the real world;

2. Connotative equivalence - the equivalent elements in SL and the

T L trigger the same associations in the minds o f the speakers o f
both languages;

3. Text-normative equivalence - the equivalent elements in the SL

and the T L are used in same or sim ilar contexts in their
respective languages;

4. Pragmatic or dynamic equivalence - the equivalent elements in

the SL and the T L create the same effect on their respective
readers and

5. Formal equivalence - the equivalent elements in the SL and the

T L have the same orthographic and phonological features.

In his definition o f translation equivalence, Popovic (1976)

distinguishes four types o f equivalence:

1. Linguistic equivalence, where there is homogeneity on the

linguistic level o f both SL and T L texts, i.e. word for word
translation.

2. Paradigmatic equivalence, where there is equivalence o f ‘ the

elements o f paradigmatic expressive axis’, i.e. elements o f
grammar, which Popovic sees as being a higher category than
lexical equivalence.

61
3. Stylistic (translational) equivalence, where there is ‘ functional
equivalence o f elements in both original and translation aiming
at an expressive identity w ith an invariant o f identical meaning.’

4. Textual (syntagmatic) equivalence, where there is equivalence o f

syntagmatic structuring o f a text, i.e. equivalence o f form and
shape.

Nonetheless, new thoughts fo r a re-definition o f the concept were

formulated which no longer viewed “ equivalence” as an overall
encompassing concept (albeit possibly consisting o f different layers
or “ frameworks” ) but as a concept relative to certain parameters
which may vary by individual text (introducing de Beaugrande’ s
text-linguistic features as equivalence parameters (Neubert 1985)
or H a lliday’ s register-specific categories (House 1997)) or which
may vary by so-called “ Invarianzforderungen” (invariance
postulates) to be negotiated between translator and the author o f the
original (Albrecht 1990).

The “ equivalence controversy” should be dismissed as a

misunderstanding o f the equivalence concept as a result o f the
confusion created by using the term on two different linguistic
levels:

• On a systems level, “ E Q U IV A L E N C E ” as the (neutral)

designation fo r parameters describing the relationship between a
source and target text is indeed an indispensable, crucial term in
translation theory since translation per se implies two sets o f texts
which need a standard o f comparison. It has— on that level—
nothing to do w ith an im plied symmetry between languages which
indeed w ould be trivia l to assume. The parameters introduced by
Neubert (1985), House (1997), Albrecht (1990) and others, are

62
equivalence criteria on a systems level. It is here suggested to add
to these the parameters o f coherence, thematic, and isotopic
patterns.

• On a text level, “ equivalence” implies the application o f these

parameters to a specific concrete original and its translation and
their evaluation as positive or negative “ equivalence.” The criteria
for establishing positive or negative text-specific equivalence vary
by text and need to be set for each text individually.

The two levels o f equivalence can be illustrated by the fo llo w in g

graph:

(1) Systems Level

E Q U IV A LE N C E (= concept to depict the relationship between ST

and TT, neutral in value, to be measured according to certain
criteria or parameters)

(2) Text Level

Equivalence (= “ equatability” o f ST and TT)

Non-Equivalence (= “ non-equatability” o f ST and TT, to be

measured by a set o f text-specific parameters fo r each instance o f
evaluation against the evaluator’s individual ranking o f these
parameters according to their relevance for translation).

Dynam ic Translation M odel (D T M )

The Dynamic Translation M odel (D T M ) is dynamic to the extent
that it shows the different components o f translation as a process,
that is to say, it helps us to recognize and to fo llo w the flo w o f
actions carried out by the different participants in the translational

63
r
 process (see Figure 4.2). The first participant that influences the
translational process is the Initiator by means o f his Translational
Instructions that may call for a ‘ true’ translation or, say, the
adaptation o f the original. The In itia to r’s intentionality may
coincide w ith or contradict the SL Sender’ s intention that has been
verbalized in the source language text. The translator receives SLT,
weighs the input provided by the Initiator against the author’s
intentionality actually verbalized in SLT and proceeds to translate
adhering to or rejecting the valid translational norms o f the target
language. I f the translator sticks to the original’s verbalized
intention, then he follow s the Default Equivalence Position and
produces a translation proper; otherwise he may produce an
intertextual product such as a summary, an adaptation or a parody,
which is also a possible product but which should not be confused
w ith a translation stricto sensu. Then the text gets to the TL
receiver, who assumes that it is a translation proper i f no additional
inform ation is provided in this respect.

2*

64
 Figure 4.2 Dynamic Translation Model (D T M )

n * r (R *» lP o isirle W o r tfl^
rfam iom L s p c ilt
T « (S L T )

T « fl(T L M )

r
SLTO tobol Ps

Pr(Ps) TLT

( S e a u tK , Stybstic, Semiotic)
-M otU tfy -Polyphony

in 2007)

65
C hapter sum m ary
Equivalence based theories o f translation tend to define
equivalence as the relationship between a source text (ST) and a
target text (TT). N ida (1964) differentiatess two types o f
equivalence, fo rm a l and dynamic. F orm al equivalence ‘ focuses
attention on the message itself, in both form and content’
whereas dynam ic equivalence is based on the principle o f
equivalence effect, i.e. that the relationship between the receiver
and message should aim at being the same as that between the
original receivers and the SL message. Baker (1992) explores the
notion o f equivalence at different levels, in relation to translation
process, including all different aspects o f translation and hence
putting together the linguistic and communicative approach.
Kade (1968) and other authors (A m tz 1993; Hann 1992)
distinguish four degrees o f lexicial equivalence: complete
conceptual equivalence, partial equivalence, inclusion, and nil
equivalence. A different classification offered by K o lle r (1989:
100-104), however, looks at five types of equivalent
relationships: referential or denotative equivalence, connotative
equivalence, text-norm ative equivalence, pragmatic or dynamic
equivalence, and form al equivalence.

Activities
© M u ltip le choice questions

For each question, choose the best answer.

1. The translation o f “ small pox” as “ dau m iia” is an example o f

(A ) complete equivalence

66
 (B) partial equivalence
(C) inclusion equivalence
(D ) n il equivalence

2. The translation o f “ phagocyte” as “ thirc bao” is an example o f

(A ) complete equivalence
(B) partial equivalence
(C) inclusion equivalence
(D ) n il equivalence

3. The translation o f “ cash on delivery” as “ thanh toan khi giao

hang” (Hung 2006: 129) is an example o f
(A ) complete equivalence
(B) partial equivalence
(C) inclusion equivalence
( D ) nil equivalence

4. The translation o f “ bogus company” as “ cong ty ma” (Hung

2006: 100) is an example o f
(A ) complete equivalence
(B) partial equivalence
(C) inclusion equivalence
(D ) n il equivalence

5. The translation o f “ The Catcher in the Rye” , the title o f the

novel by JD Salinger, as “ Bat tre dong xanh” is an example o f
(A ) complete equivalence
(B) partial equivalence
(C) inclusion equivalence
(D ) n il equivalence

67
© What is translation equivalence? One o f the equivalent
relationships, according to K o lle r (1989), is pragmatic equivalence.
What is pragmatic equivalence? Provide two examples to illustrate
this type o f equivalence.

G Find illustrations for Baker’ s (1992) strategies to solve non­

equivalence at word level.

© What is the distinction between formal equivalence and dynamic

equivalence?

Translate into Vietnamese language the follow ing extract from the
Commencement address delivered by Steve Jobs, the late CEO o f
Apple Computer and o f Pixar Anim ation Studios, on June 12, 2005
at Stanford University.

Does your translation display formal equivalence or dynamic

equivalence?

Your time is lim ited, so

don't waste it livin g
someone else's life. Don't
be trapped by dogma —
which is livin g w ith the
results o f other people's
thinking. Don’t let the
noise o f others' opinions
drown out your own inner
voice. And most
important, have the courage to fo llo w your heart and intuition.
They somehow already know what you tru ly want to become.
Everything else is secondary.

68
When 1 was young, there was an amazing publication called The
Whole Earth Catalog, which was one o f the bibles o f my
generation. It was created by a fellow named Stewart Brand not far
from here in M enlo Park, and he brought it to life w ith his poetic
touch. This was in the late 1960's, before personal computers and
desktop publishing, so it was all made w ith typewriters, scissors,
and polaroid cameras. It was sort o f like Google in paperback form,
35 years before Google came along: it was idealistic, and
overflow ing w ith neat tools and great notions.

Stewart and his team put out several issues o f The Whole Earth
Catalog, and then when it h ad run its course, they put out a final
issue. It was the mid-1970s, and I was your age. On the back cover
o f their final issue was a photograph o f an early m orning country
road, the kind you m ight find yourself hitchhiking on i f you were
so adventurous. Beneath it were the words: "Stay Hungry. Stay
Foolish." It was their farewell message as they signed off. Stay
Hungry. Stay Foolish. And I have always wished that for myself.
And now, as you graduate to begin anew, I wish that for you.

Stay Hungry. Stay Foolish.

Thank you all very much.

@ Poetry is an intersting translation domain to analyse.

(a) You w ill be able to see semantics and syntax in a new way
(i.e. not merely as a linguistic phenomenon, but both as a
cultural and a conceptual phenomenon).

(b) You w ill also see dynamic equivalence and formal equivalence
at work.

(c) You w ill be able to see how excessive ‘fluency’, ‘ authenticity’,

etc. can compromise the ST message.

69
Look through the translations o f the poems below and comment on
(a), (b) and (c).

Banh tro i niro’c The cake that d rifts in water

H o X uan H uang tra n sla te d by H uynh Sanh Thong

Than em thoi trang ph£n em tron. M y body is both white and round.
Bay noi ba chim may niroc non. In water I may sink or swim.
Ran n£t m$c dau tay ke nan. The hand the kneads me may be rough.
Nhirng em van gifr tarn long son. But I still shall keep my true-red heart.

B£nh tro i nutfc The floating cake

H o X uan H uang tra n sla te d by John Balaban

Than em thdi trang phan em tron, M y body is white; my fate, softly

B&y noi ba chim may nuac non. rounded,

Ran nat mac dau tay ke nan. Rising and sinking like mountains in

Nhirng em van giu tarn long son. streams.

Whatever way hands may shape me,
A t center my heart is red and true.

If Neu
by Joseph R udyard K ip lin g tra n sla te d by Nguyen V iet Thang
(1 8 6 5 -1 9 3 6 )
I f you can keep your head when all NSu con co th i binh tarn khi ma t i t ca
about you Het th£y kinh hoang va do loi cho con
Are losing theirs and blaming it on you. Neu con van vixng tin khi mpi ngucri
I f you can trust yourself when all men nghi ky
doubt you, Mac ai do khong tin nhirng con van
But make allowance for their doubting virng long
too;

70
I f you can wait and not be tired by
waiting.
Or being lied about, don't deal in lies,
Or being hated don't give way to
hating,
And yet don't look too good, nor talk
too wise:
I f you can dream - and not make
dreams your master;
I f you can think - and not make
thoughts your aim.
I f you can meet w ith Triumph and
Disaster
And treat those two impostors just the
same;
I f you can bear to hear the truth you've
spoken
Twisted by knaves to make a trap for
fools,
Or watch the things you gave your life
to, broken,
And stoop and build 'em up with
worn-out tools:
I f you can make one heap o f all your
winnings
And risk it on one turn o f pitch-and-
toss,
And lose, and start again at your
beginnings
And never breathe a word about your
loss;
Neu con biet dqri chcr va kien nhan cha
trong
Khong lay dieu doi gian dap lai dieu
gian doi
Hoac bi cam ghet ma khong cam ghet lai
Khong noi nhCrng lcri khon, khong ra v6
thanh than.
Neu con ma udc ma khong de udc mo
lam chu dcri con
Neu con co the suy tu ma khong lay no
lam myc dich
Neu ck Thanh cong, That bai tren
ducrng dcri con gap
Ma van nhu nhau - doi xu mpt tam
long
Neu con biet nghe su that nhirng lai
cua con
B i ke bat lircmg lam bay lira ke dai
Hoac nhin dai con do va, danh lam lai
Va con cui xuong dimg nen voi cong
cu da mon.
Neu con dam dem nhung dong von cua
minh
Do het vao mgt tran an thua up ngura
Danh lam l^i tir dau vi da mat tat cd
M at mat cua minh khong mpt chut tha
than
71
I f you can force your heart and nerve
and sinew
To serve your turn long after they are
gone,
And so hold on when there is nothing
in you
Except the W ill which says to them:
'Hold on!'
Neu con ep ducrc con tim , thd thjt
dudng gan
Phuc vu cho minh de gianh muc dich
Va co niu giu, du chang con sue luc
Nhung y chi van doi: "Hay giu vung
long tin!''.

I f you can talk with crowds and keep
your virtue,
Or walk with Kings - nor lose the
common touch,
I f neither foes nor loving friends can
hurt you,
I f all men count w ith you, but none
too much;
I f you can fill the unforgiving minute
W ith sixty seconds' worth o f distance
run,
Yours is the Earth and everything
that's in it.
And—which is more - you'll be a Man,
my son!
Neu con giu tu each khi noi chuyen vdi
mgi ngucri
Hay khi ngoi vdi Vua - thudng dan
khong gian doan
Neu khong de thiet cho minh - du voi
thu hay ban
Khong con de ai no nan hay con no gi ai
Neu moi phi'it giay con co dugc trong
doi
Khong de phi hoai ma luon luon dat
tren dudng chay
Thi the gidi nay se la cua con, cung tat
ca nhung gi trong day
Va - quan trgng hem - con trai, con la
mgt Con Ngudi!

(1) Translate the follow ing poem into Vietnamese.

(2) W hich equivalent relationships by K o lle r’s (1989: 100-104)

classification have you attained in your translation?

72
Love's Philosophy
by P ercy Bysshe Shelley

The fountains mingle w ith the river

And the rivers w ith the ocean,
The winds o f Heaven m ix fo r ever
W ith a sweet emotion;
Nothing in the world is single.
A ll things by a law divine
In one spirit meet and mingle -
W hy not I w ith thine?

See the mountains kiss high Heaven

And the waves clasp one another;
No sister-flower would be forgiven
I f it disdained its brother;
And the sunlight clasps the earth.
And the moonbeams kiss the sea -
What are all these kissings worth
I f thou kiss not me?
C hapter 5

T ranslation q u a lity assessment

In this chapter, we w ill:

• look at different views on criteria for assessing the quality

o f translations.

• explore the three approaches to translation evaluation -

mentalist views, response-based approaches, and text and
discourse based approaches.

• glance at translation quality assessment models and fo llow

the path to House’s translation quality assessment model
based on Hallidayan systemic-functional theory.

W hile there is general agreement about the necessity for a

translation to be "good," "satisfactory" or "acceptable," the
definition o f acceptability and o f the means o f determining it are
matters o f ongoing debate. National and international translation
standards now exist, but there are no generally accepted objective
criteria for assessing the quality o f translations (W illiam s 2009).

W hat is translation qu ality assessment (TQ A)?

M aier in her introduction to Evaluation and Translation (2000)
writes perceptively about the various uses and discussions o f the
terms ‘value’, ‘ quality’, ‘ evaluation’ and ‘assessment’ in relation to
translation. Translation quality assessment is a type o f evaluation,
but what is evaluation? Scriven defines it as follows: “ ‘Evaluation’
is taken to mean the determination o f merit, worth, or significance”

74
(2007: 1). This definition itse lf displays a d ifficu lty: H ow do we
define value or worth, be it moral, aesthetic or utilitarian? B y
extension, evaluation involves asking a question that has
challenged thinkers from time immemorial: Is a particular thing
good7

Just like evaluation in the broad sense, translation quality

assessment can be quantitative or qualitative: it can be based on
mathematical/statistical measurement (as in the case o f most
academic instruments) or on reader response, interviews and
questionnaires (e.g. Nida). Translation quality assessment can be
diagnostic (determining areas for improvement at the outset o f a
course o f study), form ative (measuring progress and giving
feedback during a course o f study) or summative (measuring the
results o f learning).

Whether our focus is on products, performance or competence, we

are essentially trying to determine degrees o f goodness when we
perform translation quality assessment. The approach can be
prescriptive, assessing translation against criteria o f aesthetic
effect, usability, and intrinsic compliance w ith standards o f target
language correctness and fidelity. A t the other extreme, recent
research in descriptive translation studies (DTS), and in particular
the w ork o f Toury (1981; 1995) and Chesterman (1993), has
shifted away from translation quality assessment based on absolute
criteria and has reflected a relativistic, intersubjective stance on
judgments o f translation worth. This dichotom y raises the question
as whether translation quality assessment is values-free. One o f the
m otivating factors in descriptive translation studies is precisely, the
desire to make translation studies a values-free discipline. Indeed,
the tendency in evaluation through the second h a lf o f the twentieth

75
century was to avoid making value judgments about target
programs. Nonetheless, Viaggio (1999: 125) makes a very good
point about descriptive translation studies:

Unless we agree w ith scholars such as Gideon Toury, for

whom a translation is whatever a given culture considers it
to be, prescriptivism is inescapable. I f there is no right, or at
least better way o f translating, then we are all wasting time,
breath and money: there is nothing but language to teach.

Scriven (1993: 13) makes the same point in criticizing what he

calls the values-free doctrine:

It makes the blunder o f supposing that evaluative statements

are all essentially arbitrary, like expressions o f taste and
preference, when in fact many o f them have the solid status
o f derivations from facts and definitions.

From W illia m s’s (2009) standpoint, translation quality assessment

cannot and should not be values-free: to be useful, it must be based
on criteria o f goodness. Otherwise, all we do is describe defects
and strong points in translations.

Translation quality assessment models and procedures must pass

the test o f va lid ity and reliability.

V a lid ity is the extent to which an evaluation measures what it is

designed to measure, such as translation skills (construct validity).
Content va lid ity is the extent to which an evaluation covers the
skills necessary for performance. For example, is the content o f a
translation examination an appropriate sample o f the content o f the
course? Does the result o f the evaluation accurately predict future
performance (predictive validity)?

76
R eliability is the extent to which an evaluation produces the same
results when administered repeatedly to the same population under
the same conditions. Thus a translation quality assessment system
is reliable i f evaluators’ decisions are consistent and criteria are
stable. Are there biases or undue variations in results over time? Is
there a mechanism for ensuring that evaluators do not fluctuate
between excessive rigour (purism) and extreme fle x ib ility
(laxism)? Is the evaluator always objective? Are quality
requirements clearly enough defined for decisions on borderline
cases to be made w ith consistency and ample justification?

T ranslation assessment approaches

How do we know when a translation is good? This simple question
lies at the heart o f all concerns w ith translation criticism . But not
only that, in trying to assess the quality o f a translation one also
addresses the heart o f any theory o f translation, i.e., the crucial
question o f the nature o f translation or, more specifically, the
nature o f the relationship between a source text and its translation
text. Given that translation is essentially an operation in which the
meaning o f linguistic units is to be kept equivalent across
languages, one can distinguish at least three different views o f
meaning, each o f which leads to different conceptions o f translation
evaluation. These three approaches to translation evaluation w ill be
elaborated brie fly on in the follow ing section.
.TO - - M f t t i h •/i »• UV'' 1 .0 - :I , ,0 i i r r -M,;.
M e n ta lis t view s

Subjective and intuitive evaluations o f a translation have been

undertaken since time immemorial by writers, philosophers, and
numerous others, consisting more often than not o f global
judgements such as “ the translation does justice to the original” or

77
“ the tone o f the original is lost in the translation” and so forth. In a
newer guise, such intuitive assessments are being propagated by
neo-hermeneutic translation scholars who regard translation as an
individual creative act depending exclusively on subjective
interpretation and transfer decisions, artistic-literary intuitions and
interpretive skills and knowledge. Texts have no core meanings at
all, rather their meanings change depending on individual speakers’
positions. Such a relativising stance, and especially the relativisation
o f “ content” and “ meaning” is particularly inappropriate for the
evaluative business o f making argued statements about when, how
and w hy a translation is good (House 2001).

Response-based approaches

B ehavioristic views

As opposed to subjective-intuitive approaches to translation

evaluation, the behaviorist view aims at a more “ scientific” way o f
evaluating translations dismissing the translator’s mental actions as
belonging to some in principle unknowable “ black box.” This
tradition, influenced by American structuralism and behaviorism, is
most famously associated w ith N ida’ s (1964) pioneering work.
Nida took readers’ reactions to a translation as the main yardstick
for assessing a translation’s quality, positing global behavioral
criteria, such as e.g. in te llig ib ility and informativeness and stating
that a “ good” translation is one leading to “ equivalence o f
response” — a concept clearly linked to his principle o f “ dynamic
equivalence o f translation,” i.e., that the manner in which receptors
o f a translation respond to the translation should be “ equivalent” to
the manner in which the source text’s receptors respond to the
original. Nida operationalized this equivalence as comprising equal
“ informativeness” and “ in te llig ib ility .” Assuming that it is true that

78
a “ good” translation should elicit a response equivalent to the
response to its original, we must immediately ask whether it is
possible to measure an “ equivalent response,” let alone
“ informativeness” or “ in te llig ib ility .” I f these phenomena cannot be
measured, it is useless to postulate them as criteria for translation
evaluation. And indeed, even the most imaginative tests designed
to establish verifiable, observable responses a translation
presumably evokes— using for instance reading aloud techniques,
various close and rating procedures— have ultim ately failed to
provide the desired results, because they were unable to capture
such a complex phenomenon as the “ quality o f a translation.”
Further, the source text is largely ignored in all these methods,
which means that nothing can be said about the relationship
between original and translation, nor about whether a translation is
in fact a translation and not another secondary text derived via a
different textual operation (House 2001).

F unctionalistic, “skopos ’’-related approach

Adherents o f this approach (cf. Reiss and Vermeer 1984) claim that
it is the “ skopos” or purpose o f a translation that is o f overriding
importance in judging a translation’ s quality. The way target
culture norms are heeded or flouted by a translation is the crucial
yardstick in evaluating a translation. It is the translator or more
frequently the translation b rie f he is given by the person(s)
commissioning the translation that decides on the function the
translation is to fu lfil in its new environment. The notion o f
“ function,” critical in this theory, is, however, never made explicit,
let alone operationalized in any satisfactory way. It seems to be
something very sim ilar to the real-world effect o f a text. How
exactly one is to go about determining the (relative) equivalence

79
and adequacy o f a translation, let alone how exactly one is to go
about determining the linguistic realization o f the “ skopos” o f a
translation, is not clear. Most importantly, however, it naturally
follow s from the crucial role assigned to the “ purpose” o f a
translation that the original is reduced to a simple “ offer o f
inform ation,” w ith the word “ offer” making it immediately clear
that this “ inform ation” can freely be accepted or rejected as the
translator sees fit. But since any translation is simultaneously
bound to its source text and to the presuppositions and conditions
governing its reception in the new environment, Skopos theory
cannot be said to be an adequate theory when it comes to tackling
the evaluation o f a translation in its fundamental bidirectionality.

Text and discourse based approaches

Literature-oriented approaches: Descriptive translation studies

This approach is oriented squarely towards the translation text: A

translation is evaluated predominantly in terms o f its forms and
functions inside the system o f the receiving culture and literature
(cf. Toury 1995). The original is o f subordinate importance, the
main focus— retrospective from translation to original— being
“ actual translations,” and the textual phenomena that have come to
be known in the target culture as translations.

The idea is to first o f all endeavour to “ neutrally” describe the

characteristics o f that text as they are perceived on the basis o f
native (receptor) culture members’ knowledge o f comparable texts
in the same genre. Nonetheless, i f one aims at judging a particular
text which is plainly not an “ independent,” “ new” product o f one
culture only, such a retrospective focus seems peculiarly
inappropriate for making valid statements about how and w hy a

KO
translation qua translation is as it is. W hile the solid em pirical-
descriptive w ork and the emphasis put on contextualization at the
microlevel o f the reception situation and the macro-level o f the
receiving culture at large, as w ell as the inclusion o f both a
“ longitudinal” (temporal, diachronic) and a (synchronic) systemic
perspective (considering the polysystemic relations into which the
translation enters w ith other texts in the receiving cultural system),
is certainly commendable, the approach does fa il to provide criteria
for judging the merits and weaknesses o f a particular “ case.” In
other words, how are we to judge whether one text is a translation
and another one not? And what are the criteria for judging merits
and weaknesses o f a given “ translation text” ? (House, 2001)

Post-m odernist and deconstructionist thinking

Scholars belonging to this approach (cf. e.g. Venuti 1995) try to

critically examine translation practices from a psycho-philosophical
and socio-political stance in an endeavour to unmask unequal
power relations, which may appear as a certain skewing in the
translation. In a plea for making translations (and especially
translators as their “ creators” ) “ visible” and for revealing
ideological and institutional manipulations, proponents o f this
approach aim to make p o litica lly pertinent (and “ correct” )
statements about the relationship between features o f the original
text and the translation text. They focus on the hidden forces
shaping both the process o f selecting what gets translated in the
first place and the procedures that result in the ways original texts
are bent and twisted in the interests o f powerful individuals and
groups “ pulling strings” when choosing texts for translation and
adopting particular strategies o f re-textualization. This is certainly a
worthwhile undertaking, especially when it comes to explaining the
influence translators can exert through their translation on the

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receiving national literature and its canon. Further, the application
o f currently influential lines o f thinking such as post-colonial
theory (Robinson 1997b) or fem inist theory (von Flotow 1997) to
translation may not be uninteresting in itself. However, i f
comparative analyses o f original and translation focus p rim arily on
the shifts and skewings stemming from ideologically motivated
manipulations, and i f an agenda is given p rio rity which stresses the
theoretical, critical and textual means by which translations can be
studied as loci o f difference,” one wonders how one can ever
differentiate between a translation and any other text that may
result from a textual operation which can no longer claim to be in a
translation relationship w ith an original text (House, 2001).

L in g uistically-o riented approaches

Pioneering linguistic work in translation evaluation encompasses

the programmatic suggestions by Catford (1965), the early Reiss
(1971), W ilss (1974), R oller (1979) and the translation scholars o f
the Leipzig school. In this early work, nevertheless, no specific
procedures for assessing the quality o f a translation were offered.
In more recent times, numerous linguistically oriented works on
translation such as e.g. by Baker (1992), Doherty (1993), Hatim
and Mason (1997), H ickey (1998), Gerzymisch-Arbogast and
Mudersbach (1998) and Steiner (1998) have made precious
contributions to evaluating a translation by the very fact that all
these authors— though not directly concerned w ith translation
quality assessment— widened the scope o f translation studies to
include concerns w ith linguistics, pragmatics, sociolinguistics,
stylistics and discourse analysis.

Linguistic approaches take the relationship between source and

translation text seriously, but they d iffe r in their capacity to provide
detailed procedures fo r analysis and evaluation. Most promising are

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approaches which e xp licitly take account o f the interconnectedness
o f context and text because the inextricable lin k between language
and the real w orld is both definitive in meaning m aking and in
translation. Such a view o f translation as re-contextualization is the
line taken by House (1981 and 1997) in a functional-pragmatic
evaluation model, which is profoundly dissected in the next section
o f this chapter.

A c tiv itie s

O What is the distinction between T ou ry’s (1981; 1995) and

W illia m s’ s (2009) views on translation quality assessment?

© What is translation according to neo-hermeneutic translation

scholars?

© What does the relativisation o f “ content” and “ meaning” denote?

© What is N ida’s main gauge for assessing a translation’s quality?

According to Nida, what is a good translation? Depict N id a ’s
principle o f dynamic equivalence o f translation.

© Is Skopos theory deemed an adequate theory when it comes to

tackling the evaluation o f a translation? W hy (not)?

© According to literature-oriented approaches, how is a translation

assessed?

© W hich translation assessment approaches take the

interconnection between source and translation text seriously?

Which translation assessment approach looks at the hidden forces

shaping both the process o f selecting what gets translated in the
first place and the procedures that result in the ways original texts

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are bent and twisted in the interests o f powerful individuals and
groups “ pulling strings” upon choosing texts for translation and
adopting particular strategies o f re-textualization?

Translation qu ality assessment model

Aspects o f translation such as comprehension and in te llig ib ility that
could be used as measures for the evaluation o f the quality o f
translation, do not seem to be strictly defined. The linguistic
‘means’ or ‘measures’ by which translation aspects are given
expression are either glossed over, or left unidentified (cf. House
1981: 15). Nonetheless, text-oriented translation models concern
themselves in various degrees o f depth, w ith the analysis o f both
SL and T L texts, so that a better comprehension o f the SL text
could be achieved, and adequate transfer could be implemented.

Though comprehension is o f prime magnitude to any act o f

translating, there is no absolute reading o f a particular text.
Different readers or translators comprehend the text in their own
way. The final result depends on their personal background
knowledge, beliefs and attitudes. Thus, there is more than one
reading and more than one rendering o f a single text. However,
once a text is judged to be worth translating, it is the responsibility
o f the tranlator to use any approach judged useful in order to absorb
the meaning w ith all its different aspects and give an adequate
interpretation o f the text (see Chau 1984).

A ll interpretive models insist on the analysis o f the SL text along

practical parameters. Text is viewed as the ultimate unit o f
translation, since it operates in an interactive environment.

The text typological model offers the possibility o f text variety, and
indicates the urge to find a framework w ith in which text as an

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entity can be analyzed. In addition, the model points out that in
translation, different text types should be treated differently.

Translation quality assessment model as presented by House

(1981), has benefited largely from insights offered by interpretive
texts. House's model appears to have drawn m ainly from text
linguistic approaches. However, the classification o f texts in House
(1981) is carried out along the lines o f the register theory which
concerns itse lf w ith variation in language use. Such an approach
has often equated register w ith ‘ a given situation’ , restricting the
analysis to the situational occasion. This gives rise to such notions
as the language o f science, language o f newspaper reporting, legal
English, etc. (cf. Hatim and Mason 1990: 51).

Nevertheless, the ultimate aim o f House's model is to obtain,

through systematic analysis o f both SL text and T L text, the
functions o f the two texts. The degree o f sim ilarity o f function in
both texts would allow for a statement o f the quality o f translation.
The function o f a text is a composite o f several interrelated factors,
the most important o f which is the interplay o f the different aspects
o f meaning for the purpose o f attaining the ultimate aim behind
w riting a particular text.

Prior to embarking on the depiction o f translation quality assessment

model as outlined in House (1981), discussion w ill be given to the
importance o f meaning in translation, and then the three aspects o f
meaning - semantic, pragmatic, and textual meanings - that are
judged to be o f prime magnitude in the construction o f text.

Meaning in translation
House (1981) contends that ‘ the essence o f translation lies in the
preservation o f “ meaning” across two different languages.’ (House

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 1981: 25). It is generally acknowledged in translation studies that
translation involves the transfer not o f SL lexis and structures but
rather the meaning expressed by SL lexis and structures. Three
different but interrelated aspects o f meaning may be said to
contribute largely to the constitution o f texts: semantic, pragmatic,
and textual meanings. It is the meaning in its different aspects that
has to be accounted for in a translation, m ainly when we are dealing
w ith two languages which can be identified as somewhat
linguistically dissimilar and culturally unrelated such as Vietnamese
and English.

Aspects o f meaning may be seen in terms o f the relationship that

exists between the linguistic elements and their referents in the
“ textual w orld” be that real or possible (de Beaugrande and
Dressier 1981: 85). They may also be seen in terms o f the relation
o f the linguistic elements across sentence boundaries w ith in a
single text, as w ell as the relationship o f these elements to the users
or participants in the language and their environment.

Semantic aspect o f meaning

Semantics could be defined, in the broadest sense, as the relation

that holds between the linguistic element and its referent in the real
or “ possible” w orld (a reference to the w orld created in fiction).
House (1981) alleges that the w orld around us or the possible world
as in fiction, is ‘ common to most language communities.’ (House
1981: 25-26). Therefore, translating the denotative aspect o f a
linguistic element does not seem to be d ifficu lt, e.g. sach, book,
livre. House maintains that this referential aspect o f meaning does
not form an obstacle in translation since it is characterized w ith, a
‘ relative ease o f accessibility o f semantic meaning . . . ’ , and an
a b ility to perceive the presence or absence o f ‘ equivalence in
translation.’ (House 1981: 26)

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It may be said that the language system defines meanings o f words
and sentences, but the same words and sentences may be used by
different speakers on different occasions to mean different things.
For instance, “ nice day” said by a person at a bus stop, could be
taken as a means for a courteous conversation, or sim ply as a
reference to the quality o f the day in question. The same phrase,
however, said during or after a tense argument, may mean a totally
different thing.

In translation, however, one cannot rely only on the meaning o f

words or sentences and the expression o f their proposition in
isolation from other determining factors. The understanding o f
words and sentences in a text is largely determined by contextual
factors, situational constraints and the participants’ intentionality
and acceptability. This leads us to the other aspect o f meaning
which accounts for the users o f the language, i.e. pragmatic
meaning.

Pragmatic aspect o f meaning

Pragmatics is defined by Levinson (1983) as “ those linguistic

investigations that make necessary reference to aspects o f context.”
(Levinson 1983: 4)

Pragmatics concerns itse lf w ith the relationship o f the linguistic

elements to the users or participants in the language, in a definable
environment. It is the study o f ‘ linguistic acts and the contexts in
which they are performed.’ (Stalnaker 1972: 383). When a speaker
uses language, he does not use it in a vacuum. He intends his
utterance to produce a certain effect on his interlocuter(s).

People, therefore, do numerous things w ith language. Hickey

(1990) notes that when people use language, they do not

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 “ merely talk or write but they perform actions also, that
language is employed in situations which typically include
both a linguistic and a nonlinguistic context, that part o f the
global context consists o f the knowledge, beliefs and
assumptions o f the people involved and that at least one
participant is trying by means o f language to change the
inner state or system o f another or others.”

(H ickey 1990: 7)

Pragmatic meaning, unlike semantic meaning, could be recovered

through features such as inference, presuppositions, and
expectations. In argumentative texts, for instance, these elements
play a decisive role in the production and reception o f text. The
w riter or speaker intends his text to perform an action on the
environment. Through the assumption he makes of the
hearer/reader’s knowledge, beliefs or attitude, he attempts to bring
about some modifications in these properties.

In translation, it is these contextual features o f a text that have to be

accounted for and should ideally be kept equivalent. The w riter’ s
intentions and the ultimate purpose from w riting a text are so
important that House (1981) suggests to aim at equivalence o f
pragmatic meaning, i f necessary at the expense o f semantic
equivalence.

The textual aspect o f meaning

According to House (1981), the textual aspect o f meaning concerns

the ways in which individual components o f a text relate to each
other and to the rest o f the components in the text in order to form a
cohesive whole. Notwithstanding the magnitude o f this definition,
text meaning is obtained not merely through co-textual elements

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alone, but through various other relations, linguistic and extra-
linguistic. It may be said that what characterizes a text is its texture
which could be defined as ‘that property which ensures that a text
“ hangs together,” both linguistically and conceptually’ (Hatim and
Mason 1990: 192). A text, thus, should be coherent, cohesive,
inform ative and intent-oriented. These expectations and the ways in
which they interact w ith each other form the meaning o f a text.

Textual meaning is a vehicle that comprises the other aspects o f

meaning, semantic and pragmatic, not in their static form but rather
in the process o f intralingual interaction. The integration o f
semantic informativeness and pragmatic action on the environment
in an active stretch o f connected language may be said to constitute
the textual meaning.

Most o f the textual elements that enter in the process o f text

production could best be understood through a discussion o f what
Enkvist (1973) refers to as "Thematic Dynamics” . For him,
“ Thematic Dynamics” is a textual phenomenon which demonstrates
how thematic properties are organized in a well-formed text. It is
also used in stylistics to describe the thematic progression o f a
connected stretch o f language. Enkvist (1973) explains:

‘ ... theme dynamics charts the patterns by which themes

recur in a text and by which they run through a text,
weaving their way from clause to clause and from sentence
to sentence.’ (Enkvist 1973: 116)

Classification o f thematic progression can be based on various

criteria. As cited by Enkvist, Danes (1974) regards thematic
progression in terms o f the movement o f theme and rheme in a text.
Danes’s classification o f patterns o f theme movement are as follows:

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 a) simple linear progression, in which the rheme o f one
sentence becomes the theme o f the next,

Th1 --------------------- Rh'

Th2 (= Rh1) ---------------------- Rh2

b) passages w ith run-through themes (a sequence o f

sentences w ith the same theme but different rhemes),

Th1 -----------------------R h1

Th2 (= T h 1) ----------------------- Rh2

c) progression o f derived themes (there is the main

superordinate theme which Enkvist calls “ hyperthema” , and
several other related themes which are referred to as
"teilthemen",) and

d) the development o f a split rheme (the themes o f

successive sentences are co-members o f a concept form ing
the rheme o f the in itial sentence.

Th1______________ Rh1

Th2 (R h1) --------------------- Rh2

Th3 (R h1) ---------- Rh3

(quoted in Enkvist 1973: 121)

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Although it may be said that the theme dynamics contributes to the
clarification o f the nature and functions o f the other elements o f
textuality, it cannot be taken as the sole measure o f “ textual
wellformedness” or “ textuality” . Enkvist points out that there are
three m ajor types o f factors that contribute to the well-formedness
o f a text:

a) syntactic well-formedness,
b) grammatical and conceptual dependencies (i.e. cohesion and
coherence), and
c) contextual dependency

In addition to the cohesive devices as discussed in H alliday and

Hasan (1976), Enkvist has proposed contextual cohesion, and
iconic linkage. Logical connectors in H alliday and Hasan (1976)
are referred to as clausal linkage in Enkvist (1973). Clausal linkage
comprises eight basic logical relations: 1. additive (and), 2.
adversative (but), 3. alternative (or), 4. explenatory (that is), 5.
illustrative (for example), 6. illa tive (conclusion: therefore), 7.
causal (for), and 8. in itia l sentence in a paragraph.

The significance o f all these patterns o f intersentence connectivity

for translation can be seen in the follow ing:

First, they show what kinds o f conceptual frames a translator must

utilize i f he considers a text, not a context-free sentence, as a unit
o f translation. Consequently an analysis o f the SL textual means
and their comparison w ith the T L textual components may lead to a
relatively objective assessment o f the quality o f translation.

Secondly, textual sim ilarities or differences may be reflected in the

search fo r a text typology. For instance, though all different text

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types make use o f the same textual means for the constitution o f a
text, the patterning o f theme dynamics and the density or scarcity

o f particular kinds o f clausal linkage may be significant in

differentiating between types o f texts. These textual means w ill
serve as useful tools for the analysis o f both the SL text and T L text
for the purpose o f translation quality assessment.

Based on the above account o f aspects o f meaning, House (1981)

attempts a redefinition o f translation:

‘ Translation is the replacement o f a text in the source

language by a semantically and pragmatically equivalent
text in the target language.’ (House 1981: 29-30)

In practical terms, however, what a translator replaces in the T L is

not only the semantic and pragmatic features o f the SL text, but he
also negotiates the transfer o f textual features provided that these
fu lfill the requirements o f the T L norm.

Language function vs. text function

Language function

Jakobson (1959) maintains that an investigation o f language should

be carried on ‘ all the variety o f its functions’ (Jakobson 1959: 353).
In order to outline all the functions o f language, it is essential to
know which o f the “ constitutive factors” is emphasized in the
course o f the communicative event, (see Figure 5.1 for the
illustration of factors constituting a communicative event.)
Jakobson maintains that each o f the six factors ( addresser/
addresee, message/context/contact/ and code) determines a
different function o f language, depending where the emphasis is

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put. Yet, real life experience w ith text reveals that it is
inconceivable to find a text fu lfillin g a single function. Two or
three or may be more functions may co-exist in a single text w ith a
predominent one determining the structure o f the text.

Figure 5.1 Constitutive factors o f communication acts

Context
Addresser-------------------- -Message------------------------- Addressee
Contact
•Code

(Source: Benhaddou, M. (1991). T ra n sla tio n q u a lity assessment: a

s itu a tio n a l/te x tu a l m odel f o r the evaluation o f A ra b ic/E n g lish tra n sla tio n s.
Unpublished doctoral dissertation, University o f Salford, UK, p. 57.)

Halliday's approach differs from the above in that he makes a

distinction among three major functions:

a. The ideational function: through this function language

reveals how the user conceives o f the external w orld together
w ith a revelation o f the inner feelings, beliefs and attitude.

b. The interpersonal function: in this function, language serves

to negotiate ‘role-relationships’ in a social setting. It sets to
establish, maintain, and specify relations between members o f
societies, (cf. Kress 1976)

c. Through the textual function, the unity o f the text is

maintained through the linkage system o f the language, i.e.
features o f language make links w ith themselves and w ith the
external world.

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In a nutshell, the function o f language is to represent or refer to the
outside w orld or as Stalnaker calls it the ‘ possible w o rld ’ , in
addition to the fact that language is utilized to express the user’ s
feelings, beliefs, and attitudes. However, the major aim o f text is
more than simple reference or expression o f emotive feelings. Its
ultimate aim is communication. Communication requires factors
other than the linguistic ones to arrive at the ultimate aim behind
producing a text.

H alliday (1985) suggests three contextual features that are realised

by the functional components o f the semantic system: field, mode,
and tenor.

a. The field o f discourse which is expressed through the

ideational function, has the general sense o f what the discourse
‘ is on about’ (H alliday 1985: 24). Field captures social activity
and topic, w ith differentiations o f degrees o f generality,
specificity or granularity in lexical items.

b. The tenor o f discourse which is expressed through the

interpersonal function, concerns itse lf w ith the social
relationships o f the participants in the discourse. Tenor refers to
the nature o f the participants and the relationship between them
in terms o f social power, distance and degree o f emotional
charge. Included here are the text producer’ s temporal,
geographical and social provenances as w ell as her intellectual,
emotional or affective stance (her personal viewpoint) vis-a-vis
the content she has expressed and the communicative task in
which she was engaged. As regards the role relationships
between addresser and addressees, House (1981) differentiates
between sym m etrica l and asym m etrical ro le relationships.
Further, Tenor captures social attitude, i.e., different styles such

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 as formal, consultative or informal. House (1981) contends that
the style that is most neutral is the consultative one:

it [consultative style] is m ostly marked negatively, i.e.

through the absence o f both formal and inform al style
markers.” (House 1981: 46)

c. The third contextual feature is the mode o f discourse. It is

realised by the textual function o f language. It reflects the
medium o f the interactive process o f language. In this respect,
Hatim and Mason (1990) explain that the mode o f discourse is

the manifestation o f the nature o f the language code being

used. The basic distinction here is that between speech and
w riting and the various permutations on such a distinction
(e.g. written to be spoken, etc.). (Hatim and Mason 1990: 49)

Mode refers to both the channel - spoken or written (which can

be simple or complex) - and the degree to which potential or
real participation is allowed for between w riter and reader.
Participation can be simple, as in a monologue w ith no
addressee participation built into the text, or complex.

These contextual features realised through the three functional

components o f language, form the bases o f the second dimension in
House’ s model o f translation quality assessment. However,
Tlouse’ s approach to text function differs from that o f H alliday in
that House regards texts as embedded in a unique situation.
Therefore, a different definition o f function is required, m ainly i f
we want to account fo r individual texts, and consequently attempt
to establish functional equivalence in translation.

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Text function

Prior to embarking on any translation quality assessment, an

objective method o f detemiming the particular semantic, textual,
functional, and pragmatic qualities o f the source text has to be
developed. A comparison o f these qualities to those o f the
translation text w ill determine whether and to what extent the
translation matches these characteristics. For this end, House
(1981) modifies previous definitions o f text function in order to
account for individual text specimen, since she believes that a text
is “ embedded in a unique situation” :

‘ The function o f a text is the application (cf. Lyons 1969:

434) or use which the text has in the particular context o f
situation.’ (House 1981: 37)

House views a text as an occurrence taking place in a situation

considered to be unique. Unique in the sense that several situational
conditions have helped the production o f that text. The function o f
a text, then, is the sum total o f all the linguistic and non-linguistic
components that enter into the production and reception o f the text.
A n analysis o f these components, House seems to suggest, can best
be conducted w ith in a situational framework. Therefore, a thorough
analysis o f the text along some specific dimensions o f situation
may display precisely the functional characteristics o f that text.
These characteristics can, then, be taken as a ‘ yardstick’ against
which the quality o f the TT is to be assessed.

House’ s translation quality assessment model

House’ s translation quality assessment model is based on
Hallidayan systemic-functional theory, but also draws eclectically
on Prague school ideas, speech act theory, pragmatics, discourse

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analysis and corpus-based distinctions between spoken and written
language. It provides for the analysis and comparison o f an original
and its translation on three different levels: the levels o f
Language/Text, Register (Field, Mode and Tenor) and Genre. One
o f the basic concepts underpinning the model is “ translation
equivalence” — a concept clearly reflected in conventional everyday
understanding o f translation, i.e., the average “ normal,” i.e., no r-
professionally trained person thinks o f translation as a text that is
some sort o f “ representation” or “ reproduction” o f another text
originally produced in another language, w ith the “ reproduction”
being o f comparable value, i.e., equivalent. Over and above its role
as a concept constitutive o f translation, “ equivalence” is the
fundamental criterion o f translation quality.

The type o f linguistic-textual analysis in which linguistic features

discovered in the original and the translation correlated w ith the
categories Field, Tenor, Mode does not, however directly lead to a
statement o f the individual textual function. Rather, the concept o f
“ Genre” is incorporated into the analytic scheme, “ in between,” as
it were, the register categories Field, Tenor, Mode, and the textual
function. Genre thus enables one to refer any single textual
exemplar to the class o f texts w ith which it shares a common
purpose. The category o f Genre is useful for the analysis and
evaluation process because, although Register (Field, Tenor, Mode)
descriptions are useful for accessing the relationship between text
and context, they are basically lim ited to capturing individual
features on the linguistic surface. In order to characterize “ deeper”
textual structures and patterns, a different conceptualization is
needed. This is attempted via the use o f “ Genre.” W hile register
captures the connection between texts and their “ microcontext,”
Genre connects texts w ith the “ macrocontext” o f the linguistic and

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cultural com munity in which texts are embedded. Register and
Genre are both semiotic systems realized by language such that the
relationship between Genre, Register and language/text is one
between semiotic planes which relate to one another in a
Hjelmslevian “ content-expression” type, i.e., the Genre is the
content plane o f Register, and the Register is the expression plane
o f Genre. Register in turn is the content plane o f language, w ith
language being the expression plane o f Register.

The resultant scheme for textual analysis, comparison and

assessment is outlined in Figure 5.2.

Figure 5.2 Scheme for analysing and comparing original and

translation texts.

(Source: House, J. (2006). Text and context in translation. J o u rn a l o f

P ragm atics , 38, p. 346.)

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The two types o f translation - overt translation and covert
translation - are the result of different strategies of re-
contextualization.

Overt translation is the one in which T T addressees are not directly

addressed. It is tied to source language and culture and should be
remained as intact as possible. It is a straightforward translation
and has got less cultural problems than the covert one. Overt
translations are divided into two types: Overt H istorically-linked
and Overt Timeless translations.

Overt translation is a translation o f the target text which is not

meant to be the same as the source text. In spite o f that, the target
text still refers to the source text so that its equivalences must be
sought at the level o f language/text, register, and genre. As
indicated by the name, overt translation itse lf claims that the result
is “ translation” , not the real work. A translation is categorized as
“ overt” i f the result reads like a translation.

Contrarily, covert translation is a translation which enjoys the

status o f being an original source text in the target culture. A covert
translation reads like an original text, not like a product o f
translation. M odifications are made to make it acceptable by the
target culture. This kind o f translation is directly addressed to a T L
culture audience. Covert translation needs cultural filter. The
distinctions between overt translation and covert translation are
recapitulated in Table 5.1.

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 Table 5.1 The distiction between overt translation and covert
translation

Overt translation Covert translation

• The receptors of the • A covert translation is a
translation are quite ‘overtly’ translation which enjoys the
not being directly addressed. status of an original source
• Overt translation is not a text in the target culture.
‘second original’. • The translation is not marked
• The work o f the translator is pragmatically as a translation
important and visible. o f a source text but may,
conceivably, have been
• An overt translation is a case
created in its own right.
o f language mention.
The translator is here clearly
• Since it is the translator’s task
less visible, i f not totally
to give target culture
absent from view.
members access to the
original text and its cultural " A covert translation is a case
impact on source culture o f language use.
members, the translator • The translator attempts to re­
enables target culture create as far as possible an
members to observe and/or equivalent speech event.
judge this text ‘from outside’ . • It is the translator’s express
• An original and its overt task to ‘betray’ the original
translation arc to be and as it were hide behind its
equivalent at the level o f transformation.
Language/Text and Register , Since true functional
as well as Genre. equivalence is aimed at, the
original may be legitimately
manipulated at the levels of
Language/Text and Register
via the use of a cultural filter.

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These two kinds o f translations cover almost every kind o f texts.
Overt translation includes political, literary, religious, etc texts; on
the other hand covert translation consists o f business circulars,
scientific texts, journalistic texts, advertisements, information
booklets, etc. Take tourist information booklets and computer
manuals as examples. A source text and its covert translation are
pragmatically o f equal concern for source and target language
addressees; both are, as it were, equally directly addressed. A source
text and its covert translation have equivalent purposes, they are
based on contemporary equivalent needs o f a comparable audience
in the context o f the source and target language communities.

The assumption that a particular text requires either a covert or an

overt translation does not hold in any simple way. Thus, any text
may, for a specific purpose, be translated overtly, i.e., it may be
viewed as a document which has an independent value, for
example, when its author has become, in the course o f time, a
distinguished figure. Furthermore, there may w ell be source texts
for which the choice o f overt-covert translation is a subjective one.
For instance, fairy tales may be viewed as products o f a particular
culture, which would predispose the translator to opt for an overt
translation, or as non-culture specific texts, anonymously produced,
with the general function o f entertaining and educating the young,
which would suggest a covert translation.

The model analyses the situational dimensions o f the source text,

and then looks at the translation text to find i f there is any
mismatch along the dimensions. These are covertly erroneous
errors, to be distinguished from overtly erroneous errors which
result from either mistranslation or from breaches o f the norms o f
the target language. Cases o f breaches o f the target language

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system are subdivided into cases o f ungram m atically, i.e. cleat-
breaches o f the language system, and cases o f dubious acceptability
Both groups o f overtly erroneous errors, writes House, have
traditionally been given much more attention whereas covertly
erroneous errors, which demand a much more qualitative-
descriptive, in-depth analysis, have often been neglected.

The ensuing example is the endeavour to apply House’ s translation

quality assessment model to discern two types o f errors - covertly
erroneous errors and overtly erroneous errors - in the Vietnamese
translation (Diep M inh Tam 2010: 304-313) o f the short story “ The
last le a f’ by O ’ Henry.

Translation quality assessment using House’s model undergoes the

follow ing steps:

i. Doing a register analysis to get the source text profile;

ii. Describing source text genre realized in register;
iii. G iving a statement o f function to the source text related
w ith ideational and interpersonal meaning;
iv. Treating the target text in the same way as the source text
was treated above;
v. Comparing the two text profiles to produce a statement o f
“ in-equivalence” which is categorized according to the
genre and the situational dimension o f the genre and
register. The errors found are categorized into “ covertly
erroneous errors” and “ overtly erroneous errors” ;
vi. Providing a statement o f quality w ith reference to the
translation result; and

vii. Categorizing the translation result into two kinds: overt

translation and covert translation.

102
Source text profile:

Field:

Subject matter Social action

Short fiction General and popular

Tenor:

A uthor’ s Social role relationship Social

provenance attitude
Symmetrical Asymmetrical
and stance

W riter Asymmetrical Inform al

Mode:

Medium Participation

Simple Complex Simple Complex

Complex Simple

Source text

Genre Function

Short fiction Ideational

103
Target text profile:

Field:

Subject matter Social action

Short fiction General and popular

Tenor:

Translator’ s Social role relationship Social attitude

provenance
Symmetrical Asymmetrical
and stance

Translator Asymmetrical Inform al

Mode:

Medium Participation

Simple Complex Simple Complex

Complex Simple

Target text

Genre Function

Short fiction Ideational

104
A covertly erroneous error discerned here is the mismatch between
the author’ s provenance and stance (w riter) and that o f the
translator (translator).

Source text and target text profiles side-by-side comparison:

Source text profile Target text profile

Field Subject matter: 0 Field Subject matter: 0

Short fiction Short fiction

Social action: 0 Social action: 0

General and popular General and
popular

Tenor A uthor’ s 0 Tenor Translator’ s 0

provenance and provenance and
stance: W riter stance:
Translator

Social role 0 Social role 0

relationship: relationship:
Asymmetrical Asymmetrical

Social attitude: 0 Social attitude: 0

Inform al Inform al

Mode Medium: Complex 0 Mode Medium: 0

Complex

Participation: 0 Participation: 0
Simple Simple

105
O vertly erroneous errors are categorized into five types: 1) Not
translated; 2) Slight change in meaning; 3) Significant change in
meaning; 4) Distortion o f meaning; and 5) Breach o f the T L
system. Certain examples o f overtly erroneous errors are displayed.

1) “ Not translated” error type

The translation o f “ Sixth Avenue” , a major thoroughfare in New

Y ork City's borough o f Manhattan, is not encountered in the target
text:

Source text Target text

/
Then they imported some Sau day ho mang vao vai lo
pewter mugs and a chafing hop kim thiec, mot hai cai chao
dish or two from Sixth nau an da chien, va the la mot
Avenue, and became a “ quan cu” thanh hinh. (Diep
"colony.11 M inh Tam 2010: 304)

The phrase “ red-fisted, short-breathed” in the source text has also

been overlooked in the translation process:

Source text Target text

A mite o f a little woman w ith Nguoi con gai nho von da mat
blood thinned by California mau vi nhung gio tay a
zephyrs was hardly fair game California thi le ra khong dang
for the red-fisted, short- cho mot ke bat tai gia nua ban
breathed old duffer. tarn den. (Diep M inh Tam
2010: 305)

106
The phrase “ w ith a shaggy, gray eyebrow” is not translated into the
target language:

Source text Target text

One m orning the busy doctor M ot buoi sang, v i bac si day

invited Sue into the hallway ban ron m bi Sue ra hanh lang.
w ith a shaggy, gray eyebrow. (Diep M inh Tam 2010: 305)

2) “ Slight change in meaning” error type

“ Thinning o f the blood” refers to anemia, rather than loss o f blood,

a potential cause o f this phenomenon, so the translation displays a
slight change in meaning:

Source text Target text

Mr. Pneumonia was not what
you would call a chivalric old
gentleman. A mite o f a little
woman w ith blood thinned by
California zephyrs was hardly
fair game fo r the red-fisted,
short-breathed old duffer.
Ban se khong xem Than Viem
Phoi nhu mot quan tir gia day
hao hiep. Ngudi con gai nho
von da mat mau vi nhung gio
tay a C alifornia thi le ra khong
dang cho mot ke bat tai gia nua
ban tarn den.

(Diep M inh Tam 2010: 305)

1) “ Significant change in meaning” error type

The slight rendezvous between “ has made up her m ind” (meaning

"has decided” ) in the source text and “ bi am anh” (meaning “ has
been obsessed w ith ” ) in the target text is that both phrases refers to
the mental process. However, the translation “ bi am anh”

107
significantly semantically deviates from its counterpart in the
source text.

Source text Target text

Y our little lady has made up Co ban nho cua co da b i am

her m ind that she's not going anh la co ay se khong qua khoi.
to get well. (Diep M inh Tam 2010: 305)

4) “ D istortion o f meaning” error type

Semantic distortion is encountered in the ensuing instance due to

no semantic rendezvous between “ make” in the source text and “ lot
thorn” (meaning “ hide oneself’) in the target text:

Source text Target text

In a little district west o f Nhung “ vung” nay l<?t thorn

Washington Square the streets trong nhung goc va ducmg cong
have run crazy and broken la ky. (Diep M in h Tam 2010:
themselves into small strips 305)
called "places." These "places"
make strange angles and
curves. One Street crosses
its e lf a tim e or two.

5) “ Breach o f the T L system” error type

This example illustrates the breach o f the T L system in which

“ nhung gio tay” , the translation o f “ zephyrs” in the source text.

108
lacks the classifier “ dot” between the article “ nhung” and the head
noun “ gio tay” :

Source text Target text

Mr. Pneumonia was not what Ban se khong xem Than Viem
you would call a chivalric Phoi nhir mot quan tvr gia day
old gentleman. A mite o f a hao hiep. N guoi con gai nho von
little woman w ith blood da mat mau vi nhung gi6 tay a
thinned by California California thi le ra khong dang
zephyrs was hardly fair game cho mot ke bat tai gia nua ban
for the red-fisted, short- tarn den.
breathed old duffer.
(Diep M inh Tam 2010: 305)

Chapter sum m ary

Translation quality assessment approach can be prescriptive,

assessing translation against criteria o f aesthetic effect, usability,
and intrinsic compliance w ith standards o f target language
correctness and fidelity. A t the other extreme, recent research in
descriptive translation studies (DTS), and in particular the work
o fT o u ry (1981; 1995) and Chesterman (1993), has shifted away
from translation quality assessment based on absolute criteria
and has reflected a relativistic, intersubjective stance on
judgments o f translation worth. This dichotomy raises the
question as whether translation quality assessment is values-free.
( )nc o f the m otivating factors in descriptive translation studies is
precisely, the desire to make translation studies a values-free
discipline. Nonetheless, from W illia m s ’s (2009) stance,

109
 translation quality assessment cannot and should not be values-
free: to be useful, it must be based on criteria o f goodness.
Otherwise, all we do is describe defects and strong points in
translations.

In a mentalist view o f meaning as a concept residing in

language users’ heads, translation is like ly to be intuitive and
interpretative. I f meaning is seen as developing in, and resulting
from, an externally observable reaction, translation evaluation is
like ly to involve response-based methods. And i f meaning is
seen as emerging from larger textual stretches o f language in
use, involving both context and (situational and cultural) context
surrounding individual linguistic units, a discourse approach is
like ly to be used in evaluating a translation. House’s model,
which apparently has drawn m ainly from text linguistic
approaches, is the focus o f the discussion in this chapter. The
ultimate aim o f House’ s model is to obtain, through systematic
analysis o f both SL text and T L text, the functions o f the two
texts. The degree o f sim ilarity o f function in both texts would
allow for a statement o f the quality o f translation. The function
o f a text is a composite o f several interrelated factors, the most
important o f which is the interplay o f the different aspects o f
meaning for the purpose o f attaining the ultimate aim behind
w riting a particular text.

Prior to embarking on the depiction o f translation quality

assessment model as outlined in House (1981), this chapter also
introduces the three aspects o f meaning - semantic, pragmatic,
and textual meanings - that are judged to be o f prime magnitude
in the construction o f text. Three contextual features that are
realised by the functional components o f the semantic system -

110
 Held, mode, and tenor (H alliday 1985) - form the bases o f the
second dimension in House’s model o f translation quality
assessment. House’ s translation quality assessment model is
based on Hallidayan systemic-functional theory, but also draws
eclectically on Prague school ideas, speech act theory,
pragmatics, discourse analysis and corpus-based distinctions
between spoken and written language. It provides for the
analysis and comparison o f an original and its translation on
three different levels: the levels o f Language/Text, Register
(Field, Mode and Tenor) and Genre. The model analyses the
situational dimensions o f the source text, and then scans the
translation text to find i f there is any mismatch along the
dimensions. These are covertly erroneous errors, to be
differentiated from overtly erroneous errors which stem from
either mistranslation or from breaches o f the norms o f the target
language.

Activities

O Depict three different but interrelated aspects o f meaning

contributing largely to the constitution o f texts.

© Danes (1974) regards thematic progression in terms o f the

movement o f theme and rheme in a text. Describe Danes’ s patterns
o f theme movement and provide English texts to illustrate these
patterns. Translate these texts into Vietnamese language in the most
natural way. Are the patterns o f theme movement in the source
texts retained in the target texts? W hy (not)?

© What are three major functions o f language distinguished by

Halliday (1985)? What are three contextual features realised by the
functional components o f the semantic system from H alliday’s
(1985) view? Through what functions are these contextual features
expressed?

© What are different styles does the tenor o f discourse capture?

According to House (1981), what style is most neutral?

0 How does House’s approach to text function d iffe r from that o f

Halliday?

0 What theory is House’ s translation quality assessment model

based on?

G On which levels does House’ s translation quality assessment

model provide for the analysis and comparison o f an original and
its translation? Draw the scheme for analysing and comparing
original and translation texts.

© Portray the differences between overt translation and covert

translation.

© How are covertly erroneous errors distinguished from overtly

erroneous errors?

© Using House’ s translation quality assessment model, appraise

the quality o f the Vietnamese translation o f the short story “ The
Snob” by M orley Callaghan. For more home practice, evaluate the
quality o f other translations in Appendix using House’ translation
quality model.

• Vietnamese tra n sla tio n

Tai quay ban sach cua khu thircmg xa, chang sinh vien tre John
Harcourt thoang nhin thay cha minh. Trong dam dong xo day nhau
doc loi di, m oi dau chang khong tin chac lam, nhimg co nhung cai

112
ma chang biet rat ro - do la cai mau phia sau co cua ong gia, chiec
mu ni bac mau. Harcourt dang dung vd i m ot ngudi con gai ma
cluing yeu men de mua sach cho nang. Suot buoi chieu chang da
nong nan noi chuyen vd i nang nhung cung day rut re va xao xuyen
nlnr the trong chang van con ngo ngang tu hoi tai sao nang lai co
the that sung sudng khi dugc di ben canh chang. D udi chiec mu
ram rpng vanh, khuon mat cua nang that dep, manh khoe va toa ra
diing ve day tu tin, thudng quay qua nhin chang va m im cudi moi
khi chang noi dieu gi. Hai ngudi thudng noi chuyen vdi nhau nhu
the va chua bao gid dam bao dan bay to het tinh cam cua minh.
I larcourt cung vua mua sach xong, va cung vira thoc tay vao tui vdi
nipt dang ve tu nhien va san sang nhu the chang von co thoi quen
mua sach cho cac co - thi ong gia dau bac vdi chiec mu ni bac mau
dang dung d dau quay chat quay nira m inh ve phia chang va chang
biet rat ro minh chi con each ong cu co vai thude.

( iipng noi luu loat thudng nhat cua chang thanh nien bong ap ung
roi trd nen theu thao nhu the chang so ngudi chung quanh nghe
I hay- Trong chang day len mot mot noi buc doc khon ta, chang linh
cam thay mot cai gi do that quy gia ma chang dang nam giu dudng
nhu sap do vd. Cha chang dang dung thang thon d quay tra tien,
dug cu tram ngam lat di lat lai cuon sach tren tay. Roi ong cu lay ra
cflp kinh lao tu cai bao da da son, sua di sua lai tren song mui roi
Clii nhin cuon sach. Chiec ao manteau bo ngo, con chiec ao vest thi
hni chiec khuy khong cai nut, toe ong cu qua dai con bo quan ao
lupin thuom khien ong cu trong nhu dan thg, co le mot ong thg
mge thi dung han. M ot noi bat binh day len trong chang khien
chang muon dau kho keu len “ Tai sao ong cu lai an mac nhu the
trong ddi chua bao gid co mot bo quan ao tot dep? Ong cu cha de y
gl den the gidi nay dang nghi gi ve ong cu. Ong cu chang de y gi
ed. M inh da noi ca tram lan la bo phai an mac dang hoang khi ra

113
dirtmg. Me cung da noi nhu vay. Ong cu chi nhe rang cubi. Va gib
thi Grace co the thay ong cu. Grace co the gap ong cu.”

V i the ma chang Harcourt dung yen nhu tuong da, dau guc xuong
va linh cam thay mot cai gi dau don sap xay den. Chang xao xuyen
liec nhin Grace luc nay da quay dau lai quay tinh tien. Trong so
khach hang mat do gay, nguoi nao nguoi nay tinh bo, dung ca cui
cho, xo day nhau de danh lo i di, Grace noi bat len voi ve dep long
lay. Con nguoi nang toa ra mot dang ve rat tu tin ve sir giao tiep
voi moi nguoi, voi may nguoi ban hang, voi sach vo nam tren ke
va voi tat ca m oi thu chung quanh nang. Dau van cui xuong, chang
nhich lai gan nang thi thao voi giong that lo lang, “ M inh kiem cho
khac de uong tra di Grace.”

“ Chut xiu nua anh,” nang dap.

“ M inh di ngay bay gib di.”
“ Chut xiu nua ma anh,” nang lo dang nhac lai.
“ 6 day ngot ngat qua. M inh di ngay bay gib di.”
“ Sao anh nong ruot qua vay?”
“ O day chang co gi ca ngoai mb sach cu tren ke.”

“ Co the co mot so ma em rat can trong cuoc song cua em,” nang
vua noi vua m im cubi tuoi tan va khong he nhan biet moi lo au tren
khuon mat cua Harcourt.

Chinh vi the ma Harcourt phai tien lai phia sau nang do do moi luc
chang cang den gan ong cu hon. Co luc chang ngung dau len, liec
nhin qua mot ben voi ve lo dang, Con cha chang, vo i khuon mat
hong hao, phuc hau, van yen lang doc sach nhung luc nay dubng
nhu tren khuon mat cua ong cu co dang ve tu lu nhu the trong sach
co cai gi lam ong cu xuc dong cho nen ong cu quyet dinh dung lai
do doc tiep.

114
6ng gia Harcourt co du thdi gian de vui thu bdi ong da nghi huu
sau khi lam viec cue nhoc suot ca ddi. Ong gui chang vao dai hoc
va ude mong chang rang rd vdi ngudi ta. M o i toi khi trd ve nha, du
sdm du khuya, chang thudng vao phong bo me, bat den len de chi a
xe vdi song than nhung gi hay dep trong ngay. Ca hai lang nghe
chang noi va chia xe voi chang ve mot the gibi moi ma chang dang
ngup lan trong do. Ca hai ngoi day trong bo quan ao ngu, m oi khi
me chang hoi dieu gi, cha chang deu cham chu lang nghe, dau
nghieng qua mot ben, m im cubi hoac chau may. Tat ca nhung hinh
anh do hien ro trong tarn tri chang luc nay the nhung co mot niem
khat khao va mot noi dau don moi luc cu de nang len chang khi
chang so hai liec nhin cha minh, nhimg chang buong binh cho
ning, “ M inh khong the gioi thieu ong cu vo i Grace. M oi chuyen se
dc dang hon neu ong cu khong nhin thay hai ngudi. Phai moi
chuyen se de dang hem. Nhu the hop ly hon. Gap Grace chi lam
cho ong cu them lung tung.” Vao luc nay thi Harcourt biet minh
dang xau ho, nhung chang bien minh cho su xau ho cua minh voi
ly do cha cua Grace la ngudi co phong thai lich sir va tu tin vi suot
ddi song trong mot xa hoi giau co va thanh cong. Thinh thoang khi
gh6 vao nha Grace le phep noi chuyen vdi me nang, chang khong
khoi suy nghi ve ve don so cua nha m inh, ve giong noi tieng cudi
xue xoa, mpe mac cua cha me va chang qayet dinh phai lam sao de
gia dinh Grace ne mat.

Chang than trong ngude nhin len v i hai ngudi chi con each nhau
khoang ba thude, nhung vao ngay luc do, ong cu cung ngimg dau
Ifin nhung anh mat cua Harcourt lai tranh qua mot ben, nhin ve phia
lAi di, ve phia quay tinh tien, lam bo nhu khong thay gi ca. K h i ddi
mflt xanh va binh than cua ong cu chu muc qua cap mat kinh, co
mOt luc dudng nhu hai ngudi da nhin thay nhau. Khong biet ro la
ai, nhung khi chang Harcourt quay lung va hoi ha noi vdi Grace thi

115
chang biet ro la cha chang da nhin thay chang. Chang biet chac nhu
vay vi ve binh than trong doi mat xanh cua ong cu. Niem xau ho
trong chang trao dang va no lam chang dau kho khi chang dung do
bat dong, khong biet lam gi ca.

Cha chang quay lui, di doc theo hanh lang, buac di thang thon trong
bo quan ao da son cu, doi vai ong cu giang rong va khong quay dau
nhin lai. Roi ong cu buac xuong duang vai dang ve tram tu ma
chang biet chac m oi luc moi tra nen sau nang va nghiem trong.

Chang tre tuoi Harcourt dung ben canh Grace, khe co vao doi vai
mem mai cua nang va thoang thoang ngui thay mui nuac hoa ma
nang dung. Do, dung sat ben minh, nang la tat ca nhung gi ma chang
khat khao om chat lay, nhung gia day chang chi con thay mot noi
thu han ghe gam khien chang u ru cui mat va dung bat dong.

“ Anh noi dung do John,” giong nang nho nhe va hai e a. “ Vao ngay
nong nuc nhu the nay a day kho chiu that anh a. G ia minh di. Ne,
co bao gia anh nghl rang dung a khu thuang xa lau nhu the nay co
khi m inh tra nen ghet nguai ta khong biet chung?” Nhung vua noi
nang vua m im cuai cho nen Harcourt biet chac rang nang chang
ghet ai ca.

“ Em ghet nguai ta co phai khong?” chang gang hoi.

“ Ghet nguai ta? M a nguai ta nao? Anh noi gi vay?”
“ Anh muon noi,” chang buc tuc noi tiep, “ em khong thich nhung
nguai ma em gap a day chang han.”
“ Dau phai vay. M a ai ghet? Anh noi gi vay?”

“ Thien ha deu biet rang em khong,” chang noi bua vai tat ca sir buc
tuc de tan cong nang. “ Anh muon noi em khong thich nhung nguai
binh di, chan chat la nhung nguai ma em gap a khap thanh pho
nay.”

116
Chang thot ra nhung lb i noi nay nhu the chang muon choc gian
nang nhung trong tham tam that sir chang muon noi, “ Em khong
thich gia dinh anh. Tai sao anh khong muon dua em tb i nha de an
com toi voi cha me anh? Em se co thai do khinh khinh bbi vi bo me
anh khong co tinh tir phu, kieu cang. Ngay khi cha anh nhin thay
cm, ong cu biet rang em khong muon gap ong cu. Cur nhin each ong
cu bo di la anh biet ma.”

Cha chang dang tren dubng ve nha va chang biet rang trong bua
com toi nay ca nha se gap lai. Me chang va em gai chang se noi
mau man hoi du chuyen nhung con cha chang thi ong cu se khong
n6i gi vo i chang, khong noi gi voi m oi ngubi. Roi trong ky uc cua
chang se noi len hinh anh cua cha chang voi cai nhin dam chieu
qua doi mat xanh va ca noi dau don cua ong cu ma chang biet rat ro
khi ong cu bo di.

Khi hai ngubi bubc qua hieu sach, Grace ngam nhin khuon mat sau
tham cua Harcourt va nang hieu rang Harcourt dang gian du trong
Ibng cho nen su buc tuc va noi bat binh trong nang lai dang len,
iu\ng nghiem nghi noi, “ Theo em nghT anh co quyen buc tuc trong
m(>t buoi chieu nong nuc nhu the nay, nhung con em, neu em
khong thich cho nay thi em co quyen khong thich. Anh cung muon
di cho khac co ma. Co ai thich dung li b day trong mot buoi chieu
nbng nuc nhu the nay dau? N oi cho anh biet, em bat dau khong ua
nhung ngubi 16 bjeh dung vao ngubi em, tat ca nhung ai gan em.
Nhu vay th i co sao khong?”

“ Thi em la ke hom m inh.”

“ Em ma la ke horn minh a?” nang tuc gian hoi lai.
"K b rang em la ke horn m inh,” chang noi.
I tic nay hai ngubi da ra ngoai cua va sua soan bubc xuong dubng.
I'rong anh nang chan hoa, giua dong ngubi dang tan bo doc theo

117
con pho, khi hai nguai sanh buac ben nhau, Harcourt co tim cho ra
nhirng cau noi de dien ta het y nghT tham kin cua minh doi vai
Grace, “ Anh biet rat ro cam nghT cua em doi vai nhirng nguai
khong thich hap vai loi song cua gia dinh em,” chang noi.

“ Anh dung la ke 16 bich,” nang noi. Luc nay mat Grace do gay va
vi khong biet^ lam each nao de dien ta het can gian du, cho nen
nang ngimg cao dau va buac thang.

Chua bao gia hai nguai noi vai nhau nhu the nhirng g ia day thi ca
hai san sang tan cong de lam ton thuang nhau. Sau mot thoi mot
hoi, nang bat dau tranh luan vai Harcourt roi nang tran tTnh lai, noi,
“ Nghe day John, toi nghT rang anh khong con muon di vai toi nua.
Uong tra vdi nhau lam gi them vo ich. Toi nghT chung minh chia
tay ngay bay gia tot han.”

“ Duac lam,” Harcourt noi. “ Chao em.”

“ Chao anh.”
“ Chao em.”

Nhirng khi nang bo di, buac di khoang hai buac thi Harcourt run
so, voi va nam chat lay tay nang, nan ni, “ Birng bo di Grace a.”

Tat ca noi buc doc va cam tuc gia day bien mat trong chang va chi
con lai mot niem khat khao va xao xuyen qua giong noi, “ X in
Grace tha thu cho anh. Anh khong co quyen noi vai em nhu the.
Khong hieu tai sao anh lai tho 16 nhu vay hoac co cai gi day. Anh
16 bich that. Anh 16 bich qua em a. X in em tha thu cho anh. Dung
bo anh.”

Harcourt chua bao gia noi ap ling nhu the va noi bang ca khoi chan
tinh cho nen Grace bat dau xuc dong. Trong khi lang nghe chang
noi va hieu duqc tarn long thuang men cua chang, do sir xung dot

118
luc vua roi, dirong nhu ho xich lai gan nhau hern luc nao het va
Grace bat dau cam thay e then. “ Em khong hieu tai sao nhu vay
anh a. Em nghl ca hai chung ta deu buc boi trong minh. Co le tai
thori tiet nong qua,” nang noi. “ Nhung em khong gian anh dau.”

Harcourt dau kho gat dau. Chang nong nan noi cho Grace biet la
chac chan cha chang se quy men nang, nhung chua bao gicr trong
ddri chang cam thay dau kho nhu the. Chang nam chat lay tay Grace
nhu muon ghi chat lay cai gi than thuomg nhat trong dcri nhu so no
c6 the vuot khoi tarn tay...va trong dau chang lai hien len va con
tiep tuc hien len hinh anh cha chang da lang le bo di va ong cu
khong quay dau tro lai./.

(Available at httn://daovanbinh.cattien.us/?p=128)

• The source text o f “ The Snob ” by M o rle y C allaghan

IT WAS at the book counter in the department store that John

I larcourt, the student, caught a glimpse o f his father. A t first he
could not be sure in the crowd that pushed along the aisle, but there
was something about the color o f the back o f the elderly man’ s
neck, something about the faded felt hat, that he knew very well.
Harcourt was standing w ith the girl he loved, buying a book for
her. A ll afternoon he had been talking to her, eagerly, but w ith an
nnx ious diffidence, as i f there still remained in him an innocent
wonder that she should be delighted to be w ith him. From
underneath her wide-brimmed straw hat, her face, so fair and
beautifully strong w ith its expression o f cool independence, kept
turning up to him and sometimes smiled at what he said. That was
the way they always talked, never daring to show much fu ll, strong
Iceling. Harcourt had just bought the book, and had reached into
his pocket for the money w ith a free, ready gesture to make it

119
asked all the questions, his father listened attentively w ith his head
cocked on one side and a smile or a frow n on his face. The memory
o f all this was in John now, and there was also a desperate longing
and a pain w ith in him growing harder to bear as he glanced
fearfully at his father, but he thought stubbornly, “ I can’t introduce
him. I t ’ ll be easier fo r everybody i f he doesn’t see us. I ’m not
ashamed. But it w ill be easier. I t ’ ll be more sensible. I t ’ ll only
embarrass him to see Grace.” B y this time he knew he was
ashamed, but he felt that his shame was justified, fo r Grace’s father
had the smooth, confident manner o f a man who had lived all his
life among people who were rich and sure o f themselves. Often
when he had been in Grace’ s home talking politely to her mother,
John had kept on thinking o f the plainness o f his own home and o f
his parents’ laughing, good-natured untidiness, and he resolved
desperately that he must make Grace’s people admire him.

He looked up cautiously, fo r they were about eight feet away

from his father, but at that moment his father, too, looked up and
John’ s glance shifted s w iftly far over the aisle, over the counters,
seeing nothing. As his father’s blue, calm eyes stared steadily over
the glasses, there was an instant when their glances might have
met. Neither one could have been certain, yet John, as he turned
away and began to talk hurriedly to Grace, knew surely that his
father had seen him. He knew it by the steady calmness in his
father’ s blue eyes. John’s shame grew, and then hum iliation
sickened him as he waited and did nothing.

His father turned away, going down the aisle, w alking erectly in
his shabby clothes, his shoulders very straight, never once looking
back. His father would w alk slow ly down the street, he knew, w ith
that meditative expression deepening and becoming grave.

122
 Young Harcourt stood beside Grace, brushing against her soft
shoulder, and made faintly aware again o f the delicate scent she
used. There, so close beside him, she was holding w ith in her
everything he wanted to reach out for, only now he felt a sharp
hostility that made him sullen and silent.

“ You were right, John,” she was drawling in her soft voice. “ It
does get unbearable in here on a hot day. Do le t’ s go now. Have
you ever noticed that department stores after a time can make you
really hate people?” But she smiled when she spoke, so he m ight
see that she really hated no one.

“ You don’t like people, do you?” he said sharply.

“ People? What people? What do you mean?”
“ I mean,” he went on irritably, “ you don’t like the kind o f
people you bump into here, for example.”
“ Not especially. W ho does? What are you talking about?”

“ Anybody could see you don’t,” he said recklessly, fu ll o f a

N«vage eagerness to hurt her. “ I say you don’t like simple, honest
people, the kind o f people you meet all over the city.” He blurted
the words out as i f he wanted to shake her, but he was longing to
Nay, “ You w ouldn’t like m y fam ily. W hy couldn’t I take you home
to have dinner w ith them? Y o u ’d turn up your nose at them,
because they’ve no pretensions. As soon as my father saw you, he
knew you w ouldn’t want to meet him. I could tell by the way he
turned.”

His father was on his way home now, he knew, and that
evening at dinner they would meet. His mother and sister would
talk rapidly, but his father would say nothing to him, or to anyone.
There would only be Harcourt’s memory o f the level look in the

1 23
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138
 Appendix

SOME TRANSLATIONS FOR ASSESSMENT

A. ENGLISH SOURCE TEXTS AND THEIR
VIETNAMESE TRANSLATIONS
I. “ Eulogy on the Dog” and its tra n sla tio n

Eulogy on the Dog Ngoi ca chu cho

by G eorge G raham Vest N g u d i d ic h : L y Lan

(ientlemen o f the jury: Thua quy ngai hoi tham,

The best friend a man has in the Ngudi ban tot nhat ma con
world may turn against him and ngudi co duoc tren the gidi nay
become his enemy. His son or co the mot ngay nao do hoa ra ke
daughter that he has reared w ith thii chong lai chung ta. Con cai
loving care may prove ma ta nuoi dudng vdi tinh yeu
ungrateful. Those who are thuong het muc roi cung co the
nearest and dearest to us, those se la mot lu vo cm. Nhirng ngudi
whom we trust w ith our gan gui, than thiet nhat ma ngudi
happiness and our good name ta gui gam hanh phuc va danh
may become traitors to their du co the trd thanh ke phan boi,
faith. The money that a man phu bac long tin cay va sir trung
has, he may lose. It flies away thanh. Tien bac ma con ngudi co
IVom him, perhaps when he duoc roi se mat di, tham chi no
needs it most. A man's mat di dung vao luc ta can no
reputation may be sacrificed in nhat. Tieng tarn cua con ngudi
a moment of ill-considered cung co the tieu tan trong phut
action. The people who are choc bdi mot hanh dong dai dot.

139
2. “ A doctor tells a secret” and its tran slatio n

A doctor tells a secret Thay thuoc ke mot bi mat

by D r. D a v id H aslam N g u d i d ic h : L u u Trong Tuan

Am ong all the half-remembered Trong tat ca nhung bai hoc con
lessons from my time at medical mang mang nho tir thoi sinh
school, my first day in the vien trucrng y, ngay dau tien cua
wards shines out like a beacon. toi noi phdng benh van con ro
nhu in trong ky urc.
For the first two years o f the
course we students had endured Trong hai nam dau cua
the dissection, the biochemistry chuong trinh hoc, sinh vien
and all the other seemingly chung toi da phai chiu dung kho
irrelevant sciences. A t last the so nhirng mon phau tfch, hoa
pre-clinical time-wasting was sinh va tat ca cac mon hoc khac
over, and we were going to see duong nhu chang lien quan gi
some real patients. Six o f us den y hoc. Thai gian hoc tien
gathered nervously in the lam sang uong phi do cuoi cung
medical ward. cung troi qua va chung toi sap
dugc gap vai benh nhan that sir.
We stood at the end o f the
Sau dua chung toi turn turn trong
first patient’s bed, our white
phong benh long hao hue.
coat crisp, our pockets bulging

142
with assorted handbooks and
instruments. We didn’t have our
stethoscopes, though. We had
been asked to leave these in
Sister’ s office.
Our tutor, the
registrar, looked us
down. “ This is Mr. W atkins,”
lie said. “ He has been fu lly
briefed about today, and doesn’t
mind you all taking as long as
you need to listen to his heart,
lie has m itral stenosis, and I
doubt i f you w ill hear a better
example of this
careers.”
We had been taught the
theory o f m itral stenosis, a
narrowing o f the opening to one
of the heart valves,
idthough we had never actually
listened to a heart murmur we
had no trouble reciting to the
tegistrar the facts about what we
were going to hear. We knew
that there would be a loud first
heart sound, an opening snap,
and then the two
murmurs o f this condition.
Chung toi dung a dau
giudng ngucri benh dau tien, ao
blouse m oi cung, tui ao cang
phong nao sach so tay, nao dung
cu du loai. Tuy nhien, chung toi
khong mang theo ong nghe.
medical
Chung toi dugc yeu cau phai de
up and
ong nghe a phong cac so.
Giang vien cua chung toi,
mot bac si noi khoa, dua mat
nhin chung toi tir dau den chan.
Ong noi, “ Day la ong Watkins.
Chung toi da noi ro vai ong ve
buoi hoc horn nay va ong khong
in your phien de cac anh muon nghe tim
ong bao lau thi nghe. Ong bi hep
van hai la va toi cho la cac anh
se khong bao gib nghe dugc mot
trubng hgp dien hinh hom the
nay trong suot sir nghiep cua cac
and
anh.”
Chung toi da dugc hgc ly
thuyet benh hep van hai la, mot
tinh trang hep mot trong cac 16
van tim va du thuc su chung toi
chua bao gio nghe mot am thoi
tim nao, chung toi thay khong
typical may kho ke vai thay nhung gi
chung toi sap nghe. Chung toi
143
3. “ 7 pow erful ways to show love to children” and its translation
7 Powerful Ways to Show
Love to Children
By Steve B ru n kh o rst
Our children are our most
important legacy to the world.
However, our love is our most
important legacy to our children.
Here are seven ways to show
love that w ill help children build
sturdy foundations for the future.
1. Spend tim e w ith yo u r
children
Time is the most loving g ift we
can give to our children. It
allows for the mutual exchange
o f ideas, emotions, actions, and
words that help our children
develop and learn to
communicate.
Enjoy a toddler's tea parties as
w ell as a teen's ball games. Help
your children build things and
create art. Begin new fam ily
traditions that you can enjoy
together each year. Ample time
146
7 each hieu qua de the hien
tinh thtrong voi tre
N gitcri d ic h : Lieu Trong Tuan
Con cai chung ta la tai san quan
trong nhat cho doi, song tinh
thuong ciia chung ta lai la tai
san ldn nhat doi voi con cai
chung ta. Sau day la 7 each the
hien tinh thuong ma se giup tre
xay nen nhung nen tang vung
vang cho tuong lai.
1. Danh th o i gian ben tre
Thcri gian la mon qua than
thuong nhat ma chung ta co the
tang cho tre. Thoi gian do bao
gom nhung phut giay trao doi
cung tre nhung y nghT, cam xuc,
hanh dong va ngon tir de giup tre
phat trien va hoc each giao tiep.
Hay cung chung vui nhung bua
tiec nho ciia em be chap chung
tap di, cung nhu tham gia tro
choi bong voi tre m oi ldn. Hay
giup tre xay nen moi dieu va
sang tao nghe thuat. M oi nam,
spent in m utually enjoyable hay mang them vao gia dinh
activities w ill create memories nhifng tap quan m bi ma ca tre
you w ill always treasure. va chung ta cung thich. Thoi
gian cung vui ben nhau se tao
2. Be the p rim a ry role model
nen nhifng ky uc ta mai nang
fo r y o u r children
niu.
Children need examples to
2. H ay lam giromg cho tre
follow. Teach practical values
to your children by modeling Tre can nhifng tarn guong de
those values. A dm it when you noi theo. Day nhifng gia tri song
have made a mistake and cho tre bang each lam guong
apologize. Model being nhifng gia tri do. K h i mac loi
committed to the ideals you nguoi Ion cung phai nhan loi va
embrace. Demonstrate the xin loi. Lam gucmg la thuc hien
advantage o f integrity over peer nhifng ly tudng song ma ta om
pressure. ap. Hay cho tre thay song sao
cho phai tot hern la song theo
We teach and influence children
nguoi khac.
more through actions than
words. We are our children's Nen day va tac dong den tre qua
first heroes; the ideals that we hanh dong hem qua lo i noi.
live today are the ideals that Nguoi Ion chung ta la nhifng
w ill influence our children nguoi hung dau doi cua tre.
throughout life. Nhifng ly tucng chung ta song
horn nay chinh la nhifng ly
3. Listen to y o u r children
tuong se anh huong den tre
A child's message is one o f his trong suot cuoc doi.
or her most essential gifts. We
3. H ay Iang nghe tre
build self-esteem in children
when we show interest in what Thong diep cua tre la mot trong
they have to say. Children need nhifng mon qua quan trong nhat

147
very loving way to guide your
children.
Your children may face many o f
the situations you faced. Your
experiences can help them make
informed decisions and avoid
unnecessary mistakes.
the most worthwhile possessions
that we can someday leave for
our children are journals filled
with the stories that shaped our
lives.
7. Love and supp ort
ch ild re n u n co nditionally
Love is an unconditional gift
from the heart; it is not a reward
for good behavior. Let your
children know that you w ill love
and support them
situation. This message creates
a sturdy bond o f trust. Your
children w ill grow to feel safe
in coming to you w ith
problem they face.
Children need the freedom to
make decisions, try new things,
and leam that life
personal responsibility
1 50
qua trong doi. Nhung cau
chuyen ay cho thay nhung ung
xu vbi nhung bien co trong doi
da tao nen cuoc song cua chung
ta ngay horn nay nhu the nao.
Hay chia se nhung kinh nghiem
ay - ca nhung tro ngai lan vinh
Among
quang - do la loi di day yeu
thuong ma chung ta dua con cai
chung ta buoc cung.
Con ban co the gap phai nhung
tinh huong ma ban da tung trai.
Kinh nghiem cua ban co the
yo u r
giup tre biet quyet dinh the nao
va tranh dugc nhung loi khong
dang vap. Trong nhung hanh
trang dang gia ma chung ta co
the de lai cho con cai chung ta
do la nhirng trang tap chi giu lai
in any nhung cau chuyen da giup hinh
thanh nen cuoc doi chung ta.
7. Hay th u o n g yeu va nang do1
tre khong vu lo i
any
Tinh thuong la mon qua vo dieu
kien cua con tim , khong phai la
phan thuong danh cho nhirng
hanh vi tot. Hay cho con ban
requires
biet rang ban se thuong yeu va
and
nang do chung trong bat cir
persistence. They need
freedom to fa il and learn from
mistakes w ithout being judged.
Unconditional love helps them
to acquire the decisiveness and
resiliency required to become
successful.
I f you could sum up all o f our
children's needs, hopes,
expectations in one word, that
word would be love. We share
love when we play a central role
m our children's w orld
learning and discovery.
legacy o f love w ill have
guiding influence upon our
children and grandchildren for
many generations.
<0 Copyright 2005 by Steve
Hrunkhorst. Steve is a professional
Iil'c success coach, motivational
millior, and the editor o f Achieve!
fiO-Sccond Nuggets o f Inspiration,
n popular mini-zine bringing great
stories, motivational nuggets, and
inspiring thoughts to help you
achieve more in your career and
personal life.
the hoan canh nao. Thong diep nay
se hinh thanh nen niem tin virng
chac noi tre. Con ban se lorn len
manh dan den voi ban moi khi
gap phai kho khan.
Tre can dirge tu chu quyet djnh,
thuc hien thvr nhung y tirong, va
biet rang cuoc song doi hoi tinh
and trach nhiem va nhan nai. Chung
phai dugc phep that bai va hoc
tu nhung lam lo i cua m inh ma
khong bi phan xet. Tinh thuomg
of vo dieu kien giup tre hoc dugc
Our tinh quyet doan va nghi luc de
a di den thanh cong.
Neu ban co the cong gop tat ca
nhung nhu cau, khat vgng, va
uoc m o cua con ban trong mot
tu, thi do la tu “ thuemg yeu” .
Chung ta chia se tinh thuomg khi
chung ta dong vai tro trung tarn
trong the giai hgc hoi va kham
pha cua tre. Tinh thuomg se co
tac dong huang dan con chung
ta, roi den nhung dua chau cua
chung ta qua nhieu the he.
© Ban quyen 2005 cua Steve
Brunkhorst. Steve la chuyen gia
huan luyen bi quyet thanh cong va
151
 dong lire song, va la bien tap cua
tac pham “ Thanh dat! Nhirng cam
hung trong 60 giay” , mot an pham
tap hop nhung mau chuyen, nhirng
nguon dong l\rc va cam hung giup
ban thanh dat hem trong sir nghi?p
va cuoc song.

4. “ Love’ s Philosophy” and its tran slatio n

L o v e ’ s P h ilo s o p h y T r ie t ly tin h yeu

by P ercy Bysshe S helley N gu& i d ich : Lieu Trong Tuan

The fountains mingle w ith the river Suoi xuoi nguon ve song
And the rivers w ith the ocean. Song xuoi dong ve bien
The winds o f Heaven m ix for ever Gio tren cao hoa quyen
W ith a sweet emotion; Khuc nhac long bang khuang
Nothing in the w orld is single, Van vat khong don coi
A ll things by a law divine M ot tarn hon, hoa nhip
In one spirit meet and mingle - Qui luat cua muon ddi
W hy not 1 w ith thine? Sao hai ta each biet?

See the mountains kiss high N ui khe hon mang tren

Heaven Song dap diu ben song
And the waves clasp one another; Chum tieu muoi hung ho
No sister-flower would be forgiven Trach chi tinh da la
I f it disdained its brother; Bong trang tran bien khai
And the sunlight clasps the earth, Mat dat hoa vat nang
And the moonbeams kiss the sea - Con chi bao quyen luyen
What are all these kissings worth Khi hung ha doi moi?
I f thou kiss not me?

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5. “ Toad sues Jade E m p e ro r” and its tra n sla tio n

Toad Sues Jade E m peror*

Coe Kien Troi
Dramatized by Luu Trong Tuan, PhD
Chuyen the kich ban: Tien s i Luu Trqng Tuan

Edited by M ilto n Taylor, PhD

H ieu dinh : Tien s i M ilto n Taylor

Translated by Luu Trong Tuan, PhD

N g uo i d(ch: Tien s i Lu u Trong Tuan

NARRATO R: Once upon a time, there was a very long drought.

The field was parched, the plants withered, and the animals could
not find water to drink. Unable to stand this situation any more,
Toad decided to go to heaven to ask Jade Emperor for rain.

NGUOI D A N CHUYEN: Ngay xira ngay xua, co lan troi han rat lau. Rugng
dong nut ne, cay co heo kho, va loai vat khong tim dau ra nude uong. Coc quyet
djnh len Thien Dinh kien troi doi mira.

\C ra b was ly in g upside dow n.]

| Cua dang nam p ho i ngu&i. ]

TOAD: Crab! W hat’s the matter? Wake up, Wake up!

C6C: Kia anh Cua! Sao the? Tinh day! Tinh day di!

CRAB: Water, water, please! I ’ m parched! Are you not tired?

Where are you going?
CUA: Nude, nude, cho xin inieng nude. Khat kho roi. Bo cau khong met sao, ma
edn di dau the?

TOAD: To heaven to sue Jade Emperor. Can’t stand the drought

any more.
( !6C: D i len trdi doi mua. Chiu sao thau canh han han nay.

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CRAB: Can I jo in you? I want to pinch his feet.
CUA: Cho toi theo vcri. Toi se kep Ngpc Hoang den trai gam cung khong nha.

TO AD : W hy not?
C 6C : The con chan cho gi nua.

[In a wood, they met B ea r and T ig e r who were exhausted fro m

th irs t .]
[D en m ot khu rung, Coe va Cua gap Gau va Cop dang nam m et la v i kh a t.]

TO AD : Where is your strength, Kings o f Jungle?

C 6C : Nay cac Chua te rung xanh, sue manh cua cac ngai dau?

BE AR & TIG ER: Please don’t make fun o f us. No water no

strength. Where are you going?
GAU & CQP: Dung bon cot bon toi nua. Khat kho cuong hong thi con dau sue
manh. Ma cac cau di dau the?

T O A D & CR AB: To heaven to bring rain back to the earth. Want

to jo in us?
COC & CUA: Len trai doi mua. Co muon “ hp tong” chung toi khong?

BE AR & TIG E R (in chorus)'. Sure! We want to turn the heavenly

palace upside down. Let’ s go.

G AU & COP: X in tuan lenh Coc thu lTnh. Phen nay phai lat nghieng ca Thien
Dinh moi thoa. Nao, xuat phat.

[L a te r they met Bee and Fox.)

[M o t lu c ho la i gap O ng va Cao .]

TO AD : H i there, M r. Bee and Mr. Fox! W hy are you sleeping in

the morning?
COC: Cha cha. Sang banh mat roi ma con ngu sao, nang Ong va chang Cao?

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BEE & FOX: Not sleeping. Dying. Jade Emperor forgets the earth.
He is sleeping.
ONG & CAO: Ngu dau ma ngu. Dang chet kho day. Lao Ngoc Hoang nay bo
mat trai dat cua chung ta roi. Lao mdi dang ngu do.

TOAD, CR AB, BE A R A N D TIGER: That’ s why we are going

there to wake him up. Join our troop?
C'6C, CUA, G A U V A CQP: The sao khong cung len Thien Dinh loi lao day. Gia
nhap doi quan chung toi di.

BEE: Certainly! I w ill give sting him a sting.

ONG: So gi chii? Toi se cho lao nem chiec voi gia truyen cua Ong nay.

EOX: And I w ill give him a bite.

CAO: Con Cao ta se cho lao biet loi hai cua chieu “ Cao xuc xi quach” .

[A rriv e d a t the heavenly p a la ce .]

\l)e n Thien D in h .]

TOAD: Listen to me! M r. Crab, Jump into this jar! Mr. Bee, Hide
yourself behind the gate! M r. Fox, M r. Bear and M r. Tiger w ill
watch from behind.
l'( ’)C: Anh Cua, anh vao trong chum nude nay. Co Ong thi nup sau khe cua. Con
tilth Cao, anh Gau, anh Cop thi ra sau trong chung.

| Toad beat three drum ro lls . Jade E m p eror was su rp rise d and sent
Thunder G od o ut.]
| Sap da t xong, Coe buoc len danh ha h o i trong. N goc H oang ngac nhien khong
b lit a i danh trong, ben sa i Thien L o i ra xem .]

I IIU N D E R GOD: The trouble-maker is an ugly toad.

II llfiN LO I: Tau Ngoc Hoang, nao dqng Thien D inh la mot con coc xau xi.

IAD E EMPEROR: What a rude animal! Rooster God, teach him

how to behave!
NGQC HOANG: Con coc hon xugc. Than Ke dau, ra day cho han mQt bai hoc.

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ROOSTER GOD: Toad, get out o f here!
T H A N KE: Bien ngay di ten coc xau xi.

FO X {ju m p in g out): W ho does? You do, or you w ill be m y good

lunch.
CAO (n h a y ra ): A i bien? Ten ga kia, mi bien ngay, khong thi ta lam bira mi day.

JAD E EMPEROR: Dog God, strike the fox down!

NGQC HOANG: Than Cau, trj ten cao xac lao cho Tram.

DOG GOD: Yes, Your Majesty! Fox, today is your last day!
TH AN CAU: Tuan lenh be ha! Ten cao kia, horn nay la ngay tan so cua ngirai roi.

BEAR: Really? Want to try m y muscle?

GAU: Vay sao? Co muon thu co bap cua Gau nay khong?

DOG GOD: Oh, no! Spare my life!

T H A N CAU: Khong, khong! X in tha mang!

JAD E EMPEROR: Who can k ill the bear? Thunder God, Give the
bear a hammer blow!
NGQC HOANG: A i ra danh chet ten gau coi? Thien Loi dau, mang luoi tarn set
ra danh gau.

TH U N D E R GOD: Bear, Look w h o’ s here!

T H IE N LOI: Ga Gau kia, xem ai den day!

BEE: Thunder God, I ’m waiting here for you! Enjoy my stings!

One sting, two, three ...
ONG: Ngai Loi ai, Ong cha ngai a day lau roi. Hay thucrng thuc chiec voi xinh
xan cua Ong nhe! M pt nhat, hai nhat, ba nhat ...

TH U N D E R GOD: Ah! A water jar, fortunately! Oh, no! who is it?

A hungry crab! Ouch!
T H IE N LOI: Oi, oi! May qua co chum nirac day roi. O khong, ai the kia? T rai ai
mQt con cua doi.

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I'lGER: Thunder God, where are you running? Play w ith m y paws!
( (,)!’ : Oi ngai Loi, ngai chay di dau the. Ci lai so “ Ho quyen” cua ta chu.

IA I)E EMPEROR: Stop, stop, please! Toad, please stop fighting!

What do you need?
N< i(,)C HOANG: Thoi, thoi, dung danh nhau nua. Cau Coc ai, cau can gi ma Ien
I lucn Dinh the?

I'OAD: Your Majesty! Y o u ’ve forgot to make rain to the earth for
-I years. A ll creatures are dying now.
< <)C: Muon tau Nggc Hoang, Da 4 nam roi tran gian khong he dirge mgt giot
mifit. Van vat deu kho heo ca.

IA I)E EMPEROR: I ’ m sorry. I w ill make rain right away. And

please grind your teeth to remind me i f there is a long drought on
earth.
N< IQC HOANG: Hay tha thur cho ta. Ta se cho mira xuong ngay. He khi nao tran
tllitn nftng han lau ngay thi cau cu nghien rang bao hieu cho ta nhe.

A N IM A L TROOP: Thank you, Your Majesty! W ow! I t ’s raining.

Water, water. We miss you so much. We w ill never scare you away
any more. We w ill never cut down trees. Never, never.
I ».II HINH COC: Ta on be ha. Oi mira roi. Chung toi nho mua qua. Chung toi se
Hianji xua mua di nua dau. Se khong tan pha rung de cho mua buon. M ai khong
Ini" ttiiV.*

* t his p la y was dram atized f o r the perform ance o f little p u p ils at

the House o f Wisdom E lem entary S chool (Source: A n th o lo g y o f
Vietnamese lite ra tu re , Volum e I). I t was dram atized in E ng lish
language, then tra n sla te d in to Vietnamese language.

' I it k li h nay ducrc chuyen the cho hoc sinh Truong lie u hoc N g o i N ha Thong
H ull ilit'n (N guon: H op tuyen th a van V iet Nam, tap I). V o k ic h ducrc chuyen the
tuiii)[ IlSng Anh, sau do ducrc dich sang tie n g Viet.

157
6. “ A p p lic a tio n fo r le tte r o f guarantee/standby le tte r o f c re d it”
and its tran slatio n

DON Y£U CAU CAP THU BAO LANH /THU TIN DUNG DU PHONG

APPLICATION FOR * LETTER OF GUARANTEE/STANDBY LETTER

OF CREDIT

S D drth dau de chon. X da nhu duoc yeu cau a cac m uc co dau *. M o i sira d o i
p h a i co c h it ky cua n g u o i yeu cau m o Thu Tin D ung.

Neu khong du cho, dinh kem m ot to rie n g duoc ky b o i n g u o i ky co tham quyen

vd to do tao thanh m ot phan khong the tach rd i cua don yeu cau nay.

X T ick to select. D elete as re q u ire d fo r item s m arked *. A ny a lte ra tio n s m ust be

signed by app lica n t.

I f in s u ffic ie n t space, attach separate sheet signed by a u th o rise d signatories

w hich w ill fo rm an in te g ra l p a rt o f th is a p p lica tio n

Kinh g ir i: Ngan hang TNHH M TV Standard Chartered (Viet Nam)

Ngay:______________

To: Standard Chartered Bank (Vietnam) Limited

Date:

Tir: Ten va Dja Chi Tham Chieu:

From: Name and Address Ref:
Nguoi Lien he:
Contact Person:
So Di?n thoai:
Telephone No:

158
*Toi/Chung toi theo day yeu cau Ngan hang *cap/gia han/yeu cau ngan
hang dai ly cua Ngan hang *cap/gia han nhan danh *toi/chung toi mot
Tlur Bao lanh/ Thu Tin dung Du phong, co noi dung chi tiet nhu sau, va
♦Toi/Chung toi dong y bj rang buoc boi CAM KET BOI HOAN quy djnh
«Vcac mat sau cua trang nay:

*I/We hereby request you to *issue/renew/request your correspondent

hank to *issue/renew on *my/our behalf a *Letter o f Guarantee/Standby
l.etter o f Credit, details as follows, and *I/W e agree to abide by the
INDEMNITY appearing on tne reverse hereof:

Ngirdi Thu Huong: Ten va Dja Chi Hieu luc:

Beneficiary: Name and Address Validity:

Ngay hieu lire:

Effective date:

Ngay het han:

Expiry date:

Thoi han yeu cau thanh

toan/Ngay het han yeu
cau thanh toan

*Claim period/ Claim

expiry date:

I Ang so tien: Bang chu:

Amount: Words:

159
Muc dich:

Purpose:

Mau/Van ban: *Di'nh kem/Khong ap dung Neu gia han, s6 cua

*TBL/TTDDP se dugc gia han:

Format/Text: * Enclosed/ Not available I f renewal, no. of *LG/SBLC

to be renewed:

Chi dan dac biet:

Special instructions:

Yeu cau ghi ng vao tai khoan cua toi/chung toi s o _______________phi
cua Ngan hang va phi cua ngan hang dai ly cua Ngan hang neu co.

Please debit* my/our account No.............................. with your charges and

your correspondent bank’s charges i f any.

* Toi/Chung toi uy quyen cho Ngan hang vao bat ky thcri diem nao neu Ngan
hang thay phu hgp, khong can tham khao y kien cua *toi/chung toi ghi ng tai
khoan cua *toi/chung toi (bat ke tai khoan tien giri thanh toan hay tai khoan
khac) de tao lap mot khoan ky quy/ de danh dau vao tai khoan thanh toan
cua chung toi trong pham vi tong cac khoan tien do hoac tong khoan tien
ma Ngan hang phai chiu trach nhiem theo Thu Bao lanh/Thu Tin dung
Du phong nay cho du truoc hay sau khi nguoi thu hudng cua “ Thu Bao
lanh/Thu Tin dung Du phong dua ra yeu cau de nghj Ngan hang thanh
toan.

*I/We authorize you at any time, if you think fit, without reference to *me/us
to debit *my/our account (whether current or otherwise) to make a deposit/
to earmark our current account to the extend of all such sum or sums of

160
monies which you arc liable under this Letter o f Guarantee/Standby Letter
of Credit whether before or after the beneficiary of the * Letter of
Guarantee/Standby Letter o f Credit has made a claim on you for payment.

Chi Tiet Tai San Bao Dam

Collateral Details:
•~ '9 r ■ , •%
Tai Khoan So/So Ten Tai Khoan Khoan Tien Loai tien
Giao Djch (Tai Bao Dam
Account Name Currency
Khoan Tien Giri
Amount under
Ky Han)
Lien
Account No./ Deal
Number (Fixed
Deposit)

I'uycn Bo

I )cclaration

1. Toi/Chung toi tuyen bo rang thong tin dugc dua ra trong mau don
yeu ciu nay va cac thong tin khac dupe giri den Ngan hang trong
bat ky tai lieu nao khac la chan thuc, chinh xac va day du va rang
Ngan hang dugc uy quyen toan bo va co quyen hanh dong va tin
tuong vao nhirng thong tin noi tren. Toi/Chung toi khong che giau
bdt ky thong tin nao dugc coi la quan trgng co lien quan den dom
yeu cau nay.

I/We declare that the information given in this application form

and any other information given to the Bank in any other

161
 documents is true accurate and complete and that the Bank is fully
authorized and entitled to act and rely on the said information.
I/We have not withheld any information which may be material in
the context o f this application.

2. Neu bat ky thong tin nao dirge dua ra trong dem yeu cau nay trb
nen khong chinh xac hoac gay hidu 15m hoac thay doi theo b5t ky
each nao du tnrdc khi don yeu cau nay duoc chap thuan hoac
trong khi khoan vay chua tra het. Toi/Chung toi se thong bao
ngay lap tuc cho Ngan hang ve nhung thay d6i nay.

I f any o f the information given herein becomes inaccurate or

misleading or changes in any way whether before this application
is approved or whilst the loan is outstanding, I/we shall promptly
notify the Bank o f such changes.

3. Toi/Chung toi, (nhung) nguoi yeu cau co ten tren day, yeu cau Ngan
hang cap khoan tin dung nhu da chi ra a tren cho toi/chung toi.

I/We, the applicant(s) named above, apply to the Bank for the
facility as indicated above to be granted to me/us.

4. Toi/Chung toi thira nhan rang toi/chung toi da doc va hieu day du
cac dieu khoan va dieu kien tieu chuan ap dung cua Ngan hang
trong Thoa thuan chung voi Khach hang, cac dieu khoan va diSu
kien dieu chinh mau don yeu cau nay va toi/chung toi dong y bj
rang bupc bbi bat ky dieu khoan va dieu kipn nao dieu chinh (cac)
khoan tin dung, cac chuc nang va cac djeh vu va toi/chung toi
dong y bj rang buoc boi nhung dieu khoan va dieu kipn do lien
quan den (cac) khoan tin dung da duoc yeu cau cap va duoc cap
boi Ngan hang.

I/We acknowledge that I/we have read and understood fully all
the Bank’s prevailing standard terms and conditions in the
General Customer Agreement, the terms and conditions

162
 governing this application form and I/we agree to be bound by
any terms and conditions governing the facility(ies), features and
services and I/we agree to be bound by them in connection with
the facility(ies) applied for and granted by the Bank.

5. Cu the nhung khong gidi han, toi/chung toi uy quyen cho Ngan
hang duqc tiet lq bat ky thong tin va chi tiet nao lien quan den
dom yeu cau nay ke ca (cac) khoan tin dung vdi bat ky hoac tat ca
to chirc/ca nhan va phu hop vdi nhung dieu khoan duqc quy djnh
trong doan co tieu de “ Cong Bo Thong Tin” duqc quy djnh trong
Thoa thuan chung vdi Khach hang cua Ngan hang.

In particular without limitation, I/we authorize the Bank to disclose

any information and particulars relating to this application form
including the facility(ies) to any and all o f the persons and in
accordance with the terms as set out in the paragraph entitled
“ Disclosure” contained in the Bank’s General Customer
Agreement.

6. Toi/Chung toi cung xac nhan va dong y rang se thanh toan cho
Ngan hang cac phi, chi phi duqc liet ke trong dcm yeu cau nay
cung vdi nhung chi phi phat sinh (ke ca phi dinh gia, neu co) ma
Ngan hang da ganh chiu.

I/We further confirm and agree to pay the Bank the fees, charges
as listed in this application together with incidental expenses
(including valuation fee, i f applicable) incurred by the Bank.

7. Toi/Chung toi hieu rang dom yeu cau nay se phai tuan theo tieu
chuan danh gia tin dung cua Ngan hang va nhung dieu khoan va
dieu kien chap nhan chi tiet cua Ngan hang se duqc cung cap
trong thu tin dung cua Ngan hang. Viec chap nhan don yeu cau
nay la theo toan quyen quyet djnh cua Ngan hang, va trong
trudng hop Ngan hang tir choi, Ngan hang khong can phai dua ra

163
 bat ky ly do nao. Tat ca cac tai lieu bo trg dugc nop cung voi don
yeu cau nay se dugc Ngan hang gi€r lai.
■ *%
I/We understand that this application w ill be subject to the Bank’s
credit assessment criteria and detailed terms and conditions o f the
Bank’ s acceptance w ill be provided in a banking facility letter.
Acceptance o f this applications is at the Bank’s absolute
discretion and in the event o f rejection, no reason need to be
furnished by the Bank. A ll supporting documents submitted with
this application shall be retained by the Bank.

* Xoa khi khong ap dung

* Delete whichever is inapplicable.

CHUYEN NHlTONG V A CHUYEN G IA O

ASSIGNM ENT AND TRANSFER

(i) Chuyen giao bdi Ngan hang: Toi/Chung toi theo day dong y rang
Ngan hang co the chuyen giao bat ky hoac tat ca cac quyen cua
Ngan hang theo Cac Bieu Khoan nay hoac lien quan den Thu Bao
lanh/Thu Tin dung Du phong nay doi voi bat ky to chuc/ca nhan
nao tai bat ky thbi diem nao ma khong can co dong y trudc cua
toi/chung toi.
Assignment by the Bank: I/We hereby agree that the Bank may
assign any or all o f its rights under these Terms or in relation to
this Letter o f Guarantee/Standby Letter o f Credit, to any person at
any time, without my/our prior consent.

(ii) Chuyen nhugng cac quyen va nghTa vu cua Ngan hang: Toi/Chung
toi theo day dong y rang Ngan hang co the chuyen giao hoac
chuyen nhugng bat ky hoac toan bo cac quyen va nghia vu cua
Ngan hang theo Thu Bao lanh/Thu Tin dung Du phong nay cho bat
ky to chuc tin dung nao dugc phep hoat dong ngan hang tai Viet
Nam, ke ca bat ky Don vi Lien ket nao cua Ngan hang (moi ben do

164
dirge goi la “ Ben Nhan chuyen nhugng” ), theo do Ben Nhan
chuyen nhugng se ke thira tat ca cac quyen va nghTa vu cua Ngan
hang dugc chuyen giao hoac chuyen nhugng cho Ben Nhan chuyen
nhugng. Toi/Chung toi xac nhan rang, khi bat ky mot chuyen giao
hoac chuyen nhugng nao nhu vay co hieu luc, tat ca cac quyen va
nghTa vu cua Ngan hang va bat ky cac tai khoan nao dugc chuyen
giao hoac chuyen nhugng nhu vay se trd thanh quyen hoac nghTa
vu cua Ben Nhan chuyen nhugng, va rang bat ky cac quyen nao
cua Ngan hang dugc chuyen giao nhu vay co the dugc Ben Nhan
chuyen nhugng thirc thi doi vdi toi/chung toi nhu the Ben Nhan
chuyen nhugng la mQt ben cua, hoac ben thu hudng cua bat ky van
kien nao lien quan den Thu Bao lanh/Thu Tin dung Du phong nay
thay vi Ngan hang. Toi/Chung toi dong y them rang toi/chung toi
se ky ket va chuyen giao tat ca cac tai lieu bo sung nhu vay va hgp
tac vdi Ngan hang va bat ky Ben Nhan chuyen nhugng nao de tao
hieu luc cho bat ky ho so hoac dang ky can thiet nao hoac bat ky
sira doi nao doi voi bat ky van kien nao lien quan den Thu Bao
lanh/Thu Tin dung Du phong nay lien quan den, hoac dugc Ngan
hang hoac Ben Nhan chuyen nhugng thong bao cho toi/chung toi
co the can thiet hoac thich hgp do vice chuyen giao va chuyen
nhugng do, va rang vao ngay chuyen nhugng, toi/chung toi se
khong co ycu cau nao them doi vdi Ngan hang va cac Don vi Lien
ket cua Ngan hang doi vdi bat ky van de gi phat sinh ngoai pham vi
cac van kien nay.
Transfer o f rights and obligations by the Bank: I/We hereby agree
that the Bank may assign or transfer any or all o f its rights and
obligations under this Letter o f Guarantee/Standby Letter of
Credit to any credit institution licensed to conduct banking
operations in Vietnam, including any Affiliate o f the bank (each a
“ Transferee” ), whereupon the Transferee w ill assume all o f the
rights and obligations o f the Bank assigned or transferred to it.
I/We confirm that, upon any such assignment or transfer taking
effect, all rights and obligations o f the Bank and any accounts so

165
 assigned or transferred shall become rights or obligations o f the
Transferee, and that any rights o f the Bank so assigned may be
enforced by the Transferee against me/us as i f the Transferee had
been a party to, or a beneficiary of, any documents relevant to
this Letter o f Guarantee/Standby Letter o f Credit in place o f the
Bank. I/We further agree that I/we w ill execute and deliver all
such additional documentation and cooperate with the Bank and
any Transferee in effecting any necessary filings or registrations
or any amendments to any documents relevant to this Letter of
Guarantee/Standby Letter o f Credit in relation to, or which the
Bank or the Transferee notifies me/us may be necessary or
appropriate as a result of, such assignment and transfer, and that
as o f the date o f the transfer, I/we shall have no further claim
against the Bank and its Affiliates for any matter arising out o f
these documents.

(iii) “ Don vi Lien ket” dugc hieu la bat ky To chuc/Ca nhan, thong
qua mgt hoac nhieu phuong tien, true tiep hoac gian tiep k ilm
soat hoac bi kiem soat bai, hoac chiu sir kiem soat chung voi, mot
To chuc/Ca nhan khac.
“ Affiliate” refers to any Person that directly or indirectly, through
one or more intermediaries, controls, is controlled by, or is under
common control with, another Person.

(iv) “ To chuc/Ca nhan” dugc hieu la mot ca nhan, cong ty, to chuc
khong dang ky, hgp danh, lien doanh, hiep hoi, tap doan hoac b it
ky thuc the hoac to chuc nao khac.
“ Person” refers to an individual, corporation, unincorporated
organization, partnership, jo int venture, association, trust, or any
other entity or institution.

(De nghi xem trang sau) Chu ky dugc uy quyen va con d iu cong ty
(Please see overleaf) Authorized signatures & company’ s chop

166
CAM K E T BOI H O A N /IN D E M N ITY

l)c doi lay vipc Ngan hang dong y thco yeu cau cua toi/chung toi cap
ho$c yeu cau ngan hang dai ly cua Ngan hang cap va dua ra Thu Bao
llnh hoac Thu Tin dung Du phong cho nguai thu hucrng, dupe yeu cau
(Vmat giay truoc.

In consideration o f your agreeing at my/our request to issue or to

request your correspondent bank to issue and give a Letter o f Guarantee
or Standby Letter o f Credit to the beneficiary, as applied to overleaf,

Toi/Chung toi, ke ca ben ke nhiem va ben nhan chuyen giao cua

toi/chung toi theo day dong y va cam ket boi hoan cho Ngan hang, ben ke
nhipm va ben nhan chuyen giao cua Ngan hang va tai moi thori diem bao
dam cho Ngan hang dugc boi hoan toan bp va day du tu va doi voi moi
trdch nhiem va yeu cau va de nghj, hanh dpng, thu tuc phap ly, ton that va
chi phi ke ca phi phap ly va tat ca cac nghTa vu khac co bat ky tinh chat
lioac dac diem co the dupe dua ra hoac thuc hien doi voi hoac bj ganh
chju boi Ngan hang lien quan den hoac phat sinh tu Thu Bao lanh/Thu
Tin dung Du phong dupe noi a tren va bat ky sira doi, dieu chinh nao
cua Thu Bao lanh/Thu Tin dung Du phong do va bat ky thu hoac tai lieu
iu\o dupe lap bo sung cua Thu Bao lanh/Thu Tin dung Du phong do.

l/wc, inclusive o f my/our successors in title and assigns hereby agree

and undertake to indemnify you, your successors and assigns and at all
times to keep you fully and completely indemnified from and against all
liability and claims and demands, actions and proceeding, losses and
expenses including legal costs and all other liabilities o f whatsoever
nature or description which may be made or taken or suffered by you in
relation to or arising out o f the said letter o f guarantee/standby letter of
credit and any amendments thereto, modifications thereof and any letter
or documents made supplemental thereto.

167
Toi/Chung toi thua nhan va hieu rang khi Thu Bao lanh/Thu Tin dung
Du phong noi tren dirge cap bai Ngan hang, ngan hang dai ly cua Ngan
hang co the (tuy tung trudng hap) dugc yeu cau bao lanh cua chinh
ngan hang dai ly vi lgi ich cua nguai thu huang hoac bo sung xac nhan
cho Thu Bao lanh/Thu Tin dung Du phong noi tren do Ngan hang cap
theo cac dieu khoan va dicu kien ma Ngan hang va/hoac ngan hang dai ly
cua Ngan hang co the cho la phu hap va toi/chung toi dong y va xac nhan
rang trach nhiem cua toi/chung toi theo cam ket boi hoan tren se khong bi
anh huang hoac ton hai duai bat ky each nao bang vi?c ngan hang dai ly
cua Ngan hang phat hanh mot bao lanh nhu vay hoac bo sung xac nhan
nhu vay.

I/We acknowledge and understand that where the said letter of

guarantee/standby letter o f credit is issued by you, your correspondent
bank may (depending on each case) be required to either issue its own
guarantee in favour o f the beneficiary or add a confirmation to the said
letter o f guarantee/standby letter o f credit issued by you on such terms
and conditions as you and/or your correspondent bank may deem fit and
1 / We agree and confirm that my/our liability under the aforesaid
indemnity shall not be affected or prejudiced in any way by the issuance
o f such a guarantee or the addition o f such confirmation by your
correspondent bank.

Chung toi dong y rang Ngan hang co the thanh toan theo Thu Bao
lanh/Thu Tin dung Du phong noi tren bat ky khoan tien hoac nguon ticn
ma khong yeu cau hoac phai co dugc bat ky bang chung hoac chung cu
nao ve thai gian hoac khoan tien ma ben thu huang yeu cau hoac de nghj
(thuat ngu nay dugc hieu la bao gom cac ben ke nhiem va ben nhan
chuyen giao cua ben thu huang) hoac khoan tien Ngan hang phai thanh
toan den han va phai tra cho nguai thu huang va khong can bat ky
thong bao hoac y kien hoac tham quyen them tir phia toi/chung toi cho
du toi/chung toi co the tranh chap ve hieu lire cua cac yeu cau, yeu cau
hoac thanh toan do.

168
We agree that you may make payment under the said letter of
guarantee/standby letter of credit o f any sum or stems o f money without
requiring or obtaining any evidence or proof that time amount claimed or
requested by the beneficiary (which expression shall include his
successors and assigns) or the amount paid by you is due and payable to
the beneficiary and without any notice or reference to or further authority
from me/us notwithstanding that 1/we may dispute the validity o f such
claim, request or payment

fAi/Chung toi thua nhan rang thco nhung dieu khoan cua Thu Bao
lilnh/Thu Tin dung Du phong noi tren Ngan hang co the theo quyet djnh
ctia Ngan hang hoac Ngan hang dugc yeu cau thanh toan khoan tien dugc
hi\o lanh dung thcri han cho ben thu huong mac dii ben thu hubng khong
y£u cau thanh toan theo Thu Bao lanh/Thu Tin dung Du phong.

l/we acknowledge that under the terms o f the said letter o f guarantee/standby
letter of credit you may at your discretion or you may be required to pay time
guaranteed amount to the beneficiary notwithstanding that the beneficiary
lias not demanded payment thereunder.

I mng truong hop Thu Bao lanh/Thu Tin dung Du phong noi tren dugc
eAp boi Ngan hang phai tuan thco va dugc dieu chinh boi phap luat cua
m<)t nuoc khong phai la Viet Nam va neu mot yeu cau sau do dugc dua ra
bdi ngucri thu huong theo thu bao lanh noi tren, toi/chung toi dong y va
uy i|uyen cho Ngan hang tai thoi diem do, va theo toan quyen quyet dinh
din Ngan hang, dat dugc y kien phap ly ve hieu luc va kha nang thi hanh
cim Thu Bao lanh/Thu Tin dung Du phong da noi or tren, trucrc khi Ngan
liilng thuc hien thanh toan theo yeu cau cua ngucri thu huong.

In the event that the said letter o f guarantee/standby letter o f credit to he

iNNiied by you is subject to and is to be governed by the laws o f a
Imisdiction other than the Republic o f Vietnam and should a demand be
subsequently ma de by the beneficiary under the said letter o f guarantee,
l/wc agree and authorize you to then, and at your own discretion, obtain

169
an opinion from legal counsel on the validity and enforceability o f the
said letter o f guarantee/standby letter of credit, prior to your making
payment in accordance with the beneficiary's demand.

Toi/Chung toi dong y them rang toi/chung toi se ganh chju toan bp chi
phi cho vipc Ngan hang dat dupe y kien nhu vay va rang toi/chung toi se
boi hoan cho Ngan hang bat ky ton that hoac chi phi nao ma Ngan hang
phai ganh chju do bat ky sir cham trd nao trong vipc thanh toan so tien
bao lanh cho nguoi thu hubng ma do viec Ngan hang phai co dupe y kien
nhu vay.

1/We further agree that 1/we shall bear the entire cost o f your obtaining
such an opinion and that 1/we shall indemnify you for any loss or expense
whatsoever suffered by you due to any delay in the payment o f the
guaranteed sum to the beneficiary caused by your having to obtain such
an opinion.

Toi/Chung toi cung dong y rang tai bat ky thcri diem nao toi/chung toi sc
khong nghi ngb hoac thach thuc gia trj phap ly hoac nhung van de khac
cua bat ky viec thanh toan nao nhu vay boi Ngan hang hoac tu choi bat
ky nghTa vu nao theo day voi ly do viec thanh toan do hoac bat ky phan
nao cua cac khoan thanh toan do Ngan hang thuc hien da khong den han
hoac phai thanh toan boi Ngan hang theo Thu Bao lanh/Thu Tin dung Du
phong noi tren hoac bat ky ly do nao khac.

1/W/e also agree that I/we shall not at any time question or challenge the
validity legality or otherwise o f any such payment by you or deny any
liability hereunder on the ground that such payment or any part thereof
made by you was not due or payable by you under the said letter of
guarantee/standby letter o f credit or on any ground whatsoever

Va toi/chung toi dong y them rang trach nhiem cua toi/chung toi nhu
dupe noi a tren la khong the huy ngang va sc duy tri hieu luc day du cho
den khi Thu Bao lanh/thu tin dung dupe noi den do Ngan hang dua ra

1 70
dirge giai tru hoac het han hoac tra lai cho Ngan hang de huy bo va trach
nhiem cua Ngan hang theo Thu Bao lanh/Thu Tin dung Du phong dugc
giai tru toan bo dap ung yeu cau cua chung toi.

And 1/we further agree that my/our liability aforesaid is irrevocable and
shall remain in full force and effect until the said letter of
guarantee/standby letter o f credit given by you is released or expired or
returned to you for cancellation and your liability thereunder is fully
discharged to our satisfaction.

I )oi voi thu tin dung du phong, chung toi dong y rang cac dieu khoan va
dieu kien dugc quy dinh trong Cam ket Boi hoan nay se tuan thu Quy tac
I Igrc hanh va Thong nhat Tin dung Chung Tir cua Phong Thucmg mai
Uuoc tS, An pham so 5 (“ UCP” ) hoac bat ky sira doi nao trong tuang lai
i lia UCP ngoai tru trong pham vi dugc quy dinh ro rang trong UCP.
Nliirng dieu khoan dugc sir dung trong Cam ket Boi hoan nay se co nghTa
giong nhu dugc quy djnh trong UCP.

In the case o f standby letter o f credit we agree that the terms and
i niiditions herein set out shall be subject to the Uniform Customs and
I'mctice for Documentary Credits International Chamber of Commerce.
Publication No. 5 (“ UCP” ) or any future revision thereof except so far as
In expressly stated therein. The terms used herein shall have the same
meaning as are set out in the UCP.

kilting bi anh huemg boi tinh chat chung cua Cam ket Boi hoan cua
Iftl/chung toi, toi/chung toi theo day uy quyen cho Ngan hang (1) tinh phi
i ho t6i/chung toi khoan tien hoa hong cua Ngan hang tren tong khoan
lihi dugc bao lanh va hom nua (2) theo quyet djnh cua Ngan hang ma
UiAng can tham khao y kien cua toi/chung toi de boi hoan bat ky khoan
tidn m\o thuoc so huu cua toi/chung toi do Ngan hang nam giu de ghi ng
ill*li vdi bat ky tai khoan nao ma toi/chung toi hien tai hoac sau day co
lllrf c6 tai Ngan hang cho du a Viet Nam hay 6 nuoc ngoai va cho du
biliig Dong Viet Nam hay ngoai te khac, bat ky khoan tien hoac tong so

171
tien ma Ngan hang se thanh toan doi vdi thu tin dung noi tren va
toi/chung toi uy quyen cho Ngan hang thirc hi<?n bat ky cac giao djch
hoan doi tien t? nao lien quan den cac thu tin dung va toi/chung toi
dong y tra lai tren bat ky khoan tien nao da duqc Ngan hang thanh toan
nhu vay theo lai suat thau chi thong thuong cua Ngan hang hoac lai su^t
co the ap dung cho chung toi (theo toan quyen quyet djnh cua Ngan
hang) tir ngay khoan thanh toan den han cho den khi Ngan hang nhan
duqc thanh toan cua cac khoan lai do tu toi/chung toi. Toi/Chung toi
cam ket, theo yeu cau cua Ngan hang, tao hieu lqc cho cac dam bao vi
lqi ich cua Ngan hang, nhu Ngan hang co the yeu cau tai tung thoi
diem, va ky ket, hoan thanh va chuyen giao cho Ngan hang cac tai lieu
ma Ngan hang co the yeu cau tai tung thbi diem.

Without prejudice to the generality o f my/our aforesaid indemnity, I/we

hereby authorise you (1) to charge me/us your commission on the
guaranteed sum and further (2) at your discretion and without reference
to me/us to set a ff any money in your hands belonging to me/us or to
debit against any account which I/we now or may hereafter have with
you whether in Vietnam or abroad and whether in Vietnamese Dong or a
foreign currency any sum or sums o f money which you may pay in
respect o f the said letter o f credit and I/wc authorise you to effect any
exchange o f currency in connection therewith and I/we agree to pay
interest on any money so paid by you at your usual overdraft rates or
such rate as may be applicable to us (which shall be detemined at your
discretion) from the date when payment is due until repayment thereof
is received by you from me/us. I/we undertake, at your request, to effect
in your favour such secutity as you may require from time to time, and
execute, complete and deliver to you such documentation as you may
require from time to time.

(De nghj xem trang sau) Chu ky duqc uy quyen va con dau cong ty
(Please see overleaf) Authorized signatures & company’s chop

172
Philn danh cho Ngan hang
l ot Bank Use

Khoan K y quy/Quydn N im giu Tai khoan Tien guri K y han

M argin H eld/TD L ie n :............ -.................
T B L/T T D D P s6:

*LG /S B LC N o:--------------- -------------

Thvfc hi$n b a i: .........Kiem tra b a i ............T in dung Ch3p thuan bai

XAc nhan Chu K y b a i: .........

Processed:......... Checked.................. Credit A p p ro ve d ............

Signature V e rified b y : .........
 B. V IE T N A M E S E S O U R C E T E X T S A N D T H E IR
E N G L IS H T R A N S L A T IO N S

1. “ Ong do” and its translation

17 4
Ong d6 The master
Vu D in h Lien tra n sla te d by Vuong Thu T ra n g *
w ith help fro m P rof. N ancy K. N a p ie r

Moi nam hoa dao no Peach blossoms bloomed every spring

L$i thay ong do gia There again, the old master came
Hay muc tau giay do W ith red paper and black ink
Hen pho dong nguoi qua. On a street, where the people claimed

Hao nhieu nguoi thue viet They claimed to buy his writings,
Tam tac ngcri khen tai And all praised him while buying
"Hoa tay thao nhung net “ Just a mere move o f his hand
Nhu phuqng mua rong bay.” Turns strokes into a phoenix dance!”

Nhung moi nam moi vang. But fewer buyers came each year
Nguoi thue viet nay dau? Admirers, where did they go ...?
<iiay do buon khong tham; Unused ink laid like black tears;
Mqc dong trong nghien sau ... Red paper dulled in sorrow ...

('ing do van ngoi day, That old master just sat there
t^ua duong khong ai hay. Among those who did not care.
I ,ii vang roi tren giay. On the dull red fallen dead leaves;
Ngoai troi mua bui bay. There fell soft rain w ith slight grief.

NAm nay dao lai no, Another peach blossoms’ spring

Khong thay ong do xua. Yet the old master is not there.
NhQrng nguoi muon nam cu Oh, where are they wandering
I Ion 6 dau bay gid? Old folks’ souls we all forgot?

H a n o i, 22 D ec 2011

* Vuong Thu Trang is an eighth-grader in bilingual French-Vietnamese class 8P

at (iiang V o Junior High School.

175
2. “ M f va qua” and its tra n sla tio n
va qua
Nguyen K hoa Diem (1982)
Me va qua cua
Nhung mua qua me toi hai dupe
M? van trong vao tay me vun trong
Nhung mua qua lan roi lai moc
Nhu mat troi khi nhu mat trang
Lu chung toi tir tay me lorn len
Con nhung bi va bau thi lorn xuong
Chung mang dang gipt mo hoi man
Ro xuong long tham lang me toi
Va chung toi, mot thu qua tren doi
Bay muoi tuoi me dpi cho dupe hai
Toi hoang sp ngay ban tay me moi
M inh van con mot thu qua non
xanh.
3. “ Doi dep” and its translation
D o i dep
Nguyen Trung K ien
Bai tho dau anh viet tang em
La bai tho anh ke ve doi dep
KJii noi nho a trong long da diet
Nhung vat tam thubmg cung viet
thanh tho
176
M o m and fru its
tra n sla te d by Luu Trong Tuan
Mom and fruits
From the fruit crops our mom picks
counting on her hands, our mom grows
The fruit crops come and go
Like the sun and the moon
We are brought up by her hands
While gourds grow hanging down
Looking like our mom ’s sweat drops
Quietly dripping
And we are a fruit in her life
Our mom, though seventy years old, is
still waiting
To pick
I am suddenly afraid
When her hands get tired,
I w ill remain a green unripe fruit on the
branch.
A p a ir o f slippers
tra n sla te d by Luu Trong Tuan
The first poem I wrote to you
Is a story/narrative o f a pair o f slippers.
M y deep missing o f you
can introduce ordinary things into the
stanzas.
• •«! i liiec dep kia gap nhau tu bao gicr
1 " v6u nhau dau ma chang rai nua
Imhe
1 'tug ganh vac nhung neo dudng
" 'h i ngirpc
• i l l lluhn nhung xuong cat bui cung
lilimi
1 "ng lurdc, cung mon, khong ke thap
"Uin’ii cao
1 "tig chia se sue nguai dori cha dap
I 'An vinh nhuc khong di cung ngudri
till Ac
'"*> phftn chiec nay phu thuoc chiec
kin
' Mu ngAy nao mQt chiec dep mat di
' k'l limy the deu tra nen khap
Milling
1ht'iiu nhau lam nhung ngucri dai se
hlA|
Hhi i hide nay chang phai mot doi
Ain
1 "t'g "lur minh trong nhung luc vang
" I m ii
Hilt'll In," hang cu nghieng ve mot phia
• 'Ah lid" qinh da co ngucri thay the
k hi imng Idng noi nha cu chenh venh
I "'I ildp v6 tri khang khit song hanh
1 hAiig thi^ nguyen ma khong he gia
•Mi
’ '" '" ii hire h?n ma khong he phan
hOl
1 At di "ilo cOng co mat ca doi
Since the two slippers had met each
other/encountered.
They were never separated even though
they were not lovers.
Together they struggled on all the roads,
Up onto the velvet mats as w ell as down
onto the dusty paths.
Together, they walked,
became equally worn
and shared people’ s trampling action.
Whether glory or humiliation.
They never left/deserted each other.
One slipper’ s fate depended on the
other’s.
I f one day one slipper had vanished,
Any replacement would have become
inappropriate.
Though it might look like/resemble the
other/the remainder,
it was discernible that they had not
originally been a pair o f slippers.
Likewise, when you are not by me
M y empty steps stagger on the road.
Despite a replacement o f you
M y missing o f you keeps scattering.
Hand in hand, the pair o f inanimate/non-
living/lifeless slippers traveled.
W ithout vows, they never deceived each
other.
W ithout promises o f love, they were
never traitors.
Wherever they voyaged, they did
together.
177
5. “ N g irdi con gai V ie t Nam da vang” and its tran slatio n

N g ird i con gai V ie t N am da G ir l w ith Y e llo w S kin

vang
T rin h C ong Son tra n sla te d by R ich F u lle

Ngudi con gai Vipt Nam da vang G irl so young, with skin like gold,
yeu que huong nhu yeu dong lua chin Home you love like fields o f grain,
Ngudi con gai Vipt Nam da vang G irl so young, w ith skin like gold,
yeu que huong nude mat lung trong On your face fall tears like rain.

Ngucri con gai Vipt Nam da vang G irl so young, w ith skin like gold,
yeu que hucmg nen yeu ngudi yeu kem Home you love, so do love the weak.
Ngudi con gai ngoi mo thanh binh Seated there in dreams o f peace,
yeu que huong nhu da yeu minh Proud o f home as o f your womanhood.

Em chua bidt que huong thanh binh You've never known our land in peace.
Em chua thay xua kia V iet Nam You've never known olden Viet Nam.
Em chua hat ca dao mpt lan You've never sung our village songs.
Em chi co con tim cam hdn A ll you have is an angry heart.

Ngudi con gai mpt horn qua lang Passing by the village gate,
di trong dem, dem vang am tieng sung In the night w ith guns booming low,
Ngudi gai chert om tim minh G irl so young, you clutch your heart.
tren da thorn, vet mau loang dan On soft skin a bleeding wound grows.

Ngudi con gai Viet Nam da vang G irl so young, with skin like gold,
mang giac mo que huong lia kiep song Home you love like fields o f grain.
Ngudi con gai Viet Nam da vang G irl so young, with skin like gold.
yeu que huong nay da khong con You love home which is no more.

Oi cai chet dau thuong vo tinh Oh! Unfeeling and heartless death.
Oi dat nude u me ngan nam Dark our land a thousand years.
Em da den que huong mot minh Home, my sister, you've come alone.
Rieng toi van au lo di tim And I, alone, still search for you.

Ngudi con gai Viet Nam da vang G irl so young, with skin like gold
(3 Ian nhd dan) (3 times, fa d in g )

180
I |ii> video clip o f the English version o f the song “ Ngufri con gai V ie t Nam da
i rtntf sung by Rich Fuller can be found at
liiip //www.youtube.coin/watch?v=BCSKAenYHwU.

ft. “ Diet yeu” and its translation

lll^t yeu Towards love

(Nhac phim “ Budc nhay xi tin ” )
I
I uAi tre la nhung udc mo
I uAi tr£ la nhung dam me
Ap Am bao giac mo yeu tuy?t vdi
I lim cung lo i hat horn nay
Nlijp chan buoc tren con dudng
Anh duomg bung sang phla chan trdi xa.
I uAi tre la nhung khat khao
I uAi tre la phut me say
lliAt yeu nhung mai noi khong nen loi
Him gian roi se qua di
t iing nhau buoc tren con dudng
NAm tay minh se mai khong rdi nhau.
tra n sla te d by Luu Trong Tuan
Youth is filled with great dreams;
youth is filled with passions,
holding all fantasies o f love.
Merge w ith the melody,
our steps on the road
towards the sun in horizon.
Youth is filled with ardor;
youth is filled with desires.
Love you, but love remains implied.
Leaving the sulkiness,
together we journey,
w ith hands eternally in hands.

7. “ V i yeu” and its translation

VI yeu For our love

tra n sla te d by Luu Trong Tuan
Sang ta c: Xuan H ieu
Ca s i: K asim H oang Vu

Nrtm tay nhau tren dudng tung tang vui Hand in hand, we’re ambling and
ni ngay thang singing along
I >Au chan xua ghi lai doi ta yeu nhau Leaving our memories on the old
ligAy ay path
16c em xanh v i anh, mat anh vui vi em By me, your hair shines
( 'hung buoc vi yeu By you, my eyes shine
Flashing the love

181
Biet em yeu anh nhieu doi khi anh hay
lac loi
Gio dua anh quay ve cung em trong dem
m jt toi
Mat moi xua con day
Chiec hon nay vqt bay
Bay xa tarn tay
Yeu du la xa a nai dau anh xin dupe yeu
Xa du that xa neu doi ta yeu nhau that
sau
Muon nghin trung khong chia each
doi minh cung yeu nhau mai
V di em vi tinh yeu anh se ...
Cho em xa vong tay va thu tha cho anh
ngay ay
N ai day minh anh tim bong em nhu
chim lac loi
Ngay cho, dem khoc mua trong long
giong t6
Dirt mua sao chua dirt noi buon?
8. “ Da k h iic” and its translation
Da khuc
Quoc Bao
Can dem trang de trut voi long day
Can them nang de em nhin vira
bong toi
Can them anh hoi han cho giac trua
em yen lanh
Can them nhung lan hen nhu cuoi
cung
182
Realizing your great love for me, I ’ m
lost.
Winds bring me back and nestle me
in your arms
Kisses fly away
Memoirs o f your eyes
And lips still stay.
You, though away, I love you eternally
Distance w ill fail to discourage my
journey
Towards your love w ith my love’s
profundity
I w ill, for my love for you.
W ait for your return and forgiveness
for my past
I ’ m wandering to find you as a lost
bird
Rains in my heart turn into the
storms
Sorrows, after rains, linger.
Serenade
tra n sla te d by Luu Trong Tuan
More white nights for showing my love
More sunshine for seeing the darkness
More your words for my napping to be
serene
More and more sad dates like the last
( jin tay niu de thay anh con gan
l An moi nong de biet long con am
‘ ling
( An them anh, can them cho nh&ng
kin em lo s<?
I i n them yeu hay can thoi biet yeu
I >A can the, thirong gan roi
VAn nhu anh con xa rat xa
VI da vui het nhung uoc mo dju
ngVt
I in them can anh den muon lan
I lie tinh nhe, xin ve gan
NAi them yeu thucmg vao vcri nhau
I'lnh co day song van cur xin tinh
iiAng
NAi em vao anh chiec hon nong
V. “ Mua xuan o i” and its translation
Miia Xuan ol
Nguyen N goc Thiqn
X iiAii Xuan o i ! Xuan da ve
t i'i nfii vui nao vui hon ngay Xuan den
\ 11An Xuan o i ! Xuan da ve
I lAng chuc giao thira chao don mua
XuAn
Xuln Xuan oi ! Xuan den roi
l Anh 6n bay ve cho tim minh nao nuc Swallows’ return is exciting hearts
X ii Aii Xuan oi ! Xuan den roi Spring, Spring, Spring, Spring has come
Nlilfng doa may vang chao mirng
X i i Aii sang
More your pulls for feeling your love
More your kisses for warming my love
More and more o f you whenever I ’m
anxious
More your love or more your absence
I need these and your love
Although you’re still far away
I have buried all my pretty dreams
So I need you forever
M y love, come back to me
Linking my love to your heart
W ild as love is, I need such wildness
Linking us through deep kisses
Here conies Spring
tra n sla te d by Luu Trong Tuan
Spring, Spring, Spring, here comes Spring
Nothing is more gorgeous than Spring
Spring, Spring, Spring, here comes Spring
New Year’s Eve wishes welcome Spring.
Spring, Spring, Spring, Spring has come
Golden clouds are welcoming Spring.
183
Nghe am vang bao cau chuc yen lanh
Dat niroc gam hoa yen am an vui
Bao em tha khoe ao mai tuai cuai
Chao mpt mua Xuan mai
Xuan Xuan ai ! Xuan da ve
Kinh chuc muon ngucri vcri bao dieu
mong ubc
Trong huang Xuan ta vay chao
Kinh chuc muon nha gap nhieu an vui And wishing you a happy year.
10. “ Dirong ve hai thon” and i s translation
Duong ve hai thon
Pham The M y, H o D inh P huang
Duong ve thon em duyen dang ben ven
song con thuyen xuoi mai
Nhjp cau bang qua men loi di quanh co,
co hoa noi dai
Nha em cuoi xom ghep doi mai tranh
nau trang cai trudc sau
Co tarn men thuang dau, Co trau van
vuang cau
va dao ta tham ngat, ngat huang trinh
ban dau
Ducmg ve thon anh con sao ru em em
tren dong xanh lua
Nhjp cau bang qua dua loi san reu xua
tham hoa bon mua
Nha anh mai la thang nam van chua
nghe duyen tron uac ma
Co gian mudp xanh la, Co ho ca nen tha
ma long que van hat hat bao cau mong cha
184
Pervading are wishes o f peace
And happiness for the country
In new clothes kids are blooming smiles'
Hailing the new spring.
Spring, Spring, Spring, here comes Spring
Wish dreams and dreams transform into
truths
In the spring we’re waving
Road to both hamlets
tra n sla te d by Luu Trong Tuan
The road to your hamlet by the river
flowing the boats
Through the bridge and the winding
path o f w ild flowers
Ends at your home whose roo f is
waiting for the full moon
Surrounded by the love betel gives to
nuts
And the fragrance from peach
cherishing the first love.
The road to my hamlet carries
starlings’ lullabies
Crosses the bridge to the old yard o f
flower fragrance
M y home is longing for my dream
girl to come into
A luffa trellis and a fish pool are
Echoing the songs from a soul in love.
Moi dem trang thanh nga hpi mua len
lieng ca gop tay can lao
6 i hai thon giao dau nhip cau tre buac
chung em vui duang bao
Tinh ta len men roi con chi ngan each
king ma chua trao giac mo xuan cung
nhau
Chay dang len trang mau, ba con dang
inong cau
ning doi ta sam nen duyen ban dau
I )uang ve hai thon mai mot doi uyen irong On the old bridge the couple gaze at
qua cau soi bong
Nhu tham song oi girong nuoc chua phoi
pha ta con vui hoai
Trdri que bat ngat se trong thay tuong lai
qua tinh lira doi
I ,ua dong mai xanh tuoi, muop ca tham
noi noi
vii vanh moi trai gai gop bao cau ca yeu dcri
Nhjp cau dua loi, chung buac hai thon ta
dim trang ve mung duyen que
11. “ Duyen que” and its translation
I>uy6n Que
H oang Thi Tha
Hm g ii vucm que,
i uQc dai trong trang,
ilAm mua dai nang
mil cm biet yeu trang dep ngay ram.
On the fu ll moon night, harvest
songs are drifting through the fields
Two hamlets meet at the bamboo
bridge for the love blooming
W hy don’t hearts swap dreams?
What are the roadblocks to our love
on the shared path?
The m oonlight’s spreading, the folks
are praying
For our wedding day coming.
their reflection
Which still displays their happiness
on the river
The couple see, in the immense sky,
their tomorrow
From on green fields and under luffa
vines come the songs o f life from the
happy hearts.
The bridge leads us on the shared
road in the moon light to the love.
C ountryside love
tra n sla te d by Luu Trong Tuan
You, a country girl,
Lead a hard life
Through sun and rain
But you love fullness o f the moon.
185
Anh biet mat em, Behind the blind
mpt chieu ben them, Your gentle tune
gipng ho em dem Your gleaming eyes
va doi mat em long lanh sau rem. Pave our love one afternoon.

A i hat ngoai ao, Beside the pond

chung ngoi giat ao, Washing the clothes
gipng ho em qua You are singing
ma anh nga ai rot mat vao long. To send your love sweet as honey.

Anh cuoc vucm sau, In the backyard

mat trai tren dau, Under the sun
rupng vuan len mau I hoe and grow
vi em irac mong day do chung long. So our love forever grows.

Gio xao ao beo, I still love you

anh thiromg em khong ke la giau ngheo Although you are destitute.
mien rang tinh dang son keo, I f we love each other
nui cao anh cung treo, I ’ ll climb high mountain
song sau anh cung lpi, Through many passes
van deo em cung qua. And wade through deep stream.

Gio lay canh da, I still love you

anh thucmg I love
anh thucmg em that tha, Love your rusticity
mua lay hoa ca, Love the beauty
da em qua man ma, O f your sunburnt skin
va thucmg bao gipt mo hoi And love many sweat drops
dep ma man moi. Salting your lips.

Dam mieng trau cay, Some betel leaves

mot buong cau trang, Areca nuts
mpt buong cau trang Areca nuts
ma duyen doi ta nen Turn our love into wedding.
va thanh chong.

186
M(lt tup leu tranh, A thatch cottage,
mQl vang trang tron, And a fu ll moon
inOl vang trang tron And a fu ll moon
tllit ilia thiet yeu cho het to long. Still see the depth o f our love.

* ho den ngay mai, Eternally

ilM imra hay nang, Whether it is
liwg ta van thang Rainy or sunny
mit dfli chung ta xay dung dcri nay W ith our love, we build this life.

1it c6 ban tay,

W ith our hands
m(H llnh yeu nay,
And our love,
m(tt ddi xum vay
Together we
•III dAu kho chi lap bien va troi.
Can f ill the sea and mend the sky.

2. “ Mcr loi em ve” and its translation

MtY loi em ve Fading ways

11 tong phim “ Am tinh” )

Sang la c : M in h N hien tra n sla te d by Luu T rong Tuan

Ca s i: Phucmg Thanh

llifrtc di lang thang tren he pho Y ou’re wandering on the street

1lim ui, ai dua goc pho nao To hail strangers who take you
Unde di dau dem nay To somewhere tonight
IlinVc di dau dem mai W ith no tomorrow
Nliltm mat ngan dong 1? rcri... uot mi W ith tears hidden in your closed eyes.

•ilAi- mo cao sang, khong con nua
Nlnr b6ng bay tren cao vo nat nhat
itliiSn
1 nhan mua vui
• mil ina e m to i
• hin din g men say mo 16i em ve
Your sky-high dreams fly away
Like balloons, they rise and burst out
Getting drunken
W ithin men’s arms
To see all ways home fast fading.

187
Ve dau em hoi, xin em
Hay song tuang lai tren doi chan em
quen di giac mo
Va xin em hay xua tan
Bong toi may den cuoc doi
Bao to mua giong tinh doi
DT vang u me lac loai ... loi di
Hay cho em mQt chut yeu thuong
Duong ve, ngay xua tieng ru me
hien.
Hay quen di phu phiem, me say
Dat ban chan loi ve.
13. “ No than” and its translation
NO T H A N
188
Return by that comer
And head for new life and part with
your old memoirs
And erase the darkness
And the clouds o f the life
The storms and rains flooding
The ways back to the love, darling
Give her life a little love
For her return to lullabies
Get rid o f all illusions
And return your steps.
Tac gia: Le D uy Hanh
Dao dien: Do Due Thjnh
 K H A I TIT
N<1m 203 tru a c Cong nguyen ... m ot non nao do tren dat nha Trieu
Trpng Thuy k h i do 14 tu o i va H oang D u n g 9 tu o i dang d u o i bat
nhau tren lu n g ngua.

I rpng Thuy : Do m uoi bat dugc huynh.

D oing Dung : Trong Thuy hoang huynh, m uoi nghe noi sau
nay lbn len, chung ta se thanh vg chong.
I rpng Thuy : Nhung bay gio chung ta con nho
D oing Dung : R oi se den m ot ngay huynh se tra lcri cau hoi
do cua m uoi.
I rpng Thuy Nhung tnroc het m uoi phai bat dugc huynh.

I rpng Thuy va H oang D ung cucri n gu d i khuat. Muon bon nam sau,
luc nay Trpng Thuy va H oang D ung da l&n.

I'rpng Thuy Hoang Dung nham m uoi.

Doing Dung Trpng Thuy hoang huynh dpi m uoi vo i. Da
den luc huynh phai tra lcri cau hoi nam xua cua
m uoi. Chua thupng m ong muon dieu do, v i
chua thupng muon tra on cho cha m uoi, con
chang, chang co mong muon chuyen do khong
hay chi muon vua long cha?
I u,)iig Thuy C) Phien Ngung thanh nay, m uoi la ngucri ma
huynh muon gap nhat, muon dupe tro chuyen
nhat. 6 ben canh m uoi luc nao huynh cung
thay vui.
Doing Dung Hoang huynh, phong canh a day dep qua,
m uoi muon dung chan m ot lat dupe khong ?

189
T ro rig Thuy va H oang D ung xuong ngua, H o a ng D ung danh
Trong Thuy m ot don.

Trpng Thuy : M upi la con gai, sao thich danh nhau vay.
M upi dung quen m uoi la quan chua do.
Hoang Dung : M uoi la con nha vo ma.
Trong Thuy : V ai nam nua, Phu vuong mang huynh di chinh
phat cac nude khac cung vd i ngudi.
Hoang Dung : Vay la phai mung, huynh da ldn va dupe Chua
thupng tin tudng, m uoi chi thich la con trai de
dupe phung su quoc gia.
Trong Thuy : Nhung huynh khong thich viec ay, v i viec ay
that la vo nghTa.
Hoang Dung : Vay tai cung kiem cudi ngua cua huynh dung
de lam gi? Va nhat la cay quat cua huynh dung
de lam gi?
Trong Thuy : Huynh khong thich chem giet. Viec ay doi vdi
huynh that la vo nghTa. Hoang Dung, muoi
khong thay viec giao chien la vo nghTa sao?
Thoi huynh khong muon noi ve chuyen do
nua.
Hoang Dung : V ay noi chuyen khac nha.
Trpng Thuy : Chuyen gi?
Hoang Dung : T i th i nha.

H oang D ung va Trong Thuy cung nhau ty thi.

Trpng Thuy : M uoi chiu thua chua?

Hoang Dung : Con lau ne. M upi khong chiu thua huynh dau.
Huynh luyen vo tiep cho m uoi di.
Trong Thuy Dugc thoi, neu nhu m uoi bat dugc huynh.
Hoang Dung D g i m uoi vdi.
Trong Thuy : V ay th i m uoi hay nhanh len.
Hoang Dung Neu sau nay huynh lay nguai khac m uoi se
khong tha cho huynh dau.
Trong Thuy : M uoi dir qua ai them la y m uoi.
Hoang Dung : T rieu huynh! D g i m uoi vai.

H oang D ung va Trong Thuy p h i ngua khuat vao trong.

O ven canh rim g d a t A u Lac, m ot con s u o i chay doc theo. H a i d ira

tre, 1 tra i 1 g a i dang buac quanh n him g hdn da trcm tren m at suoi.
Day la M y Chau, con g a i Thuc Phan A n D ircm g Vuomg va Cao
Thuc, con tra i cua m ot tir& ng cong.

Cao Thuc : Cong chua hay can than, nhim g hdn da nay
tron lam. De ha than giup cong chua qua suoi
nha.
M y Chau : T uoi tha nhu nggn co
Long lanh giot suomg mai
Bang khuang theo lan gio
D i ve coi tran ai
Tuoi tha nhu nang som
Sau com m a dem dai
B iet con ai con ai
Bong me la bong Tien
Dang Cha la dang Rong
A u Lac trdri non nuac
A m vang tieng Trong Dong.

191
Sau k h i doc xong b a i th a M y Chau co tln h thay cay qua t tru n g vao
m at Cao Thuc.

Cao Thuc : Cong chua, sao lan nao doc tha xong, cong
chua luc nao cung nem quat vao mat than het
vay?
M y Chau : Dang dai Cao su huynh.
Cao Thuc : Cong chua tra lai cho than cue soi.

Song song do la Cao Thuc va M y Chau nay da Icm.

Cao Thuc : Cong chua, ky la that nha, m oi lan cong chua

mua ta i doan do thi luc nao quat cung ra i vao
mat than.
M y Chau : Ngay xua la m uoi vo y! Con bay gia la muoi
co tinh do.
Cao Thuc : Cong chua can than! Soi a day tran lam cong
chua.

Cao Thuc tro t chan te.

M y Chau Cao huynh co sao khong?

Cao Thuc Da bam cong chua than khong sao a!
M y Chau Huynh co dau khong?
Cao Thuc Da khong dau.
M y Chau Xem kia! M o hoi huynh chay nhe nhai het kia.
Cao Thuc Da khong sao dau. Da thua cong chua than
thay soi a day tran lam hay la de ke bay toi
nay dua cong chua qua suoi.
M y Chau Ke bay to i, m uoi ghet huynh.
Cao Thuc K ia! Cong chua.

192
M y Chau : Tai sao chung ta chai va i nhau tu be, sao
khong gpi la huynh m uoi nhu vay co phai vui
hon khong?
Cao Thuc : Da bam Cong chua, cha than da day phai co
tren co duai. Tuy than va cong chua da chai
than va i nhau tu nho nhung cong chua van la
cong chua, con than mai mai la ke bay toi.
M y Chau : Duac neu vay m uoi se qua suoi khong can
huynh dat di dau.

M y Chau vita b ira c d i v ita doc la i b a i th a Cao Thuc dua cho M y

Chau xem hon so i nam xua.

M y Chau Hon soi nam xua, huynh van con g iu no sao,

hinh trai tim tai sao bay g ia no lai la hinh nay.
Cao Thuc Thua cong chua chinh than da mai len.
M y Chau : M ai trong bao lau?
Cao Thuc Da 14 nam.
M y Chau 14 nam hinh trai tim no co y nghTa gi? Al Co
phai y nghTa cua no la 1 trai tim kho cung phai
khong?
Cao Thuc Da thua khong! M o t tin h yeu ben vung.

M y Chau dua hon so i len cao nhin bong ch at nhin thay m ot con
chim se dang b i m ot con qua d u o i bat.

M y Chau : Ay!
Cao Thuc : Cong chua canthan.
M y Chau : Cao huynh hay nhin xem mot con qua den
dang duoi giet 1 con chim non, lam sao bay
gia?

193
Cao Thuc nhanh chong la y cung ten ra ban con qua den.

M y Chau : Huynh a i! Dung ban tru p t nha.

Cao Thuc : Cong chua quen than la xa thu ro i sao.

Cong chua m uon m u i ten nay ghim vao dau hay vao ngvrc con qua
den kia?

M y Chau : M uoi khong muon ai chet, m uoi chi muon con

qua den kia bay di thoi.
Cao Thuc : Cong chua nguai co tarn hon trong sang qua
nhung doi va i than nhung ke tan ac nhu vay
phai bj trim g tri.

Cao Thuc g ia cung ten len dinh ban chet con qua nhim g M y Chau
ngan la i.

M y Chau : X in Cao huynh.

Cao Thuc : Cong chua yen tarn, than chi xin ti long cua
con qua den kia thoi.
M y Chau : Cao huynh g io i qua.
Cao Thuc : X in Cong chua or day can than dpi than mot
lat.
Cao thuc Khong xong roi, chung ta di qua xa phia ben
kia canh rung khong con la dat cua Au Lac
nua. Con m ui ten xua duoi con qua den khong
phai la ten cua than.

Cao Thuc dua cho M y Chau xem m ui ten.

M y Chau A i co the ban nhanh hem huynh dupe. Thien ha

thai binh giac m o muon thud huynh a i! M ui
ten nay cua ai vay.

194
Cao Thuc : Thai tir nude Trieu, Trong T h iiy
M y Chau : Trong Thuy

Canh thanh Co Loa An Dicomg Vucmg c iin g binh tucrng dung tren
thanh dao dan tranh bong co tie ng tu va bao dong.

Cao Thuc : X in Chua thugmg hoi cung.

Cdc Ho tuong X in Chua thugmg hoi cung.
Thuc Phan Cao Thuc tuong quan, da den luc khanh cho
dieu quan xuat tran.
Cao Thuc : Cac Ho tuong dong cong thanh.
f \ r f

Trong dong ha xuong Cao Thuc danh trong.

Cao Thyc : Tieng trfing dong, tieng tr6ng dong.

Ho tuong Am vang hon song nui.
Cao Thuc Tieng tr6ng dong, tieng trong dong.
Ho tuong Ngan nam bat khuat ve oai hung.
Cao Thuc Tieng trong dong, tieng trong dong.
Ho tuong G iu vung dat tro i A u Lac.
Cao Thuc Khai no.

H ang tram hang ngan m u i ten dong bay ra quan Trieu D a tic tran
gan het.

CANH 1
Phien Ngung thanh ... Hoang cung Trieu Da ... Xung quanh m y nir
mua hat ... Trieu Da dam chim trong men rugoi, men tinh cua my
nu.

Trieu Da Tai sao Phien Ngung thanh ta la i yen ang va

buon te nhu vay, phai vui len chu, phai don ca

195
 mua hat len chu. Quan T rieu cua ta da tien tbi
A u Lac va se san bang Co Loa thanh. Cung nu
dau ...
Cung nu : Da
r e w
T rieu Da : Hay thap sang tat ca den len. Hay tau nhac len
de d pi tin chien thang cua Nhan Khanh tuong
quan trb ve.
Cung nu : Chua thupng! Than thiep x in dupe hau ha.
T rieu Da : Chuan tiu .
T rieu Da : Dep lam ! Nang co biet a Phien Ngung thanh
nay nang la ngucri lam ta say me nh§t, ta
khong biet ta se nhu the nao neu ta mat nang.
Cung nu : Chua thupng noi vay thoi, Chua thupng mu6n
giet thiep luc nao chang dupe.
Trieu Da Khong bao g ib co chyen do, trir kh i ta bi dien.
Linh Cap bao.
Trieu Da Ke nao dam xong vao day.
Linh M uon tau Chua thupng! Co tin khan.
T rieu Da N o i mau di.
L in h M uon tau Chua thupng! V b i sue manh cua No
than, quan ta khong the nao ap sat dupe thanh
Co Loa. M o i lan cay no vucm len hang tram
m ui ten dong sac nhon lao ra, quan ta chSt nhu
ra, hai van quan bay g ib chi con 5 ngan quan.
B i m ui ten dong dam thang vao tim Nhan
Khanh tuong quan da tu tran.
T rieu Da : Nhan Khanh! Thanh Co Loa A n Duong
Vuong Thuc Phan, Cao Lb, N o th§n!!! Lai
thua sao? Tai sao than K im Q uy la i ung ho hSn

196
 ma bo mat ta? Da bao lan ta day binh hung
tuong manh va da thua bao lan.
Llnh Da khong it hom 10 lan.
I ri<*u Da : V ay nguoi con song tren ddi nay de lam gi?
Lui ra tat ca lu i ra. Quan su dau? Quan su dau?

Nhan Tan quan s it cua Trieu D a t it t it bucrc vao tren tay dm thu cap
cua Nhan Khanh.

I ri<;u Da : Neu sau 5 tuan trang nua ta khong san bang

dugc thanh C6 Loa th i ta the vo i nha nguoi
rang: nha nguoi va dong ho 7 ddi cua nha
nguoi se vao lira do ... v j quan su tai ba cua ta
... nhd day.
Nhan Tan : Neu giet ha than ma Chua thuong chiem duoc
thanh Co Loa th i xin Chua thuong cu lam.
I rii;ii Da Nhan Tan hay tha lo i cho ta. Hon 5 nam qua ta
khong tai nao ngu duoc, cu nham mat lai ta lai
nghe tieng cudi ngao nghe va tieng cudi dac
thang cua Thuc Phan A n Duong Vuong ... Ta
da giet di 2 ke than tinh: 1 la vien tuong gioi ta
tin cay; 1 la m y n il ta hang yeu men. Dau oc ta
dien loan mat roi, cung v i giong cudi ngao
nghe va tieng dan dac thang ay.
Nhan Tan Da thua Chua thuong con day.
I ii<*u Da : Nhan Khanh tuong quan.
Nhan Tan : Dura con trai duy nhat cua ha than, trudc khi
chet co tro i la i rang : Hay mang dau no vc
Phien Ngung thanh de dupe nhin thay Chur
thuong va ha than lan cuoi.

197

-
Trieu Da : Bay gia ta phai lam sao day?
Nhan Tan : X in Chua thuong hay ket tinh hoa hieu va i Au
Lac.
Tri?u Da : Nhan Tan nguai djnh si nhuc trieu dai cua ta
aI
Nhan Tan : X in Chua thuong cho thai tu Trong Thuy sang
cau hon va i cong chua M y Chau.
Tri?u Da : Nhan Tan nguai bi dien roi.
Nhan Tan : Than xin the chi trong 3 tuan trang than se san
bang Co Loa thanh.

CANH 2
H o Thien N ga n o i thanh Co Loa, M y Chau dang v u i d iia cim g dan
thien nga va hat, m ot la t sau T rong Thuy bircrc vao nhin say dam
M y Chau va h a t cung M y Chau.

M y Chau : Bau tra i ngat xanh in mat ho. Tung dan en bay
lugn trong nang phia chan tra i xa.
Trong Thuy : G io mang thoang ve xuyen xao hon ta, vai
nang say dam men tinh yeu, kia dan thien nga
vo canh bay, nuac ven ho im bong nhu cha ai.

M y Chau va Trong Thuy dang say sua h a t th i Cao Thuc va cac ho

tic&ng xu a t hien.

Cao Thuc : L u i ra, khong dugc lai gan Cong chua

Cao Thuc va Trong Thuy g ia o chien v&i nhau.

Cao Thuc : Cao Thuc khong muon danh nhau va i ke

nuang tay ta.

198
Trpng Thuy : Con Trong Thuy ta day khong muon thang tay
v o i nhung ke khong muon thang tay, nghe
danh Cao tuong quan da lau. Trong Thuy ta
horn nay m di duqc dien kien.
( 'ao Thuc X in cong chua hoi cung.
M y Chau : X in Cao Thuc tuong quan dung lo. Phu than ta
da cho phep thai tu nuoc Trieu gap ta ma.
Cao Thuc : X in cong chua dung quen, han la giac Trieu, la
con cua Trieu Da, m ot ke da hon 10 lan vay
ham thanh Co Loa.
M y Chau Cao tuong quan da quen ro i sao, thien ha thai
binh giac m o muon thud, chang dang o noi
thanh Co Loa, neu chang muon giet ta, lieu
chang co thoat. Thai tu khong dinh giet ta
chu?
I'rpng Thuy Thua khong! Trong Thuy to i den day chi de
chung to long hoa hieu vo i nhan dan A u Lac
nhung to i co the hieu trong trach cua Cao
tuong quan day.
M y Chau : Cac ho tuong co the yen tarn ma lu i ra.
I ao Thuc X in cong chua bao trong, kh i can cong chua cu
goi, cac ho tuong se co mat ngay lap tuc ...
Cong chua chieu m ai ngudi van ra bd suoi
chu.
M y Chau : Chuyen do ngay m ai ta se xem xet la i sau.
4

( 'ao Thuc cung cac H o tu o n g lu i ra ...

I ryng Thuy : Cac ho tuong co trong trach bao ve cong chua?

M y Chau : Khong! Ho canh g iu No than. Cao Thuc tuong
 quan la ngubi da che ra chiec no than ky.
Huynh ay than vb i ta tu nho. X in thai tur dung
chap. Huynh ay chi can trong thoi.
Trong Thuy : Huynh ay yeu nang?
M y Chau : Sao chang noi vay?
Trong Thuy : Anh mat cua Cao Thuc noi len dieu do va cung
chinh v i yeu nen huynh ay da so ho. Ta chi co
1 m inh, khong binh kh i nhim g muon giet cong
chua va thoat than ta van lam duoc.
M y Chau : Nhung luc nay chang noi khong ham hai ta kia
ma.

T rong Thuy g ia quat ra 1 chucrng xuong m at ho va 1 chucmg len

cay cac canh hoa rcri xuong dat ra t la n g man.

M y Chau hoang sqr nen g o i cac ho tuong.

M y Chau : Cac ho tuong!

Sau k h i da hieu cac don cua T rong Thuy khong co y dinh h a i minh,
M y Chau ra lenh cho cac ho tu o n g lu i ra.

M y Chau : Cac ho tuong lu i ra.

Sau k h i cac ho tuc'mg lu i ra con la i M y Chau va Trong Thuy o la i

ben nhau, T rong Thuy hat.

Trong Thuy : X in cong chua thu lo i vi ta da lam cho cong

chua hoang so, ta khong ngd 1 cong chua Au
Lac lai thuoc bai hat cua nuoc Trieu.
M y Chau : V i ta thubng hay nghe chang hat khi chang dang
di dao trong vubn Thuong uyen, ta thay bai hat
hay nen hoc lorn, xin thai tu dung trach.

200
I rgng Thuy : V ay sao!
Bong M e la bong Tien
Dang Cha la dang Rong
Au Lac trd i non nude
Am vang tieng trong dong.

\’ln cong chua 'c lo i v i ta hoc da lom b a i th a do.

My Chau : Ta nghT mot bai hat hay, 1 lo i tha dep thi khong
co ranh gidi ve lanh tho hay dan toe, chi co mot
trai tim dong cam biet yeu thuomg ma thoi.

Iryng Thuy : Cac binh tudng Au Lac van xem ta la ke thu

con nang th i khong, ta i sao?

My Chau : B di v i tieng hat cua chang da hoa vao lo i tha

cua ta. Thien ha thai binh giac ma muon thud,
ma ke thu thi khong lam dugc nhu vay.

I'rpng Thuy : Con ta kh i nhin thay nang, tieng hat cua nang
ta chi mong dugc d ben nang mai mai.

My Chau : T h i cha thiep da dong y ga thiep cho chang ro i

ma.

I rpng Thuy : Tung dan thien nga dang sai canh, nhung con
thien nga dep nhat da xuong tran va trd i ban
cho ta. Ao thien nga ghi dau hon le cua chung
ta. Ta va nang la doi thien nga do dat trd i tac
hgp, chinh chien d i qua tra la i thanh binh cho
non nude, hai ho T rieu Thuc khong con han
thu nhau, giao ket an tinh.

My Chau : Ao thien nga det len m oi tinh duy nhat, thuy

chung khi doi ta da trd thanh phu phu. Chang

201
 la thai tu ke ngoi ho Trieu.
Trong Thuy Nang la cong chua yeu quy cua Thuc vucmg.
M y Chau D oi thien nga a hai phuong da gap nhau.
Trong Thuy Sau bao mua chinh chien. T rb i da ban cho ta
m ot ngubi trang trong nhu ngoc, 6 ben nang ta
chi mong m inh la mat nuoc de ngoc quy soi
vao toa sang han.

M y Chau ngu&c m at len n hin tra n g ...

Trong Thuy : Nang thich nhin trang tren trb i sao.

M y Chau : T rb i cao, rong. Trang nhu vien ngoc to toa
sang. M ay la con thien nga ung dung sai canh,
chang nhin len xem co dung khong?
Trong Thuy : Ta thich nhin xuong nubc hon. Cung co trb i,
co trang nhu ngoc, may nhu thien nga. T rb i,
trang, m ay b tren cao kia la cua thien ha, con
kh i xuong m at ho la cua 2 ta. Nang va trang
nhu 2 vien ngoc, soi m inh xuong nubc ho
trong vat, ngoc cang trong cang toa sang hon.
M y Chau : M ong sao m ai m ai thanh binh de em va chang
duqc gan nhau tron dbi tron kiep. Khong con
chien chinh khong con nhung can dbi cay
nghiet, khong con tho san nao rinh rap ban
thien nga.
Trong Thuy : Khong con se khong con, v i doi thien nga khi
m ot con mat d i con con la i se khong thiet
song. N hu doi ta da nguyen the dong sanh
dong tu, tren the gian khong the thieu 1 ngubi.

202
Trpng Thuy va M y Chau say dam ben nhau, anh sang tic tic m o dan
chuyen sang k h o n g g ia n khac. N han Tan xu a t hien.

Nhan Tan Thai tir, thai tu.

Trpng Thuy N guai goi ta co chuyen gi?
Nhan Tan Than x in nhac thai tu dung qua danh tinh yeu
cho M y Chau, raa hay de nang danh tron tinh
yeu cho thai tu.
TrQng Thuy K h i da yeu sao con goi la nhieu hay it.
Nhan Tan X in thai tu dim g quen nhiem vu cua m inh a
Au Lac.
Trpng Thuy Ta da hoan thanh nhiem vu cua m inh la giu
hoa hieu cho 2 nuoc.
Nhan Tan Hoa hieu a! Lam gi co chuyen do, thai tu phai
lo i dung tinh yeu cua M y Chau de tim hieu su
that cua No than.
I rong Thuy Hai nuoc dang thanh binh, tim hieu m oi
chuyen de lam gi.
Nhan Tan Thai tu o i! Trieu vuong dang chd tin tuc cua
chung ta.
Trpng Thuy Khong.

Trpng Thuy bo d i con la i m inh Nhan Tan.

Nhan TSn : Con 1 m inh ta, kho a, nhung van phai lam.
Tung con ngucri trong chien chinh buoc phai
vao khuon kho thi kh i thanh binh tu thao long
ky cuang. Chien truang ... ai cung ngh! phai
co giao co gucrm. It ai nga chien truang nam
trong vang trong ngoc.

203
A nh sa ng xu on g dan chuyen sang khong g ia n khac.

D a y la nod canh g iu No than n a i ma cac ho tuomg dang canh g iu .

Cac ho tuomg dang tap luyen bong co 1 thich khach xu a t hien do
chinh la Cao Thuc.

Ho tircmg 1 : M oi lan tap luyen vo cong vo i cao huynh lan

nao cung bi Cao huynh danh rat kho. De that
kham phuc Cao huynh. E Cao huynh coi
chung.
Cao Thuc : Ta da co de phong roi, cac de can phai luyen
tap them ntra.
Ho tucmg 2 : Cao huynh day la thcri binh, luyen tap nhu vay
du roi, m ot m inh de co the danh bai dugc 10
nguai dung khong?
Cao Thuc : Cac de dung nghT nhu vay, chung ta danh giac
khong phai chi dung vo ma con phai dung tri,
neu cac de con la la co nghTa la cang tiep them
sue manh cho giac.
Ho tuomg 1 : Nhung Due vua da dong y viec bang giao giua
hai nuac roi.
Cao Thuc : Ta biet Due vua da dong y viec bang giao giua
Trieu va Au Lac nhung ta van khong tin dugc,
vo i 1 ke nhu Trieu Da lai mang long hoa hieu
va i nhan dan Au Lac. Cac de phai can than de
phong.
Ho tuomg : Cao huynh qua lo.
Cao Thuc Day khong phai la chuyen dua. Bat ky ai tie t 16
ve No than dumg trach Cao Thuc ta khong ne
mat. N ha do!

204
Cao Thuc bo d i m ot tro n g nhirng ho tuomg h o i Cao Thuc.

Ho tuong 1 Cao huynh, anh em luyen tap da nhieu hay

Cao huynh cho anh em xa hoi uong vai chen
ruou di chu.
Cao Thuc Cac de nen canh giu No than, khong dupe
phep uong ruou.

Cao Thuc bo di.

Ho tuong 2 : Cao su huynh dung la Cao su huynh, viec gi

cung than trong het. Cac anh em co biet trong
dau Cao su huynh dang nghl gi khong?
Ho tuong 1 : N g hl gi?
Ho tuong 2 : C hi co 2 chu thoi: tran mac va chinh chien. Tai
sao khong biet tan dung cuoc song thanh binh
dung khong?
Ho tuong 2 Thanh binh ai chang muon duoc thanh binh.
Do la uoc muon cua muon dan, ma de dang
nghl neu sau nay anh em m inh gac kiem rb i xa
tran mac, anh em m inh se lam gi?
Ho tuong 3 : Neu sau nay co thanh binh, khong con chien
chinh, khong con guom dao. Ta se chay that
nhanh ve vo i me, ganh cho me tung doi nude,
hang ngay phu viec dong an cung vo i me.
Ho tuong 4 Con de tro ve que tham lai vo cua m inh.
Ho tuong 2 : Con ta se chay that nhanh ve lang m inh om
hon 1 co gai.
Ho tuong 5 : V q de a.
Ho tuong 2 Khong phai.

205
Ho tuong 5 N guoi yeu cua de a.
Ho tuong 2 Cung khong.
Ho tuong 5 Vay chu ai ?
Ho tuong 2 Bat ky co gai nao do, ma ta gap dau tien ta se
om hon co ay.
Ho tuong 5 L o co gai ay 90 tuoi th i sao?
Ho tuong 2 T hi ta ...
Ho tuong 1 N hi su huynh, huynh co tarn su a.
Ho tuong 6 A l Khong ta dang nghT ve dua con trai 3 tuoi
cua ta, khong biet bay g io no dang lam gi va
co hoi gi ve cha no khong nua.
Ho tuong 1 Con de th i khong co gia dinh, nen uoc m o cua
de la mo 1 quan ruoai 6 cay da dau lang.
Ho tuong 5 L o lang do khong co cay da nao th i sao?
Ho tuong 1 Co de m oi noi cho.
Ho tuong 2 Khong sao, cu tiep tuc.
Ho tuong 1 C) lang cua de co mot loai ruou rat la ngon, luc
do anh em m inh tu hop la i chen thu chen tac
va chung ta co the on lai chien tich xua cua
anh em m inh.
Ho tirdmg 5 : Luc do ta se uong 1 ngay cho da khat.

L uc do Nhan Tan xu a t hien.

Nhan Tan : Con te ha th i muon dugc hau rugu cho cac ho

tuong.
Cac Ho tuong : A id o ?
Nhan Tan : Da than la su than cua nha Trieu.

Cac H o tuo n g xong la i.

206
Cac Ho tuong Nha Trieu a!
Nhan Tan K ia cac tuong quan da quen bay g io T rieu vo i
Au Lac tuy 2 raa 1 sao. Thai tvr nude to i sap
lam pho ma cua A u Lac, guom giao khong con
can thiet nua.
116 tuong 1 N hung day la noi cam, khong ai duqc ben
mang to i ngoai cac ho tuong, nguoi khong
cam theo lenh bai cua vua th i nen d i noi khac.
Nhan Tan Ke nay biet day la noi cat g iu no than ...
Cac Ho tuong Cam mieng.
Nhan Tan Ke nay chi den de bieu may nguoi m ot binh
ruou qui de to long nguong mo v o i cac Ho
tuong.
C&c Ho tuong Chung to i co ruqai roi.
Nhan Tan Nhung vo i nhung chien cong hien hach th i cac
v j xung dang duqc huong nhung thu ruqu quy
gia hon. Day! Ke nay da cat cong mang binh
ruqu tir nuoc Tri$u sang. X in may v i dung
khuoc tu ma tq i nghiep... khong phai la ruqu
doc dau, ke nay xin uong truoc.

Nhan Tan ro t rucru va nhap moi.

Nhan Tan Cac v i da tin chua, xin duqc m oi cac vi.

Il6 tuong 3 Chung to i khong duqc qua chen .... V i con
phai ...
Nhan Tan Con phai trong coi No than ... ke nay biet
nhung th o i nay da thanh binh, lieu viec qua
can trong co can thiet khong hay la i mat th i
g io vo ich. M ay v i phai nghl den m inh chu,

207
 bao nam chinh chien co bao gib duoc nghi
ngoi. M ot hai chen rtrou co la gi, xin m bi!
Nhan Tan : Da ngoai ruoru ngon te ha con mang tb i cho
cac v i nhieu mon qua rat quy gia. Da thua ho
tubng tai ha biet ngai co me gia b chrbi que
nen xin dang tang ngai tarn vai gam quy gia
nay, xin dang tang ngai.
He 3 : Ta khong can.
Nhan Tan : Da dung tir choi toi nghiep than.
Ho tubng 1 : K ia huynh cue kho da nhieu roi, day la luc
huynh bao hieu sao huynh lai khong nhan.
Nhan Tan : Da xin gbi dum cho ba mau, than xin cam on.
Nhan Tan : Da day la chiec vong ngoc vang rat quy cua
nubd'toi, da xin duoc tang cho vo ngai la quy
nhat.
Ho tubng 6 : Ta khong nhan.
Ho nrong 1 K ia huynh lay di.
Ho nrong 6 : Khong, hay tra lai cho ngubi ta.
Ho nrong 1 : V o huynh ma thay duoc vong nay chac la rat
thich, huynh hay nhan di.
Nhan Tan : Da con day la mon qua gbi tang con trai 3 tuoi
cua tubng quan, chac cau be se rat thich. Nhu
vay m bi la tham tinh 2 nubc chung ta tuy 2 ma
la 1. Da con day la binh ruoru rat quy cua nubc
Trieu, te ha bao dam khi uong rucru nay vao thi
cac vi se khong muon uong ruoru nao khac
ngoai ruoru nay, chi co dieu dung uong bay
gib, hay ngam them 3 tuan trang nua luc do thi
uong vao se rat ngon.

208
Ho Tuong 1 : X in da ta.
Nhan Tan : Tai ha toi day chi vay thoi, boi vi tai ha da
nguong mp cac vi tir rat lau, cau xin than
thanh luon phii ho cho cac vj. Nhung that ra
than thanh da ung hp cho cac vj tu lau roi. Co
phai la than K im Quy da tang mong lam ray
no?
Ho Tuong : Lam gi co chuyen than thanh.
Nhan Tan : Deu qua.
Ho Tuong : Ta noi cho nguoi biet cai no than la do chinh 7
anh em ta lam ra, lam gi co chuyen than thanh.
Ho Tuong : Chi co 7 anh em chung toi biet sir dung thoi.
Ho Tuong : Ngoai 7 anh em chung toi khong ai co the sir
dung dupe.

Ho Tuong : Kia cac de nho lo i Cao Thuc su huynh can dan

khong dupe tiet 16 no than ro chua.
Nhan Tan : Dung roi, tuong quan noi dung phai giu bi mat
chinh xac, nhung do thoi con chien tranh voi
nhau, con bay gio la hoa binh roi chung ta tuy
2 la 1 roi, chung ta phai biet yeu thuong giup
do nhau chir. Nho cac ngai ma tai ha m oi biet
dupe su that cua no than. Vay ma nguoi ta noi
rang Cao tuong quan la 1 vi sao bac dau chi co
1 minh Cao Thuc tuong quan lam ra cai no
than nay.
Ho Tuong : Lam gi co chuyen do dupe, chinh ta la nguoi
lam ra cai lay no.
Ho Tuong : Con ta kho khan lam m oi che tao dupe day no.

209
Ho Tudng : Con mui ten dong la do cong sue cua 7 anh eni
chung ta lam ra dung khong.
Nhan Tan : Dung roi 7 ngudi lam ra vay ma chi co 1 ngudi
duqc hudng. Chi vdi cai ten Cao Thuc thoi
cung chung to rang Thuc Vucmg rat yeu quy
Cao tudng quan, that la toi nghiep cho cac
ngai. Ma cung nhd cac ngai ma than day horn
nay m di biet duqc bi mat cua no than. Y,
nhung ma do la bi mat quoc gia tai sao lai no
cho tai ha nghe, nhung ma dau co sao chung ta
bay gid la ngudi 1 nha vdi nhau ma chung ta
phai biet giup dd yeu thucrng nhau dung
khong.
Ho Tudng : Chi phai.
Cac ho tu d n g keo nhau ra 1 goc khac tro chuyen.

Nhan Tan : Bon quan lai binh tudng A u Lac cung chi lit
ngudi thay gam voc lua la mat sang tua sao
bang, d 1 xu sd ham duoc song thanh binh gid
da toai nguyen, con may ai quan tarn den than
no, trong dong. Thuc Vuong bay gid tren ngoi
cao ngat ngudng tan trdi, dau biet noi tran the
dat bang day song, long ngudi khong dinli
giang son lam sao dinh. Day la luc ta tiep can
vdi no than.

Nhan Tan mon men t& i n o i de no than, Cao Thuc xu a t hien chem I
nhat kiem vao tay Nhan Tan.

Cao Thuc : A i cho phep nguoi lui td i cho nay?

Nhan Tan :Ke nay chi td i day bieu rugu cho cac ho tudng.

210
Ho Tuong : K ia sao su huynh lai chem nguoi nha.
( ’ao Thuc : Nguoi nha a. Ke da chuc lan keo quan vay
ham thanh Co Loa giet choc dan chung Au
Lac ma goi la nguoi nha sao.
Nhan Tan : Da do la chuyen trubc day con bay gib chung
ta la nguoi nha roi nen than den day de cung
uong ruoru vbi cac ho tuong.
( 'ao Thuc : A i cho phep cac de uong rupu, say sua nhu
vay lam sao canh giu dupe no than.

llo Tuong : Thi huynh cung phai cho anh em nghi ngoi va
hubng thu chu cue kho da nhieu r o i ...
( ’no Thuc : G ib khong phai la luc nghi ngoi.
llA Tuong : Hay huynh chi nghi m oi minh huynh la co
cong trang nen cho phep minh dupe nghi ngoi
tan hubng.
( no Thuc : N oi bay xang bay.
1lA Tuong : Kia su huynh sao lai danh ngu de.
( no Thuc : Ngu de noi bay xin cac tuong quan hieu cho
ta.
llA Tuong : Cung vao sanh ra tu co nhau, huynh thua biet
de khong tiet mau xuong de gin giu thanh Co
Loa, nay chi vi de uong vai chen rupu ma
huynh no danh de.
Nhan Tan Ke nay that co loi vi da den day, mat huynh de
Au Lac dung v i lo i lam cua ke nay ma mat
doan ket, Ngu de cung dung trach cao tuong
quan. Long huynh ay dang roi bbi, vet thuong
nay cung la v i Cao Thuc buon gian chuyen

211
 Trieu Vuong muon cau hon cong chua My
Nuong cho thai tu Trong Thuy con ngai...
ghen tuong luon lam ngudi ta khong thi?n.
Ho Tuong Nhung huynh la anh ca, dung dem chuyen
rieng tu vao chuyen nay chu ... huynh co gioi
thi can vua dung ga cong chua cho nha Trieu,
sao lai danh anh em cua minh va chem su gia
thong gia.
Cao Thuc Hieu lam Cao Thuc nay roi, hay dua de di noi
khac keo ta khong kiem duoc.

Ho Tuong Vay thi huynh hay cam guom ma dam de di.

Cao Thuc Mang di di.
Ho Tuong Cao su huynh nen nhd day la su than cua nha
Trieu va cung la khach quy cua Thuc Vuong.

Cac ho tu& ng vao tro n g c h i con Cao Thuc va Nhan Tan.

Cao Thuc Neu khong chung to long hoa hieu cua dan Au
Lac ta da chem rung dau nha nguoi, ten giac
Trieu nham hiem.
Nhan Tan Cung giong nhu tuong quan da lay ten dong
dam thang vao tim con trai duy nhat cua ta.
Cao Thuc Ke nao xam hai den Co Loa deu se bi trung trj
nhu vay.
Nhan Tan Hay co ma giu thanh, mot minh nguoi chang
lam duoc gi dau, Nhan Khanh con trai ta dang
cho nguoi duoi suoi vang ... nguoi se chet,
mau cua nguoi se tham do long trung thanh
cua nguoi, tinh yeu cua nguoi danh cho My
Chau se lam cho nguoi dau don, hay nho 16i
cua ta ha ha ha ...

212
( '(to Thuc lo n g ro i b a i tro n g tie ng c u a i ngao nghe cua Nhan Tan.

CANH 3

llo a n g cung Au Lac. An D trcm g Vuang n g o i tren n go i cao.

Nhan Tan quy m ot tru a c hoang cung x in viec ban g ia o 2 nuac.

I’hyc Phan : K ia Nhan Tan nrgu ta m ai sao nguai khong

uong.
Nhan Tan Da than khong dam
1hyc Phan Tai sao lai khong dam va sao nguai lai quy
suot nhu vay trong han 1 canh gia lien vay,
chang le nguai phai quy mot mai nhu vay sao.
Nhan Tan Da than dang cha quyet djnh cua Thuc Vuang
a
a.
1hyc Phan Ta da noi viec giao ban giua 2 nuac ma cong
thanh de cho dan chung 2 nuac thong thuang
mua ban. Do la chuyen he trong ta phai ban lai
vai cac quan tuong trong trieu.
Nlmn Tan Vay thi ha than khong the dung len khong the
tra ve nude Trieu khi chua co quyet dinh cua
Thuc Vuang.
1liyc Phan : Thoi duac roi xem nhu ta thuan y vd i Trieu
vucmg cua nguai bai vi ta nghT chuyen nay
cung co la i cho dan chung cua 2 nude. Ta nghT
se khong co quan tudng trong trieu phan doi,
cho nguai binh than.
Nlmn Tan Da xin doi on Thuc Vuang.

213

1
Nhan Tan dung day cung n ir A u L a c dang ly rucru cho N han Tan
nhung Nhan Tan suy nghi chua ch iu uong.

Thuc Phan : Sao vay ngirai khong uong ruou ta m bi a.

Nhan Tan : Da than xin mang phep a.

Nhan Tan uong het ly rucru.

Nhan Tan : Da kinh thua Thuc Vucmg tinh thong gia giua
2 nuoc cang dam da them. Trieu Vuorng cua
than da gbi tang cho ngai nhirng mon qua rat
quy bau cua nha Trieu.

Nhan Tan vo tay 2 cung n ir ra t x in h dep cua nha T rieu dem le vat
dang len Thuc Vucmg. Le vat la m ot vien quoc bao tuyet dep.

Thuc Phan : Dep, tuyet dep.

Nhan Tan : Da nguoi hay ngoc.
Thuc Phan : Ca 2.
Nhan Tan : Da tat ca deu la cua Thuc Vuong. Ngoc la
quoc bao cua nha Trieu con nguoi la nhirng
my nhan xinh dep nhat nuoc Trieu.
Thuc Phan : Tai sao lai dem quoc bao cua cac nguoi ma
tang cho ta.

Nhan Tan : Chua thuong cua ke bay toi mong muon Thuc
Vuong hieu rang truoc gib chien tranh giua 2
nuoc la dieu sai lam, gib la luc chung ta ket
than vbi nhau tuy 2 nuoc nhung la 1.
Thuc Phan : Ta hieu ... tang quoc bao cho ta, vay thi con
nghi ngb gi ve long hieu thuan cua nha Trieu.
Nay Nhan Tan nay mai chung dan 2 nuoc se

214
 dugc song trong canh thanh binh thi cong Ion
se thuoc ve nguai do, nguai muon gi ta se ban
thuang.
Nhan Tan : Da uac muon cua than. Than khong dam trinh
tau vai Thuc Vuang.
Thuc Phan : Nguai cu noi.
Nhan Tan : Da vay thi.

Nhan Tan dinh buac t& i gan Thuc Vm m g b i cam ve quan chan la i.

Cam Ve Quan : Vo le.

Nhan Tan Da than xin cao loi vi qua nguang mo Thuc
Vuang nen than da quen di le nghi phep tac,
than co loi. /
Thuc Vuang : Cho cam ve quan lui. The nao uac muon cua
nguai la gi?
Nhan Tan Da than muon dugc nghe tieng dan cua Thuc
Vuang.
I huc Vuang Ta nghe noi nguai cung la ke am hieu ve am
nhac cung chai dan co tieng ben dat Trieu,
chang hay ta co nha y mai nguai tau cung ta
mot khuc nhac, nguai co vui long chir.
Nhan Tan : Da than khong dam ...
Thyc Phan : Nguai cu xem day nhu viec ban giao giCra 2
nuac ...
Nhan Tan : Neu Thuc Vuang cho phep than xin man phep.

Thuc Phan ra lenh cho cung n u m ang 2 cay dan tra nh ra ... ca 2
hdt dau hoa nhac ... m ot lu c sau ... Nhan Tan co lin k de dan cua
hdn diet day.

215
Nhan Tan Da than co lo i xin Thuc Vucmg tha mang.
Thuc Phan Khong sao co le cay dan do lau ngay khong sir
dung ... Be ta mang cho nguoi 1 cay dan khac.
Nhan Tan Da khong phai dau a! Than khong the tau nhac
ciing vdi Thuc Vuong, than khong dam so tin
... Ve chuyen tau nhac, than khong dang di*
Thuc V uong quan tarn chua bao gib than nghc
duqc tieng dan nao thanh thoat nhu cua Thyc
Vuong, ca dat Trieu cung khong ma ca trail
the cung khong.
Thuc Phan Nguoi qua khen that kheo an kheo noi.

Co tie ng tro n g dong thuc giuc. Thuc Vucmg g ia n d ie ...

Thuc Phan : Ke nao to gan dam quay pha cuoc vui cua ta.
Bat no vao day.
Nhan T§n : Chi co Cao tubng quan dam lam dieu nay.

Cao Thuc m ang xieng xich huac vao. Dam mua h a t g ia i tan ...

Cao Thuc : Ha than thuoc ngu ho tubng chi huy doi quan
Cung no. Lau qua, no than bj bo quan, trong
dong bi dem ra buon ban. Anh em khong nhln
mat nhau. M oi thu tren dbi dang dao Ion. Than
hoang mang bat djnh khong con biet phuong
nao vao dau. Nhb lai thbi chien chinh oanh li^t
ngay nao. Than giong len am thanh trong dong
thuc giuc quan ra tran. De cung no im lim tim
lai dupe mot chut hon song, va de chinh than
thoat ra nhung spi day vo hinh tu troi bu^c
minh. Co khoanh khac du am, than da mang
toi cung hoang thupng. Muon giai thoat spl

216
 day rang buoc vo tinh trong tam tudng, than da
tu xieng xich tay chan den ra mat Dai vucmg.
I hyc Phan Tai sao khanh lai tu doa day ban than minh, ta
se m o xieng xich cho khanh.
( ’ao Thuc Muon tau, xin hoang thuong cu de than nhu
vay.
1‘hyc Phan Ta biet khanh gian, khanh buon ta khong nghe
la i khanh can gian (tu tay rot nroru mang den
cho Cao Thuc), nhung tai sao khanh khong
nghi dat nuac da thanh binh, chung dan dang
hanh phuc. Ta va khanh da trai qua qua nhieu
ca cue, luc nay cung can an nhan vui huang
giau sang, (dua ly vao tan mieng Cao Thuc)
Uong di cho va i can gian roi de ta thao xich
xieng (Cao Thuc uong). Khanh co thay ruooi
ngon khong? Hay bat dau vui huang giau sang
tir rucru ...
< ao Thuc (de mac ruou tran ra mieng) V u i hucmg giau
sang? (dau don) hay la hoang thuong tu biet
giam m in h ...
I hyc Phan (gian) Ta biet giam ta?
< no Thuc Hoang thuong tu biet giam trong nhung la i
ngai ca trong rong, tu biet giam trong gam voc
lua la, coi do la sir song. T u biet giam trong
dan ca mua hat suot sang thau dem, tu biet
giam trong giac mong em dem, vui say vdi
thanh binh, tin rang chien chinh khong bao gia
tra lai.
Ihyc Phan (nat ldn) Do dien.

217

1 ^
Cao Thuc : Dien! Than dung la thang die*? Than dien vi
doan quan cung no khong con k ill phach, kc d
ngudi di. Ke d thi mat may lo lao chang biet
lam gi, ngudi di phai tim ke sinh nhai con
trach cu than vi dau ma tarn than gian kho
Than dien vi sa dat nude noi con giong to,
Lieu nhung ldi ca ldi sao rong co che d id
dugc cho hoang thuong hay khong?
Thuc Phan : Nghich than Cao Thuc, ta con chua hoi toi nh;i
nguoi vi sao dam chem sir than nha Trieu ...
Cao Thuc : V i han dam coi thudng phep tac cua Au Lac.
Thuc Phan : Nguoi con danh huynh de cua minh.
Cao Thuc : Ngu de can pliai tinh ngudi de khong bi ten t;i
gian Nhan Tan lung lac y chi.
Cao Thuc : (gian du) Hon xuoc! ... L in li dau?
Nhan Tan : X in Thuc Vuong birt gian. Pham lam con
ngudi ai cung co luc nong noi ... Than qud
liieu noi long cua Cao tudng quan. Phai cln
Thuc Vuong co 2 M y Chau thi moi viec den
yen.
Cao Thuc : Cam mieng! Ten gian diep nha Trieu! Ta
khong bao gid de tinh rieng xen vao chuyvn
dai sir.
Thuc Phan : Ta cung co biet tinh y nha nguoi, nhung nguoi
phai biet ngh! den chuyen Ion la viec ban gian
giua hai nude ... Dirng vi long ghen ma mat
hoa khi vdi sir than nha Trieu.
Cao Thuc : X in hoang thuong sang suot. Than chi dang lo
cho van menh nude nha. Than chi so hoang

218
 thuong co mat cung nhu mu.
11i\ic Phan Nghjch than, le ra nguai bi hanh hinh, nhung
ta xet den cong lao, nghT den nghla tinh, ta ra
lenh giam nguai vao thien lao.

1iy Chau chay

My Chau Phu hoang ... Du Cao tuang quan co pham toi

den dau, phu hoang cung nen rong long tha
thir. Ngay dung nghiep, phu hoang hua truoc
ba quan doi ten nguai la Cao Thuc va xem nhu
co tinh phu tir.
I lipc Phan Lai ta da phan con dung can, m ai su than
Nhan Tan hay cung ta dao buac ngam thanh
Co Loa.
Nhan Tan X in tuan lenh.
( uo Thuc Nhan Tan! Cac nguai co the lira gat nhixng ke
ham danh, ua lai phinh ninh, nhung ke tu
huyen hoac minh. Nhung neu cac nguai lira
gat nhung chan that tu tarn long, lay niem tin
lain le song thi cac nguai da pham vao trong
toi, treri khong dung dat khong tha.
My Chau De muoi mo xieng xich cho huynh.
( 'no Thuc Lieu cong nuang cai duac xieng xich cho
chinh minh. Long tin, tinh yeu, hanh phuc ma
la xieng xich sao?
( ’no Thuc Khong! Xieng xich ciia su gia doi.
My Chau M uoi chi co mot tarn long chan that.
( 'no Thuc Mat tuang khong con gi de noi, giai ta di.
I long Thuy Hien the

219
M y Chau : Phu quan
Trong Thuy : Ta toi day de ttr biet nang.
M y Chau Sao
Trong Thuy Phu viromg goi ta tro ve Phien Ngung.
M y Chau : Tai sao lai dot ngot nhu vay chu ?
Trong Thuy M y Chau
M y Chau : Trpng Thuy
Nhan T&n Thai tu xin thai tir gap rut ve Phien Ngung
thanh.
Trpng Thuy Ta biet roi nhirng nguoi phai cho ta tu bipl
hien the ta chu.
Nhan Tan Da khong con kip nua dau, thai gian gap rut
lam roi.
Trpng Thuy : Nhung co chuyen gi ma nha nguoi goi ta
Phien Ngung gap du vay?
Nhan Tan Da! Trieu vuong se truyen ngoi cho Thai tu
Trpng Thuy Nhu vay co nghTa la M y Chau se len ngftl
hoang hau. That khong ?
Nhan Tan Than khong dupe biet, khi mot vai tuan trSng
qua di thi moi viec se ro rang.

CANH4

H oang cung Trieu D a khong k h i th a t nang ne, phdng ngu Tryng

Thuy, Trong Thuy dung rucru g ia i sau. M o t khong g ia n khde /<)
Trieu Da.

Trieu Da : Trpng Thuy viec hon nhan cua con v^ Mv

Chau chi qua la chuyen sap bay muu ke. I

j
220
 nao ta lai mat con khi con ve A u Lac cung M y
Chau. Khong, de sua sai lam ra quyet tu hon
Hoang Dung cung Trong Thuy.
I ryng Thuy : Cha
I I ivu Da Neu con dam cai la i thi ta se dung lu a i guam
nay dam thang vao tim ta.
I rpngThuy : Tai sao phu hoang chi tao cho ta nhung can
me quyen lire (uong ruau), con M y Chau giup
cho ta biet the nao la hanh phuc, tinh yeu. (Tai
sao) ta la ai, ta la ai, ta tir hoi m oi sang moi
chieu, ta tu hoi vai cau tra ld i con lln khuat, ta
la ai, nguai phuang Nam hay nai dat Bac
(uong rugu). Ta dang tran ngap trong hanh
phuc, sao dieu bat hanh van quanh quan dau
day nhe thoang tua khoi may, nang ne nhu nui
da, tim g son am anh khi quen khi la, lo i ta vao
mong m j khong con nhan dang dugc chinh
m inh ... Thien Nga ... Thien Nga co con Thien
Nga bay mai miet xa ba, tren doi canh cha biet
bao cha dai. M y Chau ta vai nang tuy xa ma
gan, chinh nang da that sir dua hon ta giai
thoat. M y Chau mot tuan trang qua di, hay nua
tuan trang nang cha dai, hai tuan trang di qua,
hai lan hai nua tuan trang nang van cha dai ...
M y Chau ... Nang ...

lYf)nx can m a m ang Trong Thuy nhin thay d ira c hinh anh M y Chau
• ling dan Thien Nga xu at hien.

lu,»ngThuy : M y Chau

MyChfiu : Trong Thuy

221
Trong Thuy : Vay la ta gap dirge nang. Nang co buon vi t:i
Id hen khong.
M y Chau : Em tin chang nen van chb van doi du nhunj-1.
- tuan trang lan luot troi qua minh chung ch<>
thcri gian phan boi em van tin chang, tin SV
thuy chung cua Thien Nga.
Trong Thuy M y Chau nang dung tin ta.
M y Chau Neu khong tin chang, thi lieu em co the tin tim
em con nhip dap, mui em con hoi tho.
Trong Thuy M y Chau, ta co toi vcri nang.
M y Chau Neu vay em se lay nuoc ho soi bong doi ta rir:>
sach toi cho chang.
Trong Thuy Long ngubi sau tham tham.
M y Chau Tinh yeu tn it can long ngudi.
Trong Thuy Ta con trong trach vdi dbi.
M y Chau Trong trach do chinh la chang da dem sir son).’
den muon ngudi, chang biet giu thuy chunf.’.
trong tinh cam.
Trong Thuy Ta khong biet noi the nao cho nang hieu, t»
muon giu hoa hieu cho hai nude nhung ngudi
khac thi lai khac.
M y Chau Trong tinh yeu em da hieu dugc chang. Chany,
oi neu nhu co loan lac, chang hay lang ngho
trai tim minh, dan Thien Nga se dua chang vc
vdi em.
M y Chau va dan Thien N ga bien m at H oang D u n g xu at hien.

Hoang Dung : M y Chau da lam gi ma chiem het tarn tri cun

huynh.

222
I King Thuy M y Chau chi co mot tarn long sang hon vang
trang, rong hon bien ca. M y Chau yeu huynh
ma cung yeu thien ha, hanh pluic mot doi minh
cung la hanh phuc cua dong loai chung sinh.
lin in g Dung Vay con tinh yeu cua Hoang Dung? Chang le
khong sang nhu trang, khong rong nhu bien
ca? Chang le tinh yeu cua muoi khong con liru
dau vet trong huynh. Huynh lam pho ma nai
dat troi Au lac, ngay hon le cua huynh, tim
Hoang Dung tan nat, troi Phien Ngung tan nat
phu mau tang.
I long Thuy Nhan muoi tinh muoi lam sao ta quen dirge,
Nhan muoi nang a, muoi tirng la nguoi than
thiet nhat doi ta. Ca mot thoi thieu nien qua di,
phi ngua, ban cung, bang rirng, treo nui, vugt
song Truong Giang nhin con song duoi gio
long dau thuyen, toe bam nguoi huynh.
liming Dung Hay quang khan len nguoi thiep, huynh khoac
cho M y Chau chiec ao Thien Nga, chang le lai
khong mot lan huynh quang chiec khan nay
len nguoi thiep sao. Huynh co biet moi lan
uong nron giai sau, trong giac ngu, huynh goi
ten M y Chau day triu men. M uoi da khoc thau
dem, phai nen noi dau cam nin, co nguoi dan
ba nao khong biet hon ghen?
I long Thuy Ta dang roi vao hon don, mong lung, ta chan
chubng ban than minh, chan chubng ca nhan
tinh the thai, dam ta di dam ta chet di.
I lining Dung Phu hoang dang chuan bi chien chinh, con
huynh lai tu chan ban than minh, uong m m i
 giai sau, chim trong thirong nhd lieu huynh c<’i
ngan dupe chien chinh.
Trong Thuy Neu Au Lac khong co giao tranh?
Hoang Dung : Huynh se dung rupu dung tinh de giai nguy
cho Au lac? Chu “ tarn” huynh de a dau kin
khong con uy lire. Tam ma khong lire cung trii
nen vo dung.
Trpng Thuy : Dung, ta khong chi la ngudi vo dung, ta con III
ke phan boi.
Hoang Dung Trong Thuy, chang khong the phan boi My
Chau, khong the phan boi chung dan Au Lpc,
vay lieu chang co the bo roi giot mau cun
chang dang hoai thai trong ngudi thiep hay
khong?
Trong Thuy : Nang da co thai vdi ta a?

CANH 5

N g i thanh Co Loa nguc toi, Cao tu&ng quart b i xich la i, co vai ten
lin h earth, Nhan Tan bude vao ...

Linh 1 Huynh a vi sao Tudng Cao Thuc lai bi bat.

Linh 2 : V i ong ta dam chong lai lenh vua khong chju
ban giao givra hai nude Trieu va Au Lac.
Linh 1 Nhung ld i noi cua ong ay khien cho chung ta
phai suy nghT, co the chung ta khong ch^l
ngoai sa trudng, ma chung ta se chet trong
vang bac chau bau.
Linh 1 : M ui ten dong cua chung ta co the giet dupe
quan thu, cung co the quan thu se giet chung In

224
 bang m ui ten vang.
Unh 2 Boi vay de va huynh du lam trong nguc t6i
nhung phai biet giu long trong sang.

Nhan Tan bu&c vao.

Unh 2 A i do?
Nhan Tan : D^, tai ha la nguoi nha Tri?u.
Unh 2 D i dau ?
Nhan Tan : Da tai ha den day vi long hoa hieu giua hai
nuoc. Da, den day tham hoi sue khoe cua Cao
tuong quan a.
Unh 2 Day la nguc toi khong co chieu chi cua nha
vua thi khong duoc vao, a dau co luat a do.
Nhan Tan Da than hieu a dau co luat a do a, chuyen do
phai ro rang thoi, day la vang cua nuoc Tri?u.
Unh 1 Biet la nhu vay nhung a dau co luat a do,
khong co chieu chi cua nha vua thi khong
duqc vao.
Nhan Tan Hai cau giong het nhau hieu roi.
Unh 1 Vao day lam gi?
Nhan Tan Tham hoi sue khoe cua Cao tuong quan.
Unh 2 That khong?
Nhan Tan Da that.
Unh 2 Vao di.
Unh 1 Huynh a, minh nhan vang nguoi ta vay minh
co lam sai luat khong huynh ?
Unh 2 Nhieu khi khong nhan m oi sai luat do.
Unh 2 Tren lam sao duoi lam nhu vay di.

225
Li'nh 2
; Huynh noi hay lam.
Linh 1
• Neu chuyen nay be ra d tren yen on a dudi
lanh het.
Linh 2
: Noi chung trudc day cung vay, bay gib cung
vay, noi chung la hen xui, nhung phai nhd cho
that ky, du nhan vang cua nguoi ta roi phiii
biet giu long trong sang.
N han Tan rfi
vao nguc, Cao Thuc thay Nhan Tan buac vao ngac
nhien.

Nhan Tan
'■ Nguoi ngac nhien sao ta lai vao dupe day, tai
ca binh tudng Au Lac da bi chet di trong men
say thanh binh, men say vang ngoc cua ta, gib
day Au Lac la cua ta, nguoi nghl binh linh cua
nguoi se nghe lo i nguoi hay la ta.
Cao Thuc : Linh canh
Linh : Chuyen gi?
Nhan Tan •' Da khong co chuyen gi het, Cao tudng quan cu
nghT moi chuyen van binh thudng, khong nglil
minh la tu nhan nen ldn tieng, chu khong c6
chuyen gi.
Linh : Nhung phai co chuyen gi ong ta m oi la ldn
nhu vay chu?
Nhan Tan : Da khong co chuyen gi het. chi hoi ldn tieng
vay thoi.
Linh 2 : De a, vay trong nguc toi yen ang khong cd
chuyen gi, vay ra ngoai canh nhung nhd du
nhan vang roi phai giu long trong sang nghc
chua.

226
I lull 1 Chinh xac.
Nlian Tan Do tuang quan thay khong vang bac da quy co
the mua tat ca, de co the den bat cu noi nao,
mac du than co lenh bai ciia vua dugc den bat
cu dau ma khong b| tra xet. Lai noi cua ngai
khong con gia tri nua, tinh yeu cua ngai da giet
chet uy tin va uy the cua ngai a Au Lac roi.
( 'h o Thuc Giet ta di!
Nlian Tan Giet nguai? Ha ...ha ... ha qua de! ... (rut dao
ra) mot nhat vao giiia tim , ta tong vang vao
dam linh kia, m oi chuyen the la xong. Chung
mi phai dau dan han nhieu lan nhu vay, giong
khi ta bang hoang thay cai xac khong dau cua
Nhan Khanh con trai ta nam vat veo tren lung
ngua.
t no Thuc G ia thi ta con biet dau ddn gi nua. Vua khong
tin dung, ban than thi bi giam trong nguc toi.
Hay Nguai tau vai Thuc Vuang mai nay chem
dau ta.
Nlian Tan Nguai phai song ma nhin thay Au Lac chim
trong lira do. Nguai phai song ma nhin thay
ten vua ngao nghe cua nguai chay thuc mang
tim dat song. Nguai phai song de thay M y
Chau cong chua va la nguai tinh trong mong
cua nguai chi dang la the thiep hoac la cung
nu cho Thai tu nha Trieu ma thoi. Hoang
Dung co nuang a dat Trieu mai la tinh tham
va nang se len ngoi hoang hau.
Cao Thuc : Ta vung long tin rang binh tircrng A u lac van
con la nguoi tai trung ...
Nhan Tan : Tai trung nhu nguoi? Con nhung it lam. Va Hn
moi bi mat phong bj cua cac nguoi da bi ta
nam het (chi vao phong thu) tat ca b trong nay
Thanh Co Loa dap theo hinh xoan nen khong
the dung thang de treo vao, muon dot nhap chi
con each pha cong thanh. Tren mat thanh thici
lap mot he thong cung no lien hoan nhau cb
the ban nhieu mui ten cung luc, dau cac mfli
> > f

ten duoc bit bang dong, khi ten ban ra, niihi
dong chop sang, tieng run trong gio tao ra d(i
ngan ron nguoi. Hang loat m ui ten duoc bAn
cimg luc se tao ra nhung tia chop xe trbi va am
thanh ren vang nhu gio hu. Tieng trong dong
duoc danh len hoa voi ten ban nghe long trbi
lb dat. Va day la sir that ve no than Au Lac
Con ngai, ngai la chi huy Phong Chau. Cic
ngai doan ket het voi nhau thanh mot khoi thl
sue manh vo song nhung khi chia re t h i ...
Cao Thuc : An Duong Vuong ... N guoi b dau? Nubc mill
roi.
Nhan Tan : Vua nha nguoi dang say sua ben tuu sfic
Trong luc ay, Trieu V uong cua ta se doc m(!l
thu nay, chang bao lau niia bao quan Tri?u si
keo den day. Nhanh Khanh con trai ta dang
m im cubi vi cha no da bao thu thanh cong. I In
... ha ... ha cong chua M y Chau se den day! T it
da cau xin voi Thuc vuong ... Ta muon xcm
mot trong nhung canh chia tay dam nubc m il

228
 cua vj tuong oai hung Au Lac ...tan hucrng di
nhe ... M y Chau ... Ha ... ha ... ha ... mot Thien
Nga ngo ngac toi nghiep ... Ha ... ha ... ha a ta
quen mot chuyen, ta da tang rat nhieu qua quy
gia cho Thyc Vucmg va cac ho tuong vi vay ta
cung khong quen tang mot mon qua dac biet
cua ta danh cho nguoi, ta mong rang moi lan
nguoi nhin thay no nguoi se nghT ve ta.

Noi xong Nhan Tan la y m ot con dao ra ck m ot du&ng d a i vao m at

Cao Thuc.

Nhan Tan d i kh o i ... m at Cao Thuc do n hu mau ... M y Chau vao

nhin thay nhvrng vet ca t tren m at Cao Thuc ...

My Chau Kia...sao huynh lai ra nong noi nay? Mau ...

Sao nhieu mau nhu vay?
Cao Thuc M uoi den day lam gi?
My Chau M uoi nghe noi may bua nay huynh khong chiu
an uong gi ca, tai sao vay, o trong nguc toi am
thap nhu the nay lo huynh co menh he gi,
muoi biet lam sao day. Huynh oi, huynh khong
dupe nhu vay, dem qua muoi gap con ac
mong.
( 'ao Thuc Con ac mong?
My Chau Cao tuong quan bi hanh quyet, dpi quan cung
no dung im lim bat dong, tieng trong dong
buon dai the lucmg, va doi thien nga m inh day
mau ...
( 'ao Thuc Chang bao lau ntra thi moi ac mong thanh sir
that.

229
M y Chau Huynh gian muoi lam phai khong? Dirng nhin
inuoi nhu vay, chang le tinh yeu trong sang
cua muoi danh cho Trong Thuy la toi tinh sao.
Cao Thuc : Ta con biet nhin vao dau? Nhin muoi trong
sang nhu ngoc, inoi thir chung quanh bong toi
bao trum. Ta khong trach tinh yeu cua muoi
danh cho Trong Thuy ... Ta khong trach muoi.
Long ta thanh thoat trude mat ta la hai dua tre
ben bb suoi ... ta cu ao ubc mai ta dirng bao
gib lbn, cu mai la tre con de muoi mai mai ben
ta (doc lai bai tha).

M y Chau dua ban la y vuot nhe nhung vet cat tren m at Cao Thuc...

Cao Thuc : Chua bao gib ta thay dirge gan cong chua nhu
luc nay, xin muoi de ban tay mem mai len mat
ta mot lat nua dugc khong ... (nude mat trao
ra)
Cao Thuc : Cong chua ta muon noi vbi nang cau nay.
M y Chau : Dirng, xin huynh dung noi, hay de muoi noi,
neu khong co M y Chau, Au Lac van la Au
Lac, neu khong co huynh, Au Lac se khong
con la Au Lac nua.

CANH 6
N o i xu at quart cua Trieu Da. Quart Trieu guenn g ia o ch in k te, Trieu
Vuomg dung tren hue cao , day uy quyen.

Trieu Da : Tam quan ! Truyen tien binh chinh phat Au

Lac.

230
Ib a n quan len ngua, dieu binh lan lu a t vdo tro n g san khau, con la i
Then Da. M o t ten qudn dang ngua, T rieu Da len ngua. Tie tro n g
sdn khau Trong Thuy chqy ra can dau ngua Trieu Da.

Trong Thuy : Phu vuong xin phu vuang ra lenli dung quail.
Trieu Da : Nguoi la ke dat ai tinh len tren nghTa ca.
Trieu Da : Nguoi chi biet co chu tinh, do bat trung, bat
hieu.

Q udt ngua tien len, Trong Thuy tru y can ...

Trong Thuy Con cau xin phu vuang giu lay dieu tin nghTa.
Trong chien chinh, tuy thang trail nhung nguoi
dan Au Lac cliiu dung dau kho, liy sinh mat
mat da qua nhieu. Ma nguoi nude ta nao dau
Co gi hem, le nao ta khong vi mot chu nhan ma
ta muu do gay lai canh chien chinh khung
khiep. Le nao ta chi vi mot chu tharn ma dap
len than xac ciia hang van chung sinh! Le nao
ta thieu mot chu tinh dc trd tlianh nhung ten
dao phu, chem giet lan nhau, tranh gianli nhau,
am m ini ham hai nhau, dinh ke diet nhau... biet
bao gid m di cho la du.
r ; leu Da Cam ngay, con ma dam day cha minh a, bat
hieu. Dieu quan trong nhat ciia ta la thong nhat
dat LTnh Nam.
Trpng Thuy Phu than muon hiing cir mot phuong doc lap
vdi nha Tan, sao lai am mim de buoc Au Lac
thanh mot noi le thuoc, gay lai chien tranh,
phu vuong gieo thong kho cho muon dan Au
Lac, phu vuong huy hoai su thuy chung ciia
con vdi M y Chau.

231
Trieu Da 6 A u Lac, nguai me dam M y Chau, phan boi
ta.
Trong Thuy Con khong phan boi cha, con chi mu6n hai
nude hoa hieu vdi nhau. Con cau xin Cha.
Trieu Da Ve Phien Ngung, nguai chap nhan lay Hoang
Dung, phan boi M y Chau.
Trong Thuy Con khong phan boi M y Chau, con van giCr
long chung thuy vdi M y Chau, con cau xin
cha.
Trieu Da N guai la mot ke khong co chu trung chu hieu,
lam gi co sir thuy chung.

Trieu D a quat ngua lu & t t&i, Trong Thuy tuyet vong nfurng quyet
lie t tru y can. Trieu D a cho ngua quan da Trong Thuy, Trong Thuy
nga nhao. T rieu D a thuc ngua, lu d t t & i ... tarn quan keo d i ... san
khau c h i con Trong Thuy nam hat dong, tie ng g id thet gao, dm
n h a c ...

Hoang Dung : Trieu huynh

Trong Thuy : (ngd nga ng)... la Hoang Dung?
Hoang Dung Trieu huynh! Khong can dupe phu hoang dua
quan sang A u Lac co phai chang muon mpt
minh theo bude doan quan.
Trong Thuy : Ta khong bao gid theo bude doan quan, ta chi
muon giu long chung thuy vdi M y Chau nhu
ld i ude hen cua doi thien nga.
Hoang Dung : Vay chang hay mang than minh minh chung
cho muon dan Au Lac thay rang ho Trieu van
con co ngudi biet giu tin nghTa.
Trong Thuy : Hoang Dung, nang lam gi vay?

232
H oang D ung la y ngua ra.

Hoang Dung : Chang hay di di.

Trong Thuy : Hien the muon ta di gap M y Chau sao?
Hoang Dung : Bong me la bong Tien
Dang cha la dang Rong
A u Lac trai non nuac
Dang cha la dang rong.

M u o i da nghe huynh doc nhung l& i th o nay tro n g ccr me ngu kh i

huynh g o i ten M y Chau, m uoi da hieu d ua c tam lo n g cua huynh d o i
v&i M y Chau va chung dan A u Lac, chang hay d i di.

Tr<?ng Thuy Hien the, nang da hieu duac long ta.

Hoang Dung Trieu huynh
Trqng Thuy Hien the, muoi phai goi ta la phu quan mai
dung chu.
Hoang Dung V i muoi biet chi co M y Chau huynh m ai that
sir co tinh phu phu. Con muoi du dang mang
giot mau cua huynh nhung ben trong chang
qua la tinh huynh muoi.
I'rQng Thuy Hien the, ta co lo i vai nang, ta co lo i vai con.
M ay cho ta muoi da vo cung do luong, trong
long ta van con nuoi duang bong dang thien
nga.
I loang Dung D oi an huynh da nhin nhan muoi la ngudi do
luomg, cung nhd huynh truyen cho muoi chu
tam, mot chu tam quy gia da thuc tinh muoi.
Song trubng giang xua khong giu duqc an
tinh, muoi con lai mpt minh, gio vcm treu gheo

233
 toe, nhd nguai di, noi nhd dai van vat. Thirong
ngudi xua, niera thuong dam dac buon.
Trong Thuy M ot lay ntmg ta xin ta toi cung hien the.

T rong Thuy p h i ngua d i m at con la i m ot irninh H oang Dung.

Hoang Dung : Trieu huynh! M uoi xin dirge te song chang,

muoi de tang thay cho hai nhi con hoai thai
trong muoi. Sau nay lbn len con hoi, vi sao cha
con khong con song tren doi, muoi se noi vdi
con, cha da vi tin nghTa thuy chung nen da tint
ve coi khac. (lay Trong Thuy). Phu quan.

CANH 7
Ho Tircmg 1 : Cac sir huynh giac Trieu da pha dirge co thanh.

H oTudng2 : Rap no

H oTuong3 : Su de sao vay?

Ho Tudng 4 : Co phai cac de da uong rugu cua Nhan Tan

phai khong, chung ta da bi mac miru gige
Trieu roi.

Ho Tudng 5 : Cao su huynh dau?

Ho Tudng 6 : Cao su huynh da bi giam trong nguc toi roi.

Ho Tudng 1 Khong kip nua tat ca anh em, phai co gang

tran giu cac cong thanh Co Loa.

Quan Trieu tra n vao thanh g ie t toan bo binh lin h va H o Tircmg Au

Lac.

234
( 'ao Thuc : X in hoang thugng va cong chua hay chay ve
cong thanh huong dong a do con doi quan
cung no cua than con cam cu.
1hue Phan : Ta se a lai ta se cung chet vdi thanh Co Loa.
( ao Thuc : X in thugng hoang rdi de bao toan tinh mang,
vua con nude con.
1hyc Phan : Ta that co loi vdi khanh.
< ao Thuc : X in ngudi dung lam vay, mau dua hoang
thugng rdi khoi hoang cung.

Nhan Tan va quan T rieu D a tra n vao.

Nlmn Tan : Di dau vay, mot minh ngai khong the cuu noi
Au Lac dau Cao tudng quan. Thuc Vuong ngai
di dau vay, ngai cu ngu d ngoi cao con ta la se
la phu chinh. Cong chua hay ve Phien Ngung
thanh de lam thu thiep, vi Hoang Dung quan
chua da len ngoi hoang hau.
My Chau Nguoi dung noi doi.
Nlmn Tan Thuan tinh hay la chet.
( no Thuc : Bua hoang thugng rdi khoi day.

I liac Phan, M y Chau duac ve binh dua d i con m ot m inh Cao Thuc
i ii Kang cam cu, n him g quan Trieu qua dong Cao Thuc khong cam
i a noi.

Nlmn Tan : M ui ten dong cua Cao Thuc da cam vao tim
con trai ta, nay ta se tra lai cho Cao Thuc.
Nhan Khanh cha chd dgi giay phut nay lau
lam rdi.
Milan Tan la y ten dam vao dm Cao Thuc, Nhan Tan quay d i Cao

235
 mot con ngirbi mang ten Trong Thuy. M y
Chau ...

Trong Thuy dung quat tw sat vd t it tir d i xuong hien sau, tren la y Id
chiec do thien nga cua M y Chau.

CANH CUOI
L in h hon cua An Dwamg V iw ng, Cao Thuc va cac H o Tuang xuat
hien tren hien.

Thuc Phan : Gicr ta da vTnh vien nam duoi bien sau, nhung
ngan nam sau, muon doi sau nho den ta ngubi
Au Lac se khong bao gio de mat No than.
Cao Thuc : Khai no

Cac H o Twang ra p la i thdnh No than, b d i hat Co Loa vang len.

Co Loa man nhuom tham chien bao

Hon mroc nhu con dang thet gao
V i dau nirbe mat bao lam than
Ngan nam in dau xua Au Lac
Hon Trong dong vong vang

238
 TH E M A G IC CROSSBOW

Playwright: Le D uy Hanh
Director: Do Due Thinh
Translator: Luu Trong Tuan, PhD

This translation was sponsored by

Vietnamese American Vocational College
(V A T C ) and Hong Van Theatre

PRELUDE

In 203 B C ... In the Trieu kingdom ... Trong Thuy aged 14 and
llo a n g D ung aged 9 were rid in g horse chasing each other.

Trong Thuy: Can you catch me?

I loang Dung: Trong Thuy, we w ill marry each other, w o n’t us?
I rong Thuy: We are still young now.
I loang Dung: You have to answer that question one day.
I rong Thuy: But first, you have to catch me.

Trong Thuy and H oang D ung rode th e ir horses away. Fourteen

years la ter, Trong Thuy and H oang D ung were now adults.

I rong Thuy: Hoang Dung, my sister.

I loang Dung: Trong Thuy, wait, wait please. It is time for you to
answer the question I raised fourteen years ago. The
king always looks forward to our wedding. He
wishes to reciprocate my dad’s favor. How about

239
 you? Our marriage is what you want or what you do
to gratify your dad?
Trong Thuy: In Phien Ngung citadel, you are the only person 1
want to encounter and chat with. Being w ith you is
m y glee.
Hoang Dung: Brother, look, how magnificent the landscape here
is! Can we pause a while?

H oang D ung and Trong Thuy g o t o ff the horses. H oang D ung gave
Trong Thuy a stroke.

Trong Thuy: As a girl, w hy do you like fighting? Bear in mind

that you are a princess.
Hoang Dung: But I am a girl o f a martial art fam ily.
Trong Thuy: Few years later, 1 w ill follow the king on the
conquering journey.
Hoang Dung: Y our great luck and happiness. You become a
w arrior the king trusts. Wish I were a boy and had a
chance to serve the country.
Trong Thuy: But I am not keen on conquering journeys.
Nonsense.
Hoang Dung: So your talents o f archery, swordsmanship, and
horse riding are used for what? And your fan is used
for what?
Trong Thuy: I don’t like fighting. It is ridiculous. D on’t you think
war is absurdity? Our talk about this should not drag
further.
Hoang Dung: Another topic?
Trong Thuy: What?
Hoang Dung: A martial art practice?

240
Prong Thuy: Surrender?
Hoang Dung: Never. Never surrender. Resume the practice,
please.
Prong Thuy: O K, i f you can catch me.
Hoang Dung: W ait fo r me.
Prong Thuy: Rush.
I loang Dung: I w ill not forgive you i f you w ill marry another girl.
Prong Thuy: W ho dares to marry you, a tiger?
I loang Dung: Brother Trieu, hold on, please!

Ilo a n g D ung and Trong Thuy rode away.

In a w ood in A u L a c K ingdom was flo w in g a stream . Two kids, a

hoy and a g irl, are w a lkin g a ro un d the s lip p e ry pebbles. They are
M i Chau, K in g An D uong V uong’s dau g hte r and Cao Thuc, a
g en e ra l’s son.

( 'ao Thuc: Watch out, princess! These pebbles are too slippery.
Let me help you cross the stream.
Mi Chau: Childhood looks like a blade o f grass
Glistens like a morning dew
Flies its embarrassment along the breeze
And eventually perches on the path.

Childhood looks like early sunshines

That, from a long dream, rise.

M om ’ s figure is fa iry ’s
Dad’s figure is dragon’ s

241
 A u Lac’s mounts and seas
Echo the sounds o f the bronze drums.

H a vin g re c ite d the poem , M i Chau d e lib e ra te ly threw the fa n at

Cao T h u c’s face .

Cao Thuc: Princes, w hy do you always throw the fan at my

face whenever your poem recital ends?
M i Chau: It serves you right. Brother Cao.
Cao Thuc: Please return the pebble to me. Princess.

Then, Cao Thuc va M i Chau now became grow n-ups.

Cao Thuc: Princess, how weird! Whenever you turn to that

dance, the fan flies towards m y face.
M i Chau: Inadvertently that day, but deliberately now.
Cao Thuc: Cautious, Princess! Slippery pebbles.

Cao Thuc tum bled.

M i Chau: How do you feel?

Cao Thuc: O K, Princess.
M i Chau: Are you hurt?
Cao Thuc: I ’m not hurt.
M i Chau: Look! Y o u ’re sweating.
Cao Thuc: No sweat! Princess, Let this servant help you cross
the stream w ith all slippery pebbles.
M i Chau: This servant. I hate you.
Cao Thuc: Princess

242
Mi Chau: We have grown up together since the childhood.
W hy don’ t you address me as “ Little Sister” and
yourself as “ Big Brother” ?
Cao Thuc: Princess, my dad teaches me about the hierarchy.
Even though we have been buddies since our
childhood, you are eternally the princess and I am
your servant, eternally.
M i Chau: O K, I w ill cross the stream without your help.

W hile M i Chau was w a lk in g and re c itin g the poem, Cao Thuc

showed h e r the pebble o f the bygone.

Mi Chau: That pebble. You still keep it. But why does it
become heart-shaped?
Cao Thuc: 1 have ground it.
M i Chau: How long?
Cao Thuc: For 14 years.
Mi Chau: What is the im plication o f having ground a heart for
14 years? It becomes a hard heart?
Cao Thuc: Nope. It becomes an eternal heart.

M i Chau was observing the pebble when she caught s ig h t o f a

sparrow being chased by a crow .

M i Chau: Ah!
Cao Thuc: Cautious, Princess!
Mi Chau: Brother Cao, Look! A black crow is chasing a little
sparrow. What should we do?

Cao Thuc was ta rg e tin g the a rro w a t the crow .

M i Chau: Don’t miss it.

243
Cao Thuc: 1 am one o f the greatest archers. You remember? Do
you want this arrow to pierce through that black
crow ’s head or chest?
M i Chau: I don’t want anybody to die. 1 merely want the black
crow to fly away.
Cao Thuc: How kind-hearted you are! The wicked deserves a
punishment.

Cao Thuc ra ise d his bow, but M i Chau stopped him .

M i Chau: Please, don’t, don’t do that, Brother.

Cao Thuc: D on’t worry, Princess! 1 w ill purely take few
feathers away from the crow.
M i Chau: You can do that? What a great archer!
Cao Thuc: W ait here, please!
Cao Thuc: Oh dear! We have been wandering beyond A u Lac
Kingdom. The arrow driving the crow away is not
mine.
Cao Thuc shows M i Chau the a rro w .

M i Chau: W ho can shoot faster than you? That person can

bring peace to this world. Brother, whose arrow is
it?
Cao Thuc: It belongs to Trong Thuy, the prince o f Trieu
Kingdom.
M i Chau: Trong Thuy?

Scene o f Co Loa cita d e l. By his w a rrio rs , K in g An D uong Vuong

was p la y in g dan tra nh (Vietnam ese z ith e r) when the horn echoed.

Cao Thuc: Back to the palace, Y our Majesty!

Generals: Please return to the palace, Y our Majesty!
Thuc Phan: Time to start the fight, Cao Thuc.
Cao Thuc: Shut the gate, Generals!

The bronze drum landed. Cao Thuc was p la y in g the drum .

Cao Thuc: The echoes from the bronze drum

Generals: Are the voices o f rivers and mountains
Cao Thuc: The echoes from the bronze drum
Generals: Have b u ilt the country’ s eternally unyielding stature
Cao Thuc: The echoes from the bronze drum
Generals: Sustain the earth and the sky o f Au Lac Kingdom
Cao Thuc: Trigger the crossbow!

H undreds o f bronze a rro w s were released and k ille d the

preponderance o f Trieu D a ’s soldiers.

SCENE 1
P hien N gung cita de l. Trieu D a ’s palace. Trieu D a was w a llo w in g
in the fe rm e n t o f a lc o h o l and fe rm e n t o f love fro m the p re tty
dancers.

Trieu Da: W hy is Phien Ngung citadel quiet and tedious?

Cheer up, please! Sing and dance, please! Our
troops have reached A u Lac and w ill pull down Co
Loa citadel. Where are court ladies?
Court ladies: Here.
Trieu Da: Light all the lamps and play the music to wait the
news o f victory from General Nhan Khanh.
Court lady: Let me w ait on you.

245
Trieu Da: Sure.
Trieu Da: How cute you are! Do you know you are the only
g irl in this palace 1 am infatuated with. What would
m y life be like w ithout you?
Court lady: Just nice words. You can take my life anytime.
Trieu Da: That w ill never happen unless the insanity invades
m y mind.
Soldier: Urgent news, Your Majesty!
Trieu Da: Who is rushing in?
Soldier: Your Majesty, the urgent message!
Trieu Da: Speak!
Soldier: Our troops could not access Co Loa citadel.
Whenever the crossbow was triggered, hundreds of
bronze arrows flew towards our warriors. O nly five
thousand out o f twenty thousand warriors survive.
General Nhan Khanh died from the piercing o f a
bronze arrow through his heart.
Trieu Da: Nhan Khanh, Can not surrender to Co Loa citadel,
An Duong Vuong, Cao Lo, and the magic crossbow.
W hy does the Golden Turtle God back An Duong
Vuong? How many times have our m ighty troops
lost?
Soldier: Over ten times.
Trieu Da: So why do you still survive? Get out. Chancellor!
Where is the chancellor?

C h a n ce llo r Nhan Tan was s tro llin g in w ith Nhan K h a n h 's head in
his arm .

Trieu Da: M y talented chancellor. I f we can not demolish Co

Loa citadel in the next 5 months, you and seven

246
 generations in your fa m ily have to mount the fire
scaffold.
NhanTan: I f you can conquer Co Loa citadel from m y death,
please go ahead.
Trieu Da: Nhan Tan, please forgive me. I have been unable to
have good sleeps for more than five years. An
Duong V uong’s laughters and music o f winning _
emerge whenever m y eyes close. I have slain a great
general and a pretty court lady. The insanity is
damaging m y mind.
Nhan Tan: Your Majesty, how about this?

Nhan Tan show ed Nhan K h a n h ’s head to Trieu Da.

Trieu Da: Oh, Nhan Khanh!

Nhan Tan: Oh, M y only son. Before passing away, Nhan
Khanh had asked to bring his head back to Phien
Ngung Citadel. He wanted to see you and me for the
last time.
Trieu Da: What should I do now?
Nhan Tan: Please build the friendship w ith A u Lac.
Trieu Da: What? You mean to humiliate our dynasty?

Nhan Tan: Your Majesty, please send Prince Trong Thuy to Au

Lac to propose to Princess M i Chau.
I rieu Da: W hat’s wrong w ith you?
Nhan Tan: Nothing wrong. I pledge to bulldoze Co Loa citadel
in the next three months.

247
 SCENE 2
B y Lake o f Swan in Co Loa cita de l, M i Chau was p la y in g w ith the
swans and singing. Then, T rong Thuy turne d up g azing a t and
s in g in g a lo n g w ith M i Chau.

M i Chau: The blue sky m irrors itse lf in the lake. Flocks of

swallows are flyin g in the sun towards the horizon.
Trong Thuy: The breeze is stirring your soul and m y soul. Swans
are flyin g away returning to the lake the serenity.

M i Chau and Trong Thuy were fe rv e n tly s in g in g when Cao Thuc

a nd generals show ed up.

Cao Thuc: Bugger o ff! Get away from the princess.

Cao Thuc and Trong Thuy were fig h tin g .

Cao Thuc: I don’t want to fight w ith who uses less kungfu
power.
Trong Thuy: Me neither. You did not want to show your full
kungfu expertise. Nice to meet you talented general.
Cao Thuc: Princess, please return to the palace!
M i Chau: Please don’t worry! M y dad allows my meeting with
the Trieu prince.
Cao Thuc: Remember he is the son o f Trieu Da, who have sent
the armies to besiege Co Loa citadel fo r over ten
times.
M i Chau: But do you remember peace is our eternal dream?
He is in Co Loa citadel. Can he escape i f he takes
my life? Do you want to take m y life, Prince?
Trong Thuy: No. 1 am here to show our good w ill o f peace. But I
understand General Cao’ s duty.

248
Mi Chau: Generals, don’t worry. Leave us.
Cao Thuc: Princess, cautious, please! We w ill turn up when
you need us. Princess, are you going to the stream
tomorrow?
Mi Chau: No plan now. W ill contemplate it tomorrow.

Cao Thuc and generals left.

Trong Thuy: Shielding the princess is generals’ job?

Mi Chau: No. They are protecting the magic crossbow.
General Cao Thuc has invented it. He and I have
been buddies since our childhood. D on’t be upset
w ith him. That’s just his duty.
I’rong Thuy: He loves you.
Mi Chau: What makes you think so?
Trong Thuy: His eyes uttered that. And his ardent love for you
made him careless. W ithout weapons I still can
defeat you and flee.
Mi Chau: But you have said you w o n’t harm me.

Using his fa n , Trong Thuy gave palm s to the lake and a branch,
b rin g in g about the ro m a n tic f a ll o f leaves.

M i Chau was scared enough to c a ll the generals.

Mi Chau: Generals!

R ealizing Trong Thuy's m a rtia l stroke was n o t intended to harm

her, M i Chau o rdered the generals to leave.

As M i Chau and Trong Thuy were le ft alone, Trong Thuy sang.

Trong Thuy: Sorry for arousing your panic. I can’t believe the Au
Lac princess know a Trieu song.

249
M i Chau: I usually hear you singing this song w hile you arc
w alking in the imperial garden. I memorized the
song since I found it beautiful. Do you blame me?
Trong Thuy: No.
M o m ’s figure is fa iry ’ s
Dad’s figure is dragon’s
A u Lac’ s mounts and seas
Echo the sounds o f the bronze drums.
Sorry for my secret learning that poem.
M i Chau: A nice song or poem does not have geographical or
racial boundaries, but contain love and sympathy
only.
Trong Thuy: Au Lac warriors look upon me as their enemy, bill
you don’t. May I know why?
M i Chau: Since your song has merged w ith my poem. My
eternal dream is peace, so does not have space for
the animosity.
Trong Thuy: I don’t want to leave the beauty in your heart anil
your singing.
M i Chau: M y father has approved our marriage.
Trong Thuy: Flocks o f swans are flying. The most beautiful swan
has perched by me. The swan coat witnesses our
wedding. We are swans coupled by Heaven and
Earth. War has passed and peace has returned. The
conflict between Trieu and Thuc families is gone,
opening a new chapter o f their friendship.
M i Chau: The swan coat shapes our faithful love. You arc a
would-be King Trieu.

250
Trong Thuy: And you are K ing Thuc’s beloved princess.
Mi Chau: The two swans from the different directions have
met.
Trong Thuy: God brings me a girl as pure as a gem. I wish to be
the water in which you gem become brighter.

M i Chau looked up at the moon ...

Trong Thuy: You like watching the moon?

Mi Chau: The moon looks like a bright gem in the immense
sky. The cloud looks like a swan leisurely flying.
You think so?
I'rong Thuy: I prefer to watch the water in which stay the sky, the
moon, and the cloud. When they are high above
there, they belong to everybody, but when they
immerse themselves in the lake, they belong to us
only. You and the moon look like two gems,
becoming brighter when m irroring yourselves in the
water.
Mi Chau: M y dream is the eternal peace in our counties. There
w ill be no war separating us. There w ill be no
hunters shooting swans.

Trong Thuy: There w ill be no war and no hunters. I f one o f the

couple is gone, the other swan w ill not want to live.
Our love is the oath o f livin g and dying together.

Nhan Tan turne d up.

Nlmn Tan: Prince!

1tong Thuy: What?
Nlmn Tan: Prince, please don’t give too much love to M i Chau,
but let her dedicate all her love to you.

251
Trong Thuy: Love means dedicating all you have.
Nhan Tan: But don’t forget your duty here.
Trong Thuy: M y duty is to bring peace to both countries.
Nhan Tan: Peace? Take advantage o f M i Chau’s love to explore
the truth o f the magic crossbow.
Trong Thuy: What is such an exploration for during the
peacetime?
Nhan Tan: Prince, K ing Trieu is awating our news.
Trong Thuy: No.

Trong Thuy le ft Nhan Tan alone.

Nhan Tan: F u lfill this duty on my own. A tough jo b ! But I have

to do it. Warriors involve themselves in discipline
during war, but escape from it during peace. The
battle ... is the place where swords and spears meet,
But who can believe the battle lies in gold and
jewels?

A n o th e r place. The p la ce w here the m agic crossbow was kept.

G enerals were p ra c tic in g kungfu when Cao Thuc turne d up.

General 1: 1 am always defeated by you. M y admiration for you

knows no bounds. Hey, Brother Cao, watch out!
Cao Thuc: Thanks. You need to increase your kungfu practice.
General 2: Peace time just requires such an amount o f practice
I need to defeat ten generals, don’t I?
Cao Thuc: Don’t have such a thought. D im inishing yout
practice is to increase enemy’s power. You improve
not only your kungfu but also your tactics.
General 1: But the king has rubber-stamped the peace treaty?
Cao Thuc: I know that. But I don’t believe Trieu Da really
wants peace. You should be cautious.
Generals: Don’t w orry too much.
Cao Thuc: This is not a joke. Anybody who reveals the secret
o f the magic crossbow w ill be penalized. Remember
that!
General 1: Brother Cao, Can we relax and have some drinks
after intensive practice?
Cao Thuc: Please guard the magic crossbow. No alcohol.

Cao Thuc left.

General 2: It is typical o f Brother Cao. Propensity o f caution.

What do you know is obsessing his mind?
General 1: What is it?
General 2: O nly two words: battle and fighting. W hy don’t we
enjoy the peace?
General 1: That’ s everybody’s wish. What w ill you do after
hanging your swords?
General 3: When the war ends, I w ill race towards m y village
and help m y mother w ith shouldering yokes o f water
and farming.
General 4: I w ill return to my hometown to see m y wife.
General 2: I w ill race back to my village to find and kiss a girl.
General 5: Your wife?
General 2: No.
General 5: Y our sweetheart?
General 2: No.
General 5: So who?

253
General 2: A n y g irl I first meet.
General 5: What i f she is 90 years old?
General 2: Then 1 ...
General 1: Second Brother, w hat’s up?
General 6: Nope. I am thinking about my three-year-old son. I
wonder what he is doing now and i f he asking about
his father.

General 1: I have no fam ily, so m y dream is to open up a pub

by the banyan tree at the entrance to the village.
General 5: What i f there is no banyan tree?
General 1: There is.
General 2: Carry on!
General 1: There is a scrumptious wine in m y village. Then wo
gather and drink over the memory o f our battle
victory.
General 5: Then 1 w ill drink the whole day to slake my thirst.

Then Nhan Tan came in.

Nhan Tan: It is my honor to serve drinks to you generals.

Generals: Who is that?
Nhan Tan: I am Trieu ambassador.

The generals rushed tow ards him.

Nhan Tan: Generals, Trieu and Au Lac have now become one
fam ily. Our prince is going to be A u Lac’ s prince
consort. Swords and spears should be put away.
General 1: But this is an restricted area. Nobody but generals iN
allowed to access. W ithout the kin g ’ s order, you can
not linger here.

254
Nhan Tan: This is the place o f the magic crossbow.
Generals: Shut up!
Nhan Tan: I am here just to send a vase o f rare wine as my
respect towards you generals.
Generals: We have our own alcohol.
Nhan Tan: Your victory is worth a more precious wine. This is
a special wine from Trieu. D on’t reject our
sentiment. No trace o f poison in it. Can I take the
first cup?

Nhan Tan took a d rin k.

Nhan Tan: Trust me? Please savor it.

(ieneral 3: We can not be drunk ... since ...
Nhan Tan: Since you have to guard the magic crossbow. But
the country is now in peace. Caution or waste o f
time? Time to relax after the battles. Have a couple
o f drinks, please!
Nhan Tan: I come here w ith various precious gifts besides
wine. General, this is a piece o f brocade for your
mother.
General 3: Sorry. I don’t need it.
Nhan Tan: Please don’t reject it.
General 1: Brother, this w ill be a great g ift for your mother
from you a filia l son. W hy reject it?
Nhan Tan: Please send it to her w ith m y wholehearted regards.
Thank you!
Nhan Tan: And this is a precious gold bracelet for your wife.
General 6: No, thanks.

255
General 1: W hy not take it?
General 6: No, return it.
General 1: Y our w ife w ill fancy it.
Nhan Tan: And this is a g ift fo r your three.-year boy. These
small gifts can not be comparable to A n Duong
V iio n g ’ s sentiment fo r our king. This is a vase o f a
rare wine from Trieu. But give it three months to
reach the highest quality.
General 1: M any thanks!
Nhan Tan: Just show m y admiration to you. Gods bless you!
Gods apparently have blessed you fo r ages. The
Golden Turtle God gave you his claw fo r making
the crossbow?
Generals: N o God involvement.
N han Tan: A harmonious choral response.
A general' The magic crossbow was made by us generals, not
by any god.
A general: O nly we know how to handle it.
A general: Nobody but us can operate it.
A general: Brothers, Brother Cao told us not to disclose
anything about the magic crossbow.
Nhan Tan: Right. Right to keep secret, but purely right in the
wartime, but not in the peacetime. W e are now
buddies. N ow I have learned some true news from
you. It is said that only General Cao invented the
magic crossbow and is now as bright as the North
Star.
A general: Imprecise. It is I who made it.

256
A general: And I struggled to make its string.
A general: Who made bronze arrows? We did. W ith our
synergy effort.
Nhan Tan: A ll for one, but only one earns the name and earns
the love from K ing Thuc. A p ity on you guys! This
national secret is now leaked to me. By you. But no
problem. As we are fa m ily members who should
share what we have.
Generals: That’ s right.

The generals m oved to a no the r c o rn e r o f the stage and chatted.

Nhan Tan: A u Lac warriors have their eyes wide open at the
sight o f valuables, leaving the magic crossbow and
the bronze drum unwatched. K ing Thuc is on the
haughty throne, unaware o f the ongoing turbulence.
Unrest in people’ s minds, unrest in society. Tim e to
access the magic crossbow has come.

Nhan Tan was re a chin g the p la ce o f the m agic crossbow. Cao Thuc
appeared and gave him a sw o rd cut.

Cao Thuc: This is the restricted area. Scram!

Nhan Tan: Sorry. Just bring generals some wine.
A general: W hy did you strike our friend?
Cao Thuc: Our friend? People who have besieged Co Loa
Citadel countless times and took a heavy to ll o f our
people can be called friends?
Nhan Tan: Let bygones be bygones. We are now one fam ily, so
I came here to drink w ith the generals.
Cao Thuc: W hy did you drink? How can you guard the magic
crossbow under the influence?

257
Generals: We need some relaxation after the battles.
Cao Thuc: It is not time to rest.
A general: It is not tim e for us to rest. But you can relax. Your
feats give you the right to relax?
Cao Thuc:- Absurd!
The general: W hy beat me?
Cao Thuc: F ifth Brother said wrong o f me.
The general: Y ou beat me for m y few drinks. Y ou overlook my
struggle fo r the survival o f Co Loa Citadel.
Nhan Tan: Sorry fo r m y wine. It has undermined your
brotherhood. F ifth Brother, don’t blame Brother
Cao. Ponder his pain from Prince Trong Thuy’ s
proposal to Princess M i Nuong. A blend o f pain and
jealousy.
The general: Y ou are B ig Brother. Could not strike your brother
and the ambassador from your jealousy. Go and stop
their marriage.
Cao Thuc: This is the misunderstanding. Take him away or my
fu ry w ill explode.
The general: So hold the sword and k ill me.
Cao Thuc: Take him away.
The general: Brother Cao, remember this is Trieu ambassador and
K in g Thuc’ s distinguished guest.

The generals w ent out.

Cao Thuc: The cunning Trieu enemy. I spare your life just to
show our love fo r peace.
Nhan Tan: Right. You demonstrated your love fo r peace
through your piercing o f the bronze arrow through
m y son’ s heart.

258
Cao Thuc: A ny invaders o f Co Loa citadel w ill have such a
penalty.
Nhan Tan: Endeavor to protect the citadel. You only can not do
that. M y son is awaiting you in the hell. You w ill
die. Your blood w ill paint your loyalty and your
love for M i Chau. Record m y words.

Cao Thuc fe e ls fu rth e r em barrassed by Nhan T a n ’s laughs.

SCENE 3
In Au L a c ’s ro y a l court, An D uong Vuong was seated on the throne.

Nhan Tan was kneeling, p e titio n in g f o r the peace treaty.

Thuc Phan: Nhan Tan, w hy didn’t you drink my wine?

Nhan Tan: I daren’t.
Thuc Phan: W hy not? You have been kneeling for more than an
hour.
Nhan Tan: I have been awaiting your decision.
Thuc Phan: Open door policy needs the approval o f royal
officials.
Nhan Tan: So I can not get up and return to Trieu w ithout your
approval.
Thuc Phan: A ll right. I approve it since it benefits the people o f
both countries. Royal officials w ill probably
approve it. Get up, please!
Nhan Tan: Thank you.

Nhan Tan g o t up. A c o u rt la d y served a cup o f w ine to him , but he

hesitated to d rin k it.

259
Thuc Phan: You don’t want to drink m y wine?
Nhan Tan: Yes, Your Majesty.

Nhan Tan d ra n k it up.

Nhan Tan: Y our Majesty, to tighten the relationship between

the two nations, our king have sent you precious
tributes from Trieu.

Nhan Tan clapped his hands. Two Trieu p re tty c o u rt la d ies came
p re sen tin g the trib u te to K in g Thuc. The trib u te is a n a tio n a l
treasure.

Thuc Phan: Extremely beautiful.

Nhan Tan: W hich is extremely beautiful? Ladies or the gem?
Thuc Phan: Both.
Nhan Tan: The gem is Trieu national treasure. And these are
the most beautiful Trieu girls.
Thuc Phan: W hy give me your national treasure?
Nhan Tan: Our kin g ’ s message to you is that our war was a
great mistake. It is now time for us to become
friends.
Thuc Phan: I understand ... Sending your national treasure to
me demonstrates Trieu goodw ill for peace. Your
contribution is a great portion o f this peace. What
award do you want?
Nhan Tan: The award I have been dreaming o f is ...
Thuc Phan: Say.
Nhan Tan: Yes

260
No sooner had Nhan Tan approached K in g Thuc than he was
stopped by the ro y a l guards.

Royal guards: A n impertinence!

Nhan Tan: I apologize. M y admiration to K ing Thuc is too
great to remember royal rituals.
King Thuc: Royal Guards, leave us. So what is your wish?
Nhan Tan: I wish to hear you playing the dan tranh.
King Thuc: I heard you are a music master in Trieu, so can you
play a piece o f music together w ith me?
Nhan Tan: Sorry. I daren’t.
Thuc Phan: Look upon this as your diplom atic mission.
Nhan Tan: Yes, Your Majesty.

Thuc Phan asked co u rt ladies to b rin g tw o instrum ents. Both o f

them sta rte d to p la y. A m om ent la ter, Nhan Tan d e lib e ra te ly broke
a strin g .

Nhan Tan: Forgive me.

Thuc Phan: Not at all. The string should be too old. W ill bring
you another instrument.
Nhan Tan: Sorry. I am unable to play w ith you. M y music skill
can not match up to yours. Y our music is the most
touching on earth.
Thuc Phan: Nice praises.

The sounds o f the bronze drum were com ing. K in g Thuc blew up.

Thuc Phan: Who is ruining my fun? Fetch him here.

Nhan Tan: O nly General Cao dares to do this.

Cao Thuc came in w ith his arm s and legs chained. D ancers left.

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Cao Thuc: I ’m one o f the Five Tiger Generals in charge o f an
archery squad. The magic crossbow has been sunk
in oblivion and the bronze drum has been on sale
Brothers don’t want to meet one another. Thing*
have been turned upside down. I am disoriented. My
memory goes back to the time when I played the
bronze drum to inspire the troops. The crossbow*
and arrows found their spirits. I apologize. Your
Majesty! I show up here w ith arms and legs chained
to release m yself from the invisible chains fettering
m y mind.
Thuc Phan: W hy do you torment yourself? Let me unchain you.
Cao Thuc: D on’t do that, please!
Thuc Phan: I understand your disappointment in me. I did not
listen to you. (The k in g p o u re d w ine a n d gave it to
Cao Thuc.) But w h y did not you look at our
people’ s peace and happiness. You and I have
undergone the hardship o f the battles and it is now
tim e to enjoy our life. (The k in g gave the w ine to
Cao T h u c’s m outh.) D rin k it and calm down. (Cao
Thuc d ra n k it.) Is it a good wine? Start to enjoy the
life from drinking ...
Cao Thuc: (L e t the w ine o v e rflo w h is m outh) Enjoy the life?
(Showed his p a in ) o r Imprison yourself?
Thuc Phan: (B le w up) Imprison myself?
Cao Thuc: Y o ur Majesty, you have confined yourself in the
praises and pieces o f brocade and silk. You have
confined yourself in music and dance all day long
and all night long. You have confined yourself in the

262
 illusion that we are livin g in peace and war w ill
never return.
Thuc Phan: (Shouted a t Cao Thuc) Nuts!
C»o Thuc: Nuts? Yes, I am nuts! Since archers are in low
spirits. Some left. Some struggle to make ends meet
and blame me for their hardship. Nuts since I am
afraid that a storm w ill sweep through our country.
Do empty praises protect you?
I hue Phan: An impertinence! W hy did you strike the
ambassador?
Cao Thuc: Since he did not observe A u Lac’ s rules.
Thuc Phan: W hy did you beat your brother?
Cao Thuc: To wake him up from Nhan Than’ s cunning charm.
Thuc Phan: (F u rio u s) Insolent! ... Guards!

Nhan Tan: Be calm. Your Majesty! Anybody can make

mistakes. I understand General Cao’ s feeling. I f
only you had two M i Chau ...
Cao Thuc: Shut up! The Trieu spy. Nothing to do with M i Chau
here.
Thuc Phan: 1 understand your feeling. But you must prioritize
the diplom atic relation between the two nations.
Your jealousy is ruining it.
Cao Thuc: Your Majesty! I am concerned about the fate o f our
country. I am afraid your eyes are veiled.
Thuc Phan: You deserve an execution. Given your feats and our
relationship, I order you go to ja il.

M i Chau rushed in.

263
M i Chau: Dad ... Please forgive him despite his crime
severity. On the Independence Day, you named him
Cao Thuc and deemed him as your son.
Thuc Phan: The king can not w ithdraw his ordinance. Nhan Tan,
please have a tour o f Co Loa Citadel w ith me.
Nhan Tan: Yes, Y our Majesty!
Cao Thuc: Nhan Tan, you can deceive people fascinated by
fame and flattery. But you w ill com m it great crime
i f you delude people who have integrity and trust as
their goals o f life.
M i Chau: Let me unchain you.
Cao Thuc: Can you unchain yourself. Trust, love, and bliss are
chains?
Cao Thuc: Nope. Fraud is the chain.
M i Chau: True sentiment is what I put aside fo r you.
Cao Thuc: N o more to say. Take me away!
Trong Thuy: Darling.
M i Chau: Honey.
Trong Thuy: I wanna say goodbye to you.
M i Chau: Why?
Trong Thuy: M y dad ordered me back to Phien Ngung.
M i Chau: W hy suddenly?
Trong Thuy: M i Chau!
M i Chau: Trong Thuy!
Nhan Tan: Prince, please hurry back to Phien Ngung citadel.
Trong Thuy: I know. Let me take m y leave o f m y wife.
Nhan Tan: H urry up, please!
Trong Thuy: But w h y do you ask me back all o f a sudden?

264
Nhan Tan: King Trieu wanna enthrone you.
Trong Thuy: So M i Chau w ill become the queen?
Nhan Tan: Unclear. It w ill be clear in the few months.

SCENE 4
A g loom y clim ate p re do m in a ted in T rieu D a ’s ro y a l palace. In his
bedroom, Trong Thuy was d rin k in g . T rieu D a was in a no the r p a rt
o f the stage.

Trieu Da: Trong Thuy, your marriage w ith M i Chau is a

scheme. I decided to ra tify your engagement w ith
Hoang Dung.
Trong Thuy: Dad!
Trieu Da: I f you protest, please stab m y heart w ith this sword.
Trong Thuy: W hy does m y father merely arouse in me the
illusions o f power (d ra n k ft M i Chau helps me
understand what happiness and love are. Who am I?
This is the question I ask m yself every m orning and
evening. W hy does the answer hide itse lf from me?
Where am I from? From the South or the North?
(d ra n k) I am overwhelmed w ith happiness. Troubles
seem to envy it and sink me into the hallucination. A
swan is flyin g w ith a love on its wings. M i Chau,
you appear to be nearby. It is you who release my
soul. M i Chau, you have been awaiting me for h a lf a
month, a month, and then two months ... M i Chau
... Darling.

Trong Thuy was dream ing o f M i Chau and swans com ing.

265
Trong Thuy: M i Chau
M i Chau: Trong Thuy
Trong Thuy: Sorry. I broke m y promise. Do you blame me?
M i Chau: I trust you and I s till have been w aiting fo r you.
Months have elapsed. I s till trust you. I still trust the
swan’ s loyalty.
Trong Thuy: M i Chau, don’t trust me.
M i Chau: W ithout m y trust in you, m y heartbeats and breaths
would stop.
Trong Thuy: M i Chau, I am a g u ilty man.
M i Chau: I w ill purge your g u ilt w ith the water from the lake.
Trong Thuy: M an’s deep bottom o f mind
M i Chau: can be reached by love.
Trong Thuy: M y life mission is
M i Chau: Y our life mission is to bring happy life to
everybody.
Trong Thuy: I want to sustain peace fo r both countries, but
another man does not.
M i Chau: From our love, I understand you. Honey, i f war
breaks out, please listen to your heart and swans in
your heart w ill lead you to me.

M i Chau and swans vanished. H o a ng D ung tu rn e d up.

Hoang Dung: W hat did M y Chau do to obsess your mind?

T rongT huy: She only has a heart brighter than the moon and
more immense than the sea. M i Chau loves me and
loves everybody. Her happiness is to bring
happiness to everybody.

266
Hoang Dung: How about m y love for you? Isn’t it as bright as the
moon and as vast as the sea? No trace o f my love in
your heart? On your wedding day, 1 was broken­
hearted and found as i f Phien Ngung were beneath a
funeral sky.
Trong Thuy: L ittle sister, your love is memorable. We have been
bosom buddies since our childhood. Memories o f
riding horses, shooting arrows, crossing jungles,
clim bing mountains, crossing Chang Jiang river, and
watching waves chasing winds at the boat head still
have lingered in me.
Hoang Dung: Put this scarf over m y shoulders the way you put the
swan coat on M i Chau. In your dreams after drinks,
you tenderly called her name. 1 cried all night long. I
had to restrain m y pain. Jealousy is a part o f any
woman’s genetics.
Trong Thuy: I am in bewilderment. I am bored w ith m yself and
the life. Stab me. K ill me.
Hoang Dung: The king is getting the battle ready. Can you stop it
i f you are depressed and drunk?
Trong Thuy: What i f A u Lac refuses to fight?
Hoang Dung: You w ill use alcohol and love to help Au Lac? Your
love can not w ork i f you have no power. Love
without power is a futile stuff.
Trong Thuy: Yes, I am a useless man. And a traitor.
Hoang Dung: Trong Thuy, you can not betray M i Chau and Au
Lac people. And i f so, you w ill betray the embryo
growing up in m y body?
Trong Thuy: You are expecting?

267
 SCENE 5
In the ja il, G eneral Cao was chained. There w ere some guards.

Guard 1: W hy was General Cao Thuc arrested?

Guard 2: He protested the K in g ’s decision on the diplomatn
relation between Trieu and Au Lac.
Guard 1: His words are worth pondering. We did not die in
battles. But we can die in the piles o f gold and
jewels.
Guard 1: We killed the enemies w ith our bronze arrows, but
can be killed by their gold arrows.
Guard 2: So we are w orking here in the dark ja il, but have to
sustain the brightness in our hearts.

Nhan Tan entered.

Guard 2: Who?
Nhan Tan: Me. Trieu ambassador.
Guard 2: What are you going?
Nhan Tan: Creating the peace for the two countries. How art*
things w ith General Cao?
Guard 2: This is the restricted ja il area. W ithout the king'*
bidding, you mustn’t enter.
Nhan Tan: I see. This is the gold from Trieu.
Guard 1: But no order from the king, no entry.
Nhan Tan: The sim ilar statements. I understand.
Guard 1: Come here for what?
Nhan Tan: To visit General Cao.
Guard 2: True?
Nhan Tan: Sure.
(iuard 2: Access.
( iuard 1: Brother, is it wrong to take gold from him?
( iuard 2: It is wrong i f we don’t take it.
( iuard 1: Do the way our superiors do.
( iuard 2: Great idea.
(iuard 1: I f this story is leaked, we inferiors suffer, but our
superiors do not.
( iuard 2: Always like that. Depends on luck. We take gold,
but should not be destroyed by it.

Nluin Tan entered the ja il. Cao Thuc was astonished a t his
abearance.

Nlmn Tan: M y appearance is a surprise fo r you? A ll Au Lac

generals and soldiers are w allow ing in the ferment
o f leisure and treasure. A u Lac now belongs to me.
You think your soldiers w ill listen to you or to me?
( no Thuc: Guards!
( iuards: W hat’ s up?
Nlmn Tan: Nothing. General Cao s till supposes he were outside
the ja il. His voice is just a b it more high-pitched
than usual.
( Iuards: But w hy did he shout?
Nhan Tan: Nothing. Just a bit louder than usual. D on’t worry.
( iuard 2: Younger Brother, nothing here. Go and guard
outside. We take gold, but should not be ruined by it.
(iuard 1: Precisely.
Nlmn Tan: General Cao, you see. Gold and gems can buy
everything. They are passports leading me
 everywhere. Your words do not work. Your love has
destroyed your prestige and power in A u Lac.
Cao Thuc: Take m y life!
Nhan Tan: Take your life? That simple? (took his dagger out)
Put this dagger through your heart. Put gold into the
guards’ mouths. Finished. A ll o f you must suffer
more than I did at the sight o f m y son’s headless
body hanging over the horse.
Cao Thuc: I don’t feel any pains now. The king does not trust
me. 1 am confined in this cell. Petition the king for
the execution o f me.
Nhan Tan: You have to live to see Au Lac sinking in the fire
sea. You have to live to see your haughty king
running for his life. You have to live to see Princess
M i Chau become Trieu Prince’ s concubine or court
lady. Hoang Dung w ill become Trieu queen.

E very w o rd Nhan Tan uttered sounded lik e cuts on Cao Thuc's

fa ce .

Cao Thuc: I am confident that some o f the A u Lac generals and

soldiers remain loyal ...
Nhan Tan: As loyal as you? Yes, but only a few. W hat’s more,
I ’ve captured all your secret (p o inte d at an
envelope). A ll the secret is in this envelope. Co Lon
Citadel is spiral-shaped, so can not be accessed
through ladders. The only access is to pull down till'
gate. On the top o f the w all are a system of
crossbows and arrows. When they are triggered,
countless arrows are simultaneously shot. Thtf
yellow color o f the bronze arrows shines. Thl
 arrows look like the lightnings and sound like
wuthering winds. The sounds from the bronze drum
am plify those o f the arrows. It is the truth o f the
magic crossbow ... The Commander o f Phong
Chau. Your unrivaled power comes from the
solidarity o f people as w ell as that o f arrows. But
when people as w ell as arrows are separated ...
Cao Thuc: A n Duong Vuong ... Where are you, Your Majesty?
Our country is going to be invaded.
Nhan Tan: Your king is w allow ing in alcohol and beauty. King
Trieu w ill read this letter. And before long, Trieu
troops w ill rush here. Nhan Khanh, are you happy
w ith my revenge? Ha ha ha ... Princess M i Chau
w ill come here. I wanna see the tearful farewell
between an A u Lac hero and a naive princess. M i
Chau ... Ha ha ha ...A naive swan. Ha ha ha ... I
have given numerous precious gifts to K ing Thuc
and tiger generals, so 1 can not help giving you a
special gift. You w ill think o f me whenever you
observe it.

Then Nhan Tan took out his dagger a nd m ade a lo n g cut on Cao
Thuc's face .

Nhan Tan left. Cao T im e ’s eyes were as re d as blood. M i Chau

entered ca tch in g sig h t o f cuts on his fa c e ...

M i Chau: Brother ... What happened to you? Blood ... W hy

too much blood?
Cao Thuc: W hy do you come here?

271
M i Chau: 1 heard you had not eaten anything for days. What
should 1 do i f something wrong happens to you.
Brother, don’t do that. I had a nightmare last night?
Cao Thuc: A nightmare?
M i Chau: General Cao was executed. Archers were standing
still. The bronze drum gave melancholy echoes. The
swan couple were covered w ith blood ...
Cao Thuc: Every nightmare w ill come true soon.
M i Chau: Are you angry w ith me? Don’t look at me that way.
Is it a sin to give m y true love to Trong Thuy?
Cao Thuc: What should I look at? You are as bright as a gem.
But everything around you is the dark. I don’t blame
your love for Trong Thuy. I don’t blame you. I am
feeling pleasant. In front o f me is the sight o f the
two kids by a stream ... Wish we had not grown up.
W ish we were eternally kids, so you would be by
me forever (read the poem again).

M i Chau touched the cuts on his fa c e ...

Cao Thuc: This is the first time I have found m yself the closest
to the princess. Can you linger your tender hand on
my face a bit longer? (burst in tears).
Cao Thuc: Princess, can I say something to you?
M i Chau: Don’t, please don’t say it. Let me say. W ithout M i
Chau, Au Lac s till subsists. But w ithout you, Au Lac
is gone.

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 SCENE 6
F ro n tlin e . Trieu troops w ith sw ords and spears are ready. K in g
Trieu was on the high p la tfo rm , lo o k in g m ighty.

Trieu Da: Three armies! Proceed ahead and conquer Au Lac.

W a rriors g o t on the horses and p a ra d e d away, le a ving Trieu D a on

the stage. A s o ld ie r b ro ug h t a horse in. Trieu D a g o t on it. Trong
Thuy came out to in te rce p t Trieu D a 's horse.

Trong Thuy: Dad, please stop the battle.

Trieu Da: You prioritize the love.
Trieu Da: You worship the love. You are a traitor.

Trieu D a rode the horse ahead. Trong Thuy intercepted it again.

Trong Thuy: Dad, please keep your promise. Even though they
won, countless Au Lac people suffered and
sacrificed. So did we. D on’t trample on the word
“ humanity” as w ell as on scores o f human lives. It is
an apathy to vie with, harm, and k ill each other.
Trieu Da: Shut up! You preach me? A wayward son! M y most
crucial mission is to colonize Linh Nam land.
Trong Thuy: You have your own kingdom, independently from
the Qin Dynasty. W hy do you plan to colonize Au
Lac? W hy do you want to bring sufferings to Au
Lac people and turn me into a traitor to M i Chau?
Trieu Da: W ith your profound love fo r M i Chau, you betray
me.
Trong Thuy: I don’t betray you. What I want is the concord for
both countries.

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Trieu Da: Returning to Phien Ngung, you agreed to marry
Hoang Dung and betrayed M i Chau.
Trong Thuy: No. I haven’t betrayed M i Chau. I am still faithful to
her.
Trieu Da: You are not a filia l son. How can you be faithful?

Trong Thuy was try in g to stop Trieu D a ’s horse. T rieu D a g o t his

horse to kic k Trong Thuy. Trong Thuy fe ll. T rieu D a proceeded
ahead ... Three arm ies proceeded ... Trong Thuy was ly in g s till on
the stage. The w in d was ro a rin g .

Hoang Dung: Brother Trieu.

Trong Thuy: (astonished) ... Hoang Dung?
Hoang Dung: Brother Trieu. You failed to stop your dad’s armies
heading for Au Lac? You want to pursue them?
Trong Thuy: I don’t want to purse them. Just want to pursue my
love for M i Chau and pursue the swan couple’ s oath.
Hoang Dung: So please demonstrate your constancy to Au Lac
people.
Trong Thuy: Hoang Dung, what are you doing?

H oang D ung le d a horse in.

Hoang Dung: Set off!

Trong Thuy: You want me to meet M i Chau?
Hoang Dung: M o m ’s figure is fa iry ’s
Dad’s figure is dragon’ s
Au Lac’s mounts and seas
Echo the sounds o f the bronze drums.

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 I heard you had recited these verses together w ith
the name o f M i Chau in your dream. I understand
your love fo r M i Chau and A u Lac people. H it the
road, please!
Trong Thuy: Thanks for your understanding.
Hoang Dung: Brother Trieu.
Trong Thuy: W hy didn’t you call me “ Husband” ?
Hoang Dung: I know you merely look on M i Chau as your wife.
Although I am expecting your baby, I am only your
little sister?
Trong Thuy: I am g uilty to you and our baby. It is generous o f
you. The figure o f the swan remains on m y mind.
Hoang Dung: Thanks. It is you who awoke the kindness in my
heart. The waves o f Chang Jiang river can not keep
the love. I am now in solitude pining for a man.
Prong Thuy: W ith this prostration, 1 ask your forgiveness.

Trong Thuy rode the horse away.

Hoang Dung: Brother Trieu! Let me worship you for m yself and
our baby. One day when our child grows up, I w ill
tell him his father has gone to the place o f human
constancy and love, (prayed to Trong Thuy). Honey!
M y dear husband!

SCENE 7
General 1: Brothers, Trieu enemy has demolished the gate.
General 2: Fit the crossbow!
General 3: W hat’ s up w ith you?

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General 4: You drank Nhan Tan’s wine? We were fooled by
the Trieu enemy.
General 5: Where is Brother Cao?
General 6: He has been in ja il.
General 1: Too late. T ry to protect Co Loa citadel.

Trieu troops rushed in to the c ita d e l k illin g so ld ie rs and generals.

Cao Thuc: K ing and Princesss, please proceed to the East Gate.
The archery squad are still fighting to protect it.
Thuc Phan: Nope. I w ill stay and sacrifice w ith Co Loa Citadel.
Cao Thuc: You need to survive. You survive, the country
survives.
Thuc Phan: I was guilty to you. (kow tow ed)
Cao Thuc: Please don’t do that. Escort King and Princess out of
the palace.
Nhan Tan and T rieu D a entered.

Nhan Tan: Where are you going? General Cao, you yourself
can not rescue Au Lac. King Thuc, where are you
going? Be on the throne and I w ill be your
chancellor. Princess, Be a concubine in Phien
Ngung Citadel. Hoang Dung is the queen now.
M i Chau: Stop lying.
Nhan Tan: Accept or die?
Cao Thuc: Escort K ing out o f here.

Thuc Phan and M i Chau were escorted away. Cao Thuc was
fig h tin g , but eventually fa ile d under the a tta ck o f countless T rim
soldiers.

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Nhan Tan: Cao Thuc’ s bronze arrow pierced m y son’s heart.
N ow I w ill return it to Cao Thuc. Nhan Khanh, I
have been w aiting fo r this moment for long.

Nhan Tan p ie rc e d the a rro w through Cao T h u c’s heart. Nhan Tan
turned away. Cao Thuc took the a rro w out and p ie rc e d it through
Nhan T a n ’s neck. A s o ld ie r c a rrie d Nhan Tan away.

Cao Thuc: Princess, I ...

Childhood looks like a blade o f grass
Glistens like a morning dew
Cao Thuc: Cao Thuc, you failed to protect Co Lo'a citadel.

SCENE 8
Thuc Phan and M i Chau were chased by T rieu so ld ie rs to the
beach.

M i Chau: Dad. I am scared. Behind are the enemy and in front

is the immense sea. Scary!
Thuc Phan: Blood is spilling and heads are falling. The country
is lost to the enemy. Au Lac people are deprived o f
the happiness.

The bronze drum sta rte d echoing.

Thuc Phan: Where are the sounds o f the bronze drum coming
from? W hy do I s till hear them? As i f they came to
save the spirits. Thuc Phan! You are to blame and
curse. You have b u ilt Co Loa citadel and its
independence. But the peace lulled you into the
sleep and illusion. You were hypnotized by disloyal

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 subjects’ flatteries and praises and kept away from
truths from loyal subjects like Cao Thuc. Your
dream o f peace was just an hallucination. Thuc
Phan, the sea and its waves w ill lead you, but not to
the next life. You w ill have to hang about here in Au
Lac to answer the question w hy A n Duong Vuong
lost the country to the enemy.
M i Chau: Trong Thuy, you are my husband or m y enemy?
Dad, Dad! I t ’s M i Chau who is responsible for the
country lost, families dismantled, heads cut off, and
blood spilt.

M i Chau took her fa th e r’s sw o rd and k ille d herself. Then she

w alked in to the sea.

Thuc Phan: M y sword! M y companion in the country building

process. You have been covered w ith the enemy’ s
blood, and now w ith my daughter’ s blood. M i Chau
... I fo llo w you.

Thuc Phan g ra d u a lly strode in to the sea. Trong Thuy reached the
beach under the g uide o f the swans, but it was too late. M i Chau
and Thuc Phan had passed away.

Trong Thuy: M i Chau, I am holding your swan coat as i f I held

the trust from a soul purer than a gem. Who am I?
Loyalty and Love. I can not demonstrate either o f
them. Loyal to whom? And love whom? 1 am a
crim inal w ith no way out. I am endeavoring to retain
the figure o f a swan in the hope o f the forgiveness,
M i Chau ...

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,
Trong Thuy k ille d h im s e lf w ith the fa n . W ith M i C hau's swan coat
in his arm , he was s te a d ily vanishing in the sea.

LA S T SCENE
The s p irits o f An D uong Vuong, Cao Thuc, and the tig e r generals
em erged on the sea.

Thuc Phan: I have been at the bottom o f the sea. But thousands
o f years later, looking at m y example, Au Lac
people w ill never lose the magic crossbow.
Cao Thuc: Trigger the crossbow!

The tig e r generals a rra n g e d in to the shape o f the m agic crossbow.

The song o f Co Loa was sung.

In Co Loa citadel, war costumes were dyed w ith

blood
W hy is the country in the sea o f tears?
The national spirit appears to be roaring
The spirit o f the bronze drum is still echoing.

END OF T H E P L A Y

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